共查询到20条相似文献，搜索用时 15 毫秒
1.
《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
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.
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
4.
Based on a nationwide investigation of the current state of preservation of museum objects in China, around 51% of the 35 million museum objects show different degrees of deterioration. Although treatment of objects is necessary, treatment alone is not sufficient. In China's present situation, preventing damage to museum objects is much more cost-effective than allowing damage to happen and then treating it. The number of museums in China is increasing very fast: 23?000 exhibitions are held, 600 million visits are made, and 35?000 archaeological objects are excavated nationwide, each year. At the same time, these museums are widely distributed and have different levels of resources. We need both technical knowledge and preventive conservation to safeguard our precious museum objects. This paper introduces research achievements in preventive conservation, and traces the development of this discipline in China. Starting from the classification of museums in China, legislation is detailed on preventive measures such as selecting appropriate light sources, controlling temperature, relative humidity, light damage, and pollutants. This paper describes achievements in monitoring, analysis, evaluation, and control of museum environments in China. It also proposes future directions for museum environment studies during China's twelfth Five-Year Plan. 相似文献
5.
《Curator: The Museum Journal》2017,60(3):311-333
This paper details findings from a collaborative research project that studied children learning to 3D print in a museum, and provides an overview of the study design to improve related future programs. We assessed young visitors’ capacity to grasp the technical specificities of 3D printing, as well as their engagement with the cultural history of shoemaking through the museum's collection. Combining the museum's existing pedagogical resources with hands‐on technology experiences designed by Semaphore researchers, this study enabled both researchers and museum education staff to evaluate the use of 3D‐driven curriculum and engagement materials designed for children visiting cultural heritage museums. This study raises critical questions regarding the practicality of deploying 3D media to engage young learners in museums, and this paper illuminates the challenges in developing models for children to put historical and contextual information into practice. 相似文献
6.
Susan Mancino 《Curator: The Museum Journal》2016,59(2):141-152
Throughout their history, museums have performed diverse public services: from preservation, collection, and exhibition, to interpretation, education, and civic engagement. As Stephen E. Weil ( 2002 ) explains, since the mid‐twentieth century, museums have experienced two major revolutions. First, a revolution in focus from collection‐oriented to visitor‐oriented practices, and second, a revolution in public expectations as museums secured a position within the nonprofit sector (81–82). With competition for public, private, and philanthropic support resting upon measurable results, the evaluation of museums depends upon its ability to “accomplish its purpose” (5). However, the question remains: what is the museum's purpose? Which is the more important: collection and artifact preservation, or public engagement and education? An overview of museum practices reveals a multiplicity of professional tasks distributed among three imperatives: preservation, scholarship, and programming (Weil 2002 , 11). The competition for resources devoted to each of these imperatives can spark controversy—particularly if museum professionals answer the question of the purpose of museums differently. Organizational communication scholar, Janie M. Harden Fritz, developed a theoretical framework that seeks to respond to such controversies in Professional Civility: Communicating Virtue at Work. This essay considers Fritz's “professional civility” in the context of the American museum sector, lending insight to the question of museum purpose and function. 相似文献
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8.
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
9.
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
10.
Elaine Heumann Gurian 《Curator: The Museum Journal》1995,38(1):31-37
Our certainty about the definition of museums is disappearing and with it goes our assurance about where we are and what we are becoming. Observing visitors' use of the United States Holocaust Memorial Museum could cause us to change our understanding about how people use and act in museums. Further boundaries are blurring as the native communities worldwide ask museum personnel to change their methods of collections care and alter rules of accessioned objects' use. Without acknowledging it, museum personnel are becoming more comfortable with reproductions and purposebuilt material. Technology is making us a “paperless” society. Our need for and understanding of “authenticity” is changing, and we no longer rely purely on our objects to define our work. Are we destroying museums, changing with the times, or creating some new and potentially more vibrant and useful institutions? Can a new realignment and new definition of our institutions help us to create a more civil society? Do we wish to continue on this road? 相似文献
11.
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
12.
《Curator: The Museum Journal》2017,60(1):23-31
A group of 25 multi‐generational, multi‐racial museum professionals met in January 2016 for a 3‐day dialogue about museums and race. They concurred that forming alliances among museum practitioners of all races and ethnic backgrounds is a critical step in dismantling the persistent and pervasive presence of structural racism in museums. This article asserts that there are both demographic and ethical imperatives for close examination of all aspects of museums’ programs, their staffs and boards, the publics they serve, and the organizations that exist because of them. It provides an introduction to the vocabulary and attendant systems of white privilege, oppression, and intersectionality, offers concrete suggestions for people of all backgrounds to join forces, and ends with a call to action to bring racial awareness and action to the forefront in our institutions, our communities, and our nation. 相似文献
13.
Christina Kreps 《Curator: The Museum Journal》2003,46(3):311-323
This article examines changes that have been taking place in the museum world over the past several decades—changes that have been transforming the social practice of curatorship in museums. We are seeing the emergence of more holistic, integrated and culturally relative approaches to curatorial work that acknowledge the relationships among objects, people, and society, and explore these relationships in social and cultural contexts. Through cross‐cultural comparison, curating can be seen as a form of social practice linked to specific kinds of relationships between people and objects as well as to wider social structures and contexts. This approach allows us to transcend debates over whether or not museums and curatorial work should be either object‐ or people‐focused. One approach cannot be separated from the other. 相似文献
14.
