Autor: lara.falkenberg

Recently, I started watching the YouTube documentary series „0800 SEE ORCA“, which follows the work of Dr. Ingrid Visser, a renowned orca researcher and conservationist based in New Zealand. The series, directed by Paula Kormos and featuring footage shot by marine biologist and filmmaker Robert Marc Lehmann, offers a behind-the-scenes look at orca research and conservation. It covers a wide range of topics, from the identification of individual orcas and their social behavior to the urgent threats they face due to human activity.

What I found particularly engaging about the series was not only the scientific insight but also the emotional connection it fosters with these incredible animals. The show successfully combines education with a call to action for marine conservation, making it not only informative but also deeply moving.

In this blog post, I’ll share my reflections on the documentary series and discuss how its themes tie into my master’s thesis, which focuses on creating interactive, digital alternatives to traditional animal exhibits in zoos and aquariums.

The Series: An In-Depth Look at Orca Research and Conservation
„0800 SEE ORCA“ follows the daily work of Dr. Ingrid Visser, a key figure in orca research, who has dedicated her career to studying these majestic animals and advocating for their protection. Set in the waters of New Zealand, the series offers stunning footage of orcas in the wild and provides a real glimpse into their lives and behaviors. One of the most fascinating aspects of the series is how Dr. Visser and her team use unique physical traits—like dorsal fin shapes and skin patterns—to identify individual orcas. This level of detail helps them track the health, movements, and social interactions of the population.

Another major theme is the threats that orcas face, including environmental pollution, entanglement in fishing nets, and the broader impacts of climate change. The series doesn’t shy away from showing the harsh reality of these dangers, but it also highlights the important conservation work being done to protect orcas, including rescue operations for stranded animals. Seeing Dr. Visser and her team in action during these missions, coordinating with local authorities and volunteers, was inspiring and showed just how critical community efforts are in saving marine life.

One episode that stood out to me was the one on orca strandings—a situation that can be devastating but is sometimes preventable with quick, coordinated action. Watching the team work together to rescue these animals brought home the message that conservation is as much about rapid response and collaboration as it is about research.

Emotional and Educational Impact
One of the strengths of „0800 SEE ORCA“ is how it builds an emotional connection between the viewers and the animals. Through the personal stories of Dr. Visser and her team, you can sense the deep bond they share with the orcas. The series is filled with moments of awe and wonder, like when the team spots a new calf swimming alongside its mother or when they witness a rare hunting technique. These moments are beautifully captured and make you feel like you’re right there with the team.

For me, the series underscores how important it is to communicate science in an emotionally engaging way. The facts and figures about orca populations, climate change, and pollution are crucial, but it’s the emotional connection that makes viewers care enough to act. This is something I want to emphasize in my thesis as well—how can we use digital storytelling to not only inform but also inspire people to care about wildlife conservation?

Relevance to My Master’s Thesis: Designing Digital Alternatives
As someone researching digital alternatives to animal captivity in zoos and marine parks, „0800 SEE ORCA“ was a great source of inspiration. The series proves that it’s possible to convey authentic insights into animal behavior and conservation without keeping animals in captivity. By showing orcas in their natural habitat and detailing their social structures, the documentary provides a rich, informative experience that is both educational and ethical. Here are a few ways the series ties into my research:

1. Authentic Learning in Natural Habitats: The series provides a true-to-life view of orcas in the wild, something that is missing from zoo exhibits. This aligns with my thesis goal of creating digital experiences that show animals in their natural habitats rather than confined spaces. By using high-quality footage and interactive storytelling, it’s possible to offer an educational experience that’s both accurate and engaging.
2. Science as the Foundation: Dr. Visser’s research is central to the series, providing a scientific basis for every episode. This is something I want to carry into my own work. Any digital alternatives I create should be grounded in science, much like how Dr. Visser’s findings about orca behavior and threats are used to inform viewers. This ensures that the educational content is credible and valuable for audiences.
3. Emotional Connection Through Storytelling: The way „0800 SEE ORCA“ builds emotional connections with the audience is something I find essential for successful educational programs. Creating empathy through storytelling—whether it’s through personal accounts of researchers or rescue missions—can make the content more impactful. In my thesis, I’m exploring how interactive storytelling in digital formats can foster this same sense of connection, encouraging viewers to care more deeply about animal welfare.
4. Technology as a Tool for Immersion: Although the series uses traditional filming techniques, its high production quality offers inspiration for how technology—like immersive video or augmented reality—could create an even more engaging experience. Digital formats allow us to go beyond static exhibits, offering interactive elements like live data on animal populations, virtual tours of habitats, or even simulation of conservation efforts.
5. Ethical Considerations: The documentary reinforces the importance of keeping animals in the wild, where they belong. This ethical stance is something I want to reflect in my work. The goal is to create digital experiences that provide valuable educational content without compromising animal welfare. The fact that „0800 SEE ORCA“ can educate and inspire without using captive animals makes it a great model for my own designs.

Conclusion: Learning Through Digital Media
In conclusion, „0800 SEE ORCA“ is more than just a documentary about orcas—it’s a powerful tool for raising awareness about the importance of conservation and ethical wildlife practices. It shows that we can learn a great deal about these animals without having to see them in captivity, and this is a central theme in my research.

As I continue developing ideas for my master’s thesis, this documentary series will serve as a strong example of how interactive digital media can be used to educate the public in a way that’s both engaging and ethical. The series highlights that with the right storytelling techniques, we can connect people to wildlife and inspire action to protect these animals in their natural habitats.

Watch the documentation here:
0800 SEE ORCA – Das Abenteuer meines Lebens | Folge 1

CoSA Graz is a place that blends science with fun in a way I hadn’t quite experienced before. I decided to visit this interactive science center because of its unique focus on hands-on learning, especially in areas like technology and natural sciences. CoSA stands out from more traditional museums by encouraging visitors to dive into the exhibits, explore scientific concepts for themselves, and learn through play. It’s designed primarily for young people, but I quickly found myself just as engaged—and I even walked away with new ideas relevant to my master’s thesis on interactive educational design.

