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1.
The role of cognitive competence in the art museum experience 总被引：1，自引：0，他引：1
Ladislav Kesner Author Vitae 《Museum Management and Curatorship》2006,21(1):4-19
The gap between the potential for works of art in museums to offer unique experiences, and the actual outcomes of visitor encounters, highlights the importance of the cultural competence of museum visitors. However, when applied to museum visiting, cultural competence should be primarily treated as perceptual and cognitive—one needs to exercise the perceptual activities that works of art require in order for a museum visit to register as some form of satisfying experience. The main part of the paper is devoted to discussion of some aspects of the perceptual basis of cultural competence required for perception of works of art—the problem of attention, the misplaced dichotomy of ‘museum viewing’ versus ‘everyday perception’, and the problem of defining the current cognitive style. It is argued that one of the greatest challenges to the museological profession is the problem of how to engage the complex issues of perception, vision and subjective experience more properly in the museological discourse, so that they can be reflected in theories of presentation and interpretation. 相似文献
2.
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
3.
《Curator: The Museum Journal》2017,60(4):505-525
This study investigated the impact of a visit to a Manga museum in Japan through nostalgic recollections. Twenty‐five adult visitors were interviewed about their childhood memories of experiencing manga from reading books as well as watching anime on television following a visit to the Osamu Tezuka Manga Museum in Takarazuka, Japan. From 76 episodic and autobiographical memories, five themes of impact emerged which speak powerfully to the significant influence and power of Osamu Tezuka's manga and anime on the visitors’ lives as children, and of the power of the museum experience to unlock distant latent memories and reconnect with their own sense of self‐identity. Moreover, the visitors’ own testimony of the impact of manga continued to manifest positively in their lives to the present day as life lessons of enjoyment, morality, and intergenerational learning. 相似文献
4.
Public memories and private tastes: The shifting definitions of museums and their visitors in the UK
Gayle McPherson Author Vitae 《Museum Management and Curatorship》2006,21(1):44-57
There is no doubt that museums now operate in a distinctly different market to those of the past. Rottenberg [Rottenberg, B. (2002). Museums, information and the public sphere. Museum International, 54(4), 21-28] identifies the two major trends in museums in the latter years of the 20th century as being ‘the prevalence of a new market-orientated ideology that stressed the importance of revenue generation’ and ‘the introduction of new technologies that transfixed not only the museum profession, but also the world’. The main impact, which these and other changes have had is the revision of the museum into a setting for recreational experiences [Foley, M. and McPherson, G. (2000). Museums as leisure. International Journal of Heritage Studies 16(2), 161-174; Stephen, A. (2001). The contemporary museum and leisure: Recreation as a museum function. MuseumManagement and Curatorship 19(3), 297-308], rather than an educative one. This paper attempts to address some of these shifts in ideology and purpose.The main concern that museums face as they become more ‘recreation-focused’ is that they will lose what has long been believed to be their ‘integrity’, and thus stray from their original missions to preserve and educate, with critics suggesting that they may simply become arenas for pleasure rather than education.This paper concludes that in future, it seems inevitable that museums will become ‘hybrid places, combining recreation and learning, allowing visitors diversions from the intense stimuli of strolling through galleries and viewing multitudinous objects’ [Kotler, N. (2004). New ways of experiencing culture: the role of museums and marketing implications. Museum Management and Curatorship, 19(4), 417-425], with entertainment and education working together to fulfil the museum's mission. Museums need not be afraid of using entertainment, but should embrace it as a tool for learning, potentially attracting a wider and more diversified public. 相似文献
5.
在当今社会,博物馆为提升全民素质起到越来越重要的作用。为了更好地发挥博物馆的社会教育功能,博物馆馆员在教育活动设计或者展览设计的过程中有必要了解观众的参观需求以及参观偏好。因此,为了体现“以观众为中心”的工作理念,作者从“观众”的视角,对一次博物馆的参观体验进行观察和反思。本次探索发现,由于观众自身所处的社会文化背景的差异,他们面对同一件展品有着不同的关注点和兴趣点。这种差异性提醒博物馆馆员在与观众进行互动的过程中,需要了解观众的不同需求和不同偏好。并且,这种参观视角的多样性也为博物馆的教育工作提供了创意的源泉。 相似文献
6.
Jan Packer 《Curator: The Museum Journal》2008,51(1):33-54
Abstract This paper explores the beneficial outcomes that visitors seek and obtain from a museum visit, in terms that are not related to learning outcomes. It uses a deductive qualitative approach to investigate the meaning and value of a museum visit from the visitors' perspective. Three different levels of the meaning of the experience are considered: the attributes of the setting that visitors value; the experiences they engage in; and the benefits they derive. The findings confirm the importance of the “satisfying experiences” framework for understanding visitor experiences in museums, and extend this understanding in relation to the beneficial outcomes these experiences produce. The study also highlights the importance of “restoration” as an outcome of a museum visit. It is argued that the concept of the museum as a restorative environment, which enables visitors to relax and recover from the stresses of life, is worthy of further research attention. These insights will enable museum practitioners to better understand and meet their visitors' multiple needs and expectations. 相似文献
7.
