Relevant bibliographies by topics / Art museum visitors Psychology

Academic literature on the topic 'Art museum visitors Psychology'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Art museum visitors Psychology"

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Hall, Margery J. "Information presentation format preferences of art museum visitors." Journal of Business and Psychology 2, no. 3 (1988): 279–84. http://dx.doi.org/10.1007/bf01014045.

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Hsieh, Chi-Ming, Tang-Ping Chen, Chi-Jen Hsieh, and Bi-Kun Tsai. "Moderating effect of membership status on the quality-value-loyalty chain at museums." Social Behavior and Personality: an international journal 46, no. 1 (January 9, 2018): 107–26. http://dx.doi.org/10.2224/sbp.4073.

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Delivering a high-quality, valued, and recommendable experience to customers is crucial for the tourism industry. Our purpose in this research was to investigate the determinants of museum visitor retention and the moderating effect of membership status on the quality-value-loyalty chain at the National Palace Museum in Taiwan. Participants were 729 museum visitors who had made more than 2 visits in 1 year. Results identified significant interrelationships among visitors' intrinsic and extrinsic motivations, perceptions of service quality, and perception of value, which determined their loyalty. We are the first researchers to explore the effect of membership status at a museum as a moderator influencing the quality-value-loyalty chain. Our findings can act as a guide for museum managers and promoters as to which service offerings will meet the needs of both member and nonmember visitors, and will encourage their loyalty.
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Sodaro, Amy. "Prosthetic trauma and politics in the National September 11 Memorial Museum." Memory Studies 12, no. 2 (August 4, 2017): 117–29. http://dx.doi.org/10.1177/1750698017720257.

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The National September 11 Memorial Museum opened in New York City in May 2014. Like other memorial museums, it uses affect and experience to produce in visitors what Alison Landsberg calls a “prosthetic memory” of 9/11: an individual, personal memory of 9/11 whether or not the visitor actually experienced the event. However, the museum also constructs 9/11 as an event that is collectively, culturally traumatic. Thus, the prosthetic memory might be better conceived as a “prosthetic trauma” that, in recreating for visitors the trauma of 9/11, encourages strong identification with the victims as embodiments of the American cultural identity that was targeted by the ideology of the terrorists. In this article, I examine how the 9/11 Museum constructs 9/11 as cultural trauma and uses the act of bearing witness to create “prosthetic trauma” and a simplistic dualism between good and evil that has important political implications.
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Carbon, Claus-Christian. "Art Perception in the Museum: How We Spend Time and Space in Art Exhibitions." i-Perception 8, no. 1 (January 2017): 204166951769418. http://dx.doi.org/10.1177/2041669517694184.

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Aesthetics research aiming at understanding art experience is an emerging field; however, most research is conducted in labs without access to real artworks, without the social context of a museum and without the presence of other persons. The present article replicates and complements key findings of art perception in museum contexts. When observing museum visitors ( N = 225; 126 female, M(age) = 43.3 years) while perceiving a series of six Gerhard Richter paintings of various sizes (0.26–3.20 sq. m) in a temporary art exhibition in January and February 2015 showing 28 paintings in total, we revealed patterns compatible to previous research. The mean time taken in viewing artworks was much longer than was mostly realized in lab contexts, here 32.9 s ( Mdn = 25.4 s). We were also able to replicate visitors spending more time on viewing artworks when attending in groups of people. Additionally, we uncovered a close positive relationship ( r2 = .929) between canvas size and viewing distance, ranging on average between 1.49 and 2.12 m ( M = 1.72 m). We also found that more than half of the visitors returned to paintings, especially those people who had not previously paid too much attention at the initial viewing. After adding the times of returning viewers, each picture was viewed longer than had been estimated in previous research ( M = 50.5 s, Mdn = 43.0 s). Results are discussed in the context of current art perception theories, focusing on the need for the ecologically valid testing of artworks in aesthetics research.
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Roald, Tone. "Toward a Phenomenological Psychology of Art Appreciation." Journal of Phenomenological Psychology 39, no. 2 (2008): 189–212. http://dx.doi.org/10.1163/156916208x338783.

