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1.
Abstract The Learning Science in Informal Environments report holds great potential for creating change among those who work in the field of science education. But to what extent can it inform other sectors of the informal education world? This article explores how the LSIE report might influence research and practice in art museums. By comparing the report to a recent study in art education, the authors point out areas of overlap and divergence relative to content and skills, identity, and communities of practice. We suggest several implications for how art museums and science museums might learn from one another. A call to action is made for further research and discussion about common learning goals and outcomes for the art museum experience. 相似文献
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This article presents a case study of the design, development and evaluation of a science museum exhibition called Planetary Landscapes: Sculpting the Solar System. The exhibition was created by Chabot Space and Science Center in Oakland, California, in collaboration with the artist Ned Kahn. (A slightly smaller version has been traveling to science museums around the country, and has been sent to the Middle East and Asia.) This exhibition affords a chance to explore the work of a gifted artist as he seeks to merge art and science and create beautiful inquiry‐based exhibits. The story also relates how a museum design team and an evaluation team sought to support the exhibition design in ways that would augment and not interfere with the expertise of the artist. 相似文献
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Doris Ash 《Curator: The Museum Journal》2004,47(1):84-100
This paper explores the role of questioning in scientific meaning‐making as families talk, look and gesture in front of realistic and artful dioramas at the Natural History Museum of Los Angeles County. The focus is on the ways questioning can either enable movement towards scientific understanding or hinder such progress. The socio‐cultural framework of this research emphasizes Vygotsky's interpretation of the zone of proximal development (zpd). Questions are viewed as tools for mediation in the zpd. This paper examines three families' dialogues, excerpted from a larger study of collaborative sense‐making among family groups in a natural history museum. It seeks to understand how collaborative dialogue meshes everyday understandings with canonical science, in this case through the use of questions. 相似文献
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Seth Allen 《Journal of Library & Information Services in Distance Learning》2017,11(1-2):251-261
ABSTRACTDeveloping a strategy for embedding librarians in online courses can be challenging, but it is essential to demonstrate to accrediting agencies how libraries serve online students. A well-thought-out plan can be scalable and sustainable for rapidly growing online programs and can satisfy accreditation standards. This article examines how one small, liberal arts college developed a plan of action for an online embedded librarian program, including both the conceptual and practical aspects of launching the program: aligning library instruction with course and program learning outcomes, brainstorming strategies for embedded library instruction, and communicating the value of such a program to online teaching faculty. 相似文献
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Abstract The National Research Council report Learning Science in Informal Environments provides a much‐needed synthesis of what research says about informal learning. LSIE makes key observations about science learning and emphasizes the challenges faced in trying to understand and document those complex processes. Yet assumptions about how—and under what conditions—people learn science are not necessarily universal constructs. Such assumptions are driven by the theoretical perspectives of the researchers, as well as the culture of the learners themselves. The limited scope of the volume prohibits it from fully addressing such cultural and historical contexts, and the subsequent implications for methodological approaches. Nevertheless, the report is an important starting point for informing educators, researchers, and policy‐makers who work with or within informal science institutions. 相似文献
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The authors explore how fictional narratives (stories) can be used as a learning tool in the context of informal science environments and specifically science centers. They base their argument on an analysis of the theoretical, structural and epistemological properties of stories and how those can serve to establish a story as a cognitive tool. They offer an example of an application of these properties to a story‐based learning design called “The Emperor who only Believed his own Eyes” in the context of a large, public science center, and specifically an exhibition about “senses”. This paper focuses on the idea of a “hack,” a museum sanctioned strategy for exploring the potential and implications of narrative‐based design as a way to reinterpret science exhibits in a way that can engage young users in content exploration and offer recommendations for future research. 相似文献
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Sally Anne Duncan 《Curator: The Museum Journal》2005,48(3):301-316