My Experience: From Augmented Reality to Science Exploration
I started my visit with one of CoSA’s unique offerings—the A(R)dventure augmented reality experience. I chose the “Aurora Borealis” room, which places you on an Arctic research ship. The setup was impressive, blending a physical environment with digital AR overlays, and using a virtual assistant called H.I.G.G.S. (Hyper Intelligent Guiding Gadget System) to guide you through the experience. Equipped with AR glasses, I was able to interact with the objects and solve puzzles within the room.

While the concept was exciting, I found that the AR glasses weren’t as precise as they could have been. This made the experience a little frustrating at times, as I had to adjust frequently to align the digital overlays with the physical objects. Additionally, while the experience was enjoyable, I didn’t feel like I learned much. The focus seemed to be more on interacting with the AR technology itself rather than diving into the educational content, like the science behind the Northern Lights or climate change. It lasted around 10 to 20 minutes, which was a bit shorter than I had hoped for, but overall, it was a fun start to the visit.

After the A(R)dventure, I explored the rest of CoSA and was really impressed by how the center manages to make learning about complex topics feel approachable and fun. One of the highlights was the section on sustainability, where I participated in an interactive quiz that tackled questions on environmental issues. Unlike the AR experience, this part had a strong educational focus, and I came away with a better understanding of topics like renewable energy and resource management.

Another standout was the immersive projection room that explored the formation of the universe. The visuals were stunning, and the way the content was presented made a complex topic like the Big Bang feel accessible and engaging. It was an excellent example of how immersive environments can make learning both fun and memorable.

Beyond that, CoSA had a variety of interactive exhibits on subjects like physics, medicine, and technology. These exhibits were designed to engage visitors with hands-on activities that made abstract concepts easier to grasp. For example, there were interactive medical research journeys and simulations of how certain technologies work, all of which made us feel like kids exploring science for the first time. It’s clear that CoSA is designed with young people in mind, but even as an adult, I found myself thoroughly engaged and learning through play.

Interactive Learning: CoSA’s Approach and Its Impact
One of the things that impressed me most about CoSA was how well it integrates interactivity into almost every exhibit. Whether it was the AR adventures, the sustainability quiz, or the hands-on physics demonstrations, each experience invited visitors to actively participate rather than passively consume information. This aligns perfectly with CoSA’s motto: “Touching desired instead of touching forbidden!”

In terms of learning, the interactive design made the science feel more accessible and less intimidating. Topics like climate change, physics, and medicine can be tough to grasp, but CoSA uses a playful approach that encourages curiosity. For example, the immersive projection room that visualized the universe’s formation didn’t just present facts; it made you feel like you were part of the story, using visuals and sound to create an emotional connection to the material.

This emphasis on experiential learning was also evident in the way the exhibits encouraged visitors to experiment and explore. The interactive quiz on sustainability was a great way to test knowledge, but more importantly, it sparked conversations and made learning feel collaborative. Similarly, the physics exhibits made abstract principles tangible by letting visitors experiment with real-world applications.

Relevance to My Master’s Thesis: Designing Interactive Learning Spaces
My visit to CoSA was not just an enjoyable experience—it was also highly relevant to my master’s thesis, which focuses on how interactive design can enhance learning, particularly in educational settings like museums, zoos, and science centers. Here’s how CoSA’s approach fits into my research:

1. Active Participation in Learning: CoSA’s hands-on approach to science education is a perfect example of how active participation can lead to deeper engagement with content. Rather than just reading about sustainability or physics, visitors are invited to interact with the material, which makes the learning experience more memorable. This concept is at the heart of my thesis—how interactivity can foster more meaningful learning experiences.
2. Multisensory Engagement: CoSA uses a variety of sensory inputs to create immersive experiences, whether it’s through the AR glasses in the A(R)dventure or the audiovisual displays in the projection room. Engaging multiple senses can make complex topics easier to understand, which is something I’m exploring in my own research on how to make abstract ideas like animal conservation more relatable.
3. Balancing Fun and Learning: One of the challenges in designing educational experiences is finding the right balance between fun and learning. While the AR experience at CoSA was fun, it didn’t feel as educational as the other exhibits. This contrast reinforced the idea that interactivity alone isn’t enough—there needs to be a clear educational goal behind the design. The interactive quiz on sustainability, for example, was both fun and informative, which made it a standout in terms of how interactive learning can work.
4. Technology in Educational Spaces: CoSA’s use of augmented reality was a reminder that technology can enhance learning, but it needs to be carefully integrated. The AR experience felt more like a novelty because the technology wasn’t perfectly aligned with the learning objectives. This is something I’ll be thinking about as I explore how to use tech like VR and AR in my own designs—ensuring that the technology serves the learning experience, rather than distracting from it.

In conclusion, my visit to CoSA Graz was both a fun and informative experience, providing valuable insights into how interactive design can enhance educational spaces. The center’s use of hands-on activities, immersive environments, and playful learning approaches aligns closely with my research, highlighting how interactivity can make even the most complex topics accessible and engaging. As I continue working on my master’s thesis, I’ll definitely be drawing inspiration from CoSA’s blend of fun and education to design experiences that foster curiosity and active learning.

Further reading:
CoSA – Naturwissenschaft und Technik | CoSA – Center of Science Activities

Recently, I visited IKONO Vienna, a new immersive art museum that opened in spring 2024. Located in the heart of Vienna, IKONO is nothing like a traditional museum. It’s a space that encourages visitors to not only look at art but also interact with it in playful and creative ways. The museum’s 12 rooms are designed to engage your senses and invite you to participate in the experience rather than just observe it.

My visit to IKONO was not only a lot of fun but also gave me a lot of new ideas for my master’s thesis, which focuses on how interactive design can create more meaningful connections between audiences and content. Here’s a recap of my experience and how it ties into my research.

