CONNECTED AUDIENCE

2019BERLIN

3RD INTERNATIONAL CONFERENCE ON AUDIENCE RESEARCH AND DEVELOPMENT

APRIL 4 – 6KULTURFORUM, STAATLICHE MUSEEN ZU BERLIN

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DAY 1 – THURSDAY, APRIL 4

TIME PROGRAMME WHERE

10.15 – 11.45 GUIDED TOUR Hamburger Bahnhof – For participants who are already in Berlin Museum für Gegenwart in the morning (booking required) 12.00 – 14.00 REGISTRATION Kulturforum

14.00 – 14.30 WELCOME & INTRODUCTION Kulturforum, Room 1

14.30 – 15.15 KEY NOTE: MARIA GENDRON (US), Yale University – Kulturforum, Room 1 Emotions and learning 15.15 – 15.30 Q&A AND PROVOCATEUR 1 Kulturforum, Room 1 Connecting keynote to practice 15.30 – 16.15 KEY NOTE: SHEILA WATSON (UK), Leicester University – Kulturforum, Room 1 Museum Studies Museums as emotional places

17.15 – 18.30 ANJA SCHALUSCHKE (DE), Welcome Museum for Museum for Communication Communication

GET CONNECTED – with staff from the Museum for Communication 18.30 – 21.00 EVENING WELCOME RECEPTION Museum for Communication

DAY 2 – FRIDAY, APRIL 5

08.00 – 09.00 OPEN FORUM – EARLY MORNING COFFEE Kulturforum, Room 1 Join your hosts – reflections from the day before

09.00 – 09.45 KEY NOTE: PAUL SPIES (DE) and BRINDA SOMMER (DE), Kulturforum, Room 1 Stadtmuseum Berlin – Connecting the audience

09.45 – 10.15 Q&A AND PROVOCATEUR 2 Kulturforum, Room 1 Connecting keynote to practice

10.15 – 10.45 Coffee break

CONNECTED AUDIENCE 2019BERLIN PROGRAMME

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PROGRAMME

10.45 – 12.00 SESSION 1 Kulturforum, Room 1 IMPORTANT BUT DIFFICULT STORIES Concurrent Session • DEMETRA SOCRATOUS (CY), Ministry of Education & Culture – Impact of the use of drama with young children • BERND HOLTWICK (DE), DASA – Dive in deep! Exploring the benefits of storytelling in exhibitions • JOE HANCOCK (UK), Burn the Curtain – The role of movement, magic and shared experiences in cultural understanding and engagement

10.45 – 12.00 SESSION 2 Kulturforum, Room 2 THE ROLE OF EMOTIONS IN VISITOR ENGAGEMENT Concurrent Session • MARIE HOBSON (UK), Natural History Museum – Biodiversity • KATERINA MAVROMICHALI (GR), MOMus/Museum of Modern Art – Costakis Collection An innovative outreach programme and the aesthetic third • EWA GOODMAN (BE), House of European History – The role of emotions in visitor engagement and satisfaction

12.00 – 13.15 SESSION 3 Kulturforum, Room 1 APPROACHING DIFFICULT NARRATIVES Concurrent Session AND DECISION MAKING • JANE REDLIN (DE), Museum of European Cultures – The role of emotions and cultural experiences • ARETI DAMALA (FR), Hellenic Open University – Scaffolding difficult heritage narratives • MARTIN BRANDT DJUPDRÆT (DK), Den Gamle By - Let the decision makers do the audience research

12.00 – 13.15 SESSION 4 Kulturforum, Room 2 CAN MUSEUMS HELP PEOPLE BE MORE EMPATHIC? Concurrent Session • LAURA DRAVNIECE (LV), Latvian National Museum of Art –

Let’s be friends • KARLEEN GARDNER (US), Minneapolis Institute of Art – Fostering empathy through the visual arts • RACHEL MACKAY (UK), Kew Palace – Madness of King George

13.15 – 14.15 Lunch

14.15 – 15.15 CONNECTED AUDIENCE DIALOGUE 1 Kulturforum, Room 1 Small Group discussion – How can we apply what we’ve heard at the 3 keynotes to our work?

15.15 – 17.00 AUDIENCE RESEARCH FORUM with JOHN FALK (US) & Kulturforum, Room 3 JUDY KOKE (US), Institute for Learning Innovation Concurrent Session

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CONNECTED AUDIENCE 2019BERLIN PROGRAMME

DAY 2 – FRIDAY, APRIL 5

TIME PROGRAMME WHERE

15.15 – 17.00 WORKSHOP 1 – Empathy building through emotions with Kulturforum, Room 1 ELIF GOKCIGDEM (US), Empathy-Building Through Museums Concurrent session ORNA COHEN (DE), Dialogue Social Enterprise THOMAS ROCKWELL (US), Exploratorium San Francisco

15.15 – 17.00 WORKSHOP 2 – Designing for emotions with Kulturforum, Room 2 TOM OWEN (US) & DIANE LOCHNER (US), PGAV-Destination Concurrent session

15.15 – 17.00 WORKSHOP 3 – Visitor experience mapping with Kulturforum, Room 5 CHRISTIANE BIRKERT (DE), Jewish Museum Berlin Concurrent session

15.15 – 17.00 WORKSHOP 4 – The importance of training front Kulturforum, Room 4 of house staff with IRENE KNAVA (AT), Audiencing Concurrent session

15.15 – 17.00 WORKSHOP 5 – Theatre – more than a stage with Kulturforum, Room 5 KATHARINA WENZEL (DE) & FRIEDERIKE BUSCH (DE), Concurrent session Deutsches Theater Berlin

17.00 – 17.30 Coffee Break

17.30 – 18.15 CONNECTED AUDIENCE DIALOGUE 2 Kulturforum, Room 1 UN-CONFERENCE SESSION – want to discuss an idea? Participants choose the topics

