東華大學圖書館 |

Seldom Is Heard : = Voices of the Cowgirl.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Seldom Is Heard :/
其他題名:	Voices of the Cowgirl.
作者:	Iveson, Ciera.
面頁冊數:	1 online resource (163 pages)
附註:	Source: Masters Abstracts International, Volume: 83-09.
Contained By:	Masters Abstracts International83-09.
標題:	Design. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28963830click for full text (PQDT)
ISBN:	9798790646546

Seldom Is Heard : = Voices of the Cowgirl.
Iveson, Ciera.

Seldom Is Heard :Voices of the Cowgirl. - 1 online resource (163 pages)

Source: Masters Abstracts International, Volume: 83-09.

Thesis (M.A.)--Fashion Institute of Technology, State University of New York, 2023.

Includes bibliographical references

This document is arranged in two sections. Part One explores theory, and Part Two outlines the application of this theory in an applied project. Part One considers the opportunities in adaptive storytelling to achieve historical empathy in a history museum setting, allowing visitors to integrate historical knowledge into their perspectives on the present and future. The theory explores the affective and cognitive balance necessary to achieve historical empathy in an exhibition setting by examining several factors for the visitor. First, the paper establishes the importance of addressing a visitor's entrance narrative, defined as the internal story a visitor has in relationship to exhibition content, as a part of the learning process. It further explores the opportunity to develop empathy using a psychological gesture to mimic a historical figure. This gesture can also be used to maintain immersion in the exhibition while engaging with technology interactives. Finally, Part One outlines current applications of adaptive storytelling and proposes a new story authorship model by applying research from social psychology and Shared Reality Theory and the development of historical empathy. Part Two demonstrates the application of a holistically integrated adaptive storytelling system in a designed environment. The applied project includes all elements of exhibition content development; sourcing of historical artifacts; and the design of graphics, 3D spaces, audio visual elements, lighting, and fabrication detailing documentation. Adaptive storytelling (AS) in the exhibition setting is any form of storytelling that can be affected in real time by visitor decisions. Applications of AS range, but they are often employed as a layer on top of an existing exhibition to provide tailored content to a visitor. Studies have shown that while visitors broadly respond positively to AS, there is a need for stronger integration between the physical exhibition and the virtual adaptive storytelling moments.As the demand for active engagement in museums grows, AS provides an exciting opportunity for museums to create tailored moments for each visitor that utilize their active engagement in the exhibition setting to achieve historical empathy and integration of historical knowledge. Through AS, the narrative of an exhibition can follow the visitor instead of the visitor following a preset exhibition narrative that may not suit their interests, background, or learning style.The thesis theory outlines a framework for successful integration of AS by incorporating lessons from previous applications as well as new approaches rooted in social psychology and education research. Key takeaways include both content and design strategies to support the development of historical empathy. Historical empathy can be defined as "the reconstruction of people's perspectives through the acquisition of knowledge and understanding of the broader historical contexts in which figures have acted and analysis of the possible motives, beliefs, and emotions that guided their actions." Barriers to developing historical empathy can include a lack of emotional connection or a lack of contextual understanding about the subject area.The content strategies for developing historical empathy explored in the applied project include addressing the visitor's unique entrance narrative in the presentation of content and creating a story authorship system which presents both "bonding" content (related to the visitor's interests) and "challenge" content (designed to bring a new perspective on the subject matter to the visitor). Delivered content will be customized for each visitor as a give and take between the exhibition and the individual. Design strategies include holistic integration from the beginning of the design process, seamless integration between virtual and physical exhibition elements that allow the visitor to move freely through the space without additional devices, and the use of gesture to both introduce and activate technology while connecting the visitor to historical characters and developing empathy through mimicry. The applied project is an exhibition for the Autry Museum of the American West called SELDOM IS HEARD: Voices of the Cowgirl. This exhibition explores the history and legacy of the cowgirl in America, by exploring the cowgirl mindset and the forces that shape her identity. I selected this subject and museum because I wanted to apply the theory of my thesis in a setting steeped in historical nostalgia. Through the design of the exhibition, the application of the thesis theory creates a space that challenges visitors to examine their preconceptions about cowgirls while getting intimately familiar with the lives of individual women both past and present who have lived the cowgirl lifestyle. This summation reflects responses to the exhibition project and thesis from industry professionals following my capstone presentations on December 10, 2021. I received thoughtful comments from the judges that outline areas of success as well as feedback on ways to take the exploration of adaptive storytelling even further. The adaptive storytelling authorship model designed to incorporate a visitor's entrance narrative was well received by the industry judges, who felt it was "dynamic," "purposeful," and "creative." The gesture activation as a tool for both technology integration and support of historical empathy was also mentioned, with industry guests noting it was "nuanced" and "thoughtful." These design considerations were directly applied to my design project from the research in Part 1 of this paper. The participatory nature of the exhibition also received positive feedback, with industry judges particularly highlighting the effectiveness of the low-tech outdoor installation "In Her Shadow." Several judges who were included in my primary audience demographic indicated this is an exhibition they would attend with their family, confirming that the design and content approach was appropriate for my audience. Two areas of opportunity to tailor the experience even further for the visitor were noted by judges. First, there is an additional opportunity in the culmination of the adaptive story ("In the Room" interactive) to be more custom for the visitor. In my design, that moment had only three different endings. Incorporating a visitor's name or other parts of their story experience can take this one step further. Additionally, there may be more opportunity to spark conversation between visitors in the reflection space of the exhibition. Overall, I believe the thesis research, applied project, and feedback from industry professionals demonstrates the exciting potential in adaptive storytelling to support the development of historical empathy for museum visitors.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798790646546Subjects--Topical Terms:

