Critical Reflection
ASTROKINEGLYPH’ is an innovative project that explores the combination of tactile and sonic interactions to facilitate greater accessibility to astronomical phenomena for the blind and visually impaired. It aimed to explore the limitations of public engagement within science-related events, to create an interactive workshop to encourage the engagement of astronomical data through touch and to create a learning tool for the blind and visually impaired audiences that uses both touch and sound to explore astronomical data. Read more in the 'About' page.
1) Limitations faced by the Blind and Visually Impaired in Science-related events.
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i) Limitations Online
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Astronomy, a captivating gateway science, often falls short in conveying its wonder through outreach, leaning heavily on visual elements. Explore the 'Visualising Astronomy' blog to grasp its visualisation limitations and the role of artistic interpretations in public engagement. This artistic approach motivated me to consider creativity's potential as a means of fostering inclusivity and accessibility for the blind and visually impaired.
However, the blind and visually impaired (BVI) community's engagement is hindered by limited accessibility. This exploration delves into these constraints within science museums, festivals, and more, aiming to enhance inclusivity. Through examining online astrophotography, museum experiences, and insights from a survey, I aim to understand the current landscape and identify opportunities for change.
Astrophotography's evolution brings a multitude of images, creating navigational challenges. Diverse telescopes and filters result in varied colour representations.
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ESO's and Hubble's images of Pillars of Creation show this contrast—ESO approximates true colours, while Hubble uses higher wavelengths for vibrant visuals.
Sadly, the visually impaired face difficulties appreciating these images without audio descriptions. The language used may not suit them, highlighting a need for inclusive communication in astronomy. The 'AstroAccessible' conference in 2012 sought to address this with discussions on adapting activities and astronomy for all through audio descriptions. However, some audio descriptions like Chandra's Visual Descriptions may not fully resonate with the BVI community's experiences.
Though these efforts help, the core issue remains—a lack of astronomy projects tailored for the BVI community. Such initiatives would empower them to explore cosmic phenomena on their terms, fostering inclusivity. Reflecting on outreach astronomy, it's clear that transformative steps prioritising accessibility are crucial. By moving beyond visual-only approaches, astronomy can genuinely inspire wonder for all, regardless of visual abilities.
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​ii) Limitations in Museums
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Reflecting on my visits to four science museums this year, detailed in my blog "Accessibility within Science Museums," including London Science Museum, Edinburgh Dynamic Earth, Liverpool World Museum, and Jodrell Bank, prompts me to question the essence of "accessibility" within these institutions. Despite claims of accessibility, my experiences have led me to contemplate the extent and execution of accessibility for the blind and visually impaired (BVI) community.
Upon analysis, it's clear that the term "accessible" often appears more as a compliance checkbox than a genuine commitment to inclusivity. While museums offer access days, relaxed sessions, and limited services like BSL interpreters and audio descriptions, these measures seem reactive rather than proactive in fostering inclusivity.
"Inclusive" is a term used for activities tailored to specific needs, such as London Science Museum's WonderLab. However, dedicated activities for the BVI community are limited, with only Liverpool World Museum hosting the "Audio Universe" Planetarium show. Museums' traditional layouts, glass cabinets, and screen-centred information pose challenges for the visually impaired, hindering their engagement.
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Edinburgh Dynamic Earth's unique tactile approach is commendable with the giant iceberg, yet reliance on screens and plaques persists. Overall, while progress is seen in some museums, a gap remains in designing fully accessible experiences for the BVI community. The lack of multi-sensory elements and reliance on traditional methods hinder the engagement and appreciation of astronomy for the visually impaired.
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iii) Limitations within Science Festivals
In 2023, I attended three Science Festivals – Edinburgh, Bradford, and Daresbury – which led me to evaluate their accessibility and inclusivity efforts in the blog ‘2023 Science Festivals’.
Science festivals are vital for disseminating discoveries and making science engaging for all. Bradford Science Festival was impressive with its expressive and community-oriented approach through dance, song, and interactive activities. However, clearer marketing could improve inclusivity by highlighting potentially inclusive activities.
