Palmyre Pierroux | University of Oslo (original) (raw)

Papers by Palmyre Pierroux

Information, Communication & Society, 2022

Through the collection of digital media and engagement with underrepresented groups, memory insti... more Through the collection of digital media and engagement with
underrepresented groups, memory institutions aspire to preserve
and interpret a range of contemporary perspectives on culture
and identity. These institutions simultaneously seek to provide
experiences that foster civic identities and cultural citizenship.
This article explores the potential of collecting internet memes, a
specific form of digital media, to further these institutional aims.
Through an empirical study of a youth engagement program at a
Norwegian folklore archive, we conclude that collecting and
contextualizing image macros in collaboration with young people
is an institutionally viable and inclusionary approach to
documenting new expressions of culture and everyday life. The
project further created a context in which young people could
exercise competencies related to the development of a civic
identity. These findings are relevant for cultural heritage
institutions which aim to diversify the forms of digital media,
knowledge practices and perspectives represented in their
collections, and for cultural heritage professionals who aim to
engage youth or marginalized communities. Extending recent
research on internet memes as resources for meaning-making the
study also underscores the value of participatory research
methodologies which deliberately invite individuals’
interpretations of digital culture and analytical approaches that
account for the richness of internet memes and image macros as
semiotic resources for narrating identity.

A History of Participation in Museums and Archives, 2020

This chapter examines ideas of museums as sites of participatory democracy and design, with a foc... more This chapter examines ideas of museums as sites of participatory democracy and design, with a focus on historical and contemporary developments in museum practices in Norway and Sweden. Relationships between research, policy, and practice frame our investigation of the ways in which participatory practices may or may not work in democratic ways. We first consider democratization aspects of crowdsourcing in a historical context, before examining how these are furthered in more recent trends of curatorial boundary work with source communities and participatory design practices. The following questions are posed: In which ways are museums reformulating and contributing to contemporary notions of democracy, heritage and participation? When participation shifts from idea or value to actual practice, how does the participation of different publics become a force of transformation in museum practices, values, and modus operandi?

Education Sciences

In this article, we examine how creative making is framed in a public library setting. We pursue ... more In this article, we examine how creative making is framed in a public library setting. We pursue this topic by focusing on the trajectory of a group participating in “The Inventor Course” during a school trip to a library. Video recordings of the maker activity comprise the primary data for analysis, supplemented by ethnographic notes. Analysis of the group’s interactions shows how different frames for inventing are acted out and intersect during the activity. We describe these frames as inventing as invention, inventing as exploration and inventing as narrative. Findings indicate that a narrative frame is a fruitful approach to making in a library setting and that narratives performed in dialogue with children help them to make sense of their explorations.

Nordisk Museologi

Taking the wall text in art museums as point of departure, this article investigates developments... more Taking the wall text in art museums as point of departure, this article investigates developments in museum media and communication practices in the exhibition room. We first present findings from a recent study of types and functions of wall texts used in permanent collection exhibitions in twelve Norwegian art museums, including a national museum of art. We then examine the types and functions of wall texts being planned and designed for the collection exhibitions in a new building for this national art museum, which will open in 2020. In our analytical focus on the wall text, we unpack how perspectives on enlightenment and experience become institutionally embedded in the interface of interpretive media. The study showed small but significant changes in a national art museum’s organization, a new blended approach to digital interpretive media, and expanded types of wall texts, illustrating the premise that discursive and practical tensions between enlightenment and experience are...

Cultural Studies of Science Education

Museum Management and Curatorship

In this article, we introduce the concept of graphs associated with commutative UP-algebra, which... more In this article, we introduce the concept of graphs associated with commutative UP-algebra, which we say is a UP-graph whose vertices are the elements of commutative UP-algebra and whose edges are the association of two vertices, that is two elements from commutative UP-algebra. We also define a graph of equivalence classes of a commutative UP-algebra and prove some related results based on the algebraic properties of the graph. We show that two graphs are the same and complete bipartite if they are formed by equivalence classes of UP-algebra and the graph folding of commutative UP-algebra. An algorithm for checking whether a given set is a UP-algebra or not has also been given.

