theory
Any project should begin with a deep and conscious understanding of the goals and effects we would like to achieve. Why is such a practical approach, which inevitably leads to a narrowing of the circle of meanings, messages, and data selection, important to us? Because planning project effects in reverse unwinds the scenario and direction of the exhibition: we use the content and user scenarios to lead the viewer to questions, conclusions, reflection, or a new attitude towards the topic.
It may seem that such an approach is manipulative and limits the scale of representation. However, if we imagine that we are working without any effect at all, we risk either going into excessive narrowness or, conversely, into a diffuse breadth of the topic. We proceed from the assumption that any—even the broadest—vision still frames the field of possible interpretations. The attempt to "present everything" gives a false illusion of completeness and objectivity.
Therefore, we recommend defining the project’s goals, its audience, and the desired effects as specifically as possible—and communicating the creators' motivation with all possible clarity and openness.
It may seem that such an approach is manipulative and limits the scale of representation. However, if we imagine that we are working without any effect at all, we risk either going into excessive narrowness or, conversely, into a diffuse breadth of the topic. We proceed from the assumption that any—even the broadest—vision still frames the field of possible interpretations. The attempt to "present everything" gives a false illusion of completeness and objectivity.
Therefore, we recommend defining the project’s goals, its audience, and the desired effects as specifically as possible—and communicating the creators' motivation with all possible clarity and openness.
2.1
motivation
Try to express it as precisely as possible, avoiding vague or excessively global generalizations. The more specifically the problem is defined, the clearer the path to its possible solutions will be, and the easier it will be to explain why the project is needed.
Do not substitute the project's goal with an abstract slogan like "change the world" or "solve the problem of violence." Think about what achievable, limited, and concrete task your specific project solves—within the framework of the tools, time, and format available to you.
formulate the problem
What do you want to happen after acquaintance with the project? What changes do you expect: in perception, in behavior, in the viewer's experience? Think about direct and indirect results. What should the person feel, understand, or want to do?
define the goal
describe the desired effects
ram case
"Sound and Silence" Exhibition
How we responded to the viewers' desire to sleep.
In one of the five chapters of the exhibition, we planned to show a video art piece based on ancient lullabies. We named the chapter "The Sleep Gallery." The space was arranged as sections with trestle beds, separated by semi-transparent white curtains. Viewers took off their shoes and climbed with their feet onto soft podiums, looking up at the dome onto which the video works were projected. Authentic lullabies played in the headphones. We regularly found people who had fallen asleep inside. How safe must a person feel to fall asleep without shoes in a public place?
How we responded to the viewers' desire to sleep.
In one of the five chapters of the exhibition, we planned to show a video art piece based on ancient lullabies. We named the chapter "The Sleep Gallery." The space was arranged as sections with trestle beds, separated by semi-transparent white curtains. Viewers took off their shoes and climbed with their feet onto soft podiums, looking up at the dome onto which the video works were projected. Authentic lullabies played in the headphones. We regularly found people who had fallen asleep inside. How safe must a person feel to fall asleep without shoes in a public place?
Context and Challenge of the Time.
The creation of this exhibition took place in 2023. The theme was the phenomenon of sound in the material and spiritual culture of Central Asia and the North Caucasus. We reflected on the role sound plays in space, in rituals, in public and private life. It was clear that the exhibition should take into account the current psychological state of the city’s inhabitants and respond to it.
The creation of this exhibition took place in 2023. The theme was the phenomenon of sound in the material and spiritual culture of Central Asia and the North Caucasus. We reflected on the role sound plays in space, in rituals, in public and private life. It was clear that the exhibition should take into account the current psychological state of the city’s inhabitants and respond to it.
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Researching Demands.
Before designing, we conducted a small study, asking one simple question: "What would you like to do right now?" The most common answer was "to lie down" and "to sleep." The second most popular was: "I want warmth."
Before designing, we conducted a small study, asking one simple question: "What would you like to do right now?" The most common answer was "to lie down" and "to sleep." The second most popular was: "I want warmth."
theory
2.1.1
motivation
It is logical to assume that the goal of a project is a step towards solving the identified problem. However, it is important to understand: "to solve the problem" does not mean simply documenting its existence. Making a report, conducting an interview, collecting testimonies—this is not enough. This is the fundamental difference between a multimedia storytelling project as we understand it and, say, a journalistic essay or a documentary report, whose main task is the timely coverage of an event.
When we work with sensitive topics and strive for long-term changes—for example, in the field of conflict resolution—our task goes far beyond documentation. It is important for us not only to show the conflict itself or its consequences, but also to offer a space for rethinking, dialogue, and a possible shift.
When we work with sensitive topics and strive for long-term changes—for example, in the field of conflict resolution—our task goes far beyond documentation. It is important for us not only to show the conflict itself or its consequences, but also to offer a space for rethinking, dialogue, and a possible shift.
