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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Steier, Rolf. "Posing the Question: Visitor Posing as Embodied Interpretation in an Art Museum." Mind, Culture, and Activity 21, no. 2 (March 14, 2014): 148–70. http://dx.doi.org/10.1080/10749039.2013.878361.
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Bud, Robert. "Science, meaning and myth in the museum." Public Understanding of Science 4, no. 1 (January 1995): 1–16. http://dx.doi.org/10.1088/0963-6625/4/1/001.
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The paper depicts the potential of the exhibit which addresses science and technology historically to answer urgent contemporary problems. Such exhibits can, it is argued, help the public respond to the threat posed by scientific and technological change to categories—ranging from motherhood to self-will—used to structure our world. Museum accounts can play a mythological role in helping individuals make renewed sense of their world. Examples show how hypothetical exhibits dealing with themes such as fermentation and optics can be used to enable visitors to examine their own interpretations of the natural and the subjective respectively.
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Wijntjes, M. W. A., A. Füzy, M. E. S. Verheij, T. Deetman, and S. C. Pont. "The Synoptic Art Experience." Art and Perception 4, no. 1-2 (December 8, 2016): 73–105. http://dx.doi.org/10.1163/22134913-00002046.
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At the start of the 20th century, Moritz von Rohr invented the synopter: a device that removes 3D depth cues that arise from binocular disparities and vergence. In the absence of these visual cues, the observer is less aware of the physical flatness of the picture. This results in a surprisingly increased depth impression of pictorial space, historically known as the ‘plastic effect’. In this paper we present a practical design to produce a synopter and explore which elements of a painting influence the plastic effect. In the first experiment we showed 22 different paintings to a total of 35 observers, and found that they rate the synoptic effect rather consistent over the various paintings. Subsequent analyses indicated that at least three pictorial cues were relevant for the synoptic effect: figure–ground contrast, compositional depth and shadows. In experiment 2, we used manipulated pictures where we tried to strengthen or weaken these cues. In all three cases we found at least one effect that confirmed our hypothesis. We also found substantial individual differences: some observers experience little effect, while others are very surprised by the effect. A stereo acuity test revealed that these differences could not be attributed to how well disparities are detected. Lastly, we informally tested our newly designed synopter in museums and found similar idiosyncratic appraisal. But the device also turned out to facilitate discussions among visitors.
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Kamolpattana, Supara, Ganigar Chen, Pichai Sonchaeng, Clare Wilkinson, Neil Willey, and Karen Bultitude. "Thai visitors’ expectations and experiences of explainer interaction within a science museum context." Public Understanding of Science 24, no. 1 (April 21, 2014): 69–85. http://dx.doi.org/10.1177/0963662514525560.
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Cotter, Katherine N., Damien L. Crone, Rebekah M. Rodriguez-Boerwinkle, Martin Boerwinkle, Paul J. Silvia, and James O. Pawelski. "Examining the Flourishing Impacts of Repeated Visits to a Virtual Art Museum and the Role of Immersion." Behavioral Sciences 12, no. 12 (December 7, 2022): 500. http://dx.doi.org/10.3390/bs12120500.
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Visiting art museums has been associated with a range of flourishing outcomes. However, there have been recent shifts towards increasing digital engagement with art, leading to a radical change in how people experience visual art. Given the now expansive virtual art viewing options, it is important to understand whether digital engagement can also lead to greater flourishing, and, if so, under what conditions. We examined the flourishing effects of viewing art in a virtual gallery in a pre-registered experiment comprising four sessions over four weeks, with varying viewing instructions designed to increase immersion. Participants were recruited from a USA representative sample on Prolific, resulting in a final sample of 687 participants. People were randomly assigned to one of nine experimental conditions. Eight art viewing conditions involved four 15 min virtual gallery visits with viewing instructions varying on two factors: slow-looking and immersive mindset framing. An active control condition involved reading about (but not viewing) art. Participants completed a battery of baseline flourishing measures in week 1, completed experimental art engagement sessions during weeks 1–4, and completed the battery again in week 5. While immersion levels were greater in the viewing conditions than the reading condition, growth in flourishing did not differ across condition. Exploratory analyses, however, showed that immersion during the gallery visits did predict some changes in specific facets of flourishing (e.g., engagement, meaning, autonomy satisfaction). We suggest a number of possible explanations for these null results and point to what is needed in future research.
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Бакиева, Диана Айратовна. "SOCIOCULTURAL APPROACH AS AN IMPERATIVE OF THE EDUCATIONAL ACTIVITIES OF A MODERN MUSEUM." Pedagogical Review, no. 2(36) (April 14, 2021): 118–23. http://dx.doi.org/10.23951/2307-6127-2021-2-115-123.
