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1.
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
2.
王斯妤 《自然科学博物馆研究》2022,(2):32-40
情境是与物相关环境信息的总和,有助于理解物的意义。在策展意图指导下,在博物馆内重建物品的情境可以将人、事、物间的复杂关系与抽象的历史背景及科学概念具象化呈现。近年,一些场馆采用沉浸式多媒体装置进行了情境重建的实践。这类实践拓展了再现环境的范围,创新参观体验,并在知识与情感两方面服务了博物馆的传播目的。本文试图通过一些案例,研究这类多媒体情境重建的特点,从选题研究、内容安排、空间设计与诠释活动四方面提出建议。 相似文献
3.
Abstract This paper explores the theory of “communities of practice” and how the ideas contained in it could be applied to museums, by demonstrating how a key stakeholder group, Indigenous people, have been involved with and engaged in the work of the Australian Museum, Sydney, over the past 30 years. It is suggested that the processes museums have developed in building relationships with Indigenous people, particularly at the practitioner level, could form a template for how museums make themselves relevant to broader communities through active engagement with multiple communities of practice. 相似文献
4.
Trevor Owens 《Curator: The Museum Journal》2016,59(4):427-442
Through a case study of using social media tools to open up part of the curatorial research process for an online exhibit on the history of astronomy at the Library of Congress, I offer some initial ideas about how an open approach to sharing curatorial research could significantly expand the impact and reach of such work. Drawing on three distinct emerging conceptions and frameworks for the idea of “open” (open notebook science, linked open data, and open innovation) I suggest how this case study can be used to guide work with existing simple and inexpensive tools and how it could also inform the development of future tools, services and exhibit development methods. This work builds on an ongoing discussion of open data in libraries, archives, and museums. To date, most of that dialog is about object records and not about the stories and narratives cultural heritage institutions tell about them. I suggest ways to make the production of cultural heritage data, as well as the final outputs, part of an open and transparent process. 相似文献
5.
Kevin Coffee 《Curator: The Museum Journal》2013,56(2):163-167
Museum use is a process of ideological negotiation, and thus museum users are active agents, not empty vessels waiting to be filled with curatorial narrative. Ensuing dialogues argue over trivia as well as important ethical issues. Discussants take up topics that range over specific public programs, the object maker's motivations and intentions, the choice of a subject, the phrasing of a caption, or the selection of objects on display. These discussions are held in hushed conversations in crowded galleries, in casual conversations within museum hallways, or with animated gestures on the front steps. In the course of this dialogic social practice, each participant's cultural repertoire is enhanced and grows. Every dialogic event is part of a socio‐cultural continuum that will engender other events, with other participants. The comments made by visitors in a visitor comment book are therefore instances of the specificities and the universality of that discussion. 相似文献
6.
Jay Rounds 《Curator: The Museum Journal》2012,55(4):413-434
Abstract Currently dominant ideas about the social accountability of museums demand that museums produce “intended outcomes”: positive changes to visitors. Proponents commonly depict this process as a “logic model,” a tightly controlled sequence of events that moves from goal to intended outcome. A tightly coupled system obliges all elements to work toward a common goal. But studies in a variety of fields have shown that tightly coupled systems are achievable only under specific environmental conditions, which are not met within the network of relationships in which museums work. Instead, this article views the museum and its relationships as a loosely coupled system. Each element has its own purposes, and strives to maintain its own autonomy. Interests overlap, but are not identical. In the loosely coupled system, encounters generate a wide and unpredictable range of events. This approach offers advantages for the long‐term sustainability of museums. 相似文献
7.
《Curator: The Museum Journal》2017,60(2):133-141
As learning institutions, museums have long been buffeted by currents, coming mostly out of formal education, defining what counts as learning. The field has struggled to find its way in these waters. In this article I propose a strategy for gaining a firmer footing and indeed (shifting metaphors) for beginning to shape the very landscape, in educational and cultural policy, that currently constrains how our work is perceived and understood as contributing to learning within broader educational ecosystems. Research‐practice partnerships represent a new, more equitable and perhaps more ethical, strategy for producing evidence‐based knowledge and practice. Leveraging perspectives and expertise of both researchers and museum practitioners, RPPs can help the field begin to redefine what learning looks like and how museums both support and expand it. This paper discusses the need to participate in this new approach to research and provides some strategies for getting started. 相似文献
8.
自2011年诞生以来,中国流动科技馆以流动巡回展出的方式,将展览资源送到尚未建设科技馆的县域地区,有效补齐了基层科普短板,极大地促进了科普资源的公平和普惠。然而随着时代发展,传统的以基础科学为主的资源内容已难以满足基层公众的实际需求。剖析流动馆小型主题式科普展览的主要特点,以“生态环境”主题展览为例,从背景调研、目标聚焦、主题凝练、内容策划、展览布局等方面入手,梳理该类展览的策展方法,可以为今后流动馆小型主题式科普展览的策展提供借鉴和参考。 相似文献
9.