Edinburgh Science Festival showcased diverse activities across the city, demonstrating a commitment to accessibility. Yet, in astronomy, reliance on written and spoken content raised questions about inclusivity efforts and content curation.
Daresbury Open Day focused on physics workshops but lacked explicit accessibility support. This could pose challenges for visually impaired attendees. The "Tactile Collider" project demonstrated the impact of art-science collaborations for accessibility.
Bradford and Edinburgh provided free entry, broadening access, but Bradford's unclear identification of accessible activities might hinder participation.
Daresbury's paid entry raises concerns about affordability for the visually impaired, emphasizing inclusivity challenges for marginalized groups.
iv) Questionnaire Findings
The questionnaire provided valuable insights into participants' experiences and interests in astronomy-related events. Out of the nine respondents, 66.7% confirmed that they are over the age of 16 and have had interactions with astronomical data in museums, science festivals, or media.
The lack of a substantial number of responses in the questionnaire could be considered a limitation, as it may not fully represent the diverse perspectives and experiences of a larger population. With only nine responses, the sample size is relatively small, which can impact the generalizability of the findings to a broader audience. However, despite the limited number of responses, the data collected from the nine participants still offer valuable insights and can be considered helpful in understanding some aspects of participants' interactions with astronomical data and their experiences in museums and science-related events.
Interestingly, 77.8% of the participants reported that they can clearly see the stars in the night sky. However, 44.4% of those who couldn't see the stars attributed it to living in high-light-polluted areas.
Regarding museum and science-related event attendance, 66.7% of respondents have visited such events within the past year. Out of these participants, 55.6% experienced predominantly touch and sound exhibits, with some expressing positive sentiments about feeling more involved in the learning process through these interactions.
Accessibility limitations were not recognised by those who attended museums or science-related events. The am aware that the challenges included a lack of accessible workshops and limited interaction options for visually impaired individuals. However, most science museums and festivals have very traditional approaches which could mean its difficult for participants to compare to those limited places who are accessible.
On the other hand, 33.3% of participants have never visited a museum or science-related event. The reasons cited for not attending included the lack of events nearby, not being notified of suitable events, and the absence of astronomical exhibits in some venues.
A total of 55.6% of respondents have visited a planetarium. Additionally, 77.8% of participants consider themselves knowledgeable about astronomy, with a mean self-assessment score of 3.9 out of 10.
In terms of hands-on experiences, 33.3% have touched a planet, star, or galaxy, while 44.4% have never heard the sound of a star, galaxy, or black hole.
When given the chance to learn more about astronomy, 55.6% of participants expressed interest in topics such as black holes, galaxies, the solar system, and planets.
v) Conclusion
In summary, science festivals exhibit strengths and limitations in addressing accessibility and inclusivity in astronomy outreach. The incorporation of inclusive materials and collaborations between art and science can enhance engagement. Clear communication about accessible activities and considerations of free or discounted entry can expand inclusivity. While questionnaire data offers insights, it also underscores accessibility challenges and limited exposure to hands-on astronomical experiences. Science festivals must critically assess and prioritise inclusivity and accessibility to create an empowering environment for all participants.
To conclude, the journey toward achieving comprehensive accessibility and inclusivity within science festivals and astronomy outreach remains ongoing. By giving precedence to effective communication, pioneering content development, and nurturing meaningful partnerships, we can shape a reality where science becomes an enriching voyage for everyone, transcending differences in abilities and backgrounds. The ultimate accomplishment lies in cultivating an environment where every participant, including those frequently marginalised, can actively engage, learn, and discover awe-inspiring marvels of science. These reflections have undeniably guided me as I crafted a workshop for upcoming science festivals later this year.