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Рассматривается социокультурный подход как основание современного образования, ориентированного на личность в полноте ее культурно-воспроизводительной деятельности. Исследуется связь социокультурного подхода и музея, обусловливающая изменение образовательной деятельности последнего. Актуализируется проблема расширения образовательных возможностей музея, обострившаяся в условиях социальной необходимости поиска альтернативных методов взаимодействия с личностью. Обращение к социокультурному подходу как методологии деятельности музея позволяет изменить конфигурацию общения, в качестве цели обозначив включение в процесс коммуникации личность человека как равнозначного субъекта коммуникации наравне с культурой и социумом. В соответствии с запросом общества музейная коммуникация как метод сотрудничества с личностью в образовательной практике музея становится первостепенной. Анализ образовательной деятельности музея позволяет проследить влияние коммуникационных процессов, трансформирующих содержание, образовательную среду и результаты образования в музее, придавая им личностно значимые смыслы. Следовательно, присвоение личностью разнообразия социокультурного опыта становится ключевой задачей образовательной деятельности музея, что отвечает современной социокультурной ситуации. The article examines the sociocultural approach as the basis of modern education focused on the individual in the fullness of his cultural and reproductive activity. The relationship between the socio-cultural approach and the museum is investigated, which determines the change in the educational activity of the latter. In accordance with the demands of society, museum communication as a method of interaction with a person in the educational practice of the museum becomes paramount. Museum communication and the process of its transformation in the digital age is a key concept for studying the mechanisms of modernization of the educational activities of the museum. In turn, communicative processes transform the content and results of education in the museum, giving it personally meaningful meanings. The semantic field of the content of museum education becomes the basis for communication, and the museum visitor is a representative of one or another point of view on cultural phenomena. The museum, being at the junction of various sciences (pedagogy, psychology, museology, art history), sees its goal not so much in the expansion of knowledge, but in the development of the value apparatus, attitudes, and creative abilities of the individual. Consequently, the appropriation by an individual of the diversity of sociocultural experience becomes a key task of the educational activities of the museum.
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Phipps, Molly, and Shawn Rowe. "Seeing satellite data." Public Understanding of Science 19, no. 3 (April 17, 2009): 311–21. http://dx.doi.org/10.1177/0963662508098684.
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Complex scientific visualizations are becoming standard parts of many educational experiences, both in and out of schools. We found that satellite visualizations used by ocean scientists were difficult for teachers, students, and museum visitors to understand. The research reported on here documents some of those difficulties and explores alternate visualizations that proved more robust for novice users of the data. Five different visualizations of two ocean properties as sensed by satellites are shown and their affordances and constraints for both scientists and novice users are discussed. We illustrate the importance of incorporating culturally meaningful color representations and measurement scales for designing education materials using satellite data.
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Falk, John H. "Viewing Art Museum Visitors Through the Lens of Identity." Visual Arts Research 34, no. 2 (December 1, 2008): 25–34. http://dx.doi.org/10.2307/20715472.
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Abstract Based upon the findings of hundreds of long-term interviews with museum visitors, Falk observes that museum visits generate complex, personally rich meanings for people. He hypothesizes that visitors have a working model of what an art museum affords and self-select to use the museum based on a limited set of identity-related self-aspects—traits, roles, attitudes, and group memberships associated with self-identification. He further hypothesizes that visitors utilize these self-aspects both prospectively in justifying their visit, revealed through self-defined visit motivations, and again retrospectively in order to make sense of their visit, revealed when reflecting upon and describing their visit. Although museum visitors could posses an infinite number of identity-related museum self-aspects, this does not appear to be the case; in general, the ways in which people describe their purpose for visiting museums tend to cluster into five basic categories. The results of numerous studies indicate that a majority of museum visitors can be categorized as possessing a single dominant one of these five identity-related motivations. The meanings made by individuals classified as falling within different motivational categories significantly differ, both in the short and long term. The article describes these five categories of identity-related visit motivations and provides initial thoughts about how these ideas might be used to improve art museum practice.
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최성희. "Visitors' Narrative Identities at an Art Museum." Journal of Research in Art Education 9, no. 1 (January 2008): 135–49. http://dx.doi.org/10.20977/kkosea.2008.9.1.135.
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Jurėnienė, Virginija, and Dovilė Peseckienė. "Art Gallery Visitors’ Motivations." Informacijos mokslai 89 (June 5, 2020): 17–33. http://dx.doi.org/10.15388/im.2020.89.37.
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The article discusses the motivational factors of visual art institution consumers. Analysis includes Falk’s identity-related theory of motivation for visiting art institutions that discusses how visitors’ experience begins before visiting a museum and is focused on the consumer’s attitude (identity) validation. Consumers’ motivation to visit an art institution depends on not only the proposals provided by the institution and their value to the consumer, but also on accessibility, the environment, and the personnel’s communication. The article introduces the motivations, expectations of consumers of the services provided by Kaunas Picture Gallery as well as evaluation of the services and infrastructure provided by the organisation obtained during study Visitors’ Expectations in Visual Art Institutions.
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Yoo, Arim, and Sae June Kim. "A Study on Museum Visitors’ Emotion by Visitors’ Art Exhibition Experience." Korean Arts Association of Arts Management 48 (October 30, 2018): 5–45. http://dx.doi.org/10.52564/jamp.2018.48.5.
