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1.
This paper discusses the benefits of using Latent Class Analysis (LCA) versus K‐means Cluster Analysis or Hierarchical Clustering as a way to understand differences among visitors in museums, and is part of a larger research program directed toward improving the museum‐visit experience. For our comparison of LCA and K‐means Clustering, we use data collected from 190 visitors leaving the exhibition Against All Odds; Rescue at the Chilean Mine in the National Museum of Natural History in January 2012. For the comparison of LCA and Hierarchical Clustering, we use data from 312 visitors leaving the exhibition Elvis at 21 in the National Portrait Gallery in January 2011. 相似文献
2.
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
3.
Abstract In 1999, the first author and his colleagues at the Smithsonian Institution published an article in Curator: The Museum Journal introducing research on the experiences visitors find satisfying in museums. Subsequent data collection has expanded on these findings, as this Research Note will elucidate. In general, the team found that experiences that visitors were looking forward to on entrance tended to have a distribution similar to that of the experiences they found satisfying on exit. The aim of this note is to present data that demonstrates this consistency, and to observe that visitors’ expectations that they would have certain types of experiences upon entering a museum or exhibition were a much larger factor in determining their responses than were minor differences in museum or exhibition content or presentation. In other words, on the whole they came in knowing what experiences they expected, and they left having found them, regardless of what museum personnel presented to them inside. 相似文献
4.
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
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6.
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
7.
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
8.
In the year after the exhibition Science in American Life opened at the National Museum of American History objections were raised by the exhibition's chief sponsor, the American Chemical Society, and by the American Physical Society. These critics argued that the exhibition gave the public a negative view of science. The Institutional Studies Office was asked to conduct a study to determine whether or not the exhibition was affecting visitors' views of science, and, if so, in what direction. Using an entrance/exit survey design, the study determined conclusively that the visiting public entered the exhibition with a very positive view of science and technology and that their views were reinforced and confirmed by the experience of Science in American Life, rather than changed in either a positive or negative direction. 相似文献
9.
Bjarne Sode Funch 《Curator: The Museum Journal》2006,49(2):205-212
Abstract A Journey Unlike Any Other is an interactive museum exhibition that introduces visitors to the experience of being a refugee. First, the visitor is confronted with hostility from soldiers in the homeland, and later, after an escape, with all the difficulties derived from meetings with police and immigration authorities in the new country. The provocations visitors endure during the course of the exhibition enhance a high degree of perceptual awareness, reflectivity and memory. In the aftermath of their experience, visitors indicate an increase of empathic understanding and experiential knowledge, whereas their interest in information and further background knowledge seems to be unaffected. 相似文献
10.
Deborah L. Wasserman Donnelley Hayde Joe E. Heimlich 《Curator: The Museum Journal》2015,58(4):382-400
Interactivity, message, and story are critical, interrelated components of most educational exhibition designs. In this article, we introduce an Interactivity Design Framework for guiding exhibition designers’ intentional inclusion of interactivity, story, and message in exhibition components. This framework emerges from selected findings from summative evaluation of the Human Plus exhibition, which took place at the New York Hall of Science in late 2013. The exhibition was designed to generate interest in engineering among pre‐adolescent girls. Recognizing the target group's interest in human relationships and narrative, the exhibition was designed to be engaging and interactive, driven by compelling narratives of how engineering had enhanced the lives of people with disabilities. Exhibits interwove interactivity and story to convey messages related to both engineering itself and how engineering can meet the needs of people with disabilities. Because of this dual focus, the exhibition evaluation revealed important findings about how, and under what conditions, story and interactivity function to convey message: they can work together or compete. 相似文献
11.
Beverly Serrell 《Curator: The Museum Journal》2002,45(1):50-64
Abstract Data from the Women's Health summative evaluation video study prompted a comparison with similar data for other videos in exhibitions. Values for attraction power, holding time, and holding power were compiled in a database of 45 video titles. On average, 32 percent of the visitors are attracted to videos, and the average time spent watching is 137 seconds. An attraction power of more than 60 percent was exceptional. On average, people watched more than one‐third of the total length of videos, but less than one half. A holding power of more than .70 was exceptional. Once a video has attracted people's attention, it does not always hold it. Visitors are constantly tempted to move to another exhibit element, looking for what's next. One cannot assume that introductory videos will be watched thoroughly by the majority of visitors. This has implications for introductory videos that are expected to teach visitors concepts and vocabulary necessary to understand the rest of the exhibition or a main message that ties everything together. Using these data as a guideline, we can realistically gauge what levels of use are possible, and what levels of success, as measured by visitors' attention, can be anticipated. 相似文献
12.