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2) Science Resources Available
i) ​Visualisation Methods of Astronomical Data
The ' Archives of Liverpool World Museum and Jodrell Bank Observatory' blog unveils historical visualisation techniques in astronomy like photometry, spectrographs, and interferometry. These methods provide a unique foundation for inspiring artistic interpretation, particularly for ASTROKINEGLYPH outreach. By creatively fusing these techniques with art, the potential to enhance accessibility and engagement in astronomy expands. Armed with this insight, I can now reimagine science to create novel, tailored experiences for the blind and visually impaired. This synergy of historical wisdom and artistic ingenuity holds the potential to ignite curiosity and forge connections with the cosmos, offering a profound engagement with astronomy across diverse audiences.
ii) Sonification of Astronomy
The "Sounds of Space" blog underscores the interplay between visualisation and sonification, showcasing their potential to convey intricate astronomical data. Although sound's role in scientific discovery, as stated by Andy Newsam, might be limited, its increasing use in public astronomy engagement challenges this perspective. Sonification is especially significant for breaking barriers faced by the blind and visually impaired (BVI) community and promoting inclusivity in astronomy. While sonification might not significantly impact astrophysics, its prominence in public outreach is growing, facilitating better communication, and reshaping our cosmic connection.
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Projects like James Webb’s Sonification and Chandra's Visual Descriptions are tailored for the visually impaired, yet they have limitations in conveying data for self-exploration. Few projects are dedicated to the BVI, but initiatives like Andy Newsam's Soniverse, LIGO Black Hole Chirps, and Ryoichi Kurosawa’s work exemplify the potential of sonified astronomy.
These projects provide valuable insights for making sonification accessible to the BVI.
Soniverse, for instance, inspired my ASTROKINEGLYPH project, allowing audiences to explore galaxies through sound interpretations of data wavelengths.
LIGO Black Hole Chirps offer an alternative way for the BVI to engage with data, bypassing visual graphs.
Ryoichi Kurokawa's work showcases a multisensory experience, suggesting possibilities for future exhibits like the World Museum planetarium.
iii) Accessible Astronomy
In the realm of astronomy, a wealth of innovative resources stands ready to transform how we perceive and engage with the cosmos. The blog ‘ Additional Accessible Astronomy’ talks about initiatives like Audio Universe, Tactile Universe, Pop-up Planetarium, James Webb Sonification, and NASA's 3D printed images are accessible to the public and institutions alike. However, a perplexing trend emerges despite their availability, these invaluable resources often remain untapped in museums and festivals.
Audio Universe grants audiences the chance to embark on an auditory exploration of celestial realms, while Tactile Universe brings the stars to life through touch. The Pop-up Planetarium offers immersive experiences, and James Webb Sonification turns data into melodies. NASA's 3D-printed images provide tangible glimpses into the universe's multidimensional tapestry.
Yet, museums seem hesitant to fully integrate these resources into their exhibitions, and festivals often fall short of realizing their potential as inclusive and accessible platforms. This missed opportunity to engage diverse audiences, including the visually impaired and those seeking innovative learning experiences, raises questions about the factors limiting the widespread adoption of these transformative tools.
Is it a lack of awareness, institutional inertia, or the perceived challenge of incorporating such innovative approaches? The gap between availability and utilization highlights the need for a concerted effort to bridge this divide. As we journey through the cosmos of knowledge and exploration, it's essential that these resources find their rightful place in museums and festivals, enriching the astronomical experience for all.
iv) Proposal
To begin, I delved into experimental mini projects that replicated the methodologies astronomers employ to visualise the cosmos. By recreating these processes on a smaller scale, participants gained a deeper understanding of how data is gathered and translated into meaningful insights. This involved using simple materials to simulate the collection of light or other signals from celestial objects, providing participants with a tangible connection to the science behind astronomy.
Tactile engagement also played a pivotal role in my approach. While there were existing projects that offered tactile or textured experiences related to astronomy, there remained a gap in the field—a lack of projects that combined both tactile elements and auditory engagement. By integrating touch and sound, participants were able to feel the contours of galaxies, the textures of stars, and the depths of cosmic structures while also experiencing the auditory dimensions of space. This unique approach not only enhanced understanding but also made astronomy accessible to individuals with visual impairments or other sensory challenges, breaking new ground in inclusive science education.
In my quest to make astronomy accessible to a wider audience, I designed workshops tailored for the visually impaired (BVI) community. By considering their unique needs and perspectives, I aimed to create a space where BVI individuals could explore the universe through touch and sound, fostering a sense of inclusivity and empowerment. These workshops were tested and refined through participation in a variety of public-facing events, ensuring that they effectively conveyed astronomical concepts and captivated diverse audiences.
