Academic literature on the topic 'Human mediation in a museum context'
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Journal articles on the topic "Human mediation in a museum context"
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Massarani, Luisa, Rosicler Neves, Graziele Scalfi, Antero Vinícius Portela Firmino Pinto, Carla Almeida, Luis Amorim, Marina Ramalho, et al. "The Role of Mediators in Science Museums: An Analysis of Conversations and Interactions of Brazilian Families in Free and Mediated Visits to an Interactive Exhibition on Biodiversity." International Journal of Research in Education and Science 8, no. 2 (May 22, 2022): 328–61. http://dx.doi.org/10.46328/ijres.2636.
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The social interactions that take place in science museums, whether between family members or with mediators, are recognized as essential to visitors’ experience. However, there is still little empirical research in the Brazilian context on how families interact and converse on visits to science museums – and even less on the role of the mediator in the museum experience. In this exploratory study, the authors analyze the social interactions of families in an interactive exhibition on biodiversity: “Forest of the Senses”, at the Museum Science and Life (Brazil), characterized by having one of the lowest human well-being indicators in the country. In particular, the authors analyzed the ways in which the presence of human mediation influenced the experience of family visits to the exhibit. Video and audio of ten low-income families' visits were recorded and analyzed using a protocol based on social interactions that take place in museums. Results show that human mediation did not influence the amount or types of visitor-exhibit interactions or the amount of time spent at the exhibit, but increased the amount of conversation time among the groups, including the amount of time discussing science content, thus providing insights into mediator training and qualification.
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Strepetova, Marina, and Jordi Arcos-Pumarola. "Literary heritage in museum exhibitions: Identifying its main challenges in the European context." Muzeológia a kultúrne dedičstvo 8, no. 3 (September 2020): 95–109. http://dx.doi.org/10.46284/mkd.2020.8.3.5.
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Literary heritage presents a dialectic relationship between tangible and intangible elements. This complex duality presents challenges for curators, who must try to communicate this immaterial essence through the exhibition language. This article, structured on a two-phase research process, aims to identify the main challenges for literary heritage valorisation and communication in the museum context. First, interviews with specialists in literary heritage and museology from Catalonia and Russia were carried out to identify the main issues to be considered when designing a literary heritage exhibition and managing a literary heritage centre. Second, the websites of three renowned literary European museums were analysed to inspect whether and how these aspects are tackled by these museums and presented to their potential visitors. Results show that, firstly, the duality of literary heritage is vital in the designing of the exhibition; and secondly, that concepts such as human mediation, literary tourism, and promotion are important in finding new strategies to communicate and visibilise literary heritage intangible meanings.
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Arriaga, Amaia, and Imanol Aguirre. "Museum-university collaboration to renew mediation in art and historical heritage. The case of the Museo de Navarra." Arte, Individuo y Sociedad 32, no. 4 (July 23, 2020): 989–1008. http://dx.doi.org/10.5209/aris.66295.
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We present an action research project in which a university and a regional museum of art and historical heritage collaborate. The objective of this project has been to design and develop a mediation plan and its interpretation resources. First, a description is provided of the historical context of the debate regarding the educational function of the museum and mediation actions for the interpretation of art. Next, we present the theoretical principles on which our approach to mediation in museums is based and explain the two phases of the action research project. Initially, an investigation of the mediation tools offered by the museum is carried out. Next, a description is provided of how the conclusions drawn are materialized in the “All Art is Contemporary” project that renews part of the permanent exhibition and that offers accessible, rigorous, pluralistic and stimulating mediation/interpretation resources (gallery text, museum labels, etc.) that allow visitors to participate in the discourse that the museum proposes, turning it into a site of social interaction, a negotiation of meaning and an encounter between different sensibilities and identities. In short, it is a tool for continuous and critical civic education.
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Sousa do Nascimento, Silvania. "The human body on Exhibit: promoting socio-cultural mediations in a science museum." Journal of Science Communication 07, no. 04 (December 19, 2008): C05. http://dx.doi.org/10.22323/2.07040305.
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This paper discusses three mediation concept approaches and, consequently, three facets of mediator action. The approaches presented start with a bibliographical review of the concept of mediation present in education and scientific communication studies. These approaches serve as a basis for interpreting a semi-directive interview with the director of the Museum of Morphological Sciences of the Federal University of Minas Gerais (UFMG). They also help us reflect on the complexity of organizing the objectives of a museum action that takes into account the transformational role of the meaning of objects in interaction with different socio-cultural subjects. In conclusion, the museum's purpose in organizing a museum action using socio-cultural mediation approach and with the mediator as a passeur libre among exhibit objects and visitors is highlighted.
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Ilinskaya, N. I. "ART MEDIATION IN RUSSIA AND FRANCE: GENERAL AND DIFFERENCES." Arts education and science 1, no. 4 (2020): 149–54. http://dx.doi.org/10.36871/hon.202004019.
