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1.
Monique Scott 《Curator: The Museum Journal》2005,48(1):74-89
This article explores the question of how transnational audiences experience anthropology exhibitions in particular, and the natural history museum overall. Of interest are the ways in which natural history museums reconcile anthropological notions of humanity's shared evolutionary history—in particular, African origins accounts—with visitors' complex cultural identities. Through case studies of British, American, and Kenyan museum audiences, this research probed the cultural preconceptions that museum visitors bring to the museum and use to interpret their evolutionary heritage. The research took special notice of audiences of African descent, and their experiences in origins exhibitions and the natural history museums that house them. The article aims to draw connections between natural history museums and the dynamic ways in which museum visitors make meaning. As museums play an increasing role in the transnational homogenization of cultures, human origins exhibitions are increasingly challenged to communicate an evolutionary prehistory that we collectively share, while validating the cultural histories that make us unique. 相似文献
2.
TOM HENNES 《Curator: The Museum Journal》2002,45(2):109-121
The purposes of museums and those of their visitors often have little in common—despite the growing body of knowledge about museum learning and visitors' motivations. Based on concepts of experiential learning envisioned a century ago by the American educator and philosopher John Dewey, this paper explores bringing those purposes into closer alignment. A re‐evaluation of several factors—including criteria of experience, content organization, and the nature of inquiry—could lead to exhibitions more closely aligned with visitors' processes of self‐motivated activity and museums' goals for informal learning. One way is to shape exhibits and activity around problematical situations developed out of the exhibit experience itself and shaped by visitors' own purposes. By shifting focus from knowledge taxonomies to problem‐solving situations, museums could increase their exhibitions' potential for providing engaging educational experiences to visitors. 相似文献
3.
Andrew J. Pekarik 《Curator: The Museum Journal》2010,53(1):105-115
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.
《Curator: The Museum Journal》2017,60(4):505-525
This study investigated the impact of a visit to a Manga museum in Japan through nostalgic recollections. Twenty‐five adult visitors were interviewed about their childhood memories of experiencing manga from reading books as well as watching anime on television following a visit to the Osamu Tezuka Manga Museum in Takarazuka, Japan. From 76 episodic and autobiographical memories, five themes of impact emerged which speak powerfully to the significant influence and power of Osamu Tezuka's manga and anime on the visitors’ lives as children, and of the power of the museum experience to unlock distant latent memories and reconnect with their own sense of self‐identity. Moreover, the visitors’ own testimony of the impact of manga continued to manifest positively in their lives to the present day as life lessons of enjoyment, morality, and intergenerational learning. 相似文献
5.
博物馆学习的研究成果表明,展览除了可以通过自身的内容来对观众施加影响之外,环境设计也同样会对观众的参观效果产生影响。因此,合理评估展览环境的效果、并针对性地发现环境设计中的不足之处,将有助于展览提升总体的教育效果和观众的参观体验。本文以2017—2018年间在山东博物馆所进行的一系列博物馆学习相关研究与展览评估实践为基础,从观众的注意力水平入手,计算展厅中各个区域的“吸引力”,进而实现对展览环境效果的评估。此外,在这一过程中发现,展厅环境中的“展线”与“照明”设计,对观众的学习效果有潜在影响,值得引起博物馆在环境设计时的关注。 相似文献
6.
在当今社会,博物馆为提升全民素质起到越来越重要的作用。为了更好地发挥博物馆的社会教育功能,博物馆馆员在教育活动设计或者展览设计的过程中有必要了解观众的参观需求以及参观偏好。因此,为了体现“以观众为中心”的工作理念,作者从“观众”的视角,对一次博物馆的参观体验进行观察和反思。本次探索发现,由于观众自身所处的社会文化背景的差异,他们面对同一件展品有着不同的关注点和兴趣点。这种差异性提醒博物馆馆员在与观众进行互动的过程中,需要了解观众的不同需求和不同偏好。并且,这种参观视角的多样性也为博物馆的教育工作提供了创意的源泉。 相似文献
7.
