In this paper we discuss the general approach and choices we made in developing a prototype of a social media monitor. The main goal of the museum monitor is to offer museum professionals and researchers better insight in the effects of their own social media usage and compare this with other actors in the cultural heritage sector. It gives researchers the opportunity to consider communication within the sector as whole. In the research project “Museum Compass” we have developed a prototype of a social media monitor, which contains data of current and historic online activities on Facebook, Twitter, YouTube, Foursquare and Flickr of all registered Dutch museums. We discuss – mostly in a practical sense – our approach for developing the monitor and give a few examples as a result of its usage.
Learning activities in a makerspace are hands-on and characterized by design and inquiry. Evaluation is needed both for learners and their coaches in order to effectively guide the learning process of the children and for feedback on the effectiveness of the after-school maker activities. Due to its constructionist nature, learning in a makerspace requires specific forms of evaluation. In this paper we describe the development of an instrument that facilitates and captures reflection on the activities that children undertook in a library makerspace. Our aim is to capture learning in this context with multiple instruments: analysis of the artifacts that are made, observation of hands-on activities and interviews - which all are time consuming methods. Hence, we developed an easy to use tool for self-evaluation of maker learner activities for children. We build on the design of a visual instrument used for learning by design and inquiry in primary education. The findings and results are transferable to (formative) assessment and evaluation of learning activities by learners in other types of education and specific in maker education.
The project tries to promote social inclusion by engaging different groups of young adults in a variety of cultural activities.Cultural activities such as visiting a museum or attending a theatre show more often act as a marker of social boundaries than as an invitation for social interaction. To reverse the resulting social fragmentation, members of separate ‘bubbles’ have to share time, place, content, and experience.For cultural activities, this means bringing in as well as emotionally engaging both frequent and infrequent visitors in joint experiences. In this project we measured how frequent and infrequent young adult visitors experience cultural activities, as well as their overall post-experience evaluations. Measuring experiences of participants both inside and outside the cultural ‘bubble’ is needed to understand a) how social group membership affects emotional engagement and b) how to develop policy to promote social interaction and to broaden social inclusion amongst young people.Partners: Tilburg University, Stichting Cultuurmarketing, Theaters Tilburg en Rotterdam, Museum Groningen
We had been involved in the redesign of the 4 Period Rooms of the Marquise Palace, also called the Palace of Secrets, in Bergen op Zoom. This design was based on the biography of a historical figure: Marie Anne van Arenberg, whose dramatic life was marked by secrets. Each of the 4 rooms represents a turning moment in Marie Anne’s story: the official marriage, the secret marriage and the betrayal, the dilemma and choice, with, in a final room, the epilogue. These different episodes are reflected in the way the rooms are furnished: the ballroom, the bedroom, the dining room. The Secret Marquise as design and exhibition has brought more visitors to the museum. As designers and researchers, however, we were interested in understanding more about this success, and, in particular, in understanding the visitors experience, both emotionally and sensorially at different moments/situations during the story-driven experience.In the fall of 2021, the visitors’ lived experience was evaluated using different approaches: a quantitative approach using biometric measurements to register people’s emotions during their visit, and a qualitative one consisting of a combination of observations, visual imagery, and interpretative phenomenological analysis (IPA).Qualitatively, our aim was to understand how respondents made sense of Marie Anne’s story in the way in which this was presented throughout the exhibition. We specifically looked at the personal context and frame of reference (e.g., previous experiences, connection to the visitor’s own life story, associations with other stories from other sources). In the design of the rooms, we used a combination of digital/interactive elements (such as a talking portrait, an interactive dinner table, an interactive family painting), and traditional physical objects (some 17th century original objects, some reproductions from that time). The second focal point of the study is to understand how these different elements lead the visitors experience.