3) ‘Reach for the Stars’ Workshop
The "Reach for the Stars" workshop series aimed to provide inclusive and engaging astronomy learning experiences to a diverse range of participants. Each workshop was tailored to specific target audiences, showcasing the adaptability of the program. The DoTorial workshop catered to university MA peers, focusing on refining methodologies. The Liverpool Astronomical Society workshop encouraged creative expression among young astronomers, while the Bradford Science Week workshop engaged participants of all ages in galaxy creation. The Pocklington Trust Volunteers workshop gathered feedback from visually impaired adults on tactile teaching methods, and the Daresbury Open Day workshop showcased astronomy prototypes to a large public audience.
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The workshop was inspired by the photographic plates and having a negative black-and-white image. A sighted individual I understand that the black segment of the photographic plate is the stars the same way a blind individual would understand that a raised segment would also be a star.
In the Daresbury Open Day workshop, sound elements were integrated to enhance the interactive experience. Participants had the chance to listen to simulated sounds of stars, galaxies, and black holes, adding an auditory dimension to their engagement with astronomical data. As the facilitator, I guided the audience through the process, fostering discussions and interactions among attendees. This collaborative environment allowed participants to share their interpretations, pose questions, and collaboratively explore intricate astronomical concepts.
i) Adaptability
The series of inclusive science workshops demonstrated the critical role of adaptability in crafting meaningful learning experiences across various audiences. Each workshop embraced distinct strategies tailored to address the unique requirements and interests of its participants.
James Pocklington Trust Volunteers
The Pocklington Trust Volunteers workshop's commitment to tactile learning demonstrated a tangible commitment to making knowledge accessible. This dedication created a distinctive and approachable learning environment for visually impaired adults. This workshop's emphasis on tactile references and relatable analogies effectively bridged educational gaps for visually impaired adults. This approach fostered inclusivity and accessibility, also offering a distinctive route to astronomy education.
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Young Astronomers Astronomical Society
The Astronomical Society workshop's focus on creative expression and hands-on activities resonated with intellectually curious young astronomers. By nurturing their imagination and engagement, this workshop succeeded in stimulating interest and deepening understanding.
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Bradford Science Festival and Science Week
The Bradford Science Week workshop's versatile design catered to individuals of all ages and abilities. Its ability to adapt effectively showcased the value of promoting science education for a diverse spectrum of participants.
Daresbury Open-Day
The Daresbury Open Day workshop's broad appeal and extensive attendance highlighted its adaptability in capturing the general public's interest. This adaptability served as a testament to its effectiveness in engaging diverse audiences.
ii) Observations
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Pocklington Trust Volunteers Workshop: Tactile Learning for Blind and Visually Impaired Participants
During the Pocklington Trust Volunteers workshop, attendees who were visually impaired expressed notable satisfaction with the tactile learning approach. This unique methodology effectively catered to their specific needs, sparking their interest in astronomy. The feedback received underscored the success of incorporating tactile references in facilitating their understanding of celestial concepts.
Astronomical Society Workshop: Fostering Scientific Comprehension in Young Astronomers
The Astronomical Society workshop showcased the high level of scientific understanding among young astronomers. Their enthusiastic sharing of knowledge demonstrated their strong grasp of astronomical concepts. By encouraging creative expression through hands-on activities, the workshop showcased the audiences imaginative thinking and their ability to effectively communicate complex ideas.
Bradford Science Week Workshop: Inclusive Participation of All Ages and Abilities
The Bradford Science Week workshop attracted a diverse audience, including young children as young as 2 years old, who actively joined in the galaxy creation process. Their evident excitement and pride in their creations highlighted the workshop's success in inclusively engaging individuals of various ages and abilities.
Daresbury Open Day Workshop: Wide Interest in Science Education
Despite initial technical challenges, the Daresbury Open Day workshop garnered substantial attendance, indicating widespread interest in science education. Attendees responded positively to the presented learning tools and sound elements, reflecting the public's curiosity and enthusiasm for engaging with astronomy in an interactive manner.
