共查询到20条相似文献，搜索用时 31 毫秒
1.
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
2.
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
3.
Alwynne B. Beaudoin 《Curator: The Museum Journal》2009,52(3):261-272
Abstract Digital image enlargements can be a powerful method for displaying small specimens in museums. In 2007, the Royal Alberta Museum held an exhibition of 28 SEM (scanning electron microscope) images of seeds and other subfossil macroremains, which were shown in a fine‐art format. The exhibition was prepared by a museum team using images derived from in‐house curatorial research work. This paper describes the exhibition components and reports on an attempt to engage the visitors more closely with the images by asking them to suggest identifications for some “mystery” specimens. 相似文献
4.
Alison F. Eardley Clara Mineiro Joselia Neves Peter Ride 《Curator: The Museum Journal》2016,59(3):263-286
The authors discuss the principles of “access for all” in museums, both physical and intellectual access. They explore this question of multisensory processing in neurologically typical individuals, and case studies of two Portuguese museums that experimented with implementation of an “access for all” approach to the presentation of their permanent collections. The study was designed with three phases: addressing architectural barriers to access, preparation of accessible information about space and objects, and testing of alternative formats to convey this information to learn how to meet diverse needs in different ways. Set in the context of research on multisensory learning, this article discusses why an access for all principle is a majority issue as well as a moral and legal concept. It discusses two case studies where an “access for all” museological approach has been applied to access to the collections, with differing success. The discussion focuses on how an “access for all” approach could enhance learning, long‐term memorability and the ‘cultural value’ of a museum experience for all visitors. 相似文献
5.
During economic development, modern museums face competition from various leisure activities and entertainment sites, and to achieve sustainable development, museums should reflect on providing high‐quality service to satisfy visitors’ expectations. Based on service design‐related theories, this research team conducted a case study to explore the planning, implementation, and meaning of Mobile Museums. It investigated design development from the perspective of public service design and summarized the policy, design, and service satisfaction results for Mobile Museums. Finally, the similarities in service processes are discussed between Mobile Museums and the general service industry. According to this study, attracting more visitors is the biggest issue facing museums today, as are the ways in which museums must actively provide service and become recognized to compete with others. This study identifies the onstage and backstage support of museums as well as their cultural features and non‐profit services. 相似文献
6.
Robert D. Hicks 《Curator: The Museum Journal》2001,44(2):179-193
Abstract Artifacts involving scientific or mathematical concepts, particularly measuring instruments, have received little study in museums. This article is a case study that analyzes the display and interpretation of navigational instruments and related astronomical instruments in history museums. Based on the study, the author offers observations and recommendations on how museums might better intellectually communicate to their visitors about scientific or mathematical instruments. This article suggests that the multidisciplinary perspective of historical archaeology provides a comprehensive, holistic context for exhibiting and interpreting measuring instruments. 相似文献
7.
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
8.
Tom D. Crouch 《Curator: The Museum Journal》2007,50(1):19-32
Abstract While rooted in a tradition stretching back to the late eighteenth century, aerospace museums have enjoyed a period of extraordinary growth over the past three decades. Throughout this period, they have struggled to achieve a balance between their role as “shrines” that celebrate, memorialize and inspire, and “schools” that can help visitors to better understand the complex nature of technological change and its impact on the world. A survey of exhibitions that have sought to portray the history of flight as something more than a story of unalloyed progress, or that depart from traditional master narratives focusing solely on achievement and valor, provides both examples of success and cautionary lessons. If museums of flight are to present a useful and historically accurate portrait of the aerospace enterprise, they must continue the struggle to achieve a balance between these sometimes competing goals. 相似文献
9.
