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Museum learning between physical and conceptual spaces

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Presentation to the DREAM centre, Denmark.

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Museum learning between physical and conceptual spaces

  1. 1. Museum learningbetween physical andconceptual spaces<br />Mike Sharples<br />Learning Sciences Research Institute<br />University of Nottingham<br />
  2. 2. Museums as physical spaces<br />
  3. 3. Museums as conceptual spaces<br />http://www.bbc.co.uk/ahistoryoftheworld/explorerflash<br />
  4. 4.
  5. 5. Creating the physical in the conceptual<br />http://www.organismedia.com/virtualmuseum/<br />http://www.ltmcollection.org/museum/floorplan/floorplan-main.html<br />
  6. 6. Creating the conceptual in the physical<br />
  7. 7.
  8. 8. Context as link between physical and conceptual<br />“ Context is not an outer container or shell inside of which people behave in certain ways. People consciously and deliberately generate contexts ... in part through their own [objectives]; hence context is not just ‘out there’.”<br />(Nardi, 1995: p38)<br />
  9. 9. Context can be seen as an ever-playing movie <br />each frame of current context is a progression from earlier ones <br />entire movie is a resource for learning<br />continually being constructed by the cast, from moment to moment, as they share artefacts and create mutual understanding through conversation<br />
  10. 10. Creating context through interaction: narrative structures<br />Diary<br />Tree<br />Phelps, K. Story Shapes for Digital Media. Glass Wings, 1998. http://www.glasswings.com.au/modern/shapes/. <br />Braided<br />Rhizome<br />Thanks to Rob Jones for the illustrations<br />
  11. 11. Create and share personal memories<br />Diary<br />OOKL<br />Diary narratives<br />
  12. 12. OOKL: diary narratives<br />
  13. 13. Visitors as curators<br />Creating multimedia conceptual spaces from museum visits<br />
  14. 14. Interactive museum guides: braided narratives<br />Braided<br />
  15. 15. Chaotic encounter: tree narratives<br /><ul><li>Pocket PC, GPS, headphones
  16. 16. Audio story based on Nottingham folktales
  17. 17. Content adapts to listener’s movement patterns
  18. 18. Progress through story depends on speed and direction of user
  19. 19. Seamless audio narrative</li></ul>L = low chaos<br />M= medium chaos<br />H = high chaos<br />time<br />
  20. 20. Traditional art gallery<br />Ultrasound tracking system<br />Learning content determined by movement<br />Current location<br />How long<br />Been there before<br />CAGE: rhizome narratives<br />Rhizome<br />
  21. 21. Traditional art gallery<br />Ultrasound tracking system<br />Learning content determined by movement<br />Current location<br />How long<br />Been there before<br />Generated resources for conversation<br />CAGE: rhizome narratives<br />
  22. 22. Tentative guidelines<br />Provide appropriate narratives to guide learners through physical and conceptual spaces<br />Design the physical in the conceptual and the conceptual in the physical<br />Enable learners to be curators<br />Support interaction through physical movement<br />Where appropriate, let the learner choose a narrative structure<br />Avoid over-immersion<br />Match the interactivity and delivery to the audience<br />Live delivery requires an audience in the same place at the same time <br />
  23. 23. Challenges<br />To connect and enrich physical and conceptual spaces for learning<br />To construct rich meaning through physical interactions<br />To explore co-creation of meaning through shared interactions<br />

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