The document discusses openness, inclusion, and participation in museums. It argues that while an open museum seems like a new ideal, inclusion and participation have long been values that museums pursue. Researchers in museum studies considered their role as "openers of new opportunities" as early as the 1970s. True openness requires embracing inclusion and participation as pillars to clarify roles in a non-hierarchical way and sustain new practices. Defining characteristics of an open museum need to emerge from inclusive and participatory practices with the whole museum community, not just interaction designers.
This paper was published in the Informativo del Sistema Territorial del Museo de Ciencia y Técnica de Catalunia. 2008.
Spanish version in
http://www.mnactec.cat/docs/IS16web/IS16cast/intern.cast.htm
Use of Clay in the Dialogue with the Visually ImpairedMariana Salgado
The document summarizes two workshops held with visually impaired participants to understand their needs and experiences in museums. In the workshops, participants used clay to create objects representing their ideas. These objects were analyzed and organized into groups to identify themes. Key findings included that guides should have strong presentation skills, be emotionally engaging, and aware of contextual factors. Accessibility of spaces and sensory elements like touch were also important. The clay pieces effectively facilitated discussion and insights into how visually impaired people experience and think about museums.
Co-designing Participatory Practices around a Design Museum ExhibitionMariana Salgado
This paper was published in the Proceedings of the 6th International Conference of Design History and Design Studie. Another name for Design. Words of Creation. In Osaka, Japan, 2008.
Re thinking an annotation tool for Museum Community Created ContentMariana Salgado
This document discusses redesigning an annotation tool called ImaNote for sharing community-created content in museums to enhance visitor experiences. ImaNote was used in two museum exhibitions to gather and share visitor comments. User studies of ImaNote provided insights into how map-based annotation tools could benefit museum communities. The concept of an interface using maps worked well for commenting on exhibition objects. The tool aimed to motivate participation while acknowledging it is one part of a larger collaborative design process within museums.
This document summarizes a research study on accessibility and inclusion of persons with disabilities in museums in Rio de Janeiro, Brazil. The study examines how the senses and sensations experienced by persons with disabilities impact their ability to access and feel included in historical patrimonial museums. The researchers conducted ethnographic observations and interviews with disabled persons visiting museums, to understand their sensory experiences of the museum atmospheres and identify physical, informational, and sensory barriers to accessibility. The goal is to help museums improve inclusion and universal design to allow all people to fully experience the cultural assets.
"If we don't ask for what we need (captioning), we go round and round in circles of exclusion - and - we don't get heard. We don't hear others, and they don't hear us!"
This paper was published in the Informativo del Sistema Territorial del Museo de Ciencia y Técnica de Catalunia. 2008.
Spanish version in
http://www.mnactec.cat/docs/IS16web/IS16cast/intern.cast.htm
Use of Clay in the Dialogue with the Visually ImpairedMariana Salgado
The document summarizes two workshops held with visually impaired participants to understand their needs and experiences in museums. In the workshops, participants used clay to create objects representing their ideas. These objects were analyzed and organized into groups to identify themes. Key findings included that guides should have strong presentation skills, be emotionally engaging, and aware of contextual factors. Accessibility of spaces and sensory elements like touch were also important. The clay pieces effectively facilitated discussion and insights into how visually impaired people experience and think about museums.
Co-designing Participatory Practices around a Design Museum ExhibitionMariana Salgado
This paper was published in the Proceedings of the 6th International Conference of Design History and Design Studie. Another name for Design. Words of Creation. In Osaka, Japan, 2008.
Re thinking an annotation tool for Museum Community Created ContentMariana Salgado
This document discusses redesigning an annotation tool called ImaNote for sharing community-created content in museums to enhance visitor experiences. ImaNote was used in two museum exhibitions to gather and share visitor comments. User studies of ImaNote provided insights into how map-based annotation tools could benefit museum communities. The concept of an interface using maps worked well for commenting on exhibition objects. The tool aimed to motivate participation while acknowledging it is one part of a larger collaborative design process within museums.