The IKONO Experience: Playful and Engaging
From the moment you step through the black curtain at the entrance, IKONO pulls you into a world where each room offers something totally unique. The first room I entered was the Spaghetti Room, where long strands of “spaghetti” hang from the ceiling, and you’re encouraged to walk through them, touch them, and just enjoy the silliness of it all. It’s simple but immediately sets the playful tone for the rest of the visit.

Next was Persephone’s Return-Labyrinth, a maze created by artist Heather Bellino. This room combined art with exploration and gave me the sense of being part of an adventure. The labyrinth was designed to make you think about nature and creativity, which I found really inspiring. Unlike a typical museum exhibit where you just look at a piece of art, here you become part of the artwork as you move through the space.

One of my favorite rooms was the Light Painting Room, where visitors can create their own digital art by painting with light. You then get your artwork emailed to you, which was a cool way to leave with something personalized. The experience felt very modern and interactive, using technology to let visitors actively create, not just consume.

Other fun parts of IKONO include the Betta Fish Lounge, where you wear a kimono and walk through a space filled with floating paper particles, and the Ball Pit, which brings out the kid in everyone. There’s also a Retro Arcade Room with working video games from the 80s and a Lantern Room that creates a peaceful, glowing atmosphere.

Interaction and Creativity: Becoming Part of the Art
What makes IKONO stand out from other museums is how it encourages interaction and creativity. Rather than simply viewing the art, you’re encouraged to interact with it and even become part of it. Whether you’re jumping into a ball pit, walking through a labyrinth, or painting with light, every room invites you to engage in a different way.

During my visit, I noticed how much people were drawn to the interactive elements. Visitors were taking photos, playing with the installations, and creating their own mini-experiences in each room. It was interesting to see how the playful, hands-on approach to art appealed to both kids and adults, creating a shared experience that’s very different from a typical museum visit.

For me, this level of engagement is one of the key takeaways from IKONO. It’s a great example of how interactivity can make art (or any content) more memorable and meaningful. Instead of passively looking at objects behind glass, visitors get to interact with the environment, which makes the experience more personal.

Relevance for My Master’s Thesis: Interactivity in Design
This visit to IKONO gave me a lot of ideas for my master’s research, which focuses on how interactive design can engage audiences more effectively. Seeing how the museum used interactivity to create a deeper connection with visitors reinforced several ideas I’ve been thinking about in my own work.

1. Engagement through Interaction: One of the key things I noticed was how the interactive elements made visitors more engaged with the content. Whether it was painting with light or playing in the ball pit, people were more involved because they weren’t just observing—they were participating. This aligns with my thesis, which looks at how interactivity can be used to get people more invested in educational content, such as animal conservation or natural history.
2. Sensory Immersion: Many of the rooms at IKONO, like the maze and the lantern room, used lighting, textures, and movement to create a multi-sensory experience. Engaging multiple senses can make an experience more impactful, which is something I want to explore in my research. For example, how can we design exhibits that engage not just the eyes but also touch, sound, and even smell?
3. Visitors as Participants: At IKONO, the visitors are an essential part of the experience. Whether it’s creating their own light paintings or interacting with the objects, visitors become co-creators rather than passive observers. This idea of visitors as active participants is central to my thesis, where I’m exploring how interactive storytelling can make educational content more engaging. For instance, instead of just showing animals in a zoo, could we design experiences where visitors feel like they’re part of the animals’ environment or story?
4. Technology and Personalization: The way IKONO used technology, like the light painting room, to create personalized experiences was also really interesting. Visitors got to create their own art and take it home digitally, which adds an extra layer of engagement. In my own research, I’m exploring how technology can be used to personalize experiences in museums or zoos, so that visitors leave with a sense of personal connection to what they’ve learned or experienced.

In conclusion, my visit to IKONO Vienna was not only a fun and immersive experience but also gave me a lot to think about for my master’s thesis. It showed me how powerful interactive design can be in creating deeper connections between people and the content they’re engaging with. As I continue working on my thesis, I’ll be thinking more about how to use interactivity, sensory immersion, and technology to create meaningful experiences that go beyond the traditional museum or educational model.

Further Reading:
IKONO Vienna | Die Neue Immersive Erfahrung in Wien

Recently, I watched four TED Talks that all explored different aspects of storytelling. As someone interested in how interactive storytelling and design can help raise public awareness about complex issues, these talks were especially relevant to my research. Each speaker approached storytelling from a different angle, but they all underscored one powerful truth: stories have the ability to shape how we perceive the world, connect with others, and inspire action.

In this blog post, I’ll reflect on the key insights I gained from these talks and how they are influencing my thoughts on storytelling in education, empathy, and public engagement.

1. Salma Abdelrahman: „Empathy Through Storytelling“
Salma Abdelrahman’s TED Talk was deeply personal and focused on how storytelling can be used to create empathy, especially for marginalized groups. She recounted her experiences of discrimination as a Muslim American and explained how her involvement in the Student Voices panel, where students shared personal stories about discrimination, inspired her to take action. These stories grounded abstract issues like Islamophobia and homophobia into real, emotional experiences that resonated with her audience.

Abdelrahman’s main point was that storytelling has the power to bring difficult, often invisible struggles into the spotlight. It’s not enough to know what discrimination is in theory—when you hear someone’s personal experience, it humanizes the issue in a way that numbers or statistics never could. Her video project, Fabula Rasa, continues this work by collecting and sharing stories from diverse voices.

For my own research, this talk really reinforced the idea that empathy is central to storytelling. Whether I’m designing an interactive exhibit or thinking about ways to raise awareness about animal welfare, the goal should always be to create an emotional connection. If people can feel a personal link to an issue, they’re much more likely to take action. Abdelrahman’s emphasis on empathy will be a guiding principle as I continue developing my ideas for interactive storytelling.

2. Guy Godfree: „Storytelling: Empathy in Narrative Point of View“
Guy Godfree, a cinematographer, spoke about how narrative perspective can shape the way audiences experience a story. His TED Talk highlighted the importance of understanding whose story you’re telling, whose perspective it’s being told from, and the biases of the storytellers themselves. Godfree shared examples from his own work in film and television, explaining how these choices affect everything from camera angles to audience emotions.

