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Hsin-Yi Chao

Updated: Jul 1

3.6 The Mobile Art Museum on Campus: Audience Research and Impact of University-Museum Collaboration Art Exhibitions in Taiwan (Paper)



Hsin-Yi Chao – National Chung Hsing University, Taichung City, Taiwan



Abstract:


University–museum collaboration facilitates the exchange of educational resources, aiming to achieve educational outcomes through museum collections. In higher education environments with limited access to art education, what perspectives and critical thinking can mobile art museums bring to university students?


This study examines The Gurgling Island, a mobile white-box exhibition developed jointly by a Taiwanese university's College of Liberal Arts and the Shung Ye Museum of Formosan Aborigines. The research focuses on 85 visitors who attended the exhibition from October 25 to November 3, 2024. Using audience research methods grounded in museology, a Likert scale was used to evaluate satisfaction and importance across five levels. Feedback was gathered on three thematic zones – “Homeland,” “Other Sceneries,” and “Transformations” – as well as on accessible display designs. Comprehension of three works incorporating audio description and tactile graphics was also assessed.


Results show that 15.3% of the audience was aged 15–19 and 48.2% aged 20–29; 64.7% were female, 34.1% male, and 63.5% held a university-level education. Students comprised 56.3% of participants, primarily from central Taiwan, where the campus is located. Regarding visit frequency, 47.1% reported visiting museums or galleries one to three times annually. Feedback highlighted the thematic content as the most appreciated aspect, followed by exhibit content, multisensory experiences, and spatial design. Homeland was the most favoured thematic zone. Interest in accessible design was high; however, no significant differences were found in comprehension levels between audio and tactile components. In satisfaction analysis, “friendly service planning” scored highest, while “guidance and educational promotion” scored lower. For importance, five dimensions were evaluated: “campus art development,” “indigenous art and culture,” “Taiwanese hydrological landscapes,” “natural ecology,” and “inclusive art and cultural integration.” The last was identified as most impactful, followed by “campus art development.” Findings show that short-term mobile exhibitions can successfully stimulate artistic engagement in universities without art departments. Such initiatives offer meaningful opportunities to enhance aesthetic literacy and highlight the broader potential of university–museum collaboration.




4.8 How to See? Exploring Non-Visual Dialogue and Interpretation from the Perspectives and Representation Methods of Photographic Creation by the Visually Impaired Youth (Paper)


Hsin-Yi Chao – National Chung Hsing University, Taichung City, Taiwan



Abstract:


This study focuses on how five visually impaired youths learn to engage in photography creation through non-visual sensory methods in March 2024. After completing their photographic works, the researcher translates the image content into tactile and auditory forms, and then positions these works within the exhibition from the perspective of the visually impaired. The research questions aim to explore the mechanisms through which visually impaired individuals construct images from non-visual perception to visual representation. Additionally, the study seeks to understand their views and insights on tactile and auditory exhibition design methods through interviews, attempting to establish a bidirectional dialogue of seeing and being seen from the standpoint of visually impaired youth. 

Using photography as a medium, this dialogue spans from non-visual perception to visual representation, and then back to non-visual cognition through visual interpretation and translation. The research methodology involves selecting one photograph that each of the five creators is most satisfied with and describing it as audio description by themselves. Through tactile design, the photographic image is interpreted into a touchable format. Individual interviews with the five visually impaired youths explore their personal perspectives on the processes of conceptualization, shooting, representation, translation, and re-reading, as well as their ideas on multi-sensory photographic exhibitions in July 2024. The study finds that visually impaired youths exhibit strong agency in image creation. They achieve aesthetically composed, light and shadow-varied, and subjectively conscious photographic works using residual vision, or by integrating touch, sound, smell, and body movement. In reflecting on their non-visual reading and translation of works, they analyse their own creations from a third-party perspective and provide recommendations for exhibition and promotion methods that centre the visually impaired as the primary audience. The study concludes with insights into how visually impaired youths’ thinking influences the direction and strategies of multi-sensory exhibition design.


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