I've been interested in the role of curiosity in engaging people with museum collections since I evaluated museum 'tagging' crowdsourcing games for my MSc project and learnt that the randomness of the objects presented made players really curious about what would appear next, and in turn that curiosity was one reason they kept playing. It turns out other metadata game designers have noticed the same effect. Flanagan and Carini (2012) wrote: 'Curiosity and doubt are key design opportunities. ... In a number of instances, players became so curious about the images they were tagging that they would tag images with inquiry phrases, such as "want to know more about this culture."'
I returned to 'curiosity' for a talk I gave at the iSay conference in Leicester, where I related it to Raddick et al's (2009) 'Levels of Engagement' in citizen science, where Level 2 participation in community discussion (e.g. forums on crowdsourcing sites) and Level 3 is 'working independently on self-identified research projects'. To me, this suggested you should leave room for curiosity and wonder to develop - it might turn into a new personal journey for the participant or visitor, or even a new research question for a crowdsourcing project.
The reason I'm posting now is that I just came across Langer's definition of 'mindfulness': 'the "state of mind that results from drawing novel distinctions, examining information from new perspectives, and being sensitive to context. It is an open, creative, probabilistic state of mind in which the individual might be led to finding differences among things thought similar and similarities among things thought different" (Langer 1993, p.44).' in Csikszentmihalyi and Hermanson (1995). Further:
'Exhibits that facilitate mindfulness display information in context and present various viewpoints. For example, Langer (1993, p.47) contrasts the statement "The three main reasons for the Civil War were..." with the statement "From the perspective of the white male living in the twentieth century, the main reasons for the Civil War were..." (p.47). The latter approach calls for thoughtful comparisons. For example, How did women feel during the Civil War? the old? the old from the North? the black male today? and so on.'I don't know about you, but my curiosity was piqued and my mind started going in lots of different directions. The second question carefully creates a gap just big enough to let a hundred new questions through and is a brilliant example of why both museum interpretation and participatory projects should leave room for curiosity...
- Csikszentmihalyi, Mihaly, and Kim Hermanson. 1995. “Intrinsic Motivation in Museums: Why Does One Want to Learn?” In Public Institutions for Personal Learning: Establishing a Research Agenda, edited by John Falk and Lynn D. Dierking, 66 – 77. Washington D.C.: American Association of Museums. [This is seriously ace, track down a copy if you can]
- Flanagan, Mary, and Peter. 2012. “How Games Can Help Us Access and Understand Archival Images.” American Archivist 75 (2): 514–537.
- Raddick, M. Jordan, Georgia Bracey, K. Carney, G. Gyuk, K. Borne, J. Wallin, and S Jacoby. 2009. “Citizen Science: Status and Research Directions for the Coming Decade.” In Astro2010: The Astronomy and Astrophysics Decadal Survey. Vol. 2010. http://www8.nationalacademies.org/astro2010/DetailFileDisplay.aspx?id=454.
(Ok, so a post with references is not exactly blogging like it's 2006, but you've got to start somewhere...)
(Someone is literally setting off fireworks somewhere nearby. I have no idea why.)
(And yeah, I am working on a Saturday night. Friends don't let friends do PhDs, innit.)