18.30 – 21.00 SMB EVENING RECEPTION, Drinks and buffet Kulturforum

DAY 3 – SATURDAY, APRIL 6

08.00 – 10.00 EMOTION LAB with LISA BAXTER (UK) The Experience Business Kulturforum, Room 1 PHILIPPE BRASSEUR (BE), Creavita – Concurrent session An exploratory, experiential exercise in emotional tuning-in and design

08.45 – 10.00 SESSION 5 – Kulturforum, Room 2 BUILDING RELATIONSHIPS THROUGH EMOTIONS Concurrent session • EMMA MORIOKA (UK), Historic Royal Palaces – Transforming the past: the role of emotions in the audience experience • IRINA MIHALACHE (CA), University of Toronto – Museum Studies – The state of ‘emotions’ in contemporary museum dining: food as disconnect • MIRJAM WENZEL (DE), Jewish Museum Frankfurt – Experiencing jewish culture with all senses

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PROGRAMME

10.00 – 10.30 Coffee break 10.30 – 11.15 KEY NOTE: JOHN FALK (US), Institute for Learning Innovation – Kulturforum, Room 1 Emotions and museum-going

11.15 – 11.30 Q&A AND PROVOCATEUR 3 Kulturforum, Room 1 Connecting keynote to practice 11.45 – 13.00 SESSION 6 – HEARING SENSATIONS, MEASURING IMPACT Kulturforum, Room 1 • MARTIN TRÖNDLE (DE), Zeppelin University – Concurrent session From mapping the museums experience to measuring the concert experience • KERSTIN GLASOW (AT), Wiener Konzerthaus – Creating an emotional brand: re-positioning the Wiener Konzerthaus • JANA MARKS (DE), Carl von Ossietzky University of Oldenburg – The meaning of emotions for experiencing interactive exhibitions

11.45 – 13.00 SESSION 7 – INTEGRATING TECHNOLOGY Kulturforum, Room 2 • LUDOVICO SOLIMA (IT), University of Campania – Concurrent session Games and emotional engagement • KATIE HEIDSIEK (DE), German Emigration Center Bremerhaven – Digital strategies to present emotions alongside facts and figures • ANNA KOVALEVA (RU), Boris Yeltsin Presidential Museum – Shaping hearts, enlighting minds, winning loyalty

13.00– 14.00 Lunch

14.00 – 14.45 FISHBOWL DISCUSSION with Kulturforum, Room 1 MARIA GENDRON, MARTIN TRÖNDLE, SHEILA WATSON, JOHN FALK, ELISABETH TIETMEYER & YOU Creating emotions in cultural experiences – what are the ethical boundaries?

14.45 – 15.45 THE FLOOR IS YOURS Kulturforum, Room 1

15.45 – 16.30 IMAGINING THE FUTURE SESSION Kulturforum, Room 1

16.30 – 16.50 PROVOCATEURS REFLECT ON CONFERENCE Kulturforum, Room 1

16.50 – 17.00 CLOSING REMARKS Kulturforum, Room 1

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CONNECTED AUDIENCE 2019BERLIN

Dear conference participants The Staatliche Museen zu Berlin are very pleased to be holding the Third International Conference on Audience Research and Development ‘The Connected Audience’ in cooperation with Kulturagenda Institute and the Institute of Learning Innovation.

The institutions of the Staatliche Museen zu Berlin form a museum complex with a variety of collections on art, archaeology, and ethnology. Boasting a diverse programme of events, we endeavour to attract users from a wide variety of groups: children and families; young people and adults; pre-school day-care centres, schools, universities, and other educational institutions; individual visitors and tour parties.

For major and larger projects, we invite a broad range of user groups to get actively involved in the museum’s work, allowing us to explore and define the scope for play and activities. We are particularly interested in ways we can better connect with our audiences, engage them and make them feel part of our mission. We intend to improve reaching as diverse an audience as possible while reinforcing the ties between museums and their existing audience.

The conference programme has been carefully developed and is a good basis for a fruitful debate and exchange of experiences. Emotions are part of very complex phenomena and we hope that some of the outcomes will make us reflect more deeply on issues around audience engagement and the role museums can play in society.We also hope that you will find the Kulturforum an inspiring place to meet and debate. I wish you all a very successful conference.

Yours

Christina HaakSMB, Deputy Director General

WELCOME

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This year´s conference programme was jointly developed by KulturAgenda Institute, the Institute for Learning Innovation and the Staatliche Museen zu Berlin. We chose the topic EMOTIONS and the role they play in visitor engagement from our own experience working with and for visitors. We thought about the awe and inspiration some museum objects/collections (or exhibitions) can give to people and asked ourselves to what extent that impacts learning and engagement.

According to the classical view, our emotions are artefacts of evolution and can feel like they are obligatory responses to the world around us. Lisa Feldman Barret in her groundbreaking book ‘How emotions are made’ offers a very different explanation of what emotions are and argues that they are effectively constructed in our brains. The keynote from Maria Gendron, a close colleague of Lisa Feldman Barret, will give us new insights and much food for thought.

So what can museums and other cultural institutions do to be more effec-tive in creating emotional experiences? Can we design better cultural and museums experiences by knowing more about how emotions are made and the whole complexity of arousing emotional responses? How can we create awe and wonder that foster empathy and cultural understanding? To debate these questions we are happy to welcome such a breadth of speakers and participants from 36 different countries around the world.

We are very grateful to our hosts the Staatliche Museen zu Berlin and our cooperation partners the Museum for Communication Berlin and NEMO as well as our sponsors PGAV and Uniqa that made this international confe-rence possible. The outcomes will certainly be widely shared.

