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A. Scrivener

The Social MuseumDesigning for Human Interaction through Technology

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Title: The Social Museum: Designing for Human Interaction through Technology

Ashley Scrivener

Museum Exhibition Planning + DesignThe University of the Arts

Submitted April 2015

A thesis submitted to The University of the Arts in partial fulfillment of the requirements for the master of fine arts degree.

© Ashley Scrivener 2015 All Rights Reserved

No part of this document may be reproduced in any form without written permission of the author. All photographs and drawings are the property of Ashley Scrivener unless otherwise noted. Material owned by other company holders should not be reproduced under any circumstance. This document is not for publication and was produced in satisfaction of thesis requirements for the Master Fine Arts in Museum Exhibition Planning and Design in the Department of Museum Studies, The University of the Arts, Philadelphia, Pennsylvania under the directorship of Polly McKenna-Cress.

For more information contact:

Ashley Scrivener(717) 380.2681scrivstudios@gmail.com

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Ariel Schwartz, Committee ChairAssociate Director of Interactive Technologyat The Philadelphia Museum of Art

Jane AlexanderChief Information Officerat The Cleveland Museum of Art

This thesis is made possible through the support of committee members:

Polly McKenna-CressDirector, Museum Exhibition Planning + Designat The University of the Arts

And through additional support from:

Neil KleinmanDirectorCorzo Center for the Creative Economy

Aesthetic - concerned with beauty or the appreciation of beauty

Behavior - the way in which one conducts oneself, especially in relation to others

Emotion - a natural instinctive state derived from one’s circumstances. Mood.

Evolutionary - born from the process of developing

Genetic - of or relating to genes. Hereditary.

Intellect - the faculty of reasoning and understanding objectively

Interactive - of two people or things having an effect on one another

Social - public displays of engagement with objects or individuals

User - a person who uses or operates something

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X

Objects in the art museum

Tools for expressing aspects of art through digital interaction

The ‘X’ factor which allows Art and Interactive Technoogy to be truly social is public human engagement in the art mseum

Public displays of engagement with art objects or other visitors through conversation, movement, looking and other behaviors that denote engagement

Human

Art Object Interactive TechnologyEngaging with the art museum to reaffirm one’s own humanity

Engaging with interactive technology to fulfill social desires

Fulfilling authentic human impulses surrounding self-identity through socialization

In synthesizing experiences withart objects and interactive technologies

basic human desires are fulfilled.

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Through cultivating the visitor ’s intellectual and emotional relationships to objects, interactive technologies have the potential to promote new models for social exchange in the art museum: shifting behavior expectations and shifting social conventions in the art museum and beyond.

The Social Museum: Designing for Human Interaction through Technology, seeks to understand the complex social constructs at play when visitor ’s connect with one another through art objects. In understanding these systems, art museums can produce interactive technologies which further synthesize these systems into meaningful museum experiences.

Art museums across the world are using interactive technologies to transform the expectation of what an art museum can be. As this expectation evolves, so too does the behavior of visitors. This thesis examines cases in which art museums have utilized interactive technology to transform a historically individualistic museum experience into a more socially active one and the benefits within doing so. A new art museum experience is taking shape, one which not only encourages socialization and individual expression, but places value in the visitor ’s experience with the collection.

As interactive technology becomes an integral part of the way humans communicate, learn, and play, so too does it become a part of the experiences designed by museums. Through interactive technology, museums can offer a multitude of pathways through which individuals can form affinities with objects while simultaneously enlivening the curiosity and self-expression which connects humans to one another socially.

Expectations of the modern museum visitors are shifting, and museums across the world are rising to meet the challenge. Because time has become one of the visitor ’s most valuable investments, each visit must be fulfilling in order for the relationship between the art museum and the visitor to be ongoing. In recognizing that humans are individuals, each with unique learning styles, interests, and preconceptions, museums must design their experiences with a growing awareness of the emotional and intellectual diversity of their audience. Through interactive technology, the museum can create experiences encompassing varying pathways toward engagement for almost all individuals.

When an individual acquires an affinity for an object it means that they associate a personal meaning with it. In many cases where affinities to objects are formed, the object becomes a representation of the individual. Exceptionally meaningful affinities can fulfill all three: emotional, intellectual and social desires, simultaneously. In evaluating interactive technologies, one can determine which modes were likely or unlikely considered in the design process. Often, interactive designs favor a predominant mode, using the others as contextual and structural support mechanisms. In designing for all three modalities, the museum can transform the inevitable diversity of their audience into social exchanges equally rich in their diversity of thought and approach. There is little progress made when both sides feel similarly. However, when they are asked to deliberately disagree for the sake of debate, both parties are challenged to think more deeply about their perspective and logic. When interaction is designed to obviously rely upon an individual’s unique aspects, the individual is more comfortable acting naturally versus mirroring expectations.

Art museums are inherently social spaces. Visitors are most likely to come to the museum in groups. They come to have an experience with the artwork and with one another. Further, visitors come to experience one another’s experience with the objects. Through observation of an individual’s emotional and intellectual engagement, others are more likely to engage. This type of engagement is a direct product of socialization in the art museum and a central aspect in the conversation surrounding the shifting role of art museums.

Humans can be observed utilizing three psychological modalities when encountering art objects. These modes are intellectual, emotional and social. All three modes are reliant on the art object and rarely exist entirely divorced from the remaining modes. Designing interactive technologies with these modalities in mind, leads to greater potential for the visitor to establish psychological affinities with object(s) and in turn, the art museum.

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Social Mode

Emotional ModeEngaging through human emotion.

Intellectual ModeEngaging through human intellect.

Engaging publicly or directly with other individuals in the art museum.

Art Object

When utilizing emotional and intellectual modesinherent in all human beings,

social engagement facilitates affinities with art objects.

Until recently, the intellectual mode was most commonly favored in most museums including art museums, as it was seen as a space for broadening, expressing and reaffirming one’s knowledge. Interactive technologies with predominantly intellectual modes are concerned with presenting information, clarifying exhibition themes and/or expressing scholarly research often conducted by the curator(s). The intellectual mode has long existed in the art museum under the autonomy of a curatorial expertise. An expertise which is unattainable to the average visitor. Though certainly attractive to those whose main pathway toward object affinity is through thought and comprehension, others can find this mode alienating and inaccessible. This mode

serves as the driving force between the visitor and the object. It is through the deepest understanding of an object that the interactive can extract a compelling story through which the visitor can attach themselves. Simply, the intellectual understanding of the art object is the foundation upon which emotional and social interactions can be facilitated in relation to the object.

When the intellectual mode is not the predominant one, the role of the curator remains important because emotional and social modes are often more impactful when they contain intellectual stimuli. Though the role of the curator has certainly shifted through the use of crowd-sourced information, folksonomy and other similar forms of information collection, the importance of the scholarly research of objects is regeneratively exercised with each new narrative discovery, as these discoveries in an object’s narrative allow for more meaningful emotional and social accessibility.

[intellectual mode]

[emotional mode]

For some visitors, the emotional mode is most closely tied to the concept of acquiring an affinity with an art object. For these visitors, the art object is representative of their emotions. Consider a family heirloom. The object itself, may mean very little, but its emotional value is constructed by the affinities which other family members have attributed to it. It represents specific emotional facets of their connections to one another. In utilizing the intellectual mode as a support mechanism, an art object’s unique narrative can be the catalyst for a visitor ’s emotional engagement. These visitors are drawn to objects which act as emotional conduits and are likely to revisit experiences which contain emotional stimulations. This often occurs through the use of emotional narratives, nostalgia, expression of their individual voice and/or creativity. The emotional mode has been favored moderately by the art museum through more personalized interpretations of artists and their art, in asking visitors to connect to emotionally driven content, acts of individual expression and interactive experiences.Mother and Child

[social mode] The social mode has been the least favored by art museums historically. Yet, it is potentially the most closely tied to an individual’s strongest affinity. Because the social mode requires both intellectual and emotional modes in order to function, the experience is meaningful in myriad of ways simultaneously. However, because the success of the social mode relies upon many concurrent factors, high quality interactions in this mode are also arguably the most difficult to attain.

