How People Make Things is an exhibition that helps families talk together and learn about the making of everyday objects. The goal of the project was to create a learning environment that mediates difficult manufacturing concepts for parents, and scaffolds the development of family conversations about the processes of making both inside and outside the museum. A visit to the exhibition would be deemed successful if visitors demonstrated changes in what they knew and how they talked about objects and manufacturing processes. A model of change describing how families might build such an
Creating and editing large graphs and node-link diagrams are crucial activities in many application areas. For them, we consider multi-touch and pen input on interactive surfaces as very promising. This fundamental work presents a user study investigating how people edit node-link diagrams on an interactive tabletop. The study covers a set of basic operations, such as creating, moving, and deleting diagram elements. Participants were asked to perform spontaneous gestures for 14 given tasks. They could interact in three different ways: using one hand, both hands, as well as pen and hand
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TEAM MEMBERS:
Mathias FrischJens HeydekornRaimund Dachselt
Zooming user interfaces are increasingly popular on mobile devices with touch screens. Swiping and pinching finger gestures anywhere on the screen manipulate the displayed portion of a page, and taps open objects within the page. This makes navigation easy but limits other manipulations of objects that would be supported naturally by the same gestures, notably cut and paste, multiple selection, and drag and drop. A popular device that suffers from this limitation is Apple’s iPhone. In this paper, we present Bezel Swipe, an interaction technique that supports multiple selection, cut, copy
Most current multi-touch capable interactive user interfaces for tabletop are built from custom toolkits that are decoupled from, and on top of, the “Desktop” provided by the underlying Operating System. However, this approach requires that each individual touch system build their own suite of touch capable custom applications (such as photo browsers), usually resulting in limited functionality. In this paper, we propose a software architecture for supporting and integrating multi-touch capability on existing desktop systems, where multi-touch and multiple single pointer input can be used
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TEAM MEMBERS:
Kelvin ChengBenjamin ItzsteinPaul SztajerMarkus Rittenbruch
In this article, Wayne LaBar, Vice President of Exhibitions and Featured Experiences at the Liberty Science Center and Principal-in-Charge at LSC Experience Services, presents preliminary observations, lessons learned, and discoveries made during the first year of developing "Cooking: The Exhibition Chefs." During the development of this exhibit, Liberty Science Center began an ongoing series of investigations called "Exhibit Commons," an attempt to engage the public in its exhibition process and operations. LaBar's analyzes the influence of this method on the entire exhibit development
In this article, Brenda Baker, Director of Exhibits at Madison Children's Museum and Founder and Director of greenexhibits.org, examines the practices, success stories, observations, and challenges faced by children's museums trying to "green" their exhibition programs. Baker offers idea about rethinking how the field builds and designs exhibitions based on green standards.
This article features critiques of the Tusher African Center at the California Academy of Sciences. Marjorie Schwarzer, Chair and Professor of the Department of Museum Studies at John F. Kennedy University, Margaret Kadoyama, Principal of Margaret Kadoyama Consulting and Adjunct Faculty in the Department of Museum Studies at John F. Kennedy University, and Sheila Pressley, Director of Education at the Fine Arts Museum of San Francisco, share their analysis of the exhibition and assess its strengths and weaknesses.
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TEAM MEMBERS:
Marjorie SchwarzerMargaret KadoyamaSheila Pressley
This article analyzes discussion exhibits as a method for garnering visitor feedback. Authors Ben Gammon, of Ben Gammon Consulting, and Xerexes Mazda, Head of Learning and Audiences at the British Museum, critique the experimental use of this kind of exhibit in the Science Museum, London. They describe both the advantages and disadvantages of this method.
In this article, Nina Simon, an experience design consultant at Museum 2.0, explores the correlation between museum and exhibit design and visitor participation. Simon suggests that increased parameters and more thoughtfully designed exhibits will yield more meaningful visitor participation.
In this article, Kathleen McLean, Principal of Independent Exhibitions and consulting Creative Director for the Oakland Museum of California, and Adam Nilsen, History Researcher at the Oakland Museum of California, describe the experimental design process associated with their new gallery "Forces of Change." This 750 square foot installation is part of the larger "Coming to California" history exhibit. The "Forces of Change" exhibit is being developed as part of a collaboration between 24 people from across California. This co-design and co-development project can be instructive for other
In this article, Penny Jennings, Senior Exhibit Developer for West Office Exhibition Design, explores three challenges of translation exhibit text: writing, scheduling, and technical logistics. Jennings advises on how to best handle these challenges and deliver quality exhibits in foreign language(s).
In this article, photographer Amy Dreher critiques the "Click! A Crowd-Curated Exhibition" at the Brooklyn Museum from a partipant's perspective. The exhibit is based on James Surowiecki's critically acclaimed book, "The Wisdom of Crowds" and features photographs depicting the "changing faces of Brooklyn" submitted by and evaluated by the public.
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TEAM MEMBERS:
Amy DreherNational Association of Museum Exhibition