The storytelling as a process of artistic and cultural appropriation: travel in the work of Hieronymus Bosch mediated by a tangible surface

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The storytelling as a process of artistic and cultural appropriation: travel
in the work of Hieronymus Bosch mediated by a tangible surface.
Raquel Barros Pinto,
Universidade do Minho
Instituto de Ciências Sociais
Campus de Gualtar,
Braga, Portugal
email: raquelbpinto@hotmail.com
Nelson Zagalo
Universidade do Minho
Instituto de Ciências Sociais
Campus de Gualtar,
Braga, Portugal
email: nzagalo@ics.uminho.pt
Lia Raquel
Universidade do Minho
Instituto de Educação
Campus de Gualtar,
Braga, Portugal
email: lia@ie.uminho.pt

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Introduction
This study begins from the idea of exploring, on a tangible surface (a multi-
touch table), the work “The Last Judgment” and “The Garden of Earthly Delights”
by Hieronymus Bosch. Imagine a place where people can explore, manipulate and
create, by touch, new combinations of images, and/or write about them. This
tactile approach to pictorial artistic work, associated with the possibility of a
written record of stories on the same interface, might constitute a new place for
the creation of original compositions. In this place the storytelling is integrated as
a pedagogical process for the artistic-cultural appropriation. The art of telling
stories constitutes an important discursive activity that allows to structure and
narrate events/interpretations through images joined to text. This type of
contact, mediated by a tangible surface, will constitute a shift on the approach to
reading and the appropriation of the pictorial work, including simultaneously,
visual and tactile stimulus and prompting reflection made into text/story.
The object of this paper is the enjoyment of the pictorial universe of the
work of Hieronymus Bosch made into media by a tangible surface, with the
purpose of finding new ways of appropriating the work of art.
Therefore the object of this study are the relations that are established
between the public and the artwork at the moment in that they manipulate the
artworks, transform them and give them new interpretations. This type of
exploration is relatively common in the case of Visual Arts where you have the
possibility of exploring the creative potential inherent to the tactile exploration of
the artwork presented. This process may enrich pedagogical activities proposed
either by the schools or by the educational services of the museums. Ideally the
implementation context of this work should be in a museum.
To this study, of a multidisciplinary nature including the areas of Education,
Technology and Fine Arts, comes the proposal of a tangible surface that may be
used individually or collaboratively.
This study seeks to promote new ways of interaction between the public and
artworks in platforms that are places of creation, foster places of reflection
around the presented artworks, as well as, to make stages that drive recreation
processes to develop in the shape of imagetic compositions of a visual, sound or
narrative nature, providing the involvement of the public.
Our study subject and our goals go beyond the information paradigm and
aim to put the public in a new dynamic of exploring the works through interaction

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with tangible surfaces. This manifestation, aiming to promote practical ways of
learning, is explored in museums like the Museum of Science and Industry in
Chicago (http://museum-science-industry.visit-chicago-illinois.com). The
initiatives of the museum give their visitors the possibility of having interactive
experiences, at the exhibits and artifacts level. The subjects dealt there refer to
science, to technology and also to industry.
Issue/contribution
The objective is to understand up to what point the interaction with pictorial
works, meditated by a tangible surface, within the interactive table space, may
boost the use and appropriation of the work of art. We set a few questions: In
what way does the sensory approach, namely tactile, bring the participating
subjects closer to the content being explored in the artwork presented? Could this
type of interaction promote the critical senses of the public and in this way
constitute a new approach to the sphere of knowledge building? What awaits the
creative space in the domain of the tangible surfaces? Could the means of
interaction allowed by the tangible interfaces make universes of use and creation?
In what measure does this interaction serve to a critical awareness of the
images? The possibility of, as regards the images and their manipulation, creating
narratives, constitutes an act of knowledge construction?
Our work hypothesis is that the possibility of manipulating the pictorial
work, mediated by a tactile surface, associated to the possibility of creating and
sharing of the textual narratives regarding this experience boosts the
appropriation of the artwork and promotes the construction of knowledge about
it.
Education and museum
The educational service made available by museums is enriched with the
application of new technologies currently available. The pedagogy while intending
to make sense of reality lives beyond the space usually designated as school. It is
understood that learning occurs throughout life and its construction is permanent
(Papert, 1993). The museum constitutes a place of mediation between art and
public (Barbosa, 2008). Museums can be, according to Barbosa, “laboratories of
knowledge of art” and due to this having great importance in learning. Chagas
(2003) states that museums, like similar institutions, that are found “to be in a
world movement of renovation” as they “dedicate themselves to the
dissemination of scientific and technological activity”, have had great acceptance

