共查询到20条相似文献，搜索用时 31 毫秒
1.
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
2.
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
3.
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
4.
Antonio G. Valdecasas Virginia Correia Ana M. Correas 《Museum Management and Curatorship》2006,21(1):32-43
The first natural history collections opened to the public were inspired by a sense of curiosity and wonder about the products of nature. They were ‘cabinets of curiosities’ that offered a first-hand interaction between owner and visitors. Nowadays, these two facets of the museum experience—dialogue and wonder—have been lost, in part, due to the information overload coming via the media and the impersonal nature of the museum visit. This paper offers some reflections on the evolution of the museum visit, suggests some ways to rediscover this ‘sense of wonder’ and provides ideas on how to promote two-way communication with museum visitors. Two examples of exhibitions are offered as illustrations of the points discussed. 相似文献
5.
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
6.
Gregory M. Benton 《Curator: The Museum Journal》2008,51(3):295-309
Abstract Meaning‐making describes a process by which visitors transform museum experiences into new knowledge and memories. Meaning‐making is influenced by visitors' leisure motivations, prior knowledge, socio‐cultural context brought to the experience, personally‐guided interpretation, and events since the visit. In this study, visitors' long‐term recollections included contextual references to how and why they remembered what they experienced. Forty visitors were interviewed by telephone six months after attending a Native American interpretive program at Grand Canyon National Park's Tusayan Museum. Two patterns associated with a constructivist view of meaning‐making were discerned: a) visitors' integration of indoor and outdoor exhibits and b) visitors' comparisons of modern family and community with a more ancient culture. The presence of contextual indicators within visitor recall suggests that new knowledge may be constructed from factors carried forth from the meaning‐making process. Evidence within the data suggests that exhibits made more relevant to visitors' socio‐cultural identity may enhance on‐site experiences. 相似文献
7.
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
8.
Lois H. Silverman 《Curator: The Museum Journal》1995,38(3):161-170
The concept of meaning-making is generating excitement within the museum community, with good reason. Providing an approach to understanding visitor experiences, the paradigm illuminates the visitor's active role in creating meaning of a museum experience through the context he/she brings, influenced by the factors of self-identity, companions, and leisure motivations. As a result, visitors find personal significance within museums in a range of patterned ways that reflect basic human needs, such as the need for individualism and the need for community. The dynamics of visitor meaning-making indicate the importance of fashioning a better “fit” between people and museums in two critical areas: (1) between human meaning-making and museum methods and (2) between human needs and the purpose of museums in society. Each of these areas illuminates a promising direction for a new age of museums in which we actively support, facilitate, and enhance the many kinds of meaning possible in museums and explicitly incorporate human needs into exhibit goals and institutional missions. Examples of successful strategies are discussed. 相似文献
9.
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
10.
《Museum Management and Curatorship》1988,7(2):117-128
The results of this study indicated that small but significant amounts of knowledge gain did occur upon visiting the Living Land Living Sea gallery, that attitudinal change was not measured, and that exhibit type clearly affects attracting power and holding power.It is only fair to say that the results have left the RBCM staff with mixed reactions. Knowledge gain did occur, but still the majority of intended messages were not communicated. Attitudinal change did not occur, yet this was a stated museum goal. Does this mean the gallery has failed? The attracting power and holding power values for the gallery seemed low. Visitor flow did not follow the designed pattern, nor did visitors stay in the gallery for the intended period of time, whilst key exhibits did not receive the necessary attention, and visitors were attracted to and held at certain exhibits for other than the intended purpose. Are these matters of a serious enough nature to be of concern, or does the overwhelming positive enjoyment reaction outweigh the fact that the visitor did not view the gallery in the manner or sequence intended?Is the Living Land Living Sea gallery a success or not? Are dioramas the answer? These questions demand that the exhibits be studied both from the museological perspective and from that of the visitor. In relation to this gallery, the visitor would vote an overwhelming ‘yes’, but we are fearful that if one is being honest, the museologist must answer ‘no’.One surprising result of this study is that those exhibits judged to be the most successful in behavioural terms, i.e. the larger ‘concrete’ exhibits, were not the most successful in educational terms. The negative relationship between knowledge gain and minimum viewing time, and the implied negative relationship between knowledge gain and Concrete Index scores, leads us to conclude that dioramas are not the best vehicle for communicating ideas. This finding reinforces the concept that large diorama-type exhibits be used to ‘wow’ visitors, but if we want to teach them anything, we should probably go for the small exhibit whose message can be gleaned in a relatively short time.All museums, not just the RBCM, need to re-examine their motives for public exhibits. As ‘tourists’ become increasingly our most important market (since visitation seems to be an indicator of success), more and more museums are contemplating the use of large dioramas to attract visitors. As these data indicated, dioramas are not the answer to all our problems and thus should be used carefully and cautiously. 相似文献
11.