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Fitriana, Rina, Nurima Rahmitasari, and Marcelina Yoseli. "Analisis Motivasi Pengunjung Museum Macan Jakarta." Jurnal Ilmiah Pariwisata 25, no. 1 (March 31, 2020): 76. http://dx.doi.org/10.30647/jip.v25i1.1362.
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MACAN Museum (Museum of Modern and Contemporary Art in Nusantara) has a wide collection of modern and contemporary Indonesian arts up to the first international scale in Indonesia, and is one of the tourist attractions in Jakarta that is preferred by various circles. The collection is packaged with the concept of art shows and exhibitions that can be enjoyed by every visitor. This research aims to analyze the motivation of visitors coming to the museum using quantitative descriptive methods. Unit of analysis is the visitors of MACAN museum, meanwhile the independent variable is the visitors’ motivation. Data was taken by giving questionnaire to 100 respondents, having observation, and doing structured interviews. The data were analyzed by excel and presented in the frequency table and pie chart. The results showed that of the four motivations, cultural motivation obtained the highest value as the most motivating factor for visitors with a value of 4.19, and the average total value of the four motivations is 3.84 which states that visitors are motivated to visit the MACAN museum.
Keywords: MACAN Museum, Visitor Motivation, MICE, Contemporary Art
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Pawlikowska-Piechotka, Anna. "Industrial Heritage Tourism: a Regional Perspective (Warsaw)." Physical Culture and Sport. Studies and Research 46, no. 1 (December 1, 2009): 276–87. http://dx.doi.org/10.2478/v10141-009-0025-x.
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Industrial Heritage Tourism: a Regional Perspective (Warsaw)When touring a region, one of the things previous generations certainly overlooked were the industrial areas. With the exception of the old saltmine "Wieliczka" in the south of Poland, industrial heritage was mainly unknown. Industrial landscape (mills, factories with chimneys emitting all-blackening smoke, poverty-stricken workers' houses) have been regarded with dislike and considered grim.Using the example of Warsaw's industrial heritage revitalization projects, we examined already modernized historic buildings, which sought to respond to tourist and leisure needs (museums, art galleries, cultural centres). We were interested in their new functions and meanings for urban space quality. We wanted to consider how much revitalized architecture help to change (socially, culturally, economically) declining areas and their painful "inner-city" image (Thorns 2001). Our research (carried out in 2005-2006) covered nine historic industrial compounds, already converted and having new functions. Results of our inquiry polls (taken in 2005-2006) confirmed the thesis, that revitalized historic industrial architecture might enrich urban space with values visible in many dimensions: social, historical, aesthetical and economic (Evans 2005). Although selected and studied cases in Warsaw were not completed equally successfully, due to the objective barriers or carelessness in the planning process, all show good results in space quality and cultural services improvement, appreciated by the local community members and visitors relevantly.Once neglected run-down Warsaw districts (Wola, Praga) now draw benefits from new identities, attracting tourists and enhancing the local community's sense of belonging and well-being. Similar cases were described by scholars after studies in other European cities (Jones 2006).
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Roth, Emily. "Open to all museum visitors: the Uris Library in the Metropolitan Museum of Art." Art Libraries Journal 24, no. 4 (1999): 26–28. http://dx.doi.org/10.1017/s0307472200019775.
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The Uris Library and Teacher Resource Center is the only library in the Metropolitan Museum of Art open to all Museum visitors. Its 6,000 books, 900 videos and growing numbers of CD-ROMs and electronic resources serve ever increasing numbers of the Museum’s public. Students and teachers, Museum members, Museum educators and volunteers, as well as general Museum visitors all use the Library.
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López Sintas, Jordi, Ercilia García Álvarez, and Elena Pérez Rubiales. "Art museum visitors: interaction strategies for sharing experiences." Museum Management and Curatorship 29, no. 3 (May 27, 2014): 241–59. http://dx.doi.org/10.1080/09647775.2014.919175.
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Željka Miklošević, Željka. "Fostering inclusion in art museums through mobile digital content." Muzeológia a kultúrne dedičstvo 9, no. 4 (2021): 5–19. http://dx.doi.org/10.46284/mkd.2021.9.4.1.
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This paper deals with digitally mediated museum experiences of novice visitors at the Kunsthistorisches Museum in Vienna and discusses them in the context of museum inclusion. Research participants included families with young children and members of minority communities in Vienna whose visit was facilitated by two app-based guided tours developed for children. The research goal was to explore the impact of the mobile guide’s digital content and modes of communication on the visitors’ interaction with the guide, with the museum space and objects, and with family members. The families’ interactions were observed, recorded and analyzed. The results suggest that carefully considered and created content on mobile guides has the potential to provide novice family visitors with experiences that support their independence and active engagement, create opportunities for mutual facilitation, and support their different identities, all of which have been considered as conducive to inclusion.
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Yi, Taeha, Hao-yun Lee, Joosun Yum, and Ji-Hyun Lee. "The influence of visitor-based social contextual information on visitors’ museum experience." PLOS ONE 17, no. 5 (May 24, 2022): e0266856. http://dx.doi.org/10.1371/journal.pone.0266856.