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AbstractExperiences with art have been of longstanding concern for phenomenologists, yet the psychological question of the appearing of art appreciation has not been addressed. This article attends to this lack, exemplifying the merits of a phenomenological psychological investigation based on three semi-structured interviews conducted with museum visitors. The interviews were subjected to meaning condensation as well as to descriptions of the first aesthetic reception, the retrospective interpretation, and the “horizons of expectations” included in the meeting with art. The findings show that art appreciation appears as variations in experiential forms comprised of gratifying experiences of beauty, challenges to the understanding, and bodily-informed alterations of the emotions. The phenomenological psychology of actual, lived experience can embrace the phenomenological theories of art appreciation by Heidegger and Merleau-Ponty, yet highlight the psychological importance of experiences with art.
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Isselhardt, Tiffany Rhoades. "Sites of Girlhood." Girlhood Studies 14, no. 2 (June 1, 2021): 114–27. http://dx.doi.org/10.3167/ghs.2021.140209.

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Where are the girls who made history? What evidence have they left behind? Are there places and spaces that bear witness to their memory? Girl Museum was founded in 2009 to address these questions, among many others. Established by art historian Ashley E. Remer, whose work revealed that most, if not all, museums never explicitly discuss or center girls and girlhood, Girl Museum was envisioned as a virtual space dedicated to researching, analyzing, and interpreting girl culture across time and space. Over its first ten years, we produced a wide range of art in historical and cultural exhibitions that explored conceptions of girlhood and the direct experiences of girls in the past and present. Led by an Advisory Board of scholars and entirely reliant on volunteers and donations, we grew from a small website into a complex virtual museum of exhibitions, projects, and programs that welcomes an average 50,000 visitors per year from around the world.
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Fitzgerald, Lawrence, and Pauline Webb. "Vivent les differences: identifying audiences for a museum exhibition." Public Understanding of Science 3, no. 3 (July 1994): 277–90. http://dx.doi.org/10.1088/0963-6625/3/3/003.

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This paper describes the methodology and presents the main findings of a front-end exhibition evaluation carried out by staff at the Museum of Science and Industry in Manchester, UK, in 1991. A visitor survey was used to evaluate ideas for a forthcoming exhibition on civil aviation and air travel. This research is placed in the context of the role of museums in the public understanding of science and of audience research in museums. The survey findings demonstrate the existence of divisions of interests among museum visitors, particularly according to gender. These differences must be recognized and accommodated by the definition of target audiences if exhibitions are to function as effective channels for developing public understanding of science and technology.
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Fruhauf, Moran, Israel (Issi) Doron, and Yuval Palgi. "Ageism: can a museum exhibit make a difference?" International Psychogeriatrics 32, no. 6 (May 21, 2020): 777–80. http://dx.doi.org/10.1017/s1041610220000617.

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ABSTRACTAgeism is a key challenge to today’s aging societies. “Dialogue with Time” is an original Israeli interactive museum exhibit that aims to change negative ageist attitudes by creating a meaningful and stereotype-breaking encounter between visitors and old age. The objective of this study was to examine whether the exhibition reduces ageist attitudes among its visitors. The study employed a comparative pre-post structure with a comparison group. A closed-answer questionnaire was supplied to 100 participants in the experimental group, visitors to the “Dialogue with Time” exhibit, and to 100 participants in the control group. Participants were asked to complete the questionnaire before entering the exhibits and again after experiencing them. Changes in the level of ageism were measured using the Farboni Scale of Ageism. A significant reduction in ageism attitudes was shown in the experimental group when comparing before and after the visit, t(91) = 11.75, p = 0.001, with a good effect size of Cohen’s d = 0.50, whereas in the control group there was no significant change, t(76) = 0.05, p = 0.95, and a weak effect size of Cohen’s d = 0.00. The findings indicate that combating ageism can also be sustained by means of museum exhibits. We recommend that museums and other similar public institutions (e.g. art galleries, exhibition halls) use public spaces to advance multigenerational exposure to positive images of aging.
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Spence, Charles. "Scenting the Anosmic Cube: On the Use of Ambient Scent in the Context of the Art Gallery or Museum." i-Perception 11, no. 6 (November 2020): 204166952096662. http://dx.doi.org/10.1177/2041669520966628.

