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1.
George Hein, museum education theorist, asserts that there are five qualities a “constructivist exhibition” must have (1998, 35). The authors, assembling observations of visitor engagement and qualitative data from the 2013 Smithsonian Folklife Festival, compare the event to Hein's constructivist exhibition criteria, to assess whether the Festival allowed visitors to “make meaning,” and to see whether visitor meaning‐making meshed with the goals of the curators. The answers have the potential to help improve visitor experiences and learning outcomes at museums and other curated cultural events. 相似文献
2.
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
3.
Barbara J. Soren 《Curator: The Museum Journal》2000,43(4):324-342
Abstract This article describes how two art museums have used the results of audience research for institution‐wide planning. Results and outcomes are reported from a visitor audit at the Tate Gallery (now Tate Britain), and from a survey of Black cultural tourists and local African Americans visiting The Art Institute of Chicago. A follow‐up interview five years later with the head of communications at the Tate Gallery highlights how exhibit developers and museum staff used visitor feedback and response to improve visitor care, and ultimately visitor experience. A conference presentation a year after the audience research was conducted at the Art Institute and an exhibition two years following are indications of the extent to which the African American audience research project had an institutional impact. The article concludes with a review of helpful methods and suggestions for other institutions. 相似文献
4.
Lisa Sita 《Curator: The Museum Journal》1997,40(2):101-107
As natural history museums are becoming more state-of-the-art, integrating computer technology and other interactive components into their exhibits, challenges arise as to how best incorporate these elements into the learning that occurs in a traditional museum setting. In October of 1996, the American Museum of Natural History (AMNH) hosted the exhibition Leonardo's Codex Leicester: A Masterpiece of Science, which included interactive computer stations as well as ten working models designed specifically for the exhibition. This article explores the museum's approach to making use of these interactives in planning and implementing a school program for this exhibition. The program was experimental in its format, given the short run of this exhibition, as well as limited planning time. The purpose of this article is to determine what a museum can do to offer quality programs that reach as many students as possible when working under time constraints. 相似文献
5.
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
6.
Abstract An exhibition team at the National Museum of the American Indian, working with a visitor studies specialist from the Smithsonian’s Office of Policy and Analysis, used visitor studies conducted by the entire team during planning for a reinstallation of part of the permanent collection. The studies evolved organically during the exhibition planning as questions and hypotheses arose among the team. The answers led to further studies. This research model brought team members together in a spirit of inquiry and a process of discovery, changed their perceptions of themselves and their subjects, and suggested a new typology of visitors. 相似文献
7.
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
8.
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
9.
During Spring 1997 we experimented with a research method combining quantitative and qualitative approaches to documenting visitor experiences in The Glory of Byzantium, a special exhibition of the Metropolitan Museum of Art. In addition to using standard demographic and behavior surveys, a small team of researchers and volunteers gathered information, compared experiences, and summarized their observations of people in the exhibition. Each team member conducted about a dozen structured conversations with visitors as they left the exhibition. Subsequently the team met as an informal focus group to describe their experiences. We found that many museum users arrived with relevant experiences and high expectations for this somewhat specialized exhibition; we also found users whose approach to the exhibition was less well‐informed, but whose enthusiasm and trust for the museum experience moved them to attend with satisfaction. We believe that such team approaches to research might well be used as a regular part of museum work as we search for answers to the many elusive questions about museum use. 相似文献
10.
张昱 《自然科学博物馆研究》2018,(3):63-70
在博物馆更新改造中设置与展厅相邻的教室、实验室、活动室,开展与展览内容对应的教育活动,体现了国际上博物馆“展教结合”、加强教育功能的发展趋势。美国史密森尼国家自然史博物馆Q?rius展区即是这一趋势的产物,它将教育与展厅及其展览内容密切呼应、深化展览教育,在空间规模、功能布局、对象设定、活动规划、教育资源、人员分配、突出公众的“个体化”“参与式”和“关联型”学习等方面拥有较为成功的经验,可为我国博物馆提供借鉴。 相似文献
11.
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
12.
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
13.
Abstract Museum visitors arrive at an exhibit or tour with their own individual experiences, memories and knowledge related to the subject — in a phrase, their “entrance narrative.” We tested what happens to participants in guided tours when the guide first accesses — by two different methods — the entrance narratives of their visitors, and then makes specific connections from these entrance narratives to the content of the tour. The subject of the tour was a guided tree walk at Hebrew University's open‐campus museum. Behavioral measures and questionnaires both indicated that accessing and incorporating participants' entrance narratives profoundly enhanced their experience. The enhancement was somewhat greater among visitors from the general public than among groups of university students. We suggest that guides could use the simple methods described here, in a wide variety of tour types, to enhance visitor experiences. 相似文献
14.
Abstract Museum professionals strive to provide meaningful experiences for visitors. Meaningful experiences are those that provide choice and control in the exploration of ideas, concepts, and objects. In many cases, these experiences occur through an interactive component. Although a number of studies have focused on interactives in museums, the field would benefit from an intensive look at how visitors perceive of and learn from these experiences. Discussion about this topic has been sidetracked by conversations about the terminology that describes this type of experience. Drawing upon studies conducted in this area, this paper looks at the role of interactives in museums by exploring three broad themes: clarity of purpose and underlying assumptions; design factors; and social engagement and learning. In conclusion, suggestions are offered for ways that these studies might inform the development of interactive experiences. 相似文献
15.
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
16.
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
17.
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
18.
Shiyanthi Thavapalan 《Curator: The Museum Journal》2014,57(1):137-145
The curators of the exhibition Uruk: 5000 Years of the Megacity claim that Uruk is the earliest known city in the world, the birthplace of writing, bureaucracy, monumental art, and architecture. Their reconstruction of this ancient metropolis in present‐day Berlin suggests to visitors that modernity and Mesopotamia are perhaps not worlds apart after all. The sumptuous new exhibition—organized by the Vorderasiatisches Museum/Staatliche Museum Berlin, the Reiss‐Engelhorn Museum Mannheim, and the Curt Engelhorn Foundation in collaboration with the German Archeological Institute and the German Oriental Society (DOG)—commemorates the centennial of the first German excavations at the site of Warka in southern Iraq. 相似文献
19.
Marsha L. Semmel 《Curator: The Museum Journal》2010,53(2):155-162
Abstract The Institute of Museum and Library Services (IMLS) has funded hundreds of projects that promote lifelong learning in all disciplines and types of museums and libraries, including museum/library partnerships with schools, universities, and other formal learning organizations. Learning Science in Informal Environments: People, Places, and Pursuits (LSIE) is a milestone in a continuing quest to understand and articulate the impact of informal learning experiences. Its recommendations identify significant issues for future research and practice, with implications beyond science learning. This article places the report in the context of previous and future IMLS work, including increased agency focus on—and resources for—research, evaluation, collaborative projects, and professional development. 相似文献
20.
《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