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from the younger public. The author highlights that this impact over the younger
ages is due, mainly, to the organization of exhibits that conciliate rigor with
appealing aspects, where moments for experimentation are reserved, for the
young visitors, of the work in exhibition. This component of proximity of subjects
to the exposed objects goes contrary to traditional museology where touching
exhibits was not possible. In this manner, museums of the present “dedicated to
dissemination of science and technology” invite participation and interactivity
(Chagas, 2003, p.2). This author, quoting Proctor (1973), states that the new
museums know, from this perspective, two sides, namely the stimulation of the
curiosity of the visitor and also to instill or awaken the taste for “personal
investigation”. In this way, in a post-modern perspective and before a growing
evolution at the technological level, the museums changed their posture. They
are institutions receptive to new perspectives and different sensibilities.
Overcoming therefore the old model of institutions dedicated to the condition of
deposits, intimately connected to the preservation of “aesthetic and cultural”
canons, in other words, the “status quo” (Berger: 1998,p.97).
In the Touch Lab of the Massachusetts Institute of Technology and
Goldsmiths Digital Studios, the project Intimate Technologies: Touching Textiles
to improve the quality of human-computer haptic (touch and feel) interaction in
Material Culture carries out an investigation applicable in museums that consists
of the following haptic simulation applications: touch and feel objects; play with
the objects; raised images; use a tool like a pen to open distant objects; move
within objects, among others (Zimmer et al, 2008). Another exhibit named
Sounds from the Vaults showcased some of the ancient instruments of different
cultures from the Field Museum (Chicago, USA). The experience allowed visitors
to enjoy the sound quality of the instruments, without touching them. The
impossibility of touching the instruments due to their fragility did not invalidate
the experience that came to be with the use of simple electronic interfaces that
simulated faithfully the phonetics of the real instruments (ibid, pp. 156-157).
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Storytelling!
The storytelling refers to the act of telling stories translating a natural
manner of human communication, a form of human interaction. The act of
socialization is fulfilled by stories, they flow when people interact with one
another. For Chung (2006), the act of narrating stories, contributes for a better
comprehension of complex ideas, as well as concepts and information. Using
stories contributes for a more effective communication and its nature is diverse.
In its essence the story constitutes a narrative that places us before an episode,
an event, an incident. As a narrative, includes always characters, action, time and