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In recent years, there has been growing interest in the possibility of augmenting the visitor’s experience of the exhibits in various art galleries and museums by means of the delivery of a genuinely multisensory experience, one that engages more than just the visual sense. This kind of approach both holds the promise of increasing engagement while, at the same time, also helping to address, in some small way, issues around accessibility for the visually impaired visitor. One of the increasingly popular approaches to enhancing multisensory experience design involves the use of scents that have been chosen to match, or augment, the art or museum display in some way. The various different kinds of congruency between olfaction and vision that have been investigated by researchers and/or incorporated into art/museum displays already are reviewed. However, while the laboratory research does indeed appear to suggest that people’s experience of the paintings (or rather reproductions or photos of the works of art) may well be influenced by the presence of an ambient odour, the results are by no means guaranteed to be positive, either in terms of the emotional response while viewing the display or in terms of the viewer’s subsequent recall of their multisensory experience. As such, caution is advised for those who may be considering whether to augment their multisensory displays/exhibits with ambient scent.
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Endersby, Jim. "The evolving museum." Public Understanding of Science 6, no. 2 (April 1997): 185–206. http://dx.doi.org/10.1088/0963-6625/6/2/005.

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This paper examines a recent exhibition on evolution at the Australian Museum, in Sydney, and contrasts it with the museum's earlier exhibitions on the same theme, looking at the images of science each presents. The differences between the most recent display and its predecessors can be broadly grouped under three themes: the use of narrative and chronology to organize the display; the use of realistic dioramas and reconstructions; and the use of glass cases to keep the visitors and the science apart. Partly through deliberate decisions and partly through other pressures—including space, time and financial considerations—the newest exhibition has resolved some of the problems exemplified by the earlier ones. Nevertheless, other difficulties remain and the conclusion sketches some possible directions which museum designers might explore in the future.
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Dissertations / Theses on the topic "Art museum visitors Psychology"

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Kravchyna, Victoria. "Information Needs of Art Museum Visitors: Real and Virtual." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4692/.

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Museums and libraries are considered large repositories of human knowledge and human culture. They have similar missions and goals in distributing accumulated knowledge to society. Current digitization projects allow both, museums and libraries to reach a broader audience, share their resources with a variety of users. While studies of information seeking behavior, retrieval systems and metadata in library science have a long history; such research studies in museum environments are at their early experimental stage. There are few studies concerning information seeking behavior and needs of virtual museum visitors, especially with the use of images in the museums' collections available on the Web. The current study identifies preferences of a variety of user groups about the information specifics on current exhibits, museum collections metadata information, and the use of multimedia. The study of information seeking behavior of users groups of museum digital collections or cultural collections allows examination and analysis of users' information needs, and the organization of cultural information, including descriptive metadata and the quantity of information that may be required. In addition, the study delineates information needs that different categories of users may have in common: teachers in high schools, students in colleges and universities, museum professionals, art historians and researchers, and the general public. This research also compares informational and educational needs of real visitors with the needs of virtual visitors. Educational needs of real visitors are based on various studies conducted and summarized by Falk and Dierking (2000), and an evaluation of the art museum websites previously conducted to support the current study.
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Liu, ChangChia James. "Enthusiastic Educators and Interested Visitors| Investigating the Relationships between Museum Educators' Enthusiasm and Visitors' Situational Interest." Thesis, Purdue University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10844568.

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Informal education environments like museums have become some of the most important educational resources. Although much attention has been paid to museum settings and programs, little is known about how museum educators support visitors’ learning and intrinsic motivation. In particular, there is a need to investigate museum educators’ enthusiasm, considering that enthusiasm is a powerful way of creating an engaging learning experience across various subjects and environments. In this study, I investigate museum educators’ enthusiasm as perceived by adult visitors through the lens of interest development. The results I found (N = 209) indicate a strong positive relationship between museum educators’ enthusiasm and visitors’ situational interest. Visitors’ reports of educators’ enthusiasm were directly related to catch interest (β = .74) and indirectly to hold interest (β = .46). In addition, educators’ enthusiasm mediated the connection between prior individual interest and catch interest. Visitors’ prior individual interest was also moderately related to both their catch (β = .28) and hold interest (β = .37). Limitations and directions for future studies are discussed.

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Kellogg, Smith Martha. "Viewer tagging in art museums: Comparisons to concepts and vocabularies of art museum visitors." dLIST, 2006. http://hdl.handle.net/10150/105154.

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As one important experiment in the social or user-generated classification of online cultural heritage resources collections, art museums are leading the effort to elicit keyword descriptions of artwork images from online museum visitors. The motivations for having online viewers - presumably largely non-art-specialists - describe art images are (a) to generate keywords for image and object records in museum information retrieval systems in a cost-effective way and (b) to engage online visitors with the artworks and with each other by inviting visitors to express themselves and share their descriptions of artworks. This paper explores the question of how effective non-specialist art keyworders can be in capturing ("tagging") potentially useful concepts and terms for use in art information retrieval systems. To do this, the paper compares evidence from art museum visitor studies which describe how non-specialist art viewers react to and describe artworks and use museum-supplied information in their initial encounters with artworks. A theoretical model of artwork interpretation derived from art museum visitor research provides a framework with which to examine both the activity and the products of artwork tagging for image and information retrieval.
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Smith, Martha Kellogg. "Art information use and needs of non-specialists : evidence in art museum visitor studies /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/7182.