Further Inclusive Workshop Experience
The impact of the workshop extended beyond the creators to participants with diverse abilities. At both the Bradford Science Festival and the Daresbury Open Day, the workshop welcomed individuals with a range of disabilities. Notably, a young girl with Spina Bifida was able to fully engage in the tactile experience of the Milky Way. The design of the metal pieces allowed her to explore the tactile representation without the limitations posed by her disability.
Similarly, a young boy with low-functioning autism found joy in the workshop. While the cold touch of the metal plate wasn't particularly to his liking, he expressed immense enjoyment from the way the light interacted with the plate's surface. This unique experience showcases the workshop's ability to cater to a wide spectrum of abilities and preferences.
These instances exemplify how the workshop transcended boundaries and offered inclusive engagement to participants with various disabilities. The tactile and visual elements effectively engaged individuals, regardless of their specific needs, contributing to a more inclusive science education experience.
iii) Questionnaire Feedback
The image shows how many attended, where they attended and who were involved in each workshop. Those who took part in the workshop questionnaire were limited to Bradford Science Festival and Daresbury Open Week due to the late submission of ethics forms and that participants had to be over the age of 16 to take part in the questionnaire.
The three participant's unique perspective provides a limited view of the workshops' impact. For instance, Participant 1's feedback highlights their increased knowledge about galaxies and Andromeda, indicating successful comprehension of workshop content. Furthermore, positive ratings and a likelihood to recommend the workshops from Participants 1 and 2 underscore their efficacy in delivering meaningful learning experiences.
A notable limitation arises from the data collection process, which lacks specific quantitative measures for assessing the workshops' effectiveness. This limitation highlights the need for a critical re-evaluation of the methodology used to evaluate workshop outcomes. Furthermore, the distribution of the questionnaire itself presents challenges. Notably, the Astronomical Society workshop couldn't participate due to the age of attendees being under 16, and the questionnaire was introduced only after the Bradford Science Festival.
Despite engaging over 950 participants in my workshops, the majority attended before the questionnaire's introduction, potentially including a significant number of children under 16. This situation fails to fully explain why only three participants engaged with the questionnaire. This suggests that the attempt to utilise an online questionnaire for an in-person event was not successful. A more effective approach might have involved distributing paper versions of the questionnaire to ensure broader and more accurate data collection.
An alternative perspective emerges when assessing the success of the workshops beyond the confines of the questionnaire data. The workshops' effectiveness can be gauged through the engagement and enthusiasm exhibited by participants during the hands-on activities. The active participation, curiosity-driven discussions, and tangible outcomes of their creations all indicate a positive and impactful learning experience. By observing participants' interactions, the workshops' ability to capture attention, evoke questions, and foster a deeper understanding becomes evident. This experiential measurement underscores the workshops' achievement in generating interest, enhancing understanding, and encouraging active exploration of astronomy concepts. In essence, the workshops' impact extends beyond the quantitative data, revealing a more nuanced and vibrant assessment of their success.
iv) Conclusion
I have successfully created an interactive workshop with the aim of encouraging the engagement of astronomical data through touch. Through this workshop, I went beyond traditional visual engagement and offer participants the opportunity to interact with astronomical concepts using their sense of touch.
To assess the effectiveness of the workshop and gather valuable insights, I implemented an anonymous online questionnaire to collect responses from those who attended the "Reach for the Stars" workshops. Although this data collection approach was limited by the number of participants, I instead gained valuable observations that gauged the engagement levels, and assess the impact of the workshop on their understanding of astronomy through tactile interaction.
My passion for fostering a deeper understanding and appreciation of astronomy. Through "Reach for the Stars," I made astronomy accessible and exciting for everyone, regardless of their visual abilities, and to inspire a curiosity for the cosmos through a different lens.
In conclusion, the workshops' dedication to tactile engagement and multisensory experiences has transcended traditional barriers, enabling diverse audiences to grasp the wonders of astronomy in a profound and interactive manner. By combining adaptability, hands-on learning, and keen observations of participant interactions, the workshops have surpassed their aim of making astronomy accessible and captivating for all.