Learning, Culture and Social Interaction

Abstract Videogames are included among the wide array of digital resources available to teachers ... more Abstract Videogames are included among the wide array of digital resources available to teachers to foster student engagement and teach domain-specific content. In this study, we analyze how two teachers in two countries used the commercial videogame The Walking Dead™ to teach ethical theories in upper secondary citizenship education. In both cases, students collaborated in playing the videogame, and teachers led whole-class and small-group discussions to relate the game narrative to the curriculum. However, the analysis identified two different instructional designs and dialogic approaches to integrating the videogame with other educational resources. Extending the concept of transformational play, the analysis showed how the respective teaching approaches supported student learning and engagement by facilitating different types of positioning work.

In this paper we present a study of master students working with the concept of gamification (Det... more In this paper we present a study of master students working with the concept of gamification (Deterding et al., 2011; Bonenfant & Genvo, 2014; Sanchez, 2014) to design an informal learning activity in a natural history museum. The teaching unit was a project-based course covering fundamental concepts related to the use of games for educational purposes, and is part of the Information Architecture program at ENS of Lyon. The winter 2015 semester included one week of project work at the Museum of Nature in Sion, Switzerland. We present the course organization and pedagogical approach for the teaching unit. Based on observations, recordings and documentation of the students' process and products, we analyze the core concepts that became relevant in the students' game design for this informal learning setting. Specifically, we identify the notion of 'games as metaphors of the subject to be learned' (simulation), and 'games as spaces for reflexivity,' where player...

Learning, Culture and Social Interaction, 2015

A History of Participation in Museums and Archives: Traversing Citizen Science and Citizen Humanities, Routledge, 2020

Journal of the Learning Sciences, 2022

Background: Studies of group creativity have focused on adults acting in professional settings, w... more Background: Studies of group creativity have focused on adults acting in professional settings, with less attention paid to how adolescents collaborate in groups in creative activities. Building on sociocultural perspectives on imagination as a complex capacity in adolescence, this study examines students' creative-imagining processes and the role of peer influence in group collaboration. Methods: The setting of the study is a two-day museum-led workshop on the topic of architecture, which was produced for a national touring program for middle schools. Video data of students' collaborative interactions comprise the primary data for the analysis. Findings: The study identifies material, institutional and relational aspects of group creativity in adolescence. A key finding is how creative influence is socially negotiated when merit-based knowledge and authority in an art domain are not valued. The study also finds that students' interactions in creative activity may be viewed as evidence of learning processes even without consensus in the group. Contributions: This research contributes new understandings of adolescents' creative-imagining processes and creative influence in arts-based learning activities in middle school. Principles for arts-based learning designs are presented:the appropriateness of materials; designing for knowledge dependency in open-ended tasks; and facilitating productive forms of creative influence.

The Cambridge Handbook of the Learning Sciences, 2014

The Routledge Handbook of Museums, Media and Communication

Experimental Museology Institutions, Representations, Users, 2021

Collaboration between partners in universities and museums is increasingly viewed as important fo... more Collaboration between partners in universities and museums is increasingly viewed as important for demonstrating how research can make real contributions to innovation in the public sector. Frequently, as in the case presented in this chapter, university-museum collaborations center on experimentation with exhibition-making. A particular challenge in this kind of ‘experimental museology’ is identifying and supporting partners’ different aims and motivations during various phases of collaboration. In this chapter, we use three decision events from an ‘immersive exhibition’ experiment at a national architecture museum to illustrate how trade-offs and benefits were negotiated and viewed by the respective partners, namely, two researchers at a university (first and third authors) and a curator in an architecture museum (second author). We present an analysis of three key design decisions and their implications for the research project from both museum and university perspectives. Based on the analysis, we describe how the decisions formed a collaborative research space that was owned by neither university nor museum but required a dynamic researcher positionality to shift between partners’ respective interests. Experimental museology, we propose, is a critical-reflexive practice that shows how different interests – in this case, in exhibition practices, museum media and meaning making – impact innovation in museums.