Social interaction relies upon the intellectual mode. When two or more individuals communicate using a shared language system, their communication is based in their shared knowledge of that language. You would not use the same vocabulary when speaking with a child as you would a colleague. It is the shared intelligence of language which provides a common ground. Likewise, the intellectual mode is

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responsible for an individual’s understanding of whatever content a social interaction surrounds. Consider two individuals on a date at The Philadelphia Museum of Art. The individuals discover an interactive which allows them to hear music recited from notations on an object. Because they share this experience of acquiring a specific knowledge, the intellectual mode has deepened their social and emotional connection. In the art museum, the content is related to the art object. The social engagement surrounding an object’s content should not assume the individual has a prior understanding of the content, but rather the ability to apply their existing and intellectual abilities to it. Humans are inherently attuned to recognize systems of information. Human-centered designs which honor these abilities have a greater probability of facilitating meaningful social interaction through the intellectual mode.

Likewise, social interaction also relies upon the emotional mode. Social interaction relies upon the emotional mode. When two or more individuals communicate, their communications are based in an emotional understanding of one another. You would not share the same emotions when speaking with a colleague as you would a close friend. It is the unconscious threshold inherent in communicating emotional aspects which establishes any social interaction. Likewise, the emotional mode is responsible for the strength of an individual’s connection to whatever content a social interaction surrounds. Consider a family visiting the Cooper-Hewitt Smithsonian Design Museum. They choose to participate in an interactive which allows

them to draw designs with a digital pen that are displayed on the walls in front of them projected and patterned. It looks like wallpaper. They all take a turn adding shapes to a collaborative design. They learn a bit about wallpaper designers in the museum’s collection. Because they have a shared creative moment, the emotional mode has deepened their social and intellectual connection. In the art museum, the content is related to the art object. The social engagement surrounding an object’s content should not assume the individual has a prior understanding of the content, but rather the ability to apply their emotionally attuned abilities to it. Humans are inherently emotional in their desire to recognize narrative and meaning and express their own selves. Human-centered designs which honor these abilities have a greater probability of facilitating meaningful social interaction through the emotional mode.

The social mode facilitates experiences which require public conversation, exploration, curiosity or expression. Through public exchanges of interaction, active participants can facilitate social engagement for more passive observers. Consider the interactive at The Cleveland Museum of Art’s Gallery One, which asks visitors to mimic the poses depicted by subjects in their collection. Visitors who are actively engaged in posing provide a shift in the behavioral expectations of the space for all who observe the act.

dimensional symbols, logos, etc. The second order concerns the three-dimensional design of objects and products. The third order concerns the design of ideas and planning as they enlighten actions and organizations. The fourth order and the one which will be explored in this book, concerns the integration and synthesis of complex systems, infrastructures or environments.

Through approaching the design of interactive technologies for art museums from the fourth order, a synthesis of complex systems can be achieved. This book aims to analyze the possibility of attaining social interaction through the human systems of emotion and intellect. These emotional and intellectual systems, found in human genetics and further represented in society, can be transformed into social opportunities through the fourth order of design.

Often, in this space, passive observers are inspired to come back later and try it for themselves. In this way, the initial participants inspire a broadened range of behaviors for onlookers through their interactions.

Within the safety of an experience designed for social interaction, social vulnerabilities can be transformed. Vulnerability can transformed into emotional and intellectual growth through the social mode as the art museum empowers individuals to act outside the museum’s historically anti-social behavioral expectations. When individuals are permitted to be openly engaged, or have the ability to observe others doing so, they have a much greater potential to engage.

In this investigation, the ability to access the social mode through interactive technologies in the art museum will be explored through a series of case studies. These studies will be supported by the examination of neuropsychology as seen in intellectual and emotional modes as they contribute to human interactions with objects and one another. These cases favor the social mode to varying degrees and have observable emotional and intellectual outcomes. Where data is available, it will be used to evaluate the failures and successes of design goals.

Designer Richard Buchanan has established four orders of design. The first order concerns the design of two-

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“The focus is no longer on material systems—systems of “things”—but on human systems, the integration of information, physical artifacts, and interactions in environments of living, working, playing, and learning. I believe that one of the most significant developments in systems thinking is the recognition that human beings can never see or experience a system, yet we know that our lives are strongly influenced by systems and environments of our own making and by those that nature provides. By definition, a system is the totality of all that is contained, has been contained, and may yet be contained within it. We can never see or experience this totality. We can only experience our personal pathway through a system. And in our effort to navigate the systems and environments that affect our lives, we create symbols or representations that attempt to express the idea or thought that is the organizing principle. The idea or thought that organizes a system or environment is the focus of fourth-order design. Like interaction, a new focus on environments and systems —which are where interactions take place—has strongly affected design thinking and design research in the United States and in many other parts of the world.” Richard Buchanan

“Conflict Kitchen is a restaurant that only serves cuisine from countries with which the United States is in conflict.” Conflict Kitchen, Jon Rubin

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The interactive landscape has shifted dramatically over the past decade. Logistical actions such as purchasing bus tickets, validating parking passes, reserving a table for dinner, depositing checks, ordering pizza and paying bills among countless others have become digital acts. Almost all of these digital acts are accessible from an individual’s mobile device. Today’s interactive landscape is one of accessibility, efficiency and immediacy. This landscape is also one with an established language system- heavily reliant on graphic symbols. As designers of interactive technologies, it is vital that we understand the existing interactive landscape in order to design experiences which allow the visitor to focus on the content versus comprehending new systems. When systems do not functionally integrate within the existing landscape, they risk the possibility of not being user-friendly.

Expectations dictate our human experience. Human satisfaction in intellectual, emotional and social interactions is rooted in the psychology of expectation.

Jacqueline Corbelli, Chairman and CEO of BrightLine, an agency pioneering the capabilities of interactive technologies advertising. I “opt in,” I “engage,” I “interact,” I “like,” I “share,” I “buy now,” and I repeat experiences I enjoy across all the devices I own. This is the currency of content, media, and marketing in this millennium. There has never been a more favorable or important time to be on a deliberate path of adaptive change that acknowledges these realities.”

When individuals choose to interact, their expectations of other interactions dictate each following experience. As art museums raise internal production standards for interactive technologies, visitor expectations surrounding interactive technology in the art museum will continue to rise concurrently. As a field, it is becoming more important that we learn from one anther through communicating our design process, interactive goals, prototyping iterations, and outcomes through data. Cross-institutional collaboration has never been more important for our field than now, as we embark on a massive cultural shift through interactive technologies.

The most impactful catalyst for society’s developing a profound competency for interactive language has been the homogenization of the personal interactive device. The Smartphone. The Smartphone houses a plethora of interactive access to satisfy intellectual, emotional and social desires.

The smartphone revolution, which occurred in 2007, did not only provide individuals with an unprecedented ability to access information but also with a platform on which display their individualism within a social sphere. Social media personalized the smartphone into a social necessity for individuals, groups and brands. Popular applications such as Facebook, Snapchat and Instagram draw upon all three modes to varying degrees and when engaging with these systems, the user feels satisfied in a multitude of ways. It can also be clearly observed that when socialization is occurring through social media, it is rooted in the intellectual or emotional modes.

When these modes are utilized out of context, there is a potential for controversy. Consider a twitter-war in which two parties are having a heated debate concerning a political topic. One of the participants is at a loss and decides to speak about the other participant in a disrespectful way that has no relevance to the debate. This emotional trigger was out of place and is clearly a deterrent from the intellectual mode. When one mode is used as a scapegoat, the other mode is often reflected upon negatively concerning the abuser. Observers may respond that the emotional antagonist’s response was “unintelligent”. At times, emotional and intellectual aspects naturally contrast one another, but this case is a constructed, irrelevant opposition. In order to design productive social encounters, the emotional and intellectual roles should not only be clear to the participant, but also without a constructed opposition. This will allow for natural opposition to emerge which will help to facilitate relevant social engagements.

This revolution set a standard for all other encounters with interactive technology. A standard which not only defines the language systems and symbology used in interactive technologies, but also the set of expectations surrounding them.

Interactive technologies have a profound ability to facilitate creativity. The smartphone allows you to personalize your mobile experience by curating the apps you choose to download. Instagram allows every user to be a photographer, snapchat- every user an underground filmmaker, twitter- a poet. Successful applications fuel and fulfill the desire to be creative through what you produce and how you are perceived. Interactive technology provides tools for individuals to personalize their digital realities through diversely creative pathways, many of which are based in the social mode.

People like to do things the way they want to do them, and when they want to do them. People like autonomy. Rather than hire an expert, people often want to do things on their own. An example is App Inventor from Google that helps people create their own apps (100 Things, pg. 142)

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Humans crave interaction. It is not only what propels our social existence, but the biological survival of our species relies upon it. Thus, not only do humans desire interaction, they require it. In fact, prisoners kept n solitary confinement too long, go mad and eventually die, from the lack of human interaction. (ACLU/Human Rights Watch (2012). Growing Up Locked Down: Youth in Solitary Confinement in Jails and Prisons in the United States. United States of America. pp. 29–35. ISBN 1-56432-949-6.) As technology continues to facilitate how humans interact with one another, our socialization is constructed by the capabilities of the technology we employ for those purposes. In modern society, interactive technology often replaces human interaction. When technology responds to us, our primal urge to receive feedback perpetuates further interaction.

