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1.
Abstract This article reviews empirically oriented studies from the United States and Europe concerning visitor experiences in museum exhibitions in order to pinpoint similarities and differences among them. In the last 20 years, only a few scholars have tackled this research question in multifaceted empirical ways, although some of them have done so extensively. By comparing theoretical and methodical issues, as well as important results, we are able to outline several analytical building blocks that compose a complex framework of visitor expectations, experiences, and outcomes. Gathering credible data on experiences of visitors in exhibitions or museums, a method dating back to the tracking records of Robinson (1928) , is an ongoing challenge for the empirically inclined science of museum studies. Social scientists at universities and museums have been asking for 20 years: What are the findings regarding factors, structures, and consequences of exhibition experiences? Where are the blind spots? Which questions should be researched? 相似文献
2.
Bonnie J. Morris 《Curator: The Museum Journal》2011,54(3):243-252
Abstract This article examines the writing left in “comments” books at thought‐provoking museum exhibitions. What moves a visitor to share criticism, praise, political invective, or spiritual reflections in a public place where the writing is guaranteed to be seen by others? In a world transformed by text messaging and online communication, museum guestbooks are one of the few remaining opportunities to share hand‐written insights. Do visitors have a learning curve? Some leave inappropriate, even hateful remarks. By comparing the different moods of comments books at a variety of installations, this essay pays tribute to the legacies of public dialogue in museums, a medium of free speech made possible by a simple blank book. 相似文献
3.
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
4.
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
5.
Ronald A. Beghetto 《Curator: The Museum Journal》2014,57(1):1-4
Is it even possible to design museum exhibits that have an above average chance of engaging visitors in meaningful experiences? Museum‐based researchers and designers, working over the past several decades, have endeavored to address this and other questions. Recently, a promising Ideas‐People‐Objects (IPO) model of the visitor experience, subsequently elaborated on to include Physical (IPOP) has been used in the design and subsequent study of visitors' museum experiences. Here I briefly describe the model and introduce three papers featured in this issue of Curator: The Museum Journal that offer new insights and perspectives for understanding the theory behind the model, as well as features of the IPOP model that have been used in the design and interpretation of exhibitions, and a comparison of analytic techniques that produce results that can be used in IPOP‐related research. 相似文献
6.
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
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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
9.
Pamela Carter‐Birken 《Curator: The Museum Journal》2008,51(2):171-178
Abstract What does the term “interpretation” mean when it's encountered in museums of modern and contemporary art — and is something missing? Studies conducted by the Phillips Collection in Washington, D.C., the Walker Art Center in Minneapolis, and the University of Leicester in England reveal that visitors want more information about art. In this article, interviews with the directors of the Phillips and the Walker (as well as other museum professionals and academics) examine interpretative practices today and suggest plans for tomorrow. When preparing future interpretive materials, the author advocates that museums expose visitors to the idea that they make their own meaning when viewing art. 相似文献
10.
When studying museum visitors, researchers sometimes collect data by video‐ and audio‐taping large high‐traffic areas. In order to inform visitors that they are being recorded, researchers post signs in the area. This article describes the Exploratorium's efforts to design and test trilingual signs that would effectively inform visitors when video‐based research is in progress. Interviews with 255 adult museum visitors, conducted across six versions of the recording area's setup and signage, revealed several effective design elements. The posted sign was more noticeable and welcoming when it included a large headline, a realistic camera icon, and a colorful background. The most effective setup of the area contained many cues to videotaping beyond the large posted sign, such as visible recording equipment and small signs on exhibits and cordons. In the most successful trilingual setup we tested, 92% of visitors leaving the research area knew they had been videotaped. 相似文献
11.
