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Multisensory Immersive Exhibitions as Sites for Social Emotional Learning

機(jī)譯：多感官沉浸式展覽作為社交情感學(xué)習(xí)的場所

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摘要

This thesis examines artist created immersive exhibitions situated within contemporary art institutions and the ways they foster social emotional learning (SEL). SEL is equated to life skills including critical thinking, coping with stress, emotion regulation, effective communication, and self-awareness. For the purposes of this thesis, I define immersive art exhibits as exhibitions conceived and produced by living artists and that are multisensory, engaging at least one sense in addition to sight.;By using four specific exhibitions as case studies: Free Roses by Alex da Corte at MASS MoCA, Until by Nick Cave at MASS MoCA, Where have you gone---where are you going? Wolfgang Laib's permanent installation at the Phillips Collection, and Who cares for the sky? a 2016 exhibit by Sabina Ott for Hyde Park Art Center, my research aims to prove that immersive exhibitions cultivate SEL and cultivate critical thinking abilities. In addition to scholarly research, I conducted visitor surveys at these sites and spoke with MASS MoCA Curator, Denise Markonish, Phillips Collection Deputy Director for Curatorial and Academic Affairs, Klaus Ottmann and artists Nick Cave and Sabina Ott.;Employing the findings from the above-mentioned case studies and supplemental research, this thesis concludes that large-scale immersive exhibitions that shift away from traditional artifact-and-object-centric display practices function as an effective style of visitor engagement. Furthermore, they successfully foster Social Emotional Learning, especially because the human brain has evolved to most efficiently learn through multisensory practices as they best approximate the ways we acquire knowledge in natural environments.
機(jī)譯：本文研究了藝術(shù)家在當(dāng)代藝術(shù)機(jī)構(gòu)內(nèi)創(chuàng)建的沉浸式展覽及其促進(jìn)社會情感學(xué)習(xí)（SEL）的方式。 SEL等同于生活技能，包括批判性思維，應(yīng)對壓力，情緒調(diào)節(jié)，有效的溝通和自我意識。為了本論文的目的，我將沉浸式藝術(shù)展品定義為由在世藝術(shù)家構(gòu)想和制作的展覽，這些展覽具有多重感官，除了視覺之外還涉及至少一種感官;通過使用四個特定展覽作為案例研究：Alex da的《 Free Roses》 MASS MoCA的Corte，直到MASS MoCA的Nick Cave為止，您去哪了-您要去哪里？沃爾夫?qū)とR布（Wolfgang Laib）在菲利普斯收藏（Phillips Collection）的永久裝置，誰在乎天空？作為Sabina Ott在2016年為海德公園藝術(shù)中心舉辦的展覽，我的研究旨在證明身臨其境的展覽能夠培養(yǎng)SEL并培養(yǎng)批判性思維能力。除了進(jìn)行學(xué)術(shù)研究外，我還在這些站點(diǎn)進(jìn)行了訪問者調(diào)查，并與MASS MoCA策展人，丹尼斯·馬科尼什（Denise Markonish），菲利普斯收藏（Phillips Collection）策展和學(xué)術(shù)事務(wù)副主任，克勞斯·奧特曼（Klaus Ottmann）以及藝術(shù)家尼克·凱夫（Nick Cave）和薩比娜·奧特（Sabina Ott）進(jìn)行了交談。通過上述案例研究和補(bǔ)充研究，本文得出結(jié)論，大型沉浸式展覽已擺脫了傳統(tǒng)的以對象和對象為中心的展示方式，是一種有效的訪客互動方式。此外，它們成功地促進(jìn)了社交情感學(xué)習(xí)，特別是因為人腦已經(jīng)發(fā)展成為通過多感官實踐最有效地學(xué)習(xí)的方法，因為它們最接近我們在自然環(huán)境中獲取知識的方式。

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  • 作者

    Leving, Lauren.;

  • 作者單位

    University of Illinois at Chicago.;

  • 授予單位 University of Illinois at Chicago.;
  • 學(xué)科 Museum studies.;Art history.
  • 學(xué)位 M.A.
  • 年度 2017
  • 頁碼 83 p.
  • 總頁數(shù) 83
  • 原文格式 PDF
  • 正文語種 eng
  • 中圖分類 遙感技術(shù);
  • 關(guān)鍵詞

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