Tiny objects writ large: the private world of ice age art made public

Ice Age Art: Arrival of the Modern Mind was an exhibition at the British Museum from 27 February to 2 June 2013 exhibiting sculptures and engravings from the Ice Age of Europe and Eurasia, 40,000–10,000 years ago. It was accompanied by a lavishly illustrated book by Jill Cook with the same title, published by the British Museum Press. The exhibition was a sell-out, attracting considerable coverage in the press. Here I reflect critically on some aspects of the exhibition, exploring what such a display might tell us about ice age life, the modern mind and our present-day approach to displaying such objects.

Interactive sensory objects for and by people with learning disabilities

This project engages people with learning disabilities as co-researchers and co-designers in the development of multisensory interactive artworks, with the aim of making museums or heritage sites more interesting, meaningful, and fun. This article describes our explorations, within this context, of a range of technologies including squishy circuits, littleBits, and easy-build websites, and presents examples of objects created by the co-researchers such as “sensory boxes” and interactive buckets, baskets, and boots. Public engagement is an important part of the project and includes an annual public event and seminar day, a blog rich with photos and videos of the workshops, and an activities book to give people ideas for creating their own sensory explorations of museums and heritage sites.

A herald and his objects in exile: Roger Machado and his memorandum book, 1484-1485

A re-examination of the herald Roger Machado's extant memorandum book, which contains an inventory and mercantile accounts amongst its contents. It is argued that this little-studied source provides evidence for an otherwise undocumented period in Machado's life - when he fled into exile to join Henry Tudor.

Seminar: sensory objects in progress

Researchers and Co-researchers present talks and demonstrations about the Sensory Objects project to 65 people on Tuesday 10th of June, the Seminar is part of Universities Week.

Interactive sensory objects for and by people with learning disabilities

This project engages people with learning disabilities to participate as co-researchers and explore museum interpretation through multisensory workshops using microcontrollers and sensors to enable alternative interactive visitor experiences in museums and heritage sites. This article describes how the project brings together artists, engineers, and experts in multimedia advocacy, as well as people with learning disabilities in the co-design of interactive multisensory objects that replicate or respond to objects of cultural significance in our national collections. Through a series of staged multi-sensory art and electronics workshops, people with learning disabilities explore how the different senses could be utilised to augment existing artefacts or create entirely new ones. The co-researchers employ multimedia advocacy tools to reflect on and to communicate their experiences and findings.

Sensory objects at the British Museum

The Sensory Objects project creates multisensory interactive artworks that respond to museum collections and generate alternative ideas for museum interpretation.

Seminar: sensory objects

Seminar exploring the Sensory Objects Project at the British Museum for 65 delegates.

Workshop: sensory objects

The Sensory Objects project was represented by co-researchers Judith Appiah and Tim Elson supported by Beverley Agard from the Tower Project, who co-presented with Nic and Kate at ENGAGE 2014 conference in Bristol.

Interactive sensory objects for and by people with learning disabilities

This project engages people with learning disabilities to participate as co-researchers and explore museum interpretation through multisensory workshops using microcontrollers and sensors to enable alternative interactive visitor experiences in museums and heritage sites. This article describes how the project brings together artists, engineers, and experts in multimedia advocacy, as well as people with learning disabilities in the co-design of interactive multisensory objects that replicate or respond to objects of cultural significance in our national collections. Through a series of staged multi-sensory art and electronics workshops, people with learning disabilities explore how the different senses could be utilised to augment existing artefacts or create entirely new ones. The co-researchers employ multimedia advocacy tools to reflect on and to communicate their experiences and findings.

Disparity-defined objects moving in depth do not elicit three-dimensional shape constancy

Observers generally fail to recover three-dimensional shape accurately from binocular disparity. Typically, depth is overestimated at near distances and underestimated at far distances [Johnston, E. B. (1991). Systematic distortions of shape from stereopsis. Vision Research, 31, 1351–1360]. A simple prediction from this is that disparity-defined objects should appear to expand in depth when moving towards the observer, and compress in depth when moving away. However, additional information is provided when an object moves from which 3D Euclidean shape can be recovered, be this through the addition of structure from motion information [Richards, W. (1985). Structure from stereo and motion. Journal of the Optical Society of America A, 2, 343–349], or the use of non-generic strategies [Todd, J. T., & Norman, J. F. (2003). The visual perception of 3-D shape from multiple cues: Are observers capable of perceiving metric structure? Perception and Psychophysics, 65, 31–47]. Here, we investigated shape constancy for objects moving in depth. We found that to be perceived as constant in shape, objects needed to contract in depth when moving toward the observer, and expand in depth when moving away, countering the effects of incorrect distance scaling (Johnston, 1991). This is a striking example of the failure of shape con- stancy, but one that is predicted if observers neither accurately estimate object distance in order to recover Euclidean shape, nor are able to base their responses on a simpler processing strategy.