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Visitor-centered approaches have been widely discussed in the museum experience research field. One notable approach was suggested by Falk and Dierking, who defined museum visitor experience as having a physical, personal, and social context. Many studies have been conducted based on this approach, yet the interactions between personal and social contexts have not been fully researched. Since previous studies related to these interactions have focused on the face-to-face conversation of visitor groups, attempts to provide the social information contributed by visitors have not progressed. To fill this gap, we examined such interactions in collaboration with the Lee-Ungno Art Museum in South Korea. Specifically, we investigated the influence of individual visitors’ social contextual information about their art museum experience. This data, which we call “visitor-based social contextual information” (VSCI), is the social information individuals provide—feedback, reactions, or behavioral data—that can be applied to facilitate interactions in a social context. The study included three stages: In Stage 1, we conducted an online survey for a preliminary investigation of visitors’ requirements for VSCI. In Stage 2, we designed a mobile application prototype. Finally, in Stage 3, we used the prototype in an experiment to investigate the influence of VSCI on museum experience based on visitors’ behaviors and reactions. Our results indicate that VSCI positively impacts visitors’ museum experiences. Using VSCI enables visitors to compare their thoughts with others and gain insights about art appreciation, thus allowing them to experience the exhibition from new perspectives. The results of this novel examination of a VSCI application suggest that it may be used to guide strategies for enhancing the experience of museum visitors.
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Vesci, Massimiliano, Emanuela Conti, Chiara Rossato, and Paola Castellani. "The mediating role of visitor satisfaction in the relationship between museum experience and word of mouth: evidence from Italy." TQM Journal 33, no. 1 (July 8, 2020): 141–62. http://dx.doi.org/10.1108/tqm-02-2020-0022.
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PurposeThis paper aims to analyse the quality of experience in the Italian art museum context and to understand the mediating role of satisfaction between museum experiences and visitors' word-of-mouth (WOM) behavioural intentions.Design/methodology/approachThis exploratory study adopted a quantitative methodology. Visitors to Italian art museums were interviewed, and the results were examined using exploratory factor analysis and regression analysis.FindingsThe analysis shows that the following museum experience dimensions were present in the Italian art museum context: aesthetics, escapism and “edumotion”. Further, these dimensions positively affected visitors' overall satisfaction which mediates on WOM behavioural intentions.Research limitations/implicationsThe small sample limits the generalisability of findings, and further research on the topic is recommended.Practical implicationsMuseums should allocate resources to improve visitor experience, visitor satisfaction and museum attractions. Specifically, museum managers should invest in the three dimensions that emerged from this study.Originality/valueThis study enriches the empirical evidence on experiential marketing in the museum context by focussing on the mediating role of overall satisfaction in the relationship between museum experience and WOM behaviours. To the best of the authors' knowledge, this is the first study investigating this phenomenon in Italian museums.
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Mastandrea, Stefano, Gabriella Bartoli, and Giuseppe Bove. "Learning through Ancient Art and Experiencing Emotions with Contemporary Art: Comparing Visits in Two Different Museums." Empirical Studies of the Arts 25, no. 2 (July 2007): 173–91. http://dx.doi.org/10.2190/r784-4504-37m3-2370.
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The aim of the present research was to explore possible differences between visitor experiences in two different kinds of art museums according to the art styles of the collections hosted: the Museum Borghese of Rome (ancient art) and the Peggy Guggenheim Collection of Venice (contemporary art). Two questionnaires were administered to 500 Italian participants before and after their visit to one of the museums. Questions (Likert scales and multiple choice) assessed how much visitors liked and were satisfied with the museum and their visit, and the motivations, expectations and preference that drive people to visit museums of ancient versus contemporary art. Results show that people who visit the Guggenheim Museum have higher socio-economic status (education and profession) and visit museums more frequently than those who attend the Borghese Museum. Additionally, educational level relates to the enjoyment of the visit and to the nature of the aesthetic experience; visit conduction by Borghese visitors was driven by the intent of understanding and knowing, while those who attended the Guggenheim took an emotional approach to their experience.
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Hanquinet, Laurie. "Place and Cultural Capital: Art Museum Visitors Across Space." Museum and Society 14, no. 1 (June 9, 2017): 65–81. http://dx.doi.org/10.29311/mas.v14i1.677.
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In the establishment of people’s lifestyles, places, and especially cities, havebecome central arenas for display and consumption, and have become part ofthe aesthetic experience itself. These changes have affected the composition ofcultural capital, which may have then taken an urban dimension. Art museumvisitors, often associated with highbrow culture, constitute an excellent case studyto explore the links between cultural capital and place. Based on a survey of 1900visitors of the six main museums of modern and contemporary art in Belgium,this article will focus on the distribution of the audience characterized by theircultural tastes and activities across the Belgian territory (through their postcodes).It shows that visitors mainly come from areas with high and moderate densityand that the socio-demographic but also urban characteristics of their place ofresidence can be related to the way visitors’ cultural capital is composed. Yet,it also suggests that places like cities (just like museums) form meeting places,in which co-exist and interact different stories, different trajectories and, as thisarticle shows, a multiplicity of lifestyles.Keywords: Museum visitors; Pierre Bourdieu; cultural capital; audiences; Belgium.
