Monthly Archives: October 2013

This week Roger Highfield, Director of External Affairs at the Science Museum in London, made a strong case for the use of technology to enhance visitors’ experience of museums. In his article published in London’s Evening Standard Highfield writes

“When used wisely, computers and interactives have a role in showing our visitors that science is more than just a collection of cold, hard facts, arcane theorems and grey metal boxes. With a little digital magic, all these facets can now all sparkle. This is important for all museums, for London and for the nation’s high-tech industry. We never seem to have enough scientists, mathematicians and engineers. The same goes for designers and the creative industry and, yes, classicists too. Museums need to use all the tools at their disposal to inspire the next generation.”

I could not agree more. Luckily, these days there are plenty of excellent examples of technology in museums that intrigues visitors, allows them to see science, art and design in novel ways, and maybe not at last, attracts people to look at museum objects who without technology would find them boring, uninteresting and maybe also inaccessible. In these cases, technology is an invaluable tool that facilitates and enhances access. Moreover, as Highfield points out in his article technology can make visible aspects of science, art and design that otherwise could not be shown. Examples for such phenomena are miniscule molecular processes processes or the ways in which old objects like the famous washstand by William Burges in the Victoria & Albert Museum would have been used by its owners.

The effectiveness of these technologies in museums has variously been shown. A Special Issue of  Curator: the Museum Journal (2004) elaborated some of the opportunities offered by technology and interactivity in museums, highlighting that technology can facilitate new forms of engagement and learning occurring in museums. Robert West however also pointed at the potential costs of interactivity in museums. Aside from momentary costs West also points to the danger that technology when broken or difficult to use can spoil the museum experience for visitors and that some people for various reasons are intimidated by technology in exhibitions.

This latter point is echoed in a recent research paper by Susie Scott and colleagues that has recently been published in the journal Symbolic Interaction. In their paper “Goffman in the Gallery” the authors elaborate on the emergence of situational shyness at interactive exhibits and explicate ways in which visitors cope with their uncertainty of using an exhibit or hesitation to approach it because they fear they might find themselves in an embarrassing situation unable to use the technology. Amongst other points that Scott and colleagues’ paper makes it suggests that one solution that people find to overcome “situational shyness” is to learn from others. People observe others and use their actions as “replacement scripts”.

The importance of mutual observability in museums for people’s exploration and sense making in museums has been a topic since the inception of the modern museum. Tony Bennett in his well-known “The Birth of the Museum” as well as Norman Trondsen in a paper from the 1970s “Social Control in the Art Museum” have highlighted how the design and layout of museums facilitates mutual observation that allows people to learn @proper conduct@ from observing others, and in turn people behave ‘properly’ because they are aware that they might be observed in their actions in museums.

Robin Meisner has taken this argument one step further by explicating how visitors embellish their actions at exhibits. Their interaction with exhibits becomes a performance that invites others to become an audience. The result are shared experiences at exhibits, that on occasion surprise even those who have designed the exhibits. Meisner’s research has a range of other papers that have been published over the past decade or so highlight the importance of social interaction in museums. People enjoy museums as places for sociality and sociability. They visit them with friends and family and meet other people who are there at the same time.

When social interaction is so important for museum visiting it is rather surprising that we still find so much technology in museums that encourages individuals’ engagement whilst not supporting and sometimes undermining social interaction. Examples for studies highlighting the difficulties that visitors find in interweaving the interaction with technology and the interaction with other people. The trouble is as we have shown in our research that design of misconceives interactivity as facilitating interaction. Examples for technologies that often create interactional difficulties between visitors of museums are conventional touch-screen exhibits and interactive guides like PDAs and mobile phones that prioritise the interaction of an individual with the technology over the collaboration between visitors.

Highfield suggests in his article to use technology “wisely” when deploying systems and devices in museums. So far we know relatively little about what “wise” technology design for museums looks like. However, it is clear that it needs to take into account that museum visiting is a social occasion. Designers of systems and novel exhibitions therefore might need to rethink interactivity and develop assemblies and configurations of objects and artefacts that allow people to embed (some of their) their features within their social interaction. Collaborations between museum experts and technology companies, like the one that led to the recent exhibition of Chromeweblab at the Science Museum, have proven quite successful.

It however might be worthwhile thinking about the inclusion of social scientists in such developments who might help to focus on social and interactional configurations emerging at and around technology on the exhibition floor. Moreover, natural laboratories on the exhibition floor, similar to those the Exploratorium in San Francisco uses, might be a worthwhile investment for museums to enable experiments with new configurations of technology and people in exhibitions.