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1.
Museums today grapple with the reconciliation of traditional models of authority with the expectation to incorporate new voices in cultural interpretation. At the same time, society is increasingly empowered by a social Web that provides collaboration, connectivity, and openness. This paper frames the dialogue of authority and openness around parallel theories within the museum and technology communities, offering Wikipedia as a platform for facilitating new perspectives in collaborative knowledge‐sharing between museums and communities. Expanding on the metaphors of the museum as “the Temple and the Forum” and the Web as “the Cathedral and the Bazaar,” this essay argues that issues of democratization, voice, and authority in museums can be addressed through Wikipedia's community, process, and its potential as a model for a new Open Authority in museums.  相似文献   

2.
Abstract Acknowledging that the purpose and form of inquiry processes can vary across and within disciplines, this article focuses on interpretive inquiry: the kind of inquiry conducted to interpret works whose reading is not “rigidly pre‐established and ordained” by a set of cultural references, but rather invite “freedom of reception” ( Eco 1989 , 6). Through comparison of two real‐life inquiries, the author shines a light on the distinctive features of interpretive inquiry. These include a web‐like meaning making process, a reliance on analogies and metaphors, and the possibility of accepting uncertainty as part of the work’s meaning. Implications for art museum education practice are explored.  相似文献   

3.
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   

4.
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   

5.
Abstract In this paper we describe the particularities of Latin American museum visitors as learners through an exploratory study that took place at Universum, Museo de las Ciencias, a science museum located in Mexico City. The exploration of the learning experiences of Latin American family groups was carried out by means of a case study approach and from a socio‐cultural theory perspective. This inquiry of 20 family groups reveals that nuances of the concept of “family,” in the Mexican context, are important in studying family learning in museum settings. The prominent roles of the extended family and interactions within family groups are discussed as intrinsic traits of a family’s museum learning. In addition, the outcomes of this study highlight the impact that the Latin American notion of educación has on museum education and research, as it encompasses issues that relate to the perpetuation of socio‐cultural values, child‐rearing, and ultimately, cultural identity.  相似文献   

6.
Abstract Major museums worldwide are starting to use social media such as blogs, podcasts and content shares to engage users via participatory communication. This marks a shift in how museums publicly communicate their role as custodians of cultural content and so presents debate around an institution's attitude towards cultural authority. It also signifies a new possible direction for museum learning. This article reports on a range of initiatives that demonstrate how participatory communication via social media can be integrated into museum practices. It argues that the social media space presents an ideal opportunity for museums to build online communities of interest around authentic cultural information, and concludes with some recent findings on and recommendations for social media implementation.  相似文献   

7.
The authors discuss the principles of “access for all” in museums, both physical and intellectual access. They explore this question of multisensory processing in neurologically typical individuals, and case studies of two Portuguese museums that experimented with implementation of an “access for all” approach to the presentation of their permanent collections. The study was designed with three phases: addressing architectural barriers to access, preparation of accessible information about space and objects, and testing of alternative formats to convey this information to learn how to meet diverse needs in different ways. Set in the context of research on multisensory learning, this article discusses why an access for all principle is a majority issue as well as a moral and legal concept. It discusses two case studies where an “access for all” museological approach has been applied to access to the collections, with differing success. The discussion focuses on how an “access for all” approach could enhance learning, long‐term memorability and the ‘cultural value’ of a museum experience for all visitors.  相似文献   

8.
Abstract In this article the author describes the process and framework behind the experience of developing a “Legitimate Visual Question Exhibition.” We start with the assumption that a museum has a responsibility to challenge and provoke its visitors and help them create new meanings, thus transcending the traditional model of information transfer. A Legitimate Visual Question Exhibition can effectively accomplish this. It approaches the task through installations of familiar subjects and stories presented in a manner that provokes questions that aren’t easily answered by cause‐and‐effect explanations. Several examples from a cultural museum in Israel are used to illustrate the philosophy and approach.  相似文献   

9.
This essay examines Brain: The World Inside Your Head, a traveling museum exhibit sponsored by Pfizer, to show how the dissemination of psychiatric vocabularies aligns corporate and individual interests. The spatial composition of the museum and its interactive exhibits interpellate visitors as active agents capable of expressing their experiences through the scientific vocabularies of contemporary neuroscience. The gentle and benevolent conditioning to a way of thought and a manner of speaking, rather than a “hard sell” approach, makes pharmaceutical remedy an obvious and desirable mode of self care.  相似文献   

10.
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   

11.
Abstract This essay recounts the story of the Denver Community Museum, a pop‐up institution which operated for almost a year in downtown Denver, Colorado. This temporary museum was designed to be short‐lived. It prompted experiments with audience participation and questioned past versus present, fact versus fiction, and the museum “voice.” This article gives an overview of the space and its operations. Using personal accounts, the article explores the value of participation for the museum’s audience, as well as for the institution itself. These narratives are used as a springboard for a larger discussion of museum practice and creating opportunities for personal connection within the museum.  相似文献   

