Interactivity applied to museums can be a fairly complex concept, that could be classified in many different ways, especially if we focus the subject on the factors involved in it: info supports, space and time, resources, objectives, rhythm, intensity levels, origin, number of participants, competitive or cooperative characters, etctera. There have been various classifications from quite elaborate arguments coming from other studies and experts, but they do not give too much light to the point, really. “Museums interactivity with high” or “low interactivity Museums” what does it means? It is quite absurd in general terms, as there are interactive solutions with a single graphical question triggers a sinfn operations, while a complex “interactive machines” can solve specific issues only scores.
Matt Kelm Design / Human Interactivity
We can make a first classification by very basic concepts:
– Interactivity by computers or electronic characters: the interpelacin with visitors to the museum is scheduled informticamente using machines.
– Interactivity mechanical or manipulative characters: it is a simple interaction using mecnicas solutions, ranging from the use of springs or electrical connectors.
– Interactivity of human characters: use this denomination to refer to that interaction caused by human agents either entertainers, actors, guides, etc…
We will do extensive clasificacinms encompassing, one way or another, these three above, but giving them more importance to involve machines, which is what really museographer complex. Let all:
1 Interaction with information. Using simple tactile screens, joysticks, keyboards with simple programs. Modules are actually located in the halls and they often report the contents of museums (maps, works, services, etc..). They are individual use, such as vending machines in subway tickets or very similar.
2. Interaction for learning simple: respond to interactive systems uncommon, even rare, uncommon. Are machines who act with a system of unidirectional response question: the question machine, the visitor responds. It looks like the token system learning. They get outdated very quickly.
3 Interatividad based video games. Were the most complex and expensive, complicated in its maintenance, so there are usually seen frequently in museums. They are the most effective, that s because they are really interactan machines with the visitor. The future of these systems for the mus
4. Interactivity based skills each: is very old and has been practiced as a game and as training. In the field of computer sciences there are many examples, the Tetris game is one of them.
5. Based puzzles Interactivity may not be informtica base. It’s a classic game taken to the computer, there is much more to explain, we’ve all played with them.
6. Interactivity based platforms: are video games where we spent from one phase to another depending on our skills. While we are not able to overcome a phase we can not move to the next and what we do if we prove knowledge of something concrete, for example.
7. Interactivity grficas adventures in them the protagonist ESTN are you and also based on our skills. It’s like a book, but instead of reading, plotting visualize it and completing the action of the plot as we want. You can use speech, examining objects, use objects, open doors …
8 Interactivity Role Playing Game. Estbasada in RPGs, so it will be part of history. Are visible from an overhead shot. Move the characters in a scenario in which points are Sealan to perform different actions. You control all the action.
9. Interactivity strategy: from checkers or chess, for individual work shifts – a move / decision after another – also called real-time strategy with cause and effect. Its aim is to demonstrate different skills to direct operations that will lead to a logical goal.
In any case, from the merely human point of view, the word is one of the best interactive tools that we have men and women to access knowledge. Thanks to the word, we can interact with us directly into a friendly environment. It is an interactivity that is based on the oral and written word. If these lines leis, estis interacting with us in some way, reacting to what we have written. Pulsaris a button to “like” or not haris, I “inscribiris to blog” or cerraris the page, it recomendaris someone. These words may trigger a large number of actions based on the word – even in a digital environment -. Many of the approaches that museums need to respond to a need for active dissemination of knowledge can be solved with the use of the word, not so much written – the huge panels filled with authentic texts are a pain – but if we can hear what is being said, what is narrated, so other people can show us and we do not know yet. There’s guides, informants, animators, actors, all professionals fantsticos can we step into a story. At the end of the road, there is nothing that can really replace person-to-person interaction, as in Love matters.
SANTACANA I MESTRE, J. / MARTÍN PIÑOL. C.
Manual de museografía interactiva
Editorial TREA, Gijón (2010)