Nordisk museologi, 2019

Taking the wall text in art museums as point of departure, this article investigates development... more Taking the wall text in art museums as point of departure, this article investigates developments in museum media and communication practices in the exhibition room. We first present findings from a recent study of types and functions of wall texts used in permanent collection exhibitions in twelve Norwegian art museums, including a national museum of art. We then examine the types and functions of wall texts being planned and designed for the collection exhibitions in a new building for this national art museum, which will open in 2020. In our analytical focus on the wall text, we unpack how perspectives on enlightenment and experience become institutionally embedded in the interface of interpretive media. The study showed small but significant changes in a national art museum’s organization, a new blended approach to digital interpretive media, and expanded types of wall texts, illustrating the premise that discursive and practical tensions between enlightenment and experience are at the core of new practices emerging in museums.

Designs for Experimentation and Inquiry, 2019

This study expands on sociocultural approaches to meaning making in art museums by exploring the ... more This study expands on sociocultural approaches to meaning making in art museums by exploring the physical aspects of interaction with art in traditional gallery spaces, and in the context of technology use. The notion of ‘embodied interpretation’ is introduced to explore the complexity of embodied interaction in interpreting art, and to contribute to existing vocabularies of gesture. The research is informed by sociocultural perspectives on meaning making as well notions of embodied interaction, and asks the following research questions: “What are the relevant bodily and gestural practices that shape socially situated interactions in art galleries?” and “What insights into meaning making in art museums can be gained through an approach of embodied interpretation?” The study incorporates interaction analysis and design-based research methods to investigate three episodes from a national museum in which groups of adolescents interact with three different kinds of objects: a sculpture,...

Information, Communication & Society, 2022

A History of Participation in Museums and Archives, 2020

Education Sciences

Nordisk Museologi

Cultural Studies of Science Education

Museum Management and Curatorship

Learning, Culture and Social Interaction

Learning, Culture and Social Interaction, 2015

A History of Participation in Museums and Archives: Traversing Citizen Science and Citizen Humanities, Routledge, 2020

Journal of the Learning Sciences, 2022

The Cambridge Handbook of the Learning Sciences, 2014

The Routledge Handbook of Museums, Media and Communication

Experimental Museology Institutions, Representations, Users, 2021

Nordisk museologi, 2019

Designs for Experimentation and Inquiry, 2019

A History of Participation in Museums and Archives Traversing Citizen Science and Citizen Humanities, 2020

The contributions to this volume are organized according to shared ‘big themes’ we have identifie... more The contributions to this volume are organized according to shared ‘big themes’ we have identified in the research on Citizen Science and Citizen Humanities: Democratization, Divides, Drives, and Developments. This chapter reviews the contributions in each theme, noting the disciplinary domain, considering the approaches and outcomes, and relating these to topics in the museum and cultural heritage sector. Critical issues that emerge across disciplines include the use of democratization rhetoric; ethical issues of unpaid labor and the recruitment of disenfranchised citizens in data collection; questions of how to conceptually and methodologically scale up for public engagement at the community level; and the need for media and communication perspectives that can shed light on the epistemic, technological, and institutional features of interactions between researchers and citizens in different kinds of participatory and contributory infrastructures.

Å. Mäkitalo, T. Nicewonger & M. Elam (Eds.), Designs for Experimentation and Inquiry Approaching Learning and Knowing in Digital Transformation, 2019

As digital media have become more embedded in all aspects of architects’ design and representati... more As digital media have become more embedded in all aspects of architects’ design and
representational work, a gap has been identified between architectural practices and the ways in which architecture is presented in museum exhibitions, which often rely on traditional media. In this chapter, we study digital creative processes in an architect firm, following how ideas were developed for and ultimately presented in three different exhibition contexts by curators. The exhibition contexts are viewed both as background rationale for the architects’ object of activity, orienting their designing and imagining activities, and as concrete works produced by architects and museum curators. The analysis focuses on the role of narrative, digital materials, and temporal orientation in both architect and museum curator practices. The study contributes a model for understanding exhibition contexts as primarily conceptual, experiential or educational, and for discussing the respective future-oriented, present-lived, and past-oriented temporal orientations that guide design processes.

