共查询到20条相似文献，搜索用时 62 毫秒
1.
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
2.
3.
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
4.
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
5.
张哲侨 《自然科学博物馆研究》2020,(1):69-76
在科技馆基于展览的教育活动中经常会遇到科学内容比较深奥、抽象,难以直接观察、体验的问题。山西科技馆“科学有曰之多普勒效应”教育活动将深奥的科学原理转化为浅显的基础知识,将抽象知识转化为可观察、可体验的直观现象,并采用“5E教学模式”,综合运用体验式学习和情境教学等教学方法。引导学生自主探究有关多普勒效应的知识,利用所学知识解释多普勒效应原理并了解其在天文学和生活中的应用。 相似文献
6.
One Hundred Strong: A Colloquium on Transforming Natural History Museums in the Twenty‐first Century
In February 2012, the Smithsonian's National Museum of Natural History (NMNH) convened 100 colleagues from 43 organizations to initiate a collaborative learning research agenda focused on examining important areas for innovation to better serve twenty‐first‐century audiences. The conference organizers anticipated that scientists, educators, exhibit professionals, and other members of the natural history community would identify and prioritize research questions about what, how, why, when, and where people learn about natural history. We prepared to engage in a conversation about how natural history museums could change what they do. The participants' overwhelming passion for their work, and for natural history museums and their transformative potential for society, quickly turned the conversation toward how natural history museums should change what they are. The result was an emergent learning research agenda situated within a broader vision for natural history museums. 相似文献
7.
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
8.
MICHAEL SPOCK 《Curator: The Museum Journal》2000,43(1):19-31
As part of an exploratory research study, museum professionals were asked to share their stories about pivotal learning experiences in museums. Several offered personal narratives of how they first became interested in museums and started down the path toward careers in museum work, or had their imaginations opened to the possibility of broader life horizons. This group of stories seemed to be grounded in particularly vivid memories and frequently elicited strong emotions in the telling. The narratives are evidence of the impact of early museum experiences on people who later found their way into museum careers, and suggest avenues for further study of the roots of museum careers as well as other ways museums profoundly affect people's lives. The stories can also reveal to the teller, as well as to researchers and others, what stands out in their memories and the importance they assign to those memories. By attending to the thematic and emotional content of these narratives, both narrator and colleagues can find clues about where their beliefs and values really lie and, therefore, where their and the profession's time and resources might be most productively invested. 相似文献
9.
Abstract The Learning Science in Informal Environments report holds great potential for creating change among those who work in the field of science education. But to what extent can it inform other sectors of the informal education world? This article explores how the LSIE report might influence research and practice in art museums. By comparing the report to a recent study in art education, the authors point out areas of overlap and divergence relative to content and skills, identity, and communities of practice. We suggest several implications for how art museums and science museums might learn from one another. A call to action is made for further research and discussion about common learning goals and outcomes for the art museum experience. 相似文献
10.
ADAM BICKFORD 《Curator: The Museum Journal》2001,44(3):274-295
This paper compares two perspectives on why individuals visit museums using data from a telephone survey conducted in Minnesota in 1996. One perspective holds that individuals visit museums because of interest in the materials exhibited. Another holds that visits to museums are markers of social status, influenced more by social class variables, such as educational attainment. Information from the survey allows for construction of a set of interest indices, which reflect the respondents' levels of interest in various museum topics. The survey data also allow the estimation of regression models that test the relative roles of interest versus respondents' educational attainment as indicators of their likelihood of visiting any one of five different types of museums. Results show that topic interest is a stronger predictor than educational attainment. The implications for attracting museum visitors are discussed. 相似文献
11.
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
12.
《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
13.
