This study problematizes how the history, theory, and practice of art education (as documented) have predominantly focused on visually-based artworks and on visual aspects of other, multi-sensory artworks. I posit that existing pedagogical approaches become particularly limiting when addressing contemporary artworks that engage multiple senses and question how art educators might adapt such paradigms to consider individual learners’ multi-sensory experiences—particularly, aural, bodily, and spatial, as well as visual, experiences—as they operate in relation to video art in installation. To offer a point of reference for subsequent discussion, I narrate and interpret my own multi-sensory experience of Krzysztof Wodiczko’s "...OUT OF HERE: The Veterans Project" (2009), and then situate both visual and non-visual aspects of my experience in relation to various possible experiences of time, still and changing images, sound, the static or mobile body, other bodies, and space. By synthesizing and building upon recent scholarly literature pertaining to interpretation, multi-sensory and bodily experience, and learner-centered pedagogy, I consider theoretical and practical implications for teaching and learning with video art in installation, and recommend art educators’ mediation through creating communities of questioning, listening, and “speaking with,” in addition to looking. Throughout this study, I argue that encouraging learners to interpret their individual bodily and sensory experiences of artworks should be considered an essential part of the process of making meaning of those artworks in art education environments and, more importantly, of the process of helping learners to become more critically aware of their own sensory experiences in the world. / text

This thesis reports a qualitative study of the use of multimodal technologies in museums— specifically, it examines the relationship between visitor engagement and learning, focusing on the use of multimodal technologies during school trips. The study was conducted in the Natural History Museum and the Churchill Museum, both in London, with participants from several secondary schools. These sites were chosen due to their concern for the added value of learning and public engagement, including their education-orientated investments in technology, museum activities, and architecture. In the course of data collection, visits were made to six schools and both museum sites; the participants included 117 students, 18 teachers, three museum educators, and eight museum curators and media designers. The study used a combination of video data analysis, stimulated recall interviews, document analysis, and engaging students in talk and reflection about their visit both at the museum and afterwards. The qualitative approach and multimodal analysis identify how the students’ social interactions help them construct learning through decontextualised bodily movements, which trigger contextualised discussion. The study demonstrates how multimodal analysis can be used in research to capture a wide scope of information, while maintaining a micro-level of analysis and understanding—here, capturing the detail of students’ interactions and perceptions. The findings suggest that the learning experience in museums is produced through multiple layers of interaction and through the exchange of physical and psychological behaviour among people, resources, and space. Here, the multimodal technologies with which the students engaged essentially acted as initial platforms for sensory stimuli and social interaction, supporting their peer communication and motivating them to further explore both the given topic and their own understanding of their learning methods. It was the students’ further conversation, observation, and participation, however, that created a more meaningful and entertaining learning experience in the museums.

This thesis asks how the curatorial framing of medieval objects - the processes of selection, classification, display and interpretation - affect how medieval objects are made legible within the museum. It investigates how different collectors and curators have deployed medieval objects over a period of two hundred and fifty years of museological practice. Throughout this history, medieval objects have been appropriated within a range of museological narratives that have positioned them variously as objects of curiosity, utility, scientific analysis, nationalistic interest and as sites of scholarly and popular attention. My purpose is to inquire how the epistemological re-positioning of objects is articulated through their presentation within the framework of the collection, museum or temporary exhibition and to question how the mechanics of display facilitate particular readings of medieval objects. I then consider how certain curatorial approaches may produce unintended effects that render the medieval object illegible or problematic in unexpected ways. I also acknowledge that unforeseen exhibitionary outcomes may not be solely due to the effects of curatorial intervention but may be wrought by the agency of objects themselves. This thesis therefore examines medieval objects as active participants that play a crucial role in influencing the communication of curatorial objectives and in affecting how they may be apprehended through exhibitionary practice. The thesis examines sixteen chronologically presented case studies, beginning in the mid eighteenth century and concluding in the early twenty-first century, that represent important or influential episodes in the history of the display of medieval art. It traces a selective history of the various ways medieval objects have been culturally positioned at particular points in time to reveal how curatorial techniques have worked to reinforce or undermine the perception of medieval objects as carriers of specific meanings. Through the examination of historical approaches to the display of medieval objects I reveal how familiar tropes of display, such as the use of specific lighting techniques and stained glass have characterized the museological staging of medieval objects and how these have endured into the twenty-first century. Drawing on performance theory, material culture theory and sensory theory I identify how the biographical histories, material characteristics and sensory properties of medieval objects have been re-activated or suppressed by curators to encourage audiences to engage with them in specific ways. This theoretical approach reveals a previously unacknowledged sensory cultural history of engagement with the medieval object and highlights how historical approaches that have privileged embodied engagement with objects continue to inform contemporary museological practice. I also draw on Actor-Network theory to illuminate how medieval objects may be understood as active agents within the chain of correspondences that links people, objects and exhibitions at particular points throughout this history. In this way I delineate an exhibitionary landscape through which we can understand medieval objects as multi-authored and polysemic entities but principally as the products of exhibitionary practice.