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The article discusses the phenomenon of art mediation. The relevance of this problem is due to the fact that the concept of art mediation, or "museum as a cultural mediator", is relatively new in Russia. It is mainly adopted in our country by contemporary art museums, often nonstate. At the same time, in a number of countries around the world, and especially in France, the concept of art mediation (médiation culturelle), or "museum-mediator", firmly rooted in museum practice, in the legal field, as well as in university education and training, practically forcing out the more familiar for Russia term "museum pedagogics" (pédagogie muséale). In this regard, it is important to think about and understand the French experience in this field and how it can be applied in the Russian context, outside the still relatively small sphere of private and contemporary art museums, where this experience is already being applied.
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Kliuchko, Yuliia. "MEDIATION IN THE CONTEXT OF THE EDUCATIONAL ACTIVITY OF THE MODERN MUSEUM." CULTURE AND ARTS IN THE MODERN WORLD, no. 21 (July 10, 2020): 81–89. http://dx.doi.org/10.31866/2410-1915.21.2020.208238.
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Dubois, Arnaud. "How to understand engineering sciences with the techniques of the body: The case of the bridges collection of the Musée des Arts et Métiers explained by circus acrobatics." Social Science Information 56, no. 2 (April 13, 2017): 254–69. http://dx.doi.org/10.1177/0539018417697387.
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In this article, I will examine an experimental mediation performed by acrobats at the Paris Musée des Arts et Métiers in May 2016. I will ask if body techniques can facilitate the public’s understanding of the abstract engineering sciences exhibited in a science and technology museum. Using the ethnographic study of this performance, I will ask if this new type of museum mediation opens up new research issues about technical gestures and helps us to blur boundaries between tangible and intangible heritage in the museum context. In doing so I try to redeploy the methods of analysis of museum collections and to contribute to the theoretical and methodological renewal of the history of technology. I show that this new way to mediate science and technology museum collections using body techniques and gestures produces a methodological indistinctness between intentionality and contingency that often marks the epistemological break between art, technology and science in western culture. This anthropological way of looking at museums of science and technology opens up new research issues not only for the museum’s scientific and technical heritage but also for the history of science and techniques.
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Kuklinova, Irina A. "CULTURAL MEDIATION: HISTORY AND CURRENT UNDERSTANDING OF THE TERM." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 41 (2021): 240–47. http://dx.doi.org/10.17223/22220836/41/21.
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This paper discusses the history of the use and specific understanding of one of the new museology terms – mediation. The terms of museology as an academic and university discipline still need perfecting, and this is vividly manifested in the use and treatment of the notion of mediation. The term originated in the French-speaking world, and it entered the Russian language in the 2010s. Currently, it is being developed by theoreticians and is also often used by practical workers describing the experience of a museum’s interaction with the surrounding world, there is training in this field for a master’s degree in many higher educational establishments in France (over 1,000 graduates every year). It has been noted that mediation is becoming urgent when a museum finally stops being an “ivory tower” focused on its inner life and opened for an exclusive circle of the initiated. In the second half of the 20th century, the museum turned into an institution opened to the general public. In recent decades, society has been deeply transformed, and cultural institutions in this environment can and should play a special role. Society views them as significant public spaces capable of being a place supporting a certain number of values, inherited from previous generations, and establishing new common values. At the same time, changes in society have touched museums as cultural institutions. They were significantly updated, and a new communicative strategy determined by the term mediation replaced traditional forms of working with visitors. Interactions of the museum with society are becoming more socially focused. And the original understanding of a mediator’s importance as an arbitrator dealing with irreconcilable conflicts, harmonizing the dialogue between individuals and organizations plays an important role in this environment in comprehending the special features of intermediary functions traditional for museums in the context of museum items, individual visitors, and various communities. Various forms of cultural mediation both inside the museum and beyond it are reviewed. They are intended for big audiences and single functions if they are such popular parts of events in modern society. Or they are focused on the long-term interaction of a museum with a limited circle. They can be both the traditional for a museum’s educational services audience (e.g. children) and previously marginalized population groups (convicts, migrants), with whom the museum had had no dialogue in the past.
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Rasteli, Alessandro. "Mediação Cultural no contexto Francês trajetória histórica e evolução." Páginas a&b Arquivos & Bibliotecas 16 (2021): 81–96. http://dx.doi.org/10.21747/21836671/pag16a5.
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In contemporary logics, the concept of mediation gains prominence by its centrality in social interactions and symbolic mediations, becoming understood as an inherent process in all the work of the information professional. In view of this, the goal is to describe the trajectory of cultural mediation in France, observing its emergence, historyand evolution. The study hasa qualitative approach, of descriptive type, adopting the bibliographical research method. At first, cultural mediation was associated with book mediators and museum environments. Currently, its emergence in the French context is associated tocultural and artistic issues between information and culture and public institutions in order to reduce social fractures marked by social exclusion.
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Sidoli del Ceno, Julian. "Compulsory mediation: civil justice, human rights and proportionality." International Journal of Law in the Built Environment 6, no. 3 (October 7, 2014): 286–99. http://dx.doi.org/10.1108/ijlbe-09-2013-0036.