近年来,我国博物馆行业发展迅猛,博物馆的社会作用不断拓展。不同于过去静止不变的机构,当今的博物馆以观众为中心,以社区为导向,其展陈理念和博物馆观众角色已然发生了巨变。本文以英国威尔士国家博物馆策划的“Who Decides?”展览为例,分析了博物馆展陈理念的时代变化,以及在全新博物馆时代观众角色由陌生人—客人—主人的嬗变,为新时期博物馆策展模式提供了建议与参考。 相似文献
10.
Klaus Müller 《Curator: The Museum Journal》2002,45(1):21-33
Abstract This paper investigates issues of museums and virtuality. In considering the diverse ways that museums are approaching virtuality, the focus here is on the common ground and shared objectives, rather than the differences between museums and their virtual re‐creations. Put simply, on‐site museums and their online counterparts are merely two ways of exhibiting cultures. In this sense, “virtuality” is a fundamental exhibition practice. The World Wide Web has become increasingly relevant to such core museum tasks as collecting, preserving, and exhibiting. Digitization of objects in digital heritage programs has led to new forms of collection management and unparalleled access to virtual replicas of museum artifacts. This transformation is inspiring new forms of preserving and displaying cultures both on‐ and off‐line. A successful digital expansion will largely influence whether museums can sustain their cultural authority and position in the 21st century. 相似文献
11.
Gordon Freedman 《Curator: The Museum Journal》2000,43(4):295-306
Abstract This informal essay explores the changes natural history and science museums may encounter as their purpose, foundation, and patronage evolve from this histroical era to the next. The historical circumstances—scientific, social, and economic—that brought forth the great museums of the world no longer exist. In their place is a new public context that shifts attention from museums whose business is objects to organizations whose business is information. At the same time, the economic‐survival mechanism of museums is shifting from grand philanthropy to innovative development programs and market‐sensitive commercial endeavors. Meeting the needs of the next generations of visitors and cultivating the next generation of funders will not be simple. Massive changes in the social fabric of the nation will soon demand new kinds of institutions that play new roles in society. Museums that meet this challenge will not simply be competing with other sectors of society for public attention and funds. Future success will require the fundamental reinvention of museums so that their purpose is obvious and their mission is clearly aligned with the needs of future generations. 相似文献
12.
ABSTRACTVibrations due to heavy construction work continue to be a major concern for museums. Although there has been an increase in research on the effect of vibrations on objects of cultural heritage in recent years, selecting measures to protect collections and remain open during construction work continues to be difficult because of a lack of data on what objects can actually withstand, the complexity of vibration loads, and the uniqueness of each situation. The major renovation of the Central Library in Liverpool, UK, which shared walls with the World Museum and Walker Art Gallery, both of which belong within National Museums Liverpool, showed how museums and other institutions can successfully deal with such situations. An integral approach was taken, beginning with an extensive risk analysis to determine which objects could remain on display, which needed extra protection and regular condition monitoring, and which had to be removed. The museums then negotiated a vibration protocol and action plan with the contractors, including continuous monitoring, and trigger levels requiring consultation or work stoppage. Vibration data were also stored and used for later analysis. This integral approach was successful in protecting the collections on exhibition, with only two incidents of reported damage directly related to vibrations. A combination of museum staff experience, excellent communications with the contractors, and some flexibility in defining vibration limits provided a successful recipe for both museums. The analysis of the vibration data using the basic engineering concept of the Palmgren-Miner rule, supports a more flexible approach to setting vibration limits based on recently published guidelines. 相似文献
13.
Taxidermic collections have become perceived as extraneous in modern museums, and as such have become vulnerable to disassembly during periods of economic austerity and/or shifts in curatorial perceptions. In this paper we argue that rich educational opportunities could be lost through such actions. We highlight the ways that taxidermy provides a useful context for learning about, and understanding, the relationships between life and death in the animal kingdom. We draw attention to research on the ways taxidermic display is currently used, the ways children learn through family conversation, and the types of understandings children are known to have about life and death. We believe these collections represent potential research spaces for understanding the impact of parental communication on children's understandings of life and death. Our preliminary research plans, and conversations with curatorial partners, suggest that recording and analyzing family conversations at these sites has much to offer. Furthermore, we propose such studies might facilitate new interdisciplinary relationships between museum curators and researchers, thus contributing to wider debate on the place of natural history collections in society. 相似文献
14.
Abstract This paper presents some personal perceptions about “drivers of change,” which have impacted the role and nature of museums since the 1980s, leading to the rise of the visitor‐centered museum. Such changes mirror developments occurring in society. In the case of museums, a decline in public funding has occurred at a time when increased resources are required to enable museums to successfully compete for the visitor dollar in the expanding “experience economy.” The authors suggest that the role and nature of museums in the future will be shaped by their responses to many challenges, the most important being: how to increase visitor numbers without negatively impacting on visitor satisfaction; how to adjust policy and practice as museums approach the limits of visitor growth; how to start to reverse the trend of declining public funding by demonstrating museums’ value to society through the adoption of community‐centered policies and practice; and perhaps the most unpredictable, how museums will adjust their policies and practices in the face of possible climate change. 相似文献
15.
