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Cited by 23Museums and Cultural HeritageLibraries and Information ServicesCultural Heritage Management and Preservation

Crafting Critical Heritage Discourses into Interactive Exhibition Design

Open access
Claisse, Caroline, Petrelli, Daniela, Ciolfi, Luigina, Dulake, Nick, Marshall, Mark T., Durrant, Abigail C.·2020·Proceedings of the 2020 CHI Conference on Human Factors in Computing Systems
DOI 10.1145/3313831.3376689
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Abstract

This paper argues how a more reflective design practice that embraces critical discourses can transform interactive exhibition design and therefore the museum visiting experience. Four framing arguments underpin our exhibition design making: the value of materiality, visiting as an aesthetic experience, challenging the authorized voice, and heritage as a process. These arguments were embodied through design, art and craft practice into one interactive exhibition at a house museum. We draw from our design process discussing the implications that adopting an approach informed by critical heritage debates has on exhibition design and suggest three sensitizing concepts (polyvocal narratives, dialogical interaction, interweaving time and space) bridging the practice of interactive exhibition design and critical heritage theory.

Integrity signals

Registry

Crossref · 10.1145/3313831.3376689

Cites

71 of 71 references verified0 citation errors · 0 not checkable

Statistics

Nothing to recompute.

Claims the paper makes

11 of 78 cited sources checked · 5 supported · 0 flagged · accuracy not yet measured

  • Premisecitation

    Empirical studies on visual, auditory and haptic aesthetic experiences converge in intertwining perception with embodied cognition.

    “Empirical studies on visual [31], auditory [42] and haptic aesthetic experiences [57] [8] all converge in intertwining perception with embodied cognition.”
    Quote in the paperNot a substantial claim2 of 3 sources checked
    • cites [31] source

      The functional-model section links perception and cognition in aesthetic appreciation and cites a study of top-down processes in tactile and visual appreciation. But this paper proposes a model rather than reporting an empirical haptic study, and our copy does not establish the claimed convergence with embodied cognition. (LLM, conf=0.78)

      Experimental — accuracy not yet measured
    • cites [42] source
    • cites [57] source

      Section 6.1 reports a visitor saying that feeling the haptic stimulus on her hand made her notice details in the painting, supporting a link between touch and visual perception of art. The paper does not frame this finding in terms of embodied cognition, and Section 7.4 says it did not explore aesthetics as such; that broader characterization is not established by this source. (LLM, conf=0.82)

      Experimental — accuracy not yet measured
  • Premisecitation

    Museums are, for many visitors, 'restorative environments' that, with their unique aesthetics, capture imagination and facilitate recovery from mental fatigue.

    “Far from being perceived as boring and tiring, museums are, for many visitors, 'restorative environments' that, with their unique aesthetics, capture imagination and facilitate recovery from mental fatigue [26] [35].”
    Quote in the paperNot a substantial claim1 of 2 sources checked
    • cites [26] source

      The application of the theoretical framework (p. 6) says museum collections can fascinate visitors, and the Conclusion (p. 16) strongly suggests museums can be restorative, particularly for visitors comfortable in them. But the Discussion (p. 15) says the studies did not measure directed-attention fatigue before and after visits, so they do not establish that museums facilitate recovery from mental fatigue. (LLM, conf=0.85)

      Experimental — accuracy not yet measured
    • cites [35]

      Couldn’t be matched to a paper in Crossref, so it can’t be checked.

  • Premisecitation

    To bring their space to life, house museums have adopted alternative approaches from the arts, such as commissioning artworks responding to their space and collection to present visitors with new interpretations.

    “To bring their space to life, house museums have adopted alternative approaches from the arts: for example, commissioning artworks responding to their space and collection as a way to present visitors with new interpretations [30] [7].”
    Quote in the paperNot a substantial claim1 of 2 sources checked
    • cites [30] source
    • cites [7]

      Couldn’t be matched to a paper in Crossref, so it can’t be checked.

  • Premisecitation

    Staff and volunteers play an important role by weaving stories and place, sharing with visitors a mixture of facts, speculation and anecdotes about the lives of previous residents.

    “Staff and volunteers play an important role here, as they weave stories and place by sharing with visitors a mixture of facts, speculation and anecdotes about the lives of previous residents [11] [12].”
    Quote in the paperNot a substantial claim1 of 2 sources checked
    • cites [11] source
    • cites [12] source

      Section 4.1 (p. 10) says volunteers created stories using facts or speculation, including a story about one of the house’s first inhabitants. Section 3.1 (p. 8) also describes volunteers sharing heritage with visitors. The copy does not establish that staff shared these stories or that they included anecdotes about previous residents. (LLM, conf=0.84)

      Experimental — accuracy not yet measured
  • Interpretationcitation

    The work combined polyvocality with co-creation to include under-represented actors in heritage making such as minority communities or museum volunteers.

    “In our work, we combined polyvocality with co-creation to include under-represented actors in heritage making such as minority communities or museum volunteers [23].”
    Quote in the paperSubstantial claim1 of 1 sources checked
  • May combine two claims. 52
  • Classified as probably not a substantial claim. 44

  • May combine two claims.

    Premisecitation

    In the heritage context, the aesthetic experience is multisensorial and can provoke a visceral response that results in a feeling of connection at a deep, personal level.