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Purpose – This purpose of this paper is to critically examine jurisprudentially the current judicial and academic scepticism that exists in some quarters with regard to compulsory mediation primarily from the context of England and Wales. In doing so, it seeks to respond to well-articulated and established concerns with regard to any compulsion in mediation as outlined by Hazel Genn among others as well as some senior members of the judiciary. Design/methodology/approach – This paper seeks to critically examine jurisprudentially the current judicial and academic scepticism that exists in some quarters with regard to compulsory mediation primarily from the context of England and Wales. In doing so, it seeks to respond to well-articulated and established concerns with regard to any compulsion in mediation as outlined by Hazel Genn among others as well as some senior members of the judiciary. Findings – This paper argues that the worries concerning compulsory mediation are unnecessary as they are based on a narrow reading of Article 6 rights, one not shared by many European lawyers, in particular the view taken by them with regards to proportionality. It further argues that compulsory mediation can be an appropriate, proportionate method of dispute resolution in some cases recognising that mediation is not a bar per se to subsequent litigation. Originality/value – Mediation is an important topic in contemporary law. The theoretical and jurisprudential aspects of mediation have as yet been underdeveloped. This paper is a contribution to this developing debate.
Dissertations / Theses on the topic "Human mediation in a museum context"
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Al-Khatib, Jamila. "Les gestes professionnels des médiateurs culturels lors d'une séquence de médiation." Thesis, Paris, HESAM, 2022. http://www.theses.fr/2022HESAC003.
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Dans une institution culturelle, le médiateur est un professionnel clef pour le visiteur. En effet, il contribue à faire découvrir et à appréhender l’œuvre exposée dans un contexte muséographique (Allard, 1999). Cette transmission de connaissance se fait par le discours, mais également et simultanément par un agir et une gestuelle spécifiques (McNeill, 1992).Les approches phénoménologique (Merleau-Ponty, 1945), sociologique (Goffman, 1973) et anthropologique (Mauss, 1934) tendent à montrer que le geste est un instrument de première importance dans la communication avec le monde ainsi que dans l’instauration de relations selon des codes établis par la société. Ainsi, le geste professionnel (Jorro, 2002, 2004, 2018) se caractérise par son adressage, son efficience. Pour être efficient, le geste professionnel est mobilisé à des moments adéquats en fonction des affordances perçues (Gibson, 1979). Il peut être défini selon une matrice d’agir élaborée par Jorro ( 2002, 2017) dans le cadre de ses travaux concernant l’agir enseignant ou celui d’un médiateur culturel.Dans cette recherche, des séquences de médiation ont été filmées au Louvre-Lens, à la Cité des Télécoms de Lannion, au Musée des arts et métiers (Paris). Leurs analyses complétées par celle des entretiens semi-directifs et d'auto-confrontation des médiateurs filmés a permis d’identifier trois catégories de gestes professionnels : le geste de mise en scène du savoir qui est centré sur la présentation d' un objet de connaissance ou d' un dispositif, qui explicite un concept scientifique ou culturel ; le geste de communication visant à impliquer le visiteur dans l’animation ou à instaurer une atmosphère de bienveillance ou encore à marquer une écoute attentive ; le geste d’ajustement de l’activité permettant de gérer l’espace scénique, de modifier la présentation initiale d’un objet. Comment ces gestes spécifiques au métier de médiateur culturel sont-ils transmis aux médiateurs durant la formation organisée à leur arrivée dans une institution culturelle ? Une analyse d’entretiens semi-directifs menés auprès de médiateurs-formateurs a apporté quelques éléments de réponse. Les formateurs reconnaissent l’importance de mobiliser ces gestes professionnels spécifiques durant une séquence de médiation pour transmettre des connaissances bien que la formation reste impensée sur cette dimension professionnelleIn a cultural institution, the mediator contributes to the discovery and understanding of the piece of art exhibited in a museographic context. He transmits this knowledge by creating linkages between the piece of art exhibited, the visitor and himself (Allard, 1999). This transmission is made through discourse, specific actions and gestures (McNeill, 1992).Phenomenological (Merleau-Ponty, 1945), sociological (Goffman, 1973) and anthropological (Mauss, 1934) approaches tend to show that gesture is an important instrument in communicating with the world as well as in establishing linkages according to codes established by society. Thus, the professional gesture (Jorro, 2002, 2004, 2018) is characterised by its addressability and its efficiency. In order to be efficient, the professional gesture is mobilised at appropriate moments according to the perceived affordances (Gibson, 1979). It can be defined according to "la matrice d'agir" elaborated by Jorro (2002, 2017) in the context of research concerning the action of a teacher or that of a cultural mediator.In this research, mediation sequences were filmed at the Louvre-Lens, the Cité des Télécoms in Lannion, and the Musée des arts et métiers (Paris). Their analysis, completed by the analysis of semi-directive and self-confrontation interviews of the filmed mediators, made it possible to identify three categories of professional gestures: the gesture of staging knowledge which is centred on the presentation of an object, of knowledge or a device, which explains a scientific or cultural concept; the gesture of communication to involve the visitor in the animation or establish an atmosphere of benevolence or mark an active listening; the gesture of adaptating the mediation process to manage the scenic space, modify the initial presentation of an object.How are these gestures specific to the profession of cultural mediator transmitted to mediators during the training organised on their arrival in a cultural institution? An analysis of semi-directive interviews conducted with mediator-trainers has provided some answers. The trainers recognise the importance of mobilising these specific professional gestures during a mediation sequence to transmit knowledge, although this question of professional gestures has not been addressed yet
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Nascimento, Mona Ribeiro. "Media??o em museus de ci?ncias: reflex?es sobre possibilidades da educa??o museal." Universidade Estadual de Feira de Santana, 2016. http://localhost:8080/tede/handle/tede/442.