518875
Design.
Subjects--Index Terms:

AdaptiveIndex Terms--Genre/Form:

542853
Electronic books.

Seldom Is Heard : = Voices of the Cowgirl.
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Finally, Part One outlines current applications of adaptive storytelling and proposes a new story authorship model by applying research from social psychology and Shared Reality Theory and the development of historical empathy. Part Two demonstrates the application of a holistically integrated adaptive storytelling system in a designed environment. The applied project includes all elements of exhibition content development; sourcing of historical artifacts; and the design of graphics, 3D spaces, audio visual elements, lighting, and fabrication detailing documentation. Adaptive storytelling (AS) in the exhibition setting is any form of storytelling that can be affected in real time by visitor decisions. Applications of AS range, but they are often employed as a layer on top of an existing exhibition to provide tailored content to a visitor. Studies have shown that while visitors broadly respond positively to AS, there is a need for stronger integration between the physical exhibition and the virtual adaptive storytelling moments.As the demand for active engagement in museums grows, AS provides an exciting opportunity for museums to create tailored moments for each visitor that utilize their active engagement in the exhibition setting to achieve historical empathy and integration of historical knowledge. Through AS, the narrative of an exhibition can follow the visitor instead of the visitor following a preset exhibition narrative that may not suit their interests, background, or learning style.The thesis theory outlines a framework for successful integration of AS by incorporating lessons from previous applications as well as new approaches rooted in social psychology and education research. Key takeaways include both content and design strategies to support the development of historical empathy. Historical empathy can be defined as "the reconstruction of people's perspectives through the acquisition of knowledge and understanding of the broader historical contexts in which figures have acted and analysis of the possible motives, beliefs, and emotions that guided their actions." Barriers to developing historical empathy can include a lack of emotional connection or a lack of contextual understanding about the subject area.The content strategies for developing historical empathy explored in the applied project include addressing the visitor's unique entrance narrative in the presentation of content and creating a story authorship system which presents both "bonding" content (related to the visitor's interests) and "challenge" content (designed to bring a new perspective on the subject matter to the visitor). Delivered content will be customized for each visitor as a give and take between the exhibition and the individual. Design strategies include holistic integration from the beginning of the design process, seamless integration between virtual and physical exhibition elements that allow the visitor to move freely through the space without additional devices, and the use of gesture to both introduce and activate technology while connecting the visitor to historical characters and developing empathy through mimicry. The applied project is an exhibition for the Autry Museum of the American West called SELDOM IS HEARD: Voices of the Cowgirl. This exhibition explores the history and legacy of the cowgirl in America, by exploring the cowgirl mindset and the forces that shape her identity. I selected this subject and museum because I wanted to apply the theory of my thesis in a setting steeped in historical nostalgia. Through the design of the exhibition, the application of the thesis theory creates a space that challenges visitors to examine their preconceptions about cowgirls while getting intimately familiar with the lives of individual women both past and present who have lived the cowgirl lifestyle. This summation reflects responses to the exhibition project and thesis from industry professionals following my capstone presentations on December 10, 2021. I received thoughtful comments from the judges that outline areas of success as well as feedback on ways to take the exploration of adaptive storytelling even further. The adaptive storytelling authorship model designed to incorporate a visitor's entrance narrative was well received by the industry judges, who felt it was "dynamic," "purposeful," and "creative." The gesture activation as a tool for both technology integration and support of historical empathy was also mentioned, with industry guests noting it was "nuanced" and "thoughtful." These design considerations were directly applied to my design project from the research in Part 1 of this paper. The participatory nature of the exhibition also received positive feedback, with industry judges particularly highlighting the effectiveness of the low-tech outdoor installation "In Her Shadow." Several judges who were included in my primary audience demographic indicated this is an exhibition they would attend with their family, confirming that the design and content approach was appropriate for my audience. Two areas of opportunity to tailor the experience even further for the visitor were noted by judges. First, there is an additional opportunity in the culmination of the adaptive story ("In the Room" interactive) to be more custom for the visitor. In my design, that moment had only three different endings. Incorporating a visitor's name or other parts of their story experience can take this one step further. Additionally, there may be more opportunity to spark conversation between visitors in the reflection space of the exhibition. Overall, I believe the thesis research, applied project, and feedback from industry professionals demonstrates the exciting potential in adaptive storytelling to support the development of historical empathy for museum visitors.
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