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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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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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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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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
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Betty Dunckel Camp Bruce J. MacFadden Melissa J. Mercer 《Curator: The Museum Journal》2000,43(3):211-230
The number, complexity, and popularity of World Wide Web sites has increased dramatically in recent years, providing a new opportunity for museum access. This case study describes the front‐end and formative evaluations conducted during the development of the Florida Museum of Natural History's first virtual exhibition, Fossil Horses in Cyberspace < http:www.flmnh.ufl.edunatscivertpaleofhcfhc.htm >, which during 2000 received −540,000 hits equating to −60,000 user sessions. As with physical exhibitions, evaluation is critical to enhancing the educational effectiveness and appeal of online exhibitions. 相似文献
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Alcina Cortez 《Curator: The Museum Journal》2016,59(2):153-176
Popular music is deeply embedded in the dynamics of the contemporary world by means of its capacity to engender modes of privacy and publicness, to communicate emotion, and to enable us to create connections—and so to work within communities. Museums have traditionally addressed art‐music through the exhibition of musical instruments. But now that the exhibition of popular music has presented new challenges and opportunities worldwide for museum professionals, examining popular music discourses in museums is of the utmost importance in order for it to be meaningfully celebrated as instances of heritage. This paper expands on the representation of Popular Music in museums in Portugal at the beginning of the twenty‐first century by discussing a case study: the exhibition No Tempo do Gira‐Discos: Um Percurso Pela Produção Fonográfica Portuguesa at Museu Nacional da Música, Lisbon, Portugal, in 2007. Two methods of analysis are deployed: interviews with the curators, which revealed insights on their understanding of popular music, and analysis of the exhibition through discourse analysis, specifically through the lens of the analytical concepts genre and register. Although the curators had themselves previously developed insightful and innovative concepts with regard to popular music, discourse analysis reveals how, in this instance, the museum practices were primarily inherited from past traditions, and so failed to convey the meanings previously envisioned by the curators. In order for genuine public engagement with museum exhibitions about music, a collaboration is required between the music studies and museum studies professionals. Only through such a collaboration can it be ensured that those contemporary dynamics are present and meaningful. 相似文献
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Ralph Appelbaum 《Curator: The Museum Journal》1995,38(2):87-94
For the permanent exhibition at the United States Holocaust Memorial Museum the design approach was minimal and transparent, and the designers were in dialogue only with the story — not with the history of design or the conventions governing most museum presentations. We reached for a sense of immersion by trying to erase the seams between exhibits and architecture. Display strategies included the removal of conventional barriers of certain glass-encased vitrines: some objects can be touched, and reactions sought are as visceral as they are intellectual. We tried above all to see that people leave the museum not profoundly dejected but with some other feeling evoking the resilience of life and hope. The design intended to make the environment so united with its subject that memory of the museum experience and the sharing of memory through discussion will carry on in the lives of the visitors. 相似文献
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Science City is an outdoor exhibition, supported by the National Science Foundation (NSF) and created by the New York Hall of Science (NYHS). It was designed to increase public awareness of, and interest in, the science and technology of daily life by creating a series of exhibits that people would “find” in public places in New York City. Using the streets and structures of the city to present the science and technology of everyday life in order to reach the non-museum-going public, eye-catching exhibits and signs were placed along fences, on streets and buildings and in subway stations and parks. The development and installation of museum exhibits for public urban spaces requires skills and experience that stretch beyond the expertise of a science-technology museum exhibition staff. This article discusses and compares on- and off-site exhibition development. 相似文献
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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
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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 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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Steven Lubar 《Curator: The Museum Journal》2004,47(1):19-51
This case study examines the curatorial challenges of producing a very large exhibition at the Smithsonian's National Museum of American History from 1999 to 2003. This is an insider's look at how a cross‐functional exhibition team worked to produce a compelling new exhibition. Among the issues addressed are: development of a theme; choice and use of artifacts; presentation organization and techniques; issues of truth, authenticity and accuracy in history exhibitions; and practical issues of exhibition team organization and contract management. 相似文献
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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
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Lisa Sita 《Curator: The Museum Journal》1997,40(2):101-107
As natural history museums are becoming more state-of-the-art, integrating computer technology and other interactive components into their exhibits, challenges arise as to how best incorporate these elements into the learning that occurs in a traditional museum setting. In October of 1996, the American Museum of Natural History (AMNH) hosted the exhibition Leonardo's Codex Leicester: A Masterpiece of Science, which included interactive computer stations as well as ten working models designed specifically for the exhibition. This article explores the museum's approach to making use of these interactives in planning and implementing a school program for this exhibition. The program was experimental in its format, given the short run of this exhibition, as well as limited planning time. The purpose of this article is to determine what a museum can do to offer quality programs that reach as many students as possible when working under time constraints. 相似文献
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《Curator: The Museum Journal》2017,60(1):47-65
Contraception: Uncovering the collection of Dame Margaret Sparrow was an exhibition at the Museum of New Zealand Te Papa Tongarewa which featured a participatory activity titled “Let's talk about sex” where visitors could answer the question: “If you could give your younger self one piece of advice about contraception, what would it be?” Over 2200 comments were written, inspiring an evaluation project. The resulting analysis provides insights into visitors’ attitudes, values, behaviours, experiences and concerns about contraception, sex, sexuality and sexual health in the early 21st century. The results also demonstrate the value and usefulness of visitor comments both as an exhibition experience and as data to complement formal evaluation methods. The paper also acknowledges the less successful aspects of the project. 相似文献
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展品是科技馆科学教育信息的最主要载体。如何通过辅导不仅将展品的科技知识传递给观众,而且实现更高层次的科学教育效果,是目前我国科技馆提升展览教育能力与水平的重要命题。本文首先分析了科技馆教育与学校教育的区别和联系,对目前科技馆展览教育的情况进行了研究,论证了为什么要进行展品辅导、需要什么样的展品辅导等问题,提出了通过串联辅导将分散孤立的展品联系起来的观点,进而探讨进行展品串联辅导的方法。 相似文献
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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