共查询到20条相似文献，搜索用时 31 毫秒
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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
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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
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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
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Alwynne B. Beaudoin 《Curator: The Museum Journal》2009,52(3):261-272
Abstract Digital image enlargements can be a powerful method for displaying small specimens in museums. In 2007, the Royal Alberta Museum held an exhibition of 28 SEM (scanning electron microscope) images of seeds and other subfossil macroremains, which were shown in a fine‐art format. The exhibition was prepared by a museum team using images derived from in‐house curatorial research work. This paper describes the exhibition components and reports on an attempt to engage the visitors more closely with the images by asking them to suggest identifications for some “mystery” specimens. 相似文献
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Volker Kirchberg 《Curator: The Museum Journal》2007,50(2):239-254
Abstract Sociologists have described “scenes” as voluntary social groupings or figurations that are “… thematically focused cultural networks of people who share certain material and/or cognitive forms of collective stylization,” according to Hitzler, Bucher, and Niederbacher (2001, 20). This terminology is quite useful for thinking about Stephen Weil's assertion that visitors play a role in shaping museums. Through “scenes,” we see how this might happen, and how visitors might already be exerting subtle pressure on the forms and contents of museums. The study of scenes could help us develop a tool that would offer a unique vision of the influences that visitors have on museums. 相似文献
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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
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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
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Beverly Serrell 《Curator: The Museum Journal》1997,40(2):108-125
The amount of time visitors spend and the number of stops they make in exhibitions are systematic measures that can be indicators of learning. Previous authors have made assumptions about the amount of attention visitors pay to exhibitions based on observations of behavior at single exhibits or other small data samples. This study offers a large database from a comparative investigation of the duration and allocation of visitors' time in 108 exhibitions, and it establishes numerical indexes that reflect patterns of visitor use of the exhibition. These indexes—sweep rate (SRI) and percentage of diligent visitors (%DV)—can be used to compare one exhibition to another, or to compare the same exhibition under two (or more) different circumstances. Patterns of visitor behavior found in many of the study sites included: (1) visitors typically spend less than 20 minutes in exhibitions, regardless of the topic or size; (2) the majority of visitors are not “diligent visitors”—those who stop at more than half of the available elements; (3) on average, visitors use exhibitions at a rate of 200 to 400 square feet per minute; and (4) visitors typically spend less time per unit area in larger exhibitions and diorama halls than in smaller or nondiorama exhibitions. The two indexes (SRI and %DV) may be useful measures for diagnosing and improving the effectiveness of exhibitions, and further study could help identify characteristics of “thoroughly-used” (i.e., successful) exhibitions. 相似文献
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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
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This article presents a case study of the design, development and evaluation of a science museum exhibition called Planetary Landscapes: Sculpting the Solar System. The exhibition was created by Chabot Space and Science Center in Oakland, California, in collaboration with the artist Ned Kahn. (A slightly smaller version has been traveling to science museums around the country, and has been sent to the Middle East and Asia.) This exhibition affords a chance to explore the work of a gifted artist as he seeks to merge art and science and create beautiful inquiry‐based exhibits. The story also relates how a museum design team and an evaluation team sought to support the exhibition design in ways that would augment and not interfere with the expertise of the artist. 相似文献
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Ronne Hartfield 《Curator: The Museum Journal》1994,37(1):46-62
The Art Institute of Chicago opened its new Kraft General Foods Education Center in 1992. Its inaugural gallery exhibition, ART INSIDE OUT: Exploring Art and Culture Through Time, was designed to help visitors explore the historical and cultural context of twelve works of art. “Contextual areas” are provided for six of them. They employ models, replicas, artwork, art materials and tools as well as interpretive panels and interactive computer installations to enable visitors to fully comprehend and appreciate the immediate world from which each work emerged. the six other works are contextualized by interactive computer installations. 相似文献
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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
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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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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
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Portia James 《Curator: The Museum Journal》1996,39(1):19-44
A historian explores the construction of Anacostia Museum's identity from the 1960s to the present by examining the history of its exhibitions. Direct community accessibility was part of the museum's founding mission, but Smithsonian administration, museum staff, and community residents all seemed to have different ideas about the meaning of the “neighborhood museum” concept. Designated a “Smithsonian outpost,” and intended to draw African-American visitors to the Smithsonian museums on the Mall, the new museum's mission was instead shaped by community advisory groups to focus broadly on African-American history and culture. Staff efforts to “professionalize” and upgrade museum operations later threatened community access to the exhibition-development process, and most community/museum interaction was relegated to the program and outreach activities of the education department. The 1994 Black Mosaic exhibition provided an opportunity to devise new ways of integrating the perspectives of a changed community into the exhibition-development process. 相似文献
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George Hein, museum education theorist, asserts that there are five qualities a “constructivist exhibition” must have (1998, 35). The authors, assembling observations of visitor engagement and qualitative data from the 2013 Smithsonian Folklife Festival, compare the event to Hein's constructivist exhibition criteria, to assess whether the Festival allowed visitors to “make meaning,” and to see whether visitor meaning‐making meshed with the goals of the curators. The answers have the potential to help improve visitor experiences and learning outcomes at museums and other curated cultural events. 相似文献
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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
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Abstract A common goal of science museums is to support the public in science inquiry by engaging groups of visitors with interactive exhibits. This article summarizes the efforts of a team of researchers and practitioners to extend and deepen such inquiry by explicitly coaching families in the skills of scientific inquiry at interactive exhibits. The first phase of the project, reported here, involved designing a “best case” program that worked for small groups of casual visitors under ideal circumstances, facilitated by an experienced educator in a quiet laboratory near the public floor. The final program, called Inquiry Games, taught visitors to sandwich their spontaneous physical experimentation between two additional phases: asking a question to drive their investigation at the beginning; and interpreting the results of their investigation at the end. Provisional evaluation data suggest that the Inquiry Games improved visitors' inquiry behavior in several ways and was rated as very enjoyable by them. Encouraged by these indicators, we suggest ways in which this program might be implemented on the open museum floor. 相似文献
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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