This document summarizes a research study on accessibility and inclusion of persons with disabilities in museums in Rio de Janeiro, Brazil. The study examines how the senses and sensations experienced by persons with disabilities impact their ability to access and feel included in historical patrimonial museums. The researchers conducted ethnographic observations and interviews with disabled persons visiting museums, to understand their sensory experiences of the museum atmospheres and identify physical, informational, and sensory barriers to accessibility. The goal is to help museums improve inclusion and universal design to allow all people to fully experience the cultural assets.
"If we don't ask for what we need (captioning), we go round and round in circles of exclusion - and - we don't get heard. We don't hear others, and they don't hear us!"
Fly High: Collaborate! Strategies to Engage the Museum CommunityMariana Salgado
This document summarizes Mariana Salgado's research on engaging museum communities through collaborative and participatory means. It describes three case studies where Salgado designed interactive exhibition pieces to involve visitors, staff, artists, and external partners in commenting on and contributing content to exhibitions. The case studies obtained community-created comments that were later displayed in the museums. The document recommends that museums listen to and trust their communities, form long-term collaborative alliances, and take risks with experimental research work in exhibitions to better involve the museum community and enhance the visitor experience.
PhD dissertation - presentation - March 26 2014Sara Radice
This is the presentation of my PhD thesis: Designing for Participation within cultural heritage. Participatory practices and audience engagement in heritage experiences proscess.
The research investigates the emerging role of cultural institutions that, responding to the expectations of contemporary audiences, are shifting from being providers of content, to being facilitators of experiences around it. The overall aim is to envision novel paradigms for audience engagement within cultural institutions, outlining a general framework for the design of effective participatory experiences of heritage.
Museology is the study of museum curation and how museums have developed their role in education through social and political forces. It examines how museum displays create meaning based on their context and presentation. Museology also analyzes audiences, institutional responsibilities, and possible futures. Historians and curators face challenges in appealing to diverse audiences and withstanding criticism. Originally, museums were created as public collections to replace private ones and make artifacts accessible to the public for discovery. Now, museums must remain relevant in a tourism-focused economy that values experiences. Museology considers public demands on museums and builds theories on why certain approaches are effective.
This document discusses the importance and benefits of establishing a social science museum in schools. It outlines that social science museums allow students to directly engage with real historical objects and develop interest in various social, cultural, political and scientific topics. Museums make social science learning come alive by providing hands-on experiences. They also encourage creativity, critical thinking, and foster values like cultural understanding. The document emphasizes that museums are effective learning environments when they promote active engagement and allow students personal agency over their learning.
A design museum is a museum with a focus on product, industrial, graphic, fashion and architectural design. Many design museums were founded as museums for applied arts or decorative arts and started only in the late 20th century to collect design.
The first museum of this kind was the Victoria and Albert Museum in London. In Germany the first museum of decorative arts was the Deutsches-Gewerbe-Museum zu Berlin (now Kunstgewerbemuseum), founded in 1868 in Berlin.[1]
Also some museums of contemporary or modern art have important design collections, like the MoMA in New York, the Centre Pompidou in Paris. A special concept has been realised in the Pinakothek der Moderne in Munich, in which four independent museums cooperate, one of them being Die Neue Sammlung – the largest design museum in the world.
Today corporate museums like the Vitra Design Museum, Museo Alessi or Museo Kartell play an important role.
The document provides an overview of key concepts related to museums, including architecture, collections, communication, education, ethics, exhibitions, heritage, institutions, management, mediation, museography, museology, objects, preservation, research, society, and types of museum visitors. It discusses museum visitors' motivation and learning and identifies common things visitors remember from museum visits, such as exhibits, social interactions, personal connections, setting information, previous visits, emotions, interactive elements, and visiting the gift shop. It also outlines factors that influence long-term memory formation, such as things that support interests and needs, novelty, emotional content, and connections to later experiences.