    “In the heritage context, the aesthetic experience is multisensorial and can provoke a visceral response (i.e. to paintings [25] [57] or to living history [33]) that results in a feeling of connection at a deep, personal level [31][33].”
    Quote in the paperSubstantial claim1 of 3 sources checked
    • cites [25] source
    • cites [57] source
    • cites [33] source

  • Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

    Premisecitation

    The aesthetic experience is characterized by intense attention, extended cognitive engagement, and affective responses, and is not the experience of beauty.

    “The aesthetic experience is not the experience of beauty -for it can be pleasant or unpleasant; it is characterized by intense attention, extended cognitive engagement, and affective responses [31].”
    Quote in the paperNot a substantial claim1 of 1 sources checked

  • May combine two claims.

    Findingcitation

    The cabinets were evaluated with 15 groups of visitors and findings showed the impact of designing for tangible interaction to promote emotional and personal engagement with the House.

    “The cabinets were evaluated with 15 groups of visitors and findings [12] showed the impact of designing for tangible interaction [24] to promote emotional and personal engagement with the House.”
    Quote in the paperSubstantial claim1 of 2 sources checked
    • cites [12] source

      Section 4.2 (p. 11) reports visitor observations and questionnaires over two weeks and finds personal and emotional engagement with the cabinets, alongside tactile encounters with their objects. The copy does not state that the evaluation involved 15 groups of visitors; searches for that sample size found no matching passage. (LLM, conf=0.85)

      Experimental — accuracy not yet measured
    • cites [24] source

  • Classified as probably not a substantial claim. May combine two claims.

    Study design and conductcitation

    The interactive tableaux are research products, not prototypes, because of their aesthetic qualities and ability to support richer investigations in design research; their aesthetic qualities and skilled craft make them professional interventions ideal to study tangible and embodied interaction in the field.

    “Because of their aesthetic qualities and ability to support richer investigations in design research they are research products, not prototypes [34]: the aesthetic qualities and the skilled craft make the installations professional interventions, ideal to study tangible and embodied interaction in the field [28].”
    Quote in the paperSubstantial claim1 of 2 sources checked
    • cites [34] source

      Split into 2 atoms — 0 confirmed, 2 partially supported, 0 disputed, 0 misattributed, 0 unverifiable. Expand the claim to see per-atom verdicts.

      Experimental — accuracy not yet measured
    • cites [28]

      Couldn’t be matched to a paper in Crossref, so it can’t be checked.

  • May combine two claims.

    Premisecitation

    Museum volunteers are underestimated actors in heritage settings, who are vital to the survival of small museums like Bishops' House.

    “In our work, we focused our attention on museum volunteers -underestimated actors in heritage settings, who are vital to the survival of small museums like Bishops' House [23].”
    Quote in the paperNot a substantial claim1 of 1 sources checked

  • May combine two claims.

    Findingnone given

    The installation was multisensorial: the tableaux were visually very rich and played stories and noises activated by the digitally-augmented objects.

    “The installation was multisensorial: the tableaux were visually very rich and played stories and noises activated by the digitally-augmented objects.”
    Quote in the paperNot a substantial claim

  • Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

    Findingown data

    The experience was life-like and more human.

    “The experience was 'very life-like' (v69) and 'more human' (v74).”
    Quote in the paperNot a substantial claim

  • May combine two claims.

    Findingown data

    Visitors considered the tableaux exquisitely crafted and works of art in their own right, with the design bringing everything together in one integrated experience.

    “In fact, the tableaux were considered as 'exquisitely crafted' (v96) and 'works of art in their own right' (v71), with the design bringing everything together in one integrated experience: 'the smells, movements and sounds coming together from the interactive -Super' (v32).”
    Quote in the paperNot a substantial claim

  • May combine two claims.

    Findingown data

    Visitors found the technology invisible, creating a feeling of history using technology.

    “It was surprising for visitors: 'the technology is invisible, creating the feeling of history using technology' (v108).”
    Quote in the paperNot a substantial claim

  • May combine two claims.

    Findingown data

    The theatrical quality and visual richness of the tableaux added texture and 3D impressions, capturing visitors' attention.

    “The theatrical quality of the tableaux with their visual richness added a lot of 'texture' and '3D impressions', which captured attention: 'so much delightful details that drew me in' (v47).”
    Quote in the paperNot a substantial claim

  • May combine two claims.

    Findingown data

    The high level of finish with detailed and intricate designs made visitors feel immersed in the tableaux, which they described as life-like and giving an authentic atmosphere to the house.

    “Because of the high level of finish with detailed and intricate designs, visitors felt immersed in the tableaux 'like a look into the past' (v82), which were 'very life-like' (v69), giving a 'great, authentic atmosphere to the house' (v42).”
    Quote in the paperNot a substantial claim

  • Classified as probably not a substantial claim. May combine two claims.

    Findingown data

    Characters were described as inquisitive, cheeky, interesting, accessible, thought-provoking, with a range of voices and accents, giving visitors a sense of the different people who might have lived there.

    “Characters were also described as 'inquisitive and cheeky' (v109); 'interesting and accessible' (v92); 'thought-provoking' (v80), with 'a range of voices and accents' (v68), which gave visitors 'a real sense of all the different people who [might] have lived here' (v82).”
    Quote in the paperSubstantial claim

  • Classified as probably not a substantial claim. May combine two claims.

    Findingnone given

    The creative methods allowed the group to explore multiple forms of engagement and to generate provocative content designed to question visitors and make them look at the place with new eyes.