Yours truly

Katharina Fendius, Judy Koke & Christian WaltlConference Coordinators

INTRODUCTION

Emotions and Learning

Emotions sit at an important nexus in psychology: they colour our experiences, drive our behaviour, are critical for human rela-tionships, and impact health and wellbeing. This presentation will describe a series of scientific experiments about the nature of emotion. We’ll learn that common sense has been wrong for over 2000 years, dispelling three widespread fictions about emotions that lurk in classrooms, boardrooms and bedrooms around the world. We’ll then explore a radically new scientific understanding of what emotions are and how they work.

MARIA GENDRON (US), PhD, Assistant Professor of Psychology, Yale University

Connecting the audience

The Berlin Exhibition in the Humboldt Forum invites visitors to experience the relationship between Berlin and the world and to understand themselves as a part of this complex network. The exhibition fits into the Humboldt Forum like a link in a chain, connecting the world’s cultures on the upper floors with the city of Berlin. Telling stories of revolution, free space, boundaries, entertainment, war, fashion and interconnection, this diverse exhibition brings together voices, narratives and people.

PAUL SPIES (DE), Director, Stadtmuseum Berlin

BRINDA SOMMER (DE), Head Curator, Berlin Exhibition at the Humboldt Forum, Stadtmuseum Berlin

CONNECTED AUDIENCE 2019BERLIN

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KEY NOTES

Emotion and museum-going

What motivates people to visit museums? What determines when and why museum visitors perceive they have “peak experiences”? What do people remember about their museum experience weeks and months after a visit, and why? And most importantly, how are these questions related? Building off his more than 40 years of research on the museum visitor experience, Falk will attempt to answers these critical questions. Hint: It has a lot to do with satisfying visitors’ self-related needs and satisfaction is all about emotions.

JOHN FALK (US), PhD, Sea Grant Professor Emeritus of Free-Choice Learning, Oregon State University

Museums as emotional spaces: rethinking the role of emotions in museums

Traditionally most museums present themselves as disseminators of dispassionate knowledge. However we will consider to what extent this is the case – looking at examples where techniques are used to provoke certain emotional responses from visitors. If we accept that emotions are culturally regulated we need to consider to what extent museums are successful in eliciting the responses they intend from those who may be unfamiliar with certain cultural norms. We will also consider to what extent visitor studies can help us understand emotions in museums. Can we ever, as museum academics and professionals, examine this subject dispassionately or will our own emotional regimes and narratives, get in the way of scientific analysis?

SHEILA WATSON (UK), PhD, Leicester University, Museum Studies

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DEMETRA SOCRATOUS (CY), Ministry of Education & Culture

Children’s engagement through Drama

The findings of this Reflective Practitioner Case Study research suggest that drama strategies powerfully promote children’s learning in a museum through their emotional engagement which is determined by the role-play techniques; the emotional-moral power of the narration and the children’s social interactions and communication. Children’s sa-tisfaction and learning are defined by their empathic response to the museum’s artefacts and imaginaries.

BERND HOLTWICK (DE), PhD, DASA

Dive in deep!

Exploring the benefits (and risks) of “storytelling” in exhibitions. Many exhibitions tell stories, though in different ways. People seem to like stories, but we do not really know, what happens in story telling exhibitions. What emotions do they evoke? Do these emo-tions foster learning processes or at least help to focus on content that we assume to be important? Does storytelling help to reach a broader audience? To find answers to ques-tions like these, DASA started a research project. Its main idea was to design an exhibition that is based on storytelling and to evaluate visitors’ experiences.

JOE HANCOCK (UK), Burn the Curtain

The role of movement, magic and shared experiences

Over the last 10 years Burn the Curtain have made theatre and other cultural events ba-sed on a simple set of principals - that if the audience takes a physical hand in the creati-on of an event, then they have an increased sense of ownership in it, engage more deeply with it, and hold it in their memory for longer. Using examples of special events from our back catalogue, Joe will explore techniques for organisations attending this conference to create moments of awe and wonder with simple physical audience engagement, and how physical and emotional engagement can lead to greater understanding and cherishing of difference.

SESSION 1 – Important but difficult stories

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SESSIONS

MARIE HOBSON (UK), Natural History Museum London

Biodiversity

At the Natural History Museum in London, we want our visitors to become advocates for nature. However, we are living at a time when the public are becoming increasingly disconnected from nature due to urbanization, technological advance and safety fears. Our own audience research findings demonstrate that communicating messages around biodiversity loss needs to consider audience’s emotions to be effective. This finding has required a culture shift in the way that we interpret our galleries. The lessons learnt from the evaluation of one of our exhibitions on biodiversity have presented us with challenges and opportunities for future exhibitions and marketing campaigns.

KATERINA MAVROMICHALI (GR), PhD, MOMus/Museum of Modern Art-Costakis Collection

An Innovative Outreach Museum Programme and the Aesthetic Third

Many children lack the essential nurturing conditions for a healthy development and find themselves at risk of exclusion and marginalization. The programme outlines the im-portance of the “Working Together” principles and enables creative, cultural and social engagement. It looks into the impact of human emotions, supports child-centered and family-focused care in museum and cultural experiences and explores the museum as a ‘secure base’. Museums can make a ‘difference’ as emotionally and mentally healthy insti-tutions and provide stewardship of the highest order.

EWA GOODMAN (BE), House of European History

The role of emotions in visitor engagement and visitor satisfaction

The House of European History is a unique museum on transnational phenomena which have shaped the continent. From the very beginning the role of emotions in visitor en-gagement and satisfaction played a crucial role in the development of this project. The talk will show examples of carefully selected objects and narratives that can stir a range of emotions in our visitors. The main goal of this presentation would be a discussion with other participants of the conference about the role and type of emotions they would con-sider engaging for visitors while trying to create meaningful exchanges and aiming to be a leading and innovative space for presenting history with a European and trans-national dimension.