K. Drotner, V. Dziekan, R. Parry, & K. C. Schrøder (Eds.) The Routledge Handbook of Museums, Media and Communication. London: Routledge. , 2018

In this chapter, there is a focus on how opportunities for visitor learning and engagement are co... more In this chapter, there is a focus on how opportunities for visitor learning and engagement are constructed in museum mediascapes, and how these may be studied from a “meaning making” framework. The term “meaning making” (Wertsch, 1991) is used to highlight the significance of personal agency, identity, and social interaction in processes of appropriating knowledge, and to make a distinction from the primary emphasis on mastering knowledge in specific subject domains, as in schools. The framework, presented in detail below, is developed to explore the main question posed in this chapter: how do features of museum mediascapes construct opportunities for visitor learning and engagement? The theoretical framework draws on sociocultural research and findings presented in a recent review of learning research on engagement (Lawson & Lawson, 2013), in which three types of engagement are identified: cultural congruence, cultural correspondence, and cultural relevance. I use this framework to relate key developments in museum mediascapes—in art, science, and history museums—to the study of meaning making in these settings.

In V. Svihla & R. Reeve (Eds.), Design as Scholarship in the Learning Sciences, Chapter 9, pp. 11... more In V. Svihla & R. Reeve (Eds.), Design as Scholarship in the Learning Sciences, Chapter 9, pp. 115-129, London: Routledge.

K. Sawyer (Ed.) Cambridge Handbook of the Learning Sciences, Chapter 23, Cambridge University Press. pp. 461-478.

In this chapter, I explore the notion of multiple literacies in the context of young people’s (17... more In this chapter, I explore the notion of multiple literacies in the context of young people’s (17- and 18-year-olds) pedagogical use of mobile and social technologies in encounters with contemporary art. The empirical material is taken from a 3-week pilot study of Gidder (Groups in Digital Dialogues), a wiki-based learning environment designed for mobile use by curators, teachers, and high school students on art museum field trips. I first present a case that follows students as they use the learning environment Gidder to interpret a work of art across classroom and museum settings. I contrast this case with data from another student group that chooses to interpret a different work of art, namely a video installation made in a virtual world called Second Life. The usefulness of multiple literacies as analytic concept is explored in considering how discourse, disciplinary concepts, online games, mobile phones, and a wiki-based learning environment mediate meaning-making and engagement with contemporary artworks in these two data sets.

This article investigates how high school students master and appropriate concepts in aesthetics ... more This article investigates how high school students master and appropriate concepts in aesthetics and modern art in art history classes and in art museums. It is argued that distinctions between schools and museums as places of formal and informal learning, respectively, are not useful analytical categories for understanding complex meaning making processes.

Visitor Studies Association Annual Conference, 2019

An interdisciplinary framework From a visitor studies perspective, one challenge in studying visi... more An interdisciplinary framework From a visitor studies perspective, one challenge in studying visitors' 3D virtual reality experiences in museum exhibitions has been the need for an evaluation framework that productively integrates findings from specialized technology-related studies of VR with "outcomes" research, defined as "changes in visitor behavior, skills, knowledge, attitudes, values, or condition after participating in a learning activity or experience" (VSA glossary of terms). We present how this challenge was addressed in a study of visitors' experiences in a virtual-physical environment designed for an architecture museum 'exhibition experiment'.

Studying Touch as a Way of Knowing in the Art Exhibition, 2019

The aim of the research presented here was to explore how touch becomes relevant as an interpreti... more The aim of the research presented here was to explore how touch becomes relevant as an interpretive resource when visitors in groups interact with original works of art. The study was a collaboration between a university and a museum partner. We will discuss the research design and the different methods used to study 1) visitors’ haptic interactions with five original sculptures made in stone and 2) how these entered into visitors’ meaning-making. In addition to identifying specific types of touch patterns, we will discuss how real – but also vicarious, touch functioned as a new way of knowing and introduced another realm of communicative and interpretive resources into visitors’ interpretive processes. As haptic interactions with original artworks are usually not possible in museums, we will also reflect on how our findings are relevant for current and future curatorial and exhibition practice.