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Funda??o de Amparo ? Pesquisa do Estado de S?o Paulo - FAPESP
This work was guided by the overall objective of knowing, from the narratives of the professionals of museum education, the conceptions of museum, education and science that guide the processes of human mediation in the Microbiology Museum of the Butantan Institute, linked to the Butantan Institute of Public Health and located in the city of S?o Paulo and the Museum of Science and Technology Antares, linked to the State University of Feira de Santana and located in the same city. This is a qualitative research that included empirical-analytical material obtained from semi-structured interviews conducted with eleven subjects, managers in education and mediators / educators, working in the above mentioned museums. From the narratives of these subjects it was possible to establish relations between the educational activities of the surveyed areas and proposed principles for museum education expressed in the Charter of Bel?m, a document drawn up collectively by professionals of museum education at the First National Meeting of the National Museum Education Program Wich took place during 6th National Forum os Museums, in November 2014, in the city of Bel?m do Par?. This work seeks to reflect on existing possibilities of museum education and highlight the need to strengthen this field that we recognize as being in conformance.
A presente disserta??o foi orientada com o objetivo geral deconhecer, a partir das narrativas de profissionais de educa??o museal,as concep??es de museu, educa??o e ci?ncia que norteiam os processos de media??o humana no Museu de Microbiologia do Instituto Butantan, vinculado ao Instituto Butantan de Sa?de P?blica e localizado na cidade de S?o Paulo e do Museu Antares de Ci?ncia e Tecnologia, vinculado ? Universidade Estadual de Feira de Santana e localizado nessa mesma cidade. Trata-se de uma pesquisa qualitativa que contou com material emp?rico-anal?tico obtido a partir de entrevistas semiestruturadas, realizadas com onze sujeitos, gestores em educa??o e mediadores/educadores, atuantes nos museus acima mencionados. A partir das narrativas desses sujeitos, foi poss?vel estabelecer rela??o entre as atividades educativas dos espa?os pesquisados e os princ?pios propostos para a Educa??o Museal expressos na Carta de Bel?m, documento redigido coletivamente por profissionais de educa??o museal no I Encontro Nacional do Programa Nacional de Educa??o Museal que aconteceu durante o 6? F?rum Nacional de Museus, em novembro de 2014, na cidade de Bel?m do Par?. Busca-se com esse trabalho refletir sobre possibilidadesda educa??o museal e evidenciar a necessidade de fortalecimento desse campo que reconhecemos como estando em conforma??o.
Books on the topic "Human mediation in a museum context"
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Johnson, James. Capturing the Landscape Within. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.20.
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This chapter situates the history of listening in the context of recent work in the histories of reading, seeing, and feeling. Using William Reddy’s The Navigation of Feeling (2001), it considers changes in practices—from the absence of silent reading in antiquity and the early Middle Ages, to public reading in the early modern period, to modern silent reading—and, using depictions of museum-goers, sketches a history of experience in the visual arts. By widening the field from listening, this chapter aims both to fill out and to integrate the modern history of experience. It also suggests ways of understanding how transformations in perception by one of our human senses affects those in another and why historic modes of perception and description will not likely return.
Book chapters on the topic "Human mediation in a museum context"
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Münch, Linda, Tanja Heuer, Ina Schiering, and Sandra Verena Müller. "Accessibility Criteria for an Inclusive Museum for People with Learning Disabilities: A Review." In Universal Access in Human-Computer Interaction. User and Context Diversity, 371–85. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-05039-8_27.
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Muafi, Muafi, Tomasz Norek, and Yuni Siswanti. "The Influence of Green Human Capital on Business Performance: The Mediation Role of Innovation Activity." In The Importance of New Technologies and Entrepreneurship in Business Development: In The Context of Economic Diversity in Developing Countries, 1371–80. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69221-6_102.
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Wills, Barbara. "Conservation and the care of human remains in museums." In The Oxford Handbook of Museum Archaeology, 402—C20.P84. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780198847526.013.34.
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Abstract In this chapter, the breadth, value, and distinctiveness of human remains in collections are explored. To place the conservation discussion in context, the various preservation methods of human remains along with the history of such collections, the development of relevant protocols, and the analytical possibilities are all briefly described. Conservation techniques are considered, and a case is made for minimal intervention so as to maximize the inherent information available for study and analysis. General advice is given on the conservation care of human remains. A practical conservation case study describes the stabilization of a fragmentary naturally mummified human while avoiding the use of conservation adhesives and solvents: the parts being held in register using tailored passive supports to keep the body whole.
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Swain, Hedley. "Museum Practice and the Display of Human Remains." In Archaeologists and the Dead. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780198753537.003.0016.