A work of art in a museum is a work of art in a museumpetervanmensch
The document discusses the role and responsibilities of museums and conservators in preserving cultural heritage for current and future generations. It explores how museums were originally elite institutions but are shifting towards more social inclusion and participatory models where visitors can generate and share content. This paradigm emphasizes participation across the front and back office of museums to make the preservation process more transparent and empower visitors. The work also references how context is important for understanding artworks and how they take on different meanings in their original versus museum settings.
Learning in Art Museums: Engagement With ArtMaria Mortati
Part of a panel at AERA 2013 on Learning in Art Museum. Other panelists were: Betsy DiSalvo, Georgia Tech, Karen Knutson, UPCLOSE at U. Pittsburgh, and Sarah Schultz, Walker Art Center with Palmyre Pierroux as Discussant.
"You could have told me". oration on the Design of Interactive Pieces for Mus...Mariana Salgado
In this paper we seek to disentangle the reasons that limit collaborations between museums and universities. Our standpoint is that collaboration is desired by both organizations as it could lead to richer outcomes in the design and research of new technologies in museums. However, little attention is paid to how this kind of collaboration actually happens and how it could be enhanced. This is why our focus is on teamwork, especially in the particularities of the collaboration of external design-researchers and museum professionals. This paper examines the collaboration between a university and a museum, in a situation in which these institutions collaborate in the production of interactive artefacts for exhibition space. As in other cases, collaboration between museums and other institutions is not always easy: participants of collaborations have expectations and needs that are far from obvious to everyone. In this paper, we present a case study on a course on Public Space and Social Inclusion, organized by the Museum of Science in Trento (Italy) and the EIT ICT Labs Doctoral School. During the course, the participants developed a set of original ideas to explore possible ways for the museum to become a cultural hub, and to look into the role it can play for community building. This case study gave us the opportunity to delve deep into the dynamics of the interactions between museum and university partners involved in a collaborative process. We conducted and analysed interviews with university representatives and museum staff to discover how they experienced the collaboration and what they were expecting from it. Analysing these interviews, we observed the need to follow three principal elements for a successful collaboration. Partners have to start together a collaboration planning in advance their intention and moments for exchanging mutual feedback and systematically review the project. Partners should plan their collaboration in advance, explicating their expectations for the project and setting dates for exchanging mutual feedback to review the project systematically. Time management is crucial. It is important to make clear which deadlines are fixed and which flexible, when it is time for deep reflection and when there’s a need for hurried action. In general, the participants would benefit from communicating their working practices and talking frankly about their expectations.
Dubai Museums: How Do They Stay Relevant In The Modern Era?jaafarshaikh
Museums are an important part of any society. They provide a place for people to learn about the culture and history of a place. They can also be a source of pride for a community. However, keeping museums relevant in today's world is a challenge. With the advent of the internet and social media, people can access information about any topic from anywhere in the world. This means that museums have to work harder to stand out and attract visitors.
The Recurated Museum: I. Museums as Producers of MeaningChristopher Morse
Slides from the first session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020).
This document discusses the role of museums in education, specifically regarding social studies. It begins with definitions of a museum and discusses how museum education involves planning visits before, during, and after students tour the museum. Museums can enhance social studies lessons by bringing historical objects to life and helping students understand different cultures. The document advocates for museums to engage more with schools and communities through mobile exhibits and sharing resources. Overall, it argues that museums are valuable educational tools that make abstract concepts more concrete and help achieve social studies curriculum goals.
This document discusses the planning, analysis, and design of a museum building located in Chennai, India. It begins with an abstract that outlines how architectural space influences human feelings and the importance of museums in societies. The paper then focuses on how the layout of space in a museum interacts with displays to convey messages to visitors. It includes the spatial and functional requirements for museum planning as well as design components. Literature on museum theory and the role of space in museums is also reviewed. Methodology includes requirement analysis, floor planning using AutoCAD, structural analysis using STAAD Pro, and conclusions on achieving iconic museum space over time.
This document outlines a plan for a community-curated exhibition space at a public library. It proposes engaging local residents in the creation and curation of artwork and history displays. The plan involves forming a cohort of community curators, holding planning workshops, conducting outreach, hosting art-making sessions, setting up and opening the exhibition, and gathering feedback to improve future iterations. The goal is to make the library a more inclusive community space through participatory cultural programs.