Philip Auslander speaks about ‘technological liveness’, referring to the machine as a human substitute providing a false sense of the social interaction we naturally desire. The machine is our partner in conversation. As we give information to it (input), it gives back to us (output).

When you go to a Web site or use an online application, you have assumptions about how the site will respond to you and what the interaction

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will be like. And many of these expectations mirror the expectations that you have for person-to-person interactions. If the Web site is not responsive or takes too long to load, it’s like the person you’re speaking to is not looking at you, or is ignoring you. (100 Thins pg. 151)

To speak about the quality of output in the field of computer science the term “GIGO” is used. It stands for “garbage in, garbage out”. This means that a computer which is based on sequences of logic cannot produce meaningful engagement solely through stagnant output. Quality input must be the catalyst for quality output. It is the designer’s job to elicit quality input and then deliver a quality output which fulfills the users expectations of quality. Consider a conversation you would have with a friend. If you give little you get little, but if you are engaged and thoughtful you are more likely to receive the same type of response. Conversely, when we engage with an individual expecting a quick interaction, but the exchange becomes long and drawn out, we become socially frustrated. The same can be said for expecting depth and instead feeling slighted by receiving something less. Interactive technology should support a range of engagements to satisfy a range of individuals with varying expectations. Appropriate levels of output should be available to match the input of varying “conversations”.

Designing for a range of interaction requires prototyping and usability testing during design development. These processes lead to well-informed designs based in the reality of human desire and competency. The role of testing has

grown exponentially in the field of design, as designers recognize the importance of qualitative data pertaining to user experiences.

Human competencies for interacting with technological devices have grown exponentially in the modern era. Recall for a moment when grocery stores first began implementing self-checkout. These early interactive experiences seemed exhausting and intimidating, leading many customers to wait in line for a human-to-human experience rather than try their luck at communicating with the machine. In its earlier form, self-checkout often left the user feeling inadequate and embarrassed when the machine failed to communicate correctly. This is a clear example of inflexible design. A thoughtfully designed interactive encompasses flexibility inclined to engage users by mirroring their individual engagement, leading the user to feel smart and successful. This type of design considers the thresholds that exist within the human psyche and digital landscape and finds unique solutions, allowing the two to integrate naturally.

As self-checkout technologies grew more sophisticated in their design, so grew the likelihood of shoppers to engage with them. As interactive producers, these examples in the world around us, however perpendicular to the interpretation of art objects, are our classroom: the ATM machine, the text message, the parking ticket. How do these technologies make us feel? This is the daily landscape of interactive technology engrained in our modern society and therefor, this emotional literacy what designs should aim to facilitate.

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Art museums have a unique opportunity to respond to the social shift through interactive technology as they work to facilitate the formation of affinities between their visitors and their collection.

Art museums all over the world are utilizing interactive technologies to deepen the relationship to their visitors by better interpreting their collections and providing new platforms for visitors to interact with this content and with one another. In the following cases the social mode will be examined through the observable behavior of the museum visitors as well as data sourced from the technologies. In both cases represented here, the social mode is predominant while it utilizes realia, or the system of learning through real objects, to form affinities for visitors.

Using popular culture as a lens for this comparison, the behavior expectations of the museum space have been widely regarded as the bourgeois, with those who exist outside of the curtsy/bow system being regarded as unrefined or altogether socially primitive. However, it is through the lens of popular absurdism, that we can now regard the bourgeois outcast as the emotional and intellectual mastermind. The individual who acts on impulses based in desire and instinct rather than societal expectation. At the Cleveland Museum of Art this behavior is being favored through the use of interactive technologies which encourage a new set of social behaviors.

Commonly based in language; the desire to understand and be understood, social conventions prevail. When designing for social interaction, recognition of the range of conventions at play between individuals in the art museum is necessary. If a recognition of convention is transparent the design, the individual is more likely to participate. Through acknowledging the convention(s), a foundation is established by the designer versus being reliant on the individual(s). If the individual(s) feel as though they must construct their own social convention, less meaningful participation is to be expected.

For the first time, museums are encouraging wildly eccentric behaviors as a way to engage and they are using interactive technologies to communicate the message.

(right) Visitor at The Cleveland Museum of Art mimicking the pose of a sculpture from the museums collection, as prompted by the interactive she is engaged with.(left) Character from the movie, The Beginners, who is thought to be ‘crazy’, mimicking a sculpture through her pose.

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1“The Cleveland Museum of Art created Gallery One to build audiences by providing a fun and engaging environment for visitors with all levels of knowledge about art.”

Social

Emotional

Intellectual

Consider the interactions of visitors at The Cleveland Museum of Art’s Gallery One, where the social mode can be observed as a main modality. Gallery One offers visitors opportunities to sift through their collection based on colors, shapes and themes among other pathways. Through these intellectual and emotional social exchanges, the individual is enabled to grow in their self-awareness. In building meaningful relationships with its patrons, the art museum can design a space for the visitor to explore the vulnerabilities which connect them to art objects, others and themselves. What makes this interaction social is that it takes place on a massive touch screen wall for all visitors to see. This interaction utilizes methods of visual media, mathematics and motion to appeal to intrapersonal learners- or those who are concerned with their individual interests.

In addition to the collection wall, several other interactive stations live throughout the galleries. These stations prompt visitors to engage with layers of art content in various ways. One station invites visitors to mimic facial expressions of those portrayed by figures in the collection. Another invites them to mimic body poses found in the collection, both are kinesthetic learning moments. These public displays of engagement act as powerful opportunities for all visitors, both active

participants and observers. Often, people are observed interacting with these technologies in groups, encouraging one another to engage. This method of learning and teaching by example is called scaffolding.In these cases, the overarching mode is social and facilitated largely through exploration and play. However, these cases utilize intellectual and emotional modes found in their collection for contextual support.

The Cleveland Museum of Art embarked upon the design and development of Gallery One with a set of goals in mind. The goals which they established can be seen clearly reflected in the response from visitors as well as museum professionals, recognizing these technologies as a revolutionary approach to how museum’s communicate with their visitors.

“One of the most transformational aspects of Gallery One involved the goals for visitors’ ‘take away’: we aimed for experience rather than specific content delivery. The team wanted visitors to1. Have fun with art,2. Use the interactive games and interpretation as the spark for understanding and socialexperiences with art, and3. Find transformative moments of discovery that make art relevant for them today.Gallery One and ArtLens were designed to honor visitors’ behavior.”

“The six interactive stations collectively known as “lenses” feature touch screens that allow visitors to find out information on related artworks within the space itself, and enable unique interactive activities at each station. While each station shares a similar home screen layout, they all possess their own theme related to the artwork on display. Information is provided in a question and answer format, and hotspots allow visitors to find out additional information by touching specially designated areas to find out more information. Additionally, the touch capability of the lenses allows visitors the opportunity to have interactive viewpoints that would not be possible in a traditional gallery setting, such as the back of a bowl or the opportunity to zoom in on a painting.” (http://www.clevelandart.org/gallery-one/interactives)

With a mission that is as much about engagement and enhancing community connections as it is about looking toward the future of museums as civic spaces, their approach to technology is not only cutting edge, but holistic and mission-driven.

“...the intention of Gallery One was to transform our visitors into participants rather than passive observers. The Collection Wall’s complexity, scale, and visually compelling screens revolutionized how we perceive user engagement with our collections in the museum space. Visitors browse works individually or communally, create

their own tour and download it to an iPad and, when they share their tours and favorites with the Wall, they contribute back to the museum and the experience. The constantly changing, organic nature of the screens, enhances the creativity of the museum staff to introduce new themes and filters for browsing works on view. So each visit delivers a new view and new discovery for the visitor.”

Gallery One, which has set the bar for interactive technologies in the art museum, approached this project with social goals in mind. After their first year of operation, the museum released the following data. Through sharing their data, the museum is embracing a collaborative trend growing in the museum field. This collaborative trend suggests that through sharing our attempts and discoveries, we can become stronger as a unit, we can help make our art museum more valuable by helping to make all other art museums more valuable. The data released tells us about how visitors are using Gallery One and why. From the following sets of information, other art museums can begin to make better informed decisions pertaining to their development of interactive technologies.