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Visitors to the Lawrence Room, Girton College, Cambridge University, on Thursday afternoons (when the small one room museum is open to the public) will find a dead body on display. The body is that of an Egyptian mummy from the Coptic period with a painted face mask and inscription ‘Hermione Grammatike’. It was this inscription that attracted Girton College to acquire this ancient body. A loose translation suggests this was a woman scholar, and therefore the first recorded woman scholar in history and as such an appropriate ‘mascot’ for one of the early great champions for formal female education. The mummy was purchased from Egyptologist Flinders Petrie who had excavated it in 1910–11 (Imogen Gunn and Dorothy Thompson, pers. comm.). The case of Hermione is both particular and general. Across all of the UK and indeed the Western world, human remains from all ages and all parts of the world can be found in all types of museums of all sizes apparently isolated and insulated from society’s normal relationships with the dead: grief, morbidity, respect, invisibility. Context would appear to be everything in terms of attitudes to the display of the human dead. This paper reviews this concept of context, and offers some commentary on the origins, constraints, and boundaries for the display of human remains. To begin with an Egyptian mummy as an example is also appropriate, as this particular category has an almost ubiquitous and overpowering place in Western museums. It has been accepted practice to include human remains in displays since the widespread establishment of public museums in the nineteenth century. These are normally associated with archaeological discoveries but can also be found in physical and social anthropological displays, medical and history of medicine displays, and occasionally in other contexts. Museum practice is very much a creation of Western, primarily Enlightenment, values and the inclusion of human remains in displays can be traced in these values (for example, the anatomical drawings of Leonardo da Vinci and the public anatomy demonstrations of the nascent Royal Society in London) and in the Christian European culture from which this derived (for example, the display in churches of saints’ relics: Weiss-Krejci this volume).
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Anderson, David M., and Paul J. Lane. "The unburied victims of Kenya’s Mau Mau Rebellion: where and when does the violence end?" In Human Remains in Society. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781526107381.003.0002.
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This chapter outlines the circumstances by which the bodies of over four hundred and fifty individuals killed during the Mau Mau insurgency in Kenya came to be deposited in the Osteology Department stores at Kenya’s national museum in Nairobi, where they currently serve as that institution’s primary human osteology reference collection accessed by local and international researchers. The history of this collection is then discussed against the wider and ongoing context of memorialisation of the Mau Mau insurgency as a founding process in Kenya’s struggle against British colonialism and the birth of nationhood. It also explores some of the remaining divisions between Mau Mau supporters and so-called ‘loyalists’, and efforts at achieving peace and reconciliation involving these different constituencies and the role that this specific collection of human remains could play in such processes. The chapter concludes with a series of more general observations on commemorating victims of mass violence and the treatment of human remains in post-conflict situations.
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Williams, Howard. "Firing the Imagination: Cremation in the Museum." In Archaeologists and the Dead. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780198753537.003.0022.
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The displays of articulated, unburned, and fleshed human remains in European museums are often claimed to fixate and simultaneously repulse the modern viewer, and provoke all manner of varied responses in between these extremes (Brooks and Rumsey 2007: 279–80). Unused to the sights (and smells) of corpses and skeletons, the modern visitor is certainly fascinated by the uncanny nature of the archaeological dead. While bearing the signs of transformation by time and treatment, they often retain an unsettling individual persona, regularly enhanced by being posed, re-clothed, and sometimes awarded facial reconstructions when selected for museum display (Swain 2002, 2007a; Wallace 2005). Seemingly denying and disrupting the passage of time and drawing the past into the present, these cadavers afford the illusion of sleeping persons suspended between animation and oblivion (see also Nordström this volume). Such ‘immortals’ can become emblematic of entire societies and periods in the human past and icons of archaeology itself as a discipline that deals with the traces of human mortality through time (Nordström 2007, this volume; Williams 2009). It is the strikingly ‘human’ and ‘whole’ cadavers that have provoked the strongest emotional responses from the public as well as securing direct spiritual connections for particular religious minority groups. Such is the case of the campaign by the British Order of Druids who focused their claim for reburial centred on the memorable and evocative skeleton of a Neolithic child ‘Charlie’ on display in the Keiller Museum at Avebury (see Giles and Williams this volume; Tatham this volume; Rathouse this volume). Such claims of affection and affinity are clearly predicated on the corporeal integrity and the emotive responses this integrity evokes for the viewer. While human remains provoke the most powerful emotive engagements with the archaeological dead, other strategies for displaying mortuary contexts, such as casts of human bone (Goodnow 2006a: 18–19) and artist’s reconstructions of funerals (Williams 2009; Giles this volume), can inspire strong reactions. The same also applies to dioramas with mannequins: their uncanny resemblances to living persons can create powerful imaginative and educational connections between visitors and past individuals and the societies they represent within the museum context.
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Exell, Karen. "Covering the Mummies at the Manchester Museum: A Discussion of Authority, Authorship, and Agendas in the Human Remains Debate." In Archaeologists and the Dead. Oxford University Press, 2016. http://dx.doi.org/10.1093/oso/9780198753537.003.0019.