David R. Howell 《Curator: The Museum Journal》2015,58(4):423-433
Since the devolution of political authority was introduced to Wales, the museums and culture sector has been increasingly influenced by the political sector. One aspect of the culture sector to become a focus for Welsh politicians has been the idea of establishing a National Gallery for Wales. This has increased pressure on the National Museum Wales, the body which would be responsible for creating a National Gallery, to revisit its approach to the display of national art collections and associated narratives. However, in an effort to create something resembling a National Gallery, has National Museum Wales ultimately fallen short in achieving wider goals of developing a Welsh narrative through the nation's art holdings? This paper explores how effective the National Museum has been in exploring national narratives through its displays, by focusing on audience engagement with exhibitions. A visitor study, conducted between 2012 and 2014, explored the way in which visitors engaged with works of art that might be classified as being “Welsh.” Following this three year period, it became clear that visitors were not viewing Welsh art work as a viewing priority, and tended to not enter the one exhibition area to present a strong Welsh narrative connected to the display of art. In a context where visitors appear to systematically disengage with a national narrative—a narrative seen to be a priority by Welsh politicians and the museum hierarchy—why is this failure occurring? How might it be confronted? And ultimately does, or should, this emphasis matter in the first place? 相似文献
14.
Stephen Bitgood 《Curator: The Museum Journal》2006,49(4):463-475
Abstract How visitors circulate through museums determines what they will see, where they will focus their attention, and, ultimately, what they will learn and experience. Unfortunately, the consistency of these movement patterns is not readily apparent. This article reviews the literature on visitor circulation in light of the general value principle which predicts choice behavior as a ratio of perceived experience outcome (benefits) divided by perceived costs (time, effort, and so on). Although this principle at first appears obvious, its implications may be more profound. 相似文献
15.
The literature on family behavior in informal science settings consists primarily of observational studies of behavior, focusing on generation and gender roles and learning strategies. Much effort has been expended studying the family visit, building the foundation for further study. A question that remains is: Can we infer learning from observations of learning behavior among family members? The literature in this annotated bibliography addresses issues involved in understanding the family learning process — what a family is, why families visit museums, how they behave in museums, how they learn in museums, and measuring learning. 相似文献
16.
张昱 《自然科学博物馆研究》2018,(3):63-70
在博物馆更新改造中设置与展厅相邻的教室、实验室、活动室,开展与展览内容对应的教育活动,体现了国际上博物馆“展教结合”、加强教育功能的发展趋势。美国史密森尼国家自然史博物馆Q?rius展区即是这一趋势的产物,它将教育与展厅及其展览内容密切呼应、深化展览教育,在空间规模、功能布局、对象设定、活动规划、教育资源、人员分配、突出公众的“个体化”“参与式”和“关联型”学习等方面拥有较为成功的经验,可为我国博物馆提供借鉴。 相似文献
17.
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
18.
Pamela Carter‐Birken 《Curator: The Museum Journal》2008,51(2):171-178
Abstract What does the term “interpretation” mean when it's encountered in museums of modern and contemporary art — and is something missing? Studies conducted by the Phillips Collection in Washington, D.C., the Walker Art Center in Minneapolis, and the University of Leicester in England reveal that visitors want more information about art. In this article, interviews with the directors of the Phillips and the Walker (as well as other museum professionals and academics) examine interpretative practices today and suggest plans for tomorrow. When preparing future interpretive materials, the author advocates that museums expose visitors to the idea that they make their own meaning when viewing art. 相似文献
19.
Jette Sandahl 《Curator: The Museum Journal》2012,55(4):467-478
Abstract Museums are mirrors of national, regional, and local identities, functioning as self portraits of nations, regions, and cities. But to what extent do city museums, for instance, actively and consciously reflect the ethical, political, or social dilemmas, contradictions, and conflicts that drive and impact the cities they serve? As concepts of democracy expand in the twenty‐first century, can museums be platforms for dialogue and solution‐building? What hinders museums in facilitating equal access to culture for everyone and encouraging a plurality of voices to speak? Like many other city museums, the Museum of Copenhagen is forced, enticed, and lured by the complexity, richness, and challenges of contemporary urban cultures to re‐examine its vision and methods, seeking a new relevance and presence for itself within the city. 相似文献
20.
Andrew Pekarik 《Curator: The Museum Journal》2007,50(1):131-134
Abstract If we examine the agendas embedded in studying visitors in museums, we are able to see where the optimal effects of these studies are. Ultimately, the aim of studying visitors should be to deeply understand other people, to respond to their needs, to make evident the respect we feel for them, and to express the ideal of service that motivates our work. 相似文献