Aesthetics or “the philosophy of art” as determined by Hegel in the early 1800s has been studied as a faction of philosophy since 380 B.C. Hegel found that the universal elements of beauty were order, symmetry, and definiteness. Similarly, these principals exist in other epistemes (or fields) by which humans categorize and understand their world. Including linguistics, biology and economics, to which philosopher Michel Foucault extrapolates the most predominant correlations. We understand aesthetics in the same way we understand the order of things, because aesthetics depict the basic principals through which we categorize the natural world. The desire to gain or in having an understanding of aesthetics can not be divorced from an understanding of all human systems, natural and constructed.

Not all aesthetic intellect is learned. Intellect of aesthetics is also genetic. Naturally human. Portions of our aesthetic intellect are too, arguably genetic. If our aesthetic preferences are genetically intelligent, our interactions with art objects do not only represent the intellect of the artist, but the evolutionary ability to intellectually assess aesthetics as it exists in all individuals.

What does it mean to be genetically predisposed towards an art object? The genre of neuro-aesthetics is a relatively new, yet growing sub-division of empirical aesthetics. Neuro-aesthetics received its formal definition in 2002 and seeks a scientific understanding of the human’s neurological connection to art objects. In speaking about Art as intellect, this type of human intellect can not be overlooked.

Hegel

Philosopher Dennis Dutton opens his book, The Art Instinct: Beauty, Pleasure and Human Evolution, with an experiment conducted by Vitaly Komar and Alexander Melamid in 1933 that is relevant here. The two artists extensively surveyed the artistic preferences of individuals in ten countries in order to create paintings ‘most-liked’ and least-liked’ for each country. In an attempt to depict cultural differences in aesthetic preference. Vitaly and Melamid discovered something much larger: a universally human predisposition to aesthetics which transcended all cultures. They discovered an aesthetic preference that was inherently human.

“Melamid remarks: ‘...we’ve talked to hundreds of people—they have this blue landscape in their head. It sits there, and it’s not a joke. They can see it, down to the smallest detail. So I’m wonder- ing, may be the blue landscape is genetically imprinted in us... We now completed polls in many countries—China, Kenya, Iceland, and so on—and the results are strikingly similar. Can you believe it? Kenya and Iceland—what can be more different in the whole fucking world—and both want blue landscapes.’ (http://www.ias.ac.in/jgenet/Vol90No3/511.pdf ) (show the blue landscape V&M created in response to this study)(ask if the reader prefers the blue landscape, does their friend? What about the stranger sitting next to them?)In recognizing the presence of biologically imprinted aesthetics, we can design spaces which allow individuals to explore these conventions together. Because the convention is inherently social, a social investigation among visitors is not only relevant, but necessary.

In his TED Talk, A Darwinian Theory of Beauty, Dutton further explains how the evolutionary works of Darwin can aid our understanding of universal aesthetic taste. “People agree the paintings or movies or music are beautiful because their cultures determine a uniformity of aesthetic taste. Taste for both natural beauty and for the arts travel across cultures with great ease. ...There are many differences among the arts, but there are also universal, cross-cultural aesthetic pleasures and values. How can we explain this universality? ...Beauty is an adaptive affect which we extend and intensify in the creation and enjoyment of works of art and entertainment. ...Consider briefly, an important source of pleasure, the magnetic pull of beautiful landscapes. People in very different cultures all over the world tend to like a particular kind of landscape. A landscape that just happens to be similar to the Pleistocene savannas where we evolved. This landscape shows up today on calendars, on postcards, in the design of golf courses and public parks, and in gold framed pictures that hang in living rooms from New York to New Zealand. It’s a kind of Hudson River School landscape featuring open spaces of low grasses interspersed with copses of trees (the trees by the way are often preferred if they fork near the ground, to say trees you could scramble up if you were in a tight fix). The landscape shows the presence of water directly in view. ...indications of animal or bird life as well as diverse greenery. And, finally, a path or a road, perhaps a river bank or a shore line that extends into the distance- almost inviting you to follow it. This landscape type is regarded as beautiful even by people from countries that don’t have it.”

Ask a friend to describe their ideal painting. Does it match Vitaly and Komar’s ideal?

“We’ve talked to hundreds of people—they have this blue landscape in their head. It sits there, and it’s not a joke.

We now completed polls in many countries—China, Kenya, Iceland, and so on—and the results are strikingly similar. Can you believe it? Kenya and Iceland—what can be more different in the whole fucking world—and both want blue landscapes.”

“The presence and conduct of others profoundly influences what we see and what we do and the opportunities that arise for exploration, investigation and learning. Visitors encounter and use interactives in interaction with companions and strangers, and the design and layout of the interactives impact on the emergence of the forms of participation and interaction in the exhibition.” (Heath 14).

Social interaction has its own, unique set of genetic origins. Human evolution and survival relies upon the ability to observe in order to learn. In the scientific study of behaviors, this trait is most clearly observed through mirror neurons. In the book 100 Things Every Designer Needs to Know About People, author Susan Weinschenk, Ph.D., provides a comprehensive view at the social implications of mirror neurons.

“Let’s say you’re holding an ice cream cone. You notice that the ice cream is dripping, and you think that maybe you should lick off the dripping part before it drips on your shirt. If you were hooked up to an fMRI machine, you would first see the premotor cortex lighting up while you’re thinking about licking off the dripping cone, and then you would see the primary motor cortex light as you move your arm. Now here comes the interest- ing

part. Let’s say it’s not you that has the dripping ice cream cone. It’s your friend. You are watching your friend’s cone start to drip. If you watch your friend lift his arm and lick the dripping cone, a subset of the same neurons also fire in your premotor cortex. Just watching other people take an action causes some of the same neurons to fire as if you were actually taking the action yourself. This subset of neurons has been dubbed mirror neurons. The latest theories are that mirror neurons are also the way we empathize with others. We are literally experiencing what others are experiencing through these mirror neurons, and that allows us to deeply, and literally, understand how another person feels.Don’t underestimate the power of watching someone else do something. If you want to influence someone’s behavior, then show someone else doing the same task. (100 Things, pg. 147 - 148)”

In interviewing The Cleveland Museum of Art’s Jane Alexander concerning Gallery One, she mentions the impact of visitors first watching another visitor interacting. Once we see someone interact, we feel empowered to interact. In the example above of the dripping ice cream cone, our brains anticipate the action of other individuals in the same way it prepares to act on its own. But what would happen if two individuals were sharing the melting ice cream cone? Both holding it at the same time? In the following studies, you will see how individuals working together impacts the quality and social implications of the action performed collaboratively.

Synchronization is one way individuals take action collaboratively. Behavioral psychologists Scott Wiltermuth and Chip Heath examined the social implications of utilizing synchrony to achieve cooperation in their 2009 study.

They tested combinations of walking in step, not walking in step, singing together, and other movements with groups of participants. (Wiltermuth, Scott, and Heath, C. 2009. “Synchrony and cooperation.” Psychological Science 20(1): 1–5.)Wiltermuth and Heath’s research also showed that you don’t have to feel good about the group, or the group activity, in order to be more cooperative. Just the act of doing the synchronous activity seems to strengthen social attachment among the group members. (100 Things pg. 149)In 2008, Jonathan Haidt published an article titled Hive Psychology, Happiness, and Public Policy. The article connects Wiltermuth and Heath’s study on synchronous activity (based in the function of mirror neurons) with an evolutionary psychology that allows us to experience happiness. Susan Weinschenk notes,

“Essentially his hypothesis is that synchronous activity promotes bonding and therefore helps the group survive. Mirror neurons are involved in synchronous activity, and there is a certain type of happiness that humans can’t get any other way than engaging in synchronous activity. (100 Things pg. 162) (Haidt, Jonathan, Seder, P., and Kesebir, S. 2008. “Hive psychology, happiness, and public policy.” Journal of Legal Studies 37.)

In a technological culture which provides a seemingly endless realm of possibilities to substitute our social interactions with digital ones, how can interactive technologies facilitate social engagements outside of the screen? Weinschecnk continues,

“Because most online interactions don’t take place with others in physical proximity, there are limited opportunities for designers to build in synchronous activity.” (100 things pg. 163)What happens when two or more individuals congregate around technology? As we have seen, observing another human interacting certainly triggers mirror neurons, prompting others to mirror the action. Likewise, observing emotional expression triggers mirror neurons associated with emotions. It is difficult to remain optimistic when surrounded by pessimists. It is hard not to lose yourself in a particularly emotional scene in a movie, mirroring the emotions the actors are portraying. Weinschenk also explores this emotional mirroring through the research of Nicola Canessa, Ph.D. of Cognitive Neuroscience who studied how our social relationships impact the strength of our emotional mirrors. Consider the emotional scene in the movie once again. If the acting is well done, if the emotional reaction is well-written and believable, if you feel like you know the character, you are more likely to feel emotionally attached to their emotions. If you do not know the character, the strength of emotional mirroring will be significantly less.