Syfte: Uppsatsen syftar till att undersöka utvecklingen av sinnesmarknadsföring genom att ta reda på hur det används av företag inom dagligvarubranschen.   Metod: Studien har en kvalitativ forskningsstrategi. Fem intervjuer och tio observationer utfördes som metod i undersökningen. Intervjuerna utfördes på fem anställda på olika dagligvarubutiker i Solna, och samma butiker observerades under två tillfällen. Urvalet valdes utifrån ett bekvämlighetsurval.   Slutsatser: Sinnesmarknadsföring är ett relativt okänt begrepp. Synen är människans största sinne och därför riktas marknadsföringen främst mot visuella uttryck. I den här undersökningen har det visat sig att lukten är ett lika viktigt sinne, eftersom att dofter har förmågan att väcka minnen och även stimulera de övriga sinnena. ICA Maxi var den enda butik av samtliga undersökta, som skapade en multisensorisk varumärkesupplevelse där alla sinnen samarbetade. / Purpose: The purpose of this study is to examine Sensory marketing by finding out how it is used by companies in the retail industry. Method: The study has a qualitative research strategy. Five interviews and ten observations were carried out as method for the research. The interviews were conducted with five employee at various grocery stores in Solna, the stores were also observed during two occasions. They were selected based on a convenience sample. Conclusion: Sensory marketing is a relatively unknown term. The sight is our biggest sense, therefore are marketers primarily targeting visual expressions. This study has shown that the smell is an important sense, because its ability to evoke memories and stimulate the other senses as well. ICA Maxi was the only store of all investigated who had created a multisensory brand experience where all senses cooperated.

This practicum focuses on end-of-life care for older adults in rural Canada. Specifically, it addresses links between domesticity and terminal illness amongst adults within the building typology of hospice. The objective of the practicum is the creation of a model for hospice design in rural Manitoba. The hospice will be supported in pre-fabricated housing. The practicum will address contemporary issues arising from publicly-funded healthcare, the aging Canadian population, and cultural issues surrounding dying, death, and grieving. The main goals to be achieved with this project were the creation of care facilities that encourage dialogue, education, and wellbeing for all users. Additionally, the facilities will be designed as multi-sensory environments where all human senses can be stimulated, expanding beyond typical visual stimuli.