Through the workshop series, those involved have embarked on an exploration that transcends the visual realm, delving into the realms of touch and sound. The incorporation of tactile references and auditory elements has proven to be an effective conduit for understanding celestial concepts and phenomena. Those who were involved showed engagement, curiosity, and conversations sparked during the workshops affirm their efficacy in achieving the goal of cultivating lasting interest in the cosmos.
While the workshops have undeniably triumphed, reflection unveils the potential for an even greater impact. The need for refined data collection methods and broader outreach strategies presents an opportunity to expand the workshop's reach and measure its influence more comprehensively. Nonetheless, the workshops' triumph in triggering engagement and curiosity through tactile astronomy experiences remains evident and promising.
In a world where science education continues to evolve, the "Reach for the Stars" workshop series stands as a beacon of innovation. Its legacy underscores the potential for transformative science education that transcends traditional boundaries, championing inclusivity and discovery for all. As we gaze into the future, these critical reflections guide the path forward, ensuring that the journey of engagement with the cosmos remains vibrant and ever-enriching.
i) Initial proposal
My journey began with inspiration from blind activist Lucy Edwards, who shared her experience using rice to train her hands in Braille on Instagram. Curious, I conducted my own experiment with different types of rice, creating simple galaxy shapes. This experience led me to immerse myself in the perspective of the blind and explore conveying observations through touch.
Realising the challenge, I aimed to create tactile galaxies from astronomical data. Yet, a crucial question remained: How could I transform intricate astronomical images into tangible textures?
I have explored various avenues outlined in 'Visualising Astronomy' blog. Directing my attention toward Photographic plates – capturing the presence of stars, Photometry – measuring star brightness levels, Spectrographs – unveiling elements within a star's chemical composition, and Interferometry – a technique using multiple telescopes to create layered, clear images of radio wavelengths.
The pivotal challenge lay in distilling these complex astronomical processes into an accessible and tactile format. I embarked on a quest to identify the most suitable software and techniques that would enable me to achieve my goal – a tactile experience that would allow both the blind and visually impaired communities to engage with the cosmos through the combination of touch and sound.
ii) Photographic Plates
I transform existing images, like James Webb’s First image, into tactile experiences. One method involved converting the images to black and white, mimicking the appearance of photographic plates, and then utilising laser cutting to etch the negative image onto wood.
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Exploring further, I repeated the process using the black and white image to create a freeform design. I also experimented with SketchUp to achieve the same effect.
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While these attempts yielded intriguing outcomes, they appeared somewhat one-dimensional. This raised a captivating observation: even though telescope-acquired images are inherently two-dimensional, sighted individuals can perceive a sense of depth within them. To replicate this effect, I aimed to introduce layers, adding a multidimensional quality to the tactile experience.
iii) Photometry
Understanding that stars vary in brightness, I developed the concept of forming a tactile representation similar to that of a mountain range, where individual peaks symbolized different stars, much like the distinguishable rice grains. The same approach was used by Tactile Universe in their 3D printed designs where I drew inspiration from, employing similar methodologies.
I used Freeform, a digital clay software, in the process of pulling and shaping stars from the digital clay. This was efficient and something not easily achievable with real clay. However, a drawback emerged: as the stars were extracted, the peaks and points made them appear smaller and inaccurately represented compared to their original size. This posed a challenge in effectively conveying the essence of stars.
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I instead explored an alternative technique that involved a more hands-on process: hammered metal. In this method, I took a printed image of a galaxy and meticulously beat the metal surface using sharpened nail pushers. This analogue approach allowed me to create raised sections on the metal, with the size of the elevated areas corresponding to the brightness of the stars. Larger raised sections denoted brighter stars, while smaller, subtler dots represented fainter stars.
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While this method may not be readily reproducible, the feedback I received from the BVI volunteer group at Pocklington Trust was positive. They appreciated the tactile sensation of the cold metal and were able to perceive the shimmering reflections of light, which added an extra dimension to their experience.