One of the most compelling points Godfree made was when he discussed how changing a story’s perspective can completely alter its impact. He used the example of the classic Christmas movie Home Alone, suggesting how different it would feel if told from the perspective of the two burglars rather than the young boy defending his home. Suddenly, the villains might become sympathetic, and the story itself takes on a different tone.

This idea of perspective has sparked some new questions in my own research. Who is telling the story of animals in captivity? Is it the zookeepers, the conservationists, or the animals themselves? If we can shift the perspective to allow people to see the world through the eyes of animals, would that change how they view the ethics of captivity? Godfree’s talk reminds me that how we frame a story—whose voice we prioritize—can make all the difference in how people respond to it.

3. Mark Grimmer: „What’s Next for Immersive Storytelling?“
Mark Grimmer’s talk focused on the future of immersive storytelling and how technology is opening up new possibilities for narrative experiences. He shared how his design studio created immersive exhibitions, including one about David Bowie and another commemorating the Apollo 11 moon landing. What stood out to me was how Grimmer described the “collision of ideas” that happens when different disciplines—like architecture, music, and film—come together to create an immersive story.

Grimmer emphasized that while technology plays a big role in creating these experiences, the heart of the story should always come first. Technology is a tool to enhance the narrative, not the narrative itself. He also mentioned that immersive storytelling can bring people together, allowing them to feel like they’re part of something larger than themselves. The Apollo 11 exhibition, for example, recreated the scale and spectacle of the moon landing in a way that felt emotionally powerful, reminding audiences of a moment of collective achievement.

This talk inspired me to think about how immersive storytelling could be used in zoos, aquariums, or museums to help visitors connect more deeply with animals. What if visitors could experience the world from an orca’s perspective, moving through a vast ocean instead of seeing the animal in a small tank? Grimmer’s talk reminded me that by blending disciplines and using technology creatively, we can create powerful experiences that feel real and evoke strong emotions.

4. David JP Phillips: „The Magical Science of Storytelling“
David JP Phillips’ TED Talk was both entertaining and insightful, focusing on the neuroscience behind storytelling. He explained how storytelling can trigger the release of neurotransmitters like dopamine, oxytocin, and endorphins, which make us more focused, empathetic, and creative. Phillips referred to this combination of chemicals as the “angel’s cocktail,” contrasting it with the stress-inducing “devil’s cocktail” that we experience when we’re overwhelmed or anxious.

What fascinated me about Phillips’ talk was how deliberate storytelling techniques can actually manipulate our brain chemistry. For example, by building suspense or creating empathy for a character, we can increase dopamine or oxytocin levels, making the story more engaging and memorable. Phillips even shared practical tips on how to apply these techniques in everyday communication, from public speaking to presentations.

This talk got me thinking about how I can use functional storytelling in my own projects. Whether I’m designing an interactive exhibit or creating content to raise awareness about animal welfare, understanding how storytelling affects the brain could help make my messages more impactful. If I can build emotional connections between people and animals through storytelling, it might help foster more empathy and inspire positive change.

Conclusion: Storytelling as a Tool for Empathy and Engagement
Watching these TED Talks reminded me of just how powerful storytelling can be. Whether we’re trying to create empathy for marginalized groups, change people’s perspectives, or use technology to build immersive experiences, storytelling lies at the heart of it all. Each of these speakers highlighted a different aspect of storytelling, but they all shared a common belief: stories connect us.

As I continue my research, I’ll be thinking about how to apply these lessons to my own work. Whether it’s using empathy to raise awareness about animal captivity, experimenting with immersive technology to create more engaging experiences, or leveraging the neuroscience of storytelling to connect with audiences on a deeper level, these talks have given me a lot to think about.

Watch the talks here:
Empathy Through Storytelling | Salma Abdelrahman | TEDxYouth@Miami
Storytelling: Empathy in Narrative Point of View | Guy Godfree | TEDxPugwash
What’s Next for Immersive Storytelling? | Mark Grimmer | TED
The magical science of storytelling | David JP Phillips | TEDxStockholm

Recently, I had the opportunity to visit the Natural History Museum in Graz, located in the Joanneumsviertel. It’s a museum known for its extensive collection of natural history artifacts, ranging from fossils to live exhibits, and it offers a unique blend of scientific information and interactive experiences. For someone like me, who is focused on the role of interactivity in public education for my master’s thesis, this visit was an inspiring and thought-provoking experience.

In this blog post, I’ll reflect on how my visit to the museum relates to my ongoing research and how it has sparked new ideas for incorporating interactive elements into educational spaces.

Exploring the Museum: A Blend of History and Technology
The museum itself houses a staggering 2.1 million objects, including 1.1 million animals, 650,000 plants and fungi, 200,000 fossils and rocks, and 100,000 minerals. One thing that stood out to me was the diversity of the exhibits—not just in terms of the specimens, but in how they were presented. The museum is divided into several areas, including a main exhibition house in the Joanneumsviertel and other specialized locations like the House of Biodiversity and a study center.

What made the museum especially interesting was the way it integrates modern interactive elements into its exhibits. For instance, there were various touchscreens, video stations, quizzes, and mini-games designed to engage visitors of all ages. The use of these interactive tools helped to bring the information to life, allowing visitors to engage with scientific concepts in a more immersive and hands-on way.

Observation of Visitors and Their Interactions
One of the most insightful parts of my visit was observing how other visitors interacted with the exhibits. It was fascinating to see how people—especially children—were drawn to the interactive components. Instead of passively looking at static displays, they could actively engage with the material. For example, touchscreens allowed visitors to explore different animal species or geological formations at their own pace, and the quizzes added a gamified element that made learning fun.