Andrew J. Pekarik James B. Schreiber Nadine Hanemann Kelly Richmond Barbara Mogel 《Curator: The Museum Journal》2014,57(1):5-27
The theory and practice of IPOP emerged from structured observations and interviews with visitors to the Smithsonian Institution museums in Washington, D.C. from the 1990s to the present—a dataset useful in constructing a long view. This research has had one overarching intention: to serve museum visitors better, that is, to provide visitors with experiences that are above average, special, significant, and memorable. In numerous studies and interviews during the last 16 years, visitors have repeatedly spoken about their reactions to Smithsonian museum exhibitions in four typologies distilling their primary interests: I = ideas, P = people, O = objects, and—as we were obliged to add at a later stage—a second P for “physical.” The evidence suggests that exhibitions that strongly appeal to all four visitor typologies will be highly successful with visitors. 相似文献
8.
David Anderson 《Curator: The Museum Journal》2003,46(4):401-420
This article reports on the outcomes of a study that investigated the nature and character of visitors' long‐term memories associated with their experiences at large‐scale exhibitions. The study investigated themes that characterized visitors' memories of two global exhibitions: World Expo 86, hosted in Vancouver, Canada in 1986; and World Expo 88, hosted in Brisbane, Australia in 1988. There are a few studies in the literature that have considered long‐term memories associated with visits to informal learning environments, but no studies to date that have considered the impact and long‐term memories associated with large‐scale exhibitions such as world expositions. This study probed the long‐term memories of a total of 50 visitors who attended either Expo 86 or Expo 88, through in‐depth face‐to‐face interviews. Analysis of the interview data suggests that the key themes in memories of these events center on the social dimensions of visitors' experiences, visitors' recalled agendas at the time of the experience, and the socio‐cultural identities of visitors at the time of the experience. 相似文献
9.
David Shayt 《Curator: The Museum Journal》2008,51(2):179-185
Abstract Large works of public sculpture outside our museum doors reveal aspects of a museum's self‐image. They beckon, reassure, or confront visitors with new ideas about what might lurk inside. Whether off‐the‐shelf or commissions by well‐known sculptors, these pieces matter. They are the noses on our museum faces. In this essay, one museum curator reflects on the layered meanings of his museum's entry art — meanings that, he argues, have the potential to evolve over time. 相似文献
10.
Abstract To evaluate visitors' use of the exhibitions and the communication strategy of the Milan Natural History Museum, we compared results gathered with two methods, based respectively on the timing of visitors and on the unobtrusive observation of exhibit‐use behaviors. We collected data from a sample of 100 groups of visitors (not guided), randomly selected at the museum entrance. We recorded the following data for each group: halls visited, length of stay in each hall, any kind of behavior showing visitor/exhibition interaction and the displays where interactions occurred. The study shows that visiting time does not give enough information about the actual use of exhibits by the audience. The investigation of visitor/exhibition interactions revealed itself to be the most usual method to describe the visitors' use of the exhibitions. The most important factor influencing visits to the Milan Natural History Museum is the communication technique used in the exhibition areas. 相似文献
11.
伯顿·K·利姆 《自然科学博物馆研究》2018,(1):71-76
皇家安大略博物馆融合自然历史和世界文化于一身,藏品超过1250万件,大量开展国际范围的研究。2017年参观人数超过130万人次。该馆设有27个永久的世界文化和自然历史展厅、2个儿童动手实践探索展厅和4个用于临时展览的展区。该馆收集了两只鲸鱼的骨架,将其中一只鲸鱼的心脏做塑化处理后在主展厅展出,将在加拿大各地和其他国家和地区进行巡回展出。 相似文献
12.
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
13.