David Anderson Barbara Piscitelli Katrina Weier Michele Everett Collette Tayler 《Curator: The Museum Journal》2002,45(3):213-231
This article reports on a study of young children and the nature of their learning through museum experiences. Environments such as museums are physical and social spaces where visitors encounter objects and ideas which they interpret through their own experiences, customs, beliefs, and values. The study was conducted in four different museum environments: a natural and social history museum, an art gallery, a science center, and a hybrid art/social history museum. The subjects were four‐ to seven‐year old children. At the conclusion of a ten‐week, multi‐visit museum program, interviews were conducted with children to probe the saliency of their experiences and the ways in which they came to understand the museums they visited. Emergent from this study, we address several findings that indicate that museum‐based exhibits and programmatic experiences embedded in the common and familiar socio‐cultural context of the child's world, such as play and story, provide greater impact and meaning than do museum exhibits and experiences that are decontexualized in nature. 相似文献
12.
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
13.
Richard Efthim 《Museum Management and Curatorship》2006,21(1):58-66
There may not be a more passionate group of learners than museum scientists, historians or artists. What if museum visitors had the same freedom to learn from museum collections as researchers do? At the Smithsonian Institution's Naturalist Center we not only examined the environmental factors that have nutured such passion for learning in museum researchers but also successfully reproduced them in a publicly accessible, open storage study collection. Three major functional elements were critical to the Center's success: (1) building a critical mass of information (collections, books, images, databases, etc.) (2) providing access to that information in ways that motivates the public to want to seek information out, and (3) fostering the cognitive skills of inquiry based learning to make the whole experience meaningful to the learner. By incorporating more elements of the learning ecosystem into public offerings, the public not only experiences what fuels museum researchers' unique passion for learning, but also heightens the public's understanding of the subject matter and the learning potential of museums. 相似文献
14.
Yehuda Levy‐Aldema 《Curator: The Museum Journal》2011,54(3):279-291
Abstract In this article the author describes the process and framework behind the experience of developing a “Legitimate Visual Question Exhibition.” We start with the assumption that a museum has a responsibility to challenge and provoke its visitors and help them create new meanings, thus transcending the traditional model of information transfer. A Legitimate Visual Question Exhibition can effectively accomplish this. It approaches the task through installations of familiar subjects and stories presented in a manner that provokes questions that aren’t easily answered by cause‐and‐effect explanations. Several examples from a cultural museum in Israel are used to illustrate the philosophy and approach. 相似文献
15.
Abstract Is it time for all museums to initiate large‐scale 3D digitization programs? We don’t yet know how 3D is going to change, replace, or integrate into current museum experience. Yet the possibilities are being actualized right now. What does 3D mean for museums? Digitizing museum objects in 3D (or the museums themselves, for that matter) with incredible accuracy and realism; examining the inside of a mummy; modeling collections in 3D; retaining virtual copies of vulnerable objects; all these and more already exist in the fast‐changing realm of 3D applications. 相似文献
16.
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
17.
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
18.
《Curator: The Museum Journal》2017,60(1):67-85
While there is increasingly widespread use of social media by those visiting museum exhibitions relatively little is understood about this practice. Further still, the focus of such practices is unknown yet research in this area can reveal much about how visitors using applications driven by smart phone technology are engaging with exhibition content, space, design, architecture and people. This article draws on a case study of one exhibition using visual content analysis to frame, explore and interpret visual and text based posts by visitors using the social media application, Instagram, as part of their experience. Findings suggest that museum visitors using this application do so to account for and record details of their experience that draws attention to exhibition content, specifically objects. The implications are extensive for cultural institutions given the uptake of social media in all corners of life, with museums and galleries being a lively context for social media use via mobile technologies. 相似文献
19.
《Curator: The Museum Journal》2017,60(4):445-465
The multisensory aspect of the museum, while neglected for many years, is undergoing a resurgence as museum workers have begun to push towards re‐establishing the senses as a major component of museum pedagogy. However, for many museums a major roadblock lies in the need to conserve rare objects, a need that prevents visitors from being able to interact with many objects in a meaningful way. This issue can be potentially overcome by the rapidly evolving field of 3D printing, which allows museum visitors to handle authentic replicas without damaging the originals. However, little is known about how museum visitors consider this approach, how they understand it and whether these surrogates are welcome within museums. A front‐end evaluation of this approach is presented, finding that visitors were enthusiastic about interacting with touchable 3D printed replicas, highlighting potential educational benefits among other considerations. Suggestions about the presentation of touchable 3D printed replicas are also discussed. 相似文献
20.
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