Dr Vanessa Cumper
Pronouns: She/Her
About
My research project
How can Augmented Reality on mobile devices enhance recreational activities for those with auditory impairments in museums and galleries?Museums and galleries are traditionally visual environments, however, to attract a diverse audience exhibits are no longer just static displays. It has always been important for visitors to engage with art on an emotional level, as indicator of the arts success (van Passchen et al 2015; Winston et al 1992). To attract new and diverse audiences there is an ever-increasing menu to attract visitors: touch tours, talks, video, and even virtual and augmented reality experiences, facilitating a more sensual, cognitive and emotional visitor experience (Marques 201; tom Dieck and Jung, 20177).
The V&A, London, use physically interactive technology for some of their displays (Mannion, 2010) and temporary art installations. One exhibit, visitors place their feet on the markers on the floor, interacting with the video character to participate in a dance routine. In 2012 Tate Modern held an exhibition entitled “All Hail Damien Hirst”, visitors were able to view the effigy of Hirst floating above the turbine hall, with coins raining down around him, with audio playing. (Tate Modern, 2020) which can be viewed at a specially set up website; http://www.allhaildamienhirst.com/
Nevertheless, these new advances are, at times, making these venues less accessible for many audiences. Indeed, The Arts Council England (Mellor, 2019) now require museums and galleries to evidence how they are contributing to making the Creative Case for Diversity (Serota, 2019). This has been driven by the disability discrimination act 1995 and Equality Act 2010, which places a duty of care on service providers, to make all reasonable adjustments, by removing physical barriers to accessing their services by disabled people (Ginley, 2013). Service providers must not only consider how they are able to comply with the disability act, but how can they go further to attract diverse audiences. (Liarokapis,et al 2004).
Museums and galleries are traditionally visual environments, however, to attract a diverse audience exhibits are no longer just static displays. It has always been important for visitors to engage with art on an emotional level, as indicator of the arts success (van Passchen et al 2015; Winston et al 1992). To attract new and diverse audiences there is an ever-increasing menu to attract visitors: touch tours, talks, video, and even virtual and augmented reality experiences, facilitating a more sensual, cognitive and emotional visitor experience (Marques 201; tom Dieck and Jung, 20177).
The V&A, London, use physically interactive technology for some of their displays (Mannion, 2010) and temporary art installations. One exhibit, visitors place their feet on the markers on the floor, interacting with the video character to participate in a dance routine. In 2012 Tate Modern held an exhibition entitled “All Hail Damien Hirst”, visitors were able to view the effigy of Hirst floating above the turbine hall, with coins raining down around him, with audio playing. (Tate Modern, 2020) which can be viewed at a specially set up website; http://www.allhaildamienhirst.com/
Nevertheless, these new advances are, at times, making these venues less accessible for many audiences. Indeed, The Arts Council England (Mellor, 2019) now require museums and galleries to evidence how they are contributing to making the Creative Case for Diversity (Serota, 2019). This has been driven by the disability discrimination act 1995 and Equality Act 2010, which places a duty of care on service providers, to make all reasonable adjustments, by removing physical barriers to accessing their services by disabled people (Ginley, 2013). Service providers must not only consider how they are able to comply with the disability act, but how can they go further to attract diverse audiences. (Liarokapis,et al 2004).
University roles and responsibilities
- PG/T - Edu Dev & Research
My main research interest is in providing accessibility to people who identify as D/deaf, when visiting arts and heritage using augmented reality (AR).
I am working with people who are D/deaf to co-design solutions on AR using mobile eye-tracking glasses to indicate how arts and culture can improve their curation practices into meaningful accessible spaces.
Anita Eves a, Pablo Pereira-Doel b c, Vanessa Cumper a Calorie labels on restaurant menus: What do consumers see, think, and decide? Eye-tracking and interview insights - ScienceDirect
https://doi.org/10.1016/j.ijhm.2025.104475
Cumper, V., Scarles, C., Liu, H., & Kimbu, A. (2023). Mobile Eye-Tracking as a Research Method to Explore the D/Deaf Experience at Arts and Cultural Venues. In: Ferrer-Rosell, B., Massimo, D., Berezina, K. (eds) Information and Communication Technologies in Tourism 2023. ENTER 2023. Springer Proceedings in Business and Economics. Springer, Cham. https://doi.org/10.1007/978-3-031-25752-0_10
Publications
Although arts and heritage venues are increasingly reliant on audio-visual technologies, these installations often remain inaccessible to D/deaf visitors. To address this gap, this study investigated how augmented reality (AR) can enhance accessibility, using a feminist epistemological approach to centre the situated knowledge of D/deaf individuals within a predominantly phonocentric society. The empirical data was collected across three distinct phases focusing heavily on D/deaf perspectives. In phase one, 16 D/deaf participants (alongside 8 hearing participants) evaluated an AR app (Smartify) in a real-world setting, providing qualitative feedback through observation, semi-structured interviews, and mobile eye-tracking (MET). Phase two engaged 40 D/deaf participants in co-design sessions to directly inform the content and functionality required for an enjoyable, accessible app experience. The final phase contextualised these insights by interviewing 10 arts and heritage venues regarding their institutional challenges to inclusion. Driven by the direct insights from the D/deaf interviewees and co-designers, this research delivers practical sector recommendations. These include the standard provision of British Sign Language (BSL) interpretations, plain language guidelines, text transcripts, closed captions, and staff trained in D/deaf awareness.