I paid particular attention to how different people used these interactive stations. Some immediately gravitated toward them, eager to try the mini-games or watch the educational videos, while others preferred to observe first before engaging. It became clear to me that offering a variety of interaction types—both digital and physical—is key to capturing a wider audience. This is something I want to explore more in my own research: how different types of interactivity appeal to different types of learners and visitors.

The educational value of these interactive exhibits also became apparent. Visitors seemed to retain more information when they were able to manipulate objects on a screen or participate in an activity. It’s one thing to read about fossils or minerals in a textbook, but it’s another to be able to zoom in on a high-resolution image of a specimen and explore its details or even simulate a fossil excavation in a mini-game.

Inspiration for My Master’s Thesis: Interactivity in Educational Spaces
This visit was particularly valuable for my master’s thesis, which focuses on how interactive design can be used to educate the public about complex topics, like biodiversity and conservation. The Natural History Museum in Graz gave me a lot of inspiration for how museums can implement these elements successfully.

I’ve been reflecting on how these interactive stations could be translated into different settings—like zoos or aquariums, where I’m researching alternatives to traditional animal exhibits. Imagine an exhibit where, instead of seeing a captive animal, visitors interact with a touchscreen that shows the animal in its natural habitat through high-quality video or even virtual reality. They could learn about the animal’s behavior, its role in the ecosystem, and the threats it faces in the wild without ever needing to keep it in a cage.

Another exciting idea is how gamification can be used in educational settings. During my visit, I saw several examples of interactive quizzes and mini-games that made learning fun. This is something I’d love to explore further in my research—how introducing game-like elements can make learning about complex subjects, like conservation or animal behavior, more accessible and engaging.

What I found particularly insightful was how the museum tailored the interactivity to different age groups. The touchscreens and games were perfect for younger visitors, while more in-depth video content and quizzes appealed to adults. This layering of content, where different forms of interaction cater to different levels of knowledge, is something I want to explore more as I consider how to design educational exhibits that reach a broad audience.

Key Takeaways and Future Research Directions
One of the most important takeaways from my visit was realizing that interactivity is not just about technology—it’s about creating meaningful experiences for visitors. Whether it’s through touchscreens, games, or videos, the goal should be to immerse visitors in the subject matter and encourage them to actively engage with it. I’ve seen how this can work in a museum setting, and I’m excited to see how I can apply these principles to other spaces, like zoos or aquariums, where the focus can shift from passive observation to active learning.

For my thesis, this visit has reinforced the idea that technology can be used as a tool to deepen engagement without relying on outdated models like captivity or static displays. By creating interactive experiences that are informative, fun, and dynamic, we can foster a deeper connection between the public and the natural world.

Overall, my visit to the Natural History Museum in Graz was not just a fun and educational day out—it was an essential step in gathering inspiration for my research. The museum’s use of interactivity and its focus on making complex topics accessible to all kinds of visitors showed me what’s possible when we think creatively about how we share scientific knowledge. I’m excited to keep exploring these ideas and to see how they evolve as I continue working on my thesis.

Futher Reading
Eine Community für Naturfreunde · iNaturalist
BOLD – The Barcode of Life Data Systems
Naturkundemuseum und Studienzentrum: 20 Museen und 1 Zoo in Graz und der Steiermark

A few days ago, I listened to a really powerful podcast featuring John Hargrove, a former SeaWorld killer whale trainer turned whistleblower. Hargrove spent over a decade living his childhood dream of working with orcas, but what he experienced behind the scenes at SeaWorld eventually pushed him to speak out against the inhumane treatment of these animals. He was also one of the main voices in the Blackfish documentary that exposed the reality of orca captivity.

This podcast struck a personal chord with me, especially since my current research is focused on animal welfare and the ethical challenges zoos and marine parks face. Listening to Hargrove’s firsthand account of his experiences made me think even more deeply about how captivity affects not only animals‘ physical well-being but also their mental health. In this blog post, I want to reflect on what I learned from Hargrove’s story and how it’s shaping my own research on finding better, more humane ways to educate people about animals without confining them to small tanks or cages.

Hargrove’s Journey: From Dream to Disillusionment
Hargrove shared that his obsession with becoming a killer whale trainer started when he was just six years old. After visiting SeaWorld, he was captivated by the shows and the trainers swimming with these giant creatures. That passion stuck with him all the way into adulthood, and by 19, he was living his dream, working at SeaWorld as a trainer.

But over the years, Hargrove began to see a much darker side to the world he had idolized. He explained in the podcast how he and other trainers were initially blinded by SeaWorld’s polished image. They believed they were helping these animals and educating the public. However, as Hargrove advanced in his career, he started noticing things that didn’t sit right—whales showing signs of stress, aggression, and physical damage from living in such confined spaces. He described this realization as a slow and painful process, as the truth about how the whales were being treated became impossible to ignore.

What really hit me was when Hargrove talked about how SeaWorld’s corporate interests often took precedence over the well-being of the animals. He gave specific examples of how the park neglected the whales’ needs, such as refusing to spend money on repainting the tanks, despite the whales peeling off and ingesting the paint out of boredom. Yet, they were willing to spend over a million dollars on fancy new LED lights to make the shows more visually appealing for the audience. It’s shocking, and it reveals how these parks prioritize profit over the very animals that draw in their revenue.

The Reality of Orca Captivity: More Than Just Physical Harm
One of the most heartbreaking parts of the podcast was when Hargrove described the psychological toll that captivity takes on orcas. He compared their lives in tanks to human solitary confinement, which, after hearing it, makes total sense. Orcas are incredibly intelligent and social animals, but in captivity, they’re often isolated, cramped into tiny spaces, and have almost no stimulation. Hargrove shared that the whales often become so bored and stressed that they self-mutilate by rubbing their bodies against the concrete walls of their tanks until they bleed. This was something I hadn’t fully grasped before—just how much of their behavior in captivity stems from deep psychological distress.