Speculation about the character and purposes of American art museums has occasioned intense debate since their inception—never more so than today. Whether to be elitist or populist, object‐based or audience‐based forms the crux of many heated arguments. This article asserts that, in the midst of competing philosophies, the successful American art museum has in reality grown from an amalgam of ideas that form a via media or middle path, far more inclusive and pragmatic than is usually noted. This comprehensive philosophy is most effectively demonstrated in the work of Henry Watson Kent at the Metropolitan Museum of Art in New York during the first decades of the twentieth century. The work of Kent and his colleagues at the Metropolitan Museum is here examined as a paradigm for the via media museum practice that speaks to the aspirations of America's current art museum leadership. 相似文献
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The aim of this paper was to discuss the role of food preservation science and technology in the conservation of complex food-based installations. By introducing the principles of food science and food preservation into the decision-making process for the conservation of contemporary art, more insight on conservation and presentation possibilities was created. Considering the installation Piece in Ghent (P.I.G.) by Jason Rhoades, which contains French fries, the principles of food preservation science were evaluated. The preservation of the original foods was discussed against the potential of a reproduction of the foods. The context for conservation was determined by analysing the artist's intention, the production method of the artwork, and the degradation processes of the food materials. From the results obtained, guidelines to preserve the ‘original’ foods were proposed, as well as guidelines to reproduce foods that can last longer. The study demonstrated that food preservation science contributed to the development of effective strategies for the conservation of contemporary food-based art. 相似文献
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Timothy J. Chester 《Curator: The Museum Journal》2011,54(2):191-206
Abstract Michigan—Land of Riches: Re‐Examining the Old Grand Rapids Public Museum was a month‐long temporary installation that took over the disused halls of a defunct regional natural history museum facility and proved that even the museum’s trash can be recycled for the benefit of community. A project to repurpose the old artifacts and dioramas as art involved student artists and art faculty from seven Michigan colleges, universities, and art institutions. Although the museum staff assisted with all object handling and the curatorial staff ensured that the stewardship of the collections was not compromised, the museum’s curators were absent in issues of content and interpretation. By the standards of most visitors, the participating artists, and the museum’s staff, the event was a wild success. 相似文献
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保罗·费罗斯 《自然科学博物馆研究》2018,(1):44-47
赫拉克莱冬是一个小国家的小型博物馆,它试图在一个文化产业并不总是受欢迎的环境中努力前行。在过去的10年中,该馆设法将艺术、科学和数学整合到一个独特的教育计划中,旨在使数学学习变得更容易、使学生热爱艺术、使科学更易于理解。为此,该馆正在与包括教育专家、数学家、美术教师在内的各路专家一起工作,使该馆开展的工作能适应并满足学生们的各种需求。 相似文献
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Alcina Cortez 《Curator: The Museum Journal》2016,59(2):153-176
Popular music is deeply embedded in the dynamics of the contemporary world by means of its capacity to engender modes of privacy and publicness, to communicate emotion, and to enable us to create connections—and so to work within communities. Museums have traditionally addressed art‐music through the exhibition of musical instruments. But now that the exhibition of popular music has presented new challenges and opportunities worldwide for museum professionals, examining popular music discourses in museums is of the utmost importance in order for it to be meaningfully celebrated as instances of heritage. This paper expands on the representation of Popular Music in museums in Portugal at the beginning of the twenty‐first century by discussing a case study: the exhibition No Tempo do Gira‐Discos: Um Percurso Pela Produção Fonográfica Portuguesa at Museu Nacional da Música, Lisbon, Portugal, in 2007. Two methods of analysis are deployed: interviews with the curators, which revealed insights on their understanding of popular music, and analysis of the exhibition through discourse analysis, specifically through the lens of the analytical concepts genre and register. Although the curators had themselves previously developed insightful and innovative concepts with regard to popular music, discourse analysis reveals how, in this instance, the museum practices were primarily inherited from past traditions, and so failed to convey the meanings previously envisioned by the curators. In order for genuine public engagement with museum exhibitions about music, a collaboration is required between the music studies and museum studies professionals. Only through such a collaboration can it be ensured that those contemporary dynamics are present and meaningful. 相似文献
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How do visitors to fine art museums experience exhibitions? Can we classify their experiences? What are the factors that drive different types of visitor experience? We set out to answer these questions by analyzing from sociological, psychological, physiological, and behavioral perspectives the responses of 576 visitors to a special exhibition 11: 1 (+ 3) = Eleven Collections for One Museum mounted at the Kunstmuseum St. Gallen, Switzerland, from June to August 2009. Our five‐year research project, eMotion: Mapping the Museum Experience, interpreted computer‐modeled movement‐tracking and physiological maps of the visitors in complement with entrance and exit surveys. We tested individual aspects of the visitor, such as her or his expectations of the exhibition prior to seeing it; his or her socio‐demographic characteristics; her or his affinity for art, mood just before and receptivity just after the visit; and spatial, individual, and group‐related behavior patterns. Our study breaks down three types of exhibition experience that we call “the contemplative,” “the enthusing,” and “the social experience.” The results yield new information about aesthetic arousal, cognitive reaction, patterns of social behavior, and the diverse elements of the exhibition experience. 相似文献