《Curator: The Museum Journal》2018,61(2):345-352
The purpose of the present study was to explore the types of personal experiences that were related to zoo visitors’ empathic and affective reactions at an animal exhibit. Various studies have suggested the importance of emotional empathy in motivating concern for the biosphere and pro‐environmental behaviors. As such, identifying visitors’ personal experiences at an animal exhibit that may lead to empathic and affective reactions has a direct bearing on learning strategies at zoos, aquariums, and other nature‐based museums. Adult day‐visitors to a United States zoo were asked to provide written open‐ended comments describing any “extra special” experiences they had at an exhibit. These reported experiences were then found to be highly related to visitors’ quantitative ratings regarding their concern, empathy, and sense of connection with nature and wildlife. Preliminary findings are discussed while taking into consideration the additional research questions that remain involving visitors’ empathic reactions to zoo animals. 相似文献
10.
Jennifer Milam 《Curator: The Museum Journal》2013,56(4):391-405
Russian art sponsorship is dominated by women of the oligarch elite. Rather than dismissing this phenomenon as a faddish diversion of new money, this article takes a broader perspective on the motivations of these “art girls” along a trajectory of Russian women's involvement in patronage, philanthropy, and sponsorship extending back to the late eighteenth century. It considers how socio‐political circumstances have shaped philanthropy directed at the arts in Russia, and uses interviews to explore the reasons behind this recent focus on the contemporary in the sponsorship of exhibitions, art centers, and private museums in Moscow, St. Petersburg, and Siberia. 相似文献
11.
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
12.
Leslie Bedford 《Curator: The Museum Journal》2012,55(4):393-400
Abstract The author considers the question of how museums engage visitors in thinking about the meaning of time (personal and universal) and the role played by objects, text, designed settings, and artistry in bringing the process to life, a theme inspired by an article, “The Mindful Museum” (2007), by Adam Gopnik. 相似文献
13.
Elaine Heumann Gurian 《Curator: The Museum Journal》2010,53(1):71-85
In this paper, I suggest that museums have not explored their potential opportunities enough when dealing with their communities under stressful conditions. Each reader, however, should decide when what I am talking about is no longer appropriate for museums in general or your museum in particular. While some museums have moved more in the direction of serving their communities, I am struck by how little philosophical change has actually taken place in most museums after a year into this universal economic downturn. I argue that incorporating a broader palette of social services may make institutions more useful, but at some point these institutions might cease to be traditional museums. My question would be: “Should you care?” I do not suggest that all museums become full‐service community centers, though some might explore that option. Perhaps the question might become: How do we expand our services so that we make museums’ important physical assets of safe civic space and objects useful for tangible three‐dimensional learning into more relevant programs that reach all levels of community, and are rated by many more as essential to their needs and their aspirations for their children? 相似文献
14.
Jay Rounds 《Curator: The Museum Journal》2012,55(4):413-434
Abstract Currently dominant ideas about the social accountability of museums demand that museums produce “intended outcomes”: positive changes to visitors. Proponents commonly depict this process as a “logic model,” a tightly controlled sequence of events that moves from goal to intended outcome. A tightly coupled system obliges all elements to work toward a common goal. But studies in a variety of fields have shown that tightly coupled systems are achievable only under specific environmental conditions, which are not met within the network of relationships in which museums work. Instead, this article views the museum and its relationships as a loosely coupled system. Each element has its own purposes, and strives to maintain its own autonomy. Interests overlap, but are not identical. In the loosely coupled system, encounters generate a wide and unpredictable range of events. This approach offers advantages for the long‐term sustainability of museums. 相似文献
15.
RUBIE S. WATSON 《Curator: The Museum Journal》1998,41(3):167-177
The article describes and compares two museums: the National Palace Museum in Taiwan and the Museum of History in Hong Kong. The two present widely divergent versions of Chinese “history.” 相似文献
16.
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
17.
Alexandra Kim 《Curator: The Museum Journal》2011,54(4):403-412
Abstract Kensington Palace, London, has been home to kings and queens, dukes and princesses for 300 years. It was the focus for the tremendous public outpouring of grief following the death of Diana, Princess of Wales in 1997. Recently, the historic building was transformed into “The Enchanted Palace at Kensington,” which sent visitors on a quest through the sumptuous rooms to find seven of the palace’s princesses. On their journey, visitors discovered fantastical, fairy‐tale‐like installations, some of them by the best British fashion designers, and inspired by Kensington Palace’s incredible history. 相似文献
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19.
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