Christian Hviid Mortensen Maja Rudloff Vitus Vestergaard 《Curator: The Museum Journal》2014,57(3):329-346
In a time with a heightened focus on how museum architecture and exhibition design shapes the museum visit, the entrance space of museums, the museum lobby, is remarkably absent from the museum literature and research. Still, the museum lobby is the first encounter visitors have with the museum and the last impression that they take home and share with others. This article analyzes museum lobbies as communication spaces in order to identify the different functions afforded by such spaces. In an explorative study of five Danish museum lobbies, we offer a preliminary categorization of these functions that can be compared at a general level. Concrete examples will be used to discuss general issues such as the adaptive borders of lobby spaces and the counteracting effects of design. We suggest that the preliminary categorization provided here can form a foundation for further studies resulting in practical suggestions for design improvements. 相似文献
12.
Andrew J. Pekarik 《Curator: The Museum Journal》1997,40(1):56-68
Many museums use comment cards, visitor books, and bulletin boards to capture the reactions of visitors. Whether they are collected, counted, skimmed, read, or simply filed, the utility of these documents is rarely questioned. This paper suggests some pros and cons of comment systems and presents an analysis of the comments on an exhibition, Flight Time Barbie, at the National Air and Space Museum (NASM), Smithsonian Institution, in Washington, DC. The responses to this exhibition included judgments about the subject matter of the exhibition, opinions about its presentation, and remarks regarding its appropriateness to the museum. The paper concludes by suggesting a practical approach to the analysis of visitor comments. 相似文献
13.
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
14.
Robert Mac
West 《Curator: The Museum Journal》2004,47(2):213-223
Abstract The increasing use of interactivity obliges museums to make decisions about the most appropriate interpretive strategies for exhibitions and experiences. Interpretive strategies have immediately apparent costs for an institution, as well as other less obvious implications. Interactive exhibits generally cost significantly more to develop, design, fabricate, and operate. There also are other, non‐quantifiable costs. For instance, environments might be very appealing to some visitors but less appealing to others. Some activities may inhibit social interaction among visitors. There is a danger that broken interpretive exhibits may convey a perception of low confidence in the museum, or that obsolete technologies may suggest inadequacy (especially in a science presentation). Finally, interactive exhibits that don't function optimally may create internal and public uncertainty about the core mission of the museum. 相似文献
15.
Sarah M. Bexell Olga S. Jarrett Luo Lan Hu Yan Estelle A. Sandhaus Zhang Zhihe Terry L. Maple 《Curator: The Museum Journal》2007,50(3):287-297
Abstract This study explores the effects of visitor observation of giant panda play on visitor concern for endangered species and satisfaction with seeing giant pandas. A total of 335 visitors to three institutions that house giant pandas participated in the study. These institutions are: the Chengdu Research Base of giant Panda Breeding, and the Chengdu Zoo, in China; and Zoo Atlanta in the U.S. After viewing the giant pandas, visitors were interviewed on whether they ever observed a panda play session, whether they observed panda play on the day of the visit, whether they wanted additional information on panda protection, and how satisfied they were with their visit to the pandas. An informational flyer was given to each interested survey participant after the interview. Visitors did not differ in their request for conservation information according to whether they had ever seen pandas play. However, visitors who observed panda play on the day of their visit expressed greater satisfaction with their visit. Implications for zoos and their conservation efforts are discussed. 相似文献
16.