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place (who, what, when and where). The storytelling establishes connections
between the generations of the past, the present generation and those that will
be, with their contribution to the level of education and the transmission of values
and beliefs (Chung, 2006). Barthes (1975) considers that there are countless
ways of narrative, set in a range of genres that branch by different means, so as
to cover all the stories of man. Thus the author points out that in the domain of
narrative vehicles these are found to be articulated trough the language, oral or
written; the images, static or dynamic, gestures and also combinations resulting
from the articulation of these elements. According to Craig (2001) the storytelling
constitutes, in teaching, a good bridge to overcome cultural differences. !
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Hieronymus Bosch!
Considering the works “The Last Judgment” and "The Garden of Earthly
Delights" as theme of this investigation work brings the possibility of exploring
closely the imaginary of visual stories that set Bosch’s universe. !
However there are few written records about the life histories of Bosch the
evidence suggests that he was born around 1450’s in Hertogenbosch, a Dutch
village in the Brabant region of Belgium. The painter lived in the context of the
Renaissance movement, in which the new pre-capitalist relations went to coexist
with the old feudal traditions.!
According to Ströher and Kremer (2011, p.55) the work of Bosch concerning
its composition comprehends a "fantastic or symbolic aspect" original, which
"breaks with the classic patterns”. These authors also point out that the works
"Haywain, The Last Judgment, The Temptation of St. Anthony and The Garden of
Earthly Delights" fall under the categories presented. In formal terms, these
works present "sequences are shown in structured serpentine, so that moving
away from a first detailed plan, it is possible to understand the trajectory of their
representations”. This imaginary is brought to us by “Iconographic images that
represent the medieval frame of mind and imagination” trough the view of the
artist and represents the universe of his time, the medial age.!
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Tangible surfaces
Tangible surfaces are included in what is designated as tangible
interfaces. According to Ullmer and Ishii (2000) tangible interfaces give “physical
form to digital information” (Ullmer and Ishii: 2000, p.2). According to Xu (2005)
the Tangible Interfaces give physical form to digital and computational
information, easing in this manner the direct manipulation of bits, in other words,
in this technology the users can interact directly with the information, without the

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use of peripherals like the mouse, keyboard or joystick. For Righi (2008), this
technology finds exploration at the level of human sensations and is made
concrete in a relation between physical and digital means. The use of this
technology can be found in multiple applications like, for example, the experience
in art restoration, carried out by a research group of the Tangible Media Group in
the MIT Media Lab. They presented the development of an interface usable in a
multidisciplinary context, where there were users from those carrying out the
restoration to the students and other users (Bonanni et al., 2009). Beyond the
prospect of crossing different areas, the use of tangible surfaces offers the use by
more than one user simultaneously. Hornecker (2008) mentions that studies are
rare, as relates to interaction in multi-touch tables outside of the context of a
laboratory and that contemplate other investigation subjects beyond the
interaction itself. According to the author the contribution of the field studies may
reveal factors that influence the interaction, highlighting the role of the context
used. The study, as regards interface usage on a multi-touch table, happened in
the context of the Berlin Natural History Museum. Another study (Logtenberg,
2009) involving multi-touch tables was dedicated to the visualization of
molecules, with the objective to provide a more interactive and direct form of
visualizing information. Logtenberg (2009) emphasizes that a great surface — the
multi-touch table — allows a collaborative action of more than one user, leaving
therefore behind, the traditional approach in which only one user controlled the
information (as in controlling the mouse or keyboard, while the other participants
observed). As regards tangible interfaces there are projects being developed with
concepts of new pedagogical approaches in mind. This practical manner of
learning is explored, in different museums, like the Science and Industry Museum
of Chicago (http://museum-science-industry.visit-chicago-illinois.com). The
museum initiatives offer their visitors the possibility of interactive experiences at
exhibit and artifacts level. Still within this research domain, O'Malley and Fraser
(2004) indicate that studies carried out within the scope “of psychology and of
education” point to the existence of “real benefits” in learning resulting from the
use of tangibles (O'Malley and Fraser: 2004, p. 2). Therefore in an area that has
had advances, there are studies regarding the benefits of learning, dedicating
their attention to the younger recipients. As an example, in the study carried out
by Sylla and Branco (2008), where the interfaces used have an action for creating
awareness of dental hygiene in children, this project was run in the Department
of Curriculum and Educative Technology and the Department of Information
Systems of the University of Minho, aiming towards the development of tangible
interfaces to be used in the context of teaching children in kindergarten.

