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Museums are ideal institutions for the development of volunteer programs. A museum's commitments to education and research and to expansion of learning, as well as its physical resources, offer potentially attractive forms of involvement for various segments of the population. We discuss aspects of a long‐established, self‐funded resident volunteer program that integrates the resources of a museum's field station with seasonal staffing needs, resulting in economic benefits to the museum and educational and career‐advancement benefits to volunteers. The practices used to bring together these objectives are discussed, with the goal of providing an example for museum administrators so they might better appreciate the potential diversity of volunteer programs as methods of broadening museums' roles in society. 相似文献
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我国博物馆数量最大的观众群体是青少年学生。加强对这一群体的调查研究,有利于博物馆承担社会教育职能,促进博物馆教育与学校教育的有效衔接,是探索构建具有均等性、广覆盖的博物馆青少年教育项目长效发展良性机制的前提。本文通过随机调查问卷的方法,对青少年学生、教师、家长进行博物馆教育需求调查,并根据统计结果分析了博物馆青少年教育项目开发的必要性以及博物馆在馆校结合开发青少年教育项目过程中具有的积极作用。 相似文献
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《Curator: The Museum Journal》2017,60(3):351-364
Multiple reasons shape how young people and families choose to participate in informal learning programs at museums and other settings. Youth interest is likely a factor, but so might be geographic proximity, institutional affiliation, household income, and race/ethnicity. We examined the relative impact of these factors through a comparative study of two art programs; one a small, neighborhood‐based organization focused on art and STEM, and the other a program in a well‐established art museum. The smaller program tended to draw youth from closer geographic proximity. Interest in art drove attendance at both programs, but institutional membership was also important. Demographic factors also were a factor, and race/ethnicity was more strongly associated with program placement than household income. We discuss the importance of better understanding of such factors as museums and other programs continue to grow as important sites for learning. 相似文献
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Lisa Gilbert 《Curator: The Museum Journal》2016,59(2):125-140
In this essay, I suggest that Mariana Ortega's concept of “loving, knowing ignorance” (2006) provides a useful conceptual tool for museum practitioners who seek to advance a progressive mission. This form of ignorance assumes authority in describing and acting on behalf of a subject, even as it fails to take seriously the subject's self‐knowledge and agency. While Ortega initially coined this term to describe the stance of white feminists toward women of color, here I extend the concept to describe a wider range of knowers—in this case, the institutional museum. Using a case study at the Museum of Fine Arts, Boston to illustrate this problem, I will suggest that becoming aware of instances of loving, knowing ignorance and learning to avoid it is a key skill for museum professionals who hope for their institutions to fulfill their educational mission in a diverse and democratic society. 相似文献
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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
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The Education Department at the Museum of the Rockies and the Kellogg Center for Adult Learning Research at Montana State University conducted a national study of adult museum programs from 1996–1999. A total of 508 adult program participants, 75 instructors, and 143 planners of adult programs in museums were interviewed either via telephone or in person. The study sought to answer three questions: (1) From participants' perspectives, what constitutes an excellent museum program for adults? (2) What teaching strategies are employed in successful and innovative museum programs? and (3) Does the informal learning environment of a museum offer anything unique to the adult learning experience? This research effort is one example of how university museums advance our understanding of informal education theory and its application to practice. 相似文献
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George E. Hein 《Curator: The Museum Journal》2006,49(2):181-203
Abstract John Dewey's lifework was to create a philosophy that encompassed both life‐experience and thought. He attempted to construct a philosophical system that incorporated life as it is lived, not in some ideal form. He rejected all dualisms, such as those between thought and action, fine and applied arts, or stimulus and response. An analysis of “experience” (defined as almost synonymous with “culture”) is central to Dewey's writing and leads him to emphasize process, continuity, and development, rather than static, absolute concepts. This paper examines the significance of Dewey's educational views for museum exhibitions and education programs, and his complex definitions of relevant concepts, with special emphasis on his interpretation of “experience.” Dewey's faith in democracy and his moral philosophy require that the value of any educational activity depends on its social consequences as well as its intellectual content, a proposition that is discussed and applied to museums. This argument suggests that exhibitions and programs can strengthen democracy by promoting skills that improve visitors' ability to become critical thinkers and by directly addressing controversial issues, taking the side of social justice and democracy. 相似文献
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This article examines approaches to creating museum Web sites that offer quality experiences to online users. In six case studies, museum Web developers in the U.S. and Canada describe how they have made the most of available human and financial resources. The development history of each site offers insights into the origins of a design and its subsequent versions, and describes the influence of institutional missions, philosophies, success indicators—and financial and human resources, the most crucial factors. The study found considerable variety in the backgrounds, expertise, titles and training of people developing Web sites within institutions. Web teams developed “exchange” experiences through online discussion, and by creating links among users, or between museum staff and users. In three case studies, Web sites encouraged visitors to cycle between online and on‐site museum visits. Web developers describe using quantitative and qualitative online audience research strategies. WebTrendsTM software has enabled Web teams to report complex log analyses. Creating online experiences in partnership with users is the intention of Web developers. 相似文献
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This article presents a case study of the design, development and evaluation of a science museum exhibition called Planetary Landscapes: Sculpting the Solar System. The exhibition was created by Chabot Space and Science Center in Oakland, California, in collaboration with the artist Ned Kahn. (A slightly smaller version has been traveling to science museums around the country, and has been sent to the Middle East and Asia.) This exhibition affords a chance to explore the work of a gifted artist as he seeks to merge art and science and create beautiful inquiry‐based exhibits. The story also relates how a museum design team and an evaluation team sought to support the exhibition design in ways that would augment and not interfere with the expertise of the artist. 相似文献
