共查询到20条相似文献，搜索用时 515 毫秒
1.
Edith Doron 《Curator: The Museum Journal》2009,52(2):169-182
Abstract Describing actual museum‐wide events developed for the culturally charged arena of the Brooklyn Children's Museum, this article explores the philosophical and pedagogical double binds that have brought multiculturalism to a political impasse. Museums have strived to be valued resources in an increasingly diverse society. In aspiring to broaden their audience base, their work has shifted from developing educational policies that are “object‐centered” to those that are “community‐centered” — a change of strategy affecting everything from programs to exhibit design. Children's museums — distinct (if not marginalized) from the serious work of the traditional art or ethnographic or natural history museum — know and indeed say in their very name — “children's museum” — that they are for the sake of someone and not about something. They have always already been attuned to the visitor at the threshold. 相似文献
2.
Doris Ash 《Curator: The Museum Journal》2004,47(1):84-100
This paper explores the role of questioning in scientific meaning‐making as families talk, look and gesture in front of realistic and artful dioramas at the Natural History Museum of Los Angeles County. The focus is on the ways questioning can either enable movement towards scientific understanding or hinder such progress. The socio‐cultural framework of this research emphasizes Vygotsky's interpretation of the zone of proximal development (zpd). Questions are viewed as tools for mediation in the zpd. This paper examines three families' dialogues, excerpted from a larger study of collaborative sense‐making among family groups in a natural history museum. It seeks to understand how collaborative dialogue meshes everyday understandings with canonical science, in this case through the use of questions. 相似文献
3.
During Spring 1997 we experimented with a research method combining quantitative and qualitative approaches to documenting visitor experiences in The Glory of Byzantium, a special exhibition of the Metropolitan Museum of Art. In addition to using standard demographic and behavior surveys, a small team of researchers and volunteers gathered information, compared experiences, and summarized their observations of people in the exhibition. Each team member conducted about a dozen structured conversations with visitors as they left the exhibition. Subsequently the team met as an informal focus group to describe their experiences. We found that many museum users arrived with relevant experiences and high expectations for this somewhat specialized exhibition; we also found users whose approach to the exhibition was less well‐informed, but whose enthusiasm and trust for the museum experience moved them to attend with satisfaction. We believe that such team approaches to research might well be used as a regular part of museum work as we search for answers to the many elusive questions about museum use. 相似文献
4.
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
5.
Abstract This article aims to capture the spirit and content of a lively exchange among museum staff members at the Denver Art Museum. It began as a conference call and continued as an online dialogue about how definitions of success have evolved with advances in technology and changing expectations of visitors. Together we explored how DAM staff encourage more active participation in the museum and the creative tension that ensues between visitor co‐creation and institutional control. Woven throughout this conversation are examples that demonstrate the need to move fluidly between high tech and low tech interpretives, onsite and online experiences, and the impact of environments that break down museum stereotypes. It is our hope that this discussion will spark similar dialogues among colleagues in individual institutions and in the profession at large. Readers are encouraged to respond through the blog at Curator’s new website: http://www.curatorjournal.org . 相似文献
6.
Patrik Steorn 《Curator: The Museum Journal》2012,55(3):355-365
Abstract Important work in the last decades within the museum studies field has laid bare the implicit nationalist, evolutionist, and patriarchal narratives of the traditional museum. So far, though, only a few writers have discussed the museum’s role in supporting “heteronormative” narratives that consolidate heterosexuality as a norm within social and cultural life. This article is a critical discussion of methodological aspects of a queer perspective in interpreting, exhibiting, and organizing museum collections. Two shows with LGBT / queer perspective that were exhibited in Stockholm, Sweden during EuroPride 2008 are the focus of this article’s analysis. They consist of the photo exhibition Show Yourself! at the Nordic Museum, and Queer: Desire, Power, and Identity at the National Museum of Fine Arts. The author himself was the curator of the latter exhibition. This article offers personal reflections on the methodological challenges of translating an abstract queer perspective into museum practice in order to envision online and on‐site museum encounters that can mobilize various kinds of pluralistic passions. 相似文献
7.
Sally Anne Duncan 《Curator: The Museum Journal》2005,48(3):301-316
Speculation about the character and purposes of American art museums has occasioned intense debate since their inception—never more so than today. Whether to be elitist or populist, object‐based or audience‐based forms the crux of many heated arguments. This article asserts that, in the midst of competing philosophies, the successful American art museum has in reality grown from an amalgam of ideas that form a via media or middle path, far more inclusive and pragmatic than is usually noted. This comprehensive philosophy is most effectively demonstrated in the work of Henry Watson Kent at the Metropolitan Museum of Art in New York during the first decades of the twentieth century. The work of Kent and his colleagues at the Metropolitan Museum is here examined as a paradigm for the via media museum practice that speaks to the aspirations of America's current art museum leadership. 相似文献
8.