    “The creative methods allowed the group to explore multiple forms of engagement and to generate provocative content designed to question visitors and make them look at the place with new eyes.”
    Quote in the paperSubstantial claim

  • May combine two claims.

    Findingcitation

    The system was ready for visitors who made the most of their visit by coming back to characters to listen to all remaining content, and many did so.

    “As such the system was ready for visitors who made the most of their visit by coming back to characters to listen to all remaining content and a lot of them did as we showed in [11].”
    Quote in the paperNot a substantial claim0 of 1 sources checked
    • cites [11] source

  • May combine two claims.

    Findingown data

    The visiting experience was appreciated by both one-off and returning visitors, showing potential for repeated visits.

    “Overall, the visiting experience was appreciated by both oneoff and returning visitors, showing the potential for repeated visits: 'although I have visited often, I was encouraged to look with new eyes and if I come again I hope to find out more' (v52).”
    Quote in the paperNot a substantial claim

  • Probably not a substantial claim: may not pass S3 (load-bearing).

    Findingown data

    Using characters from different times simultaneously demonstrated the total age and use of the house.

    “Indeed, using characters from different times simultaneously 'demonstrated the total age and use of the house' (v102).”
    Quote in the paperNot a substantial claim

  • May combine two claims.

    Findingown data

    Characters invited visitors to move around, up and down stairs, and to come back later to listen to more content, and visitors followed these suggestions.

    “The characters invited visitors to move around, up and down stairs, and to come back later to listen to more content and visitors followed the characters' suggestions: 'I love how you needed to keep re-visiting them to build up the story' (v24); 'having to look around the rooms and then go back to the installation once you'd found what they [the characters] were speaking about for more info' (v90”
    Quote in the paperSubstantial claim

  • May combine two claims.

    Findingown data

    Insights from evaluation showed that visitors became aware of the total age of the House and of its complexity.

    “Insights from evaluation showed that visitors became aware of 'the total age' of the House and of its complexity.”
    Quote in the paperSubstantial claim

  • Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

    Findingown data

    Volunteers described the co-creation process as a joint effort, which strengthened the resilience of the community.

    “They described this process as a joint effort, which in turn strengthened the resilience of the community.”
    Quote in the paperNot a substantial claim

  • Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing).

    Premisecitation

    Digital technology offers new opportunities to bring heritage to life.

    “We previously showed that whilst digital technology offers new opportunities to bring heritage to life [7], designers should arguably consider the immersive and atmospheric nature of particular house museums, and consider bespoke designs for the seamless and situated experience of technology [11].”
    Quote in the paperNot a substantial claim0 of 1 sources checked
    • cites [7]

      Couldn’t be matched to a paper in Crossref, so it can’t be checked.

  • Probably not a substantial claim: may not pass S2 (checkable), S3 (load-bearing).

    Premisecitation

    Houses are immersive and evocative spaces.

    “Houses are immersive and evocative spaces [2].”
    Quote in the paperNot a substantial claim0 of 1 sources checked
    • cites [2]

      Couldn’t be matched to a paper in Crossref, so it can’t be checked.

  • Probably not a substantial claim: may not pass S2 (checkable).

    Interpretationreasoning

    A more reflective design practice that embraces critical discourses can transform interactive exhibition design and the museum visiting experience.

    “This paper argues how a more reflective design practice that embraces critical discourses can transform interactive exhibition design and therefore the museum visiting experience.”
    Quote in the paperNot a substantial claim
    • Rests on an assumption: A holistic and experiential approach to exhibition design has yet to reach HCI.

  • Probably not a substantial claim: may not pass S4 (based).

    Interpretationnone given

    Four framing arguments from heritage studies can inspire the design of digitally-augmented experiences of heritage.

    “Four framing arguments from heritage studies can inspire the design of digitally-augmented experiences of heritage.”
    Quote in the paperNot a substantial claim
    • Rests on an assumption: A holistic and experiential approach to exhibition design has yet to reach HCI.

  • May combine two claims.

    Premisecitation

    Alternative discourses on the same heritage exist, clustered around different communities, and call into question the concept of consensual heritage underpinning the authorized heritage discourse.

    “Alternative discourses on the same heritage do exist, clustered around different communities (defined by geography, ethnicity, culture, belief, etc.) that call into question the concept of consensual heritage underpinning the authorized heritage discourse [50].”
    Quote in the paperSubstantial claim0 of 1 sources checked
    • cites [50] source

  • Probably not a substantial claim: may not pass S3 (load-bearing).

    Premisecitation

    Interaction designers see museums as willing to embrace new technological trends in ways that constrain design briefs in space and time, limiting experimentation and reflection.

    “Still, Interaction (IX) Designers [53] see museums as willing to embrace new technological trends in ways that constrain design briefs in space and time thus limiting experimentation and reflection.”
    Quote in the paperNot a substantial claim0 of 1 sources checked
    • cites [53] source

  • May combine two claims.

    Interpretationcitation

    Technology has a role to play in sensory engagement, and tangible and multisensory interaction is entering the exhibition designers' toolbox.

    “Technology has a role to play in sensory engagement, and tangible and multisensory interaction is entering the exhibition designers' toolbox.”
    Quote in the paperSubstantial claim

  • Classified as probably not a substantial claim.