Essence and Content Do Not Equal Documenting the Problem
example
"The Boat"—an interactive graphic novel based on Nam Le’s story about 16-year-old Mai, sent alone on a boat after the fall of Saigon. At its center are the themes of refuge, human rights, and the experience of forced displacement.
theory
2.2.1
Typology of Project Effects
We make visible those aspects of life in society that for some reason remain unknown or are outside the life-world picture of certain groups of people.
Enlightenment
example
"Because other means of expression are no longer able to absorb the huge amount of accumulated feelings and traumas, because history began to be distorted, and because I was tired, my mind and my body ache from the heavy burden of carrying these memories. I wanted to give them a new home, a chance to live in a new way on the internet, to become my message and my personal story of everything I experienced and suffered during the revolution."
The multimedia project Zendetta, through the personal story of its protagonist (and the work’s author), gives the internet community an opportunity to learn about the war in Syria from a direct witness of the events:
theory
2.2.2
Typology of Project Effects
The creation of an informational online and/or offline space in which potential conditions are formed for the non-repetition of similar phenomena in the future.
Prevention
example
Gender-based violence in India and other patriarchal societies is deeply rooted as an acceptable norm. The comic book Priya’s Shakti and its related educational programs break the taboo around this topic, using the language of art, mass culture, and the bright, memorable image of its main character
theory
2.2.3
Typology of Project Effects
Motivating the audience to take feasible actions: providing assistance, volunteering, getting involved in conflict resolution processes or mitigating their consequences.
Facilitation
example
The Why project, launched in Denmark, follows the 17 Sustainable Development Goals and has gained a global scale. Many viewers do not remain indifferent: they create communities, hold rallies, speak publicly about human rights, support refugees, victims of violence, and other vulnerable groups.
theory
formulating and developing meanings and messages that are consistent with the project's idea;
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choosing the most suitable form for the project and the environment for its placement;
focusing on the right audience;
effectively planning the work process and organizing the team.
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Typology of Project Effects
2.2.4
A clear understanding of the effects allows for:
Goals — where do we want to get to?
Effects — what will come of it?
Effects — what will come of it?
Working with the sources of the problem
Try to compile the most complete list of reasons why the problem arose. It is important not to limit yourself to superficial or obvious reasons, but to expand this list to see the complexity of the phenomenon.
Try to compile the most complete list of reasons why the problem arose. It is important not to limit yourself to superficial or obvious reasons, but to expand this list to see the complexity of the phenomenon.
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Presenting an ideal future
Describe in detail how you see the society/city/world where the problem ceases to exist. Decompose this state: present a realistic path to it, consisting of sequential, small steps (baby steps). This will become the basis for the project design.
Describe in detail how you see the society/city/world where the problem ceases to exist. Decompose this state: present a realistic path to it, consisting of sequential, small steps (baby steps). This will become the basis for the project design.
Typology of Project Effects
2.2.5
Main vectors of possible approaches to solving social problems:
All stages of project design can be imagined as a spiral, unwinding from a single starting point — the desired effect. In this sense, the effect is the epicenter of all subsequent decisions.
The timelines and nature of effects can vary. For example, educational projects have longer horizons than fundraising campaigns, which usually have short-term and specific goals.
The timelines and nature of effects can vary. For example, educational projects have longer horizons than fundraising campaigns, which usually have short-term and specific goals.
example
Example of a short-term and one-time effect
Mark Neville's project The Battle Against Stigma (2015–2018) is dedicated to post-traumatic stress in British veterans. After a trip to Afghanistan as part of the troops, Neville himself experienced PTSD and began collecting stories of other former military personnel. He created photo portraits and interviews that formed the basis of a book, distributed for free among medical institutions, libraries, veteran organizations, and parliamentarians. The project became an attempt to break the stigma around mental disorders and to influence the support system for veterans.
- Problem—the crisis state of a victim of military conflict.
- Goal—to raise funds for psychological assistance.
- Effect—assistance in the victim's rehabilitation.
Mark Neville's project The Battle Against Stigma (2015–2018) is dedicated to post-traumatic stress in British veterans. After a trip to Afghanistan as part of the troops, Neville himself experienced PTSD and began collecting stories of other former military personnel. He created photo portraits and interviews that formed the basis of a book, distributed for free among medical institutions, libraries, veteran organizations, and parliamentarians. The project became an attempt to break the stigma around mental disorders and to influence the support system for veterans.
Example of a long-term effect
The "Point of Displacement" festival, launched as part of UN programs, was aimed at rethinking the concepts of home, displacement, and belonging. Through art, performative practices, and multimedia stories, it involved both displaced people and local communities, promoting dialogue, mutual understanding, and the reduction of tension.
- Problem—hostile attitude of local communities towards refugees.
- Goal—to change this attitude.