Background
Studies of visitors’ interactions in art museums often foreground their ocular-centric nature, using eye-tracking and other methods to capture and describe visitors’ acts of looking at artworks and reading texts (i.e. Walker et al. 2017; Filippini Fantoni et al. 2013). Recent approaches have argued for the inclusion of other senses and the body when visiting art museums, foregrounding the museum experience as an embodied experience (i.e. Christidou & Diamantopoulou 2016; Steier, Pierroux, & Krange, 2015). Despite this increased interest, there have been relatively few exhibitions in art museums that provide opportunities for visitors to touch original artworks instead of replicas mainly due to conservation concerns (Candlin 2004; Pye 2008). Evighetens Form (Eternity’s Form), a touring exhibition produced by the National Museum of Art, Architecture and Design in Oslo, Norway (2016 – 2019), presented works by Norwegian modernist artist Aase Texmon Rygh that were based on variations of the Möbius strip, a surface with only one side and only one boundary and has the mathematical property of being non-orientable. Five original sculptures from this series made of dolomite stone were on display inviting visitors to ‘follow the form with the hand (…) and thus understand the principle and experience the material’ (Nasjonalmuseet, 2016). In collaboration with curators from the museum, a study was designed to examine if and how touch mediated visitors’ interpretive processes in encounters with these artworks.

Methods
This paper presents observation methods and findings from an empirical study of both general public visits and a school excursion. For this study, the digital observation and survey tool Visitracker was used in the research design and data collection. Since little is known about haptic interactions with original sculptures, a tentative coding scheme with potential interactions was first developed. Visitracker was then used in the field to (1) refine the ‘touch codes’ through real-time observations of visitors’ interactions with the sculptures, (2) collect data regarding visitors’ movement and dwell time in the exhibition, and (3) collect their responses to a post-visit questionnaire. Additionally, we collected two hours of video recordings of visitors in groups to capture and analyze talk and interactions in situ.

Data and Analysis
Observations of 136 visitors, alone or in groups, were logged during a period of two weeks. 31 visitors completed questionnaires during this same period. Among other findings regarding visitors’ movement and dwell time, the analysis of the video recordings and the interactions registered with Visitracker allowed us to identify specific ‘sensing patterns,’ including resting palm on surface; tracing form with palm; using palms; sensing edges and surfaces with fingertips; poking and pointing with index figure; and knocking with fist. Further, analysis of the video data show how both real and ‘vicarious’ touch introduced new gestures, bodily orientations, and haptic information as qualitatively new and different interpretive resources, fostering longer and deeper object-related inquiries than when viewing only, i.e. confirming or countering visual observations, discerning shape, texture, substance, and reflecting on the creation process.
Importance: The study contributes to ongoing research on how experiential knowledge, and specifically the sense of touch, is made relevant in processes of meaning-making in encounters with art. Haptic interactions in a gallery setting are fairly underexplored, and thus, their analysis contributes to the ongoing discussions in visitor studies. In terms of VSA learning competencies, the use of an advanced observation tool to develop and record types and patterns of touch and movement as visitors interacted with sculptures in an art museum contributes to “Knowledge of and Practices with Social Science Research and Evaluation Methods and Analysis.” Moreover, the overall discussion on the research design and the methods used in this study reflect and expand upon the “Principles and Practices of Visitor Studies”. Finally, the curators’ aims and perspectives shed light on the ‘Principles and Practices of Informal Learning Environments’.

