Designing Disgust: Why do we feel the need to judge?

“从本质上讲，服装是情绪化的。我们去舞会穿的裙子，我们结婚那天穿的西装。衣服对我们来说有意义。然而，这种情绪并不总是积极的。这是一件坏事吗？我们是否暗地里喜欢被人厌恶？我们今天认为完全可以接受的衣服和物品，在短短几年内会让其他人厌恶吗？历史告诉我们很可能是这样的--这个项目将允许我们设计一个展览，帮助我们更深入地了解为什么会这样，并以我们选择的方式亲身体验。例如，沃辛博物馆有一件我们将称之为“猴子斗篷”的作品，这是一种女士穿的用猴子做的斗篷。在它的时代，这是一件奢侈的作品，产生了喜悦和它自己的骄傲-随着这件作品的演变，它已经过渡到引起厌恶。加入那件作品的旅程，通过这次经历，《猴角的进化》；开始质疑我们今天认为可以接受的东西。2060届毕业生会不会像披肩一样看待我们的塑料鞋呢？这个项目旨在引起人们的反感，因为它与沃辛博物馆和美术馆目前的藏品有关，并发现参观者会如何体验这些藏品。通过这种方式，参观者成为他们想参观的展览设计过程的一部分，而不是由博物馆专业人员或技术视角领导。作为一个部门，文化遗产传统上非常擅长提供专家意见，从如何展示一件作品到参观者需要知道的一切。然而，对博物馆物品的解读总是多种多样。厌恶要求参观者自己探索这一点-并共同策划展览，以及他们想要的体验。使博物馆民主化，并将参观者从博物馆内传统的专制限制中解放出来。这一咨询过程将为观众提供讨论和帮助设计最终展览设计的机会--这将进入下一阶段的研究和开发。这种史无前例的投入将意味着参观者参与并投资于该项目，有助于分享所有权，并从当前和潜在的未来观众那里产生买入。

"Clothing is, by its nature, emotive. The dress we wore to the prom, the suit we wore on our wedding day. Clothes have meaning to us. That emotion, however, is not always positive. Is that a bad thing? Do we secretly love to be disgusted? Will the clothes and items we find perfectly acceptable today disgust others in a few short years?History would teach us this is likely to be the case - this project will allow us to design an exhibition that will help us to go deeper - to understand why that is the case, and experience it for ourselves, in the way we choose to.For example, Worthing Museum has a piece we shall call the ""Monkey Cape"", a cape worn by a lady, made from a monkey. In its time this was a luxury piece generating joy and pride in its own - as the piece has evolved it has transitioned to generating Disgust. Join that piece on its journey, and through the experience, the ""Evolution of the Monkey Cape""; begin to question the things we find acceptable today. Will the class of 2060 view our plastic shoes with the same feelings the cape evokes in us?The project aims to take Disgust, as it relates to Worthing Museum and Art Gallery's current collection, and discover how a visitor would like to experience this collection. In this way the visitor becomes part of the process for designing the exhibition that they would like to visit, rather than being led by museum professionals or a technological perspective.As a sector, Cultural Heritage is traditionally very strong on providing an expert opinion, on everything from how a piece should be displayed - through to what the visitor needs to know. However, there are always multiple interpretations of museum objects. Disgust asks the visitor to explore this for themselves - and co-curate the exhibition, and the experiences they would like to have. Democratising the museum and freeing the visitor from the traditional authoritarian constraints within museums.This consultative process will offer audiences the chance to discuss and help to design the final exhibition design - which will then proceed to the next stage of research and development. This unprecedented input will mean that visitors are engaged and invested in the project, helping to share ownership and generate buy-in from current and potential future audiences."