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Mbuyi, Ruddy. "Who are the visitors to the National Museum in Stockholm?Sweden's museum of art and design." Thesis, Södertörns högskola, Turismvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-39873.

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The purpose of the research study was to find about who the National Museum visitors are and what is their five reasons and motives to visit the National Museum. To get a better understanding about finding out who are the National Museum visitors a qualitative method was used in the form of a questionnaire that dealt with questions about the respondent’s demographic background and open questions related to finding out more details about the respondents’ reasons to visit the National Museum that is an art and design museum. The data that was gathered from the questionnaire was analysed through the use of a thematic analysis to find specific themes based on the female and male respondent’s answers. The results indicate that most of the respondents who took part in the questionnaire on the 5th of April 2019 at the National Museum are a mix of female and male between the age 20-72 years from Sweden and other countries, all of them have a higher education (High School, Bachelor and Master Degree) and have studied art, history of art or design. The reason that many of the respondents choose to visit the museum and what attracted them to the National Museum was foremost for they all share an interest in art and design. The National Museum itself is an interesting place to be at because many of the female and male respondents have an appreciation in the art and design collections and exhibitions that is displayed at the museum. The National Museum offers a free admission and entry so many of them could visit the museum either by themselves or with a companion, and many of the respondents like how the National Museum teaches history about the art and design.
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Sbarra, Wendy M. "New Ways of Seeing: Examining Musuem Accessibility for Visitors with Vision Impairments." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/121.

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While I have always loved to go to the art museum I have often found it difficult to convince friends and family to go with me. It seems to be a particularly daunting task for visitors with disabilities and specifically those with vision impairments. This study surveys the accessibility of the programming for visitors with visual impairments at 25 art museums in the United States of America and how they communicate that information to potential visitors. It highlights museums that go beyond what is required by the Americans with Disabilities Act and create programming that is enjoyable for all. This study will be a reference to create a more enjoyable experience for all.
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Tam, Cheung On. "Understanding museum visitors' experience of paintings : a phenomenological study of adult non-art specialists." Thesis, University College London (University of London), 2006. http://discovery.ucl.ac.uk/10006676/.

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Penzel, Joachim. "Der Betrachter ist im Text : Konversations- und Lesekultur in deutschen Gemäldegalerien zwischen 1700 und 1914." Münster LIT, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2919099&prov=M&dokv̲ar=1&doke̲xt=htm.

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Sweney, Barbara Zollinger. "Student learning in an art museum: a study of docent-led tours and changes in docent training to improve visitors' experiences." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1068230273.

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Evans, Laura E. "Eating Our Words: How Museum Visitors and a Sample of Women Narratively React to and Interpret Lauren Greenfield's THIN." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299860725.

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Books on the topic "Art museum visitors Psychology"

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Cleveland Museum of Art. The visitor's voice: Visitor studies in the Renaissance-Baroque galleries of the Cleveland Museum of Art, 1990-1993. Edited by Mann C. Griffith. Cleveland, Ohio: Cleveland Museum of Art, 1993.

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Western European museums and visual persuasion: Art, edifice, and social influence. Newcastle: Cambridge Scholars, 2009.

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Schuster, J. Mark Davidson. The audience for American art museums. Washington: Seven Locks Press, 1991.

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The audience for American art museums. Washington: Seven Locks Press, 1992.

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Lehalle, Evelyne. Musées et visiteurs: Un Observatoire permanent des publics. [Paris]: Ministère nationale de l'education et de la culture, Direction des musées de France, Département des publics, de l'action éducative et de la diffusion culturelle, 1993.

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Tony, Bennett. Art galleries, who goes?: A study of visitors to three Australian art galleries, with international comparisons. Redfern, NSW: Australia Council, 1991.

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Warczok, Tomasz. Miłośnicy, znawcy, koneserzy czy przechodnie?: Recepcja sztuki współczesnej na przykładzie galerii Górnego Śląska. Bielsko-Biała: Galeria Bielska BWA, 2010.

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Hutchins, H. J. Anna at the art museum. Toronto: Annick Press, 2018.