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iv) Spectroscope
I experimented with various techniques to further enhance the tactile experience. One approach involved deconstructing a single star into its pixel colours within an image and then transferring this onto the resin. However, I found this method to be both costly and time intensive. Moreover, the software's automatic conversion of stars into spikes during printing distorted their original shapes, making it less suitable for my purpose.
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I also explored deconstructing the Cassiopeia A Supernova Remnant into its elemental components: Iron, Sulphur, and X-ray. By converting these components into grayscale and applying the interferometry approach, I aimed to add depth and texture to the tactile representation. This approach offered a promising way to convey complex astronomical phenomena through touch.
v) Interferometry
I then moved on to exploring different approaches for the supernova designs. I experimented with layering the designs and manually printed them using a laser cutter, which resulted in distinct layers for each element. Additionally, I conducted a comparison between designs generated using computer software automation and those I controlled manually by adjusting the settings myself. While the automated designs were satisfactory, the manual designs required significantly more time to create. However, the manual approach yielded crisper and more defined results.
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The resulting designs were visually stunning when embossed onto paper. However, I recognised that embossing onto paper was not a sustainable long-term solution due to the paper's tendency to misshape quickly.
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During this phase, I received valuable feedback from Andy Newsam, who suggested that these designs might be more recognisable as Planetary Nebulas. He pointed out that Planetary Nebulas have distinct shapes and separated elements of gas, making them a more suitable subject for tactile representation using this layered method. Although I didn't pursue this direction further at the time, his input provided insightful guidance for future developments.
Additionally, I considered the potential of using these tactile designs in future workshops, where visitors could press their own planetary nebulas and take them home as a tangible keepsake. This interactive element could enhance public engagement and provide participants with a hands-on experience of astronomical concepts.
vi) Adding Sound
vii) Conductive ink
In my exploration of creating tactile experiences for the Blind and Visually Impaired (BVI) community, I ventured into using Swell Paper—an innovative tool for tactile information. The concept was compelling: applying heat to the paper would cause the ink to rise, forming raised designs. However, due to limitations in accessing the necessary ink and heat printer, the results fell short of the envisioned success. The ink smudging upon touch underscored the challenges faced.
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In another endeavour, I integrated Bare Conductive's conductive ink into embossed designs of the Cassiopeia Supernova remnant. The intent was to layer distinct sounds, creating a sensory-rich experience. Yet, upon reflection, I recognised an oversight—the auditory information often overlapped with the tactile layers, rendering some of the input redundant. In hindsight, I acknowledge the potential for a more thoughtful application of data layers, ensuring a more harmonious separation between the elements of touch and sound.
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viii) NIMEdemo Percussive Stroke Classifier
For the Hammered Metal design, I delved into software that could transform surfaces into hand drums using a contact mic. The YouTuber MichaelKrzyzaniak used different materials on the drumstick to trigger varied sounds based on vibrations. However, my attempts to generate distinct vibrations were adding rubber, a sponge, and a glue gun on the reverse side of the metal to distort and attempting to changing the vibrations detected by the contact mic. This became a challenge due to the small surface area, which limited the range of vibrations. Additionally, the hardened hammered metal itself produced its own unique vibration that differed from the rest of the plate. Resulting in the sounds detecting a star and an area without stars which the tactile piece is already translating.
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There was the possibility of creating a larger 1.5 square meter piece, but after receiving feedback from the BVI community, it became evident that navigating such a large surface would be difficult and overwhelming for them. They also expressed difficulties in visualising larger pictures in this manner.
Although peers suggested using a scraping tool to vary the sound, I found this compromised the tactile exploration and abandoned the idea.
ix) Touch Board
In an effort to broaden the range of sounds in the hammered metal approach, I experimented with adding nails to a wooden board connected to a Bare Conductive touch board. However, when multiple electrodes were connected, the touch board became overly reactive due to its sensitivity settings. To address this, I used larger nails separately connected to the board, allowing distinct sounds.
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At the Daresbury Open-Day trial, humidity caused a technical glitch, causing the touch board to play sounds unexpectedly. Interestingly, this added an intriguing layer to the experience, appreciated by visitors. The interactive exhibit sparked curiosity, especially as some found the touch-sensitive technology puzzling. Notably, touching the board itself triggered sounds, deepening the engagement. I learnt here that to engage even the sighted I do not need to overcomplicate the sound design.