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Mangione, Gemma. "Making Sense of Things: Constructing Aesthetic Experience in Museum Gardens and Galleries." Museum and Society 14, no. 1 (June 9, 2017): 33–51. http://dx.doi.org/10.29311/mas.v14i1.624.
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Studies of museum behaviour in sociology often examine how external environments shape organizational practice. Through an ethnographic study, this article considers programmes for visitors with disabilities at a major metropolitan art museum and botanical garden to ask how ‘sensory conventions’ vary across museums, and with what effects. I trace how museum staff construct the aesthetic experience of art and nature differently to shape how visitors use their senses, and which senses they use, when interacting with museum collections. Examining aesthetic meanings across different kinds of museums reveals these institutions’ differing local cultures and how such cultures affect visitor experience. In particular, aesthetic practices across museums facilitate varying opportunities for perception, and interactions that may privilege particular embodied capacities.Key words: art museums; botanical gardens; aesthetics; senses; disability
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Hutama, Gusti Ngurah Kade Wahyu Ari, and I. Gusti Agung Oka Mahagangga. "Pengaruh Tanggapan Di Media Sosial Terhadap Pilihan Koleksi Bagi Pengunjung Interactive Art Museum Bali, Kota Denpasar." JURNAL DESTINASI PARIWISATA 6, no. 2 (January 1, 2019): 335. http://dx.doi.org/10.24843/jdepar.2018.v06.i02.p21.
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Interactive Art Museum Bali is the new one of tourists attraction in Denpasar City. Although classified as a new tourist attraction, but tourists visit the Interactive Art Museum Bali is always increasing every month. Based on that situation, the research is conducted for analyzing the influence of responses in social media on the collection options for visitors at the tourist attraction of Interactive Art Museum Bali, Denpasar City.
The data used in this research is quantitative data. Data analysis techniques used in this study are correlation analysis. The collected data in this study through observation, literature study, questionnaire, and visual material.Informant determination technique used is convenience sampling techniquewith the number of samples determined by the Slovin formula.
The results of this study obtained that the social media used by visitors who come to visit the Interactive Art Museum Bali is Instagram.The influence of responses in social media on collection options for visitors is seen from 3 classifications.First, according to the observing senses, has a correlation analysis of 0653 and 0.598.The second classification is according to the occurrence of having correlation analysis results of 0.627 and 0.668.The third characteristic is according to the environment has the result of correlation analysis of 0.564 and 0.585.
Keywords: Social Media, Response, Visitor, Collection, Interactive Art Museum Bali
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Jensen, Kirsten, and Karen Grøn. "The Kaleidoscope of Culture: expanding the museum experience and the museum narrative by inviting visitors into the curatorial process." Museum and Society 13, no. 3 (July 1, 2015): 385–95. http://dx.doi.org/10.29311/mas.v13i3.337.
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Traditional art museum exhibitions are planned according to art-historical elements. At Trapholt – a museum of modern Danish art, design and applied art in Denmark, we are interested in exploring what happens when ordinary visitors are invited to curate personal exhibitions in the museum space. This paper analyses the project The Kaleidoscope of Culture, where people with no art historical background were invited to curate exhibitions based on the Trapholt collection of art and their own cultural backgrounds and experiences. The main argument is that, by allowing these personal voices in the museum space, new museum narratives are established. But to make the museum a truly transformative space the art- historical knowledge and methods must also be activate.
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Casano, Jonathan D. L., Jenilyn L. Agapito, Abigail S. Moreno, and Ma Mercedes T. Rodrigo. "INF-Based Tracking and Characterization of Museum Visitor Paths and Behaviors Using Bluetooth Low Energy Beacons." Journal on Computing and Cultural Heritage 15, no. 2 (June 30, 2022): 1–22. http://dx.doi.org/10.1145/3474830.
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This article presents a study that analyzes the visitor experience by using location data collected through Bluetooth Low-Energy (BLE) beacons. A visual analysis of the visitors’ behavior and interactions with the artworks at the Ateneo Art Gallery, the first museum of modern art in the Philippines, was conducted. The Immediate, Near, Far (INF) framework was built on top of earlier studies to provide a finer approximation of the visitors’ location in an enclosed space. It was used to operationalize the different metrics used to characterize visitors’ behaviors and such behaviors vis-á-vis tracked museum areas such as Holding Power and Attraction Power. Two additional metrics were introduced—the Re-Attraction Power and Nearness. This work strives to contribute to research on museum visitorship particularly within a developing world context.
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Hayhoe, Simon. "Expanding Our Vision of Museum Education and Perception: An Analysis of Three Case Studies of Independent Blind Arts Learners." Harvard Educational Review 83, no. 1 (March 26, 2013): 67–86. http://dx.doi.org/10.17763/haer.83.1.48170l3472530554.