“When you observe someone who is feeling a certain emotion, the same parts of your brain are active as in the brain of the person experiencing the emotion.” (Canessa, Nicola, Motterlini, M., Di Dio, C., Perani, D., Scifo, P., Cappa, S. F., and Rizzolatti, G. 2009. “Understanding others’ regret: A FMRI study.” PLoS One 4(10): e7402.)However, not all mirroring is purely reactive. It is also common to interact, engage or express certain behaviors in order to trigger another human’s mirroring. This can be seen clearly in individuals who successfully assume roles of leadership by using their actions to garner support from observers. This can be seen in macro applications such as political campaigns and advertising as well as micro applications such as idoscyncrosies occurring in a conversation between two friends. Consider laughter; laughter is contagious.Robert Provine is one of the few neuroscientists studying laughter. He has concluded that laughter is an instinctual (not learned) behavior that creates social bonding.

Laughter is for social communication. People rarely laugh when they’re alone. They laugh 30 times more often when they’re with others.The person who is speaking laughs twice as much as the person who is listening.

Laughter isn’t about humor. Provine studied over 2,000 cases of naturally occurring laughter and most of it did not happen as a result of humor such as telling jokes. Most laughter followed statements such as “Hey John, where ya been?” or “Here comes Mary” or “How did you do on the test?” Laughter after these types of statements bonds people together socially. Only 20 percent of laughter is from jokes. (100 Things pg. 159) (Provine, Robert. 2001. Laughter: A Scientific Investigation. New York: Viking.)Laughter is one of the many ways individuals use a behavior to prescribe the tone with which their interaction will occur. Nervous laughter occurs when the individual wants a difficult interaction to be less difficult but can not identify any other pathway through which to do so.

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“Cooper Hewitt’s renovation provides the opportunity to redefine today’s museum experience and inspire each visitor to play designer before, during and after their visit. Visitors can explore the museum’s collections and exhibitions using groundbreaking technologies that inspire learning and experimentation.”

Through observing the interactions of visitors to the Cooper-Hewitt museum, certain opportunities are inherently social. Consider two aspects of this museum experience, the interactive “pen” and the interactive room for designing your own wallpaper called “the immersion room”. Both of these experiences engage the visitor in a social capacity, each having a different emphasis on the emotional or intellectual modes.

Primarily intellectual/emotional - collecting contentEmotional moderately - individual choice is hugely valued / favoredSocial slightly - rather isolated, but you can share your collections with others if you choose, though this is not necessary to the interaction

“Cooper Hewitt’s renovation provides the opportunity to redefine today’s museum experience and inspire each visitor to play designer before, during and after their visit. Visitors can explore the museum’s collections and exhibitions using groundbreaking technologies that inspire learning and experimentation.”

Through observing the interactions of visitors to the Cooper-Hewitt museum, certain opportunities are inherently social. Consider two aspects of this museum experience, the interactive “pen” and the interactive room for designing your own wallpaper called “the immersion room”. Both of these experiences engage the visitor in a social capacity, each having a different emphasis on the emotional or intellectual modes.

The immersion room utilizes the social mode of designing publicly or collaboratively. The secondary, emotional mode is explored through self-expression. The third, intellectual mode gives relevance to the interaction by attributing it to the museum’s collection of wallpaper and providing text and audio information which allows visitor ’s to learn about wallpaper designers featured in the collection.

“Using the Pen, you can select wallpapers from the Museum’s permanent collection and see them projected on the walls from floor to ceiling—for a vibrant, impactful, immersive experience. You can even play designer by creating your own designs, or just stand back and watch as the wallpapers unfold across the room.” (http://www.cooperhewitt.org/events/opening-exhibitions/immersion-room/)

This experience appeals largely to visual-spatial learners who think in terms of physical space and are best taught through drawing and three-dimensional modeling. The technique of priming is also being utilized in this interaction through the display of wallpaper designs from the collection, visitors are primed with ideas of how to achieve their own design.

Making aesthetic decisions shows emotional engagement. In the following study, researcher Christopher Hsee set out to determine the correlation between levels of happiness as they are impacted by being busy or being idle. However, an oversight by Hsee may have been that what he actually tested was levels of happiness as they are impacted by the opportunity the be creative or not having the opportunity to be.

Research by Christopher Hsee (2010) and his colleagues shows that people are happier when they’re busy.

Hsee asked students to study a bracelet. Then he gave them the option of either spending 15 minutes waiting with nothing to do (they thought they were waiting for the next part of the experiment), or spending the same time taking the bracelet apart and then rebuilding it while waiting. Some of the participants were given the option of rebuilding it into its original configuration, and others were given the option to reassemble the bracelet into a different design.

Participants who had the option of rebuilding the bracelet as it was before preferred to just sit idly. But the participants who were told they could reassemble the bracelet into a new design preferred to work on the bracelet rather than sit idle. As before, those who spent the 15 minutes busy with the bracelet reported feeling happier than those who sat idle.

Hsee has focussed on the fact that the students who reassembled the bracelet merely had something to do- and that this has caused their levels of happiness to be higher. When in fact, Hsee himself even distinguishes that the students who opted to reassemble the bracelet did so more often when they were permitted to redesign it. Perhaps it is business that impacts our happiness, but it was the opportunity to express themselves creatively that gave the act of being busy with the task value. In this study, the oversight is certainly that creative opportunities are a strong catalyst for engagement.

Although, a somewhat isolated experience in the museum, the pen allows visitors to share their experience outside of the museum. This technology prompts visitors to collect objects as they make their way through the museum by touching the pen to the object’s label; promoting a sense of self-expression as it is seen in curating ones own collection. Additionally, your collection can be accessed through a personalized URL after your visit. The saved collection provides access to the objects outside of the museum as well as an opportunity to share your visit.

Stimulation of the emotional mode is largely understood as mindful and reactionary, but not necessarily biological. However, in examining behavior expectations rooted in seeking fulfillment of social desires, the story of Pavlov’s dogs should not go unacknowledged. Researchers have recently discovered that the parts of the brain which trigger release of dopamine, a chemical which increases levels of happiness, is not only a reactive release related to pleasure stimuli such as sex or laughter, but also a proactive release related to seeking, searching and having the desire to attain something.

The dopamine system is especially sensitive to cues that a reward is coming. If there is a small, specific cue that signifies that something is going to happen, that sets off your dopamine system. This is a Pavlovian response, named for the Russian scientist Ivan Pavlov who experimented with dogs. When dogs (and humans) see food, they begin to salivate. Pavlov paired food with a sound, for instance, a bell. The bell is a stimulus. Every time the dogs saw food they would also hear a bell, and they would salivate at the sight of the food. After a while the dogs would salivate at the sound of the bell. The food wasn’t even necessary for salivation to occur. When a stimulus is paired with information-seeking behavior, such as a sound and a message when a text arrives on your phone (Figure 53.1) or sound or visual cue when an e-mail arrives in your inbox (Figure 53.2), you have the same Pavlovian response—dopamine is released and the information seeking starts all over again. (100 Things, pg. 123)”

If we are perpetually in a virtual dopamine loop, what happens when a technology prompts a Pavlovian response and then fails to deliver?

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Humans form affinities with art objects through emotional and intellectual pathways. These pathways are both genetic and constructed by society. Humans also form affinities through other individuals. In fact, humans are more likely to engage with emotional and intellectual pathways through social engagement.

As we have explored in this investigation so far, both art and technology appeal to a human’s intellect and emotion both through learned behaviors and genetic predispositions. In an approach to social interaction which utilizes both art and technology, we encounter an opportunity to access both intellectual and emotional modes simultaneously. As we have seen in the previous sections, our interactions with art and technology are often residual of our social desires and behaviors. In recognizing these psychologies, emphasis can be shifted towards social engagement through forming intellectual and emotional affinities in the art museum with the proper interactive expectations of the visitor in mind.

When forming an affinity with an art object, the individual is engaged in many neuropsychological systems concurrently. Many of which are emotionally based are thought to be housed within the limbic system. This is the brain system which also supports to functioning of isolating certain stimuli for comprehension.

The limbic system supports a variety of functions including adrenaline flow, emotion, behavior, motivation, long-term memory, and olfaction.[3] Emotional life is largely housed in the limbic system, and it has a great deal to do with the formation of memories.