    Premisecitation

    Critical Heritage challenges the 'authorized heritage discourse' approach, a long-established orientation to heritage as understood and interpreted via the expert's perspective, tending to privilege prestigious, universal and grand narratives.

    “Critical Heritage has emerged as a field of enquiry that challenges the 'authorized heritage discourse' approach -a long-established orientation to heritage as understood and interpreted via the expert's perspective, and tending to privilege the prestigious, universal and grand narratives [50].”
    Quote in the paperSubstantial claim0 of 1 sources checked
    • cites [50] source

  • Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

    Premisecitation

    This type of house museums is described as 'living history museums', combining cultural and historical narratives with material settings that preserve a version of a communal past.

    “This type of house museums is described as 'living history museums' [33], combining cultural and historical narratives with material settings that preserve a version of a communal past.”
    Quote in the paperNot a substantial claim0 of 1 sources checked
    • cites [33] source

  • May combine two claims.

    Premisecitation

    Exhibition design in house museums goes beyond curation and display of artifacts: the whole house is a historic object, meaning content and container are one.

    “Exhibition design in house museums goes beyond the curation and display of artifacts: the whole house is a historic object [33], meaning that content and container are one [62].”
    Quote in the paperSubstantial claim0 of 2 sources checked
    • cites [33] source
    • cites [62] source

  • May combine two claims.

    Premisecitation

    Once turned into museums, houses often shift from being woolly, sloppy and impressionistic to being systematic, objective, and professional, thus losing some of their poetics.

    “However, once turned into museums, they often shift 'from being woolly, sloppy and impressionistic, to being places that are systematic, objective, and professional' [59] p.35, thus losing some of their poetics.”
    Quote in the paperSubstantial claim0 of 1 sources checked
    • cites [59]

      Couldn’t be matched to a paper in Crossref, so it can’t be checked.

  • Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

    Premisecitation

    A 3D printed replica of a religious artifact augmented with smell and audio-visual content engaged participants in embodied meaning making, although its lab evaluation is limited.

    “Expanding on the sensorial experience, a 3D printed replica of a religious artifact augmented with smell and audio-visual content engaged participants in embodied meaning making although its lab evaluation is limited [22].”
    Quote in the paperNot a substantial claim0 of 1 sources checked
    • cites [22] source

  • Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

    Premisecitation

    Designers seek inspiration, prompting of creative response, and expansion of interpretative design thinking.

    “They seek inspiration, the prompting of their creative response, and the expansion of their interpretative design thinking [54].”
    Quote in the paperNot a substantial claim0 of 1 sources checked
    • cites [54]

      Couldn’t be matched to a paper in Crossref, so it can’t be checked.

  • May combine two claims.

    Premisecitation

    Alternative approaches to exhibition design are moving away from a single authorized voice towards the presentation of multiple and contrasting voices, with technology used to facilitate more polyvocal experiences.

    “Alternative approaches to exhibition design are moving away from a single authorized voice towards the presentation of multiple and contrasting voices, with technology used to facilitate more polyvocal experiences [1].”
    Quote in the paperSubstantial claim0 of 1 sources checked
    • cites [1] source

  • May combine two claims.

    Premisecitation

    Discourses in heritage have encouraged a shift from object-centered to experience-centered and more recently embraced an immersive turn.

    “Discourses in heritage have encouraged a shift from object-centered to experiencecentered [36] and more recently, embraced an immersive turn [27].”
    Quote in the paperSubstantial claim0 of 2 sources checked
    • cites [36] source
    • cites [27]

      Couldn’t be matched to a paper in Crossref, so it can’t be checked.

  • May combine two claims.

    Premisecitation

    The domestic settings of house museums recreate a historic time period and show what a home could have been like back then.

    “The domestic settings recreate a historic time period and show what a home could have been like back then [37].”
    Quote in the paperNot a substantial claim0 of 1 sources checked
    • cites [37] source

  • Classified as probably not a substantial claim. May combine two claims.

    Premisecitation

    In such an open-ended context, visiting becomes a process of personal meaning-making, a form of negotiation with the past where objects help make stories more tangible.

    “In such an open-ended context, visiting becomes a process of personal meaning-making, a form of negotiation with the past where objects help make stories more tangible [50].”
    Quote in the paperSubstantial claim0 of 1 sources checked
    • cites [50] source

  • May combine two claims.

    Premisecitation

    This type of heritage site is criticized for following an authorized heritage approach that limits interpretation to a single perspective or time, and presenting heritage in a linear manner often focused on one leading character rather than the many people who lived there over time.

    “This type of heritage site is indeed criticized for following an authorized heritage approach that limits interpretation to a single perspective or time, and presenting heritage in a linear manner often focused on one leading character [50] [59], rather than the many people who lived there over time, often across centuries [62][59].”
    Quote in the paperSubstantial claim0 of 3 sources checked
    • cites [50] source
    • cites [59]

      Couldn’t be matched to a paper in Crossref, so it can’t be checked.

    • cites [62] source

  • May combine two claims.

    Interpretationown data

    Tangible interaction allowed the design of a seamless technology experience that was aesthetically engaging and bespoke to Bishops' House.

    “Tangible interaction allowed us to design for a seamless experience of technology that was aesthetically engaging and bespoke to the particular setting of Bishops' House.”
    Quote in the paperSubstantial claim

  • Probably not a substantial claim: may not pass S4 (based). May combine two claims.