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In this study, Simon Hayhoe investigates the experiences of blind museum visitors in the context of the relationships between the artworks they learned about in museums, those they experienced when younger, and the social, cultural, and emotional influences of their museum experiences. The three case studies he presents support his hypothesis that, for blind visitors, proximity to works of art is at least as important as perceiving the art itself. This finding questions Gombrich's theory of the economy of vision and Jay's theory of scopics and supports the notion that exclusion from art in this context is more passive than active.
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Hyun, Hyowon, Jungkun Park, Tianbao Ren, and Hyunjin Kim. "The role of ambiances and aesthetics on millennials’ museum visiting behavior." Arts and the Market 8, no. 2 (October 1, 2018): 152–67. http://dx.doi.org/10.1108/aam-04-2017-0006.
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Purpose The purpose of this paper is to establish a framework for millennials’ museum visiting behaviour and to explore the moderating effects of aesthetics and ambience for visiting art museums. This study uses the Stimulus–Organism–Response (S–O–R) model (Mehrabian and Russell, 1974) in order to confirm the relationship among variables. Design/methodology/approach The data were collected using online surveys from millennial art museum visitors who had visited a museum within three months. In all, 287 responses were collected. Structural equation modelling was used to analyse the model. Findings Korean millennial visitors pursue hedonic value rather than utilitarian value when they visit art museums. It turns out that hedonic value accelerates visitor satisfaction and promotes visitor loyalty more than utilitarian value in the art museum setting. Both ambiance and aesthetics play stimulating roles in the art museum context and moderate the relationships among visitor-perceived value, satisfaction and loyalty. Utilitarian values are identified as unimportant elements for young Korean museumgoers. Practical implications Ambiance and aesthetic factors play important roles in promoting art museum visits. An art museum may elevate its atmospheric factors by emphasising the visit’s fun value (i.e. hedonic value) for millennials. Originality/value This study expands on previous studies concerning conceptualization of multidimensional constructs of millennials’ value for experience of arts museums in terms of aesthetics and ambiance. The results also confirm the value of the S–O–R framework in an art museum context.
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Bračun Sova, Rajka. "Art Appreciation as a Learned Competence: A Museum-based Qualitative Study of Adult Art Specialist and Art Non-Specialist Visitors." Center for Educational Policy Studies Journal 5, no. 4 (December 31, 2015): 141–57. http://dx.doi.org/10.26529/cepsj.121.
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Since Bourdieu, it has been argued that art appreciation requires “knowledge”. The focus of this qualitative study was to examine art appreciation as a learned competence by exploring two different groups of museum visitors: art specialists and art non-specialists. The research was conducted at Moderna galerija in Ljubljana. Twenty-three adults were recruited and accompanied during their visit to the museum. Participants were requested to “think out loud”, which meant to talk about what they saw, thought, and felt about the artworks. There was a short interview conducted with each participant before entering the museum to gain insight into their art-related and museum-visiting experience. The analysis of the data revealed that some processes of art appreciation were similar within the two groups. Both art specialists and art nonspecialists interact with museum objects physically and intellectually; they see contents and formal qualities as a whole; they respond emotionally to artworks; appreciation includes their personal experience; they search museum interpretation/information for their understanding. Some noticeable differences were found. Art specialists respond to artworks with more understanding and are willing to put more effort into art appreciation, whereas art non-specialists respond with less understanding and put less effort into art appreciation. This paper focuses on the differences between the two groups; reflective and spontaneous appreciation of art, objective and subjective appreciation of art and the effort put into art appreciation. The paper ends with a discussion of the implications of the study for the teaching of art and museum education.
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Franklin, Adrian, and Nikos Papastergiadis. "Engaging with the anti-museum? Visitors to the Museum of Old and New Art." Journal of Sociology 53, no. 3 (June 6, 2017): 670–86. http://dx.doi.org/10.1177/1440783317712866.
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Hailed as the most important cultural event since the opening of the Sydney Opera House, the Museum of Old and New Art (Mona) in Tasmania seemingly made very substantial changes to visitor experiences of an art gallery, catalysed a significant cultural florescence in Hobart and achieved tourism-led urban and regional regeneration on a par with the Guggenheim Museum Bilbao. Drawing on a large survey of visitors this article illuminates the origins, social aims and impacts of successful attempts to push art museums beyond what Hanquinet and Savage call ‘educative leisure’. It contributes to our knowledge of the processes by which traditional forms of ‘highbrow’ cultural experience associated with the dominance of the classical and historical canon are being eclipsed by newer, performative, emotional and sensual forms of cultural taste.
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Petridis, Panagiotis, Ian Dunwell, Fotis Liarokapis, George Constantinou, Sylvester Arnab, Sara de Freitas, and Maurice Hendrix. "The Herbert Virtual Museum." Journal of Electrical and Computer Engineering 2013 (2013): 1–8. http://dx.doi.org/10.1155/2013/487970.