Hargrove also talked about his personal relationship with one of the orcas, Takara. He spent years working with her and described the emotional pain he felt when she was subjected to artificial insemination, something he was powerless to stop. He recounted how he would apologize to her during the procedure, knowing it was wrong, but also feeling trapped in his role as her trainer. This part of the podcast really hit me hard because it showed that even those who love these animals feel helpless in the face of corporate decisions that prioritize profit over ethics.

The Impact on My Research: Rethinking Education and Captivity
Listening to Hargrove’s experiences has made me reflect on the larger issue of how we educate people about animals. For many of us, zoos and marine parks are places we go to learn about wildlife, but how much can we really learn when the animals are confined to spaces that are nothing like their natural habitats? Hargrove made a great point: the animals we see in these parks aren’t behaving as they would in the wild. They’re stressed, unhealthy, and often medicated just to keep them alive. So, what kind of educational value is there in that?

This podcast has sparked even more ideas for my own research, particularly around how we can use technology to create more ethical alternatives. I’ve been thinking a lot about how virtual reality (VR) and interactive exhibits could replace traditional animal parks. For example, instead of seeing an orca perform tricks in a tank, why not create a VR experience where people can observe orcas in the wild, learning about their behaviors, social structures, and the environmental threats they face? This way, people could gain a deeper understanding and appreciation for these animals without contributing to the harmful practice of captivity.

Another area I’m now interested in exploring is legislation. Hargrove was an expert witness for the legislation that banned orca breeding in California, and it’s inspiring to see how real change can happen when the public becomes aware of the issues. My research could potentially focus on how design can not only educate people but also advocate for policy changes that protect animals from exploitation.

Moving Forward: A New Vision for Animal Welfare
Listening to Hargrove speak about his journey from being a passionate trainer to a vocal advocate for orca welfare really resonated with me. His story reminded me of the ethical dilemmas that come with trying to balance animal welfare with public education. As I continue my research, I’m more convinced than ever that there’s a better way to achieve both goals—one that doesn’t involve keeping animals in captivity.

I’m excited to explore how technology, design, and storytelling can offer new ways for people to connect with wildlife. Whether it’s through VR experiences or interactive exhibits in museums, I believe there’s huge potential to educate the public in a way that’s both engaging and ethical. Hopefully, by rethinking how we approach animal education, we can inspire a new generation of people to care about conservation—without needing to imprison animals for it.

Further Reading
World Orca Day: The cruel reality of marine parks | World Animal Protection UK
Mistreatment towards orcas, dolphins at SeaWorld leave them distressed – The Lancer Feed
Fate of orcas in captivity – Whale and Dolphin Conservation

Recently, I watched the 2013 documentary Blackfish, directed by Gabriela Cowperthwaite, which explores the controversial practice of keeping orcas (commonly known as killer whales) in captivity, particularly within the SeaWorld parks. The film, centered on the story of Tilikum, an orca involved in the deaths of three people, including trainer Dawn Brancheau, sparked deep reflections on the ethics of animal captivity. Moreover, it has significantly impacted my approach to research, pushing me to think critically about animal conservation, public education, and the role of zoos and marine parks.

In this blog post, I will reflect on how Blackfish shaped my understanding of orcas in captivity and how it relates to my broader research on animal welfare and interactive design solutions for raising public awareness.

The Tragic Story of Tilikum
The core of Blackfish revolves around Tilikum, a male orca captured off the coast of Iceland in 1983 and transferred between different marine parks, including SeaWorld Orlando, where he spent most of his life. What the film effectively conveys is not just the tragedy of the fatal incidents involving Tilikum, but the systemic issues surrounding orca captivity. Through interviews with former trainers, scientists, and experts, the film paints a grim picture of how these intelligent, social creatures suffer both physically and mentally when confined in small tanks for entertainment purposes.

Blackfish highlights several key points:

1. Psychological Impact: Orcas are highly social animals, often living in complex family groups in the wild. The film demonstrates how the isolation and separation from family members can lead to severe psychological distress for orcas in captivity. This stress, Blackfish argues, contributes to the aggressive behaviors observed in Tilikum, behaviors that are rarely, if ever, seen in the wild.
2. Physical Deterioration: In captivity, orcas are kept in tanks that are a fraction of the size of their natural habitats. This confinement leads to physical issues, such as collapsed dorsal fins, which affect the majority of captive orcas but are rarely seen in wild populations. The film also emphasizes the lower life expectancy of captive orcas, contrasting SeaWorld’s public claims that orcas live just as long in captivity as they do in the wild.
3. Deceptive Practices: One of the more shocking revelations in Blackfish is how marine parks like SeaWorld have historically provided the public with misleading information about orcas, including exaggerated claims about their well-being in captivity. The documentary exposes the commercial motives behind the captivity industry, especially through the use of captive orcas in breeding programs, including Tilikum, despite his involvement in multiple fatal incidents.

Ethical Concerns and the Role of Zoos
Watching Blackfish stirred a deeper contemplation of the ethical dilemmas surrounding the captivity of large, intelligent animals like orcas. One of the most impactful aspects of the documentary is its ability to humanize the orcas, showing how these magnificent creatures suffer in confinement. The personal stories of former trainers also highlight the moral conflict many employees faced when they realized the harmful impacts of captivity on these animals.

For me, the documentary reinforced the notion that captivity, particularly in environments that prioritize entertainment over education, is inherently problematic. It aligns with my earlier reflections from a zoo visit where I observed the distress and unnatural behavior of other captive animals like primates, lions, and dolphins. The primary takeaway here is that traditional zoos and marine parks are often ill-equipped to provide the complex environments that these animals need to thrive. Instead of truly educating the public about the animals‘ natural behaviors and habitats, these facilities often present a highly edited, commodified version of wildlife that glosses over the harsh realities of captivity.

Inspiration for Further Research
One of the most powerful effects Blackfish had on me is its ability to inspire further learning and action. Orcas have always fascinated me, but this documentary deepened my interest in studying them, particularly in their natural environments. It became clear to me that the only way to truly understand these animals is to observe them where they belong: in the wild. Blackfish reinforced the idea that captivity not only deprives orcas of their freedom but also deprives us, as the public, of the chance to witness their authentic behavior.