I denna studie undersöks vad som sker i intensivundervisning där en SUM-elev, elev med särskilda utbildningsbehov i matematik, erbjuds multisensorisk undervisning. Vilken utveckling som sker vad gäller elevens taluppfattning, samt olika uttryck för lärande i undervisningsprocessen är också något som studeras. Studien har en kvalitativ ansats och har genomförts som en fallstudie med en SUM-elev i årskurs ett. Fallstudien innehåller en intervention med matematiktester vilka genomförts före och efter en intensivundervisning i grundläggande taluppfattning. Deltagande observationer av undervisningssekvensen har genomförts, vilka också har filmats. Till analysen används Bruners teori om representationer tillsammans med Vygotskijs teori om lärande ur ett sociokulturellt perspektiv. Representationerna i Bruners teori beskrivs som den enaktiva som är handlingsbaserad, den ikoniska som är bildbaserad och den symboliska som är språkbaserad. Resultatet visar i detta fall att en intensivundervisning med multisensorisk approach påverkar elevens taluppfattning positivt och elevens lösningsfrekvens mellan för- och eftertest tredubblats. En utveckling av bland annat matematiska förmågor var synlig. Eleven utvecklade lärande i de olika representationerna där inledningsvis den enaktiva representationen användes och succesivt även den ikoniska- och symboliska representationen. Resultatet visar en positiv påverkan på elevens självförtroende i matematiska situationer, främst gällande symbolhantering. / This study examines what happens in the situation of intense, multi-sensory instruction for a SEN-student in the subject of mathematics, a student with special education needs in mathematics. What kind of development is happening in terms of the student's number sense, as well as various forms of learning in the teaching process is also something that is studied. The study has a qualitative approach and was implemented as a case study with a SEN-student in the subject of mathematics in year one. The case study includes an intervention with math tests which were taken before and after an intensive teaching of basic number sense. Participant observation of the teaching sequence has been implemented, which also have been filmed. For the analysis Bruner's theory of representations along with Vygotsky's theory of learning from a sociocultural perspective is used. The representations in Bruner's theory is described as the enactive that is action-based, the iconic that is image based and the symbolic which is language-based.  The result in this case shows that an intensive instruction with a multi-sensory approach affects the student's number sense in a positive way. The pupils solution frequency between pre- and posttest tripled. The Pupil developed learning in the different representations where initially the enactive representation was used and gradually even the iconic- and symbolic representation. A development including mathematical competences were visible. The results show a positive impact on the pupil self-confidence in mathematical situations, primarily in situations for symbol processing.

This practicum focuses on end-of-life care for older adults in rural Canada. Specifically, it addresses links between domesticity and terminal illness amongst adults within the building typology of hospice. The objective of the practicum is the creation of a model for hospice design in rural Manitoba. The hospice will be supported in pre-fabricated housing. The practicum will address contemporary issues arising from publicly-funded healthcare, the aging Canadian population, and cultural issues surrounding dying, death, and grieving. The main goals to be achieved with this project were the creation of care facilities that encourage dialogue, education, and wellbeing for all users. Additionally, the facilities will be designed as multi-sensory environments where all human senses can be stimulated, expanding beyond typical visual stimuli.

Text in Afrikaans / The purpose of this study is the development of a Gestalt therapeutic program for conscious, multisensory perception. The program is aimed at children in the age group between eight and twelve years. A qualitative research approach is used with grounded theory as research strategy. Applied research is used with incidental sampling. The objectives as the steps taken to attain the purpose were literature study of the main concepts, the development of the program, and the refinement of the program. A collective energy model is designed to conduct the program in a group of eight children. After the observation of the interaction in the group and feedback by the group members the program was refined in nine sessions. The research was done in the theoretical framework of gestalt play therapy. / Social work / M. Diac (Play Therapy)