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Duhaime, Carole P. La clientèle des musées d'art: Une revue de littérature. Montréal: Ecole des hautes études commerciales, 1988.

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Duhaime, Carole P. La clientèle des musées d'art: Une revue de littérature. Montréal: École des hautes études commerciales, 1988.

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Book chapters on the topic "Art museum visitors Psychology"

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Pringle, Emily. "Co-researching with community members, academics and visitors." In Rethinking Research in the Art Museum, 96–127. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315298832-5.

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Tsita, Christina, Charalabos Georgiadis, Maria Zampeti, Evi Papavergou, Syrago Tsiara, Alexandros Pedefoudas, and Dionysios Kehagias. "An Approach to Facilitate Visitors’ Engagement with Contemporary Art in a Virtual Museum." In Trandisciplinary Multispectral Modelling and Cooperation for the Preservation of Cultural Heritage, 207–17. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-20253-7_17.

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Chang, Mi, Taeha Yi, Sukjoo Hong, Po Yan Lai, and Ji-Hyun Lee. "Type and Behavior Pattern Analysis of Art Museum Visitors Based on Social Network Analysis." In KAIST Research Series, 43–54. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7707-9_4.

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Rosso, Aluminé A. "What Do Museum Visitors Leave Behind? The New Experience and the New Visitor in the Twenty-First Century." In Frontiers in Sociology and Social Research, 93–108. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-11756-5_6.

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AbstractVisits to museums in the twenty-first century do not merely involve coming in contact with art but also living an interactive and relational experience that has changed the organization of museums, not only the exhibition rooms but also other museum spaces: boutiques, cafés, restaurants, and public areas. This new type of visit implies the role of an original agent: the frontalier visitor who, by inhabiting spaces adjacent to exhibition rooms, expands and reinforces the museum’s boundaries and the museum experience itself. This work is focused on visitors’ footprints as material and virtual marks and aims at showing the results of a field analysis carried out from 2017 to 2019 addressing the architecture of modern art museums. Fourteen museums have been analyzed, and four of them have been selected as the main objects of analysis: Malba, Moma, Tate Modern, and Centre Pompidou. We have studied their façades, esplanades, and entrance halls as spaces advancing what the public will experience inside the buildings. This analysis considers these adjacent spaces essential for the pass-through from the material experience to the virtual experience and from material footprints to virtual ones.
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Engineer, Altaf, and Kathryn H. Anthony. "Museum critics and museum visitors." In Shedding New Light on Art Museum Additions, 32–54. Routledge, 2017. http://dx.doi.org/10.4324/9781315443164-3.

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D'Auria, Anna, and Miguel Jesús Medina-Viruel. "Museum Events." In Handbook of Research on Museum Management in the Digital Era, 265–79. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-7998-9656-2.ch014.

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There has been a change in the way people access and enjoy culture. Faced with this reality, museums can no longer be just places where to store and exhibit art pieces, as they must follow the new trends and the new needs and expectations of visitors. In this vein, museums and cultural firms are starting to adopt new technologies for a variety of initiatives, not only to communicate with visitors or monitor their behavior during the visit, but also to involve them in more immersive initiatives and events. The chapter analyses the academic literature on the topic, aiming to offer a theoretical basis for future research on this subject. In addition, the chapter presents examples of museums adopting new technologies in special events to involve new categories of visitors and improve their offer and general performance.
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Hsu, Hsuan L. "Olfactory Art and Museum Ecologies." In The Smell of Risk, 85–112. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479807215.003.0004.

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Chapter 3 considers the tensions between mixed-media artworks that incorporate scent and the carefully controlled atmospheres of Western art museums and galleries. After tracing the origins and rationales of museums’ climate control practices, the chapter argues that conventional museum ecologies are premised on an artificially deodorized atmosphere that renders air imperceptible as a matter of political concern. Olfactory art, by contrast, underscores the trans-corporeal exchanges between galleries and visitors’ bodies by centering the experience of inhalation. Close analysis of artworks by Boris Raux, Sean Raspet, Anicka Yi, and Peter de Cupere exemplifies how artists use scent to communicate atmospheric risks and disparities in direct and visceral terms.
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"Best Practices in Visitors Studies. The Permanent Laboratory of Museum Audiences." In Socializing Art Museums, 29–45. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110662085-003.

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Ho, Selina C. F. "He Xiangning Art Museum in Shenzhen." In Museum Processes in China. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463723527_ch03.

