共查询到20条相似文献，搜索用时 31 毫秒
1.
周默轩 《自然科学博物馆研究》2023,(6):66-76
电信类博物馆是以电信行业发展为主题,收藏、保管、展览、研究电信文物的专门机构。本文将我国现有的电信类博物馆按隶属单位、展示内容、展示逻辑和馆舍建筑等几种不同方式进行分类梳理。目前电信类博物馆在参观途径、观众构成、展陈、藏品、社教和研究等方面还存在一系列的问题。除客观因素外,导致这些问题的根本原因是博物馆缺乏清晰的办馆目的,需要结合实际情况在具体工作中加以改进。 相似文献
2.
吴镝 《自然科学博物馆研究》2022,(2):5-12
作为游戏化学习与博物馆教育有机融合的产物,博物馆数字游戏化学习是数字时代博物馆教育发展的一个新趋势。本文依据博物馆学、教育学、游戏设计等多种理论分析概括出博物馆数字游戏化学习具有教育性、愉悦性、自愿性、体验性、互动性等主要特征,并针对目前存在的问题,结合国内外知名博物馆的典型案例,提出以下设计思路:首先,明确目标参与人群,注重全面分析需求、提供分众设计;其次,合理规划学习内容,注重跨越学科统整、应用多元场域;再次,精心设计游戏方式,注重创设学习情境、吸引主动探究;最后,凸显场馆教育特色,注重利用资源环境、虚实有机融合。 相似文献
3.
Ed Lantz 《Curator: The Museum Journal》2011,54(3):293-312
Abstract Over the last decade, hundreds of planetariums worldwide have adopted digital “fulldome” projection as their primary projection and presentation medium. This trend has far‐reaching potential for science centers. Digital planetarium capabilities extend educational and cultural programming far beyond night‐sky astronomy. These “digital domes” are, in essence, immersive visualization environments capable of supporting art and live performances and reproducing archeological sites, as well as journeying audiences through the local cluster of galaxies. Their real‐time and rapid‐update capabilities set them apart from giant screen cinemas. Studies suggest that well‐designed immersive mediums communicate concepts better, create a greater interest in learning, and are more effective than a movie screen or television at conveying scientific concepts. This article introduces digital domes as a new medium, then discusses ways in which the potential of these environments might be tapped in the future to meet scientific and cultural needs in museums of all types. 相似文献
4.
Peggy Monahan 《Curator: The Museum Journal》2007,50(1):123-126
Abstract The audience‐centered mission of childrens' museums has caused these institutions to look at their role in their respective communities and to take bold steps in envisioning new ways of relating to their constituents. Here is a selection of four childrens' museums which have founded inspiring and imaginative programs centered on children's welfare. 相似文献
5.
Fiona Cameron 《Curator: The Museum Journal》2003,46(3):325-340
Digital technologies and their uses within museum collections have until recently been explored primarily from a technical viewpoint. Increasingly, museum professionals are moving beyond technologically‐driven reasoning to entertain new ways of conceptualizing both collections and information. This is leading to knowledge models beyond those already imagined. This paper considers the synergy between theoretical ideas in the academy and the computer ontologies that have been brought to bear on collections information. Drawing on user research findings from the Themescaping Virtual Collections project and the work of leading literary and media theorists, the paper examines how user needs and digital technologies are reformulating our understanding of museum collections and the relationships between museums and audiences. 相似文献
6.
Peter Schirmbeck 《Curator: The Museum Journal》2006,49(1):37-44
Museums have the fine task of collecting and preserving history for future generations. By presenting the collections to the public, museums not only document different epochs but also try to look at them via new aspects, widening cultural understanding. In the Municipal Museum of Rüsselsheim, German industrial culture in the Rhine‐Main region is described and understood as a “route” that serves as a conceptual key identifying crucial architectural, historical and cultural resources of the region. In this cultural model, past, present and future are directly intertwined, and the invisible door between the world of museums and the “outside” world has vanished. 相似文献
7.
《图书馆管理杂志》2013,53(3-4):163-168
Abstract This chapter considers obstacles and solutions ahead for administrators who seek to preserve intellectual property in digital form, with an emphasis on museums and libraries. Although museum and library professionals have always assumed that preservation of the evidence of the past is our primary responsibility, that assumption is being mightily tested by the advent of digital media. The three main obstacles such administrators confront are: our instinctive devotion to preserving all artworks and intellectual property at any cost, the instability of a digital platform, and the fluid and seemingly infinite permutations of any digital experience. This chapter reviews some of the implications for stewards of cultural resources of this new borderless language of human expression. 相似文献
8.
