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1.
It has been argued that visitors' pre-visit “agendas” directly influence visits. This study attempted to directly test the effects of different museum visit agendas on visitor learning. Two new tools were developed for this purpose: (1) a tool for measuring visitor agendas; and (2) a tool for measuring visitor learning (Personal Meaning Mapping). Visitor agenda was defined as having two dimensions: motivations and strategies. Personal Meaning Mapping is a constructivist approach that measures change in understanding along four semi-independent dimensions: extent, breadth, depth, and mastery. The study looked at 40 randomly-selected adults who were visiting the National Museum of Natural History's Geology, Gems and Minerals exhibition. Visitor agendas did significantly impact how, what, and how much individuals learned. Results are discussed in terms of the current debate about education vs. entertainment. 相似文献
2.
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
3.
John H. Falk Carol Scott Lynn Dierking Leonie Rennie Mika Cohen Jones 《Curator: The Museum Journal》2004,47(2):171-198
Abstract Interactives—computers and other multimedia components, physical manipulatives (including whole‐body and tabletop activities), and simulations—occur in all types of museums. There is considerable interest in the nature of the learning that happens when visitors use interactives. Museum professionals have enlisted constructivist theory to support the notion that interactive elements are invaluable components of any exhibition experience, and are effective learning tools that enable active visitor engagement. Interactives are also seen as vital to sustaining institutional image and expanding institutional popularity. Despite the increasing use of interactives in exhibitions and the substantial investments being made in their design and maintenance, there is a paucity of research as to whether these constructivist assumptions are supported. There is little work exploring visitors' perceptions of specific types of interactives, or the role of interactivity in the visitor experience generally. Museum staff thus have a limited ability to make informed decisions about the level and type of interactivity that might enhance exhibition experiences. This paper describes a collaborative effort in 2001 by researchers at the Powerhouse Museum (PHM), Sydney; the Institute for Learning Innovation (the Institute), Annapolis, Maryland; and Curtin University of Technology (Curtin) and Scitech Discovery Centre (Scitech), both in Perth, Western Australia. This study investigated two aspects of interactivity: 1) visitor perceptions of interactivity in two different contexts, a museum and a science center; and 2) the types of short‐ and long‐term learning that resulted from use of interactives in these two institutions. 相似文献
4.
Jay Rounds 《Curator: The Museum Journal》2004,47(4):389-412
Tracking studies show that museum visitors typically view only 20 to 40 percent of an exhibition. Current literature states that this partial use sub‐optimizes the educational benefit gained by the visitor, and that skilled visitors view an exhibition comprehensively and systematically. Contrary to that viewpoint, this paper argues that partial use of exhibitions is an intelligent and effective strategy for the visitor whose goal is to have curiosity piqued and satisfied. By using analytical approaches derived from “optimal foraging theory” in ecology, this paper demonstrates that the curiosity‐driven visitor seeks to maximize the Total Interest Value of his or her museum visit. Such visitors use a set of simple heuristics to find and focus attention only on exhibit elements with high interest value and low search costs. Their selective use of exhibit elements results in greater achievement of their own goals than would be gained by using the exhibition comprehensively. 相似文献
5.
Beverly Serrell 《Curator: The Museum Journal》1997,40(2):108-125
The amount of time visitors spend and the number of stops they make in exhibitions are systematic measures that can be indicators of learning. Previous authors have made assumptions about the amount of attention visitors pay to exhibitions based on observations of behavior at single exhibits or other small data samples. This study offers a large database from a comparative investigation of the duration and allocation of visitors' time in 108 exhibitions, and it establishes numerical indexes that reflect patterns of visitor use of the exhibition. These indexes—sweep rate (SRI) and percentage of diligent visitors (%DV)—can be used to compare one exhibition to another, or to compare the same exhibition under two (or more) different circumstances. Patterns of visitor behavior found in many of the study sites included: (1) visitors typically spend less than 20 minutes in exhibitions, regardless of the topic or size; (2) the majority of visitors are not “diligent visitors”—those who stop at more than half of the available elements; (3) on average, visitors use exhibitions at a rate of 200 to 400 square feet per minute; and (4) visitors typically spend less time per unit area in larger exhibitions and diorama halls than in smaller or nondiorama exhibitions. The two indexes (SRI and %DV) may be useful measures for diagnosing and improving the effectiveness of exhibitions, and further study could help identify characteristics of “thoroughly-used” (i.e., successful) exhibitions. 相似文献
6.
《Curator: The Museum Journal》2017,60(1):47-65
Contraception: Uncovering the collection of Dame Margaret Sparrow was an exhibition at the Museum of New Zealand Te Papa Tongarewa which featured a participatory activity titled “Let's talk about sex” where visitors could answer the question: “If you could give your younger self one piece of advice about contraception, what would it be?” Over 2200 comments were written, inspiring an evaluation project. The resulting analysis provides insights into visitors’ attitudes, values, behaviours, experiences and concerns about contraception, sex, sexuality and sexual health in the early 21st century. The results also demonstrate the value and usefulness of visitor comments both as an exhibition experience and as data to complement formal evaluation methods. The paper also acknowledges the less successful aspects of the project. 相似文献
7.