This idea directly impacts my master’s research, which focuses on public education and the role of interactive design in raising awareness about animal welfare. The film highlights the need for alternatives to traditional zoos and marine parks—alternatives that don’t rely on confinement but instead use technology to educate the public. Inspired by this, I am now exploring ways to design interactive storytelling experiences that allow people to learn about orcas and other wild animals in a more ethical and impactful way. One possibility is the creation of virtual reality exhibits where visitors can experience orcas’ natural behaviors in their expansive ocean habitats, learning about their social structures, communication methods, and the environmental threats they face, without the ethical implications of captivity.

In addition to VR, interactive installations in public spaces could be another avenue for teaching the public about the lives of these animals. For example, an interactive exhibit could allow users to explore the migration patterns of wild orcas, offering a dynamic way to engage with and learn about their natural environments and conservation needs. The key here is to move away from the traditional zoo model and toward experiences that are both educational and ethically responsible.

Orca Captivity: A Catalyst for Change
Ultimately, Blackfish is more than just a documentary; it is a call to action. It not only exposes the ethical and moral issues inherent in keeping orcas in captivity, but it also challenges the public to rethink their relationship with animals in entertainment settings. For me, the film has provided a significant impulse for my own research, pushing me to explore innovative, technology-driven solutions that prioritize education, conservation, and empathy for wild animals.

As I continue to develop my master’s thesis, I intend to focus more on how we can use interactive design to foster a deeper understanding of animals like orcas in their natural habitats. By creating immersive, educational experiences, we can inspire a new generation to value and protect these animals without contributing to their suffering in captivity.

Further Reading
Blackfish – Wikipedia
Doku „Blackfish“: Warum ein Wal seinen Menschen tötete – WELT
Tierquälerei : TUI streicht Ausflüge zu Delfin- und Orca-Shows – WELT

During a recent visit to the Tiergarten Nürnberg, I found myself grappling with a number of conflicting emotions. As a researcher focused on design and public awareness, this experience was especially impactful. Not only did it stir personal reflections on animal welfare, but it also provided significant inspiration for my master’s thesis. This blog post serves as both a reflection of my visit and an analysis of the potential research opportunities it has sparked, particularly concerning animal welfare, zoo alternatives, and interactive design for public education.

The Zoo: Between Nature and Captivity
The Tiergarten Nürnberg, opened in 1912 and relocated to its current site in 1939, covers an expansive 65 hectares, making it one of Europe’s largest zoos. Home to 310 different species and over 6,800 individual animals (as of 2020), it houses many notable attractions, including Germany’s first outdoor dolphin lagoon, a tropical rainforest-themed manatee house, and an aquatic park showcasing polar bears, sea lions, and penguins. With visitor numbers exceeding 1 million annually, it is undeniably a popular destination for locals and tourists alike.

Despite the beauty of its natural setting, complete with sandstone formations and water bodies, my experience visiting the zoo was far from serene. The animals, especially the primates, seemed distressed, constantly fighting in their enclosures. This created a chaotic atmosphere, and I couldn’t shake the feeling that many of the enclosures, such as those for the tigers, lions, and dolphins, were far too small. The discomfort I felt watching these animals in such confined spaces was palpable. Zoos, at their core, are spaces designed to educate and entertain, but I left the zoo with more questions than answers. The limited educational signage offered little insight into the animals‘ natural behaviors or conservation statuses. The lack of information and the unnatural behavior of the animals stood out to me as problematic aspects that need addressing in zoos today.

Criticisms of Zoo Practices: An Ongoing Debate
The ethical dilemmas surrounding zoos are not new, but they remain controversial. Critics, particularly animal rights organizations like PETA, have long challenged the captivity of wild animals, especially marine mammals like dolphins. The Tiergarten Nürnberg’s dolphin lagoon has faced significant criticism, with opponents arguing that no captive environment can truly simulate the expansive, complex habitats these intelligent creatures are accustomed to in the wild. Critics also raise concerns about the transparency of the zoo’s management, particularly in light of its past proposals to cull animals, such as baboons, to manage overpopulation.

The overarching ethical question is whether zoos, as institutions, have a right to confine wild animals for the sake of public education and entertainment. While zoos like Tiergarten Nürnberg contribute to conservation efforts and research, particularly in the realm of endangered marine mammals, the trade-offs are significant. Can the potential conservation benefits justify the confinement of large, intelligent animals like dolphins and tigers in relatively small enclosures?

This leads to broader questions that are central to my research: How can we, as designers and researchers, address these ethical concerns? Can zoos evolve to focus more on education, empathy, and immersive learning, rather than solely entertainment?

Designing Alternatives: Toward Interactive and Educational Experiences
My visit to the zoo, coupled with these ethical considerations, provided me with valuable insights for my master’s thesis, which focuses on zoo alternatives and the role of design in public education about animal welfare. I am particularly interested in how we can leverage interactive storytelling and exhibit design to create more impactful, educational experiences for the public, while simultaneously promoting conservation and animal welfare.

One idea that emerged from this visit is the potential for interactive installations in place of traditional zoos. Imagine a space where visitors could engage with interactive simulations or augmented reality experiences that allow them to learn about animals in a way that is both immersive and ethical. For example, rather than viewing a distressed dolphin in a small pool, visitors could experience a virtual reality exhibit that simulates the life of an orca in the wild, complete with educational content about the threats these animals face due to captivity, pollution, and climate change.

This approach could be especially impactful when considering highly intelligent species like dolphins or primates. Interactive storytelling could be used to teach visitors about the natural behaviors of these animals, their social structures, and the importance of their conservation. By using technology, we could create an exhibit that not only informs but also elicits empathy, perhaps even encouraging visitors to take action toward protecting these animals in the wild.

