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1.
This article discusses forms of arts‐based mediation in museums that use creation as the primary tool in the learning process. We present four mediation experiences based on the arts‐based teaching methodologies promoted by the project ‘Art for Learning Art’. These experiences have been developed in four museums: the Centre Pompidou Málaga, the State Russian Museum in Málaga and the Espai d'Art Contemponeo [Center of contemporary art] in Castellón in Spain and the Modern Art Murilo Mendes Museum of Minas Gerais in Brazil. Four experiences in three cities of two countries that work in a methodology which involves participative and collaborative visitor connections with the works exhibited using arts‐based strategies. In all cases, the artistic works of the exhibitions are the conceptual basis for mediation proposals that are offered to the public in order to encourage participation. We link the aesthetic experience as the origin of the mediation process in two fundamental aspects: creation and appreciation. In the act of creative appreciation, most art education objectives are met. The actions and processes are directed by collaborative and contemporary creation strategies around two axes: museum educator‐artists in training and visitors‐artists as learners. In the four experiences that we present here, this confluence takes place. The four events have been adapted to the conditions of the place, public and art exhibitions, contributing new approaches to the model that has been promoted from the University of Granada since 2013.  相似文献   

2.
Drawing on interviews with blind people, this paper examines both their exclusion from museums and galleries and their responses to the art educational provision that is specifically designed to remedy that marginalisation. Blind visitors’ responses to these educational projects were polarised; respondents were either highly critical or very enthusiastic. This paper begins by outlining the interviewees’ criticisms which included; education officers’ misconception of how touch facilitates learning and aesthetic response, a lack of educational progression and blind people's exclusion from mainstream events. I then ask why, given these problems, did other respondents reply so favourably, suggest that these high levels of satisfaction had little to do with museum provision but were in fact the result of social interaction and of rare inclusion within the sighted community. I argue that, ironically, this sense of inclusion is premised on blind visitors’ structural exclusion from art institutions. Finally, the article examines those visitors who, illicitly or otherwise, already experience some aspects of the museum in multisensory terms, but maintain that until museums’ and galleries’ ocularcentric orientation is reconfigured, there will be little possibility for these rogue visitors to develop their knowledge of art. Likewise, without institutional change, educational events for the blind will continue to be an inadequate supplement to a structure that is and remains inequitable.  相似文献   

3.
This a/r/tographic inquiry delves into questions about participatory art museum practice, specifically seeking to understand the nature of invitations to participate. Utilising drawings, writing and mapping of embodied participation, questions of how individuals are invited to participate in various locations and how these invitations inform the work of art museums that engage in participatory practice are considered. Conditions for participation, including familiarity, personalisation, enthusiasm, playfulness, narrative, uniqueness, sociability and listening, as well as anti‐invitations that contradict moves toward participation, are discussed in relation to examples from the study and scholarly writing. The purpose of this article is twofold: first, to share research about participatory practice in various locations and its implications for art museums, and second, to explore the potential of arts‐based research methodologies, particularly a/r/tography, for art museum education research.  相似文献   

4.
Projection‐based augmented reality and virtual reality are used in a visual arts‐based educational project in contemporary art museums from an a/r/tographic perspective. The project ‘Art for Learning Art’ (in Spanish, Arte para aprender arte), at the Museo CajaGRANADA in Granada (Spain) has been developed in collaboration with the University of Granada since 2013. We have employed creative, educational and research methodologies inspired by exhibited works in art museums to encourage visual feedback of visitors participating in collaborative installations. Two such experiences also were produced at the Tate Liverpool Gallery and Museum in March 2018; utilising the methodology of mediation through projection‐based augmented reality and virtual reality, which introduces facets of visual and physical experience that alter the whole experience for the museum's public. By putting on virtual reality headsets, and playing with physical movements, we generate images and change the projections in the museum using projection‐based augmented reality to disrupt the way the public typically moves in the museum. The purpose of the developed interrelations with artworks in the Museo CajaGRANADA and the Tate Liverpool Gallery and Museum was to create collaborative digital images by playing with select artworks exhibited in the museums’ collections. We use this kind of mediation in art museums to develop a visual understanding to provoke learning about art through art creation in a contemporary way. The results are extraordinary as images; they are collaborative artworks, which connect visually with the artworks in the exhibition.  相似文献   

