Pucciarelli_transformative experiences_IULM.pptx

Lecture IULM, Faculty of Hospitality and tourism management, master in Digital technologies and data for tourism and creative industries, course “Customer experience design through data and technology”,, Milan, 13.12,23

1. IN SEARCH OF TRANFORMATIVE EXPERIENCES Marta Pucciarelli Researcher, Institute of Design, DACD, SUPSI @ IULM University Milan, 13.12.23 Lecture presented in the course “Customer experience design through data and technology”, Master in Digital technologies and data for tourism and creative industries, . Faculty of Hospitality and tourism management, IULM University

2. Objectives of the talk Trasfomations Ownership of the community Design of inclusive experiences

3. TRANFORMATIVE EXPERIENCES «Transformative experiences are experiences that radically change the experiencer in both an epistemic and personal way (Paul 2014)» Stanford Encyclopedia of Philosophy Epistemically Personally PEOPLE gain knowledge of “what the experience is like” that they could not have had without the experience. PEOPLE change their agential features, such as core preferences, life goals, and how the read the world

4. INCLUSIVE CULTURE Alison Lapper Breath , Marc Quinn, 2012, Trafalgar square , cc by sa

5. My God, Help Me to Survive This Deadly Love « Fraternal Kiss», Dmitri Vrubel, 1990, CC BY-SA

6. L.O.V.E. ( Libertà, Odio, Vendetta, Eternità) Maurizio Cattelan, 2010, Stock Exchange place, Milan

7. DOUALA

8. 1. Monuments La Colonne Pascale, Shell New Bell Pascale Marthine Tayou , 2010 La Nouvelle Liberté , Rond Point Deido Joseph-Francis Sumégné , 1996 Njé Mo Yé , Dernier Poteau, New Bell Koko Komégné , 2007

9. 2. Proximity artworks La Passerelle de Bessengué , Alioum Moussa, 2007 Théâtre Source, Philip Aguirre y Otegui, 2010 -2013

10. 3. Passageway installations Les Mots Écrits de New Bell, Ngangue Hervé Yamguen, 2010 Oasis, Babylon New Bell Tracey Rose, 2010 Corps d’eau , Cité Sic Aser Kash , 2010

11. Type of installation Land Process Impact Monuments (large scale sculptures) Public in general traffic and busy roundabouts Top Down (funding agency- govenement - artist) Media attention Gentrification / urban regenation Imposition / rejected by citizens Proximity artworks (architectural installation) Community land peripherical neighbourhoods Bottom – Up (inhabitants – artist – funding agency) Functionality Developement’s project Invisibility of the artist Passageways installations (smalla scale sculptures, murals, open air exhibitions..) Private Realational (artists, facilitatores, inhabitants) Requalification public/private spaces Identification and ownership Aesthetical education / sensibility toward artistic experiences Toursim

12. Type of installation Land Process Impact Monuments (large scale sculptures) Public in general traffic and busy roundabouts Top Down (funding agency- govenement - artist) Media attention Gentrification / urban regenation Imposition / rejected by citizens Proximity artworks (architectural installation) Community land peripherical neighbourhoods Bottom – Up (inhabitants – artist – funding agency) Functionality Developement’s project Invisibility of the artist Passageways installations (smalla scale sculptures, murals, open air exhibitions..) Private Realational (artists, facilitatores, inhabitants) Requalification public/private spaces Identification and ownership Aesthetical education / sensibility toward artistic experiences Toursim

13. Process and impact

14. Ça Reveille! (it wakes up!) "It makes the neighbourhood shine ! » Neighbourhood regeneration "It raises awareness of the benefits and value of art". Aesthetical education "For me it represents the difference , as I don't see that everywhere !  » Local pride "A different vision of our realities in terms of raising the alarm  » identification " It's opening up our neighbourhood to modernity , it's a renaissance! » Modernity

15. Process and relationships Are they synonymous? Cartesian dualism put into crisis (cause-effect) The work is not so much in the production or the final result. But in the process . New paradigm that put any human being in the role of an active participant involved in a network of relationships with other subjects and with the objects The real experience, the deep one, which remains and makes us fruitful, is more about 'being part' than 'understanding’.

16. design thinking for museums Silvers, 2013 innovation model for museums Eid, 2016 participatory innovation Buur e Matthews, 2008 co-design processes Turnbull & Connell, 2011 participatory museum Simon, 2010 open innovation Chesbrough, 2003 participatory design methods for cultural heritage

17. Participatory projects Contributory, collaborative, co-creative, hosted (Nina Simon, 2010) Participation can be understood as 'horizontal,' whereby experiences and feelings of belonging are shared, or 'vertical,' whereby power is distributed to determine the outcome of decisions (Eriksson et al., 2019).

