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1.
Impact of National Aquarium in Baltimore on Visitors' Conservation Attitudes,Behavior, and Knowledge
This study at the National Aquarium in Baltimore (NAIB) was conducted to assess four key aspects of the visitor experience: (1) incoming conservation knowledge, attitudes, and behavior of NAIB visitors; (2) patterns of use and interaction with exhibition components throughout the NAIB; (3) exiting conservation knowledge, attitudes, and behaviors of visitors; and (4) over time, how the NAIB experience altered or affected individuals' conservation knowledge, attitudes, and behaviors. Three hundred six visitors participated in the study, which was conducted from March through July, 1999. The study utilized four data‐collection techniques: (1) face‐to‐face interviews, (2) Personal Meaning Mapping (PMM), (3) tracking, and (4) follow‐up telephone interviews. Participants were a self‐selected population and were generally more knowledgeable about, more concerned about, and more involved in conservation‐related issues than the general public. However, they were far from conservationists. Visitors in this study clearly absorbed the fundamental conservation message at the NAIB. In fact, the NAIB visit appeared to focus visitors' conservation‐related thoughts, while also broadening their understanding of conservation. Changes in visitors' conservation knowledge, understanding, and interests by and large persisted over six to eight weeks after visiting NAIB. The NAIB experience also connected to visitors' lives in a variety of ways following their visit. However, these personal experiences rarely resulted in new conservation actions. In fact, their enthusiasm and emotional commitment to conservation (inspired during the NAIB visit) generally fell back to original levels, presumably in the absence of reinforcing experiences. The findings of this study are guiding subsequent investigations at the NAIB. More generally, the results suggest strategies to enhance current understanding of the impact free‐choice learning institutions have on their visiting public. 相似文献
2.
《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
3.
ZOO exhibits have fairly high attractive power, but often do not engage visitors or hold their attention for long. A drawback of naturalistic zoo exhibits is the frequent inability of zoo visitors to find the animals, as increased animal visibility increases visitor stay time and engagement. Even visible animals can be difficult for visitors to find unaided. In this study, signs pointing out the animals' locations were added to a tiger exhibit at Zoo Atlanta, but they did not increase the number of visitors who found the tigers in the exhibit While the signs were accurate in pointing out the tigers' locations (due to the high predictability of the tigers' resting habits), very few visitors reported even using the signs. Interviews with visitors indicated that visitors did not read the signs, and that animal activity and children's ability to see animals may affect visitors' self‐reports of ability to find tigers. 相似文献
4.
Few evaluations have been conducted at archeological parks. This study was undertaken to (1) test knowledge gain in visitors, (2) test epistemic curiosity arousal in visitors, (3) record general visitor information, and (4) assess visitor satisfaction. Comparisons between males, females, Spanish speakers, and English speakers were made. Results showed a significant increase in visitor knowledge (p<.05) and a significant difference between epistemic curiosity arousal in Spanish- and English-speaking visitors (p<.05). Latin-American Spanish speakers evidenced the greatest interest in learning more about the subject. This project also demonstrated the feasibility of conducting evaluations at archeological sites. 相似文献
5.
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
6.
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
7.
Steven S. Yalowitz 《Curator: The Museum Journal》2004,47(3):283-298
Abstract In 1997 the Monterey Bay Aquarium refined its mission to one concise statement: The mission of the Monterey Bay Aquarium is to inspire conservation of the oceans. This has led to increased conservation content in exhibitions and more evaluation studies focused on visitors' conservation knowledge, understanding, attitudes and behavior. This article reviews conservation‐related findings from the aquarium's exhibition evaluation efforts over the last 14 years, summarizing the major themes that emerge from this body of work. Findings suggest that visitors to the Monterey Bay Aquarium are interested in and receptive to conservation content and learn new conservation information from exhibitions. Visitors' interest is most influenced by their personal involvement with conservation issues and previous visitation to the aquarium. After leaving the aquarium, there is evidence that visitors retain specific conservation information and maintain levels of concern about conservation topics for weeks, and even months, after their visit. Additionally, some visitors use the Seafood Watch pocket guide to choose sustainable seafood months after visiting the aquarium. 相似文献
8.
9.
Megan Axelsen Author Vitae 《Museum Management and Curatorship》2006,21(3):205-221
The contemporary directions of art galleries worldwide are changing as social patterns and demands, as well as visitor expectations of their experiences at art galleries, change. New programs and strategies are being developed in galleries to make these institutions more appealing to people who would not normally visit them, and one such strategy is the staging of special events. However, because galleries are staging an increasing number of special events, the factors motivating visitors to attend these institutions are changing. Visitors hope to have different experiences and encounters in the gallery during special events. This paper presents the findings from a study in Australia about visitors’ motivations to attend special events in galleries. It highlights the different factors that motivate visitors to attend the gallery specifically for a special event in comparison to visiting the gallery's permanent collections. 相似文献
10.