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
8.
Mark O'Neill Author Vitae 《Museum Management and Curatorship》2006,21(2):95-116
This article treats the prevalent confused mixture of utilitarian, art-and-knowledge-for-their-own-sake and ideological interpretations of the purpose of museums as a problem of epistemology, arguing that that key dimensions of museum knowledge (of objects, visitors, museums themselves, and of society) need to be integrated to achieve coherence. A new object-based, visitor-centred, storytelling epistemology is proposed. This would take an interdisciplinary approach and aim to unleash, rather than mute the real power of objects. It would address human destructiveness, as well as celebrating human creativity and the wonders of nature. It would respect the meaning-making practices of real, as opposed to idealized, imaginary visitors, and promote staff self-awareness in managing bureaucratic drift into introversion and avoidance of difficult issues. Incorporating a theory of justice, it would erode boundaries created by presentation traditions which, though marginal to object experiences, discriminate in favour of specific social groups—often groups with whom staff identify. Providing a museum service on a visibly fair basis is essential for museums to achieve intellectual coherence as well as societal support. 相似文献
9.
Randi Korn 《Curator: The Museum Journal》1995,38(3):150-160
As museum staff search for ways to broaden their audience, creative collaborations are emerging among various institutions with the hope that visitors who typically visit science centers, for example, will venture over to their local natural history museum. Typically, front-end evaluation is used for understanding details about visitors in the context of a proposed exhibition. Front-end evaluation can also help collaborating museums understand the nuances among their visitors regarding demographics, attitudes, and preferences for interpretive strategies. Carefully articulating the characteristics of the actual audience, potential audience, and target audience will help exhibit developers fine-tune their exhibitions to meet the needs and expectations of a more diverse public. This article presents partial findings from a front-end evaluation that analyzed the differences between visitors to natural history museums and science centers. 相似文献
10.
Terry Hemmings Dave Randall Dave Francis Liz Marr Colin Divall Gaby Porter 《Archives and Museum Informatics》1997,11(2):147-164
The Museum is a perspicuous site for analysing the complex interplay between social, organisational, cultural and political factors which have relevance to the design and use of virtual technologies. Specifically, the introduction of virtual technologies in museums runs up against the issue of the situated character of information use. Across a number of disciplines (anthropology, sociology, psychology, cognitive science) there is growing recognition of the situatedness of knowledge and its importance for the design and use of technology. This awareness is fostered by the fact that technological developments are often associated with disappointing gains for users. The effective use of technology relies on the degree to which it can be embedded in or congruent with the local practices of museum users. Drawing upon field research in two museums of science and technology, both of which are in the process of introducing virtual technologies and exploring the possibilities of on-line access, findings are presented which suggest that the success of such developments will depend on the extent to which they are informed by detailed understanding of practice-practices that are essentially socially constituted in the activities of museum visitors and the daily work of museum professionals. 相似文献
11.
Neil G.W. Curtis Author Vitae 《Museum Management and Curatorship》2006,21(2):117-127
This paper discusses the contribution of the 2003 ‘Declaration on the Importance and Value of Universal Museums’ to the debate on repatriation. The ‘Universalist’ approach taken by the Declaration is first considered, noting the implications of its emphasis on art, the heritage of museums and objects, along with its focus on the sculpture of ancient Greece and the enlightenment origin of museums such as the British Museum. It is argued that it reveals an essentialist approach that derives from a particular Western perspective, rather than being truly ‘universal’, and then considers whether a similar problem underlies many of the arguments advocating repatriation. The second part of the paper explores the opportunities offered by an approach which emphasises the ‘biography of objects’. This demonstrates how the tangled histories of objects and their many meanings can be considered. Repatriation is shown to be able to result in an increase in knowledge and understanding, rather than its destruction, and so meets the declared aim of the Declaration to ‘foster knowledge by a continuous process of reinterpretation’. 相似文献
12.
Roy Ballantyne 《Curator: The Museum Journal》2003,46(3):279-292
This paper builds on and extends the conceptualization of “hot” interpretation (Ballantyne and Uzzell 1993) by presenting empirical data regarding visitors' perceptions of the District Six Museum in Cape Town, South Africa. The study examines visitors' reasons for visiting, expectations of the visit, responses to the visit, and suggestions for change, in relation to the differing needs of previous residents, local and international visitors. Results of the study are discussed in terms of the need to facilitate connections between interpretive content and visitors' previous experiences and knowledge. The paper considers issues of hot interpretation when a community museum increasingly attracts national and international visitors. 相似文献
13.
Abstract Museums are currently faced with new challenges and issues of sustainability. Consequently, they are under increasing pressure to provide funding bodies with evidence of their value and worth. This paper reports findings from a narrative study that explored the nature of returning visitors’ engagement with a single museum over time. The study’s findings document a broad range of benefits visitors derive from a sustained relationship with a museum and reveal the significant contributions that sustained engagement with a museum make towards enriching visitors’ lives. 相似文献
14.