5.
In order better to support children’s learning experiences, art museums have begun to establish interactive art exhibitions designed for family visitors. However, as more of these interactive exhibitions are established, some museum professionals are raising concerns about whether these exhibitions actually facilitate young visitors’ learning or impede them from engaging further with the art objects exhibited. Using the Family Room (FR) of the J. Paul Getty Museum in Los Angles as a case study, this research examines the educational principles considered and the challenges encountered when conceptualising and implementing its interactive exhibition. My research shows that the FR project team emphasised three educational principles to be integrated into the exhibition design: (1) interactive learning, (2) family as a learning unit, and (3) enhance the learning of basic artistic elements. The FR’s overarching educational objective is to encourage transfer of learning between the FR to the Getty traditional art galleries. My research concludes with three suggestions to be considered in future practices of art museum education (1) the limits and potentials of interactives, (2) the interactive exhibition design and scaffolding, and (3) transfer of learning between galleries.  相似文献   

6.
This research explores learning in science museums through the most common activity in a science museum—interaction with exhibits. The goal of this study was to characterize the learning behaviors exhibited by students as they engage with interactive exhibits in order to draw insight regarding the design of the exhibits. In order to do so, we used a qualitative method of observation as well as the Visitor Engagement Framework (VEF) model, a visitor-based framework for assessing visitors’ learning experiences with exhibits in a science center setting. The combined method produced a framework of nine learning behaviors exhibited during the visitors’ interaction with the exhibits, grouped into three categories that reflect increasing levels of engagement and depth of the learning experience. Our research participants consisted of a total 1800 students aged 10–12 (4th, 5th, and 6th graders) who came to the museum with their class for a day visit. We observed nine exhibits, each visited by 200 students. Our observations revealed several design elements that contribute to engagement with exhibits in science museums. For example, exhibits that have familiar activation encourage visitors’ interaction, exhibits that facilitate social interaction are more likely to increase engagement, and the highest levels of engagement can be found in exhibits that support large groups.  相似文献   

7.
Whilst it is accepted that art education is a cognitive endeavour, the value and contribution of cognition to art education is often deliberated. By examining literature concerning conceptions of cognition and contextualising studies with the findings of a 5-year artographic inquiry into cognition in the lived experiences of artist teachers, this article is able to present a case for the reinstatement of cognition and cognitive study across policy, practice and research in art education. The article shares a conceptual frame to assist engagement with cognition as a concept whilst presenting a strategy to support cognitive reinstatement in the changing climate of art education. Questions are posed and answered regarding cognition’s position in art education to bring reinstatement implications forward, such as its complexity and productivity within education. Recommendations, such as increased engagement, voice projection and visibility, are also suggested to infiltrate transformation in future materialisations of cognitive engagement in the policy, practice and research of art education.  相似文献   

8.
This article outlines art education courses undertaken in museum and gallery contexts as a component of the Certificate Programme in Visual and Material Culture within the University of British Columbia's Department of Curriculum Studies. With the creation of this programme and through the forging of relationships with area museums, unique ways have evolved for graduate students from diverse areas of education and art teacher education candidates to interact with works of art, museum professionals, artists, and the museum space itself. The purpose of these courses is to use museum and gallery settings as sites to test ideas, critique educational programmes, and advance new approaches for teachers to use museums in more creative and integrated ways in their teaching while expanding theoretical knowledge and interpretive repertoires. Through participating in this collaborative venture we have learned that when you invite teachers into museums, make efforts to increase their comfort within these spaces, while recognising what interpretive insights they offer as active participants in museum discourses, points of convergence between teachers, universities, and museums are formed.  相似文献   

9.
Abstract

This article discusses how museum settings can provide opportunities for sensory and aesthetic encounters and learning. It draws on research into museum education programmes that included examinations of curatorial construction and display, observations of teaching and open-ended interviews with museum educators. The examples selected here focus on themes of display and learning to illustrate how aesthetic experiences can emerge as incidental adjuncts to learning in other fields. They also acknowledge how museums draw on aesthetic judgements to categorise or present objects and employ aesthetic artefacts and practices as representative devices of cultural engagement, especially in learning themes in the humanities. The studies show how museums can offer opportunities and skills, and cultivate dispositions to the examination of challenging ideas about aesthetic status, sensibility, interpretation or value. Examples of purposefully constructed sites for aesthetic learning show how museum educators have rethought ways of facilitating affective sensory experiences, and raising questions of aesthetic status, response and the social and cultural functions of the arts. The studies discussed here suggest that museums can provide dedicated opportunities to cultivate independent aesthetic thinking and debate about aesthetic ideas as lifelong skills and pleasures.  相似文献   

10.
The aim of this article is to trace some lines of thinking towards a conceptualization of the uniqueness of the creative work of museums, the mode of creativeness that belongs exclusively to museums, or at least that museums are capable of by virtue of the types of materials and forms as well as activities unique to what will be referred to as museography. This is linked to the question of what it is that constitutes the uniqueness of museum work as a professional field. The article characterizes the uniqueness of museum professional knowledge primarily in terms of a mode of creativeness, or bricolage in Levi-Strauss’s sense, mediated through the museographic form, and applied to the chance assemblies of materials to generate museum-specific modes of engaging questions—across science, culture, and society—particularly through creating unique temporal arrangements, or durations, that provoke thought, learning, and engagement on museographic terms. Museography’s originality, it is argued, consists in a bricolage that works through the museum’s unique material and form to create learning resources and encounters, museographic assemblages that depart from a conception of linear time as the space of evolutionary narrative to facilitate the experience of Bergsonian durations.  相似文献   

