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1.
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   

2.
This paper focuses on museum and gallery education for adults in Dundee, Scotland. Dundee has recently experienced a shift from being mainly working class to an educational, cultural and tourist centre. Hence, an interesting field for the examination of the educational policies and practices of the city museums/galleries and the different fashions they receive and act upon wider developments in the museum world has emerged. Questions arising are how the new, open and accessible museum (and gallery) has changed the way education is constructed and offered in the museums in the city? What is the relationship of education with marketing and the new discourse of social inclusion and participation in museums and galleries? For example, one of the most pertinent findings was that, at least in Dundee, activity-based and individual learning has been over-valued, at the expense of a more social and dialogic educational experience that participants seemed to largely prefer and indeed propose as more meaningful to them. Although new ideas and participatory practices have improved attendance and the engagement of the local adult population, other issues, such as the new economic reality for museums and the close relationship of education with marketing are policies that were often treated with resistance, if not opposition, by the research participants.  相似文献   

3.
What role does writing play in secondary art & design education? In the context of current debates on access and participation in the visual arts, the nature of art discourse and the value of creative subjects within the curriculum, what impact do the existing requirements have on students, teachers and the broader arena of the visual arts? This article presents the findings‐to‐date of an ongoing pilot study which set out to explore these questions. Drawing on interviews with teachers and exam board representatives, and a review of student texts and exam board documents and resources, the study found that even though writing is only a minor part of what is an essentially practice‐based subject, it was a source of significant concern and confusion. A marked disconnect was revealed between intent and practice, which in turn highlighted a series of underlying values and beliefs that seemed to further drive this disconnect. The study calls for a wider discussion of the way writing is framed, used, supported and assessed in the art & design classroom, and the need to ensure that any pedagogy and resources developed align with the values as well as curriculum of art & design. It also previews how strategies created in the context of developing more inclusive and flexible writing skills among curators and other art museum professionals may offer a useful model. The study is part of a larger investigation into the discourse/s of the visual arts, with a focus on issues of access and participation.  相似文献   

4.
In the last decades theories that emphasise visitors’experience as the key element in the process of meaning‐making have influenced art education in museums considerably. However, there is remarkably little evidence in practice that museums shape their exhibits and educational tools by the actual experiences of visitors. Because museum education is still too much knowledge‐based, people often do not come to understanding or engagement of thinking. This article demonstrates this inconsistency and its consequences based on visitors’conversations during a museum visit while looking at contemporary art. In order to engage visitors into their own thinking and create lasting experiences, the article also investigates Dewey's ideas about experienced‐based education and inquiry learning. The study especially shows that experiences felt as obstacles for interpretation are extremely suitable to stimulate, deepen and improve visitors’engagement in the inquiry cycle.  相似文献   

5.
The role of art museum educators is to facilitate the viewer's aesthetic experience and to support the integration of new concepts into the viewer's pre-existing cognitive structure. Ideally, art museum educators teach viewers how to participate actively in the aesthetic experience. This seemingly straightforward task is difficult to accomplish. The modernist structures of the art world tend to cast the viewer in a passive role. Research into aesthetic experience conducted within Modernist paradigms tends to perpetuate the passive interaction of viewer and artwork. In this paper, I examine the work of researchers and artists who stretch or redefine the modern paradigm of art and identify ways in which active viewer participation can be supported. I propose that researchers of aesthetic experience can no longer approach viewers as subjects for their studies. I demonstrate that viewers are involved in research when their voices are heard in the discourse and they have the opportunity to see themselves reflected in the work of art. Within this new paradigm, viewers and researchers become co-creators of knowledge about aesthetic experience. Knowledge generated in this way enables art museum educators to support active participation in aesthetic experience.  相似文献   

6.
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   

7.
It seems uncontroversial to claim that museums are unique places of interest with the potential to inspire learners, yet what this means and how it is managed are complex questions. Museum educators’ work is currently shaped by accountability requirements typically expressed as visitor targets. Centralised teaching and learning initiatives are presented as ‘good practice’. In opposition to these factors, the action research inquiry discussed here set out to enable the participants to research and reflect upon the challenges of their individual contexts, and to develop ideas for practice that were ‘bespoke’. Deliberation on particular predicaments raised important issues, such as the relationship between schools and museums; the educational value of museums to schools; and the distinctive nature of museum pedagogy. A group of museum educators began with the question: ‘How can we support teachers in integrating learning in a museum, with the school curriculum, to help raise pupil attainment’? The paper tells the story of the project and includes reflections on the use of action research as a method of personal professional development and organisational problem-solving.  相似文献   

8.
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   

9.
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   

10.
The ideals that are central to action research are not often explicitly addressed in writing about action research and participation. This article argues for a more explicit dialogue about the ideals of participation and how those ideals relate to participatory practices. The lack of such a dialogue can obscure both the process of participation and the ends to which such processes are put. It offers a beginning to the conversation by drawing out the implications of five principles that underpin many of the justifications for participatory approaches, namely: community and community engagement, the change orientation of participatory research, issues of power and control, the ownership and construction of knowledge, and the combination of these principles as a form of critique of non-participatory approaches to research. The basis for, and critiques of, each of these principles are explored in turn. From these discussions a series of ‘participatory’ challenges are posed for the discussion of the participatory features of action research.  相似文献   