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In recent years, virtual reality and augmented reality have emerged as areas of extreme interest as unique methods for visualising and interacting with digital museum artefacts in a different context, for example, as a virtual museum or exhibition, particularly over the Internet. Modern cultural heritage exhibitions have evolved from static to dynamic exhibitions and challenging explorations. This paper presents two different applications developed for the Herbert Museum and Art Gallery that make the user’s experience more immersive, engaging, and interactive. The first application utilizes mobile phone devices in order to enrich the visitors experience in the museum, and the second application is a serious game for cultural heritage and in particular for museum environments focusing on the younger visitors.
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Woodruff, Anthony Wayne. "Finding Museum Visitors with Autism Spectrum Disorders: Will Art Help In The Search?" Museum and Society 17, no. 1 (March 10, 2019): 83–97. http://dx.doi.org/10.29311/mas.v17i1.2586.
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Visiting a museum can be a tremendously stressful event for families that include children with Autism Spectrum Disorders (ASD). The goal of this research study was to find what concerns families have when visiting a museum, if there are any intervention materials caregivers prefer, to examine behaviors of children with ASD while in the museum, and to see if an art-making activity after the museum visit could be directly tied to the museum experience. Results indicated that museums continue to be stressful for families, and parents would like materials to help reduce anxiety in their children before and during the visit. While in the museum, parents tried to focus their children’s attention on interesting things, but many children became overly excited and desired spaces within the museum to be more active. Art-making after the museum visit allowed children to reflect back on what they saw and did during their experience.
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MASHTALIR, Вадим Віталійович. "PROBLEMATIC ISSUES AND DEVELOPMENT PERSPECTIVES OF MODERN UKRAINIAN MILITARY MUSEUM ART." Військово-науковий вісник, no. 35 (May 11, 2021): 18–30. http://dx.doi.org/10.33577/2313-5603.35.2021.18-30.
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The article analyzes the current state, problems in the functioning of military history museums and it characterizes further directions of development of Ukrainian military museology.It is established that the research of the current period of development of military museum affairs in Ukraine allows to note the growing role of military history museums in the revival of military history of the people, in the development of national society and in the establishment of its patriotic foundations.Іn the article is proved that the military history museum should become more interactive and more responsive to the real needs of the public. The museum should attract the attention of potential visitors, interest them and should be open to all. The formation of an attractive image of the military history museum through the using of art and information tools and assistance in meeting the interactive needs of people to combine knowledge with entertainment in their free time, force modern museum-exhibition complexes to use information-analytical, entertainment-game and other methods of recreation for their visitors.
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Shimanskaya, K. I. "Art mediator as a participant of art communication." Northern Archives and Expeditions 4, no. 4 (December 25, 2020): 109–15. http://dx.doi.org/10.31806/2542-1158-2020-4-4-109-115.
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Artistic communication is the interaction between the viewer and the work of art. Its success is the highest goal of an art mediator, whose role is to establish and maintain a dialogue between the subjects of artistic communication. n this regard, art mediation is understood by the authors of the article as a participatory practice that teaches visitors of art museums and galleries the language of art and its interpretation. This view is confirmed by a review of the concept of artistic communication in scientific literature, as well as an analysis of the practice of art mediation, its basic principles (such as openness, polyphony and the use of an individual approach by an art mediator) are revealed on the example of the Krasnoyarsk Museum Biennale «Negotiators» in the Krasnoyarsk Museum Center.
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Othman, Mohd Kamal, Ng Ee Young, and Shaziti Aman. "Viewing Islamic Art Museum Exhibits on the SmartPhone: Re-examining Visitors’ Experiences." Journal of Cognitive Sciences and Human Development 1, no. 1 (September 1, 2015): 102–18. http://dx.doi.org/10.33736/jcshd.192.2015.
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Mobile Guide technologies in public spaces, particularly museum are not new and have changed the way visitors’ access information during their visit. Smartphone applications (apps) are increasingly popular because it can be accessed before, during and after the museum visits. This has impacted the way exhibitions are designed and the resulting visitor experience. Therefore, it is important to measure what effect the use of smartphone technology has on visitor experience. An “in the wild” study was conducted to investigate visitor experience in Islamic Art museum, both with and without Islamic Arts Museum Malaysia (IAMM) Mobile Guide (smartphone apps). A total of 55 participants took part in the study. The Museum Experience Scale (MES) was used to measure visitor experience, whilst the Multimedia Guide Scale (MMGS) was used to measure visitors’ experiences with the IAMM Mobile Guide. Results showed that scores on all components of MES suggested a positive experience at the IAMM with the component of meaningful experience being the highest score, followed by the component of knowledge and learning. Scores on the MMGS also showed a positive experience in using the mobile guide with learnability and control scored the highest, followed by general usability.Keywords: user experience (UX); visitor experience; museum; smartphone; applications; mobile guide
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Abbey, Heidi N. "Does a decade make a difference? Comparing the web presence of North American art museum libraries and archives in 1999 and 2011." Art Libraries Journal 37, no. 3 (2012): 34–40. http://dx.doi.org/10.1017/s0307472200017582.