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From 2006 to 2009, Manchester Museum, University of Manchester, UK, was one of the leading institutions promoting the debate surrounding the ethics of preserving and displaying the dead in museums. The discussion in this chapter analyses the activities of Manchester Museum in relation to human remains within the context of a critical assessment of recent developments in museum practice and the continuing cultural significance of the museum. In particular, the discussion will pay particular attention to the omission of any acknowledgement of the individuals responsible for exhibitions and related events, i.e. the authors of its public discourse. Two case studies will be used to illustrate the discussion: the exhibition, Lindow Man: A Bog Body Mystery (2008–9), and the incident of the ‘covering the mummies’ in April 2008 where three of the twelve Egyptian embalmed bodies on display were fully covered, resulting in a public outcry (Jenkins 2011a; Exell 2013a). Both the exhibition and the ‘covering the mummies’ formed part of a series of high-profile activities related to human remains that took place at Manchester Museum at this time. At the time, I was in post as Curator of Egyptology, and this discussion also illustrates the changing role of subject-specialist curators in relation to exhibition production and other aspects of a museum’s public communications (see Farrar 2004). … ‘There are, as far as we know, no a priori reasons for supposing that scientists’ scientific practice is any more rational than that of outsiders.’ (Latour and Woolgar 1986: 29) ‘Another word for “local knowledges” is prejudice.’ (Sokal 2008: 108)… Working on the public consultation process during the period 2008–10 for the new archaeology and ancient Egypt galleries at Manchester Museum, opened as the Ancient Worlds galleries in October 2012, the general lack of understanding of the exhibition and gallery development process amongst museum visitors became evident. From discussions with participants in the various consultation events (Exell and Lord 2008; Exell 2013a,b), it emerged that people in the institution either regarded the decision-making process as being the sole responsibility of the most relevant subject-specialist curator, or somehow the result of a monolithic and neutral institutional mind (Arnold 1998: 191).
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Aguiar, Liliana, and Mariana Jacob Teixeira. "A educação patrimonial nos museus e o seu processo de avaliação : O caso de estudo da parceria entre a Rede de Museus de Vila Nova de Famalicão e o Projeto "Marka… A Tua Identidade"." In Ensaios e práticas em museologia 09, 36–59. Universidade do Porto , Faculdade de Letras / Departamento de Ciências e Técnicas do Património, 2020. http://dx.doi.org/10.21747/9789728932824/en9a3.
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To educate means to transform. This process takes place in different contexts - formal, non-formal and informal - and implies another process, the teaching-learning one. Educating in museums involves not only the acquisition of new knowledge and competences, but also the promotion of an attitude change towards Museums and Heritage employing mediation strategies and resources through an active involvement, physical, intellectual and emotional, of subjects with objects and cultural goods, namely in the context of formal education. This study supports that the partnership between the Vila Nova de Famalicão Museum Network and the Camilo Castelo Branco School Group, with the project “Marka… a tua identidade” (“Mark…your identity”) and the theme of Portuguese returning emigrants (“brazilian”) contributed greatly to the teachinglearning process of the targeted students. Following the guidelines of the learning model in museums, Inspiring Learning for All, this partnership promoted personal and educational experiences that enhanced diverse and meaningful learnings.
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Wu, Helena Y. W. "Local Relations and Their Postcolonial Outlooks." In The Hangover after the Handover, 17–37. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621952.003.0002.
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With an eye to museum exhibitions, governments’ narratives, historical accounts and scholarly analyses, among others, Chapter 1 examines the underlying political, social and cultural connotations in different narratives about Hong Kong. By uncovering the hegemony of representing Hong Kong through “the Hong Kong story”, the chapter exposes the unequal powers at work, arguing for the need to hybridize different local milieus, positionings and perspectives by redistributing significances to both human and nonhuman agencies and rekindling connections to Hong Kong’s local on different levels. Highlighting the interconnection between the social, political and cultural realms in facilitating representation, interpretation and mediation, the chapter maps out the multiple realities, contrasting stances and varied connotations wherein different “Hong Kongs” are constructed and local relations are entailed in varying constellations.
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Celik, Semih. "Science, to Understand the Abundance of Plants and Trees." In Environments of Empire, 85–102. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469655932.003.0005.
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In the 1830s, a natural history museum and herbarium was founded in Istanbul, within the Ottoman Imperial Medical College complex in Galata Sarayı. The few accounts (mostly by botanists) written on the history of the establishment and management of the herbarium and museum consider its history in the context of the colonial ambitions of European actors and employ the concept of “westernization,” implying the asymmetrical influence of European technology, values and knowledge over the Ottoman realm, leading to the imitation and copying of European ways of imperial administration. This chapter, by contrast, argues that the first herbarium and natural history museum within Ottoman territories functioned as a hub where doctors, scientists, plant collectors and bureaucrats from the Ottoman Empire and from different parts of Europe (including Russia) formed an inter-imperial network to pursue scientific, but also political and economic interests. It emphasizes that relations in the network were characterized by conflict, cooperation and negotiation between different human and non-human actors. Relationships were dialectic rather than shaped by the asymmetries of westernization.
Conference papers on the topic "Human mediation in a museum context"
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Benente, Michela, Valeria Minucciani, and Gianluca D'Agostino. "Contents accessibility in archaeological museums and sites: a proposal for a neuropsychological approach." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001881.