References:
Candlin, F. (2004). “Don’t Touch! Hands Off! Art, Blindness and the Conservation of Expertise.” Body and Society 10: 71–90. doi: https://doi.org/10.1177/1357034X04041761
Christidou, D., and S. Diamantopoulou. (2016). Seeing and Being Seen: The Multimodality of Museum Spectatorship. Museum & Society 14 (1): 12–32.
Nasjonalmuseet (National Museum of Art, Architecture and Design) (2016). Aase Texmon Rygh. Evighetens form. Retrieved on May 9, 2019: http://vandreutstillinger.nasjonalmuseet.no/produksjon/aase-texmon-rygh-evighetens-form. Translated from Norwegian to English by the authors.
Pye, E. (2008). The Power of Touch: Handling Objects in Museum and Heritage Contexts. Walnut Creek: University College London Institute of Archaeology Publications. Left Coast Press.
Steier, R., Pierroux, P., & Krange, I. (2015). Embodied interpretation: Gesture, social interaction, and meaning making in a national art museum. Learning, Culture and Social Interaction, 7, 28-42. doi:https://doi.org/10.1016/j.lcsi.2015.05.002
Walker, F., Bucker, B., Anderson, NC., Schreij, D., Theeuwes, J. (2017) Looking at paintings in the Vincent Van Gogh Museum: Eye movement patterns of children and adults. PLoS ONE 12(6): e0178912. https://doi.org/10.1371/journal.pone.0178912
Filippini Fantoni, S., Jaebker, K., Bauer, D. and Stofer, K. (2013) Capturing Visitors’ Gazes: Three Eye Tracking Studies in Museums. In Museums and the Web 2013, N. Proctor & R. Cherry (eds). Silver Spring, MD: Museums and the Web. Published January 31, 2013. Retrieved May 9, 2019: https://mw2013.museumsandtheweb.com/paper/capturing-visitors-gazes-three-eye-tracking-studies-in-museums/

Additional Resources: https://www.uv.uio.no/iped/english/research/projects/mediascapes/

Studying Visitors' Exhibition Experiences in an Immersive Virtual Environment, 2019

From a visitor studies perspective, one challenge in studying visitors’ 3D virtual reality experi... more From a visitor studies perspective, one challenge in studying visitors’ 3D virtual reality experiences in museum exhibitions has been the need for an evaluation framework that productively integrates findings from specialized technology-related studies of VR with “outcomes” research, defined as “changes in visitor behavior, skills, knowledge, attitudes, values, or condition after participating in a learning activity or experience." We present how this challenge was addressed in a study of visitors’ experiences in a virtual-physical environment designed for an architecture museum ‘exhibition experiment.'

The research design was collaboratively developed by an interdisciplinary team: two museum curators, a small team of architects, a VR designer, a soundscape expert, and two learning researchers. Based on this collaboration, three topic areas were identified and serve as analytical lens for the evaluation framework: 1) Technical quality, precision and equipment, 2) Designing digital architectural experiences for museum exhibitions and 3) Meaning making in VR architecture exhibitions.

Methodological approach
The research was driven by shared interests in how virtual reality environments may be designed to foster visitors’ experiential knowledge and new understandings of architecture in architecture museum exhibitions, which more typically rely on display analogue objects like models, drawings, and perhaps screens. The architect’s concept for the virtual experience was to inspire visitors to think about how spaces formed in nature may be similarly experienced in architecture, heightening visitors’ awareness of the body’s dimensions and functions as one moves through a full-scale ‘blended’ virtual/physical environment (Pierroux, Steier & Sauge, 2019).

In planning the empirical studies of visitors’ experiences in the exhibition experiment, 3-4 key research questions were formulated by the curators, the learning scientists, and the experts in sound and VR environments design, respectively. These research questions informed the design of the data collection, which comprises four different data types. First, 19 pairs of recruited visitors of different ages, gender, and with different levels of expertise in architecture were video recorded as they engaged with the exhibition and participated in pre-post interviews. Recordings of each visitors’ VR experience, what they ‘saw and heard’ in the virtual environment, supplement the video recordings of their interactions in the exhibit. Following a week of studies with recruited visitors, the exhibition experiment was open to the public for three weeks. Directly after participating in the exhibition, non-recruited visitors were invited to complete a questionnaire available on a tablet at the gallery exit. The questionnaire consisted of 22 questions that addressed the three topic areas in the evaluation framework. Although not obligatory, the 287 questionnaire responses neared the total number of visitors, showing a high level of engagement in the ‘experiment’ aspect of the exhibition. In addition, 82 visitors consented to exit interviews specifically focused on the soundscape experience. The data corpus allowed us to study the visitors' movements and embodied sensory experiences (e.g. perception, listening and touch) of fundamental architectural qualities (e.g., space, acoustics, light and materiality), with a particular focus on experiential, social and performative aspects of their interactions with each other and the virtual and physical objects in the installation.