This document discusses the role and purpose of museums in society from the perspective of the Dutch Open Air Museum (NOM). It addresses how NOM is perceived as focusing on nostalgia and attractions. It explores how NOM can remain relevant by telling more inclusive stories, engaging in societal issues, and taking a more active role in building connections. The document advocates using the GIVE model of storytelling to focus on values, meaning, and actions that achieve societal goals through empathy, emotions, and co-creation with audiences.
Museums have several purposes including collecting, preserving, and displaying objects of cultural, artistic, or scientific significance to educate the public. They aim to facilitate community involvement and ensure museums play an effective role in skills development. Museums provide unique hands-on learning experiences and bring subjects like history and art to life. They also attract tourists and support local economies and research. Management of museums involves boards of trustees and directors who establish governance structures and strategic plans.
The purpose of museums is to enable all visitors to enjoy its collections and to learn. Although programs for visitors with visual impairment have appeared in developed countries, it does not seem that much has been done to integrate this group into the museum audience. Museum staff had to consider the different learning needs of visitors and consult with members of the community to gain a better understanding of what needs to be changed in order to make their museum accessible to visitors with different abilities. However, it has also been suggested that inclusive practices can be achieved through the use of Universal Design. According to McGinnis (2007), Universal Design means that exhibitions and programs would have to be designed so that everyone was able to use them. This article aims to analyze the accessibility of museums in Skopje to visitors with visual impairments, with a particular focus on how they can become more inclusive.
Pasado y presente de la cultura del diseño.pdfMariana Salgado
Esta presentación la hice en el 2023 para competir por un puesto de profesora para la Universidad de Aalto, en Finlandia. El título me fue dado. Esta es la traducción, la charla original fue en inglés
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Fly High: Collaborate! Strategies to Engage the Museum CommunityMariana Salgado
This document summarizes Mariana Salgado's research on engaging museum communities through collaborative and participatory means. It describes three case studies where Salgado designed interactive exhibition pieces to involve visitors, staff, artists, and external partners in commenting on and contributing content to exhibitions. The case studies obtained community-created comments that were later displayed in the museums. The document recommends that museums listen to and trust their communities, form long-term collaborative alliances, and take risks with experimental research work in exhibitions to better involve the museum community and enhance the visitor experience.
PhD dissertation - presentation - March 26 2014Sara Radice
This is the presentation of my PhD thesis: Designing for Participation within cultural heritage. Participatory practices and audience engagement in heritage experiences proscess.
The research investigates the emerging role of cultural institutions that, responding to the expectations of contemporary audiences, are shifting from being providers of content, to being facilitators of experiences around it. The overall aim is to envision novel paradigms for audience engagement within cultural institutions, outlining a general framework for the design of effective participatory experiences of heritage.
Museology is the study of museum curation and how museums have developed their role in education through social and political forces. It examines how museum displays create meaning based on their context and presentation. Museology also analyzes audiences, institutional responsibilities, and possible futures. Historians and curators face challenges in appealing to diverse audiences and withstanding criticism. Originally, museums were created as public collections to replace private ones and make artifacts accessible to the public for discovery. Now, museums must remain relevant in a tourism-focused economy that values experiences. Museology considers public demands on museums and builds theories on why certain approaches are effective.
This document discusses the importance and benefits of establishing a social science museum in schools. It outlines that social science museums allow students to directly engage with real historical objects and develop interest in various social, cultural, political and scientific topics. Museums make social science learning come alive by providing hands-on experiences. They also encourage creativity, critical thinking, and foster values like cultural understanding. The document emphasizes that museums are effective learning environments when they promote active engagement and allow students personal agency over their learning.
A design museum is a museum with a focus on product, industrial, graphic, fashion and architectural design. Many design museums were founded as museums for applied arts or decorative arts and started only in the late 20th century to collect design.