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Edith Doron 《Curator: The Museum Journal》2009,52(2):169-182
Abstract Describing actual museum‐wide events developed for the culturally charged arena of the Brooklyn Children's Museum, this article explores the philosophical and pedagogical double binds that have brought multiculturalism to a political impasse. Museums have strived to be valued resources in an increasingly diverse society. In aspiring to broaden their audience base, their work has shifted from developing educational policies that are “object‐centered” to those that are “community‐centered” — a change of strategy affecting everything from programs to exhibit design. Children's museums — distinct (if not marginalized) from the serious work of the traditional art or ethnographic or natural history museum — know and indeed say in their very name — “children's museum” — that they are for the sake of someone and not about something. They have always already been attuned to the visitor at the threshold. 相似文献
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As the character of aesthetic experience becomes more complex and multi‐faceted, exhibitions become interfaces that actively mediate between physical and invisible realities. Challenging more conventional forms of exhibition‐making, this situation becomes exaggerated when producing affective exhibition experiences in non‐conventional event‐structures and site‐specific contexts. This article explores how digital mediation and spatial practice can be productively integrated into new program architectures, specifically the type of civic media spectacles associated with the cultural phenomenon of the White Night or Nuit Blanche. The co‐authors engage with the social and cultural dynamics of such “performance spectacles” through the twin perspectives of curator and exhibition designer, which informed the realization of exUrbanScreens, an image‐based arts and new media festival that operated as a multi‐site, distributed nocturnal event. Practice‐based insights give perspective on audience participation in this type of exhibition event and the social dynamics of civic engagement in this particular form of program architecture. 相似文献
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Ronne Hartfield 《Curator: The Museum Journal》1994,37(1):46-62
The Art Institute of Chicago opened its new Kraft General Foods Education Center in 1992. Its inaugural gallery exhibition, ART INSIDE OUT: Exploring Art and Culture Through Time, was designed to help visitors explore the historical and cultural context of twelve works of art. “Contextual areas” are provided for six of them. They employ models, replicas, artwork, art materials and tools as well as interpretive panels and interactive computer installations to enable visitors to fully comprehend and appreciate the immediate world from which each work emerged. the six other works are contextualized by interactive computer installations. 相似文献
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As a regular referee for the Health Information and Libraries Journal, Richard Stephens – Winner of the 2014 Wellcome Trust Science Writing Prize – has been impressed by the science on offer in the Health Information and Libraries Journal. But he has also been struck by how often similar problems with statistical analysis reporting come up during the review process. Acknowledging that statistics can be scary, he advocates that they should be simply viewed as a means of communicating ideas. In this editorial, he provides some straightforward guidelines on reporting statistical analyses in peer review journal articles, highlights pitfalls to avoid and illustrates best practice to aim for. 相似文献
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ABSTRACTWorking collaboratively, a scholarly resources librarian and a subject liaison librarian at a small, public liberal arts college have created a GIS story mapping workshop for fellow information professionals. Using GIS, the librarians are bridging the gap between humanities and sciences in a liberal arts environment. The librarians' experience of being introduced to GIS and creating training for others enabled them to support their library's data services and digital scholarship initiatives. By helping connect the humanities with science and technology using story maps, librarians can create a neutral environment for learners to conduct interdisciplinary research and develop spatial literacy. 相似文献
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Andrew Chitty 《Curator: The Museum Journal》2011,54(4):413-418
Abstract Film archives offer unique opportunities for co‐curation between collections‐based institutions and members of the public. By making available source materials and the tools to manipulate them, institutions can work with the public to develop new interpretations of their collections as well as to tap into the remixing and sharing cultures of social and digital media. Digital co‐curation projects can develop relationships with audiences that many institutions find difficult to engage, developing alternative narratives and reclaimed histories. This paper describes the evolution of an approach to co‐curation and the tools and strategies needed to engage users. It focuses on London Re‐Cut, a project to remix London’s film history, drawing on material from 11 film archives across the city. Projects such as London Recut suggest that audiences have both the enthusiasm and the skills to open up this radical “remix” approach to interpretation. 相似文献
20.
科普场馆是普及科学知识的重要场所,用科学的方法、新颖的形式进行科学知识普及是科普场馆承担的社会责任。随着现代信息技术发展和大众对文化的需求,沉浸式戏剧成为一种体验感极强的创新艺术形式。本文从沉浸式戏剧和科普戏剧相关研究着手,分析沉浸式戏剧与科普戏剧的关系,提出以沉浸式方式开展科普剧创制与实施的可行性,并以《鲸的寻游》为例探索在科普场馆实践沉浸式科普戏剧的途径。 相似文献