Beyond Learning: Exploring Visitors' Perceptions of the Value and Benefits of Museum Experiences

Abstract This paper explores the beneficial outcomes that visitors seek and obtain from a museum visit, in terms that are not related to learning outcomes. It uses a deductive qualitative approach to investigate the meaning and value of a museum visit from the visitors' perspective. Three different levels of the meaning of the experience are considered: the attributes of the setting that visitors value; the experiences they engage in; and the benefits they derive. The findings confirm the importance of the “satisfying experiences” framework for understanding visitor experiences in museums, and extend this understanding in relation to the beneficial outcomes these experiences produce. The study also highlights the importance of “restoration” as an outcome of a museum visit. It is argued that the concept of the museum as a restorative environment, which enables visitors to relax and recover from the stresses of life, is worthy of further research attention. These insights will enable museum practitioners to better understand and meet their visitors' multiple needs and expectations.     

Paying Attention: The Duration and Allocation of Visitors' Time in Museum Exhibitions

The amount of time visitors spend and the number of stops they make in exhibitions are systematic measures that can be indicators of learning. Previous authors have made assumptions about the amount of attention visitors pay to exhibitions based on observations of behavior at single exhibits or other small data samples. This study offers a large database from a comparative investigation of the duration and allocation of visitors' time in 108 exhibitions, and it establishes numerical indexes that reflect patterns of visitor use of the exhibition. These indexes—sweep rate (SRI) and percentage of diligent visitors (%DV)—can be used to compare one exhibition to another, or to compare the same exhibition under two (or more) different circumstances. Patterns of visitor behavior found in many of the study sites included: (1) visitors typically spend less than 20 minutes in exhibitions, regardless of the topic or size; (2) the majority of visitors are not “diligent visitors”—those who stop at more than half of the available elements; (3) on average, visitors use exhibitions at a rate of 200 to 400 square feet per minute; and (4) visitors typically spend less time per unit area in larger exhibitions and diorama halls than in smaller or nondiorama exhibitions. The two indexes (SRI and %DV) may be useful measures for diagnosing and improving the effectiveness of exhibitions, and further study could help identify characteristics of “thoroughly-used” (i.e., successful) exhibitions.     

Creating a Program to Deepen Family Inquiry at Interactive Science Exhibits

Abstract A common goal of science museums is to support the public in science inquiry by engaging groups of visitors with interactive exhibits. This article summarizes the efforts of a team of researchers and practitioners to extend and deepen such inquiry by explicitly coaching families in the skills of scientific inquiry at interactive exhibits. The first phase of the project, reported here, involved designing a “best case” program that worked for small groups of casual visitors under ideal circumstances, facilitated by an experienced educator in a quiet laboratory near the public floor. The final program, called Inquiry Games, taught visitors to sandwich their spontaneous physical experimentation between two additional phases: asking a question to drive their investigation at the beginning; and interpreting the results of their investigation at the end. Provisional evaluation data suggest that the Inquiry Games improved visitors' inquiry behavior in several ways and was rated as very enjoyable by them. Encouraged by these indicators, we suggest ways in which this program might be implemented on the open museum floor.     

Thinking about “Scenes”: A New View of Visitors' Influence on Museums

Abstract Sociologists have described “scenes” as voluntary social groupings or figurations that are “… thematically focused cultural networks of people who share certain material and/or cognitive forms of collective stylization,” according to Hitzler, Bucher, and Niederbacher (2001, 20). This terminology is quite useful for thinking about Stephen Weil's assertion that visitors play a role in shaping museums. Through “scenes,” we see how this might happen, and how visitors might already be exerting subtle pressure on the forms and contents of museums. The study of scenes could help us develop a tool that would offer a unique vision of the influences that visitors have on museums.     

Seven Myths About the ISSN

Summary

An understanding of how International Standard Serial Numbers (ISSN) are assigned and used is fundamental to the work of all participants in the serials information chain. This workshop sought to dispel many of the common misconceptions about the ISSN by exploring the “myths” and presenting the facts.     

Learning for Fun: The Unique Contribution of Educational Leisure Experiences

Abstract What do visitors want or expect from an educational leisure activity such as a visit to a museum, zoo, aquarium or other such experience? Is it to learn something or to experience learning? This paper uses the term “learning for fun” to refer to the phenomenon in which visitors engage in a learning experience because they value and enjoy the process of learning itself. Five propositions regarding the nature of learning for fun are discussed, drawing on quantitative and qualitative data from visitors to a range of educational leisure activities. The commonalities between learning for fun and other theoretical constructs such as “experience,” “flow,” “intrinsic motivation,” and “curiosity” are explored. It is concluded that learning for fun is a unique and distinctive offering of educational leisure experiences, with implications for future research and experience design.     