    Interpretationnone given

    Visitors kept their object whilst walking through the house and this allowed us to explore the value of material encounters to encourage meaning making and emotional responses during the visit.

    “Visitors kept their object whilst walking through the house and this allowed us to explore the value of material encounters to encourage meaning making and emotional responses during the visit.”
    Quote in the paperNot a substantial claim

  • May combine two claims.

    Interpretationnone given

    The digital augmentation was orchestrated to take visitors simultaneously back to the many pasts of the house and provide different perspectives.

    “In essence, we orchestrated the digital augmentation of the House to take visitors simultaneously back to the many pasts of the house and to provide them with different perspectives.”
    Quote in the paperSubstantial claim

  • Probably not a substantial claim: may not pass S3 (load-bearing). May combine two claims.

    Premisecitation

    Digital technology is easily seen as dry, a distraction from the actual place, and curators of house museums are reluctant to introduce it.

    “In comparison, digital technology is easily seen as dry, a distraction from the actual place and curators of house museums are reluctant to introduce it [11].”
    Quote in the paperNot a substantial claim0 of 1 sources checked
    • cites [11] source

  • Probably not a substantial claim: may not pass S3 (load-bearing).

    Premisecitation

    These changes impact the way a museum is conceptualized: from 'guardian of collections' to 'ambassador of cultural values and significance' via an endless reframing of the past in contemporary culture.

    “These changes impact the way a museum is conceptualized: from 'guardian of collections' to 'ambassador of cultural values and significance' via an endless reframing of the past in contemporary culture [58].”
    Quote in the paperNot a substantial claim0 of 1 sources checked
    • cites [58]

      Couldn’t be matched to a paper in Crossref, so it can’t be checked.

    • Rests on an assumption: Museum collections now include oral histories and personal memories alongside official and institutionalized material.

  • Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

    Interpretationnone given

    Finally, we thought of heritage as an active process: as something actively constructed rather than viewed as static.

    “Finally, we thought of heritage as an active process: as something actively constructed rather than viewed as static.”
    Quote in the paperNot a substantial claim

  • May combine two claims.

    Premisecitation

    Despite the volunteers' wish to communicate more about the house, the visiting experience suffered from a 'museumization' approach: past life displayed as if frozen in time and with interpretation limited to a single and linear perspective.

    “Despite the volunteers' wish to communicate more about the house, the visiting experience suffered from a 'museumization' approach: past life displayed as if frozen in time and with interpretation limited to a single and linear perspective [50]”
    Quote in the paperSubstantial claim0 of 1 sources checked
    • cites [50] source

  • Probably not a substantial claim: may not pass S3 (load-bearing), S4 (based).

    Interpretationnone given

    All design choices made the experience unique and bespoke to the place.

    “All our design choices made the experience unique and bespoke to the place.”
    Quote in the paperNot a substantial claim

  • Probably not a substantial claim: may not pass S4 (based).

    Interpretationnone given

    House museums are places that encompass both tangible and intangible heritage.

    “In summary, house museums are places that encompass both tangible and intangible heritage.”
    Quote in the paperNot a substantial claim
    • Rests on an assumption: Nowadays cultural heritage is understood as going beyond the material to include intangible aspects of human culture such as craft knowledge, performance, and traditions.

  • Probably not a substantial claim: may not pass S2 (checkable).

    Premisecitation

    Plurality of values is important if heritage has to become an expression of social inclusion rather than a means to assimilate and dissimulate different, potentially dissenting voices.

    “Plurality of values is important if heritage has to become an expression of social inclusion rather than a means to assimilate and dissimulate different, potentially dissenting voices [50].”
    Quote in the paperNot a substantial claim0 of 1 sources checked
    • cites [50] source

  • Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

    Interpretationnone given

    To interactive exhibition design, house museums offer an opportunity to combine objects with stories in a playful way centered on fictionalized realities and performance.

    “To interactive exhibition design, house museums offer an opportunity to combine objects with stories in a playful way centered on fictionalized realities and performance.”
    Quote in the paperNot a substantial claim

  • Classified as probably not a substantial claim.

    Premisecitation

    The visit as an embodied encounter with the past resonates with the critical view that heritage is not limited to the physical building but encompasses people's experiences and memories shared with others across time.

    “The visit as an embodied encounter with the past resonates with the critical view that heritage is not limited to the physical building but encompasses people's experiences and memories that are shared with others across time [50].”
    Quote in the paperSubstantial claim0 of 1 sources checked
    • cites [50] source

  • Classified as probably not a substantial claim.

    Premisecitation

    By moving away from a single authorized discourse and opening up to multiple interpretations, cultural heritage becomes an active process where multiple stories are actively used, remade and negotiated by each visitor.

    “By moving away from a single authorized discourse and opening up to multiple interpretations, cultural heritage thus becomes an active process where multiple stories are actively used, remade and negotiated by each visitor [50].”
    Quote in the paperSubstantial claim0 of 1 sources checked
    • cites [50] source
    • Rests on an assumption: Nowadays cultural heritage is understood as going beyond the material to include intangible aspects of human culture such as craft knowledge, performance, and traditions.

  • May combine two claims.

    Premisecitation

    Apart from interventions relying on screen-based devices, digital technology remains largely absent from house museums, which miss out on the potential benefits of interactive design to overlap multiple stories on the same space.