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The number of North American art museums with a presence on the internet has more than doubled since 1999. This is not surprising given the power of new media to transform the experiences that museum visitors have with our cultural institutions. Every year museums attract thousands of visitors to view, both in person and online, their specialized collections and unique exhibitions. Developing in tandem with these resources and largely unfamiliar to the general, museum-going public, the libraries and archives of these institutions have contributed to the research mission, educational programming, documentary history, and curatorial functions of museums in countless ways. In addition, especially for art historians and other scholars, museum libraries and archives have been and continue to be increasingly valuable for primary and secondary sources, including artists’ correspondence, diaries, sketches, hard-to-find monographs, exhibition records and sales catalogues. What is unclear, however, is the extent to which resources in art museum libraries and archives are being documented, preserved and made accessible online. This research is perhaps the first of its kind to evaluate, on a small scale and during a span of twelve years, the web presence of 22 North American art museum libraries and archives.
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Redler, Hannah. "From interventions to interactions: Science Museum Arts Projects’ history and the challenges of interpreting art in the Science Museum." Journal of Science Communication 08, no. 02 (June 19, 2009): C04. http://dx.doi.org/10.22323/2.08020304.
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Hannah Redler’s paper examines the 13 year history of Science Museum, London’s contemporary art programme and explores how changing cultural conditions and the changing function of museums are making the questions raised by bringing art into the Science Museum context increasingly significant. It looks at how Science Museum Arts Projects started as a quirky, experimental sideline aimed at shaking up the Museum and its visitors’ assumptions, but has now become a fundamental means by which the Science Museum chooses to represent the impact of science, medicine, engineering and technology on peoples’ everyday lives.
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Huebner, Emma June. "Making Art at Home During the COVID-19 Pandemic: Instagram, Young Visitors, and Museum Collections." Canadian Review of Art Education 49, no. 1 (December 15, 2022): 21–33. http://dx.doi.org/10.26443/crae.v49i1.122.
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This paper examines some of the ways that Canadian art museum education departments used Instagram during the COVID-19 pandemic, particularly for young virtual visitors. The author studied this use of Instagram through a visual content analysis of ten Canadian museums’ educational posts, stories and IGTV videos, using the theory of connectivism and the way learners can engage with learning opportunities outside of their physical environments. The findings from this study reveal that Instagram became instrumental in allowing museum educators to continue their mission of promoting meaningful engagement with collections for their visitors.
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Najbrt, Lukáš, and Jana Kapounová. "Categorization of Museum Visitors as Part of System for Personalized Museum Tour." International Journal of Information and Communication Technologies in Education 3, no. 1 (June 1, 2014): 17–27. http://dx.doi.org/10.1515/ijicte-2014-0002.
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Abstract In the past few years, the process of lifelong learning has become more important. A tour of an educational exhibition is an interesting and attractive activity for a person receiving an education. A museum, art gallery, zoological or botanical garden or even a technological park can all be perceived as an educational exhibition. If we want the exhibition tour to provide an educational benefit to the visitor, we need to offer him adequate information about individual exhibits. The exhibition has to be personalized, that is, tailored for the various kinds of visitors. This paper deals with the issue of categorizing museum visitors using ICT, specifically an expert system which is a part of a “virtual guide”. Based on an initial analysis of a visitor, the virtual guide proposes a tour through the exhibition so that it brings the visitor the maximum educational benefit while at the same time offers information about the displayed exhibits in such a way that is most interesting and comprehensible.
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B. Crow, William. "Dime, muéstrame, involúcrame: la importancia de la enseñanza y el aprendizaje participativo en los museos." Illapa Mana Tukukuq, no. 14 (February 18, 2019): 110–17. http://dx.doi.org/10.31381/illapa.v0i14.1884.
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Los museos y las instituciones culturales están buscando maneras para que sus visitantes estén más involucrados y conectados con sus instituciones. En lugar de ver a los visitantes del museo como receptores pasivos de información o experiencias, los museos y los visitantes del museo en sí, desean algo más. Este artículo ofrece ejemplos de la enseñanza y aprendizaje participativos, y por qué es importante para los museos y sus visitantes.
Palabras clave: museos, educación, estrategias para enseñar, Museo Metropolitano de Arte
AbstractMuseums and cultural institutions are looking for ways to make their visitors more involved and connected with their institutions. Instead of viewing museum visitors as passive recipients of information or experiences, museums, and museum visitors themselves, want something more. Thisarticle offers examples of participatory teaching and learning, and why it is important for museums and their visitors.
Keywords: Museums, education, teaching strategies, Metropolitan Museum of Art
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MISAKA, Tomohiko, and Toshiyuki KANEDA. "An Analysis on Characteristics of Art Museum Visitors' Shop-Around Behaviors." Chiikigaku Kenkyu (Studies in Regional Science) 36, no. 1 (2006): 211–21. http://dx.doi.org/10.2457/srs.36.211.
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Mastandrea, Stefano, Gabriella Bartoli, and Giuseppe Bove. "Preferences for ancient and modern art museums: Visitor experiences and personality characteristics." Psychology of Aesthetics, Creativity, and the Arts 3, no. 3 (August 2009): 164–73. http://dx.doi.org/10.1037/a0013142.
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