Abstract When the Chicago History Museum re‐opened its doors on September 30, 2006 after a 21‐month‐long renovation, the debut included a new interactive history gallery for families. The exhibition, Sensing Chicago, was designed primarily to appeal to and communicate effectively with eight‐ and nine‐year‐old children. Since this was a new target audience for the museum's exhibition program, the team followed a course for this project that departed from the museum's typical exhibition development. The process was informed by audience research that has broadened our understanding of how a collections‐based history museum that traditionally caters to adult audiences can create meaningful and memorable experiences for children. This article focuses on one aspect of the research, a three‐month concept‐testing phase conducted by in‐house staff, which provided the team with useful information that, in turn, impacted the development and design of the gallery. 相似文献
9.
Susan Evans 《Curator: The Museum Journal》2013,56(2):189-197
How does what we remember about history relate to true historical understanding, and how can the museum become a location for these conversations? During the summer of 2011, the National Museum of American History challenged audiences to consider issues of historical memory and national history through the performance of an interactive museum theater program, The Time Trial of John Brown. Using the Time Trial approach as a case study, this article reveals that interactive theater in museums can provide a platform from which audiences assert their own historical understanding while learning firsthand about their role in creating a shared knowledge of American history. As the role of museums evolves in the twenty‐first century, new attention must be paid to this personal process of examining and creating history and memory through performance. It is through performance and participation that history and memory are both examined and created by the audience. 相似文献
10.
Janet A. Kamien 《Curator: The Museum Journal》2001,44(1):114-128
Abstract This article presents six models, from within and outside the museum profession, useful to consider when creating exhibition teams. The focus is on five roles—client, content specialist, designer, content interpreter, and project manager—and the authority and responsibility assigned to these roles in the different models. The author examines the pros and cons of the models and provides examples from museums in which they were instituted. The developer model was created at The Field Museum of Natural History to replace the team approach model. Both of these models replaced the curatorial model. The broker model was developed at The Children's Museum in Boston. From outside the museum field, the author presents the architectural model and the theatrical model. Each of the models, in differing ways, defines a process, a point of view about the expected outcomes, and assigns specific authorities and responsibilities to staff members in each of the five roles. The author argues that it is not so important which of the models is chosen for any given exhibition project, but emphasizes that the importance lies in being certain that a model be chosen and rigorously implemented. The appendix also includes a sample exhibit process document from one museum. 相似文献
11.
Keletso Gaone Setlhabi 《Curator: The Museum Journal》2014,57(3):295-311
This paper discusses the three phases of the lifecycle of the bojale drum: its custodianship by the queen of Bakgatla‐baga‐Kgafela; the drum's use in bojale (girls’ initiation ceremony); and its presence in Phuthadikobo Museum, a community institution. This lifecycle was observed by the author prior, during, and post initiation in bojale, a girls’ initiation school in 2009. The drum's use, its royal significance and sacredness, is barely documented in its museum record, which can result in its misinterpretation. The recommendations are that the drum's documentation, preservation, handling, and storage in the museum should incorporate its intangible cultural attributes if the museum is to be relevant to the Bakgatla‐baga‐Kgafela community. In conclusion, bojale drum is an example of how material culture can connect a museum with its community through the living culture of bojale. 相似文献
12.
Kate Moomaw 《文物保护研究》2016,61(3):130-136
Participatory art is a contemporary movement requiring viewers to take an active part in the artwork, by means ranging from interaction with materials to creative contribution. Artistic developments in the twentieth and twenty-first centuries, such as political and social engagement, led to the rise of participatory practices. Concurrently, museums have reacted to falling attendance and cultural shifts by seeking to create more engaging experiences for visitors. At the Denver Art Museum, this has led to an increased interest in displaying and collecting participatory art. Through case studies of works in the collection of the Denver Art Museum, Walking in Venus Blue Cave (2001) by Ernesto Neto and ¿Being Home? (2009) by Rupprecht Matthies, this paper explores the conservation of participatory artworks in museum collections, including their maintenance on display, long-term preservation of their interactive nature, and the possibility of involving communities in conservation actions and decision-making. 相似文献
13.
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
14.
