However, even in the field of gaming, with examples like Nintendo Wii and the Xbox Kinect, there have been successful examples of utilizing intuitive and alternative ways to interact with media. These in themselves convey a dollhouse-look furthering the sense of exploring but also showcase a whole production rather than singular parts of it that many of the other exhibit items do. Installationsteknik Closed down Meddelande. The notion of providing means for user-generated content is something that echoes throughout several attempts at implementing technology in the museum, and here it becomes rather hard to know which ones to mention and which ones to skip over. While what I discussed in related work was interactive art, a topic very much relevant to museums what I am specifically discussing here is a type of research that acknowledges technologies that enhances the museum experience, but also takes into account what the relevant models for defining the museum visit are. The process starts with a workshop consisting of students. This includes both examples I found out about in studies or other sources, as well as a series of museum visits I conducted.

Still, it does not mean that the information is irrelevant within the museum environment, but it may allow for a better understanding of what are the important factors to consider when implementing interactive media within the museum exhibition space. List of activities 2. The examples I have presented showcase how museums can use the technological developments to further distinguish their exhibitions. The app had basic information and an introduction to the current exhibition at the museum, but also made use of QR-technology. The CST department conducts research to understand and model physical and biological systems using computational techniques, which require efficient, high performance algorithms and implementations together with advanced visual analysis capabilities. This also means that unlike some of the other groups, they will not have a big focus but will explore the museum in a more general sense Falk,

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The experience seeker can extend his or her experience by saving it in the thhesis, and it is unclear if visitors with this motivation will value the post-visit more than the actual visit if this form of theais would be available.

However, the main argument that this is the best approach is that it is about layered information, the concept already firmly established in the kaster of the main exhibition that corresponds to the sense that the museum visit is part of a trajectroy. By finding the object number and entering it into the application the user comes to figure Charles Kovoroly, the scenographer behind the new look of Dansmuseet, said in one of my interviews with him that nothing in the museum environment lacks purpose as to its presence there, which is a statement that supports this claim.


It is interesting to note that Kovoroly stated that ubiquitous accessibility was never a goal with the exhibition, there is for instance no braille-text available as an alternative to the other forms of information and overall the museum is a little bit hard to access if one would have a disability.

Strike a Pose Being basically a game it does activate visitors. The workshop itself took place in one of the participant’s apartment. The museums own mobile app provided an interesting dimension to the museum, as Tom Tits does not present any textual information in the actual museum about their exhibition items. Limit the search further. It is also very much the essence of sharing your experience, as discussed earlier in this thesis.

This means that me as a designer met and talked to the people responsible and in charge of the project, to find out what opportunities existed and what I had to adhere to. They are the group least predictable as their goal in the museum is to satisfy their curiosity.

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Samis, It had huge repercussions in the art world since it clearly presented voices not acknowledged by the museum to become unofficial authorities on the exhibition. The exhibition as it stands did provide a pretty decent protection against theft due to the showcases protecting the relevant artworks. This became more clear when looking at what examples of technology seemed most fitting in the environment of Dansmuseet.

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The exhibition had different themes and contexts presented in association with the different exhibited items but they also had an app for smartphones. The purpose of these iPads is to give further information about the objects in the exhibition.

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She wanted to know what it was she was looking at and wanted to gain quick access to the exhibition, and she often accomplished this herself through looking up information about the exhibitions she visited beforehand. As the designers described it, they wanted to utilize the connection with the Russian ballet, and spread the enjoyment from movement and rhythm that dance can give.

Is the technology used in the approach lasting, or will it be outdated too soon? The question was however, how feasible this is, seeing as the collection in itself is rather small at Dansmuseet and there is also the question of how developed image-recognition software is currently. This is even more of an issue for such a small museum as Dansmuseet and can be an obstacle for the implementation of technology in the museum environment and while some museums have managed to push through this obstacle, the notion of interactive media in the museum is still not universally accepted NMC, This approach is interesting to analyze from the museum visitor experience model.


For more information go to https: It is worth pointing out that, as was hinted in the workshop with the museum staff, many of these proposals were an eye-opener for the staff at Dansmuseet. A showcase within Dansmuseet The Showcases at Dansmuseet play a big part in the current exhibition, and was the basis for one of the proposals.

The actual material and information in the museum and Socio-Cultural Context: The process starts with a workshop consisting of students. Even though I had some grasp on what Dansmuseet strived to do with their mawter but ultimately it was not finished yet. To do this I proceeded to get more practical, in investigating specific examples of interactive technology implemented in other museum environments, choosing them from the criteria I had discovered earlier.

Explorers might also find it intriguing to interact with this sort of game, and hobbyists might find it interesting to further learn how dance-moves are performed, granting a practical dimension to their quest for knowledge. As was said during the masger by the staff at Dansmuseet the question is if a PR-approach based on technology is warranted unless there is a clear example of technology present within the locales of Dansmuseet. Vasamuseet had audio guides, even for download on smartphones, but the focus was still on regular guides and information boards.

These are factors that I kept in mind when I looked at other examples of how museums have approached the prospect of interactivity in Interactive Media at Museums chapter. But secondly I also got to see some examples of other types of approaches to present museum exhibitions, whether they were based in other implementations of interactive media or had a complete lack of them.

In terms of furthering the debate regarding museum authority it arguably has a level of constructivism seeing as the visitors themselves can rearrange objects within the game to present their own sort of dance scenography.

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After each presentation of a proposal, there was some opportunity for questions and feedback.