Ken Yellis 《Curator: The Museum Journal》2010,53(1):87-103
There are an estimated 17,500 museums in the United States. If people think these institutions are pretty much the same once you get inside or that the differences between them are unimportant, it might be hard to persuade them that all 17,500 are needed. Exhibitions can have great transformational power; why don’t they exercise that power more often? Have museums not fully understood exhibitions as a medium? Have we not devoted enough attention to the full repertoire of visitor feelings? Have visitors been telling us this and we have failed to listen? For many people, museums play many roles in their lives; for most others few or none. How can this be? “Museum‐adept” visitors seem to prize museums as theaters in which their own emotional and spiritual journeys can be staged, but what about the non‐museum‐adept? Can the museum‐adept teach us how to realize our medium’s full potential? 相似文献
14.
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
15.
Antonio G. Valdecasas Virginia Correia Ana M. Correas 《Museum Management and Curatorship》2006,21(1):32-43
The first natural history collections opened to the public were inspired by a sense of curiosity and wonder about the products of nature. They were ‘cabinets of curiosities’ that offered a first-hand interaction between owner and visitors. Nowadays, these two facets of the museum experience—dialogue and wonder—have been lost, in part, due to the information overload coming via the media and the impersonal nature of the museum visit. This paper offers some reflections on the evolution of the museum visit, suggests some ways to rediscover this ‘sense of wonder’ and provides ideas on how to promote two-way communication with museum visitors. Two examples of exhibitions are offered as illustrations of the points discussed. 相似文献
16.
Robert Mac
West 《Curator: The Museum Journal》2004,47(2):213-223
Abstract The increasing use of interactivity obliges museums to make decisions about the most appropriate interpretive strategies for exhibitions and experiences. Interpretive strategies have immediately apparent costs for an institution, as well as other less obvious implications. Interactive exhibits generally cost significantly more to develop, design, fabricate, and operate. There also are other, non‐quantifiable costs. For instance, environments might be very appealing to some visitors but less appealing to others. Some activities may inhibit social interaction among visitors. There is a danger that broken interpretive exhibits may convey a perception of low confidence in the museum, or that obsolete technologies may suggest inadequacy (especially in a science presentation). Finally, interactive exhibits that don't function optimally may create internal and public uncertainty about the core mission of the museum. 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.
ELANA KALISHER 《Curator: The Museum Journal》1998,41(1):13-35
In accordance with the Rehabilitation Act of 1973 and with the Americans with Disabilities Act of 1990, museums serve their deaf visitors by offering assistance through accessibility programs designed specifically to provide access to the museum, its collections, and/or information in an exhibition or program that would otherwise be unattainable by a person with a disability. Accessibility provisions such as signed tours, TTYs, and subtitled audio information have helped deaf people experience and enjoy museums. While these programs and provisions are necessary museum services, they do not acknowledge the view of many Deaf people—that they are not disabled but rather members of a community that does not hear. Nor do accessibility programs generally include programs on the shared traditions, values, and language that make up the culture of the Deaf community. This paper seeks to introduce museum professionals to the Deaf cultural community and Deaf cultural exhibitions that celebrate the history, achievements, and tradition of Deaf people; it offers steps to follow in planning such exhibitions and provides some examples. 相似文献
19.
20.
Museums, art galleries, botanical gardens, national parks, science centers, zoos, aquaria and historic sites are important public learning institutions. The free‐choice learning offered in these settings is closely linked to visitors' intrinsic motivation, making it important to understand the motivational factors that impact on visitors' experiences. This paper presents data from a questionnaire administered to visitors at three sites: a museum, an art gallery, and an aquarium. Similarities and differences among the sites are reported in relation to visitors' expectations, perceptions of learning opportunities, engagement in motivated learning behaviors, and perceptions of the learning experience. The importance of learning to museum visitors and the unique opportunities and challenges of the museum in relation to other educational leisure settings are discussed. The authors argue that the study of motivational factors might contribute to the development of a common theoretical foundation for interpretation in museums and other informal learning settings. 相似文献