11.
This article describes a 3‐year study of school visits to four natural history museums and addresses the research agenda with regard to out‐of‐school learning. More specifically, the findings focus on the process of learning in museums. Comprehensive data collection allowed for an analysis of patterns of guided visits, the way the scientific content was conveyed to students, and the extent and types of social interactions thus enabled. Observations of 42 guided visits (grades 3–11) indicates that the main visitation pattern consisted of guide‐centered and task‐oriented activity. Analysis of questions asked by museum guides reveals that most of these questions required mainly lower‐order thinking skills. A common questioning pattern was to ask rhetorical questions as a means of carrying on the lecture. Detailed analysis of the scientific vocabulary used by the guides indicates that they used much scientific jargon, with limited explanation. There was only limited social mediation provided by teachers and museum guides. A minority of teachers were involved in the activities or in helping the guide to clarify or in helping the students to understand the explanations. The overall data indicate limited opportunities for meaningful learning, suggesting that the museums should shift from the traditional knowledge‐transmission model of teaching to a more socioculturally contextualized model. © 2007 Wiley Periodicals, Inc. J Res Sci Teach 44: 747–769, 2007  相似文献   

12.
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   

13.
In this review, we focus on the museum activities and strategies that encourage and support children’s learning. In order to provide insight into what is known about children’s learning in museums, we examined study content, methodology and the resultant knowledge from the last decade of research. Because interactivity is increasingly seen as essential in children’s learning experiences in a museum context, we developed a framework that distinguishes between three main interactivity types for facilitating strategies and activities in children’s learning: child–adults/peers; child–technology and child–environment. We identify the most promising strategies and activities for boosting children’s learning as situated in overlapping areas of these interactivity types. Specifically, we identify scaffolding as a key to enhanced museum learning. Our review concludes by highlighting research challenges from the last decade and recommendations for practice and future research on how to design, evaluate and guide theoretically-grounded educational programs for children in museums.  相似文献   

14.
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   

15.
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   

16.
Abstract

This article begins with the argument that education has become an important site of activity in museums around the world. This development has been of crucial significance for South Africa where many new museums have come into being and where old museums are now taking new courses. The challenge that these museums are having to confront is how to deal with the question of their public education responsibilities with respect to issues such as race, identity, nation and nation-building. How does the museum tell its story in ways that are inclusive and at the same time critical? How these challenges play themselves out in a museum such as the District Six Museum is important to talk about. What this discussion about the District Six Museum reveals is how little attention is paid to forms of public education in institutions outside of the school in South Africa. It is significant that the museum, which has come to play such a significant role in the reimagination of South Africa and is assuming in the intentions of the new government such a pivotal role in teaching South Africans about their pasts, is understood so poorly. The article uses the District Six Museum example to look critically at what a new museum educational practice might consist of.  相似文献   

17.
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18.
Social a/r/tography combines three dimensions of a/r/tography (artistic creation, education and research) incorporating a fourth collaborative, participatory community‐based approach. This ongoing project began in two primary and secondary schools located in the slums of Tegucigalpa, Honduras, as cooperative action for curricular development in art education. As participatory action, students created a mural drawing inspired by Sol Lewitt's wall drawings, as well as photo pairs on the theme of body and nature inspired by a lithograph by Uta Barth. The drawings and photographs created by the students in Honduras were presented at an event in the Exchange space of the Tate gallery in Liverpool as visual provocation for the creation of drawings and visual metaphors. The concept of visual dialogue, which we define as ‘to teach human beings to have visual conversations with other humans through the visual content of images’, helps us to consider images as questions which are answered with new images whose meaning is subsequently transformed in function of artistic, school and social contexts.  相似文献   

19.
Recent policy on inclusion has had an impact on the development of museum galleries and related educational provision. Museums are used as learning organisations and, as such, need to consider how to create an inclusive environment. However, inclusive provision for people with learning difficulties in museums tends to be isolated and small scale, lacking the formal structure found within schools. While much can be learnt from the development and evaluation of practice in schools, there is little research or published literature that explores the inclusion of people with learning difficulties in museums. This article, by Hannah Shepherd, Exhibition Co‐ordinator at Freeman College in Sheffield, analyses an example of a specific exhibit within a gallery development. This example reflects an approach that uses guidance from the literature to create a more inclusive experience for visitors, particularly those with learning difficulties. A case is made for the use of consultation and partnership to develop inclusive museum provision.  相似文献   

20.
Preservice teachers enrolled in an early literacy or developmental preschool course collaborated in order to create inclusive, literacy-embedded play centers at a local children's museum. Using a grounded theory approach, theoretical questions were generated after analyzing multiple data sources. The focus of this paper is how preservice teachers connected theory to practice in an authentic setting. The importance of connecting theory to practice, the place of play in assessment, and the viability of children's museums as alternative field placements are discussed. Implications for preservice teacher education are presented.  相似文献   

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