Vetskapen om att människans fem sinnen, syn, ljud, känsel, lukt och smak, kan påverkas genom att stimuleras på olika sätt har tagits i beaktning vid utformningen av marknadsföringsverktyget kallat sinnesmarknadsföring. Sinnesmarknadsföring beskrivs som ett framväxande paradigm inom marknadsföringsområdet. Stimulering av sinnena kan bidra till skapandet av helt nya sinnesupplevelser för kunden i den fysiska butiksmiljön. En butiksatmosfärs utformning som har sin utgångspunkt i människans fem sinnen kan påverka kundens beteende och skapa konkurrensfördelar. En stor mängd av den forskning och de studier som genomförts inom ämnet sinnesmarknadsföring undersöker hur kunden blir påverkad av olika sinnesstimuli och hur sinnesstimuli kan användas. En kunskapslucka gällande hur sinnesmarknadsföring faktiskt används i fysiska butiksmiljöer inom detaljhandelsbranschen identifierades. Syftet med den här uppsatsen är att skapa förståelse för hur mikroföretag använder sinnesmarknadsföring i den fysiska butiksmiljön. Vid insamlingen av empiriska data användes en kvalitativ metod och fem intervjuer genomfördes med butiksägare eller anställda som ansvarar för utformningen av en butiksmiljö inom detaljhandelsbranschen. Resultaten visar att flexibilitet är ett nyckelord när det kommer till mikroföretagens utformning av sinnesupplevelser i butiksmiljön. Det har även framgått att vid utformandet av butiksmiljön prioriteras i huvudsak strategier gällande tre av de fyra sinnena som undersökts i denna studie; syn, ljud och känsel. Den styrande faktorn som påverkar arbetet med sinnesupplevelserna i butiksmiljön är visionen för hur butiksatmosfären ska vara och upplevas av företagets kunder. Slutsatsen är att mikroföretag trots sin ringa storlek kan skapa och anpassa sinnesupplevelser utifrån de egna förutsättningarna och sin vision för butiksatmosfären för att differentiera sig. / The knowledge that the five human senses; sight, hearing, touch, smell, and taste, are affected in different ways by stimulation has been taken into account in the making of the marketing tool called sensory marketing. Within the marketing area, sensory marketing is described as an emerging paradigm. Stimulating the senses can lead to the creation of entirely new sensory experiences for the customer in a physical store environment. A store atmosphere based on the five human senses can affect the customer’s behavior and create competitive advantages. A large amount of the former research and studies made on sensory marketing focuses on how the customer may be affected by different sensory cues and how sensory cues can be used. A gap in knowledge has been identified regarding how sensory marketing is actually used in a physical retail store environment. The purpose of this thesis is to create a deeper level of understanding in regard to how micro-enterprises apply sensory marketing in their physical store environment. The empirical data has been collected adopting a qualitative method and five interviews have been conducted with business-owners or employees that are in charge of the environment in a retail store. Results show that flexibility is a keyword in regards to how the micro-enterprises creates the sensory experiences in the store environment. It also showed that when the store environment is created, three of the four senses studied in this thesis are prioritized; sight, hearing and touch. The determining factor that affects the creation of the sensory experiences in the store environment is the vision that states how the store atmosphere should be and be perceived by customers of the company. The conclusion is that although the micro-enterprises may be small in size they can create and adapt their sensory experiences based on their own conditions and their visions for the store atmosphere in order to differentiate themselves.

The aim of this study is two-fold, firstly to ascertain whether teachers consider that the Fonomix method (a Swedish phonological training programme with articulation) contributes to an improved pupil learning and, secondly, whether pupils who have been taught using the Fonomix method find decoding easier in their first year at school. The study’s methodology consists of qualitative interviews with teachers who have experience of the Fonomix method. The interviews were carried out at two different schools within the same municipality. The study shows that the teachers interviewed agreed that the Fonomix method benefits many of the pupils in a class. The teachers also considered that the pupils starting year one were advanced as regards their knowledge of letters and words thanks to the teaching they had received during their preschool class using the Fonomix method. This is due to the phonetic teaching being multi-sensory and varied which facilitates learning for a greater number of pupils. The Fonomix articulation method provides extensive teaching material which can easily be varied and adapted to suit the pupils and consolidate learning. / Fonomix-Munmetoden är en metod som kan användas när barn ska lära sig läsa. Metoden är multisensorisk och bygger på den fonologiska medvetenheten, det vill säga kopplingen mellan språkljud och bokstäver. Syftet med denna undersökning är att få mer kunskap om ifall lärare anser Fonomix- Munmetoden bidrar till ökat lärande hos fler elever samt om lärare anser att elever som undervisats med Fonomix i förskoleklassen knäcker avkodningen lättare i årskurs 1 än de elever som inte arbetat med Fonomix i förskoleklassen. Undersökningen är byggd på kvalitativa intervjuer med lärare som har erfarenhet av Fonomix-Munmetoden. Intervjuerna har utförts på två olika skolor i samma kommun. Undersökningen visar att de lärare som intervjuats är eniga om att Fonomix-Munmetoden är en metod som gynnar fler elever i en klass. Det visar sig även att när eleverna börjar årkurs 1 har de kommit långt i sin bokstavskunskap tack vare undervisningen med Fonomix-Munmetoden i förskoleklass. Det är tack vare att träningen med den fonetiska medvetenheten sker multisensoriskt och varierat som gör att fler elever kan tillgodogöra sig kunskaperna. Fonomix-Munmetoden har ett gediget material som lätt kan varieras och anpassas efter eleverna. Detta gör att de på olika sätt kan träna in samma bokstav och språkljud.