During economic development, modern museums face competition from various leisure activities and entertainment sites, and to achieve sustainable development, museums should reflect on providing high‐quality service to satisfy visitors’ expectations. Based on service design‐related theories, this research team conducted a case study to explore the planning, implementation, and meaning of Mobile Museums. It investigated design development from the perspective of public service design and summarized the policy, design, and service satisfaction results for Mobile Museums. Finally, the similarities in service processes are discussed between Mobile Museums and the general service industry. According to this study, attracting more visitors is the biggest issue facing museums today, as are the ways in which museums must actively provide service and become recognized to compete with others. This study identifies the onstage and backstage support of museums as well as their cultural features and non‐profit services. 相似文献
9.
文章首先对我国数字博物馆发展进程和数字博物馆概念的讨论进行简短的回顾,之后深化对数字博物馆内容定位、服务机制和管理模式的研究,包括网站建设形式、信息的组织标准、网站的可扩展性、网站咨询服务、信息服务对象和综合管理模式。然后对10个数字博物馆进行案例分析和比较,对国内数字博物馆建设中存在问题的进行分析,在此基础上对国内数字博物馆的发展建设提出建议。 相似文献
10.
Multinational organizations are turning to collaborative technology to enable virtual organizational structures. While collaborative technology provides distributed workers with new affordances to form relationships and share knowledge, collaborative technology also has complex, interwoven implications for virtual organizing. To disentangle these concerns, this study considers four key dimensions of virtuality—spatial dispersion, temporal dispersion, dynamic structure, and functional diversity—in relation to technology use and engagement with peers within an organization. Survey data were collected in a multinational organization that facilitates work through extensive use of collaborative technology. The results of structural equation modeling reveal connections between two dimensions of virtuality, use of collaborative technology and peer engagement in the organization. Findings suggest that understanding interactions in virtual organizations requires a more nuanced approach to virtuality and active management of technology implementation. Moreover, the findings demonstrate that managers need to actively manage the deployment of new collaborative technology by focusing on specific characteristics of work groups. 相似文献
11.
Monique Scott 《Curator: The Museum Journal》2005,48(1):74-89
This article explores the question of how transnational audiences experience anthropology exhibitions in particular, and the natural history museum overall. Of interest are the ways in which natural history museums reconcile anthropological notions of humanity's shared evolutionary history—in particular, African origins accounts—with visitors' complex cultural identities. Through case studies of British, American, and Kenyan museum audiences, this research probed the cultural preconceptions that museum visitors bring to the museum and use to interpret their evolutionary heritage. The research took special notice of audiences of African descent, and their experiences in origins exhibitions and the natural history museums that house them. The article aims to draw connections between natural history museums and the dynamic ways in which museum visitors make meaning. As museums play an increasing role in the transnational homogenization of cultures, human origins exhibitions are increasingly challenged to communicate an evolutionary prehistory that we collectively share, while validating the cultural histories that make us unique. 相似文献
12.
在数字图书馆建设中,不同资源库和平台使用独立的技术框架、资源格式和应用程序,导致存在"孤岛"问题,不同机构在资源共享上存在障碍,尽管近年业界就数字资源集成开展了一系列研究和实践,但这些研究和实践主要面向发现服务,读者在资源使用和管理上仍然受"孤岛"问题制约。国际图像互操作框架(IIIF)是由国际图书馆、博物馆、档案馆等机构推出的一项技术标准,用于定义一组规范的资源传输接口(API),促进异构平台和资源库对图像资源的交换和共享。文章引入IIIF技术,讨论如何促进用户一站使用和多来源集成资源,并就改进发现服务的性能进行探讨。文章采用文献调研法、访谈法、案例分析法等方法对IIIF在数字图书馆中的应用展开研究。首先就IIIF的特点进行分析,包括:独立于系统环境;开放的应用建设;保存与使用分离。在此基础上,提出IIIF在数字资源集成中的应用设想。在数字资源集成中,IIIF的主要应用包括:搭建一站资源使用环境;为用户安装专业浏览器;为用户集成资源创造条件;建设虚拟特色数据库。 相似文献
13.
Rob Semper 《Curator: The Museum Journal》2002,45(1):13-20
Abstract Museums have embraced the World Wide Web in many ways. For some it is a convenient way to market their offerings, for others it has become a fundamental cornerstone of their practice. Questions still remain about the role of the Web in the museum world and the interplay between the physical and virtual worlds. Developing a strong research agenda and fostering a shared community of practice are two necessary components if museums are to maximize the potential that the Web has to offer them. 相似文献
14.
Andrew J. Pekarik 《Curator: The Museum Journal》2010,53(1):105-115
The ways that museums measure the success of their exhibitions reveal their attitudes and values. Are they striving to control visitors so that people will experience what the museum wants? Or are they working to support visitors, who seek to find their own path? The type of approach known as “outcome‐based evaluation” weighs in on the side of control. These outcomes are sometimes codified and limited to some half‐dozen or so “learning objectives” or “impact categories.” In essence, those who follow this approach are committed to creating exhibitions that will tell visitors what they must experience. Yet people come to museums to construct something new and personally meaningful (and perhaps unexpected or unpredictable) for themselves. They come for their own reasons, see the world through their own frameworks, and may resist (and even resent) attempts to shape their experience. How can museums design and evaluate exhibitions that seek to support visitors rather than control them? How can museum professionals cultivate “not knowing” as a motivation for improving what they do? 相似文献
15.