From Knowing to Not Knowing: Moving Beyond “Outcomes”

The ways that museums measure the success of their exhibitions reveal their attitudes and values. Are they striving to control visitors so that people will experience what the museum wants? Or are they working to support visitors, who seek to find their own path? The type of approach known as “outcome‐based evaluation” weighs in on the side of control. These outcomes are sometimes codified and limited to some half‐dozen or so “learning objectives” or “impact categories.” In essence, those who follow this approach are committed to creating exhibitions that will tell visitors what they must experience. Yet people come to museums to construct something new and personally meaningful (and perhaps unexpected or unpredictable) for themselves. They come for their own reasons, see the world through their own frameworks, and may resist (and even resent) attempts to shape their experience. How can museums design and evaluate exhibitions that seek to support visitors rather than control them? How can museum professionals cultivate “not knowing” as a motivation for improving what they do?     

“Big Deals” and Squeaky Wheels: Taking Stock of Your Stats

This article describes a half-day pre-conference focused on the ins and outs of assessing “Big Deals.” The presenters gave an overview of issues related to “Big Deals,” and engaged the attendees in discussions about their own experiences with the topic. They then detailed the process of assessing “Big Deals” at their institution, including their methods for evaluating usage statistics. Attendees were provided with sample Excel spreadsheets for hands-on exercises to practice applying the methods described.     

Psychiatric Power: The Post-Museum as a Site of Rhetorical Alignment

This essay examines Brain: The World Inside Your Head, a traveling museum exhibit sponsored by Pfizer, to show how the dissemination of psychiatric vocabularies aligns corporate and individual interests. The spatial composition of the museum and its interactive exhibits interpellate visitors as active agents capable of expressing their experiences through the scientific vocabularies of contemporary neuroscience. The gentle and benevolent conditioning to a way of thought and a manner of speaking, rather than a “hard sell” approach, makes pharmaceutical remedy an obvious and desirable mode of self care.     

Communication research and the idea of process

The term “process” admits of two definitions in the philosophy of science: one based on a 19th century mechanistic view, the other consistent with quantum relativistic notions. Scholars in speech communication have misused these essentially contradictory definitions. Methodological notions have often been based on a deterministic view of cause while, at the same time, definitions of communication have been based on Whitehead's view of reality as “becoming.” As a result, theory and research have been inconsistent. To implement the contemporary notion of “process,” ideas of methodological rigor based on causal determinism must be substituted by notions of carefulness based on acknowledgement of the observer's involvement in his own observations.     

The Right Kind of Wrong: A “Knowledge in Pieces” Approach to Science Learning in Museums

Research has highlighted the vast gulf that exists between experts' and novices' understandings of science, and how difficult it is to bridge this gulf. When this research is applied to the design of museum exhibits and outreach material, it becomes clear that there is a tension between being scientifically correct and communicating effectively to a broad, diverse audience. In this paper we present a new approach to thinking about science learning in museums. Drawing on decades of research from the learning sciences, we argue that being “wrong” is an inescapable part of learning, and that not all simplifications are problematic. Instead, being “wrong” involves the gradual restructuring of many fine‐grained intuitive or commonsense notions that persist throughout the learning process and play an essential role in scientific expertise. We discuss the implications of adopting this approach for museum design.     

“Nobody Really Wants to be Called Bossy or Domineering”

This article examines talks given by 12 female media professionals at a Southern US university’s center on women in communication between 2013 and 2015 to identify the influence of hegemonic masculinity in industry speak about women and professionalism in the fields of journalism, advertising, and public relations. This paper applies a feminist critique of discussions about “work–life balance,” “leaning in,” “emotion,” and language about the role of technology and innovation in women’s careers, to argue that inherent in these discussions about media professionalism are traits that perpetuate binary notions of feminine–masculine traits of the workplace. As a whole, these messages fail to account for notions of intersectionality and perpetuate inequality and masculine power for future professionals.     

As others see us — and as we really are

The field of Speech is faced with a number of misconceptions which should be noted by members of our profession in order that the essential nature of each of these “images”; can be properly understood and that a reasoned and documented reply can be provided. Each of these misconceptions has important implications in terms of our general status in society and also in terms of our academic status — place in the hierarchy of disciplines, Curricula, courses, degree programs, etc.     

The Museum Experience: Mapping the Experience of Fine Art

How do visitors to fine art museums experience exhibitions? Can we classify their experiences? What are the factors that drive different types of visitor experience? We set out to answer these questions by analyzing from sociological, psychological, physiological, and behavioral perspectives the responses of 576 visitors to a special exhibition 11: 1 (+ 3) = Eleven Collections for One Museum mounted at the Kunstmuseum St. Gallen, Switzerland, from June to August 2009. Our five‐year research project, eMotion: Mapping the Museum Experience, interpreted computer‐modeled movement‐tracking and physiological maps of the visitors in complement with entrance and exit surveys. We tested individual aspects of the visitor, such as her or his expectations of the exhibition prior to seeing it; his or her socio‐demographic characteristics; her or his affinity for art, mood just before and receptivity just after the visit; and spatial, individual, and group‐related behavior patterns. Our study breaks down three types of exhibition experience that we call “the contemplative,” “the enthusing,” and “the social experience.” The results yield new information about aesthetic arousal, cognitive reaction, patterns of social behavior, and the diverse elements of the exhibition experience.     