SESSION 2 – The role of emotions in visitor engagement

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JANE REDLIN (DE), PhD, Museum of European Cultures

Emotions as a Theme in Exhibitions: Approaches and Challenges

Emotions have a story and make history. Therefore, the Museum of European Cultures (MEK) chose emotions as a theme for three exhibitions between 2014 and 2018.The presentation reflects challenges, realized approaches, implementation formats, and conveyance strategies. Part of this are the idea of the staged emotional space and the associative conceptual space. In so doing, historico-cultural artefacts and contemporary creative work enter into a dialogue and tension with one another. Personalised stories advance the emotional access accessibility of the topic.

ARETI DAMALA (GR), PhD, Helenic Open University

Scaffolding Difficult Heritage Narratives: Investigating the role of emotions for learning and meaning-making

This presentation revisits the rationale of the exhibition “Atlantic Wall, War in the City of Peace”, a temporary exhibition in Museon, The Hague, Netherlands. The exhibition visited the story of the city of The Hague in WW2 and featured the use of smart replicas, corre-sponding to everyday life WW2 objects. These unlocked narratives from three different perspectives. A mixed-methods evaluation was carried out: we report on the emotional dimensions of the visitors’ encounters with the exhibits.

MARTIN BRANDT DJUPDRÆT (DK), Den Gamle By, Open Air Museum

Let the decision makers do the audience research

A new audience research with tracking and dialogue with visitors is implemented at Den Gamle By. The decision makers at the museum participate in this research and it is an eye-opener for the management and other decision makers. It has taught us all through simple involvement that there are many different ways of understanding and using our museum. We have not just learned it, we have felt it.

SESSION 3 – Approaching difficult narratives and decision making

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SESSIONS

LAURA DRAVNIECE (LT), Latvian National Museum of Art

Let’s be friends

The aim of the exhibition project “Let’s be friends?” was to communicate with the youn-gest visitors of the museum about topics that are important and interesting to them developing a deeper understanding of the world. The title represented the way children explore and learn – by asking questions and the measures of the design were interests and perception of children. The display invited to explore animal representations in art and encouraged children to think about values like friendship, trust, compassion, love and responsibility.

KARLEEN GARDENER (US), Minneapolis Institute of Art

Fostering empathy through the visual arts

The Minneapolis Institute of Art through their the Center for Empathy and the Visual Arts, collaborate with social scientists to explore best practices for fostering empathy and compassion through engagement with art. Using their global collection, Mia is developing and experimenting with object-based engagement and interpretive strategies that enga-ge visitors with art to foster values and attitudes that are crucial for the 21st century.

RACHEL MACKAY (UK), Historic Royal Palaces

The ‘Madness’ of King George

Kew Palace became infamous as the building George III was brought to against his will, as he recovered from his periods of mental illness. It’s a topic still very relevant today, and a history that draws strong reactions from our visitors. At Kew we have always been aware of the emotional power of our story as we move towards targeting more emotional responses from our visitors. This presentation will share our findings and our plans for the future. Most importantly, we’ll cover the realities of triggering an emotional response from your audience, and how to equip and upskill your delivery teams for dealing with this.

SESSION 4 – Can museums help people be more empathic?

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EMMA MORIOKA (UK), Historic Royal Palaces

Transforming the past: the role of emotions in the audience experience

Our cause is to help everyone explore the story of how monarchs and people have shaped society, in some of the greatest palaces ever built. We deliver discovery through story-telling, but transmission of knowledge alone does not lead to engagement. Building on learning theory, we have developed a framework for engagement that helps us to develop, deliver and measure the impact of our activities. This embraces ‘participation’ as a trigger for a more transformative experience. At the heart of participation is emotio-nal response. This paper will explore the role of emotions and what impact they have on learning, visitor satisfaction and motivations to attend.

IRINA MIHALACHE (CA), Museum Studies, University of Toronto

The State of “Emotions” in Contemporary Museum Dining: Food as Disconnect

While much eating happens in art museums the use of food for constructive and mea-ningful emotional experiences has not yet been captured in museums’ culinary work. The most visible forms of museum dining today appear through the celebrity chef-helmed and highly experimental restaurants located in major art museums. The encounters between visitors and food in such institutions are mediated through a very limited emotional palet-te. Irina’s presentation will look primarily at North American art museums and galleries to address the current state of “emotions” in museum dining followed by a deeper look into the relation between the contemporary museum restaurants and their home institutions.

MIRJAM WENZEL (DE), PhD, Jewish Museum Frankfurt

Experiencing Jewish culture with all senses

Museums are providing visual experiences and trust in the cognitive potential of visual perception. The Jewish Museum Frankfurt is challenging this rather distanced approach. In providing concerts with traditional music in the ruins of the former Judengasse and dinners based on old recipes from early Modern Times the museum fosters an inclu-sive approach to Jewish culture with all senses, instead. The presentation will give an introduction into different event formats and elaborate on the question how the sensual aspect of Jewish culture can be transformed into the museum experience.

SESSION 5 – Building relationships through emotions

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SESSIONS

MARTIN TRÖNDLE (DE), PhD, Zeppelin University

From eMotion to measuring the concert experience

eMotion analysed (2009-2014) the experience of the museum-goer experimentally. The core of our interest was the museum architecture, the art objects, curatorial installa-tion and how they effect and affect the behaviour of visitors. Gaining access to this com-plex realm of visitor reception required both innovative research methods and advanced technology. Subsequent to eMotion a new research project started in 2019. This time we try to understand what constitutes the concert experience. The Experimental Concert Research is an international research project, funded by the VolkswagenFoundation.

KERSTIN GLASOW (AT), Wiener Konzerthaus

Creating an emotional brand: re-positioning the Wiener Konzerthaus

The Wiener Konzerthaus in Vienna, one of the leading concert halls in Europe, developed a brand strategy which centres around creating and deepening connections with audien-ces by focussing on the emotional aspects of the offer. This was achieved by telling the stories behind the music and the artists, by changing the tone of voice and by creating new assets and using different channels. Kerstin will give insights into the re-branding process and also touch on the challenges that were encountered.