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This chapter explicates the museum circuit of the He Xiangning Art Museum in Shenzhen as a process of interplay between the state’s political and cultural-economic agents, the museum’s curators and academic stakeholders, and the migrant educated elites. The museum’s intermediaries play a role in negotiating meaning at the interface of expertise and official discourse, and they arguably act as reflexive producers, contributing to a public sphere that has links to Habermasian ‘communicative rationality’. Besides, visitors can be categorized into six distinct identities, and they display limited alignment with the state interest in Chineseness or political patriotism. The study reflects on the national museum’s contingent institutional framework, the ideological dilemma driven by its curatorial activities, and the rise of a middle-class museum public.
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Ishibashi, Naoki. "Artizon Cloud: A Multidatabase System Architecture for an Art Museum." In Frontiers in Artificial Intelligence and Applications. IOS Press, 2022. http://dx.doi.org/10.3233/faia210495.

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For dynamically integrating professional knowledge of curators, a multidatabase system architecture for an art museum, Artizon Cloud is proposed. A location based data provision is defined in the architecture for visitors. A system and applications are implemented and provided in an actual museum, and heterogeneous archives that were independently implemented as databases with Web UIs are dynamically extracted, integrated, and staged in visitors’ devices.
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Conference papers on the topic "Art museum visitors Psychology"

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Pitsch, Karola, Sebastian Wrede, Jens-Christian Seele, and Luise Süssenbach. "Attitude of german museum visitors towards an interactive art guide robot." In the 6th international conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/1957656.1957744.

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Morozova, K. I. "CONTEMPORARY ART IN A CLASSICAL MUSEUM (BASED ON THE RESULTS OF A SURVEY OF MUSEUM VISITORS IN SAINT PETERSBURG)." In Месмахеровские чтения - 2022. Санкт-Петербург: Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604789377_579.

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Bartseva, A. A., A. G. Shakhparunyants, A. Sh Chernyak, R. I. Stolyarevskaya, and E. I. Rozovskiy. "DEVELOPMENT OF NEW STANDARDS FOR MUSEUM LIGHTING." In CIE 2021 Conference. International Commission on Illumination, CIE, 2021. http://dx.doi.org/10.25039/x48.2021.po48.

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The new standards for museum lighting development was based on data collection by means of questionnaires, processing and analysis of subjective assessments of art historians, museum workers, research results of restorers and expert visitors, along with objective, physical measurements of photometric parameters of lighting installations in selected exhibition halls of the most famous museums in Russia. Based on the studies performed, national standards of both permanent and preliminary nature were prepared and introduced in 2020 by institute VNISI named after S.I. Vavilov.
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Zaytseva, A. M. "NATURAL MONUMENTS IN THE CONSERVATION OF BIOLOGICAL AND LANDSCAPE DIVERSITY (HISTORICAL AND MEMORIAL DEPARTMENT «THE HOMESTY V.P. SUKACHEVA» IRKUTSK REGIONAL ART MUSEUM)." In Prirodopol'zovanie i ohrana prirody: Ohrana pamjatnikov prirody, biologicheskogo i landshaftnogo raznoobrazija Tomskogo Priob'ja i drugih regionov Rossii. Izdatel'stvo Tomskogo gosudarstvennogo universiteta, 2020. http://dx.doi.org/10.17223/978-5-94621-954-9-2020-96.

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The problems of preserving biological and landscape diversity in the historical park of the Estate of V.P. Sukacheva. Presented are forms of work with visitors aimed at the formation of an ecological culture and the preservation of a natural monument.
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Zaki, Ahmed H., Essam E. Khalil, Esmail M. Bialy, and Waleed A. Abdelmaksoud. "Numerical Investigations of the Air Flow Patterns and Temperature Distribution in a Museum Showroom, King Tutankhamun’s Gallery, Egyptian Museum." In ASME 2014 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/detc2014-34102.

