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The most common sampling method

The most common sampling method is the convenience sample; therefore, many of the studies that you find
for evidence use this sampling method. What are the implications of using a convenience sample on the way
that you interpret and use the findings?

Sample Solution

at these objects have the capacity to translate digital spaces that can exist in a ‘physical’ way. This can be explained through how light and sound is projected and amplified from a object, which indicates the digital object embodies a mediator role; in affecting other spaces and encounters by changing human perception of physical space. Therefore digital entities also may appear as a producer or mediator; because despite possessing premade content, human curators can never fully predict or understand what may be thrown out into a physical space; in how digital entities may respond to the existing physical spatial materiality that it inhabits. Consequently software and hardware that intertwines to create audio-visual museum spaces have characteristics of such fluid hybrids ¬– in that they are shape shifting digital actors within museums, assuming roles of producer, mediator and participant. Therefore physical and digital museum space can be considered as being created by and for a mass of co-existing human and nonhuman bodies within posthuman museology, which goes far to challenge that museums are for humans only. The museum object can be used a vehicle to expand on ideas about who museums are for in continuing to challenge that museums are for humans only. The materiality turn as a concept within museology is useful to understand where contemporary practice surrounding objects is situated. This is materiality turn is explained by how we have now seen the benefit of two different museological approaches – the Disciplinary Museum (object and collections formed the centre of the individual, relying on the public’s assumed knowledge for interpretation) and New Museology (objects being used as a vessel for the story). Contemporary museology benefits from having seeing these two very different museological approaches, with an ironic shift in reverting to the objects’ materiality. Dudley’s experience of encountering a Chinese Horse strongly advocates for a return to the materiality of the object, asserting that doing so would elicit sensory and emotive responses (contesting all previous museological approaches). However Dudley’s conclusion is based on the broad assumption of a universal pure

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