JANA MARKS (DE), PhD, Carl von Ossietzky University Oldenburg

The meaning of emotions for experiencing interactive exhibitions

The qualitative research study focusses on the motivational and emotional processes of visitors’ experiences in a science center: What meaning and impact do emotions have on visitors’ experiences with hands-on exhibits? While performing complex sequences of interactions emotional responses provides enlightening information about holistic experi-ences. In relation to the researching field empirical data were obtained from observations and interviews. The results from the case studies describe motivational and emotional as-pects within holistic interaction processes and record their relationships between exhibit, recipient and social context.

SESSION 6 – Hearing sensations, measuring impact

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LUDOVICO SOLIMA (IT), PhD, University of Campania „Luigi Vanvitelli“

The role of emotion in visitor engagement. The Father and Son’s experience.

In 2017 the National Archaeological Museum of Naples made the video game, Father and Son, available for free. To date, there have been over three million downloads. The appre-ciation of users is evident not only by the very high ratings, but also by the more than 15,000 reviews of the game. The analysis of these reviews highlights the high emotional involvement of users. This involvement has determined the creation of a strong emotional bond with the museum and many players have expressed their interest to visit the muse-um. This experience demonstrates the role that the emotional dimension can play in the engagement activities of museum visitors.

KATIE HEIDSIEK (DE), German Emigration Center Bremerhafen

A vitrine of hope and fear? Presenting emotions alongside migration facts and figures

The German Emigration Center tells the story of German transatlantic emigration and the story of 300 years of immigration to Germany. The museum is rooted in the concept that it takes more than facts and figures of social, economic, and demographic processes to understand migration; one must also understand the emotions of the people involved. In a new project developed as part of the GEC’s participation in museum 4.0, the museum created a prototype exhibit to explore the ability of virtual reality to elicit emotions for the migration experience. This presentation will share how the project was developed and operated and explore the findings.

ANNA KOVALEVA (RU), PhD, Boris Yeltsin Presidential Museum

Shaping hearts, enlightening minds, winning loyalty

Boris Yeltsin Presidential Museum, the winner of the European Museum of the Year award 2016, is the first museum in Russia dedicated to the decade following the collapse of the Soviet Union. An international team of scholars, museum experts and designers had a very difficult task – to present all losses and gains of this time without giving any personal evaluation. We would like to share how and why the museum triggers a great variety of visitor emotions, present and analyze survey results and discuss ways the exhibition chan-ges people’s perception of the 1990s.

SESSION 7 – Integrating technology

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SESSIONS

AUDIENCE RESEARCH FORUM

This is a regular session at the Connected Audience Conference making sure that partici-pants have the opportunity to discuss their audience research projects with other peers and invited experts. The aim is to find research partners, discuss problematic areas and challenges in audience research projects, share interesting case studies and build a stronger international network.The session is led by Prof. John Falk of the Institute for Learning Innovation and a global leader in audience research.

WORKSHOP 1 – Empathy building through emotions

Museums harbour some of the most important ingredients of empathy-building, such as providing a safe space for dialogue, storytelling, experiential learning, and contemplation. Two senior exhibition and experience designers along with an art historian, explore and demonstrate how empathy-building might look like in a museum setting.

Workshop leaders:

ORNA COHEN (DE), Chief Creative Officer, Dialogue Social EnterpriseELIF GOKCIGDEM (US), PhD, Author & Founder, Empathy-Building Through Museums InitiativeTHOMAS ROCKWELL (US), Creative Director, Exploratorium

WORKSHOP 2 – The emotional power of a first impression: Designing the museum arrival experience

Planning and design for museums often focuses on what happens inside galleries. But research tells us a visitor’s emotional state impacts their ability to learn. Presenters from PGAV Destinations will share case studies from projects to illustrate key principles of arrival design. Participants will engage in interactive roundtable exercises to apply the principles to real world conditions in museums or other cultural attractions.

Workshop leaders:

DIANE LOCHNER (US), VP PGAV Destinations – Senior Planner and Designer, Project Manager and registered Architect (US)TOM OWEN (US), VP PGAV Destinations Senior Experience Planner and Designer, Creative Leader

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WORKSHOPS, AUDIENCE RESEARCH FORUM AND EMOTION LAB

WORKSHOP 3 – Visitor Experience mapping

The Jewish Museum Berlin is in an ongoing process of trying out tools and methods to make the visitors emotions easier to work with for the different museum teams. Presenting three case studies Christiane Birkert will take participants through a practical, hands-on, how to session on the ups and downs of mapping visitors’ emotions and using them in concept development processes.

Workshop leader:

CHRISTIANE BIRKERT (DE), Head of Visitor Experience & Research at the Jewish Museum Berlin

WORKSHOP 4 – The importance of training front of house staff

In the workshop participants explore the audience journey of John Falk’s five museum visitor identities and how front-of-house staff can improve their interactions. Participants define how the identities can be detected at the museum entrance and what can be done to enrich the individual learning experiences. Participants will be equipped with practical solutions and new ideas for their daily work.

Workshop leader:

IRENE KNAVA (AT), is founder and owner of Audiencing

WORKSHOP 5 – Theatre – more than a stage

Actors are playing and the audience is consuming? Wrong! It is a mutual relation between stage and spectators. But around the show how can theatre create an emotional connec-tion to the audience? And how can it manage to become a place of encounter that goes beyond the visit of a performance?

Workshop leaders:

KATHARINA WENZEL (DE), Deutsches Theater Berlin FRIEDERIKE BUSCH (DE), Deutsches Theater Berlin

EMOTION LAB

An exploratory, experiential exercise in emotional tuning-in and design.Designed to underpin some of the conference themes through personal embodiment, inter-personal dynamics and creative thinking.