After being closed for three years, the Cooper Hewitt, Smithsonian Design Museum reopened at the end of 2014 a transformed museum in a renovated heritage building: Andrew Carnegie's former home on the Upper East Side of New York City. New galleries, a collection that was being rapidly digitized, a new brand, and a desire for new audiences drove the museum to rethink and reposition its role as a design museum. At the core of the new museum is a digital platform, built in‐house, that connects collection‐ and patron‐management systems to in‐gallery and online experiences. These have allowed the museum to redesign everything from object labels and vitrines to the fundamentals of the “visitor experience.” This paper explores in detail the process, the decisions made—and resulting tradeoffs—during each stage of the process. In so doing, it reveals the challenges of collaborating with internal and external capacities, operating internationally with online collaboration tools, and rapid prototyping. 相似文献
15.
Abstract The 2010 Horizon Report: Museum Edition examines emerging technologies for their potential impact on and use in education and interpretation within the museum environment. The report is based on conversations and dialogues with technology and museum professionals from more than two‐dozen countries. 相似文献
16.
MCN‐L, an email listserv administered by the Museum Computer Network, is open to anyone interested in discussing information technology in museums and other cultural heritage organizations. To determine how MCN‐L meets the needs of museum information professionals, this study presents an analysis of more than 6,000 emails sent to the listserv over a seven‐year period (2004–2011). The results of this analysis indicate that MCN‐L adds value to the online community of museum information professionals by providing an online communication channel focused on professional outreach and expert support, backed up by specific examples drawn from personal experiences. MCN‐L's emphasis on personal expertise is a key characteristic that speaks to the listserv's lasting value to the museum community and has implications for researchers and practitioners as they consider the future of computer‐mediated communication for all museum professionals. 相似文献
17.
Eric D. Gyllenhaal 《Curator: The Museum Journal》2006,49(3):345-364
Abstract Handling Calculus is a set of interactive exhibits about mathematics developed by the Science Museum of Minnesota and TERC. The exhibits are designed to engage visitors with kinesthetic, application‐oriented, and concept‐focused approaches to calculus and pre‐calculus concepts. As we examined visitor interviews collected during the evaluation of Handling Calculus, it was striking how often respondents' experiences with the exhibits stimulated memories they associated with school math. Respondents recognized math terms and symbols, reconstructed graphing skills, and recalled fragmentary concepts they had learned in school. In addition, they recounted stories about their former math teachers and the ways in which they had been taught mathematics, as well as a range of both positive and negative emotions they associated with school math. Respondents recognized and valued the hands‐on and whole‐body approaches used in Handling Calculus, contrasting the exhibits with their paper‐and‐pencil school experiences. Some respondents wondered if they would have done better at school calculus if their teachers had used the approaches taken by Handling Calculus. 相似文献
18.
Abstract The research results from the Museum Learning Collaborative (MLC) indicate that learning in museums (defined as conversational elaboration) is strongly influenced by three factors: 1) the learning environment (defined as the response to large design features); 2) conversational engagement (defined as explanatory, analytic and synthetic discussions of objects); 3) group identity (defined as knowledge, experience, and motivation). These results were consistent across different museum types and different visiting populations (Leinhardt and Knutson 2004). This case study uses the experiences and conversations of one group—four members of an intergenerational grandparent‐grandchild group—and one dimension of the model: identity. It examines how this particular group of grandparents used the museum setting to take on diverse roles in ways that reflected identities: the role of storyteller (a sharer of information and family knowledge); the role of playmate (a learner and teacher who can enjoy an environment); the role of modeler of caring social interactions (a harmonizer who can experience conversational coherence and dissonance with grace). The conversational segments reproduced here are a means of unpacking the MLC model and exploring the discourse behaviors of this particularly interesting group. 相似文献
19.
ABSTRACTThe 2008 Wenchuan earthquake brought numerous issues to the attention of researchers of seismic mitigation in Chinese museums. After the Wenchuan earthquake, the structural design team of Chengdu Museum conducted a series of research projects on seismic mitigation and subway vibration control design of buildings. These projects included the following topics: optimization of design, numerical simulation of seismic performance, analysis of key technologies for the base isolation structure, in-depth studies on structural vibrations caused by the nearby subway, and proposals for reducing structural vibrations. In 2015, after the superstructure of Chengdu Museum was completed, conservators evaluated the safety of permanent exhibitions under earthquake conditions. Seismic protection devices were installed on the showcases according to the preventive conservation requirements for museum collections. Reinforced measures were used for museum collections according to the methods suggested in the document ‘Specification for seismic protection of museum collection’ (WW/T 0069-2015). The conservators also built a systematic platform for earthquake monitoring for museum collections. Preventive conservation studies on seismic protection and subway vibration control in Chengdu Museum are summarized and forecasted. 相似文献