Despite technical challenges and surprises, this experiment highlighted the potential of combining tactile interactions with sound for an immersive experience. It emphasized the need for creativity and adaptability in developing interactive and accessible astronomy exhibits.
My initial intention was to create an additional layer of data using sound, enhancing the exploration of the piece through both touch and auditory senses. I aimed for participants to have a unique experience by engaging with tactile elements and experiencing different auditory cues simultaneously. However, I inadvertently integrated the sound into the same designs as the touch-based elements. This deviation from my original plan may have occurred due to the challenges of incorporating sound into the designs that lacked the versatility of conductive ink. Unlike the conductive ink, which can be applied as a separate layer, these designs required a different approach, making it difficult to isolate sound from touch without using the original tactile components as reference points.
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Final designs can be found on page ASTROKINEGLYPH
x) Things I Didn’t Get to Explore but would in the Future.
In the course of my exploration, there were several intriguing concepts that I didn't have the opportunity to delve into fully because of my limited knowledge of electronics and sound design. These ideas hold the potential for enhancing accessibility and inclusivity in astronomy outreach, and I look forward to exploring them in the future:
Leap Motion Technology: While I contemplated utilising Leap technology for interactive experiences, I found myself gravitating towards the tangible aspect of physical touch. However, I acknowledge that projection hand mapping could offer a more accessible and versatile approach to tactile engagement in the future.
Galaxy Xylophone Music Box: A concept that caught my interest was the creation of a music box resembling a galaxy xylophone, featuring hammered metal components. Although this aligns with the concept of a cylindrical record player from the early 1900s, it remained unexplored due to practical constraints.
Infrared Laser Touch Detection: Exploring touch detection using infrared lasers was a tempting idea, however, constrained by its expense. Incorporating such technology could offer a novel and sophisticated way to engage participants physically.
Sound Distortion through Touch: One potentially engaging concept was introducing sound through a metal board and allowing participants' touch to interrupt the frequency, creating sound distortions. This idea held promise but was considered potentially risky due to safety concerns of running an electrical current through a live metal board.
Large-Scale Potentiometer Creation: I envisioned the development of a sizable potentiometer capable of identifying participant hand movements from the centre out to the design's edges. Regrettably, my knowledge limitations prevented me from pursuing this concept fully, but I remain intrigued by its potential for future exploration.
As I reflect on these unexplored avenues, I am reminded of the ever-evolving nature of inclusive design and the continuous quest to find innovative ways to engage diverse audiences in the wonders of astronomy. These ideas stand as potential stepping stones toward more inclusive and accessible astronomy outreach experiences.
​4) Final Conclusion
ASTROKINEGLYPH has identified limitations within online astronomy resources, UK Science Museums, and Science Festivals. I've recognised the constraints present in current projects within institutes and organisations, yet they remain underutilised. While I can't definitively explain why museums and festivals aren't fully embracing these resources, I can confidently state that there is currently no project that effectively combines touch and sound to present astronomical data for the blind and the visually impaired. This underscores the importance of ASTROKINEGLYPH and the Reach for the Stars Workshop's ongoing efforts.
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Museums and festivals are progressively integrating multisensory exhibits and innovative design concepts – areas where both ASTROKINEGLYPH and Reach for the Stars excel. Despite not gathering the desired number of questionnaire responses, I contend that the extensive participation in my workshops and the time constraints for distributing questionnaires provide sufficient evidence of the workshop's success in engaging audiences through tactile interaction with astronomical data.
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Leveraging insights into the challenges faced by the BVI community in astronomy, along with observations from Reach for the Stars workshops, I have developed three ASTROKINEGLYPH learning tools tailored for blind and visually impaired audiences. These tools incorporate touch and sound to facilitate the exploration of astronomical data.
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The successful trial of my prototype at the Daresbury Open Day and its subsequent approval for installation at Liverpool’s World Museum validates the strong demand for a fusion of tactile and sonic experiences, enhancing accessibility to astronomical phenomena for the blind and visually impaired community.
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