Ellen W. Lee 《Curator: The Museum Journal》1994,37(3):172-184
Many American and European art museums are now featuring small, highly-focused shows in their exhibition programs. In 1990, the Indianapolis Museum of Art organized an exhibition that reunited, for the first time in a century, the four landscape paintings created by neo-impressionist Georges Seurat during the last summer of his life. Using Seurat at Gravelines: The Last Landscapes as an example, this article addresses the advantages — for museums and their visitors — of the small temporary exhibition. 相似文献
13.
Randi Korn 《Curator: The Museum Journal》1995,38(3):150-160
As museum staff search for ways to broaden their audience, creative collaborations are emerging among various institutions with the hope that visitors who typically visit science centers, for example, will venture over to their local natural history museum. Typically, front-end evaluation is used for understanding details about visitors in the context of a proposed exhibition. Front-end evaluation can also help collaborating museums understand the nuances among their visitors regarding demographics, attitudes, and preferences for interpretive strategies. Carefully articulating the characteristics of the actual audience, potential audience, and target audience will help exhibit developers fine-tune their exhibitions to meet the needs and expectations of a more diverse public. This article presents partial findings from a front-end evaluation that analyzed the differences between visitors to natural history museums and science centers. 相似文献
14.
《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
15.
Gretchen Jennings 《Curator: The Museum Journal》2003,46(4):371-384
This article is a reflection on two aspects of the exhibition development process that are important but elusive. One is a habit of listening, and the other is the importance of allowing time for listening—to advisers, visitors, and other members of the exhibition team. The team that developed the touring exhibition Invention at Play used visitor research throughout the process of exhibition development to explore the links between the work of inventors and familiar human activities such as exploration, imagination, and play. The exhibition won an award of excellence at the AAM convention in Portland, Oregon in 2003. It was used as a case study on integrating accessibility into exhibition planning and design at an international conference, ADA Coordinators and Accessibility Managers in the Cultural Arts, sponsored by the Kennedy Center in 2002. 相似文献
16.
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
17.
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
18.
Patrik Steorn 《Curator: The Museum Journal》2012,55(3):355-365
Abstract Important work in the last decades within the museum studies field has laid bare the implicit nationalist, evolutionist, and patriarchal narratives of the traditional museum. So far, though, only a few writers have discussed the museum’s role in supporting “heteronormative” narratives that consolidate heterosexuality as a norm within social and cultural life. This article is a critical discussion of methodological aspects of a queer perspective in interpreting, exhibiting, and organizing museum collections. Two shows with LGBT / queer perspective that were exhibited in Stockholm, Sweden during EuroPride 2008 are the focus of this article’s analysis. They consist of the photo exhibition Show Yourself! at the Nordic Museum, and Queer: Desire, Power, and Identity at the National Museum of Fine Arts. The author himself was the curator of the latter exhibition. This article offers personal reflections on the methodological challenges of translating an abstract queer perspective into museum practice in order to envision online and on‐site museum encounters that can mobilize various kinds of pluralistic passions. 相似文献
19.
Abstract The exhibition Broken Links: Stolen Generations in Queensland focused on the history and impacts of the forced removal of Aboriginal children from their biological parents in Queensland, Australia between 1869 and 1969. This exhibition is discussed as a case study of “hot interpretation” (Ballantyne and Uzzell 1993), which incorporates emotion into the design of interpretive experiences in order to provoke cognitive and behavioral responses. Visitors’ responses to the exhibition are explored and issues regarding the use of “hot interpretation” techniques are discussed. Five principles are derived for the application of hot interpretive techniques in the context of shared and contested histories, with the aim of encouraging visitors to see their own history from a different perspective. 相似文献
20.
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