- Effect—sustainable participation of the local population in integration programs and joint initiatives.
The "Point of Displacement" festival, launched as part of UN programs, was aimed at rethinking the concepts of home, displacement, and belonging. Through art, performative practices, and multimedia stories, it involved both displaced people and local communities, promoting dialogue, mutual understanding, and the reduction of tension.
theory
2.3
The Three "Whys"
When an academic group or a museum institution conceives a project, the impulse is usually the desire to show a collection or present current research. We assign significance to the content we want to convey, and in doing so, we sometimes miss the other side of perception. In this case, the request comes from within the organizers' collective. This usually means that the future architecture of the project is built in accordance with corporate or state motivation (b2b or b2g). It is important that the exhibition is not only an institutional statement, but also resonates with the viewer.
How can we ensure human interaction with the content? How can we gather feedback? By designing an exhibition, we are designing a scenario for human interaction with the content. And this means this scenario must be two-sided: mutually interesting, necessary, and attractive. Successful communication is built on the ability not only to speak but also to respond—it is about working with the "I speak and I react" structure.
How can we ensure human interaction with the content? How can we gather feedback? By designing an exhibition, we are designing a scenario for human interaction with the content. And this means this scenario must be two-sided: mutually interesting, necessary, and attractive. Successful communication is built on the ability not only to speak but also to respond—it is about working with the "I speak and I react" structure.
The principle of communication is to give
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The Three "Whys"
2.3.1
Why does the world need this?
Before starting to develop a project, it is important to answer the question—why? Or rather, three versions of it:
Why does the viewer need this?
Make sure your idea is relevant and not derivative. Correlate the topic with the current historical, political, and cultural context. What agenda supports it today? How does your project respond to events happening in the city, the country, the world?
Why do I need this?
Having defined the audience, think about what pain points of your future viewers the project might touch upon. What answers to their questions will they be able to find in it? What from what is seen or heard will the viewer be able to take with them and use in their life?
Decide on your own attitude towards the topic and its significance for your team. Often, even within a team, it is difficult to reach a common understanding of motivation. But this internal dialogue and the results of discussions are an important resource for building a dialogue with the audience. Clear motivation helps to manage the project more effectively, distribute roles, and work for the long term.
2.4
The Product Approach — We Solve Someone’s Pain
For the first 7 years, our team was involved in visual communications in the commercial sector: we created brand platforms and conceptual strategies for businesses. In 2013, the focus of our activity shifted to socio-cultural project design. We began working with charitable foundations, corporate social missions, and cultural institutions. Our experience in creating products aimed at sales and building customer loyalty turned out to be highly sought after in designing research-based art projects and became one of the keys to our approach.
In working with the social sector and the humanities, particularly with anthropology, we encountered topics that were more difficult to present and perceive. We began working on projects whose results were difficult to measure with quantitative indicators.
Years of practice in communication design brought a product-oriented approach to our creation of exhibitions. This means that we don’t just proceed from the institution—from the scientific knowledge we want to share—but we also make a counter-move: from the person. How does the future viewer influence what the exhibition will be like?
The project begins to absorb the aspirations, expectations, and intentions of the institution and—mirroring this—the same with the audience. We recommend organizing monitoring and analysis of the project audience’s needs at the pre-project research stage: what problems, pain points, expectations, and questions should we focus on and how can we incorporate them into the exhibition’s content.
In working with the social sector and the humanities, particularly with anthropology, we encountered topics that were more difficult to present and perceive. We began working on projects whose results were difficult to measure with quantitative indicators.
Years of practice in communication design brought a product-oriented approach to our creation of exhibitions. This means that we don’t just proceed from the institution—from the scientific knowledge we want to share—but we also make a counter-move: from the person. How does the future viewer influence what the exhibition will be like?
The project begins to absorb the aspirations, expectations, and intentions of the institution and—mirroring this—the same with the audience. We recommend organizing monitoring and analysis of the project audience’s needs at the pre-project research stage: what problems, pain points, expectations, and questions should we focus on and how can we incorporate them into the exhibition’s content.
A product is about caring for a person
method
In addition to the questions we used in the epilogue and prologue to each chapter, we also included the real voices of the researchers in the exhibition. It is this fine-tuning of intonations, manifested in the messages recorded for future viewers, that gave the project shades of doubt, irresolution, and care from the authors. The researchers' voice messages also illustrate the high level of courage with which they enter the public space, exposing their own vulnerability as well.
things in common
Especially when working with sensitive topics, the author’s presence plays a major role. There is an opinion that a researcher’s vision should remain neutral, absorbing and documenting some objective reality. Our experience has shown that researchers experience complex ethical topics on a deep emotional level. This includes responsibility towards the protagonists and fear of the audience’s perception. The neutrality of authors working with conflict-related topics can demonstrate alienation and hide the diversity of internal conflicts they experience during fieldwork and desk research.