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Detailed work description
Art and artistic expression, reflects the best of the human race. It
distinguishes them biologically from other living beings and culturally defines
them in their diversity. Art be it popular or classical, follows the human enterprise
and, useful or not, engaged or commercial, it represents and bares the multiple
social tensions. Art, and particularly painting as a socially constructed
phenomenon is not accessible to all people. The specific conditions of
consumption and viewing interfere in the production cycle, circulation and
consumption of cultural products (Johnson, 2006). Also associated to art, “the
system of contemporary art” is the economic, symbolic and political dimensions
(Melo: 2001, p.29). According to Melo the “economic dimension” brings us to the
work, as a “product, commodity, object of an economic production process,
currency and valuation”. According to this model, perceived are the relations
connected to the “three fundamental instances: production, distribution and
consumption” (Ibid, p.30) In these instances that we may comprehend the
existence of the various agents involved, as well as their activities. Here are
recognized the art producer, it may be the “artist” or the “author, we recognize
the distribution activities accepted by the “salesmen” and yet still the consumers,
among them the “private or institutional, private or public (Ibidem, p.30).
Painting is one of the Fine Arts and as such an inalienable dimension of
human life: the right to express by means of artistic production and the right to
enjoy works of art. Such a right is foreseen in the basic education of citizens and
is part of the formal curriculum of public schools (Visual and Musical Education)
as well as in the museum spaces that integrate, by law, educational services.
These services are helped more and more by the possibilities offered by
Information and Communication Technology, be it offline or online.
The work has a marked narrative discourse: with staged figures, tells
stories and brings to the public the invention of private stories. In front of the
work of the artist, the public is clearly placed in the position of a reader and in
our creator’s perspective, as they appropriate what is suggested by the paintings
and drawings.
Substantial and significant part of the work of Hieronymus Bosch is
exhibited in different museums and the contact allowed with those paintings,
understandably so, is limited to viewing them: observed, enjoyed and eventually
shared impressions. This type of contact with the art work is within the paradigm
of the understanding of art as a unique work (Eco, 2008; Adorno, 2003).
Umberto Eco (2008), on the notion of “work of art” said that within it are found

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“generally implicit the two aspects: a) the author makes a finished and defined
object, with a precise intention, aspiring an enjoyment that reinterprets in a way
that the author thought about it and wanted; b) the object is enjoyed by a
plurality of user, each of which will suffer an action while enjoying” (Eco, 2008,
p.153). However, the author emphasizes that “the development of contemporary
sensibility increased, on the contrary, little by little, the desire for a type of art
work that ever more conscious of the various perspectives of “viewing”, is
presented as a stimulus to a free oriented interpretation guided only in its
essential” (Eco, 2008, p.154). Afterwards, Eco (2009) called our attention to
“enjoyment relation” that in the context of “open work”, leads to multiple views,
with the change of the user. Other authors point out other types of alterations
that, in the context of contemporary art are translated by the paradigm of the
spectator’s participation (Bishop, 2006; Rancière, 2010) in the different
dimensions of art. Another focus, that of the reproducibility of an image
(Benjamin: 2008) places us before new challenges and possibilities. Benjamin
(2008) refers to the principle of the reproduction carried out since forever, within
the art production circle, not only by apprentices but masters as well, has known
different objectives and ends (Benjamin: 2008, p.3). The first made copies in the
context of apprenticeship, and the second made them as material for sale. Thus
appears, at the same time and space, original objects and their multiple copies.
Added as well to the technical dimension, is the virtual dimension, a reality that
allows artists to sculpt directly from the virtual (Lévy, 1998, p.199).
On the other hand, the reduced contact of citizens with painting is
recognized, confirmed by the low frequency of museums. The data as regards the
number of visitors, from Art Galleries and other spaces of temporary exhibition,
made available by the INE (2011), indicate an unknown number of visitors in the
1986 to 1993 period, with the records indicating for the first time, in 1994, the
number of visitors to these places being 2.781.068. Between 1994 and 1998
there were slight fluctuations down and up. In the year of 1998 a significant
increase was verified, with a total of 3.899.529 visitors. These results came from
surveys filled out in the referred to places.
In the analysis presented by Delicato (2006) regarding the frequency of
“visitors to museums and centers of science”, the author indicates that “the
demand for science and technology museums in Portugal has come to stagnate
and even diminish”(Delicato, 2006, p.67). This scenario comes in a period in
which a considerable increase is observed as far as supply is concerned, be it by
the creation of museums and centers, be it by an acknowledged “intensification of
the policies to promote scientific culture”. Delicato used the data presented in the