Anne Butterfield 《Curator: The Museum Journal》2001,44(1):35-46
Abstract Museums have become adept at working with giving allies in foundations, corporations and government agencies who prefer to make grants for specific projects. This works well for discreet activities such as planning an exhibition, cataloguing a collection, or setting up a new store designed to eventually strengthen earned income. It even worked well as museums began to experiment with creating new products such as curriculum kits that would “reach out” to specialized audiences. However, truly providing museum‐wide public service for a broad audience and creating social capital in our communities is not a discreet project, therefore the project‐funding model can thwart the mutual goals museums and institutional funders are trying to achieve. This article explores the problem and suggests that museums work with philanthropic allies to find better ways to create and sustain true public service. 相似文献
16.
蒋涵 《自然科学博物馆研究》2021,(3):13-22
虚拟博物馆中的情感体验是博物馆研究中长期被忽视的话题。本文从现象学视角入手,考察虚拟博物馆体验与情感可供性之间的关系。基于伦敦科学博物馆“物与故事”系列线上资源的案例研究表明,感官形态的参与和视角转换是两种创造情感可供性的渠道。 相似文献
17.
在当前我国推行文化强国和数字中国建设的政策背景下,在数字经济发展外延的社会趋势下,发展数字藏品成为近年来不可阻挡的潮流。本文通过了解高校博物馆当前发展状况,综合分析数字藏品在高校博物馆中的传播价值、共享价值、教研价值、纪念价值与社交价值,对数字藏品进行有针对性的价值发掘,进而探寻数字藏品在高校博物馆中的价值实现路径,力图助力高校博物馆摆脱当前发展掣肘,提高资源利用效率,探索新的发展道路,助力国家健全公共文化服务体系,提高群众文化自信。 相似文献
18.
Lynda Kelly 《Archival Science》2004,4(1-2):45-69
Museums present different contexts for learning, particularly when compared with places such as schooos, universities and
libraries. They have been described as free-choice learning environments visited by a broad range of people. Museums have
the opportunity to shape identities—through access to objects, knowledge and information visitors see themselves and their
culture reflected in ways that encourage new connections, meaning making and learning. However, across the world museums are
finding themselves competing with other leisure and learning experiences in an increasingly global world. The long history
of audience research in the cultural sector demonstrates the interest museums have had in their visitors over time. This paper
outlines the development of audience research in museums, the context within which it operates, and describes the processes
of audience research through a series of case studies drawn from the work of the Australian Museum Audience Research Centre.
It is argued that the shift in museums from mission-led program development to balancing content and audience needs through
a transaction approach requires a broader research-focused agenda. While traditional ways of conducting evaluations are necessary
and useful, to remain viable audience research needs to be more strategic, working across the sector in new ways and utilising
new methods. How programs impact on users and facilitate learning about a wide range of key issues that museums are concerned
with is a leadership role that audience research can take across both the cultural sector and other free-choice learning contexts.
To achieve this, a communities of practice approach is suggested as a potential framework for audience research in the contemporary
museum. 相似文献
19.
[目的 /意义]面对数字资源的智能化、可感知、沉浸式和可互动的未来趋势,三维实体、全景视频等新型资源形态成为记载和传播知识的重要形式。以往用户界面模型难以较好地支撑图博档等公共机构的互动情境式数字文化服务,公众需求和交互情境更迭呼唤沉浸体验、自然流畅的新型交互界面。[方法 /过程]通过对数字馆藏资源与服务、多模交互界面与体验的相关问题进行探讨,提出面向馆藏数字资源的多模交互界面模型;多模交互的信息交换过程须以人的信息加工能力为约束,通过给出多模交互的信息加工模型,剖析虚拟现实情境下馆藏资源的用户交互认知过程。立足面向馆藏资源的多模交互模型,基于“界面-认知-情境”递进逻辑,分析影响用户交互体验的关键因素。[结果 /结论 ]面向馆藏数字资源的多模交互界面模型应由交互模态、交互原语、交互任务三个关联递进的层级构成,以人为核心的多模交互可在多模感知、思维决策和交互执行等阶段增强人类的认知能力。沉浸流畅的用户交互体验取决于界面感知交互模态、心智模型匹配程度、交互情境沉浸维度等关键因素,可为多模交互设计、数字文化服务开展等提供参考。 相似文献
20.
Nancy Proctor 《Curator: The Museum Journal》2011,54(2):215-221
Abstract On February 1, 2011, Google launched its much‐heralded Art Project in partnership with 17 museums from Europe and the U.S. Despite the limited content and a long wish‐list of enhancements, the Google Art Project offers a glimpse of innovative new ways for museums to use and be used on the Web, collaboratively. 相似文献