T. S. STOINSKI M. T. ALLEN M. A. BLOOMSMITH D. L. FORTHMAN T. L. MAPLE 《Curator: The Museum Journal》2002,45(2):129-143
Modern zoos are committed to environmental education and thus have a mandate to inform the public about biodiversity and conservation. Historically, zoos have avoided complex topics like biodiversity loss from overpopulation and overconsumption in their educational materials, for fear of being offensive or creating a sense of hopelessness. To measure visitor attitudes towards educating about such topics and to help determine effective presentation techniques, we assessed people's knowledge of and attitudes towards the commercial hunting and consumption of wildlife in West and Central Africa (the bushmeat crisis) and examined how the use of different types of images affected these variables. Zoo visitors were exposed to one of six series of photographs, each accompanied by the same text. Photos in three of the series contained explicit, disturbing images of dead animals. The other three series presented benign images related to the bushmeat crisis (i.e., logging, changes in hunting practices). While 83 percnt of visitors had never heard of the bushmeat trade, 98 percent felt zoos should be educating about the topic. Ninety‐seven percent felt the disturbing images were appropriate for zoo visitors except for children under the age of 12. While people spent significantly more time looking at the disturbing images, this did not lead to increases in knowledge (factual or conservation‐related) on the topic. However, visitors who saw the disturbing images were significantly more likely to report being influenced by the images. While the type of image did not affect the frequency of conservation‐related behaviors, significantly more people engaged in a conservation‐related behavior when an opportunity was provided on‐site rather than off‐site. The results demonstrate that the public believes zoos should educate about bushmeat, and that realistic images influence people's perception of an issue. However, visitors' lack of knowledge gains, even when disturbing images are used, suggests that a static display of text with photographs may not be the most effective method for educating about complex issues like bushmeat. Finally, the results show that zoos should provide on‐site opportunities for people to turn their conservation interests into action. 相似文献
11.
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
12.
The paper describes the electronic guide HIPS that can be used duringthe process of a visit in a museum, i.e., for preparation, execution andevaluation. Users can access the system via the Web to prepare a visitby receiving information about the content and organization of anexhibition and practical issues like location and opening hours. Thevisitor can also prepare a tour for the actual visit or define hotspotswith important exhibits. The system should remind the user when on site.Once the user is in the museum he or she has two specific options to usethe system: the visitor can walk around in the museum and remainstanding where he or she finds an item of interest. The current locationin the room identified by infrared emitters at all exhibits triggers anindicator for the information presentation. Or, the visitor can select atour prepared by a curator, prepared by the user in advance (at home) orgenerated by the user ad hoc. In the museum, the information access isprovided via wireless technologies. This allows the user to accessinformation by moving in the physical space and navigating in theinformation space concurrently. The Web-based server approach allows foradaptive information selection and presentation based on a user modelevaluating the history of the usage of the system. The user canaccelerate the adaptation by specifying interests and preferences in theuser model. Before the visit the user can define tours and hotspots andenter annotations that will be presented or activated by the system inthe appropriate physical environment. After a visit in the museum theuser can evaluate the experience at home for further own inquiries orfor communication with other interested people. Thebefore-during-after-the-visit-support of visitors via nomadicinformation system has been designed based on evidence from ourquestionnaire pre-study, which showed that visitors actually useinformation available in or about museums before and also after avisit. 相似文献
13.
《Curator: The Museum Journal》2017,60(1):87-100
The biodiversity crisis is not salient to many people. A zoo visit not only provides the opportunity to learn about the issue, but also provides direct experiences with animals that may increase public engagement. The present study used a nonequivalent pretest–posttest design to assess the impact of a zoo visit on conservation knowledge and engagement by comparing 88 visitors entering a zoo in Paris and 84 visitors on their way out. Those who had completed their visit scored higher on conservation knowledge, general concern about threats to biodiversity, and perceived self‐efficacy to protect biodiversity. Notably, conservation knowledge was not highly correlated with the other dependent variables, but self‐efficacy was significantly correlated with environmental concern, behaviour, and behavioural intent. We conclude that a zoo visit does have a positive impact on knowledge and concern, and by affecting self‐efficacy, it has the potential to influence future behavior. 相似文献
14.
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
15.
Since the Monterey Bay Aquarium opened in 1984, its exhibit teams have been guided by an exhibit philosophy that is mission‐driven, message‐driven, and visitor‐driven. Balancing mission, message, and visitors over the years has meant that the exhibit philosophy has evolved as the aquarium learned about their visitors, changed their mission, and kept the focus on the Monterey Bay. Like many aquaria and zoos, MBA's mission has shifted from raising awareness about nature to advocating and inspiring conservation of nature. This article reviews the history of these changes from a developer's point of view and reports on how the aquarium is continuing to examine how mission, message, and visitors interrelate. The current challenge of inspiring visitors to care about the ocean and to take action on its behalf is proving to be the most difficult challenge yet. 相似文献
16.
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
17.
As zoos undertake transformations to address issues of conservation education, questions arise as to the most effective means to engage all zoo visitors. This article suggests that zoos are missing opportunities to capture the attention and involvement of the full range of zoo visitors, particularly the youngest children and teenagers, who make up approximately 17 percent of zoo visitors. This article considers the needs of these two groups and provides design guidance and examples of programs to meet those needs. The Children's Zoo Design Project (CZDP) was initiated in 1992 by Zoo Atlanta and Georgia Institute of Technology and funded by the National Endowment for the Arts. The purpose of the project was to provide a central resource to which zoos contemplating design change might turn. The article is based on the research of the CZDP and also includes surveys of zoos, site visits, and the thinking and conclusions of a workshop/seminar participated in by students, zoo professionals, and others involved in zoo design and education. 相似文献
18.
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
19.
Libraries curate exhibitions and host speakers to promote collections and engage communities. Traditional library exhibit spaces present information gaps for visitors. To bridge these gaps, the University of Florida (UF) created and deployed innovative technologies, the Community Engagement Engine (CEE) for iPads (handheld and kiosks). The CEE facilitates visitor's registration as well as questions and comments sent directly to curators with automated email responses with relevant materials. The CEE allows libraries to aggregate visitor information for targeted outreach and assessment. This article discusses the CEE for innovative community engagement, including considerations for other institutions interested in engaged exhibitions programs. 相似文献
20.
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