Investigating Sustained Visitor/Museum Relationships: Employing Narrative Research in the Field of Museum Visitor Studies

ABSTRACT

Museums today are faced with a number of challenges and are currently searching for ways to attract and retain audiences and engage with the public. In order to address these issues, researchers have called for studies to help construct a more complete understanding of the visitor experience. Few studies employ methodological approaches that provide in-depth accounts of the museum experience. Narrative methodology is one means by which researchers may access rich accounts of the multi-faceted nature of audience relationships with museums. This article reports preliminary findings from a narrative research study that aimed to explore sustained visitor/museum relationships. The narrative methodology adopted for this study provides novel insights into the nature of these relationships and extends our understanding of those museum experiences that build and strengthen relationships with visitors.     

Photographing in the Art Museum: Visitor Attitudes and Motivations

There is an animated debate in popular media about whether or not photography should be allowed in art museums. However, there is limited research that examines how visitors themselves feel about visitor photography and the reasons why they choose to take (or not take) photographs in museums. This research, conducted at the Smithsonian National Portrait Gallery in Washington, DC, uses semistructured, in-depth interviews and photo elicitation with 40 adults to examine visitors' attitudes to using photography inside art museums and their motivations for doing so. The research results suggest that visitors with positive attitudes towards visitor photography see photographic devices as tools that enhance certain aspects of the museum experience, promote further education, and provide entry points to exhibitions and a more interactive, personal experience. Those with negative attitudes see photographic devices as mediating and distracting lenses that have a detrimental effect on intimate experiences with artworks. Many of the participants with negative attitudes still use photographic devices because they believe that the risk of diminishing art experiences in the museum is worth taking, considering the potential uses of photography. The six main motivations for taking photographs in museums are (a) to aid memory, (b) to share, (c) for further research, (d) to inspire, (e) as building material for self-identity, and (f) as an art form in its own right.     

The Influence of Background Music on the Visitor Museum Experience: A Case Study of the Laiho Memorial Museum,Taiwan

ABSTRACT

The uses and functions of music within the museum environment are of both practical and theoretical interest. This article investigates the impact of background music on the museum visitor experience using information collected from 20 in-depth interviews with visitors to the Laiho Memorial Museum in Taiwan. Each participant heard either a piece of light music or a historical recording of a 1930s song while visiting Laiho's personal study exhibited in the museum. These two types of background music have comparable information loads, although they fit the exhibit to different degrees. Qualitative analysis of interview data indicates that background music played in museums has both emotional and cognitive influences on the visitor experience. This study showed that light music evoked warm and relaxed feelings in participants, whereas a 1930s song evoked feelings of nostalgia and curiosity to learn more about the song. The results are discussed in terms of the diverse needs, behaviors, and attitudes of museum visitors.     

Experimental and Quasi-Experimental Designs in Visitor Studies: A Critical Reflection on Three Projects

Identifying causal relationships is an important aspect of research and evaluation in visitor studies, such as making claims about the learning outcomes of a program or exhibit. Experimental and quasi-experimental approaches are powerful tools for addressing these causal questions. However, these designs are arguably underused in visitor studies. In this article, we offer examples of the use of experimental and quasi-experimental designs in science museums to aide investigators interested in expanding their methods toolkit and increasing their ability to make strong causal claims about programmatic experiences or relationships among variables. Using three designs from recent research (fully randomized experiment, posttest only quasi-experimental design with comparison condition, and posttest with independent pretest design), we discuss challenges and tradeoffs related to feasibility, participant experience, alignment with research questions, and internal and external validity. We end the article with broader reflections on the role of experimental and quasi-experimental designs in visitor studies.     