11.
This intrinsic case study examines art museum learning of elementary school students during a week-long visit at the Mackenzie Art Museum. Museums are informative institutions that provide opportunities for visitors to engage with self, others, and society. It is a unique place for visitors to learn beyond classroom settings. This project aims to analyse the discourse around art and understand how young learners utilise discourse as tools to make meaning during art museum visits. By examining learners' dialogues, the research investigated a meaning-making framework that incorporates strategies for negotiating insights in art museums. This study includes approximately 12 hours of video-recorded data and student artefacts. The data suggests learners engage and form new meanings through building and negotiating discourses with peers and museum educators. Different discourses and knowledge are valued and reinforced by members of the group. This study addresses the gap in children's meaning-making during art museum visits, illustrating their strategies to construct knowledge and bridge connections.  相似文献   

12.
The present study was conducted in the Deutsches Museum in Munich, the Senckenberg Museum in Frankfurt am Main and the Landesmuseum Schloß Gottorf in Schleswig. 160 museum visitors were asked about their conceptions of learning in school and learning in a museum. These conceptions generate a persons’ individual concept of learning. It is formed by the influence of the subjectively different experiences each person makes in varying learning situations. Since every learning environment offers different opportunities and possibilities for learning, it can be assumed that there are location-specific concepts of learning. The results of this study show that concepts of learning in school can be differentiated from concepts in a museum; albeit reactive and constructive concepts of learning were found for schools as well as for museums. In addition it was found that different people’s concepts of learning depend on their places of learning.  相似文献   

13.
高校美术馆是美术馆(博物馆)领域的新兴试验田,我国高校美术馆在上世纪90年代开始大兴土木,较国外的高校美术馆来说,它仍然十分稚嫩,但高校美术馆尤其是艺术类院校的美术馆具有很大的研究价值和发展空间。作者认为对高校美术馆的管理应该借鉴企业管理的新模式新思路,不应对美术馆的资金收入存有芥蒂,因为美术馆只有在产生自我供血机制后,才能更加有效地发挥其公共性能和社会性能。  相似文献   

14.
Today, science is a major part of western culture. Discussions about the need for members of the public to access and understand scientific information are therefore well established, citing the importance of such information to responsible citizenship, democracy, socially accountable scientific research and public funding (National Research Council [2009] Learning science in informal environments: People, places, and pursuits. National Academies Press). In recent years there has been an increased interest in investigating not just what visitors to informal environments have learnt after a visit, but also how visitors interact and engage with exhibits during the visit (Davidsson & Jakobsson [2012] Understanding interactions at science centers and museums: Approaching sociocultural perspectives. Rotterdam: Sense Publishers). Within the field of school visits to science museums, however, interactions between students and museum educators (MEs) remain relatively unexplored. In our study of such school visits, we are mainly interested in the interactions that take place between three agents—the students, the museum educator and the physical setting of the exhibit. Using moment-to-moment fine grain analysis of multiple interactions allowed us to identify recurring patterns between students and the museum educators around exhibits, and to examine the MEs’ mediational role during the interactions, and the practices they employ to engage students with exhibits. Our study revealed that most interactions between MEs and students consist of technical explanations of how to operate the exhibits. The interactions that do move past this stage often include two main practices, which the MEs use to promote students’ engagement with the exhibits: physical instruction and engaging the students emotionally. Understanding what is actually happening in the learning process that occurs during students’ interactions with exhibits can help museum educators and exhibit designers improve the experiences of students on school visits.  相似文献   

15.
In this article I examine Dewey's ambivalent attitude toward art museums — criticizing their existence as repositories for the rich, while exploring their educational potential — by analyzing Dewey's comments on museums in various texts, by relating his ideas to museum education theories and practice of the time, and by exploring his involvement with Albert Barnes and the Barnes Foundation. Specifically, I discuss how these men influenced each other and consider possible reasons for Dewey's involvement with a "capitalist collector" such as Barnes. This examination is placed within the broader context of Dewey's philosophy of art as experience. An analysis of these issues is especially relevant at the present time, given that museums are increasingly involved in K-12 education through outreach and professional development programs, in addition to school tours.  相似文献   