    “Apart from interventions relying on screen-based devices [9][29] [43], digital technology remains largely absent from house museums, which miss out on the potential benefits of interactive design to overlap multiple stories on the same space.”
    Quote in the paperSubstantial claim0 of 3 sources checked
    • cites [9] source
    • cites [29] source
    • cites [43]

      Couldn’t be matched to a paper in Crossref, so it can’t be checked.

  • Probably not a substantial claim: may not pass S2 (checkable).

    Premisecitation

    Exhibition design in a house museum can find inspiration from embodied storytelling that weaves narratives with physical objects and social history, a game of performance and fiction within a specific physical space.

    “Exhibition design in a house museum can find inspiration from such an embodied storytelling that weaves the narratives with physical objects and social history, a game of performance and fiction within a specific physical space [33].”
    Quote in the paperNot a substantial claim0 of 1 sources checked
    • cites [33] source

  • Probably not a substantial claim: may not pass S2 (checkable), S4 (based). May combine two claims.

    Interpretationnone given

    House museums offer unique embodied experiences with objects and spaces and a dialogical yet tangible representation of past lifestyles.

    “They offer unique embodied experiences with objects and spaces and a dialogical yet tangible representation of past lifestyles.”
    Quote in the paperNot a substantial claim

  • May combine two claims.

    Interpretationown data

    The multisensory approach brought heritage to life and engaged visitors with stories better than text-based interpretations.

    “This approach brought heritage to life and engaged visitors with stories in ways that text-based interpretations would not: 'Very engaging!I liked it a lot.Much better than reading static text and just looking at the objects' (v28).”
    Quote in the paperSubstantial claim

  • Probably not a substantial claim: may not pass S2 (checkable), S4 (based). May combine two claims.

    Interpretationreasoning

    These opportunities can be realized by bringing the four framing arguments holistically into design practice: recognizing the value of materiality, seeing visiting as an aesthetic experience, challenging the authorized voice through cocreation and understanding heritage as process.

    “We argue that these opportunities can be realized by bringing the four framing arguments holistically into design practice: recognizing the value of materiality, seeing visiting as an aesthetic experience, challenging the authorized voice through cocreation and understanding heritage as process.”
    Quote in the paperNot a substantial claim

  • Classified as probably not a substantial claim. May combine two claims.

    Interpretationreasoning

    The meaning of the surrounding heritage emerges from the visitor-docent interaction process: visitors are expected to take part in the dialogue, to question and deepen their interests.

    “The meaning of the surrounding heritage emerges from the visitor-docent interaction process: visitors are expected to take part in the dialogue, to question and deepen their interests.”
    Quote in the paperSubstantial claim

  • Classified as probably not a substantial claim. May combine two claims.

    Interpretationreasoning

    Digital technology can give voice to the many inhabitants of a house across the centuries and enable visitors to explore them all.

    “Digital technology can give voice to the many inhabitants of the house across the centuries, and enable visitors to explore them all.”
    Quote in the paperSubstantial claim
    • Rests on an assumption: Polyvocal experiences have not yet been explored in the context of house museums.

  • Classified as probably not a substantial claim.

    Interpretationcitation

    The process followed showed how the four arguments 'trickled-down' into the design.

    “The process we followed showed how our four arguments 'trickled-down' [21] into our design.”
    Quote in the paperSubstantial claim0 of 1 sources checked
    • cites [21] source

  • Probably not a substantial claim: may not pass S2 (checkable).

    Interpretationreasoning

    Practice and heritage-based theory can mutually inform and challenge each other.

    “Stepping back and reflecting on our experience, we see that practice and heritage-based theory can mutually inform and challenge each other.”
    Quote in the paperNot a substantial claim

  • Classified as probably not a substantial claim.

    Interpretationnone given

    The five characters in the Tableaux were to act as facilitators of dialogic interactions.

    “The five characters in the Tableaux (Figure 3) were to act as facilitators of dialogic interactions.”
    Quote in the paperSubstantial claim

  • May combine two claims.

    Premisecitation

    Particular to house museums is their temporality, but spatial constraints and curatorial choice tend to limit the visiting experience to one particular era.

    “Particular to house museums is their temporality, but spatial constraints and curatorial choice tend to limit the visiting experience to one particular era [59].”
    Quote in the paperSubstantial claim0 of 1 sources checked
    • cites [59]

      Couldn’t be matched to a paper in Crossref, so it can’t be checked.

  • May combine two claims.

    Interpretationreasoning

    The design encouraged open-ended, dialogical interaction that satisfied both repeated and one-off visits.

    “Our design encouraged open-ended, dialogical interaction that satisfied both repeated and one-off visits.”
    Quote in the paperSubstantial claim

  • Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

    Interpretationreasoning

    There is real potential for designing interactive exhibitions that consider time and space together to create emplaced experiences of heritage.

    “There is a real potential for designing interactive exhibitions that consider time and space together to create emplaced experiences of heritage.”
    Quote in the paperNot a substantial claim

  • Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

    Interpretationreasoning

    There is potential to challenge linearity and mono-logic narratives by considering the performativity and spatiality of the experience, as demonstrated with the Interactive Tableaux.

    “Finally, there is a potential to challenge linearity and mono-logic narratives by considering the performativity and spatiality of the experience as demonstrated with the Interactive Tableaux.”
    Quote in the paperNot a substantial claim

  • May combine two claims.