The Effectiveness of Direct-Instruction and Student-Centered Teaching Methods on Students' Functional Understanding of Plagiarism

ABSTRACT

To improve students' functional understanding of plagiarism, a variety of approaches was tried within a comprehensive information literacy program. Sessions were taught as a “module” inside a required communications skills class at a private university. Approaches taken included control, direct-instruction, and student-centered sessions. Students were taught content and definitions regarding plagiarism, what circumstances or instances constitute plagiarism, where to go for help in avoiding plagiarism, and what constitutes appropriate paraphrasing. Pretest and posttest scores indicated that no approach performed significantly better than the others; however, even though students improved across all methods, they nonetheless showed the need for more hands-on practice.     

CULTURE and culture at the Royal Ontario Museum: Anthropology Meets Marketing,Part 1

The museum in the contemporary era imports from the nineteenth century a venerable idea: that the first responsibility of a public art museum is to enlighten and improve its visitors, morally, socially, and politically. Yet visitors often seem to have arrived from another planet, bringing with them their own cultural meanings and agendas. A series of two articles presents ethnographic data, anthropological analysis, and a marketing perspective to suggest why the visitors' points of view may seem vertiginously strange to museum personnel. This article, Part One, characterizes the conflict between host and guest as the outcome of two competing models of culture: “preferment” and “transformation.” In a subsequent issue of Curator, Part Two will examine the influence of consumer culture on these models, and offer strategies for rapprochement.     

“Let's talk about sex”: visitor comments in Contraception: Uncovering the collection of Dame Margaret Sparrow

Contraception: Uncovering the collection of Dame Margaret Sparrow was an exhibition at the Museum of New Zealand Te Papa Tongarewa which featured a participatory activity titled “Let's talk about sex” where visitors could answer the question: “If you could give your younger self one piece of advice about contraception, what would it be?” Over 2200 comments were written, inspiring an evaluation project. The resulting analysis provides insights into visitors’ attitudes, values, behaviours, experiences and concerns about contraception, sex, sexuality and sexual health in the early 21st century. The results also demonstrate the value and usefulness of visitor comments both as an exhibition experience and as data to complement formal evaluation methods. The paper also acknowledges the less successful aspects of the project.     

Designing With Multiple Interactives: Five Common Pitfalls

Abstract Interactive museum exhibits are ubiquitous in science centers, and are becoming increasingly popular in art, history and cultural museums. At an interactive exhibit, visitors can act on the exhibit and the exhibit reacts. While there is much theoretical and empirical support for the idea that interactive features promote science learning, we believe that serious design problems can arise if an uncritical “more is better” approach is taken to interactivity. This article describes five common pitfalls of designing exhibits with high levels of interactivity or multiple interactive features: 1) multiple options with equal salience, 2) features allowing multiple users to interfere with one another, 3) options that encourage users to disrupt the phenomenon being displayed, 4) features that make the critical phenomenon difficult to find, and 5) secondary features that obscure the primary feature. Examples of each of the five problems are presented, and possible design solutions are offered.     

CULTURE and culture at the Royal Ontario Museum: Anthropology Meets Marketing,Part Two

This paper reports anthropological research conducted at the Royal Ontario Museum (ROM) by the author over three years. The purpose of the research was a traditional anthropological one: to listen to visitors at length and in depth. Part One, published in Curator 46 (2), offered ethnographic data, anthropological analysis, and a marketing perspective to suggest why the visitor's point of view may seem vertiginously strange to museum personnel. It characterized the conflict between host and guest as the outcome of two competing models of culture: “preferment” and “transformation.” In Part Two, visitors' experiences of the museum serve to illuminate a shift in attitudes toward museum culture. This research establishes a typology of consumer segments and a set of strategic recommendations for freeing the museum from the preferment model without abandoning those visitors who continue to embrace it.     

IPOP: A Theory of Experience Preference

The theory and practice of IPOP emerged from structured observations and interviews with visitors to the Smithsonian Institution museums in Washington, D.C. from the 1990s to the present—a dataset useful in constructing a long view. This research has had one overarching intention: to serve museum visitors better, that is, to provide visitors with experiences that are above average, special, significant, and memorable. In numerous studies and interviews during the last 16 years, visitors have repeatedly spoken about their reactions to Smithsonian museum exhibitions in four typologies distilling their primary interests: I = ideas, P = people, O = objects, and—as we were obliged to add at a later stage—a second P for “physical.” The evidence suggests that exhibitions that strongly appeal to all four visitor typologies will be highly successful with visitors.