16.
This article discusses a narrative inquiry as a methodology for understanding and examining teachers' interpretations of their environment‐related teaching experiences. Focusing on the value of teacher stories for interrogating the discursive practices of schools as institutional contexts, four main rhetorical themes are identified to illustrate how teachers' engagements in practice and thinking with environmental education display ongoing identity work. Five Korean secondary science teachers' stories illustrate the dynamic processes and interplay between multiple discourses, such as the ‘proper’, ‘good’, ‘science’ teacher, and the cultural norms, resources and subject positions available to them, as they take up and explain their own and others' meanings and subject positions in science education and environmental education. The paper discusses the value of narrative inquiry to conceptualising teacher agency in ways that offer alternatives to conventional research perspectives in this field, and in taking account of the possible meanings of environmental education, the possibility of creating cracks and ruptures in the ‘sense‐making’ discourses and ‘sense that is made’ of experiences of environmental education and school education more widely.  相似文献   

17.
This paper synthesizes findings from three studies to answer a general question: What do casual, adult visitors learn about science from their science‐related experiences in free‐choice settings? Specifically we asked whether there are changes in how people think about science in their daily lives, the nature and use of scientific knowledge, and its communication by scientists. The three studies involved samples of visitors to an interactive science centre, visitors to a traditional natural history museum, and attendees at a series of public lectures, each given by an expert scientist in human genetics. Pretest and post‐test data collected by parallel questionnaires indicated that, despite the different nature of their experience in the three different settings, participants became more positive about the value of science and the work done by scientists and their ability to communicate with the public. At all venues, however, participants became less scientific in their thinking about the nature of scientific knowledge, becoming more likely to believe it to be infallible. The consistency of these findings was surprising, and participants’ changed views about the nature of scientific knowledge were unexpected. Possible explanations for theses outcomes were suggested in terms of participants’ reasons for attending the venue, the nature of their engagement, and the non‐controversial ways in which the exhibitions and lectures were structured. The findings suggest that the educational role of free‐choice settings should be considered carefully, particularly with regard to the representation of science.  相似文献   

18.
Today, science is a major part of Western culture. One advantage of informal learning environments is that they are (potentially) open to a wide range of populations with varying levels of interest and knowledge. Because of their informal nature, documenting learning has proven challenging. Studies that assess learning in museums, therefore, must employ theories of learning that encompass a more complex view of what learning is. This qualitative study was conducted with a population of high-level pedagogical staff from museums in Israel, Europe and the USA. Its purpose was to characterise staff perception of the goals of science museums and how these goals are manifested in the exhibits. Interviews with 17 staff revealed a wide range of goals that come into play in the different science museums. Findings suggest that the pedagogical staff perceive the science museum’s goals as being to change public views regarding science, promote science education, and reduce disparities between populations. According to museum staff, science museums have an important role in changing visitors’ approach towards science, as well as providing an additional source of science education.  相似文献   

19.
This article discusses the practical and ethical challenges and benefits of using social media and video‐based research methods – also known as Photovoice – to investigate contemporary Communication Design education. The two visual research methods discussed include the social media mobile application Snapchat® and participant‐generated GoPro® video filming. The investigation focused on understanding students’ on‐the‐ground, lived experiences of studio learning within two distinctive higher education case study settings in the United Kingdom and Australia. This study employed Participatory Action Research (PAR) as an inquiry process and incorporated a methodological framework involving a combination of narrative inquiry, visual Participatory Design (PD) and visual ethnography. The findings of this study revealed the impact of specialised studio and classroom‐based Technology Enhanced Learning (TEL) on student learning and engagement as the participants expressed differing responses to their own learning and community of practice at each site. The choice of arts‐based educational research methods used for this study allowed the relationships between place, lived experience, and community to be explored. Students, in effect, became investigators of their own practice through engagement in a rigorous set of visual methods, which placed the tools directly into their hands.  相似文献   

20.
This article demonstrates the outcomes of taking a hermeneutic phenomenological approach to architectural design and discusses the potentials for imaginative reasoning in design education. This study tests the use of literature as a verbal form of art and design and the contribution it can make to imaginative design processes – which are all too often limited by physical constraints. It has been observed that a person reading a novel can choose to suspend their disbelief and become entangled in the events of the book – where they become involved with the art not only subjectively, but also as a form of play. In the words of Hans‐Georg Gadamer: ‘understanding occurs in interpreting’. This study asked design students to read three of Franz Kafka's books –The Metamorphosis, The Trial and The Castle– prior to designing a Franz Kafka museum. The students found themselves drawn into numerous worlds that they were compelled to play along with; and demonstrating the productive role that literature can play in studio design, the students were observed to reconstruct the text and authorial context as a spatio‐temporal frame of reference, in this case a museum, and thus provide museum visitors with a Kafkaesque spatial experience of the narrative world in terms of design.  相似文献   

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