    Interpretationreasoning

    Revealing the temporal dimension of the House became a focus for the final exhibition, where digital augmentation was used as an overlapping tool to simultaneously provide visitors with different perspectives on the place, taking them back in multiple times, from Tudor to modern.

    “Revealing the temporal dimension of the House became a focus for the final exhibition where digital augmentation was used as an overlapping tool to simultaneously provide visitors with different perspectives on the place, taking them back in multiple times, from Tudor to modern.”
    Quote in the paperSubstantial claim

  • May combine two claims.

    Interpretationcitation

    Speculation and ambiguity were used as a resource for encouraging inquisitive use, with things revealed progressively to arouse curiosity and extend engagement.

    “Speculation and ambiguity were used as a resource for encouraging inquisitive use [14]: things were not delivered all at once but revealed progressively to arouse curiosity and extend engagement with this dialogue.”
    Quote in the paperSubstantial claim0 of 1 sources checked
    • cites [14] source

  • May combine two claims.

    Interpretationreasoning

    The characters referred to each other and offered multiple perspectives on the house, which were at times complementary and in some cases contradictory, pushing visitors to make their own critical judgement.

    “They referred to each other and offered multiple perspectives on the house, which were at times complementary and in some cases contradictory offering contrasting viewpoints that pushed visitors to make their own critical judgement.”
    Quote in the paperSubstantial claim

  • Probably not a substantial claim: may not pass S3 (load-bearing).

    Interpretationnone given

    Spending time on site was helpful to develop sensitivity to the site and its particular atmosphere.

    “Spending time on site was also helpful to develop our sensitivity to the site and its particular atmosphere.”
    Quote in the paperNot a substantial claim

  • Probably not a substantial claim: may not pass S3 (load-bearing).

    Interpretationnone given

    Thinking and acting in place were useful methods to encourage exploration.

    “Thinking and acting in place were useful methods to encourage our exploration.”
    Quote in the paperNot a substantial claim

  • Probably not a substantial claim: may not pass S2 (checkable), S4 (based).

    Interpretationnone given

    Technology should not distract visitors by taking them away from the actual place (looking down at a screen).

    “This is critical when designing digitally-augmented exhibition as technology should not distract visitors by taking them away from the actual place (looking down at a screen).”
    Quote in the paperNot a substantial claim

  • Probably not a substantial claim: may not pass S2 (checkable).

    Interpretationreasoning

    It was critical to place efforts on how the different voices coexisted in a place and resonated with each other.

    “But we found it critical to place our efforts on how the different voices coexisted in a place and resonated with each other.”
    Quote in the paperNot a substantial claim

  • Classified as probably not a substantial claim. May combine two claims.

    Interpretationcitation

    After theory has 'trickled-down' to practice, it is now the turn for practice to 'bubble-up' empirical insights and challenge theoretical assumptions.

    “After theory has 'trickled-down' to practice, it is now the turn for practice to 'bubble-up' empirical insights and challenge theoretical assumptions [21].”
    Quote in the paperSubstantial claim0 of 1 sources checked
    • cites [21] source

  • Classified as probably not a substantial claim.

    Interpretationreasoning

    Past and present became intertwined through juxtaposition and gentle provocation.

    “Past and present became intertwined through juxtaposition and gentle provocation.”
    Quote in the paperSubstantial claim

  • May combine two claims.

    Interpretationown data

    Content was progressive from general to more specific, increasing visitors' curiosity and motivation to come back to hear more from the characters.

    “Content was progressive from general to more specific, increasing visitors' curiosity and motivation to come back to hear more from the characters: 'it was somehow addictive -we wanted to make them talk again and again, and we went around a second time with a second object' (v84).”
    Quote in the paperNot a substantial claim

  • May combine two claims.

    Interpretationreasoning

    The embodied experience of the place was designed within the conversation that the different characters had with each other, the visitors and the volunteers, illustrating the idea that heritage is a continuous and dialogical process of understanding and reflection.

    “The embodied experience of the place was designed within the conversation that the different characters had with each other, the visitors and the volunteers, illustrating the idea that heritage is a continuous and dialogical process of understanding and reflection.”
    Quote in the paperSubstantial claim

  • May combine two claims.

    Interpretationown data

    Evocative and thought-provoking content encouraged visitors' sense making and challenged it by not giving fixed answers but prompts for further understandings.

    “Evocative and thought-provoking content encouraged the visitors' sense making and challenged it by not giving fixed 'answers' but prompts for further understandings.”
    Quote in the paperSubstantial claim

  • May combine two claims.

    Interpretationreasoning

    The exhibition presented the House beyond an individual era for visitors to become aware of both its depth (how old it was) and breadth (the many connections of the House with the City).

    “The exhibition presented the House beyond an individual era for visitors to become aware of both its depth (how old it was) and breadth (the many connections of the House with the City).”
    Quote in the paperSubstantial claim

  • May combine two claims.

    Study design and conductown data

    Volunteers' voices were included in the design and magnified through the co-creation of the interactive exhibition, in which individuals' aspirations and contributions were valorized.

    “Volunteers' voices were included in our design, and magnified through the co-creation of the interactive exhibition in which individuals' aspirations and contributions were valorized.”
    Quote in the paperSubstantial claim

  • Probably not a substantial claim: may not pass S4 (based).

    Interpretationnone given

    The work demonstrated the value of including volunteers in the exhibition design process to present an alternative interpretation of the place.