Jay Rounds 《Curator: The Museum Journal》2006,49(2):133-150
Abstract Museum visitors typically look at only about a third of the elements of an exhibition, and often give only limited attention to those. Can visitors really be getting something worthwhile from such partial usage of an exhibition? This article explores how visitors use exhibitions for “identity work,” the processes through which we construct, maintain, and adapt our sense of personal identity, and persuade other people to believe in that identity. Museums offer powerful opportunities for doing identity work, but the visitor does not need to engage with exhibition content deeply or systematically in order to gain the benefits that museum experiences offer for identity work. 相似文献
8.
CAROL E. MAYER 《Curator: The Museum Journal》2001,44(4):378-400
Traditions associated with conservatism, scholarly content, and durability inform the ideology of the permanent exhibition. Once installed it is usually considered complete, and will remain unchanged until its content is questioned or considered outdated, or its physical deterioration becomes embarrassing. Museum curators work on very few, if any, permanent exhibitions during their career, and when they do their primary focus is on the scholarly content. It has only been in the past few years that museums, and curators, have looked to the discipline of visitor studies as being integral to process of exhibition development and the accessibility of content. A permanent exhibition constructed prior to this collaboration is revisited by its curator who applied five visitor studies' methodologies to the gallery to ascertain whether the curatorial/design concept was accessible to the visitor. This paper presents some ideas and findings from that study. 相似文献
9.
Portia James 《Curator: The Museum Journal》1996,39(1):19-44
A historian explores the construction of Anacostia Museum's identity from the 1960s to the present by examining the history of its exhibitions. Direct community accessibility was part of the museum's founding mission, but Smithsonian administration, museum staff, and community residents all seemed to have different ideas about the meaning of the “neighborhood museum” concept. Designated a “Smithsonian outpost,” and intended to draw African-American visitors to the Smithsonian museums on the Mall, the new museum's mission was instead shaped by community advisory groups to focus broadly on African-American history and culture. Staff efforts to “professionalize” and upgrade museum operations later threatened community access to the exhibition-development process, and most community/museum interaction was relegated to the program and outreach activities of the education department. The 1994 Black Mosaic exhibition provided an opportunity to devise new ways of integrating the perspectives of a changed community into the exhibition-development process. 相似文献
10.
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
11.
Jan Packer 《Curator: The Museum Journal》2008,51(1):33-54
Abstract This paper explores the beneficial outcomes that visitors seek and obtain from a museum visit, in terms that are not related to learning outcomes. It uses a deductive qualitative approach to investigate the meaning and value of a museum visit from the visitors' perspective. Three different levels of the meaning of the experience are considered: the attributes of the setting that visitors value; the experiences they engage in; and the benefits they derive. The findings confirm the importance of the “satisfying experiences” framework for understanding visitor experiences in museums, and extend this understanding in relation to the beneficial outcomes these experiences produce. The study also highlights the importance of “restoration” as an outcome of a museum visit. It is argued that the concept of the museum as a restorative environment, which enables visitors to relax and recover from the stresses of life, is worthy of further research attention. These insights will enable museum practitioners to better understand and meet their visitors' multiple needs and expectations. 相似文献
12.
Jean‐Franois Lger 《Curator: The Museum Journal》2014,57(1):29-44
This article presents an interpretive planner's perspective on the relevance to his work of the Ideas/People/Objects (IPO) visitor experience typology formulated by Pekarik and Mogel ( 2010 ). The value of IPO in shaping the visitor experience for an exhibition on Haitian Vodou is illustrated in practice from the perspective of a number of interpretive and exhibition design tools, with a focus on how the theory was applied on the ground. The success of the model hinges on fusing what are traditionally perceived as distinct approaches to interpretation (intellectual, personal or aesthetic), thus enriching the visitor experience and increasing satisfaction. In conclusion, the success of the approach is evaluated in terms of visitor comments. 相似文献
13.
14.
Lois H. Silverman 《Curator: The Museum Journal》1995,38(3):161-170
The concept of meaning-making is generating excitement within the museum community, with good reason. Providing an approach to understanding visitor experiences, the paradigm illuminates the visitor's active role in creating meaning of a museum experience through the context he/she brings, influenced by the factors of self-identity, companions, and leisure motivations. As a result, visitors find personal significance within museums in a range of patterned ways that reflect basic human needs, such as the need for individualism and the need for community. The dynamics of visitor meaning-making indicate the importance of fashioning a better “fit” between people and museums in two critical areas: (1) between human meaning-making and museum methods and (2) between human needs and the purpose of museums in society. Each of these areas illuminates a promising direction for a new age of museums in which we actively support, facilitate, and enhance the many kinds of meaning possible in museums and explicitly incorporate human needs into exhibit goals and institutional missions. Examples of successful strategies are discussed. 相似文献
15.