The first museum of this kind was the Victoria and Albert Museum in London. In Germany the first museum of decorative arts was the Deutsches-Gewerbe-Museum zu Berlin (now Kunstgewerbemuseum), founded in 1868 in Berlin.[1]
Also some museums of contemporary or modern art have important design collections, like the MoMA in New York, the Centre Pompidou in Paris. A special concept has been realised in the Pinakothek der Moderne in Munich, in which four independent museums cooperate, one of them being Die Neue Sammlung – the largest design museum in the world.
Today corporate museums like the Vitra Design Museum, Museo Alessi or Museo Kartell play an important role.
The document provides an overview of key concepts related to museums, including architecture, collections, communication, education, ethics, exhibitions, heritage, institutions, management, mediation, museography, museology, objects, preservation, research, society, and types of museum visitors. It discusses museum visitors' motivation and learning and identifies common things visitors remember from museum visits, such as exhibits, social interactions, personal connections, setting information, previous visits, emotions, interactive elements, and visiting the gift shop. It also outlines factors that influence long-term memory formation, such as things that support interests and needs, novelty, emotional content, and connections to later experiences.
A work of art in a museum is a work of art in a museumpetervanmensch
The document discusses the role and responsibilities of museums and conservators in preserving cultural heritage for current and future generations. It explores how museums were originally elite institutions but are shifting towards more social inclusion and participatory models where visitors can generate and share content. This paradigm emphasizes participation across the front and back office of museums to make the preservation process more transparent and empower visitors. The work also references how context is important for understanding artworks and how they take on different meanings in their original versus museum settings.
Learning in Art Museums: Engagement With ArtMaria Mortati
Part of a panel at AERA 2013 on Learning in Art Museum. Other panelists were: Betsy DiSalvo, Georgia Tech, Karen Knutson, UPCLOSE at U. Pittsburgh, and Sarah Schultz, Walker Art Center with Palmyre Pierroux as Discussant.
"You could have told me". oration on the Design of Interactive Pieces for Mus...Mariana Salgado
In this paper we seek to disentangle the reasons that limit collaborations between museums and universities. Our standpoint is that collaboration is desired by both organizations as it could lead to richer outcomes in the design and research of new technologies in museums. However, little attention is paid to how this kind of collaboration actually happens and how it could be enhanced. This is why our focus is on teamwork, especially in the particularities of the collaboration of external design-researchers and museum professionals. This paper examines the collaboration between a university and a museum, in a situation in which these institutions collaborate in the production of interactive artefacts for exhibition space. As in other cases, collaboration between museums and other institutions is not always easy: participants of collaborations have expectations and needs that are far from obvious to everyone. In this paper, we present a case study on a course on Public Space and Social Inclusion, organized by the Museum of Science in Trento (Italy) and the EIT ICT Labs Doctoral School. During the course, the participants developed a set of original ideas to explore possible ways for the museum to become a cultural hub, and to look into the role it can play for community building. This case study gave us the opportunity to delve deep into the dynamics of the interactions between museum and university partners involved in a collaborative process. We conducted and analysed interviews with university representatives and museum staff to discover how they experienced the collaboration and what they were expecting from it. Analysing these interviews, we observed the need to follow three principal elements for a successful collaboration. Partners have to start together a collaboration planning in advance their intention and moments for exchanging mutual feedback and systematically review the project. Partners should plan their collaboration in advance, explicating their expectations for the project and setting dates for exchanging mutual feedback to review the project systematically. Time management is crucial. It is important to make clear which deadlines are fixed and which flexible, when it is time for deep reflection and when there’s a need for hurried action. In general, the participants would benefit from communicating their working practices and talking frankly about their expectations.
Dubai Museums: How Do They Stay Relevant In The Modern Era?jaafarshaikh
Museums are an important part of any society. They provide a place for people to learn about the culture and history of a place. They can also be a source of pride for a community. However, keeping museums relevant in today's world is a challenge. With the advent of the internet and social media, people can access information about any topic from anywhere in the world. This means that museums have to work harder to stand out and attract visitors.
The Recurated Museum: I. Museums as Producers of MeaningChristopher Morse
Slides from the first session of the course "The Recurated Museum" by Sytze Van Herck & Christopher Morse at the University of Luxembourg (Summer Semester, 2020).