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With specific reference to the issue of accessibility to cultural content and the inclusion of different audiences, the Authors point out an overview where museums usually tend to create educational activities and support assistive devices dedicated to specific audiences, rather than integrated solutions, that can “be usable by all people, to the greatest extent possible", as stated in the United Nations Convention on the Rights of Persons with Disabilities (2006).On the basis of previous studies on cultural accessibility and emotional appropriation, the Authors have recently carried out a survey focused in particular on archaeological museums audiences, considering their expectations, their reactions, and their prejudices. At the same time, they have conducted an extensive series of online interviews with Curators and Directors of many archaeological museums and sites in Europe and worldwide, including some in-depth site visits too. The investigations and surveys carried out have strengthened the awareness that museum spaces generate not only cognitive, but also physical and emotional reactions, and that the various publics react to cultural stimuli in very different ways. Therefore it is necessary, in designing museum communication, a disciplinary contamination involving in particular the field of neuropsychology. Such involvement would provide scientific support for the critical assessment of the effects that the environment and the cultural mediation trigger on the different publics.In particular, the Authors believe that the physical arrangement and the atmosphere are usually underestimated in the overall design of museums: on the contrary these two elements combined would allow each visitor to grasp the signals that best suit him or her, according to his/her senses and understanding. In other words, the atmosphere can play a key role in being an immersive communicative medium, in a truly inclusive way where everyone has the opportunity to "feel" and learn something.The Authors are developing a series of experiments that will be carried out first in the laboratory and then in some archaeological museums, in collaboration with a team of Neuropsychologists from the University of Turin and with the support of archaeological consultants and communication experts. By illustrating the current research and describing a series of examples (including best practices, problematic cases, ongoing projects), the paper aims at highlighting how the "design for all" in museums is a field in continuous development. Requiring an evolution in its approach, it also, and above all, represents a challenge in relation to the communication of particularly difficult cultural content, such as those related to the archaeological heritage.
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dos Santos, Camila, and Andreia Machado Oliveira. "Communication Action Zones in Art and Technology - ZACAT." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.101.
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Communication Action Zones in Art and Technology, in portuguese Zonas de Ações Comunicacionais em Arte e Tecnologia – ZACAT – is a master's research developed in Brazil, made before and during the SARS-CoV-2 virus pandemic, which causes the New Coronavirus disease. This artistic and academic work includes a set of sound and visual poetics based on an investigation of artistic communicational practices of an activist character, with the mediation of several questions about the current Brazilian history. Firstly, through diversified strategies and proposals for different interlocutors, with experiments in 2019, in different spaces in the city of Santa Maria, state of Rio Grande do Sul - streets, museums, art galleries, university, school, social networks, radio wave space. Subsequently, as a result of the world scenario presented from 2020, with the COVID-19 pandemic, the poetic undergoes significant transformations. In addition to the artistic and communicational strategies undergoing changes in approach, the Santa Maria space moves to that of the Clube Naturista Colina do Sol (CNCS), a naturist community located in the municipality of Taquara, also in Rio Grande do Sul. Not urbanized and immersed with the wild environment the least interfered by human action, which provides other forms of listening and connection, in addition to the relationship with the body, communication and technology, such as the use of online virtual reality platforms to share the work carried out. To approach the construction of this research, studies on methodology by the researcher and artist Sandra Rey (1953) are used. As a theoretical foundation, reference is made to the idea of micropolitics, a concept that refers to philosophers Michel Foucault (1926-1984) and Gilles Deleuze (1925-1995) and to art critic Suely Rolnik (1948). Activist artistic practices are based on the experiences of Brazilian collectives from the 1990’s to the present, as seen under the historiography of Art Activism from the 1950’s, with Italian autonomist philosophers such as Giorgio Agamben (1942) and Franco Berardi (1949). To support the notion of Art and Communication, authors such as Mario Costa (1936), Fred Forest (1933), Mônica Tavares, Priscila Arantes, Christine Mello and Giselle Beiguelman are based on. The concept of device emerges from theoretical research and mediates artistic practices, having as reference Agamben, Foucault, Vilém Flusser (1920-1991) and Gilbert Simondon (1924-1989). From performances, through installations, through audio, video and face-to-face interactivity experiments or via virtual networks, this research seeks to give visibility to everyday micropolitics, with their memories, affections, formalized or ephemeral life impulses in moments of encounters. And how the artistic works can unfold in different contexts, in front of different audiences and under challenging conditions in terms of a larger historical context.
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Touw, Melanie, and Brad Miller. "One Road: an engaging multi-touch interface within a museum context." In The 26th BCS Conference on Human Computer Interaction. BCS Learning & Development, 2012. http://dx.doi.org/10.14236/ewic/hci2012.103.
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Barcena-Vazquez, Jorge, and Karina Caro. "Designing a video game to support climate change awareness in a museum exhibition context." In CLIHC '19: IX Latin American Conference on Human Computer Interaction. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3358961.3358972.
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Canto, Aylana, and Ana Helena da Silva Delfino. "The MASP online: the educational strategies from the museum in the pandemic." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.69.
