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 Paper one: Conceptualisation  Paper two: Introduction to the methodology  Paper three: Review of good practice in visitor panels  Paper four: Plans.

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Presentation on theme: " Paper one: Conceptualisation  Paper two: Introduction to the methodology  Paper three: Review of good practice in visitor panels  Paper four: Plans."— Presentation transcript:

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2  Paper one: Conceptualisation  Paper two: Introduction to the methodology  Paper three: Review of good practice in visitor panels  Paper four: Plans for each organisation/onsite meetings  Paper five: Draft manual  Paper six: New Brewery Arts case study  Paper seven: Transcripts  Paper eight: Analysis of the transcripts

3 Flexible Relevant to different art formsRelevant to different art forms Relevance to different contextsRelevance to different contexts Relevance to different familiarity to the artsRelevance to different familiarity to the arts Relevant to debatesRelevant to debates Meaningful Beyond entertainmentBeyond entertainment Play to our strengthsPlay to our strengths Link to outcomes like innovation or wellbeingLink to outcomes like innovation or wellbeing Consistent with arts valuesConsistent with arts values Imply trade-offsImply trade-offs Inclusive Include subconsciousInclude subconscious Include uncomfortable feelingsInclude uncomfortable feelings Include subjective and objectiveInclude subjective and objective Include socialInclude social

4 BEFOREExpectationsMotivationsKnowledgeInterestsAwarenessNeedsDURINGAttending Sensing (reading, looking, listening) ThinkingFeeling Interacting socially Mapping onto needs AFTERRecalConversationInspirationUse Further contact AFFECTED BY: EnvironmentPeopleInformationContent Artistic quality Context ENCOUNTENCOUNTEERRENCOUNTENCOUNTEERRER AFFECTED BY: VisionResourcesValues Power relations External events Different for different people

5 It happens in different contexts It is generally free Visitors are generally standing rather than sitting Visitors walk through the space or past the art work at their own speed Visitors can form their own groupings and change their groupings during the experience Doors, if present, are open rather than closed, as in a theatre Timing is flexible rather than limited to specific viewings in the afternoon or evening Lighting varies, but is not dark in the way it is in the theatre It is multifocal It is open ended

6  Grants for the Arts: pilot in the SW with intention of national role out  Four partners: Spike Island Arnofini B-side New Brewery Arts)  Final report February 2014

7  Sectoral learning  Organisational learning  Organisational development  Advocacy

8  Visitor panel  Observational measure  Written

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10 “When you hear it in the visitor's own words, it's not translated by a marketer or even another staff member. It just feels so much more real than any kind of report written on a piece of paper, so there's a far greater impact in terms of changing attitudes."

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12 “The group operated somewhere between a fan club, ombudsman, detective agency and productive parasite.” “I suppose the weakness from my point of view is that I don’t know what’s going to happen with the information we’ve produced.”

13  What is your strategic purpose?  Who will be recruited to the visitor panel?  What will be the criteria for recruitment?  What will be the recruitment process?  How will the panel be explained?  How many people will be recruited?  How will members be motivated?  How often will the panel meet?  When will the group meet?  What preparation will be carried out for sessions?  Where will the group meet?  Who will moderate the panel?  How will the sessions be recorded?  How will the sessions be reported?

14  What will be the format of the meetings?  What are the key questions?  How do you focus different panel meetings?  What is the style for moderation?  How we support advocacy?  How do we evaluate members’ views of the visitor panel?

15  The building  The people  The information  The exhibition  Emotional imprint  Quality of experience  Background

16  Aspects of comfortable  Aspects of engaging  Aspects of coherent  Aspects of meaningful

17 “It is difficult to ring people up and ask them to support us. The visitor panel is a good way of starting that discussion.” “The visitor panel makes you feel good. You might have had a busy, stressful day and then you come to the panel and hear all these people saying lovely things about us.” “As a venue you become quite critical, the voices you hear are the critical ones. The visitor panel gives a more rounded view. Our current exhibition is quite challenging. At first panel members said they didn’t like this and that, and then they said it is good to be challenged.” “We have found that the work that is the most challenging is the work that visitors like the most; the one they experience as the most powerful.” “Visitor panel members meet just for the joy of it; they have no responsibility. That is hugely freeing in terms of debate. There are no personality clashes or ‘sides’, which you can get in a board meeting.”

18  The transcripts demonstrate the deep interest visitors have in the visual arts and their desire to engage with material. Features that are often seen as off-putting for the public – the complexity and ambiguity of the material, are a major attraction for the visitors – who are often seeking different and impactful experiences. At most all they want is a way in, as well as changes to the buildings, especially the entrances, to make them more welcoming.  The system introduces the organisation to a different way of thinking: seeing the building through the eyes of a visitor, who experiences the spaces one at a time, as a whole sense experience, often affected by their social grouping.  The system generates ideas about practical changes that can make the buildings and exhibitions more engaging to visitors.  The system provides a route for organisational change either through reading transcripts, using the observational questionnaire or observing the visitor panel sessions.

19 “One of your questions was does it make you feel more connected to others and actually it did because I’m pretty sure that not everyone knows what’s going on all the time.” “I think I feel more comfortable with it (video art) because you can go in and sit down in the dark and no one is looking at how you’re looking at it.”

20 “It’s not immediately obvious that it’s not something that they’re allowed to touch, I didn’t know either and by that point it’s too late. It would be great to have something experiential that they could interact with if they can’t touch.” “It seems like it’s an important point to say that we should acknowledge that kids are the creative ones in this. This is adults playing, as in many ways that’s what art is- so let’s play together.”

21 “I think the idea of making the visitors experience a voyage of discovery is great, because that’s how it has to be and encouraging people to go onto the next thing.” “I found it very absorbing and very moving too really. I don’t really like the heads personally, but that’s totally a personal thing, but it didn’t affect how I felt about the exhibition, I still found it fascinating and absorbing I thought the project was amazing.”

22 “Cos they are places we know, all the time and then something happens and it does make me look at it in a different way and then when I walk past there again I always recall the b-side event that was there.” “There was a piece that didn’t engage me, that wasn’t rich enough to draw me in. but I kind of thought that’s one thing and there’s others I will enjoy so it wasn’t an issue. But I didn’t bother to go back and try and find out more or talk to anybody. There are other things that I thought were fantastic and I made an effort to go to other things.”


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