Workshop leaders:

LISA BAXTER (UK), The Experience Business PHILIPPE BRASSEUR (BE), Creavita

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WORKSHOPS, AUDIENCE RESEARCH FORUM AND EMOTION LAB

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BIOGRAPHIES

BAXTER LISA is a creative facilitator, researcher and design thinker. Her practice focuses on bringing people together to design experiences for audiences. Through facilitation methods Lisa shifts the perspectives and culture of organisations to become more audience-centric. Lisa is a Fellow of the Royal Society of Artists and travels the world giving lectures, workshops and keynotes about audience experience design. She understands the power of emotional engagement and works with individuals and customer facing teams to develop their emotional sensibility in relation to the desired impacts of their work.

BIRKERT CHRISTIANE, is Head of Visitor Experience & Research at the Jewish Museum Berlin which she joined at that time the museum was due to open. Her studies on text tone, readability and communication for example was decisive in establishing the museum’s approach to using text. Her regular audience studies have become the bedrock upon which the museum’s strategic thinking is based. These include monthly in-depth interviews, monitoring of visitor numbers and patterns, testing of concepts for each major new exhibition development and formative usability tests on new technology.

BRANDT DJUPDRÆT MARTIN is head of research and presentation at the open-air museum Den Gamle By, Aarhus, Denmark since 2011. He curated and organised several exhibitions and is author of articles and books about museums practice and the use of history in art and culture. His special research interest is in the use of history and the museum as a social space.

BRASSEUR PHILIPPE is a passionate writer, artist and ‘ideas cultivator’. After a creative career as art director, events manager and editor-in-chief of children‘s magazines, he became a freelance creativity consultant. He wrote and illustrated numerous books on creativity as well as children‘s books. As a renowned expert in creativity he works with corporates, not-for-profits and education providers across Europe. Philippe has been inspired by art to develop a set of original and powerful facilitation methods around creative perception, emotional engagement and deepening human interaction with art and each other.

BUSCH FRIEDERIKE studied musicology and Italian in Hamburg. After internships at the Wuppertaler Bühnen and at the Goethe Institut Trieste she was working as an assistant for independent opera productions from 2001 to 2009, and became later a member of the press and public relations team at the Thalia Theater Ham-burg. In 2009 she joined the department for communication and marketing at the Deutsches Theater Berlin.

COHEN ORNA is a creator of well-known interactive exhibitions for kids, which are replicated worldwide. Her methodology is based on experiential learning. After various studies in psychology, educational sciences and dramatic arts, she started developing educational games for kids. For several years she worked for the French Foreigner Affairs and developed a program in Africa to overcome illiteracy through cultural activities. In 2009 Orna co-founded Dialogue Social Enterprise (DSE). Her main focus is now on designing exhibitions that convey DSE‘s mission to change the mind-set towards otherness through exhibitions as catalysts for change.

DAMALA ARETI is associate researcher at the CITU/Paragraphe laboratory and the the Digital Humanities Department of the University Paris 8, Vincennes-Saint-Denis France. She is also Associate Professor in Cultural Communication at the Hellenic Open University, Greece. Her research interests lie at the cross-section of muse-um and visitor studies, informal learning, meaning-making, human-computer and human-information interacti-on, particularly using the digital.

DRAVNIECE LAURA is Curator of Education at the Latvian National Museum of Art. She is an art enthusiast with over 7 years of experience in education and communication, who enjoys keeping up to date on art education and museum sector. Her work focuses on Inclusive Museum practices and on educational programmes that wel-come families and create emotionally and intellectually engaging visitor experiences and outstanding service.

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BIOGRAPHIES

FALK JOHN H. is Director of the Institute for Learning Innovation and Emeritus Sea Grant Professor of Free-Choice Learning at Oregon State University. He is a leading expert on free-choice learning, the learning that occurs when people have significant choice and control over the what, where and when of their learning. His current research focuses on studying the community impacts of museums, libraries, zoos and aquariums, understanding the self-related reasons people utilize free-choice learning settings during their leisure time and helping cultural institutions re-think their educational positioning in the 21st century.

GARDNER KARLEEN, is Director of Learning Innovation at the Minneapolis Institute of Art (Mia) and leads the Center for Empathy and the Visual Arts. She serves on Mia’s leadership team and implements institutio-nal strategies and community-focused initiatives. With a strong belief in museums as spaces for dialogue and reflection, she works with cross-functional teams and partners to develop programs and exhibitions that foster conversation, new ways of thinking, empathy, and global understanding. She holds a BA and MA in Art History from the University of Mississippi, as well as a MS in Museum.

GENDRON MARIA is an assistant professor of psychology focused on the science of emotions. Her research addresses fundamental questions about our emotional lives: Why do some people experience such a diverse range of emotions? When and why does culture create a barrier to a mutual understanding of each other‘s states? Grounded in the traditions of social and cultural psychology, her research addresses core questions about the nature of human experience and the functions of emotions in our everyday lives.

GLASOW KERSTIN has worked in arts marketing for more than fifteen years. Currently she is Head of Marketing and Communications at the Wiener Konzerthaus in Vienna where she oversees the concert hall’s marketing, PR, digital and branding strategies as well as visitor research, evaluation, audience development and partnerships. Before moving to Austria, she worked for leading arts organisations in London for eight years, focusing on museum marketing and crowdfunding.

GOKCIGDEM ELIF is the founder of Empathy-Building Through Museums Initiative. She is an innovative leader, a historian of Islamic art, and a museums scholar who is committed to creating fertile grounds of empathy through informal learning platforms. Elif has authored two visionary books on empathy-building: Fostering Em-pathy Through Museums and Designing for Empathy: Perspectives on the Museum Experience. In 2018 she was is the chief curator and co-chair of the world’s first museums and empathy summit titled: “Fostering Universal Ethics and Compassion Through Museums with His Holiness the 14th Dalai Lama,”.