Besides memory, the amygdala also seems to be an important brain region involved in attentional and emotional processes. First, to define attention in cognitive terms, attention is the ability to home-in on some stimuli while ignoring others.

Thus, the amygdala seems to be an important structure in this ability. Foremost, however, this structure was historically thought to be linked to fear, allowing the individual to take action to rid that fear in some sort.

However, when the amygdala was initially thought to be linked to fear, this gave way for research in the amygdala for emotional processes. Kheirbek[13] demonstrated research that the amygdala is involved in emotional processes, in particular the ventral hippocampus. He described the ventral hippocampus as having a role in neurogenesis and the creation of adult-born granule cells (GC). These cells not only were a crucial part of neurogenesis and the strengthening of spatial memory and learning in the hippocampus but also appear to be an essential component in the amygdala. A deficit of these cells, as Pessoa (2009) predicted in his studies, would result in low emotional functioning, leading to high retention rate of mental diseases, such as anxiety disorders. (http://en.wikipedia.org/wiki/Limbic_system)

Humans have long looked to art to reaffirm their own humanity. Not only because art is a product of another human and therefor there is a shared humanity, but the artwork acts as a mirror to our own identity as it is illuminated by the human tendency to project their emotions onto aesthetics.

“And, indeed, representation undertakes to represent itself here in all its elements”

[Foucault]

The Order of Things: An Archaeology of the Human Sciences, was written in 1966 by Michel Foucault. The work opens with a philosophical deconstruction of Diego Velazquez’s painting Las Meninas based on its aesthetic qualities. Through this deconstruction Foucault establishes a thesis about epistemes. Las Meninas contains layers of context. It hides and reveals aspects to the viewer through an aesthetic which utilizes composition and light to carry the eye through the work. Foucault uses these aesthetic principles of hidden versus revealed to explain his thoughts on the development of epistemes in society over time. Particularly, Foucault focuses his attention toward the systems of linguistics, biology and economics.

Based on shifting visitor expectations (if art is life), as the epistemes of concurrent fields shift, so too must the museum whose collections aim to be engaged in a relevant dialogue with society.

Foucault uses art to talk about the human perception of life’s systems. In deconstructing Las Meninas, he is able to reveal the philosophy of man as he sees himself, his desires and needs, through the systems which he constructs. This deconstruction allows these systems to be projected onto the aesthetic system. In this way, the aesthetics of composition, light and subject matter act as projections of the human need to categorize and systemize the natural world.

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Six Geometric Figures (+Two) (Wall Drawings), Sol LeWitt

Circles in a CircleWassily Kandinsky, at The Philadelphia Museum of Art

Fibonacci sequence extrapolated in a circle

Nietzsche speaks to the phenomena of aesthetics as having the ability to reflect human systems as an emotional reflection of the, emotionless order that Foucault’s linguistics, biology and economics fail to capture entirely. Nietzsche claims that aesthetics contain the power to illuminate emotional projections of the human as they exist removed from emotion within overarching systems which impact daily life.

“Nietzsche states in “Twilight of the Idols”: “In art man enjoys himself as perfection.” Art is then the supreme delight of existence; art is the fountain and source of joy in the world par excellence. And joy for Nietzsche does not require justification because joy justifies itself; joy, too, justifies existence: through joy, life is affirmed. Thus, we reach another basic role of art: art as the supreme source of joy.

Art sustains life. Art is what makes life endurable and thus possible. Art is what makes life worth living. Nietzsche depicts this through a beautiful metaphor: “Once again we may see the artistic buoyancy and creative joy as a luminous cloud shape reflected upon the dark surface of a lake of sorrow.” Hence, this is another basic role of art: art as a metaphysical solace. Nietzsche, analyzing the Greek tragedy writes: “The metaphysical solace (with which, I wish to say at once, all true tragedy sends us away) that despite every phenomenal change, life is at bottom indestructibly joyful and powerful.”

The function of art is one of supporting, maintaining, affirming, and enhancing life. We may, therefore, identify another one of art’s

roles in Nietzsche’s philosophy: the role of being a stimulant to life as an expression of the will to power: “For a stimulant is what propels and advances, what lifts a thing beyond itself; it is increase of power.” Art, then, may be understood as a transfigurer of existence: as an expression of the will to power in its full plenitude. In the “Birth of Tragedy”, Nietzsche, referring to music (the Dionysiac aspect of art), says, “ is the direct copy of the will itself, and therefore represents the metaphysical of everything physical in the world.”(http://jorbon.tripod.com/niet01.html)

It is through an object’s unique story that we can reach visitors through the emotional mode. Most people have an easier time connecting to the characters and themes associated with an object than to the static object itself. And though connecting with an object void of narrative is certainly possible, when a narrative is provided it almost always deepens the affinity being formed from the visitor toward the object. Because the emotional mode triggers the brain to engage in retaining memory, the affinity formed through the support of an emotionally narrative is more likely to impact the visitor for a longer amount of time. In her book, 100 Things Every Designer Needs To Know About People, Susan M. Weinschenk, Ph.D., speaks about the importance of using anecdotes versus data to impart information, “One of the reasons why anecdotes are more powerful than data is that anecdotes are in story form. They invoke empathy, which triggers an emotional reaction. With emotional reactions, people will process the data and the feelings. Emotions will also trigger the memory centers.” (100 Things pg. 168)

Socialization requires emotional and intellectual engagement. Therefore, when this is done within relation to an art object, an affinity with that object is more likely to be formed. When visitors are encouraged to prescribe their own emotions and intellects onto an art object, they are more likely to form an affinity with that object.

It was with the social mode in mind that ArtSeek was created. ArtSeek is a game to be played in the art gallery which prompts users to engage with one another socially. Users do this through relating works of art to experiences they have shared together as well as personal anecdotes.

ArtSeek, a digital interactive suite of gallery games, aims to engage art museum visitors with one another socially as they interpret artworks through personal meaning.

Creating ArtSeek on a digital platform was ideal for two main reasons. First, the use of digital tools through design development enabled ArtSeek to be prototyped multiple times and evolve in a short amount of time. And in using the ArtSeek (digital application) any museum big or little, can import their own content and use the app to engage their visitors with their collection. ArtSeek is a suite of games which has the flexibility to work in tandem with any body of artwork.

The ArtSeek team partnered with InLiquid Art + Design to develop their idea. InLiquid, an artist collective based in Philadelphia, represents nearly 300 artists. ArtSeek saw an opportunity with InLiquid which provided them with access to a large body of artwork and exhibitions through which to prototype their ideas and also to provide InLiquid with a new way to engage their audiences.

ART e e kS

The goals of ArtSeek are as follows:Visitors will interact with each other by using personal stories to describe art works in the galleryVisitors will enjoy playing the game ArtSeek and will feel more relaxed in an art gallery settingVisitors will feel greater ease when accessing the art work by having a less academic entry point Provide a tool for art museums to engage their audiences through ArtSeek

Now that we understand a few of the complex systems inherent in the visitor ’s emotional and intellectual pathways towards art objects, how can designers facilitate relevant social spaces surrounding them?

New media artist Scott Snibe was able to achieve profound social interaction through his work, Boundary Functions, 1999. The work invites participants to explore the evolving boundaries of personal space on a shared platform.

In Aesthetics of Interaction in Digital Art, Katja Kwastek writes, “Interactive art places the action of the recipient at the heart of its aesthetics, whereas in action art and happenings the recipient is often invited to join the action of the artist(s). Interactive art, by contrast, presents an action proposition that is generally not modified by the artist while being exhibited. Interactive work doesn’t manifest its gestalt in the absence of reception, in interactive art the recipient becomes a performer” (Kwastek xvii).

Snibe’s piece addresses a point not to be ignored: the invitation. In his piece, the visitors were aware that their interaction was necessary in order for the concept to exist. They were important and their interaction was transparently, a major focus of the work. In designing interactive technology, the visitor must feel that their engagement is not only valued and important, but necessary.

The learning objectives of ArtSeek are as follows:Visitors will learn to engage socially with one another in a museum settingVisitors will learn how to attribute personal anecdotes to artworks they encounterVisitors will expand their vocabulary surrounding artwork by shifting from describing the artwork’s physical form to connecting with the work’s concept as it relates to their own experiencesVisitors will expand their set of expectations surrounding museums and the technologies they employ

In the development of ArtSeek, several personas were created for use-case scenarios which explored why a diverse range of visitors would use ArtSeek and how.