This document discusses the role of museums in education, specifically regarding social studies. It begins with definitions of a museum and discusses how museum education involves planning visits before, during, and after students tour the museum. Museums can enhance social studies lessons by bringing historical objects to life and helping students understand different cultures. The document advocates for museums to engage more with schools and communities through mobile exhibits and sharing resources. Overall, it argues that museums are valuable educational tools that make abstract concepts more concrete and help achieve social studies curriculum goals.
This document discusses the planning, analysis, and design of a museum building located in Chennai, India. It begins with an abstract that outlines how architectural space influences human feelings and the importance of museums in societies. The paper then focuses on how the layout of space in a museum interacts with displays to convey messages to visitors. It includes the spatial and functional requirements for museum planning as well as design components. Literature on museum theory and the role of space in museums is also reviewed. Methodology includes requirement analysis, floor planning using AutoCAD, structural analysis using STAAD Pro, and conclusions on achieving iconic museum space over time.
This document outlines a plan for a community-curated exhibition space at a public library. It proposes engaging local residents in the creation and curation of artwork and history displays. The plan involves forming a cohort of community curators, holding planning workshops, conducting outreach, hosting art-making sessions, setting up and opening the exhibition, and gathering feedback to improve future iterations. The goal is to make the library a more inclusive community space through participatory cultural programs.
This document discusses the role and purpose of museums in society from the perspective of the Dutch Open Air Museum (NOM). It addresses how NOM is perceived as focusing on nostalgia and attractions. It explores how NOM can remain relevant by telling more inclusive stories, engaging in societal issues, and taking a more active role in building connections. The document advocates using the GIVE model of storytelling to focus on values, meaning, and actions that achieve societal goals through empathy, emotions, and co-creation with audiences.
Museums have several purposes including collecting, preserving, and displaying objects of cultural, artistic, or scientific significance to educate the public. They aim to facilitate community involvement and ensure museums play an effective role in skills development. Museums provide unique hands-on learning experiences and bring subjects like history and art to life. They also attract tourists and support local economies and research. Management of museums involves boards of trustees and directors who establish governance structures and strategic plans.
The purpose of museums is to enable all visitors to enjoy its collections and to learn. Although programs for visitors with visual impairment have appeared in developed countries, it does not seem that much has been done to integrate this group into the museum audience. Museum staff had to consider the different learning needs of visitors and consult with members of the community to gain a better understanding of what needs to be changed in order to make their museum accessible to visitors with different abilities. However, it has also been suggested that inclusive practices can be achieved through the use of Universal Design. According to McGinnis (2007), Universal Design means that exhibitions and programs would have to be designed so that everyone was able to use them. This article aims to analyze the accessibility of museums in Skopje to visitors with visual impairments, with a particular focus on how they can become more inclusive.
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Openness, Inclusion and Participation in Museums
1. Openness, Inclusion and Participation
in Museums
Mariana Salgado
Media Lab- University of Art and Design Helsinki (TAIK)
H ämeentie 135C (00560) Helsinki
mariana.salgado@taik.fi
ABSTRACT [11]. I found his statement also true in the context of
doing research on interaction design in museums
One of the assumptions that some members of the because the designers and researchers in this group
museum community share is the benefit of opening the share the assumption that an open museum is an ideal.
museum for new audiences and sharing roles of As a consequence it is much discussed how to design
curatorship together with these audiences. In this essay towards an open museum providing different
I unravel the background of this assumption and draw strategies to measure or describe audience
points for future consideration related to the idea of participation [17][3][10].
open.