GOODMAN EWA Head of Education and Outreach at the House of European History in Brussels holds a Masters in History and Museology from the University of Gdansk in Poland. She has worked in the museum sector for more than 15 years at various museums in Europe and the USA, such as the National Maritime Museum in Gdansk or the Boston Children’s Museum. In her current role, Ewa is responsible for leading the multilingual and multicultural team of museum educators and overseeing all aspects of the educational programme of the House of European History.

HANCOCK JOE is a theatre and cultural producer. Educated at Glasgow University to MA Hons level in Theatre, Film and Television studies he has worked in the arts and cultural sector for the last 20 years. Amongst many others he worked with Wildworks, Theatre Royal Plymouth, NZ International Festival Te Papa and Sharpham Trust and the Museum of London. In 2008 he was a founder member of BURN THE CURTAIN who create unique participatory promenade productions where the audience plays an integral part in the play.

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HEIDSIEK KATIE studied history and museum studies at Carleton College (USA) and the University of North Carolina, Greensboro (USA). She has a multidisciplinary background in the museum field with a focus on exhibition development and has worked from Homelessness (History Colorado Center) to Star Wars (Denver Art Museum). Since September 2017 Katie is research associate at the German Emigration Center within the project „museum4punkt0 - Digital Strategies for the Museum of the Future“. Her main areas of work are visitor research and test exhibition development.

HOBSON MARIE is an experienced researcher and evaluator. She has a decade’s worth of practical experience of conducting research and evaluation in informal science learning environments having worked in this capacity at both the Science Museum and the Natural History Museum. She is currently the Audience Insight Manager at the Natural History Museum responsible for: setting and delivering the research and evaluation strategy for the Museum; providing practical research to inform the development and delivery of the Museum’s offer; developing partnerships with academic institutions and using audience insight to inform the Museum’s strategic direction.

HOLTWICK BERND, studied History, German and Sociology at the University of Bielefeld. He worked as a scien-tific employee at “Haus der Geschichte Baden-Württemberg” (Historical Museum) in Stuttgart. He curated parts of the permanent exhibition and a temporary exhibition about the protests against US missiles in the 1980s. Later he worked as head of office for archive and cultural affairs in the county of Biberach with responsibility of the open-air museum Kürnbach. In 2011 he joined DASA working world exhibition as assistant director and head of exhibitions.

KNAVA IRENE is an expert in audiences, cultural experiences and quality management. She studied economics, theatre science and cultural management and has worked as an executive for different cultural organizations. With her agency AUDIENCING, situated in Vienna, she works for cultural institutions providing experience in consulting and training. She lectures at different universities and currently published her new book “Audiencing Diversity 4.0”.

KOVALEVA ANNA is an invaluable member of the creative team of the Boris Yeltsin Presidential Museum. She designs and manages a wide variety of cultural projects, festivals, educational programs and other events for different communities. She is enthusiastic and excited about any opportunity to create new, meaningful parti-cipatory experiences for museum and center visitors of all ages and social backgrounds. Her work involves the varied skillsets of a docent, curator, museum educator and public relations officer. In addition to museology, her background is in Education and Business Studies.

LOCHNER DIANE is Vice President with PGAV Destinations and manages projects and provides design lea-dership for master plans, exhibit design, and architecture for a diverse portfolio of projects, including amongst others the Smithsonian National Air and Space Museum, SeaWorld, Patriots Point Foundation and Cincinnati Museum Center. Her 23-year career as a registered architect also includes design and management of high end residential and commercial architecture. Diane received a Bachelor of Architecture from the University of Kansas and a Master of Architecture from The Ohio State University.

MACKAY RACHEL heads up Historic Royal Palaces at Kew, looking after 4 Georgian buildings across Kew Gardens. These include Kew Palace, Queen Charlotte’s Cottage, the Royal Kitchens and the Great Pagoda at Kew, which she reopened to the public following a £5 million restoration project in July 2018. Previously, Rachel managed the Visitor Operations team at the Natural History Museum, London, where she led on a redevelop-ment of the Dinosaur Gallery and a new Customer Service Strategy. Rachel holds a MA in Medieval History and is currently studying for a second MA in International Heritage Management.

MARKS JANA is writing her doctorate on Holistic Visitor Experiences in a Science Center (working title) with Prof. Peter Röben. Her research is part of the doctoral program GINT - Learning in Informal Settings taking place at the Carl von Ossietzky University Oldenburg/ Germany. After studying art history at the FAU Erlangen-Nuremberg, she worked from 2009 to 2017 in the Science Center tower of the senses, Nuremberg as pedagogical and curatorial project leader.

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BIOGRAPHIES

MAVROMICHALI KATERINA is an archaeologist-museologist and an art therapy counsellor holding senior positions at the State Museum of Contemporary Art-Costakis Collection in Thessaloniki. She has a Master’s degree in Cultural and Creative Industries from King’s College London University. Specializing in art as therapy her ongoing research and practice focus on an innovative outreach museum project, on the significance of the aesthetic third and the support of the alliance of the creative arts, education, health and wellbeing in the best interest of children and their families.

MIHALACHE IRINA D. is Assistant Professor of Museum Studies at the University of Toronto, where she teaches courses in museum interpretation, history of exhibitions and the material culture of food. Irina researches how (and what) people eat in museums and the history of women’s committees in art galleries. She co-edited the volume Food and Museums, the first to explore the depth of connections between the two. In museum studies, her main area of interest is interpretation and she is very interested in how collaborations with diverse commu-nities can shape the work of storytelling in museums.

MORIOKA EMMA is the Audience Champion for Historic Royal Palaces’ Public Engagement team. An audience research and development specialist, Emma supports the team with their education, interpretation, live and daily programming, digital and arts and cultural programme. Emma has a background in commercial market, marketing and audience research with roles as Research Director at online community research specialist, Verve Partners, and others. She is also an active committee member of the Visitor Studies Group for museums, arts and cultural organisations.