Two primary audiences for ArtSeek were established.Visitors who are highly interested in art and slightly tech-savvyVisitors who are highly tech-savvy and slightly interested in art

ArtSeek can be adapted for use in any art museum gallery. The app can be stationary or mobile. However, it is dependent upon which gallery the visitor is in when they are using the application, because it utilizes the artworks within their line of vision as content for the games.

If the art museum utilized ArtSeek as a mobile application which functioned in multiple galleries, the museum would need to establish which gallery the visitor is in when they are using ArtSeek.

This could be done by incorporating a back-end way-finding which would detect the gallery the visitor happens to be in at the moment they are using the app. iBeacon technologies, among other bluetooth navigation systems could be employed for this type of approach.

Otherwise, the museum could establish separate forms of the app for each gallery which is available to play with ArtSeek and the visitor could select that gallery’s specific ArtSeek from a list of options.

If the art museum chooses to utilize the application on a stationary device in a specific gallery, the app can be downloaded and programmed to run without wifi or additional back-end development.

It is no surprise to the education community that we learn in different ways. Complex and evolving compilations of various learning spectrums are unique to each individual. It is within the understanding of these spectrums that designers can choose the most efficient tools through which to access the most diverse audience as deeply as possible.

Howard Gardner identified seven intelligences to be aware of. Visual-spatial, bodily-kinesthetic, musical, interpersonal, intrapersonal, linguistic and logical-mathematical. Gardner acknowledges that attempting to teach all seven styles at once may seem overwhelming, but that in utilizing mixed media and multimedia this challenge becomes attainable.

“It satisfies the many types of learning preferences that one person embodies or that a class embodies.”

Gardener suggests a variety of media. Including visuals, motion, sound, realia and performance among more traditional modes such as printed words and instruction. Realia, or the use of real, tangible objects in order to convey a concept- is the overarching principal of all museums. The interpersonal learner is one whom learns

by understanding and interacting with others. Empathy plays a large role in their learning.

An approach to object-based, social learning which incorporates interactive technology can utilize the basic methods inherent in standard educational scenarios as a framework. These methods, which can be applied to almost any learning scenario can be used to ensure that the educational role of interactive technologies is being met.

The use of “scripts” allows visitors to have a clear understanding of the engagement an interaction requests. Providing the visitor with a clear sequence of events will allow them to establish expectations and feel a sense achievement upon meeting those expectations. It is important when scripting an interaction that the sequence of events is meaningful and intuitive.

Through utilizing “priming” techniques, designers can create experiences rooted in what the visitor already knows and understands. “Prior knowledge, interests and beliefs play a tremendous role in all learning; this is particularly the case in museums.” (FalkDierking_ContextLearning pg. 3)

“Gardner is best known for the idea of multiple intelligences: that people have not just one kind of intelligence but at least eight: linguistic, logic-mathematical, musical, spatial, bodily kinesthetic, naturalist, interpersonal and intrapersonal.”

Lev Vygotsky

“Society is the field of organized relationships and interactions between individuals. Only a small portion of human activity is organized for utilization by society, so only a small portion of development potential (of technology, knowledge, information, skills, systems) is tapped.

Every society possesses a huge reservoir of potential human energy that is absorbed and held static in its organized foundations—its cultural values, physical security, social beliefs and political structures. At times of transition, crises and opportunities, those energies are released and expressed in action. Policies, strategies and programs that tap this latent energy and channel it into constructive activities can stir an entire nation to action and rapid advancement.”

(Payne,M.(1991) “Modern Social Work Theory”

In acknowledging the diverse preconceptions and dispositions of visitors, not only does the visitor have a great opportunity to engage naturally, but the mental capacity to focus on the appropriate content. The tone of the social interaction should aim to be one free from anxiety through a recognition of the user’s human nature which includes their social anxieties and apprehensions which should not be mimicked by the nature of the technology facilitating the social engagement.

Lev Vygotsky, a scientist of social cognition developed the “Zone of Proximal Development”, a social construct for learning based on support from a group of engaged participants, housed in the education theory of “scaffolding”. When members of a collaborative team bring varying aspects of knowledge or skill sets to achieving a unified goal, a heightened ability to attain that goal is more probable than the ability to attain said goal individually.

“Research by Bahador Bahrami. Bahrami (2010) and his team found that pairs do better than individuals at making decisions as long as they freely discuss their disagreements, not only about what they saw, but also about how confident they are about what they saw. If they aren’t allowed to freely discuss, and they just give their decision, then

the pair does not make better decisions than an individual would. (100 Things, pg. 215)”“Vygotsky states cognitive development stems from social interactions from guided learning within the zone of proximal development as children and their partners co-construct knowledge. In contrast Piaget maintains that cognitive development stems largely from independent explorations in which children construct knowledge of their own.” (http://www.simplypsychology.org/vygotsky.html)

“Mediating” the experience through design is another way to ensure impact through socialization. “Socially mediated learning in museums does not occur within an individual’s own social group; powerful socially mediated learning can occur with strangers perceived to be knowledgable. Such learning has long evolutionary and cultural antecedents, and few other museum experiences afford as much potential for significantly affecting visitor learning.” (FalkDierking_ContextLearning pg. 4)

[ARtSeek UX Overview]1. User one chooses a mode of interaction: “describe”, “act” or “match”2. User one chooses a work of art from the gallery, without telling their partner which piece they have chosen

“Describe”1. User one is prompted to list four words which they would use to describe the artwork2. User one is then prompted to help user two guess which artwork they chose, without using those four words. 3. User one is prompted to use a shared experience to help their partner guess correctly.

“Act”1. User one is prompted to use a body movement or gesture to help their partner guess correctly

“Match”1. User one is prompted to use two photos from their personal mobile device to help their partner guess correctly

ArtSeek aims to create an engaging, laid-back, exciting experience for museum visitors. The tone of which is relaxed and upbeat.

The content requirements for ArtSeek are determined by the art museum which chooses to utilize the application. The ArtSeek team recommends using between five and ten artworks for each gallery making use of the app. This will ensure enough variety that visitors are empowered through making a choice, but not too many options that they feel overwhelmed.

A museum staff that wishes to utilize this application, needs to be slightly tech-savvy. The interface we aim to develop would simply require the staff to upload photos of the artworks in the related gallery along with the work’s tombstone information. Installation of a touch screen in the gallery or the development of mobile accessibility and optional way finding systems would be the most technologically skill-based requirements of ArtSeek’s implementation.

ArtSeek’s main feature is that it provides multiple interactive pathways through which visitors can engage with one another.

Three modes exists which ask visitors to use different approaches to describe one of the artworks in the gallery to their partner in order for their partner to guess the artwork they’ve chosen.

1. User one chooses a mode of interaction: “describe”, “act” or “match”2. User one chooses a work of art from the gallery, without telling their partner which piece they have chosen

“Describe”1. User one is prompted to list four words which they would use to describe the artwork2. User one is then prompted to help user two guess which artwork they chose, without using those four words. 3. User one is prompted to use a shared experience to help their partner guess correctly.

“Act”1. User one is prompted to use a body movement or gesture to help their partner guess correctly

“Match”1. User one is prompted to use two photos from their personal mobile device to help their partner guess correctly

ArtSeek was developed through four rounds of prototyping. Each prototype was conducted with specific goals and testing questions in mind. These goals were evaluated with survey instruments designed specifically for each prototype. The data attained from each session, both quantitative and qualitative, offered feedback which evolved the application’s design significantly.

Prototype #1 The first test was conducted at an InLiquid exhibition using paper prototypes. The goals of this prototype surrounded whether or not visitors had a general interest in engaging with one another in this way and if the games were user-friendly.

Our goals for the first prototype were:1. Promote social interaction between users2. Intrigue users to learn more about the art object(s)3. Broaden the user’s art-related vocabulary to include their own experiences rather than formal art language

We tested two games during this round. One was the “Describe” prompt that still exists in the final version, the other was a mad-libs game utilizing the artist statement for content. We found that visitors responded very well to the “describe” game, in taking time to make meaningful connections to one another, but not to the mad-libs game. They found the game difficult and without significant reward.

Prototype #2 ArtSeek’s second prototype took place online. We wanted to test the applications ability to utilize an online gallery with visitors who were connecting through group chat online. We conducted two sessions of testing with sets of visitors in a group skype.

For this round of testing, we removed the mad-libs game and pursued a deeper understanding of the “describe” interaction.

Though the visitors we tested with were enthusiastic about their interactions, which were fundamentally successful, the overall sentiment was that they would have preferred to be engaging with one another and the works in real space.