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The use of numerical simulation methods for the Cultural Heritage is of increasing importance for the analysis, conservation, restoration and appreciation of works of art. This is particularly important when their preservation and planned maintenance is the primary aim [1, 2]. King Tutankhamen’s gallery at the Egyptian museum is chosen for our study. The conservation of such artworks requires precise control of the indoor microclimatic conditions. Thus, a suitable HVAC system with reliable control is often necessary for a museum, to maintain acceptable indoor thermal-hygrometric parameters and air velocity and also to minimize the deviations of these parameters from the design values. An investigation of airflow characteristics inside King Tutankhamen’s gallery at the Egyptian museum is studied. The effect of visitors within the gallery space is discussed. Lighting is mainly neglected and its effect is shown in a limited procedure. The variability of inlet air velocities and the grills location in the gallery is studied to achieve a better understanding of the closest solution for air distribution within the gallery.
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Guerrera, Francesca. "Art Wonder: Using Technology Enhanced Learning (TEL) and Wearable-Enhanced Learning (WELL) in the Museum Context to Enhance their Visitors’ Experience." In Electronic Visualisation and the Arts (EVA 2015). BCS Learning & Development, 2015. http://dx.doi.org/10.14236/ewic/eva2015.60.

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Mu, Yufan, Nianyu Zou, Jiayuan Lin, Zhe Xu, Zhisheng Wang, Xiaoyang He, and Qipeng He. "A study on the impact of projection display on the visual comfort of art museum visitors with subjective and objective experiments." In Optical Technology and Measurement for Industrial Applications Conference 2022, edited by Takeshi Hatsuzawa, Rainer Tutsch, and Toru Yoshizawa. SPIE, 2022. http://dx.doi.org/10.1117/12.2660157.

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Ásványi, Katalin, Zsuzsanna Fehér, and Melinda Jászberényi. "THE CRITERIA FRAMEWORK FOR SUSTAINABLE MUSEUM DEVELOPMENT." In Tourism in Southern and Eastern Europe 2021: ToSEE – Smart, Experience, Excellence & ToFEEL – Feelings, Excitement, Education, Leisure. University of Rijeka, Faculty of Tourism and Hospitality Management, 2021. http://dx.doi.org/10.20867/tosee.06.3.

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Purpose –The purpose of this study is to identify the criteria for sustainable museums found in reference literature and specified in our research, and to suggest guidelines for museums to follow. Methodology –In our primary research, the criteria for a sustainable museum were interpreted along four pillars, for which in-depth expert interviews were conducted with Hungarian museum professionals. Semi-structured interviews were used to explore the viewpoints, expectations, and perceptions of museum staff. Findings – In terms of environmental sustainability, Hungarian contemporary museums place less emphasis on making the museum building itself more sustainable. However, it is worthwhile for institutions that have long-term plans to become more and more eco-friendly. The issue of economic sustainability is the most problematic for Hungarian museums, which can be greatly improved with an active support community that helps museums either through volunteer work or financially. From a social point of view, one of the most important tasks of museums is to ensure equal opportunities, to reach the widest possible range of people, which is facilitated if the museum can function as a community space that adequately involves museum visitors and if it continuously strengthens its role in education. In terms of cultural sustainability, the responsibilities of museums are collection management, maintaining quality, and artistic vitality. Contribution – We conceptualize and provide a framework for sustainable museums. Through our research, we have contributed to broadening the theoretical background of sustainable museums from the perspective of contemporary art museums.
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Güner, Atiye, and İsmail Erim Gülaçtı. "The relationship between social roles of contemporary art museums and digitalization." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p77.

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This paper was adapted from the author’s PhD dissertation named “The Effects of Digitalization on Contemporary Art Museums and Galleries”. The digital age has started with the digitalization of information and information communication. The digitalization processes that accelerated with the rapid developments in information and communication technologies have deeply affected museums. Museums are information-based organizations, their primary functions are to protect and spread information. Digitalized information and information communication have obligated contemporary art museums to follow digitalization processes. In this process, technological convergence is another factor that accelerates digitalization of contemporary art museums. ICOM has defined a contemporary museum as a polyphonic platform including participatory, inclusive and democratizing elements. When all these concepts are considered, the importance of communication between museum-community becomes apparent. Today, contemporary art museums have taken communication to their focal points. Museum-society communication is experienced in contemporary art museums through artistic activities as well as institution's communication-oriented strategies. Contemporary art activities using digital technologies and multimedia technologies generally require audience participation. Global access and various digital platforms provide the society with equal access to museums and art events, as well as making the arts of various countries and identities more visible. In the field of education, contemporary art museums develop projects by cooperating with various institutions. The effective use of digital platforms and institutional pages serves as a catalyst in the realization of these roles that museums undertake. Innovations in information and communication technologies accelerate the digitalization processes and serve as a mediator in maintaining the social roles of museums. For example, it can be said that technological convergence increases the number of museum visitors, therefore, it is the mediator of the social roles of museums. Technologies such as virtual reality, augmented reality and artificial intelligence, which are used in exhibition design in museums, require audience interaction. Digital art based on digital technology takes its place in contemporary art museums. In this study, it was aimed to reveal that social roles undertaken by contemporary art museums, such as participatory, inclusive, democratizing and polyphonic roles, are closely related to the digitalization of institutions and that digitalization acts as a catalyst for these roles.
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Lima, Cláudia, Susana Barreto, and Rodrigo Carvalho. "Interpreting Francis Bacon's Work through Contemporary Digital Media: Pedagogical Practices in University Contexts." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001420.

