This presentation was the keynote speech in Tarttu, Estonia in 26.01.2014 in a conference on Museums.

1. Social Inclusion,
Participation and
Openness
Where they collide?
Dr. Mariana Salgado
Postdoctoral researcher
Arki Research Group
Aalto University
2013 27.01.2014

3. Interaction
Design
Participatory
Design
New Media Studies
Museology
X

4. How to create interactive design that encourages
people to participate in exhibitions?

5. Sound Trace
Äänijalki
(2005)
Ateneum
Art
Museum

6. Sound
Trace

7. Mariana Salgado- Media Lab- November 2005

8. Mariana Salgado- Media Lab- November 2005

9. Conversational Map
Keskustelukar8a
(2005)
Kunsthalle
(Taidehalli)

10. Mariana Salgado- Media Lab- November 2005

11. Mariana Salgado- Media Lab- November 2005

13. Mariana Salgado- Media Lab- November 2005

14. Mariana Salgado- Media Lab- November 2005

15. The Secret Life
of Objects
Esineiden
Salatut
Elämät
(2008)
Design
Museum
Helsinki

20. Mariana Salgado- Media Lab TAIK- April 2008
The
Secret
Life
of
Objects

21. Design Research
Prototyping interaction
design in exhibitions

22. Water collection
We always had some for water and
gas collecting at the summerhouse,
starting in my childhood. No well
and three kilometres to the
mainland.

23. Mariana Salgado- Media Lab TAIK- April 2008
The
Secret
Life
of
Objects

24. Why participative practices?

25. Yrjö Kukkapuro (1933-)
Rocking chair
“Experiment”
birch laminate, tubular steel, wood, leather
1982
Avarte Oy
Yrjö Kukkapuro graduated in interior
architecture from the Institute for Industrial
Arts in Helsinki in 1958. The basis for his
design is in ergonomics. Kukkapuro has
made an impressive amount of furniture for
public spaces in his career. International
postmodernist currents gave rise to the
“Experiment” collection of furniture by
Kukkapuro, first exhibited at the Milan
furniture fair of 1982. The success of
“Experiment” was evident in the fact of it
being featured in 32 different newspapers
and trade magazines.
Yrjö Kukkapuro (this was a link to the
designer’s company:
http://www.avarte.fi/english/designers/yrjo-
kukkapuro/)
Arcs and colours
Excellent chairs, cute, humorous. I
fantasised about these chairs for a
long time and at some point a suitable
pair came. The chair is like a pet. It
smiles and gestures to me like a funny
rascal, in its own way, each day. No
other lounge chair does the same, but
the morning starts well when I read the
newspaper in its arms and drink my
morning tea in it
“

26. Spaceless space
I recently heard a lecture by a Spanish artist called Roc Pares. He has
worked with the idea of a virtual void. I see a certain similarity between
Kåhre’s and Pares’ works, except that Pares works with the means of virtual
reality and Kåhre’s piece is purely based on the physical. Both works also
remind me of an article “Psychology and Nothing” written by Eliot Hearst
(1991, American Scientist, 7, 432-443). Hearst writes about how hard it is
for us humans to think about something that “is not” and that we are
programmed to deal with things that “are” and “exist.” Thinking about
Kåhre’s piece, it might be that we are programmed also to perceive “what
is” and not “what is not”.
Galleria virtual: The website of Roc Pares’ work Galería Virtual.
Comment left in Conversational Map.
“

27. Finnish design inspires me whenever
I buy objects. Their high quality
makes me think twice before
choosing an object. They are
practical, sit well with furniture, and
their use of materials is good. Hard
to say how much I appreciate your
designs.
“
Minimal
All this Finnish design makes me
want to listen to minimal techno
music.
“
Grandmother
There is a Savoy vase in every
Finnish home. The size and colour
just varies. It’s suitable for
everything: flowers, fruit and stones.
It is a true Finnish classic. Original
in English.
“
Aalto vase
Definitely one of the most well-
known pieces of Finnish glass
design in the world. I live in the
U.S and have this vase at my
home in many sizes and
colours, and it makes me
appreciate the artistic talent we
have in Finland
“

28. This
thing
is
very
good,
says
an
open-­‐sea
fisherman.
It’s
amazing
how
the
designer
has
got
the
idea
of
leOng
water
pass
through
the
head
of
the
fish,
thus
making
it
wobble
in
a
nice
way
that
the
big
fish
can’t
resist.
Comment
leS
at
The
Secret
Life
of
Objects.
“

29. An6-­‐Ode
to
a
Lamp
(Ode
to
Objects)
A
man
invents
a
lamp
that
is
not
a
lamp
He
hides
the
lamp
inside
ice.
I
don’t
understand
I
am
already
cold
I
want
warm
light,
yellow
and
graceful
A
woman
invents
a
new
lamp
she
places
it
inside
the
sun.
Every
morning
it
smiles
at
her
through
the
gap
in
the
curtains.
Nana
.
“
Poem
made
for
The
Secret
Life
of
Objects.