    “our work demonstrated the value of including volunteers in the exhibition design process to present an alternative interpretation of the place.”
    Quote in the paperNot a substantial claim
79 of 79

  • The paper relies on this without support.

    A holistic and experiential approach to exhibition design has yet to reach HCI.

    “Such a holistic and experiential approach to exhibition design has yet to reach HCI.”

  • The paper relies on this without support.

    Polyvocal experiences have not yet been explored in the context of house museums.

    “In our work at the Bishops' House, we designed for more polyvocal experiences -something not yet explored in the context of house museums.”

  • The paper relies on this without support.

    Nowadays cultural heritage is understood as going beyond the material to include intangible aspects of human culture such as craft knowledge, performance, and traditions.

    “Nowadays cultural heritage is understood as going beyond the material to include intangible aspects of human culture such as craft knowledge, performance, and traditions.”

  • The paper relies on this without support.

    Museum collections now include oral histories and personal memories alongside official and institutionalized material.

    “Museum collections now include oral histories and personal memories alongside official and institutionalized material.”

  • The paper relies on this without support.

    Interaction in house museums takes place mainly on a human level, for example through talking with volunteers or guides who share insights about the place.

    “Interaction in house museums takes place mainly on a human level e.g.via talking with volunteers or guides who share insights about the place.”

  • The paper relies on this without support.

    Bishops' House was restored to its 1500s state with interpretation focused on Tudor history.

    “This was illustrated with the Bishops' House, where the building was restored back to how it was in 1500s with interpretation focused on Tudor history.”

  • The paper relies on this without support.

    Volunteers-visitors interaction is particular to house museums.

    “We built upon volunteers-visitors interaction that is so particular to house museums.”
7 of 7

Self-check

Percentages, sums and reported differences re-computed from the paper’s own numbers.

Each contradiction between two passages listed here was confirmed by an independent check.

  • Conflicting dates for the house's restoration

    Minor

    One passage says the house was restored to its 17th-century structure; another says it was restored to how it was in the 1500s, the 16th century.

1 of 1

Cites

Flagged first, then by citations

Research works printed but not linked: 8

  1. Caroline Bugler. 2015. Making History: Caroline Bugler investigates the historic houses making moves to reinvent themselves and attract new visitors (October 2015). Museum Association Journal, 115, 11, 21--25.
  2. 10.33139/tmr.v3i1.16 · DOI
  3. 10.1111/j.2151--6952.2010.00044.x · DOI
  4. Lyndall Phelps. 2016. Remnants of Domesticity. Art installation Retrieved August 01, 2019 from lyndallphelps.com/project/remnants-of-domesticity/
  5. 10.1007/s10606-007--9067-y · DOI
  6. Pieter Stappers, and Elisa Giaccardi. 2017. Research through design. In The encyclopedia of humancomputer interaction, 2nd edition. Retrieved November 2, 2019 from https://www.interactiondesign.org/literature/book/the-encyclopedia-of-humancomputer-interaction-2nd-ed/research-through-design
  7. Rachel Emily Taylor. 2016. The Girl Who Lived in Bishops' House. Art installation Retrieved August 01, 2019 from https://www.rachelemilytaylor.co.uk/Bishops-HouseMuseum
  8. Nicholas Thomas. 2016. The Return of Curiosity: What Museums are Good For in the 21st Century. Reaktion Books.

Cited by

Sorted by citations

Related

Authors
Claisse, C., Petrelli, D., Ciolfi, L., Dulake, N., Marshall, M. T., & Durrant, A. C.
Affiliations
  • Northumbria University (GB)
  • Sheffield Hallam University (GB)
ORCID
Venue
Proceedings of the 2020 CHI Conference on Human Factors in Computing Systems
Publisher
ACM
Published
2020-04-21
Pages
1-13
DOI
10.1145/3313831.3376689
OpenAlex
W3006046169
Cited by
23
References
68
Citations by year
2026: 5 · 2025: 2 · 2024: 4 · 2023: 6 · 2022: 3 · 2021: 3
FWCI
15.55
Type
conference paper
Language
en
Open access
Licence
www.acm.org/publications/policies/copyright_policy#Background (vor)
Locations
  • CHI Conference on Human Factors in Computing Systems (publishedVersion)
  • Northumbria Research Link (Northumbria University) (acceptedVersion)
  • SHURA (Sheffield Hallam University Research Archive) (Sheffield Hallam University) (submittedVersion)
  • Virtual Community of Pathological Anatomy (University of Castilla La Mancha) (submittedVersion, other-oa)
Funders
meSch EU FP7 (600851)
Topics
  • Social Sciences › Arts and Humanities › Museology › Museums and Cultural Heritage
  • Social Sciences › Arts and Humanities › Museology › Libraries and Information Services
  • Social Sciences › Arts and Humanities › Archeology › Cultural Heritage Management and Preservation
Keywords
interactive exhibition design, house museums, materiality, dialogic interaction, design practice, craft practice

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Registry, retraction, Cites and statistics results are computed, not judged, with one exception: a printed reference that no index lists is read once by a model before it counts as a citation error. Claims are extracted by a model and kept only when their quote appears verbatim in the text; each cited source is then checked, with a model’s help, for whether it says what the claim relies on. Those verdicts can be wrong — read the claim’s quote and the cited source before relying on one.

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Classified by jev-1.13-20260917 (gold-guideline-v0.2) on 2026-10-05.

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