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1.
Sara Bremen 《Curator: The Museum Journal》2011,54(2):117-122
Abstract Exhibitions have social potential, beyond just the prospect of sharing the experience with a friend standing next to you. We can imagine ways in which the museum space can link art, objects, experiences, people, and technologies to provide a structure within which visitors feel comfortable participating. Their own contributions and the museum’s skillful use of social media can result in a more engaging exhibition, not a dumbing down of the content. 相似文献
2.
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
3.
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
4.
The literature suggests that the social dimension is an important aspect of museum learning. Many visitors report having discussed or shared information with their companions. There is also evidence, however, that some museum visitors prefer to visit alone or to learn by themselves. This study explores qualitative and quantitative differences in the nature and outcomes of solitary and shared museum learning experiences. Forty solitary adults and 40 adults visiting in pairs were observed and interviewed during their visit to a museum exhibition area, and a proportion of participants were contacted by telephone four weeks after the visit. The findings challenge the supposition that social interaction is more beneficial to learning than a solitary experience and suggest that, for adult learners, solitary and shared learning experiences can be equally beneficial but in different ways. 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.
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
7.
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
8.
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
9.
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
10.
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
11.
12.
尹凯 《自然科学博物馆研究》2020,(4):14-19
最近十年间,博物馆观众研究取得一系列具有共识性和启发性的研究成果。然而,绝大多数研究都是站在博物馆的立场,经由观众研究的发现来审视展览传播的有效性,甚至为博物馆机构的合法性提供论据。鲜有研究去真正关注博物馆体验在观众的日常生活情景中究竟扮演着什么角色。基于此,本文将从米歇尔·埃弗雷特和玛格丽特·巴雷特的富有启发性的研究入手,详细讨论该研究的个体叙事、研究发现、研究对象、方法论框架、数据收集、数据分析等方面的内容,希冀为国内博物馆观众研究领域提供另一种具有可行性的研究路径。 相似文献
13.
Jeanette Clarkin‐Phillips Margaret Carr Rebecca Thomas Maiangi Waitai Joanne Lowe 《Curator: The Museum Journal》2013,56(4):407-420
Studies exploring very young children visiting museums and art galleries are few. The majority of research about museum and gallery visitors explores family group interactions. This paper examines the findings of a study involving three‐ and four‐year‐old children visiting an art exhibition in a national museum on more than one occasion. The children's construction of knowledge about being a museum visitor and exhibitor indicates their ability to develop an appreciation of art and an understanding of the purposes of museums and art galleries. 相似文献
14.
Shane J. Macfarlan 《Curator: The Museum Journal》2001,44(2):166-178
Abstract This article addresses problems associated with museum education collections. Museum education collections are used to provide visitors with opportunities to handle museum objects. These collections are primarily composed of objects that are damaged, lack provenance, or do not fit the scope of the collection. Sometimes, these collections are displayed haphazardly and their interpretation may lack thematic context. Some museum education collections are not being utilized to their fullest educational capacity. The application of cognitive, exhibition, and collections management theories can alleviate some problems with museum education collections. A critique of the education collection at the Lubbock Lake Landmark is presented as a case study of these problems and some of the potential solutions to them. The study can be used as a template by other museums to solve similar problems in their education collections. 相似文献
15.
Collaborative exhibitions built by aboriginal communities and museums often seek to reposition aboriginal peoples as the authors and experts of their cultures, and to assert their active and continued presence in the contemporary world. This article explores the impact of collaborative exhibitions on museum visitors' experiences and their potential to reshape the public's perception of aboriginal peoples. Interviews conducted with visitors to Nitsitapiisinni: Our Way of Life, a permanent exhibition created by Blackfoot Elders and museum staff at the Glenbow Museum in Calgary, Alberta, Canada, demonstrate that museum visitors rarely recognized the extent of the collaboration, and thus rarely equated Nitsitapiisinni with concepts of self‐representation or self‐determination. However, other messages were successfully communicated to museum visitors, namely the impact of colonialism, the efforts to revitalize Blackfoot culture, and the importance of Blackfoot spirituality. This study provides some interesting insights about public perceptions that will help promote deeper reflection on the issues surrounding collaboratively developed exhibitions and the first‐person authorship of First Nations cultures. 相似文献
16.
