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RFID and Sensors Illustrate Art's Impact on People
The visitors then made their way through the exhibit. Once they reached the end, they were offered the chance to view a computer screen displaying their tracks through the museum. That location data, merged with the biometric data. showed the visitors which artworks provoked cognitive or emotional responses. Each museum patron was then asked whether the recorded response matched his or her impression of how he or she responded.
"The idea was to promote self-reflection," Greenwood explains. "Mostly, what we saw was a mixture of confirmation that the response was right, with some surprise by people who didn't think they had responded to a piece of art."
Click here to view a larger version of the photo.
Greenwood also turned the location-tracking data into illustrations that showed how certain works of art gathered more attention than others, thus exhibiting a kind of "aura" when seen through the prism of location data. On the illustrations, works of art that received greater attention show a more intense color than those that visitors quickly strolled by.
In order to test various hypotheses regarding how visitors make their way through museums, as well as how different pieces of art "interact" with one another in the visitor's mind, the researchers regularly changed the exhibition's contents and layouts. Though formal findings are not yet available, Greenwood says some initial observations were already quite clear.
"More educated and elderly visitors had much more interest in the so-called classical works of art, whereas it was the opposite pattern for younger visitors, who tended to be more stimulated by newer, more abstract works," Greenwood explains. One particular piece of art, he says—which was covered with four-inch nails—was one of the few pieces that received an almost universal emotional response from the exhibit's visitors.
The entire ground floor of the museum was outfitted with 20 Ubisense Series 7000 readers. One challenge involved installing these devices, which Ubisense refers to as sensors, according to Terry Phebey, the company's VP of sales, who worked on the project.
"The idea was to promote self-reflection," Greenwood explains. "Mostly, what we saw was a mixture of confirmation that the response was right, with some surprise by people who didn't think they had responded to a piece of art."
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| Steven Greenwood, an artist and programmer who served as the project's technical manager, used location-tracking data to create illustrations that depict a visitor's viewing habits. |
Click here to view a larger version of the photo.
Greenwood also turned the location-tracking data into illustrations that showed how certain works of art gathered more attention than others, thus exhibiting a kind of "aura" when seen through the prism of location data. On the illustrations, works of art that received greater attention show a more intense color than those that visitors quickly strolled by.
In order to test various hypotheses regarding how visitors make their way through museums, as well as how different pieces of art "interact" with one another in the visitor's mind, the researchers regularly changed the exhibition's contents and layouts. Though formal findings are not yet available, Greenwood says some initial observations were already quite clear.
"More educated and elderly visitors had much more interest in the so-called classical works of art, whereas it was the opposite pattern for younger visitors, who tended to be more stimulated by newer, more abstract works," Greenwood explains. One particular piece of art, he says—which was covered with four-inch nails—was one of the few pieces that received an almost universal emotional response from the exhibit's visitors.
The entire ground floor of the museum was outfitted with 20 Ubisense Series 7000 readers. One challenge involved installing these devices, which Ubisense refers to as sensors, according to Terry Phebey, the company's VP of sales, who worked on the project.