Many museum professionals believe that immersive exhibits—those that surround visitors—provide more attractive, engaging and effective learning experiences than tabletop exhibits. We investigated this claim by comparing visitors’ experiences of the two exhibit types, using pairs of exhibits that differed in scale (immersive vs. tabletop), but shared the same content and similar visitor activity. We randomly selected, videotaped, interviewed, and sent follow‐up surveys to sixty families who experienced immersive exhibits and sixty families who experienced tabletop exhibits. We found that each design type had strengths. Learners at immersive exhibits more often returned to the exhibits mentioned the exhibits’ positive aspects, and saw themselves as part of the exhibits. Conversely, learners spent longer periods of time at tabletop exhibits, and engaged in more content‐related reasoning. Study results partially support the view that immersive exhibits may be more fun and engaging than tabletops. However, results also counter the expectations that being immersed in exhibit experiences will lead to greater physical and intellectual engagement. 相似文献
17.
《Curator: The Museum Journal》2017,60(2):191-203
The paper considers the unique conditions that describe the National Museum of the Saharawi People, its relationship with visitors and its representation of the rights of residents of the refugee camp where it is located. In 1998, a National Museum of the Saharawi People was created in one of the several Saharawi refugee camps established in Eastern Algeria in the mid‐1970s. The museum was designed to provide knowledge about the cultures of the Western Sahara and to disseminate information about the challenges faced in the Saharawi territory. In 2006, a new curatorial investment was made and new exhibits mounted following a devastating flood that destroyed a substantial portion of the museum. In 2013 the Museum was remodelled. This case study undertaken after the 2013 reinstallation explored comments in the visitor books to understand how the museum contributed to cultural heritage, participated in the process of social cohesion, and supported the political struggle of a people demanding their right to self‐determination after decades of exclusion as residents in a refugee camp. 相似文献
18.
19.
Jeff Camhi 《Curator: The Museum Journal》2008,51(3):275-294
Abstract Guided tours offer special opportunities for lively and varied presentations that match the methods of interpretation to the characteristics of the participating visitors. Most tour guides rely on rather limited, unidirectional (guide‐to‐visitor) communication. Instead, this paper outlines six different pathways of communication that are possible among guide, visitors, and object. Each pathway offers several specific types of communicative acts. In addition, 35 guided tours in several different kinds of venue were examined to identify the pathways and types of acts that were used. The professional literature describes other types of acts, and more have been developed at the writer's home museum. All in all, the 58 different types of communicative acts described here present a wide range of opportunities for guides to communicate with visitors. 相似文献
20.
《Curator: The Museum Journal》2017,60(1):101-119
The status of climate change education at nature‐based museums (i.e., zoos, aquariums and nature centers) was examined, with a particular focus on centers participating in a National Network for Ocean and Climate Change Interpretation (NNOCCI) leadership training program. Study 1 revealed that, relative to nature‐based museums that did not participate in the training, NNOCCI‐participating institutions provided resources for staff to work on the topic and professional development programs and were more likely than non‐participating museums to be comfortable with and provide climate change education programming. Study 2 confirms these results via visitor reports about the exhibits they observed. Study 2 also reveals that, relative to non‐visitors and visitors to non‐participating nature‐based museums, visitors to NNOCCI‐participating nature‐based museums were more knowledgeable about and concerned about climate change and ocean acidification, hopeful about their ability to talk about the topic, and likely to engage in climate change actions than those who did not visit these centers. Importantly, results from both studies indicate that nature‐based museums, especially NNOCCI participating museums, have an institutional culture supportive of climate science education and suggests that NNOCCI interpreter training programming facilitates this culture which in turn is reflected in visitor engagement. 相似文献