The Impact on My Research: A Clear Path Forward
This zoo visit has provided me with a clear impulse for my future research. It has reinforced my desire to explore alternatives to traditional zoo models, focusing on interactive, technology-driven solutions that prioritize animal welfare while still serving educational purposes. The tension between conservation and captivity is at the core of this debate, and I believe that immersive, interactive experiences could offer a way to bridge this gap.

Additionally, the lack of informative content in the zoo’s current exhibits has inspired me to think about how interactive exhibit design could enhance learning in public spaces like zoos, aquariums, and museums. Creating exhibits that both educate and engage the public, particularly on complex issues like animal conservation, could have a lasting impact on public awareness and behavior.

In conclusion, my visit to the Tiergarten Nürnberg was not just an eye-opening experience regarding the ethical challenges zoos face today, but also a catalyst for exploring new, innovative ways to educate the public about animal welfare. By using design to reimagine the visitor experience, we can create alternatives that are both ethical and educational, ultimately contributing to a deeper understanding and protection of wildlife.

Further Reading:
Tiergarten Nürnberg: Eine Frage der Moral – Bayern – SZ.de
tiergarten.nuernberg.de: Entdecken
Tiergarten Nürnberg: 50 Jahre Tierquälerei im Delfinarium

Author: Katharina Maria Mrak
Title: Vermittlung im Museum. Museumspädagogische Konzepte steirischer Museen für Kinder
Publication year: 2014
Institution: Karl-Franzens-Universität Graz
Study program: Erziehungs- und Bildungswisschenschaft

Level of Design
The topic chosen for the thesis is appropriate in both size and complexity for a master’s level project. The methodology is partially well-suited: the theoretical research is thorough and aligns well with the topic, demonstrating a solid understanding. The decision to conduct interviews was also a valid approach. However, it might have been beneficial to include methods such as user observation or testing, as this could have added more practical insights. Since the thesis is purely theoretical and focuses on analyzing existing installations in museums, there was no hands-on design or innovation involved.

Degree of Innovation
While the thesis does bring together new insights and provides a useful summary of current knowledge, it doesn’t push boundaries in terms of innovation. The student’s approach to the topic is somewhat conventional, and while the research is well-executed, it doesn’t break new ground or significantly improve upon existing work. The thesis reads more like a report on the current situation rather than an innovative contribution, and there is no practical application of the research findings.

Independence
The thesis clearly demonstrates the student’s ability to work independently. The student has shown initiative and successfully managed the research process without excessive reliance on external guidance.

Outline and Structure
The structure of the thesis is clear and logical. It starts with definitions of key terms, followed by a historical background and theoretical framework, and finally presents the student’s own research. Overall, the sections flow well together, although some transitions could have been smoother. That said, the arguments and key points remain consistent throughout the work, contributing to the overall coherence of the thesis.

Degree of Communication
The language used in the thesis is clear and concise, making the ideas easy to follow. The student does a good job explaining important terms and concepts, especially for complex ideas. However, the presentation of the findings could have been improved with the addition of visual aids like charts or graphs, as the text-heavy format sometimes makes it harder to stay engaged. While the abstract is well-written and accurately reflects the core of the thesis, the overall engagement with the reader could have been stronger.

Scope of the Work
The scope of the thesis is appropriate for the level of a master’s thesis. The literature review is comprehensive, and the empirical work, consisting of seven interviews, is sufficient for the research questions being addressed. However, a more varied methodology, such as incorporating user observation, might have added more depth. The thesis stays focused on its research questions and fully addresses them within the available time and resources.

Orthography and Accuracy
The thesis is well-written with very few grammatical or spelling errors. The student has used terminology accurately and explained it clearly where needed. The citations are done correctly, and the writing flows smoothly, indicating that the work has been carefully proofread.

Literature
The sources used in the thesis are relevant and well-chosen, though a few are slightly outdated. The literature review covers the key theories and studies in the field and provides a solid foundation for the empirical research. However, the engagement with the literature is mostly descriptive rather than critical. Although the student has integrated the literature well into their work, more critical analysis would have strengthened the thesis. The citations are handled appropriately throughout.

Conclusion
In conclusion, this thesis demonstrates a clear understanding of the subject matter, with a logical structure and accurate communication. While it brings some new insights, it could have benefited from more innovative thinking and a more varied research methodology. The student’s independence and attention to detail are evident, and overall, the thesis meets the requirements for a master’s level project.

A Behind-the-Scenes Look: Creating the Prototypes

The development of the prototypes for the website and the „Kümmer Kiste“ was an exciting and creative process that combined both digital and physical elements. Here’s a look at how these prototypes were created:

Website Prototype in Figma

The first step was to create the website prototype in Figma. Several subpages were designed to provide users with clear and structured navigation. The colors were deliberately kept simple and medical to build trust and convey a professional atmosphere. The website’s style is modern and minimalist, which helps present the information clearly and accessibly.

Designing the „Kümmer Kiste“

An old box was repurposed for the „Kümmer Kiste.“ It was painted and decorated to make it appealing and inviting. The content of the box was carefully selected and collected to meet the needs of caregivers. The box includes various items that offer both practical support and emotional relief.

Scenario as an Audio Track

To illustrate the usage scenario, an audio track was recorded. This helped to tell a realistic and relatable story, showing how the prototypes can be used in everyday life. The audio track authentically highlights the challenges and solutions.

Clickable Website Prototype

The website prototype was made clickable to allow interactive exploration. Users can navigate through the various subpages and experience the provided information and the website’s structure. This gives a realistic insight into the website’s functionality and usefulness.

Video Creation

To illustrate the prototypes, several video recordings were made. A screen recording of the website shows the navigation and use of the different features. Additionally, video footage of the „Kümmer Kiste“ and its contents was created. These videos were edited in Adobe Premiere to produce a cohesive and informative overall presentation.

Editing in Adobe Premiere

The final video combines the scenario, the interaction flows with the website, and the use of the „Kümmer Kiste.“ Scenario 1 is detailed to show how both prototypes work together to ease the caregiving process.

Watch the Video of the Prototype here:

Prototyp.mp4