12.
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   

13.
Abstract The prevailing worldview in North America is grounded in the belief that continuous economic growth is essential to individual and societal well‐being. One result of the dominance of this worldview is the rise of museum corporatism, characterized by the primacy of economic interests in institutional decision making. This paper provides a critical overview of the growing dominance of marketplace thinking in museum affairs, and argues that this market‐oriented viewpoint is enfeebling or diverting otherwise competent museums from realizing their unique strengths and opportunities as social institutions in civil society. The meaning and implications of the “civil society” are discussed with particular reference to museums, along with several examples of museums and galleries that are currently playing key roles as agents of the civil society. This paper contends that departing from the status quo of marketplace imperatives opens the door to more creative definitions of museums as social institutions. Rather than becoming more like businesses, museums must exploit their uniqueness, resisting the domination of marketplace thinking, and testing alternative means of achieving meaning and sustainability within their communities.  相似文献   

14.
As one of the semi‐permanent exhibitions of the Wereldmuseum (World Museum) in Rotterdam, the subject of “The World of Enlightenment” is to show the “teachings” of Japanese esoteric Buddhism. It is distinguishable from those religious exhibitions whose focus lies in introducing the religious materials based on an art‐historical perspective or the classification of a defined style and historical period, as its scope sought to show the audience how the Japanese “secret teaching” is experienced “in practice,” namely, in the ritual context. In order to engage museum audiences in the spirituality of Japanese esoteric Buddhist presented in this exhibition, the curator and museum staffs construct five temple‐like structures to group the religious objects and highlight their usage in Japanese esoteric ritual. This exhibition review intends to present the special strategy that “The World of Enlightenment” employs to construct a sense of ritual scene to its audiences: certain installations are placed both inside and outside of the five temple‐like structures to refer to the “metaphorical presence” of both the Japanese esoteric priest and worshiper, in so doing to make these “imagined” temple setups more “lifelike.”  相似文献   

15.
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   

16.
Abstract Interviews conducted during the summer of 2006 with people in and around the international museum community suggest that the interests natural history museums share in common with each other and with other kinds of organizations and communities are creating an array of new links across institutional, social and cultural boundaries. These links are active, complex, networked relationships directed toward common purposes. Museums that are taking advantage of this emerging environment are becoming “hyperconnected hubs” across which knowledge is exchanged and action initiated. In forging a multitude of “weak ties” outward at different institutional levels, museums are finding that their shared activity with others brings to themselves new and often unexpected value across the “strong ties” that bind them together internally as institutions. Those natural history museums most able to participate as members of larger, interconnected entities are finding powerful new opportunities to more vigorously engage the world they study and the constituencies they serve. In the process, they are becoming increasingly open, active and relevant.  相似文献   

17.
The move from “old” to “new” media centrally involves a shift in participatory possibilities, through which individuals and communities differentially access and populate the public sphere, assume voice, and partake in open discussion and debate. This paper offers a rich ethnographic case study of new participatory media in the shape of commenting systems in museums. By portraying the similarities and the differences in communicative affordances between two museum media—traditional visitor books, on the one hand, and a digital and immersive interface, on the other hand—light is shed on how media invite and intervene in possibilities for public participation. Furthermore, with their emphasis on visual design and display, studying participatory public media in museums helps highlight the semiotic construction of the public sphere as such, and how the notion of the public and laypersons’ contributions are materially displayed. Analysis of communicative affordances reveals the politics of remediation, and supports recent hesitations with regard to the promise of newer and “smarter” media: digital media affords more interaction than their analogue predecessors, but participatory content-production via analogue media is found to be discursively richer on a number of grounds.  相似文献   

18.
Abstract In this article, the editors of the recent National Research Council report Learning Science in Informal Environments: People, Places, and Pursuits discuss the report’s implications for museum professionals. The report is a synthesis of some 2,000 studies and evaluations of learning in non‐school settings such as museums. Here we focus on three specific topics discussed in the full report, which we see as particularly important for museum professionals. These are: a framework for developing and studying science learning experiences; cultural diversity as an integral resource for learning; and assessment of learning. Many museums include “learning” among their goals and many researchers concern themselves with how museums and other settings can be organized to support learning. Yet this wealth of research is rarely brought into focus and offered as guidance to the museum community.  相似文献   

19.
The museum in the contemporary era imports from the nineteenth century a venerable idea: that the first responsibility of a public art museum is to enlighten and improve its visitors, morally, socially, and politically. Yet visitors often seem to have arrived from another planet, bringing with them their own cultural meanings and agendas. A series of two articles presents ethnographic data, anthropological analysis, and a marketing perspective to suggest why the visitors' points of view may seem vertiginously strange to museum personnel. This article, Part One, characterizes the conflict between host and guest as the outcome of two competing models of culture: “preferment” and “transformation.” In a subsequent issue of Curator, Part Two will examine the influence of consumer culture on these models, and offer strategies for rapprochement.  相似文献   

20.
Abstract The Vietnamese Women’s Museum (VWM) opened in 1995 with the mission to improve public knowledge of the historical and cultural heritage of Vietnamese women in the nation’s 54 ethnic community groups. The VWM aimed to be a center for cultural exchange with women from other nations with the goal of fostering “equality, development, and peace.” At the outset it honored the positive role played by women in general, and presented some typical individuals acclaimed for their contributions and sacrifices. After some visitor research, the museum is now using a gender‐specific approach, playing the role of social critic, reflecting contemporary life, and targeting marginalized women groups.  相似文献   

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