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Perceived atmosphere - a tool for quantifying visitor perceptions of the exhibition environment
1. A tool for quantifying visitor perceptions of
the exhibition environment
Regan Forrest, PhD Candidate, UQ
2. A Model for “Museum Atmospherics”
Person-inEnvironment
Perceived
Atmosphere
Visitor
Responses
• Environmental Properties
• Affective
• Visitor (Consumer) Needs
• Cognitive
• Intended Atmosphere
• Behavioural
Adapted from Kotler, 1974
3.
Previous qualitative visitor research has
suggested the exhibition environment is
important (e.g. Packer, 2008; Roppola, 2012)
Existing quantitative research has focused
on relating a “good” environment to
marketing-related outcomes (e.g. Bonn et al 2007)
Can we do better than “good”?
4.
Qualitative research exploring how visitors
describe exhibition environments
Pilot test terminology as semantic
differentials and Likert scales (n=172)
Refine word list to produce 30 semantic
differentials (7-point scales)
Use in visitor survey across four exhibition
galleries at SA Museum (n=602)
7.
No gender difference besides a slightly higher
spatiality rating from females
Perceptions of vibrancy increase (a bit) with
age
No differences according to visiting group,
history of visiting SA Museum or reason for
visit, based on visitor “identity” (Falk, 2009)
16.
Vibrancy is the strongest predictor of both
affective and cognitive engagement (self
report measures); Spatiality and Order to a
lesser extent
Spatiality is also a predictor of “relaxation”
Order is negative predictor of “disorientation”
No relationship between Modernity and any
experience measures
17.
Spatiality: an indicator of size but also space
as an “affordance” (Gibson, 1977)?
Order: no difference observed here. Could a
wider range of exhibitions reveal differences?
Modernity: a feature of this collection of
galleries? Is lighting being confounded with
other aspects of gallery design?
Other sites? Gallery refurbishments?
Temporary exhibitions?