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Abstract This article describes Project ASTER III (Active Science Teaching Encourages Reform), a science professional development program for early elementary teachers, which is based on the premise that people learn best by doing. Very few professional development programs focus on early childhood teacher development and how best to integrate informal science centers into teaching. In ASTER III, development teams—consisting of university scientists, science educators, K‐3 teachers, and educators from a hands‐on science museum—developed 5E lesson plans aligned with the Ohio Academic Content Standards and the National Science Education Standards in conjunction with the museum’s exhibits. This study explores the impact of the ASTER III model on teacher perceptions about the role and effect informal science museum visits have on subsequent teaching and student learning. 相似文献
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Briley Rasmussen 《Curator: The Museum Journal》2010,53(4):451-464
Abstract This essay addresses the pioneering work of Victor D’Amico, the first director of education at the Museum of Modern Art (MoMA) and an influential art educator. During his tenure at MoMA, D’Amico explored the role of museums in developing creativity through direct aesthetic experience and the larger social implications of art museum education. Victor D’Amico led the Education Project at MoMA, which began as a part‐time school partnership program in 1937. By the time he retired in 1969, he had become an internationally recognized leader in the field of art museum education. Yet today his influence is little known and seldom discussed. This essay focuses on two important programs he developed at MoMA: his most widely acclaimed and influential program, the Children’s Art Carnival (1942‐1969), and the groundbreaking art education television series Through the Enchanted Gate (1952‐1953). 相似文献
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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
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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
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This paper describes a conceptual framework for the way museum managers might categorize different kinds of program opportunities, both existing and potential. This systematic approach to program planning may be useful to managers in museums seeking to expand their programs' scope and scale. The basis for this concept is borrowed from the outdoor recreation discipline, which sought, in the 1970s, to find a common language to describe supply and demand for recreation opportunities and to understand recreation opportunities in a geographic context of available natural resources. In this paper, the concept is adapted for museums and museum going as a leisure activity. The article first explores the linkages between museum supply and demand as they relate to a larger leisure marketplace. The Recreation Opportunity Spectrum (ROS) is then described as it is used for outdoor recreation decision making. Following this practice, museum demand opportunities are defined and elaborated by example, and a “Visitor Opportunity System”—modeled after ROS—is presented. Specific examples are provided for applying this system approach to a variety of museum practices and planning scenarios. 相似文献
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Judy Diamond Benjamin Jee Camillia Matuk Julia McQuillan Amy N. Spiegel David Uttal 《Curator: The Museum Journal》2015,58(3):299-311
Although microbes directly impact everyone's health, most people have limited knowledge about them. In this article, we describe a museum and media public education campaign aimed at helping diverse audiences better understand emerging knowledge about microbes and infectious disease. Funded primarily by the Science Education Partnership (SEPA) program of the National Institutes of Health, this campaign involved crosscutting programs designed to extend impacts throughout a broad public audience. Collaborations with partners from public media, libraries, science education, the social sciences, and biomedical research centers extended our outreach to local and national audiences of adults and youth. Our campaign developed programs for radio broadcast, schools, libraries, museums, and publishers to ultimately reach over eight million people. In addition, we conducted a series of research studies focused on understanding the mental models that people create of the complex concepts of microbes and infectious disease and on how to engage hard‐to‐reach adolescents with this science content. These studies furthered our understanding of how people reason about unseen phenomena, the kinds of materials that might intrigue youth who claim little interest in science, and how to begin to combat misinformation pervasive in this field. Our comparisons of expert, teacher, and teen reasoning about microbes revealed their distinct mental models on the topics of infection, vaccination, and immune response. Our investigation of comics confirmed their power to motivate teenagers to want to read more about science. Across all levels of science identity, we found that youth were more engaged with the comics than with comparable essays. Together, these findings provide insights into how to educate a diverse public about emerging biomedical research. 相似文献
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Neal Stimler 《Curator: The Museum Journal》2010,53(3):373-377
Abstract Museum professionals face unprecedented challenges in the digital world of the twenty‐first century. How will we meet those challenges and who will lead us to the new shore of our future? We need museum professionals who act as ferrymen, guiding the museum community and its constituents through the troubled waters of our age to cultural reform that leads us to the essential purpose of art: love. 相似文献
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Research has highlighted the vast gulf that exists between experts' and novices' understandings of science, and how difficult it is to bridge this gulf. When this research is applied to the design of museum exhibits and outreach material, it becomes clear that there is a tension between being scientifically correct and communicating effectively to a broad, diverse audience. In this paper we present a new approach to thinking about science learning in museums. Drawing on decades of research from the learning sciences, we argue that being “wrong” is an inescapable part of learning, and that not all simplifications are problematic. Instead, being “wrong” involves the gradual restructuring of many fine‐grained intuitive or commonsense notions that persist throughout the learning process and play an essential role in scientific expertise. We discuss the implications of adopting this approach for museum design. 相似文献