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MJ_05-1Image: Things to look at

Yesterday, we wrote about emotions and the necessary surprises to return visitors to museums. For an experience that leasts more than normally time of a quick visit, initial curiosity and surprise must be included in the visit. It is necessary to achieve a higher degree of emotional complicity, if possible, included in the museum tour. That emotionally needs complicity that can be achieved only when the museum, like a living thing, make a direct relationship with visitors. The interactive museum programming – one that is developed for the museum, visitor dialogue is established – is the motivational tool by how fun and exciting it can be to visitors, whatever their personal profile. This motivational response to the visit is especially useful for youngsters, a social group that has a tendency to be bored and melancholy when the action is tight. They are generations who were born with technology as a toy and many of them have concerns to discover and experience new things, to create, to solve challenges and ask fueling their curiosity.

tumblr_lf1x5hbgZD1qacr3zo1_500Image: NonWritten

In museums, the ldico factor should be rated as very important from the point of view of the stimulus, the game treated as exploratory experience, observaciny of experimentation. They are channels that encourage learning fluid mechanics even for more greater. Johan Huizinga (1998) establishes a new classification in the human species besides Homo sapiens and Homo faber, Homo introduces the category of ludes. This last classification of the human species estrelacionada game generator instrument of culture, as an active way of acquiring knowledge. Other authors highlight the game as a cornerstone in the development of life. JK Sawyers (1988) says “the game is perhaps the only human behavior that integrates and balances all aspects of the functioning of man.”

WONDER_CENTER_WC_retouch_IMG_1414_613x340Archive EVE

We will give two examples to leave a margin so both abstract theory: The Wonder Center Arizona Science Center or Mission Biospace, Cite del’Espace in Toulouse in France, La Villette in Paris, NEMO in Amsterdam , museums, learning centers already mentioned in another previous post. There are many other examples, fortunately. All these initiatives have in common the game as a learning tool, especially aimed at children but also for adults. They are places where there are levers, buttons, handles, pedals, boating, places to run and jump, with light and sound effects, and even olfactory experiences. There are also tactile displays with video games and flash animation.

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Another important element in museum exhibitions, is all I estrelacionado with real objects and events. These are elements that put us in touch with our history, generating curiosity and enhancing the game with the imagination by various stimuli, whether sensory, emotional or intellectual. New technologies applied to museographer are very useful, but the real things are very important, although new technologies museogrficas support and reinforce this direct relacinms between objects and visitors. An example of this last is the area within the Cabinet of War of Whitehall in London, dedicated to the figure of Winston Churchill (“today we are going to write a long letter I have little time.”) Aquse shows how you can be a valuable balance between real objects and new technologies that enhance the meaning of the story. Everyone leaves happy to this museum that can boast of having used the latest museographic solutions for visitor’s satisfaction of all ages.722_CWRArchive EVE

The historical simulations actually offer us the possibility to establish direct communication with their former players, no matter what time in history they come from. This form of contextualisation of learning and knowledge in museums, offers a very wide range of possibilities and solutions to strengthen the relationship between learning and Diversin fan. The objects are supported by the localization in time, in one place, Accompanied by its protagonists (we come to use virtual ghost to tell a story). All this deployment results in the curious visitor, you unknowns to solve, search of answers, etctera. also can be machined unconscious exploration experiences for visitors, with the support of activities that are very entertaining for its magical and surprising character in both the visual and the physical plane. All geared to make the museum visit is memorable. Other intangible element gives talk in museogrfico project, which today is a very important factor any draft value. malba_joven_02Design: Malba Joven

BIBLIOGRAPHY:

RICO, J.C. / ALCALÁ, J.R.

¿Cómo se cuelga un cuadro virtual? Las exposiciones en la era digital

Editorial TREA, Gijón (2009)

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