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
17.
本文通过梳理国内外博物馆社交媒体应用的相关研究,发现国外研究主要聚焦于社交媒体对博物馆权威影响的探讨、博物馆社交媒体应用情况的综合分析、社交媒体促进博物馆教育的策略应用、社交媒体对博物馆管理的影响、行业社交媒体应用指南的发布,这些主题从分析社交媒体应用的可行性到观察应用效果,再到思考应用影响、提出初步的应用规范。而国内研究主题明显分为三个时段,即以借鉴启示为主的萌芽阶段、以传播营销为主的实践阶段、博物馆核心职能实践与探讨阶段,整体上更关注社交媒体应用的正面效应。相对而言,国内博物馆社交媒体应用研究主要集中于传播和营销,特别关注现象级博物馆社交平台运营策略;在国内各类博物馆社交媒体应用的定量研究中,研究对象类型比较单一;少部分研究关注社交媒体与博物馆教育等核心功能及相关管理机制的影响,但极少关注如何规范社交媒体的运营以确保博物馆的权威性和可信度。 相似文献
18.
John H. Falk Carol Scott Lynn Dierking Leonie Rennie Mika Cohen Jones 《Curator: The Museum Journal》2004,47(2):171-198
Abstract Interactives—computers and other multimedia components, physical manipulatives (including whole‐body and tabletop activities), and simulations—occur in all types of museums. There is considerable interest in the nature of the learning that happens when visitors use interactives. Museum professionals have enlisted constructivist theory to support the notion that interactive elements are invaluable components of any exhibition experience, and are effective learning tools that enable active visitor engagement. Interactives are also seen as vital to sustaining institutional image and expanding institutional popularity. Despite the increasing use of interactives in exhibitions and the substantial investments being made in their design and maintenance, there is a paucity of research as to whether these constructivist assumptions are supported. There is little work exploring visitors' perceptions of specific types of interactives, or the role of interactivity in the visitor experience generally. Museum staff thus have a limited ability to make informed decisions about the level and type of interactivity that might enhance exhibition experiences. This paper describes a collaborative effort in 2001 by researchers at the Powerhouse Museum (PHM), Sydney; the Institute for Learning Innovation (the Institute), Annapolis, Maryland; and Curtin University of Technology (Curtin) and Scitech Discovery Centre (Scitech), both in Perth, Western Australia. This study investigated two aspects of interactivity: 1) visitor perceptions of interactivity in two different contexts, a museum and a science center; and 2) the types of short‐ and long‐term learning that resulted from use of interactives in these two institutions. 相似文献
19.
Sherri Wasserman 《Curator: The Museum Journal》2011,54(1):11-24
Abstract This paper examines mobile development and the social aspects of connectivity as they relate to public experience. The author argues that mobile development is something more than the information‐distribution platform for which it is most commonly used within the museum community. Nine stories, in this article, relate the stunningly diverse inventive possibilities of the medium. Mobile is often used to deliver additional content within museum exhibitions, but this paper encourages institutions to consider designing beyond this known paradigm and to see mobile as a means for institutions to build and sustain new relationships with visitors. 相似文献
20.
Angelina Russo Jerry Watkins Lynda Kelly Sebastian Chan 《Curator: The Museum Journal》2008,51(1):21-31
Abstract Major museums worldwide are starting to use social media such as blogs, podcasts and content shares to engage users via participatory communication. This marks a shift in how museums publicly communicate their role as custodians of cultural content and so presents debate around an institution's attitude towards cultural authority. It also signifies a new possible direction for museum learning. This article reports on a range of initiatives that demonstrate how participatory communication via social media can be integrated into museum practices. It argues that the social media space presents an ideal opportunity for museums to build online communities of interest around authentic cultural information, and concludes with some recent findings on and recommendations for social media implementation. 相似文献