Data for different analytical lensesIn keeping with the methodological focus of this paper, the four data types are discussed in terms of how they are used to address the different topics. 1) Technical quality, precision and equipment; this lens uses the data to explore the types of complexity needed in sound and representational material to create more immersive, comfortable, and safe experiences. 2) Designing digital architectural experiences for museum exhibitions; This lens uses the data to focus on how architects and museum curators can include the future in virtual designs, to open for new understandings and time-space experiences of contemporary architecture in an exhibition setting. 3) Meaning making in VR architecture exhibitions; this lens uses the data to explore how meaning and co-presence were constructed and performed by visitors, and to identify the behaviors, skills and knowledge involved in interpreting the architectural experience
I
The analytic lenses reflect the diverse interests and expertise that comprise the multidisciplinary research team. By systematically collecting multiple coordinated forms of data, we are able to both address these diverse interests, but also capture the richness of multisensory immersive VR experiences along with the implications for exhibition design. The research study is thus designed to reflect the 'multiple ways of knowing' that are central to museum, research, and design practices. As immersive and digital physical experiences become more sophisticated, more attention will be needed to such collaborative and mutually beneficial research initiatives.elevance to VSA members and the field.

References:
Carpo, M. (Ed.). (2013) The Digital Turn in Architecture 1992-2012, AD Reader. West Sussex: Wiley.
Pierroux, P., Steier, R., and Sauge, B. (2019) Born Digital Architectural Projects: Imagining, Designing and Exhibiting Practices. In Å. Mäkitalo, T. Nicewonger & M. Elam (Eds.), Designs for Experimentation and Inquiry: Approaching Learning and Knowing in Digital Transformation (pp. 87-109). London: Routledge.

Additional Resources:
The Forest in the House exhibition experiment was part of the Cultural Heritage Mediascapes project at the University of Oslo, financed by the Research Council of Norway.
http://www.nasjonalmuseet.no/en/exhibitions_and_events/exhibitions/national_museum__architecture/The+Forest+in+the+House.+Exploring+parallel+realities.b7C_wJHUYO.ips
https://www.uv.uio.no/iped/english/research/projects/mediascapes/

A History of Participation in Museums and Archives: Traversing Citizen Science and Citizen Humanities, Routledge, 2020

Citizen Science (CS) and Citizen Humanities (CH) are increasingly engaging people in participator... more Citizen Science (CS) and Citizen Humanities (CH) are increasingly engaging people in participatory and contributory activities that support research conducted by universities, museums and archives. These relatively new terms describe different types of public interactions with tangible and intangible cultural, natural, and scientific heritage, often involving digital archives, museum collection databases, or crowdsourcing platforms. Although public involvement with the work of science and cultural heritage research institutions is not a modern phenomenon, the rapid development and accessibility of digital tools is broadening and transforming knowledge practices in significant ways. Emerging from different trajectories of disciplinary and professional development, citizen projects in the sciences and in the humanities are not easily compared. This chapter approaches topics in Citizen Science and Citizen Humanities as tacking stitches, binding disciplines in the exploration of shared, pertinent questions: In which ways do perspectives on democratization inform communication models in citizen science and citizen humanities? How are knowledge and communication practices in citizen projects in the sciences and humanities organized? What are the respective and shared motivations of institutions and volunteers? What are some emergent trends and issues in the development of citizen science and citizen humanities and how are these relevant for museum and heritage studies? The chapter identifies principles, challenges, and implications of public participation in citizen projects on both general and domain-specific levels, and introduces the interdisciplinary background and approach in this book: A History of Participation in Museums and Archives: Traversing Citizen Science and Citizen Humanities.