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“Eurobarómetro, 2005”, that bring the analysis of the surveys carried out in
2005, on the number of visitors, “to museums of science and technology”. The
author points out that the data garnered in the sample contemplates surveys
handed to adults and that the public that most visits these Institutions would be
in their majority “children and youth”. However the conclusions presented by
Delicato are extendible to “other kinds of museums and other cultural
consumptions”. In her analysis were analyzed cases, where the frequency of
youth and children were accounted for, and to that extent, it was possible to
sketch a more dynamic reality, an example being the Pavilhão do Conhecimento
and the Visionarium (Delicato, 2006, p. 68).
The study will be a development research (Richey and Nelson,1996; Van
Der Maren, 1996; De Ketele and Roegiers, 1999; Oliveira, 2004).
The instructional technology emerges from the convergence of the fields of
audiovisual education and psychology of instruction, complemented by the theory
of systems applied to instruction (Richey & Nelson, 1996: 1216). This
convergence gave origin to the instructional systems design movement (Seels &
Richey, 1994) that flourished in the sixties and seventies, when the expression
development research appears (Richey & Nelson, 1996: 1216). The big difference
between instructional technology and other Field of intervention in education
resides in the interest for technology and the emphasis in design, development
and use of processes and resources for learning (Seels & Richey, 1994). For this
reason the development research is important for the evolution of a base theory
for this field (Richey & Nelson, 1996: 1216).
Work in progress and instruments for data collection
As it was referred this research work aims to explore the relations of
museum visitors with the possibility of appropriation of these works “The Last
Judgment” and “The Garden of Earthly Delights” on tangible surfaces. Thus
seeking to know if the fact of the subjects interacting with the digital images of
the artwork helps them to construct new narratives, new interpretations from
their manipulation. The aim is to know if this possibility of use approaches and
contributes to a new understanding of the work. The first initiative is to prepare
and build a theoretical analysis framework. With this model, the visitor can
digitally manipulate the works giving them new readings. In this sense, we will

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develop an interactive artefact, multidisciplinary, based on interactivity and
storytelling.
At the present we are conceiving and developing a first prototype, using
a commercial multi-touch table as the tangible interface (Figure 1). The
development and implementation of the interface systems will be done with
Processing programming language.
Figure 1. Multi-touch table used for the prototype development.
At this stage the work “The Last Judgment” was divided in several
categories (elements) each one with specific context identity, meaning, different
types of actors, symbols and backgrounds. The interaction is based on the
selection of different elements of one or more categories and manipulating these
elements digitally through the use of the tangible surface. The visitor, at the
present, can already implement simple manipulation like translation, rotation and
scaling (Figure 2), and therefore (re) create new pictorial works (Figure 3).

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Figure 2. Typical interactive operations.
Figure 3. Graphical Interface of the prototype and a scenario of a pictorial work.
After having this first prototype ready for full testing, we will evaluate its
interaction in order to propose a concrete model of tactile interpretation of the
pictorial works.
The sample will be heterogeneous as it is made up of visitors to museums. Age
range shall be diverse. The public might be made up of a student community
from various levels in Basic Education, High School and higher education, but also

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made up of other publics, among them senior citizens and tourists. The
techniques for data gathering to be adopted are: observation, interview and
analysis of documents. The instruments for data collection shall be: video register
(possibly museum security cameras), screen cast, and interview protocols. The
procedures foresee the implementation of the multi-touch table, in an Art
Museum during a set period of time. There, subjects shall be invited to Interact
with the prototype. The data gathered shall be the object of content analysis
(Bardin, 1997).
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