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This paper describes two pedagogical practices based on Francis Bacon’s graphic Works. One in a curricular context, held at Escola Superior Artística do Porto, and the other in an extracurricular context held at Universidade Lusófona do Porto (both in Portugal), which aimed to stimulate students towards a critical analysis and interpretation of Francis Bacon's work and its recreation using contemporary digital media. This initiative was integrated in the Graphic Works of Francis Bacon exhibition at the World of Wine Museum in Vila Nova de Gaia and was the result of a collaboration between this Museum, the Academy and the Renschdael Art Foundation, a collaboration that aimed to give voice and life to a debate emerging from the exhibition of the work of art and its multimedia translation. Hence, it was intended to complement the exhibition of the artist's works with a multimedia language, through multiple interpretations and digital animations of the Painter's work made by the students and targeted at digital natives as one stream of the exhibition was to target local primary and secondary schools.The participants involved in this project came from various BAs, including Communication Design, Fine Arts and Intermediate, Visual Arts - Photography, Cinema and Audiovisual, Audiovisual Communication and Multimedia, Video Games and Multimedia Applications. This allowed to bring together multidisciplinary groups of students with different profiles and backgrounds, contributing to a myriad of results both in visual terms and technological resources, which included approaches such as: the use of techniques close to rotoscoping in which students created drawings frame by frame over the original images; the exploration of cut-out animation techniques; the recreation of Francis Bacon's work in 3D; explorations of image manipulation, editing, and video effects.In an academic context, these practices resulted in an in-depth knowledge of the work of an artist from a generation different from that of the students; an opportunity for them to work with a real client, applying in a project the knowledge obtained in various curricular units of the BAs they are attending; and the possibility of seeing their work integrated in an international exhibition. As regards to the Graphic Works of Francis Bacon exhibition, this academic project brought a new dynamic to the space combining graphic works by the Painter with multiple interpretations of a generation to whom digital media are omnipresent.In this paper, the pedagogical practices adopted in both Universities are described, projects by students are analyzed as well as the contribution that these projects brought to the exhibition through information gathered from visitors, from articles published on the event and through an interview conducted with the exhibition curator.The exhibition, according to the commissioner, Charlotte Crapts, had an "impressive" turnover bearing in mind that the country was going through Covid restrictions. In the commissioner’s view, the multimedia interventions created a bridge with the educational sector and following this, the exhibition interacted with a great number of youngsters. This was a pioneer exercise in the exhibition space that will be followed in future exhibitions.
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Reports on the topic "Art museum visitors Psychology"

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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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DMITRIENKO, B. Ch, O. A. KOVALEVA, and E. A. RUBETS. VR TECHNOLOGIES AS A MEANS OF VIRTUAL MUSEUM PEDAGOGY. Science and Innovation Center Publishing House, April 2022. http://dx.doi.org/10.12731/2658-4034-2022-13-1-2-63-70.

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Currently, museum pedagogy is a very promising area, covering all types of interactions between the museum and its audience. Museum pedagogy is an interdisciplinary field of scientific knowledge, “formed at the intersection of pedagogy, psychology, museology and the relevant discipline of the museum and built on its basis specific practical activities focused on the transfer of cultural (artistic) experience in a museum environment”. The rapid development of technology has led to the so-called modification of this scientific field, we mean a new branch of pedagogical knowledge is emerging - virtual museum pedagogy. VR technologies are beginning to occupy leading positions, but it is important to note that today in art pedagogy there is no idea how to build the educational process in such a context. Thus, this area of pedagogy today requires a deep and comprehensive study. This has determined the purpose of this study. The objectives of the study follow from the goal: 1) To reveal the specifics of virtual museum pedagogy 2) To develop basic pedagogical recommendations for conducting virtual excursions using VR technologies Materials and methods. The methods of this study were analysis and synthesis. Results and discussion. The results of the study consist in the VR technologies usage in art pedagogy features identification.
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