Danielle Rice and Philip Yenawine are veteran art museum educators who have wrestled for decades with the thorny issues involved in teaching about and learning from art objects in the museum setting. While there is general agreement within art museums today that the object should be the focus of educational practice, debate continues as to the most effective processes for facilitating learning. Gallery teaching is one of the most contested arenas, with much of the disagreement centering on the place of information in teaching beginning viewers. In art museums, the issue of what and how to teach is complicated by the fact that many people, including artists, museum professionals, psychologists and educators consider art primarily as something to be enjoyed, and they posit this enjoyment in direct opposition to learning about art. Partly because of this, the function of art museum education and gallery‐based instruction is still evolving. 相似文献
16.
David Anderson Barbara Piscitelli Katrina Weier Michele Everett Collette Tayler 《Curator: The Museum Journal》2002,45(3):213-231
This article reports on a study of young children and the nature of their learning through museum experiences. Environments such as museums are physical and social spaces where visitors encounter objects and ideas which they interpret through their own experiences, customs, beliefs, and values. The study was conducted in four different museum environments: a natural and social history museum, an art gallery, a science center, and a hybrid art/social history museum. The subjects were four‐ to seven‐year old children. At the conclusion of a ten‐week, multi‐visit museum program, interviews were conducted with children to probe the saliency of their experiences and the ways in which they came to understand the museums they visited. Emergent from this study, we address several findings that indicate that museum‐based exhibits and programmatic experiences embedded in the common and familiar socio‐cultural context of the child's world, such as play and story, provide greater impact and meaning than do museum exhibits and experiences that are decontexualized in nature. 相似文献
17.
《Curator: The Museum Journal》2017,60(1):67-85
While there is increasingly widespread use of social media by those visiting museum exhibitions relatively little is understood about this practice. Further still, the focus of such practices is unknown yet research in this area can reveal much about how visitors using applications driven by smart phone technology are engaging with exhibition content, space, design, architecture and people. This article draws on a case study of one exhibition using visual content analysis to frame, explore and interpret visual and text based posts by visitors using the social media application, Instagram, as part of their experience. Findings suggest that museum visitors using this application do so to account for and record details of their experience that draws attention to exhibition content, specifically objects. The implications are extensive for cultural institutions given the uptake of social media in all corners of life, with museums and galleries being a lively context for social media use via mobile technologies. 相似文献
18.
Marian Hoy 《Archival Science》2011,11(3-4):391-408
When emerging professionals start working in archival institutions, libraries and museums (also referred to as collecting institutions), they bring knowledge and skills gained through internships, formal study, volunteer activities and previous work experience. They learn new processes quickly, are passionate about working with holdings or collections and are keen to build their knowledge. They gain exposure to the different disciplines that are reflected in the roles of archival institutions, libraries and museums as they build their professional identity and consider future career directions. What else do they need? A research study about the experiences of a group of individuals embarking on first or subsequent careers and starting new positions in collecting institutions found that relationships were an essential component in developing their skills and knowledge and planning their future directions. The article would be of interest to students looking ahead to working in an archives, library or museum and exploring career paths; supervisors and mentors who work with emerging professionals; professional associations and communities of practice; and educators who have a role in developing curriculum in educational or workplace contexts. 相似文献
19.
Alwynne B. Beaudoin 《Curator: The Museum Journal》2009,52(3):261-272
Abstract Digital image enlargements can be a powerful method for displaying small specimens in museums. In 2007, the Royal Alberta Museum held an exhibition of 28 SEM (scanning electron microscope) images of seeds and other subfossil macroremains, which were shown in a fine‐art format. The exhibition was prepared by a museum team using images derived from in‐house curatorial research work. This paper describes the exhibition components and reports on an attempt to engage the visitors more closely with the images by asking them to suggest identifications for some “mystery” specimens. 相似文献
20.
Elaine Heumann Gurian 《Curator: The Museum Journal》2010,53(1):71-85
In this paper, I suggest that museums have not explored their potential opportunities enough when dealing with their communities under stressful conditions. Each reader, however, should decide when what I am talking about is no longer appropriate for museums in general or your museum in particular. While some museums have moved more in the direction of serving their communities, I am struck by how little philosophical change has actually taken place in most museums after a year into this universal economic downturn. I argue that incorporating a broader palette of social services may make institutions more useful, but at some point these institutions might cease to be traditional museums. My question would be: “Should you care?” I do not suggest that all museums become full‐service community centers, though some might explore that option. Perhaps the question might become: How do we expand our services so that we make museums’ important physical assets of safe civic space and objects useful for tangible three‐dimensional learning into more relevant programs that reach all levels of community, and are rated by many more as essential to their needs and their aspirations for their children? 相似文献