This round of prototyping also provided feedback to incorporate multiple pathways through which to interact. ArtSeek went back to the drawing board to develop two additional interactive modes and a set of evolved goals for the third prototype.

Prototype #3 For this round of prototyping, ArtSeek was concerned with testing the two additional interactive modes:

“Act” asks visitors to use their body movements or gesturesand“Match” asks visitors to use two photos from their personal mobile deviceAs well as an evolved set of goals:· Visitors will interact with each other by using personal stories to describe art works in the gallery· Visitors will enjoy playing the game ArtSeek and will feel more relaxed in an art gallery setting· Visitors will feel greater ease when accessing the art work by having a less academic entry point

This prototype was conducted with visitors in real space, interacting with another face-to-face surrounding a digital projection of public sculptures visible from Dilworth Park in Philadelphia, which would be the objects utilized in the fourth prototype to take place at Dilworth Park for Philly Tech Week.

The outcome of this session caused the concept of each mode (describe, act and match) to be solidified, but the flow of the overall interaction to be reworked. In this approach, we had asked visitors to select first the artwork and then their mode of interacting. Feedback from the visitors led us to understand that they wished to first choose how they would interact and then with which artwork.

We adjusted the order of operations for our final round of testing, the ArtSeek launch at Philly Tech Week.

“Making you think about art in an abstract way and making you pay closer attention to it (beyond first impressions)”

Prototype #4: Launch at Philly Tech Week The final round of testing was conducted in conjunction with Philly Tech Week’s opening event at Dilworth Park in center city Philadelphia.

InLiquid artist Gina Michaels installed her sculpture, Jacob’s Ladder in the center of the park for this event. Our app content featured this sculpture as well as the surrounding pubic sculptures, totaling five art objects for visitors to choose from.

The ultimate goal in the art museum, is to establish an affinity between the visitor and the art object. In this book so far, we have explored how humans establish affinities through psychological pathways inherent in emotional, intellectual and social interactions. So, how do designers synthesize these modes in an experience anchored by an art object?

First, the impact of an object on the value of an experience should be understood. In a study conducted by Benjamin Bushong, Lindsay M. King, Colin F. Camerer and Antonio Rangel on Pavlonion processes in consumer choices, they found that the physical presence (versus a text description or image) of an object increased the value individuals placed on it, by 60 percent.

understanding broad conceptual themes such as exhibitions, as well as the micro sensibility of understanding aesthetic principals such as patterns within an inidividual work of art.

In 1999, V.S. Ramachandran and William Hirstein published The Science of Art: A Neurological Theory of Aesthetic Experience in the Journal of Consciousness Studies. Their article explores many of the themes we have touched upon so far in this book, but also aesthetic grouping as a mental process akin to synchronization. Synchronization, which we explored earlier as a necessity for meaningful collaborative action, can be seen here as the individual’s mind also finds strength in perceiving smaller pieces as a larger whole. In the following example, you can see how humans use synchronous processes to seek objects even when objects are not present.

The notion that art exploits grouping principles is of course not new (Gombrich, 1973; Arnheim, 1956; Penrose, 1973), but what is novel here is our claim that the grouping doesn’t always occur ‘spontaneously’; that out of a temporary binding a signal sent to the limbic system to reinforce the binding, and this is one source of the aesthetic experience. For example, in Fig. 3, there are two possible stable organizations, one with hourglasses,

“The results have practical implications in a number of domains. First, consider again the prob- lem of a restaurateur who has to decide whether to provide customers with a written menu, a picture-based menu, or a dessert tray. The results in this paper suggest that dessert sales should go up significantly if the restaurant uses the dessert tray as opposed to the other two options.” (Bushong, Ben, King, L. M., Camerer, C. F., and Rangel, A. 2010. “Pavlovian processes in consumer choice: The physical presence of a good increases willingness-to-pay.” American Economic Review 100: 1–18.)In applying Bushong’s study to the art museum, a case can be made for the impact of the social interaction whose relevance is based in an art object which is physically present, to heighten the value the visitor places on the object. When placing value on the object, the visitor acquires an affinity with it and the institution which has provided the opportunity to do so, by proxy.

Now that this can be said for one object, what happens when the interaction revolves around the relevance of a larger theme constructed by a grouping of objects? Again, the notion of grouping smaller pieces to comprehend a larger whole is rooted in human psychology both learned and genetic. Grouping as a means of comprehension can be seen through the macro sensibility of

THE SCIENCE OF ART 24 (Ramachandran V. S. and Hirstein W. 1999 The science of art the science of art: a neurological theory of aesthetic experience. J. Consciousness Studies 6, 15–51.)

Many artists have utilized these principals in their work to elicit a neuro-psychological reaction. Further, aestheticians can use the synchronization of certain aesthetics to evoke larger emotional themes. As noted by Ramachandran and Hirstein,The word ‘rasa’ appears repeatedly in Indian art manuals and has no literal translation, but roughly it means ‘the very essence of.’ So a sculptor in India, for example, might try to portray the rasa of childhood (Plate 2), or the rasa of romantic love, or sexual ecstasy (Plate 3), or feminine grace and perfection (Plate 4). The artist is striving, in these images, to strongly evoke a direct emotional response of a specific kind.

Designs which allow individuals to explore grouping as it is employed through the observation of an art object or in a larger grouping of objects or exhibition themes, provide a pathway to acquiring affinity through an intelligence based in the individual’s neurological processing.

and one with closure and most people find the latter organization more pleasing than the former because the limbic activation is stronger with this closure-based object-like percept. When artists speak of composition, or grouping, they are probably unconsciously tapping into these very same principles.

In other words, even though the grouping may be initially based on autonomous process in each module (Marr, 1981), once a cluster of features becomes perceptually salient as a ‘chunk’ with boundaries (i.e. an object), it may send a signal to the limbic centres which in turn causes you to ‘hold on’ to that chunk to facilitate further computation. There is physiological evidence that grouping of features leads to synchronization of the spikes (action potentials) of neurons that extract those features (Singer and Gray, 1995; Crick and Koch, 1998) and perhaps it is this synchrony that allows the signal to be sent to the limbic pathways. (This, by the way, may be one reason why musical consonance often involves harmonics — for example, a C-major chord — which, for physical reasons would tend to emerge from a single object, whereas dissonant notes are likely to emerge from two or more separate objects.) (http://www.imprint.co.uk/rama/art.pdf )

[Final Build / Future Steps]The final version of ArtSeek is currently in development. This version will exist as a framework which includes editable modules for museums to import their own content.

The ArtSeek team is currently exploring how we can make these experiences sharable between visitors through social media as well as between all of the art museums who are utilizing this application.

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Museums are evolving into spaces for social exchange. They are redistributing dynamics of trust to the visitor. Asking for the first time, what the visitor wants from their experience at the museum- and listening. As museums continue to develop into civic spaces for societal representation, so will the importance for social opportunities amongst individuals.

There are many ways through which to interpret the complexities of object-based and interactive learning. From the cases represented in this investigation, we can see how social engagement can be used as a strong pathway toward forming affinities with objects based in both our emotion and intellect. And that these affinities engage not only our learned expectations and systems but also our genetic make-up as human beings who require socialization in order to function emotionally and intellectually in all that we do.

The function of art and technology as they exist as systems in our society, ask us to be both emotionally and intellectually engaged. Because social engagement requires both emotional and intellectual modes, when the art museum asks individuals to socialize through interactive technologies, emotional and intellectual needs are being met exponentially.

Considerations for facilitating social engagement in the art museum through interactive technologies are as follows:

When designing for socialization, utilize the fourth order of design, which focuses on the synthesizing of large, complex systems. Social interaction involves several modes of functioning, both learned and genetic, all of which should be taken into consideration.

When designing interactive technologies, consider how the interactive prompts can enliven the curiosity of all visitors in the space- not only those who are directly interacting with the technology. How does one visitor’s action cause the behavior expectations of observers to change?

When possible, ask for group engagement.

Consider how the individual can leave their mark. Allow for personal expression or an opportunity to be creative.

Consider how group dynamics can aid interaction.

Can you provide structure for one individual to teach another individual how to achieve something? Can you prompt an individual to set an example through their own engagement?

In facilitating social engagement, museums can provide individuals with an opportunity to grow emotionally and intellectually. View socialization as a tool.

In attempts to engage with visitors, honor the emotions and intellect inherent in human beings.

Provide multiple pathways for a spectrum of learning styles to have the opportunity to engage with the collection.

As art museums embrace the cultural shift through the homogenization of interactive technologies, cross-institutional communications have never been more important. These technologies provide us the ability to share data which can further inform the progress of our designs and the museum field at large.

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