Susan Mancino 《Curator: The Museum Journal》2016,59(2):141-152
Throughout their history, museums have performed diverse public services: from preservation, collection, and exhibition, to interpretation, education, and civic engagement. As Stephen E. Weil ( 2002 ) explains, since the mid‐twentieth century, museums have experienced two major revolutions. First, a revolution in focus from collection‐oriented to visitor‐oriented practices, and second, a revolution in public expectations as museums secured a position within the nonprofit sector (81–82). With competition for public, private, and philanthropic support resting upon measurable results, the evaluation of museums depends upon its ability to “accomplish its purpose” (5). However, the question remains: what is the museum's purpose? Which is the more important: collection and artifact preservation, or public engagement and education? An overview of museum practices reveals a multiplicity of professional tasks distributed among three imperatives: preservation, scholarship, and programming (Weil 2002 , 11). The competition for resources devoted to each of these imperatives can spark controversy—particularly if museum professionals answer the question of the purpose of museums differently. Organizational communication scholar, Janie M. Harden Fritz, developed a theoretical framework that seeks to respond to such controversies in Professional Civility: Communicating Virtue at Work. This essay considers Fritz's “professional civility” in the context of the American museum sector, lending insight to the question of museum purpose and function. 相似文献
16.
This article reports on a study conducted for an exhibition team at the Smithsonian's National Museum of American History (NMAH). As part of the planning process for a major exhibition, we studied visitors at a small preview exhibition, The Social Roots of Rock and Soul. Personal interviews, including a tape-recorded portion in front of the Rock and Soul display about the images and the themes, were conducted at four venues of the Smithsonian's 150th Anniversary traveling exhibition, America's Smithsonian (Los Angeles, Kansas City, St. Paul, and Houston). The most significant finding from visitor responses is strong regional differences. The study also showed that visitors responded to the images and storyline differently, depending on whether the material was presented through video or panels. 相似文献
17.
“图书”一词起源较早,最早可追溯到先秦时期,目前可以确证的是它出现于西汉初期。“图书”由单音词“图”与“书”组成,“书”的本义指“书写记录之物”,“图”本义指“地图档案”,二者均有档案之义。本文对出现“图书”一词的早期文献及其版本进行考辩,并对其组成意义进行分析,认为“图书”一词的原始含义为“图籍档案”。 相似文献
18.
覃雪波 《自然科学博物馆研究》2021,(1):31-41
观众参观时间是博物馆观众研究的重要内容之一,反映了观众对展览的关注程度。本文利用跟踪观察法调查了2014—2019年天津自然博物馆新馆生态厅的观众有效参观时间以及展板和多媒体的使用情况。结果发现:观众有效参观时间总体偏短,且在不同人群差异不显著,但在不同展区差异明显。在影响观众有效参观时间的重要因素中,标本大小和标本珍稀度是关键因素。观众对展板和多媒体的利用率均较低。为提高观众有效参观时间,建议为观众提供讲解、合理分配展品、适当延长展线、展板和多媒体要少而精且内容应及时更新等。 相似文献
19.
Andrew J. Pekarik 《Curator: The Museum Journal》1997,40(1):56-68
Many museums use comment cards, visitor books, and bulletin boards to capture the reactions of visitors. Whether they are collected, counted, skimmed, read, or simply filed, the utility of these documents is rarely questioned. This paper suggests some pros and cons of comment systems and presents an analysis of the comments on an exhibition, Flight Time Barbie, at the National Air and Space Museum (NASM), Smithsonian Institution, in Washington, DC. The responses to this exhibition included judgments about the subject matter of the exhibition, opinions about its presentation, and remarks regarding its appropriateness to the museum. The paper concludes by suggesting a practical approach to the analysis of visitor comments. 相似文献
20.
Tom Hennes 《Curator: The Museum Journal》2012,55(2):129-138
Abstract Ken Waliaula’s essay in this issue, Remembering and Disremembering in Africa, acutely observes the interaction of individual memory with what has been remembered and “disremembered” (willfully erased) by local communities and larger national political structures in Kenya. His reflections on the way society deals with memory offer valuable insight into museum‐making. Exhibitions can accommodate the fuller range of complexity, meaning, and interpretation that is reflective of real history as experienced from the range of perspectives Waliaula describes. To create such exhibitions, museum professionals need to adopt methods of collection and curation that differ from the common practice of “telling the story” in favor of incorporating greater narrative variety that embodies the complex contradictions of events that become history. By doing so, museums may better equip their users to share interpretive authority and experience a greater sense of authenticity within the exhibition. 相似文献