Should we question the assumption that an open
An open museum is an ideal that seems new and museum is beneficial? Not necessarily, but a
revolutionary, in the context of such traditional redefinition would certainly be good since the term
institutions as museums. However, researchers in open is blurred. I do not propose to investigate on the
museum studies have long considered their openness in museums, but rather on some set of
contribution as openers of new opportunities, but they characteristics related to open that can help to clarify
used a different vocabulary. In the museum opportunities for designers committed to a more
community, inclusion and accessibility are already democratic design process in the museum context.
established values that museums pursue. Inclusion
focused on people and participation on practices. So, At first sight the ideal of open appears new and
are we proposing something new while talking about revolutionary, specifically in the context of such
open in this community, or it is only a way to update traditional institutions as museums. Researchers in the
the vocabulary? Thus, the main question of this essay museum field have been considering their contribution
is what is the innovation that we refer while referring as openers of new opportunities already in the ‘70s,
to an open museum. The answer to this question aims though they used a different vocabulary. For example
to clarify also the assumptions that the museum in his seminal article “The museum, a Temple or the
community shares related to openness. Forum” [4], Duncan Cameron (1971/2004) proposed
aspects of this openness that some researchers are
I argue for the need to embrace inclusion and realizing today, while designing exhibition integrated
participation as pillars that support the open museum with social media tools. He tried to demystify the
not only because these are already approved values, museum as a temple and propose it as a forum for
but because they can bring to the discussion around discussions. Cameron states it in this way:
openness the necessary background and possibilities
for sustainability. It is in tracing the path from “In my view, it is clear that there is a clear
participative and inclusive practices that an open and urgent need for the re-establishment of
culture within the museums will emerge. the forum as an institution in society” [4].
He goes further by saying “I am proposing not only
exhibition halls and meeting places that are open to
Keywords: inclusion, open, participation, museums, all, but also programs and funds for them that accept
interaction design, accessibility without reservation the most radical innovations in art
forms, the most controversial interpretations of
history, of our own society, of the nature of man, or,
1. INTRODUCTION for that matter, of the nature of our world” [4]. The
issue of opening the museum as a forum for
According to Thomas Kuhn (1962) “normal science, discussions is not new, but has at least 40 years.
the activity in which most scientists spend almost all
their time, is predicated on the assumption that the Furthermore, other researchers in the museum field
scientific community knows what the world is like. have identified a radical change in museums. For
Much of the success of the enterprise derives from the example, Gail Anderson (2004) affirms that there is a
community’s willingness to defend that assumption” paradigm shift from collection-driven institution to
visitor-centered museums [1]. In line with this
1
2. paradigm shift, museums have appropriated the need perform and take part in during a process.
to be accessible and inclusive to visitors with different
needs. For example the museum association code of There exist many models and frameworks for
ethics states that museums should “consult and involve participation. In this section I refer to the ones that
communities, users and supporters” [13]. The code of have been key in design discourse or in the museum
ethics created by ICOM (The International Council of community. Participatory design approaches have
Museums) states that “museums work in close been in the discourse of designers from the ‘70s,
collaboration with the communities from which their onwards with the contribution of Scandinavian
collections originate as well as those they serve” [12]. designers and thinkers. The Scandinavian tradition of
Inclusion has been used to address people, as I argue participatory design includes the user in a series of
in the following section. Therefore, for building an activities such as role-playing, games, mock-ups and
open museum we should consider aspects of inclusion simulations [7]. Pelle Ehn (1992) characterizes
and participation. participatory design as a learning process in which
designers and users learn from one another [6].
Participation happens through a series of activities and
inviting users in many stages of the design process. Up
2. ON INCLUSIVE MUSEUMS until now, only a few groups of researchers have
In 2008, the first international conference of the appropriated the activities proposed by participatory
Inclusive Museum took place. The same group of design and brought them to the museum scene to make
researchers and museum professionals later created the audience participate in the creation of exhibitions from
International Journal of the Inclusive Museum. During the beginning of their concept creation [18][19].
this conference, in which I participated, the largest Moreover, there are other modes and strategies for
part of the discussion was around the inclusion of participation explored in museums. Nina Simon, a
regional or ethnic communities in the museum. Other pioneer in the museum community bringing issues
visitors that were considered in the presentations were: around participation into discussion, analyses several
socially disadvantaged, children/ seniors, out of reach examples in which museums implemented strategies
(such as prisoners), far away, non-visitors, and people for participation. Currently, she has proposed a model
with disabilities. These categories could overlap. of visitor participation [16]. She has been
There were some presentations about making extrapolating from different contexts ideas for visitors’
inclusion as a part of the museum platform (staff active participation in museums. These ideas go from
organization and policies). Amongst the participants using social media in creative ways to implementing
there was a recognition that inclusiveness is about several analogical and simple strategies to motivate
people’s attitudes. visitors to take part in exhibitions.