Danielle Rice and Philip Yenawine are veteran art museum educators who have wrestled for decades with the thorny issues involved in teaching about and learning from art objects in the museum setting. While there is general agreement within art museums today that the object should be the focus of educational practice, debate continues as to the most effective processes for facilitating learning. Gallery teaching is one of the most contested arenas, with much of the disagreement centering on the place of information in teaching beginning viewers. In art museums, the issue of what and how to teach is complicated by the fact that many people, including artists, museum professionals, psychologists and educators consider art primarily as something to be enjoyed, and they posit this enjoyment in direct opposition to learning about art. Partly because of this, the function of art museum education and gallery‐based instruction is still evolving. 相似文献
15.
University‐based natural history museums are specialized cultural institutions that serve diverse constituencies. On one hand, these museums promote scientific research and collections through the work of curators and students and must advance the universities' missions. On the other hand, they must provide exhibition and public programs for the local community, or if they are a state museum, serve the citizens of the entire state through these activities. The challenge for university‐based natural history museums is to achieve a balance among their activities and services, given available resources. In the twenty‐first century, university natural history museums must further adapt by promoting social awareness of topics such as biodiversity and fostering learning in informal and formal settings. The Florida Museum of Natural History, an official State museum located at the University of Florida, is a prime example of a comprehensive university museum with a broad spectrum of programs that promote and enhance learning activities. 相似文献
16.
Klaus Müller 《Curator: The Museum Journal》2002,45(1):21-33
Abstract This paper investigates issues of museums and virtuality. In considering the diverse ways that museums are approaching virtuality, the focus here is on the common ground and shared objectives, rather than the differences between museums and their virtual re‐creations. Put simply, on‐site museums and their online counterparts are merely two ways of exhibiting cultures. In this sense, “virtuality” is a fundamental exhibition practice. The World Wide Web has become increasingly relevant to such core museum tasks as collecting, preserving, and exhibiting. Digitization of objects in digital heritage programs has led to new forms of collection management and unparalleled access to virtual replicas of museum artifacts. This transformation is inspiring new forms of preserving and displaying cultures both on‐ and off‐line. A successful digital expansion will largely influence whether museums can sustain their cultural authority and position in the 21st century. 相似文献
17.
Hilde S. Hein 《Curator: The Museum Journal》2007,50(1):77-85
Abstract Objects have never been quite as bluntly material as is conventionally claimed. Nothing is just a thing. We carve objects out of a blurry reality as we need them, creating narratives that adhere to them in greater or lesser degree. Traditional museums were held to be “about objects”—which were esteemed as material bearers of accrued significance. Why then the current disputes among museum professionals and observers who question the role of objects? Museums have always been about ideas and about objects. They foster human and physical interactions in which neither persons nor things take precedence. 相似文献
18.
Charles Alan Watkins 《Curator: The Museum Journal》1994,37(1):25-35
Museums today face a crisis of confidence arising from two issues: (1) the erosion of a historically unreliable funding base, and (2) a challenge for audience by entrepreneurial elements in the culture. Other issues center on a growing public idea that museum work can be shared by entities such as theme parks and exhibition halls and the perception that education should be shaped as recreation. Museum responses to these problems have exacerbated their vulnerability as unique institutions. Certain dichotomies in the museum world help to explain this situation: (1) professionalism versus the audience, (2) connoisseurship versus the public experience, (3) the centrality versus the peripherality of objects in museums, (4) museums as businesses versus museums as educators, and (5) visitor expectations versus available resources. Resolution of the conflicts requires museums to remember that they are communication systems capable of teaching hard information, to stop emulating the forces that threaten to destroy them, and to pay attention to certain lessons understood in the business world. Museums also must find stable and reliable funding, reinvigorate the museum accreditation program, and pay attention to what museums really exist for. Museums are still necessary only when they function as true museums. 相似文献
19.
AMBER AULD COMBS 《Curator: The Museum Journal》1999,42(3):186-197
This article presents the background, methodology, and results of a yearlong study of visitor motivation conducted by the Visitor Research Team (VRT) of Winterthur, a Delaware decorative arts museum. The article details the VRT's use of focus groups to determine what really motivates visitors to attend museums. Study results are consistent with recent work in the field showing that learning and recreation are the primary motivations behind museum visitation. Visitors valued museums as places for active, personal learning through the observation of objects and as outlets for physical and mental relaxation and escapism. Results also show that Winterthur visitors ascribe meanings to the words learning and recreation that are different from education and entertainment. The author calls on museums to discover the needs of their audiences and to design marketing and programming using visitors' vocabularies to promote and provide meaningful museum experiences. 相似文献
20.
George E. Hein 《Curator: The Museum Journal》2004,47(4):413-427
Abstract Although John Dewey's educational concepts have been discussed previously in relation to museums, his own writing about museums has received little attention. Dewey, who visited museums frequently throughout his life, recognized the powerful educational value of museums. He assigned a central role to museums as integrative components of raw experiences in his educational theory, and he made extensive use of student visits to museums at the Chicago Laboratory School. Early twentieth‐century museum educators and directors applied Dewey's ideas, and advocated a museum education philosophy, based on the progressive education movement, that has significance for current exhibition and educational practice. 相似文献