18. Levels of public engagement (Simon, 2010) P ublic engagements

19. Design thinking is a philosophy, a mindset, a human-centered approach and a methodology (Silvers, Wilson & Rogers, 2013) for creative complex problem solving (Brown & Katz, 2009; Kelley & Littman, 2001) where the core objective is to gain empathy with and identify the specific needs of individuals (Kembel, 2009). Design thinking

20. Are participation and co-design precesses enough to generate a transformative experience?

21. Relationship Time Communication Learning Decision Making Responsability

22. Partcipatory situational analysis Co-design Sperimentation Evaluation Develop competences through formal and informal training PEOPLE – operative groups Promoting people participation, engamement, and empowerment

23. (accessibile heritage inclusive territory) Itinerario di Giornico Sentieri Senza Barriere. I circuiti di Maggia OBJECTIVES e nhance the accessibility and usability of the cultural itineraries of Italian-speaking Switzerland for people with disabilities; guarantee the continuity and the the scalability of the experience raise awareness among the wider civil society on issues related to equal opportunities and inclusion as a learning experience.

24. Participatory evaluation Accessibility indicators Site inspection of Giornico and Trail of Legends, Verzasca Valley Route mapping Photographic documentation heritage and accessibility Interactive workshop Objective Learn from the people you are designing for How? Participatory Evaluation

25. Accessibility plans Re-elaboration of results, review and approval of the working group Individual meetings with museums to summarize and redefine emerging job opportunities Identification of accessible contents and experiences (six ateliers and activity programme) Objective Synthesize the results to reformulate the challenge based on new insights gained through empathy work How? Accessibility plans, meetings and focus on opportunities

26. Ideas on the table and skills in place Objective Generate possible solutions in quantity and by diversity of ideas How? Workshops, Brainstorming Inclusive itinerary for special schools Participatory exhibition Inclusive theater performance Inclusive artwork Accessible map Accessible signage

27. The project Present and represent your prototype to various stakeholders Make ideas tangible quickly and easily Collect feedback from multiple people Integrate observations into the project Objective Communicate ideas to users and get feedback. How? Represent ideas quickly and in low fidelity

28. Objective Plan and test the project with your users and continue to get to know them How? Schedule a day program for the inauguration, guided tours, content launch

29. Participatory open air exhibition, «Toccare le Leggende» (Touching Legends) 2022-2023, Verzasca Velly

30. All legends of the trail have been translated in Sign Language by deaf students of the University of Geneve

31. At the Val Verzasca Museums, 21.05.2023 At the legend’s trail, 17.09.2023 Deaf people have been trained to becomes museums’ guide.

32. D eaf guides experiment the leading of an Inclusive visit at the Val Verzasca Museum with hearing visitors.

33. Accademia Dimitri , «Escursione teatrale», Inclusive theater performance , 2023

34. Nathalie Bissig, «Memory and imagination», inclusive art project and exhibition, 2023

35. Objective Gather timely feedback and impact from multiple points of view, refine solutions and facilitate replicability of initiatives How? Interviews, questionnaires and testimonies

36. Transformative experience for inhabitants : - they gain knowledge and respect of the diversity - they gain awarness of the difficulties - they learned words in sign language to facilitate communication (during the process) - they supported the legal recognition of Switzerland's sign language (declared at the inauguration) - They spontaneously took care of the place of the exhibition (participant observation) Transformative experience for d eaf citizens: - They feel part of the whole project, increasing ownership and contributing to dissemination - They decided to translate all the legends into the sign language, activating new collaboration with people and stakeholders ( University of Geneva, Faculty of Translation and Interpretation ) - They follow a training to become museums’ guide Touching legends «questa esperienza mi ha permesso di avvicinare delle persone con una disabilità non affatto evidente, meno “percettibile” rispetto ad altri […] u na dimensione nuova, che mi ha toccato, ma soprattutto reso cosciente di quali mezzi di sostegno siano presenti al giorno d’oggi, con a monte una tenacia ed una determinazione nell’affrontare una quotidianità piuttosto complicata che merita molto rispetto ed ammirazione».

37. Impact of inclusive experiences in Val Verzasca The objects and content of the temporary exhibition have been integrated into the permanent exhibition of the Museum of Verzasca Valley A deaf guide has received a formal certification from the museum and he has been included within museum’s staff New inclusive visits addressing hearing and deaf group of people are scheduled every year in occasion of the International Day of Museums (May) and the International Week of Deaf People The photographs of the artist Nathalie Bissig have been relocated permanently along the Trail of Legends (at least until nature decides their course) Unexpected collaboration with stakeholders and citizens (Verzaca Foto Festival and University of Gèneve)

38. CONCLUSION When public art projects are placed at the periphery of touristic routes and do not aim at specific functionality nor monumentality goals, they disclose a deep and intrinsic transformation on inhabitants’ attitudes toward the value of art and the right of living and building inclusive societies. By generating awareness on local community habits, those projects prompted them to act, to facilitate the art project (and the development of new ones) and to contribute to the dissemination of its meaning and behaviors

39. "The World is Your Oyster" by the Tuart Rise Primary School, 2020 Castaways Sculpture Awards, Rockingham, Western Australia. CC BY-SA WHAT’S YOUR STORY?