OWEN TOM is Vice President with PGAV Destinations. He provides strategic insights and creative leadership for a wide range of cultural institutions. In his 30-year career as a planner and designer, Tom has used his passion for translating stories into engaging experiences for Kennedy Space Center, Georgia Aquarium, Biltmore Estate, Smithsonian National Air and Space Museum, Brookfield Zoo, National Geographic, SeaWorld, and the Alamo. Tom holds a Bachelor of Fine Arts Degree in Theatre Arts from the Conservatory at Webster University in Saint Louis where he focused on set design and lighting.

REDLIN JANE studied ethnology and history in Berlin. In 2009 she earned a doctorate at the Institute of Euro-pean Ethnology of the Humboldt University with a thesis on secular death rituals in the GDR. Jane Redlin is a scientific associate at the Museum of European Cultures – National Museums in Berlin and researches on the-mes of religion, ritual and symbolic culture. She has curated numerous exhibitions, some of which have focused on emotional environments.

ROCKWELL TOM is Creative Director at the Exploratorium in San Francisco. During his thirteen years at the Exploratorium, Tom has led the exhibits and media departments, the development of new galleries for the museum‘s move to the waterfront in 2013, as well as the Geometry Playground exhibition and other National Science Foundation supported projects. His interests include exhibiting the human sciences, mathematics, and fundamental physical phenomena, as well as exploring the relationship between science, art and religion.

SOCRATOUS DEMETRA received a Degree in Educational Sciences with a minor in French Studies. She ac-complished an MA in Drama & Theater in Education and an MA in Arts & Culture Management. She is a teacher, a drama facilitator, a human rights and peace trainer. She coordinated the Youth & Culture Workshop of the European Capital of Culture PAFOS2017 and the Cyprus Youth Network of the European Cultural Parliament. She published three children books.

SOLIMA LUDOVICO is Professor of Business Management at the University of Campania „Luigi Vanvitelli“, Department of Economics, member of the Board of Directors of the „Università degli Studi di Napoli L‘Orienta-le“ and scientific advisor to the Ente Pio Monte della Misericordia, the Fondazione Valenzi and the Alessandro Scarlatti Association. For over twenty years he has been coordinating and participating in theoretical studies and field research on behalf of public and private institutions, in particular on issues such as: museum marke-ting, visitor behavior; new technologies applied to the cultural sector;

SOMMER BRINDA studied literature and communication with a focus on museum research and the communi-cation of knowledge. She has worked extensively on topics related to remembrance culture and the new role of museums in society. She has worked at the Stadtmuseum Berlin since 2008 and became head of the Berlin Exhibit’s curatorial team in 2016.

SPIES PAUL was born in Amsterdam, Netherlands, in 1960. After completing his studies in art history and ancient archaeology, he and two colleagues founded the art historical Büro d’arts. He worked in this capacity for the next 21 years, before being asked to head the Amsterdam Museum in 2009. In February 2016 he became director of the Stadtmuseum Berlin and chief curator for the state of Berlin in the Humboldt Forum.

TRÖNDLE MARTIN is since 2015 appointed to the WÜRTH Chair of Cultural Production at the Department of Culture and Media Science at the Zeppelin University in Germany. He was principal investigator (2008-14) of eMotion – mapping museum experience and is now principal investigator (since 2018) of ECR – Experimental Concert Research. Martin is also Editor in Chief of the journal Zeitschrift für Kulturmanagement: Kunst, Politik, Wirtschaft und Gesellschaft / Journal of Cultural Management: Arts, Policy, Economics, and Society.

WATSON SHEILA has been an educator in schools and in museums, was a museum director and is currently an Associate Professor in Museum Studies, at the School of Museum Studies, University of Leicester, UK. She has written widely on emotions in museums and her latest paper has just been published by Routledge: Watson. S. (2018) ‘Emotional engagement in heritage sites and museums: Ghosts of the past and imagination in the present’ in Watson, S, Barnes, A and Bunning, K (2018) (eds) A Museum Studies Approach to Heritage London: Routledge.

WENZEL KATHARINA has worked for 16 years as a writer, editor and director specializing in cultural topics for ARD, rbb, 3Sat and Arte at home and abroad following her law studies and training as an editor at the Berlin Journalism School. Since the 2016/17 season she heads the Communication and Press Department of the Deutsches Theater (DT) Berlin; she is the press spokeswoman and is responsible for the internal and external communication of DT.

WENZEL MIRJAM is director of the Jewish Museum Frankfurt. Beforehand she was Head of Digital and Publis-hing at the Jewish Museum Berlin and responsible for conveying German-Jewish history in print and online publications, digital media applications and installations. Mirjam Wenzel studied comparative literature, theatre and political science in Berlin and Tel Aviv. She worked as a research assistant at Ludwig-Maximilians-University in Munich and as a freelance curator for contemporary art. Wenzel has published widely on Holocaust representation, critical theory and German-Jewish cultural history.

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SPONSORS

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Publisher:KulturAgenda Institute for Museums, Cultural Enterprises and AudiencesT +43 650 5545165Dr. Wutte Straße 14 | 9020 Klagenfurt, Austriaoffice@kulturagenda.at | www.kulturagenda.at

Kulturforum BerlinMatthäikirchplatz | 10785 Berlin

Museum für Kommunikation BerlinLeipziger Straße 16 | 10117 Berlin

3RD INTERNATIONAL CONFERENCE ON AUDIENCE RESEARCH AND DEVELOPMENTAPRIL 4 – 6KULTURFORUM, STAATLICHE MUSEEN ZU BERLIN

Room 1

Lift

Lift

Toilettes

Main Entrance

GROUND FLOOR

Lift

Toilettes

Room 3

Room 4

Coffee Break & Lunch

Cloak Room

BASEMENT

Room 2

Lift

Room 5