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1.
ZAHAVA D. DOERING ADAM BICKFORD DAVID A. KARNS AUDREY E. KINDLON 《Curator: The Museum Journal》1999,42(2):88-107
This article describes a study of The Power of Maps, an exhibition presented in 1992 at the Cooper-Hewitt, National Design Museum, in New York City. The study compared the result of surveys administered to visitors at the Cooper-Hewitt as they entered and exited the exhibition with a control group of surveys administered to visitors at the National Portrait Gallery in Washington, DC, who had not seen The Power of Maps exhibition. It was found that visitors who were surveyed as they entered the exhibition were closer in agreement with the message of the exhibition than the control group. It was also found that visitors surveyed upon exiting The Power of Maps exhibition were in closer agreement with the message of the exhibition than with visitors who were surveyed as they entered the exhibition. The study demonstrates that it is possible to document a change in visitors' conceptions about a topic as a result of hearing about or visiting an exhibition and reliably determine the degree to which exhibitions can influence visitors. 相似文献
2.
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
3.
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
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
5.
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
6.
Sarah Kenderdine 《Curator: The Museum Journal》2013,56(2):199-218
This article examines two exhibition installations that integrate high‐resolution digital archeological datasets (photography and 3D architectural models) with immersive, interactive display systems. These analogous installations, Pure Land: Inside the Mogao Grottoes at Dunhuang and Pure Land: Augmented Reality Edition, allow visitors to engage in different ways with a full‐scale augmented digital facsimile of Cave 220 from the UNESCO World Heritage site, the Mogao Grottoes, Gansu Province, northwestern China. The peerless treasuries of paintings and sculptures at Dunhuang are extremely vulnerable. Comprehensive digitization has become a primary method of preservation at the site. The digital facsimiles of this cultural paragon can be transformed, providing formative personal experiences for museum visitors. The Pure Land projects contribute to new strategies for rendering cultural content and heritage landscapes. Interpreting these installations through the lens of phenomenology and panoramic immersion helps situate them at the forefront of virtual heritage today. 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.
Shiyanthi Thavapalan 《Curator: The Museum Journal》2014,57(1):137-145
The curators of the exhibition Uruk: 5000 Years of the Megacity claim that Uruk is the earliest known city in the world, the birthplace of writing, bureaucracy, monumental art, and architecture. Their reconstruction of this ancient metropolis in present‐day Berlin suggests to visitors that modernity and Mesopotamia are perhaps not worlds apart after all. The sumptuous new exhibition—organized by the Vorderasiatisches Museum/Staatliche Museum Berlin, the Reiss‐Engelhorn Museum Mannheim, and the Curt Engelhorn Foundation in collaboration with the German Archeological Institute and the German Oriental Society (DOG)—commemorates the centennial of the first German excavations at the site of Warka in southern Iraq. 相似文献
9.
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
10.
《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
11.
Abstract An exhibition team at the National Museum of the American Indian, working with a visitor studies specialist from the Smithsonian’s Office of Policy and Analysis, used visitor studies conducted by the entire team during planning for a reinstallation of part of the permanent collection. The studies evolved organically during the exhibition planning as questions and hypotheses arose among the team. The answers led to further studies. This research model brought team members together in a spirit of inquiry and a process of discovery, changed their perceptions of themselves and their subjects, and suggested a new typology of visitors. 相似文献
12.
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
13.
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
14.
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
15.
Steven S. Yalowitz 《Curator: The Museum Journal》2004,47(3):283-298
Abstract In 1997 the Monterey Bay Aquarium refined its mission to one concise statement: The mission of the Monterey Bay Aquarium is to inspire conservation of the oceans. This has led to increased conservation content in exhibitions and more evaluation studies focused on visitors' conservation knowledge, understanding, attitudes and behavior. This article reviews conservation‐related findings from the aquarium's exhibition evaluation efforts over the last 14 years, summarizing the major themes that emerge from this body of work. Findings suggest that visitors to the Monterey Bay Aquarium are interested in and receptive to conservation content and learn new conservation information from exhibitions. Visitors' interest is most influenced by their personal involvement with conservation issues and previous visitation to the aquarium. After leaving the aquarium, there is evidence that visitors retain specific conservation information and maintain levels of concern about conservation topics for weeks, and even months, after their visit. Additionally, some visitors use the Seafood Watch pocket guide to choose sustainable seafood months after visiting the aquarium. 相似文献
16.
Abstract Understanding visitors is a necessary and complex undertaking. In this article, we present K‐means cluster analysis as one strategy that is particularly useful in unpacking the complex nature of museum visitors. Three questions organize the article and are as follows: 1) What is K‐means cluster analysis? 2) How is K‐means cluster analysis conducted? 3) Most importantly: What are the applications of K‐means cluster analysis for museum practitioners? To answer these questions, we present five steps that are vital to conducting a K‐means cluster analysis. We also present three cases studies to demonstrate differences among the results of three K‐means cluster analyses and provide practical applications of the findings. 相似文献
17.
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
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19.
Impact of National Aquarium in Baltimore on Visitors' Conservation Attitudes,Behavior, and Knowledge
This study at the National Aquarium in Baltimore (NAIB) was conducted to assess four key aspects of the visitor experience: (1) incoming conservation knowledge, attitudes, and behavior of NAIB visitors; (2) patterns of use and interaction with exhibition components throughout the NAIB; (3) exiting conservation knowledge, attitudes, and behaviors of visitors; and (4) over time, how the NAIB experience altered or affected individuals' conservation knowledge, attitudes, and behaviors. Three hundred six visitors participated in the study, which was conducted from March through July, 1999. The study utilized four data‐collection techniques: (1) face‐to‐face interviews, (2) Personal Meaning Mapping (PMM), (3) tracking, and (4) follow‐up telephone interviews. Participants were a self‐selected population and were generally more knowledgeable about, more concerned about, and more involved in conservation‐related issues than the general public. However, they were far from conservationists. Visitors in this study clearly absorbed the fundamental conservation message at the NAIB. In fact, the NAIB visit appeared to focus visitors' conservation‐related thoughts, while also broadening their understanding of conservation. Changes in visitors' conservation knowledge, understanding, and interests by and large persisted over six to eight weeks after visiting NAIB. The NAIB experience also connected to visitors' lives in a variety of ways following their visit. However, these personal experiences rarely resulted in new conservation actions. In fact, their enthusiasm and emotional commitment to conservation (inspired during the NAIB visit) generally fell back to original levels, presumably in the absence of reinforcing experiences. The findings of this study are guiding subsequent investigations at the NAIB. More generally, the results suggest strategies to enhance current understanding of the impact free‐choice learning institutions have on their visiting public. 相似文献
20.
Abstract Most zoo visitors are primarily motivated by the joys of watching animals, which may preclude attention to major ecological issues that are the focus of research in biodiversity, habitats, and other matters pertaining to the survival of wild animals. The Wildlife Conservation Society exhibition Congo Gorilla Forest is a popular animal‐watching experience, but it also communicates considerable educational content, stimulating visitors' interest in and awareness of ecological relationships. This article reviews the phases of an evaluation process that assisted WCS staff in making decisions about exhibition design and interpretation; it discusses measurement challenges in assessing outcomes; and it uses key findings from the evaluation process to define and explain the interpretive success of the project. Success for this conservation exhibition is described in terms of achieving three educational goals while recognizing the diversity among audiences. The exhibition's effectiveness is attributed to understanding visitors' expectations and interests, creating an array of exhibit formats to engage people, and communicating conservation messages visually and experientially. 相似文献