30. Visitor’s
comment
I
have
heard
a
story
about
these
scissors,
where
the
colour
of
their
plasXc
part
is
a
result
of
the
prototype
process
in
which
they
used
some
leSover
pieces
of
plasXc
that
happened
to
be
orange,
the
orange
that
aSerwards
was
used…
is
that
story
true?
Comment
leS
at
The
Secret
Life
of
Objects.
“
Answer
from
museum’s
staff
The
story
is
true.
Fiskars
had
made
a
juice
extractor
before
that.
The
juice
extractor
used
orange
plasXc
that
accidentally
ended
up
on
the
scissors
handles
when
the
first
syringe
was
chosen.
Workers
were
involved
in
the
decision,
and
the
colour
orange
was
chosen
for
the
handles.
Comment
leS
at
The
Secret
Life
of
Objects.
“

31. Eeronauts
The
furniture
by
Eero
Aarnio
has
prompted
a
parXcular
fan
club:
the
“eeronauts.”
All
around
the
world,
they
have
incorporated
his
work
not
only
into
everyday
life,
but
also
into
pop
culture,
from
sci-­‐fi
to
Playboy.
These
signs
cover
magazines,
videos,
movies,
etc.
Comment
leS
at
The
Secret
Life
of
Objects.
“

32. Mariana Salgado- Media Lab TAIK- April 2008
The
Secret
Life
of
Objects,
an
Interac6ve
Map
of
Finnish
Design

33. How to create interactive design that encourages
people to participate in exhibitions?

35. EXAMPLES

39. Työväenmuseo Werstas: http://www.werstas.fi/?q=node/803

42. http://www.flickr.com/groups/vangoghmuseum/

46. Social inclusion Participative practices Open approaches
Open Content and Data
Create and reuse

47. GLAM = Galleries, Libraries, Archives and Museums
Source of this definition: http://openglam.org/ #openglam
OpenGLAM is an initiative run by the Open Knowledge Foundation that
promotes free and open access to digital cultural heritage held by Galleries,
Libraries, Archives and Museums. OpenGLAM is supported by a global
network of people and organisations who are working to open up content and
data held by GLAM institutions.

48. http://avoinglam.fi/
AVOIN means open
This is the name of working group in Finland
Workshops, seminars and events to work together with cultural
organizations
It is a working group part of Open Knowledge Foundation Finland

49. How to motivate museums
towards openness?
What is the contribution
that this discussion on
openness can bring to
museums?
Research questions
CCbyAvoinGLAMinFlickr

50. Organizing 4 workshops
in different cities around
Finland
Analysis of the
workshop materials
Research methods
CCbyAvoinGLAMinFlickr

51. Predefined group work:
• collaboratively
mapped possibilities
and challenges of
sharing authorship
• engaging the public
• releasing content with
more open terms of
use.
Workshops
CCbyAvoinGLAMinFlickr

52. Social Inclusion and Accessibility
Participatory Approaches
Open practices
Overview of Approaches

53. Social Inclusion and
Accessibility
Inspired in the audience
WHO is invited?
‘Open’ perceived in relation to technical and copyrights
challenges, not in terms of the possibility for audience
engagement and interaction with cultural heritage
content.
Invitation to new actors: developers, volunteers,
designers

54. Participatory Approaches
Inspired in activities as tagging, bookmarking, voting, co-
creating, etc
HOW to take part?
Special invitation to external collaborators such as
associations and communities with special interests
related to the museum collection.
A sense of trust developed that allows museums to enrich
their collections through community participation

55. Open practices
NO INVITATIONS
Open calls to work with their collection: memory
sessions, wiki marathons, hackathons and wiki
workshops (edit-a-thons).
People can engage by creating services, products
or interpretations based on the collection without
asking permission.
Collections will be seen, used, interpreted and
recreated in unexpected ways. This is an open
approach that involves certain risks and a trust
towards the future uses that people could invent for
the collection.

56. Conclusions
In the case of open practices, the audience is taking part
in the production and design of visualizations, products
and services based on the museum collection. This time
the audience takes part in their role as experts that can
design, publish and make invitations facilitating other
groups to engage with the collection.
CCbyphauleyiinFlickr

57. Conclusions
Openness gives space to the surprising and asks
ethical questions concerning the future uses of our
cultural heritage.
CCbysmokeghostinFlickr

58. Conclusions
Nurturing trust with the museum community, with
external collaborators that could be interested in using
the museum collection in unexpected ways is a
fundamental part of museum actions towards openness.
CCbyDobiinFlickr

59. Arki Research group
http://arki.mlog.taik.fi/
OpenGLAM
http://openglam.org/
AvoinGLAM blog
http://avoinglam.fi/
Twitter
@avoinglam
@Salgado

60. THANKS!
Mariana.salgado@aalto.fi
Arki Research group
http://arki.mlog.taik.fi/
Twitter
@Salgado