Museum Atmospherics: The Role of the Exhibition Environment in the Visitor Experience

ABSTRACT

This review presents atmospherics as a potential model for studying the interplay between visitors and the exhibition environment in informal learning settings such as museums. Atmospherics posits that the environment influences affective, cognitive, and behavioral responses, and that these responses can be shaped by design cues in the environment (Kotler, 1974). Atmospherics and the related model of the servicescape have informed research in a variety of retail, leisure, and entertainment settings (Chang & Horng, 2010; Turley & Milliman, 2000). Applying the atmospherics model to the museum environment has considerable potential for extending our understanding of the role that the exhibition environment plays in the museum visitor experience, and informing the design of informal learning settings.     

Visitor Usage of Digital and Physical Artifacts in Two Museum Programs

ABSTRACT

This article reports on a study designed to explore how digital and physical reproductions of original artifacts could be incorporated into museum programs that teach visitors about mechanical motion. Museum visitors were introduced to 3 different types of models through 2 different programs: an engineering design challenge and an exhibit interpretation exploring mechanical motion in every-day objects. Research, based on visitor observation and interviews (n = 79), explored how user interaction with the digital and physical models compared with interactions with the original artifacts, assessed what effect the integration of digital and physical models had on learning, and examined what the learning experience looked like for learners using the mechanisms in the museum activities. Analysis of the learning conversations in additional in-depth case studies (n = 8) for both programs provides a detailed look at how visitors integrated the 3 different model types into their group's experience. Results showed that visitors' usage of, attitudes toward, and learning from the three different types of mechanical models varied based on the visitor or educators' perceived value of the particular model, which was impacted by the context in which the objects were presented.     

Introducing Walk-Alongs in Visitor Studies: A Mobile Method Approach to Studying User Experience

Abstract

This article introduces the walk-along method as a potential approach to study visitor interactions and experiences in situ. Prompted by the methodological challenges involved in gaining insight into the individual, subjective visitor experience, this article explores the potentials and pros and cons of the mobile, walk-along method. The mobile walk-along method is an open-ended qualitative approach to capturing visitors’ immediate experiences, interpretations, and emotions in the instant of experiencing. This article points to the method’s relevance in visitor studies by drawing on empirical and methodological insights from a visitor study at a science center exhibition about movement and health at the Experimentarium near Copenhagen, Denmark. Based on 34 group walk-alongs (108 visitors), the findings show that the walk-along method can provide an understanding of visitor experience related to visitors’ spatial practice, personal biographies and the social architecture between visitors.     

A Natural History of Belief

Contemporary philosophy of mind is dominated by a conception of our propositional attitude concepts as comprising a proto-scientific causal-explanatory theory of behavior. This conception has given rise to a spate of recent worries about the prospects for naturalizing the theory. In this paper I return to the roots of the theory-theory of the attitudes in Wilfrid Sellars's classic Empiricism and the Philosophy of Mind. I present an alternative to the theory-theory's account of belief in the form of a parody of Sellars's Myth of Jones, one that highlights the normative and pragmatic aspects of this concept and, hopefully, enables us to bypass questions about its physical realization.     

A Natural Approach in Mental Health Practice: Occupational Adaptation Revealed

A single case study of the stories told by one occupational therapist about her clients in mental health settings is presented in this article. Qualitative analysis revealed key concepts of the role of the occupational therapist as defined by occupational adaptation theory, along with unique perspectives of occupational therapy in mental health settings. The outcome of this study is a demonstration of the unique insight occupational therapy brings to addressing client recovery in mental health settings, specifically from an occupational adaptation perspective. This insight should enlighten others as to the necessity of skilled occupational therapy in mental health settings.     

The Final Reconciliation: Reflections on a Social Dimension of the Eschatological Transition

The basic thesis of the essay is this: If the world to come is to be a world of love, then the eschatological transition from the present world to that world, which God will accomplish, must have an inter-human side. The work of the Spirit in the consummation should be understood to include not only the resurrection of the dead and the last judgment but also the final social reconciliation. The final social reconciliation is the eschatological side of the vision of social transformation contained in the movement of the Triune God toward sinful humanity to take them up into the circle of divine communal love.