This study assessed the use of “Personal Computer Technology” in public organizations of developing countries in South Asia, particularly in Pakistan [Qazi, R. (2006). Expanding the Technology Acceptance Model (TAM): A Consideration of Personal Computer Technology Use in Public Organizations of a Developing Country of South Asia, Pakistan (Doctoral dissertation, George Washington University, 2006). Dissertation Abstracts]. The study expanded the “Technology Acceptance Model” by adding additional external factors such as ‘Organizational Culture’ and ‘Individual Factors’ (e.g. ‘Level of Education’ and ‘Duration of Training’), and belief factors such as ‘Perceived Personal Utility.’ Financial compensation to employees was used as a control variable because preliminary data analysis showed that it explicitly differentiated results of the study between those employees who felt they were adequately rewarded (financially) and those who were not. For example, when respondents replied ‘Compensation’ was ‘Yes,’ i.e. that at least some level of direct compensation was provided for PCT utilization then a statistically significant, positive relationship between ‘Level of Education’ and ‘PCT Use’ was found. However, when respondents replied that ‘Compensation’ was ‘No,’ a statistically significant, negative relationship between ‘Level of Education’ and ‘PCT Use’ exists. Additional results of this study are presented in this article. 相似文献
15.
Grant McCracken 《Curator: The Museum Journal》2003,46(4):421-432
This paper reports anthropological research conducted at the Royal Ontario Museum (ROM) by the author over three years. The purpose of the research was a traditional anthropological one: to listen to visitors at length and in depth. Part One, published in Curator 46 (2), offered ethnographic data, anthropological analysis, and a marketing perspective to suggest why the visitor's point of view may seem vertiginously strange to museum personnel. It characterized the conflict between host and guest as the outcome of two competing models of culture: “preferment” and “transformation.” In Part Two, visitors' experiences of the museum serve to illuminate a shift in attitudes toward museum culture. This research establishes a typology of consumer segments and a set of strategic recommendations for freeing the museum from the preferment model without abandoning those visitors who continue to embrace it. 相似文献
16.
Ralph Appelbaum 《Curator: The Museum Journal》1995,38(2):87-94
For the permanent exhibition at the United States Holocaust Memorial Museum the design approach was minimal and transparent, and the designers were in dialogue only with the story — not with the history of design or the conventions governing most museum presentations. We reached for a sense of immersion by trying to erase the seams between exhibits and architecture. Display strategies included the removal of conventional barriers of certain glass-encased vitrines: some objects can be touched, and reactions sought are as visceral as they are intellectual. We tried above all to see that people leave the museum not profoundly dejected but with some other feeling evoking the resilience of life and hope. The design intended to make the environment so united with its subject that memory of the museum experience and the sharing of memory through discussion will carry on in the lives of the visitors. 相似文献
17.
Jan Packer 《Curator: The Museum Journal》2006,49(3):329-344
Abstract What do visitors want or expect from an educational leisure activity such as a visit to a museum, zoo, aquarium or other such experience? Is it to learn something or to experience learning? This paper uses the term “learning for fun” to refer to the phenomenon in which visitors engage in a learning experience because they value and enjoy the process of learning itself. Five propositions regarding the nature of learning for fun are discussed, drawing on quantitative and qualitative data from visitors to a range of educational leisure activities. The commonalities between learning for fun and other theoretical constructs such as “experience,” “flow,” “intrinsic motivation,” and “curiosity” are explored. It is concluded that learning for fun is a unique and distinctive offering of educational leisure experiences, with implications for future research and experience design. 相似文献
18.
Museums, art galleries, botanical gardens, national parks, science centers, zoos, aquaria and historic sites are important public learning institutions. The free‐choice learning offered in these settings is closely linked to visitors' intrinsic motivation, making it important to understand the motivational factors that impact on visitors' experiences. This paper presents data from a questionnaire administered to visitors at three sites: a museum, an art gallery, and an aquarium. Similarities and differences among the sites are reported in relation to visitors' expectations, perceptions of learning opportunities, engagement in motivated learning behaviors, and perceptions of the learning experience. The importance of learning to museum visitors and the unique opportunities and challenges of the museum in relation to other educational leisure settings are discussed. The authors argue that the study of motivational factors might contribute to the development of a common theoretical foundation for interpretation in museums and other informal learning settings. 相似文献
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Andrew J. Pekarik James B. Schreiber Nadine Hanemann Kelly Richmond Barbara Mogel 《Curator: The Museum Journal》2014,57(1):5-27
The theory and practice of IPOP emerged from structured observations and interviews with visitors to the Smithsonian Institution museums in Washington, D.C. from the 1990s to the present—a dataset useful in constructing a long view. This research has had one overarching intention: to serve museum visitors better, that is, to provide visitors with experiences that are above average, special, significant, and memorable. In numerous studies and interviews during the last 16 years, visitors have repeatedly spoken about their reactions to Smithsonian museum exhibitions in four typologies distilling their primary interests: I = ideas, P = people, O = objects, and—as we were obliged to add at a later stage—a second P for “physical.” The evidence suggests that exhibitions that strongly appeal to all four visitor typologies will be highly successful with visitors. 相似文献