Therefore it is possible to sum up that inclusion in the The work in museum around participation [16] and
museum community is understood mainly to mean the participatory design focus on the question of how to
attitude towards making different people participate make people participate, not defining exactly who are
and be part of the museum community, by, for the ones included and under which roles. The
example, visiting the exhibition. While inclusion has discussion related to inclusion brings to the front that
dealt with taking into account segregated or there are excluded people, such as people with
marginalised groups such as people with disabilities, disabilities and others, as I have presented in the
immigrants, and others, then open goes one step previous section, but does not stress the roles of those
further by eliminating the necessities of roles in a pre- people in the design process or during an exhibition.
defined hierarchical position. This is where the concept of open brings something to
The open paradigm would help us to specify under the discussion. Open brings roles, in a non-
what conditions do we include people and what hierarchical manner, proposing that everyone can have
special process of inclusion for certain excluded the same status.
people need to be taken in consideration during the
design process. I would suggest that the word
inclusion could be included in the definition of an 4. DISCUSSION ON AN OPEN MUSEUM
open museum. This will bring the open paradigm
proposed in the museum community, closer to the The paradigm forces scientists to investigate
discussions proposed by design for all, and other some part of nature in a detail and depth that
groups that deal with accessibility issues. would otherwise be unimaginable [11].
At this point it is important to remember that the open
paradigm started as a result of the collaboration of
3. ON PARTICIPATIVE MUSEUMS virtual communities, such as the Free and Libre Open
Source community. They have used a meritocracy
On one hand, inclusion has been used to address system wherein appointments and responsibilities are
people, as I argue in the previous section. On the other assigned to individuals based upon demonstrated
hand participation has been used to address the talent and ability (merit) and not pre-defined before
practices, including actions and activities that people hand. This community were formed by people that do
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3. not know each other, placed in different geographical methods, by building and adopting open source
locations and with different aim and goals towards the software and collaborating using open source models”
general Open Source project that they contributed [2]. [5]. Another relevant example of this collaboration
These facts did not affect negatively their appears the online library of software modules for
collaboration. On the contrary it allowed many people platforms that exhibit developers can use and
to contribute because of the open platform for configure, its name is Open Exhibits [14].
collaboration and the open and transparent way to
manipulate rules. When these ways of doing are The rules for this openness have to be negotiated by
translated to the museum, by proposing that the whole community, not only by the interaction
everybody, even people that do not come to the designer or the ones that are used to collaborations in
museum, can create material on the basis of the digital platforms. The open paradigm forces as to
exhibited material and their creation would be shared study in detail the tensions and forces that restrict and
in the museum space, a lot of disagreement takes support people to collaborate and contribute in peer-
place. This new practice, of opening the stage to other to-peer frameworks.
voices, goes against the traditional impersonal voice of In this paper I propose open as paradigm to better
the museum as the only one having knowledge on understand strategies used in the museum context.
their collection and the only one that could transmit it. There is a need to embrace inclusive and participative
At the moment, museums are one of the most trusted practices, as a way to include other members of the
media institutions in terms of the accuracy of the museum community and not restrict the discussion to
information that they communicate [15]. Concerning interaction designers and researchers. To develop
this issue, Sandell (2007) asserts that “the qualities vocabulary to talk about our work is part of designers’
visitors attribute to the museum as a medium – agenda, though we also have to learn to relate this
truthfulness, worthiness, reliability, the capacity to vocabulary to already existent one in order to not
‘tell the truth’ – and the potential for museum visiting isolate us from our design context.
to be an especially active mode of consumption, …
make the museum a relatively efficacious and highly
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