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This article has the target sharing the current research of master degree circumscribed into the Program of Post-graduation in Museology from Federal University of Bahia (PPGMuseum/UFBA) oriented by Ph.d Ana Helena da S. Duarte. In our research we make inquiries into the action of cultural mediation proposed and done by the Museu de Arte de Sao Paolo – MASP during the COVID-19 pandemic. In such a way specially, though, on the Instagram Social Media this Museum interchanged and instigated your audience to learn, to interact and to produce with art objects from your collection. Therefore, through the educational strategies we consider Triangular Approach and Online Educational Museum foundation of your path. As mentioned previously the way to introduce the reader, in our research we investigated the online educational actions did it by the Museu de Arte de Sao Paolo MASP, at the moment of COVID-19 pandemic. The investigation pursues and explores the educational strategies elaborated, designed and done by the MASP and your team for your audience in the virtual place, i.e, the online mode. While theories reference, our base, it is three fundamental axis: Educational Theory of Paulo Freire(Educator and Brazilian Philosopher), and the influence into the Brazilian Educational Museum, Triangular Approach used firstly by Ana Mae Barbosa (educator, pioneer in art-education because of her systematization of the Triangular Approach) and the Greimassian’s Semiotic Theory (Research line of Semiotic study the relation among plans of text circumscribed in relationship through the languages, created by Algirdas Julien Greimas, this theory made possible the investigation of the texts). Combined, brings to light the analysis of the production of the sense from the MASP’s audience. Through of the discourses and texts produced by the Museum Educational team, mediated for Cultural Mediation in a constant dialogue with the concept of Online Educational Museum (OEM) proposed by the Researcher Frieda Marti (Ph.D from the Program of Post-Graduation Education College in the University of the State of Rio de Janeiro - PROPED/UERJ). In this logic, the methodological procedure of the research is based on theory approach and bibliography (theoretical instrumentalisation of concepts for the research) and the analytics investigation in a study case (the analysis of discourses of Online Cultural Mediation from MASP during the pandemic). Our highlight, our general objective, is set a relation between educational actions and the methodologic strategies in Online Cultural Mediation developed by MASP, mediated by analysis of the production made for the audience in this process, assumed the action in the virtual as a contribution for the Brazilian Educational Museum, in context of the pandemic and social isolation – from March 2020 to August 2021. For this purpose, our research problem is to think of the Educational Museum in the pandemic. Indeed our path is in the direction to enrich the Educational Museum, therefore one of the main objectives is reflecting and creating a healthy environment to debate the Educational Museum in the context of pandemic and social isolation in Brazil.
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Luca, Dierna Giovanni, and Machì Alberto. "From proximity to accurate indoor localization for context awareness in mobile museum guides." In MobileHCI '16: 18th International Conference on Human-Computer Interaction with Mobile Devices and Services. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2957265.2962649.
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Song, Xinheng, and Zhaolin Lu. "Design of museum science popularization interactive installation based on embodied cognition theory." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001946.
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Combining embodied cognition theory and exploring innovative forms of interaction in the context of smart manufacturing, a Chinese Fan Museum science popularization interactive device was designed to provide an embodied experience. A usability evaluation model is constructed for the interactive device to evaluate the usability of the device, which will help to improve the product in the early and middle stages of its development and identify usability problems. Embodied cognition theory is applied to the interactive design of the museum science popularization information. Kansei Engineering evaluation and fuzzy analytic hierarchy process are used to evaluate and analyze the usability of the product. A usability evaluation system was constructed. The results show that the overall usability of the product is between good and excellent, and is satisfactory to users. It is feasible to explore the design of museum science popularization interaction with embodied cognition theory, and the evaluation system constructed for this product can also provide an accurate evaluation of the usability of the product and provide a reference for product upgrading and innovation.
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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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Erol, İhsan Emre, Tamer Bayrak, and Deniz Yengin. "Use of Virtual Reality Technology In the Digitalization Process of Education: Four Model Museum." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.034.
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Along with the developing technology and the social risks human faces, the society’s trends towards digital technology is inevitable. Undoubtedly, the interest of individuals in digital technologies has directly affected all sectors. The transformation of societies depending on their technological needs and conveniences offered by technology has formed new supply-demand balances, and sectoral changes have occurred in line with the demands of the society that was formed by the supply-demand balance. From a sectoral point of view, communication and related technologies have also been affected by all these transformations. Major developments in communication technologies have also led to changes in all sub-disciplines that are dependent on it. These changes have been so great that it has become necessary to explain separately and academically each of them. As a new and spreading technology, virtual reality technology is considered as a new opportunity by means of its key concept definitions and the successful implementation of both communication and educational processes. Especially, considering the qualities of generation Z, and the fact that the education processes are for generation Z; the probability of success of an education process by using virtual reality technology can be expected to increase. In this context, a study named “Four Model Museum” was carried out within the body of Istanbul Aydın University Faculty of Communication, New Media Applications and Research Center, which uses virtual reality technology and targets Public Relations undergraduate students. Within the scope of the study, the curricula prepared for Public Relations students were examined and four Models in Public Relations, which were considered as suitable subjects, were selected. Scenarios were prepared in the context of selected topics and sound were recorded in recording studios of Istanbul Aydın University, department of Radio, Television, and Cinema. Adhering to the scenario, 3D models, coatings, and finally, virtual reality software were developed. In this study, the scenario and content of the virtual reality education software named "Four Model Museum" were examined and analyzed within the framework of communication science.
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Vicente, José. "Vernacular Products: An Example to Circular Design." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002026.
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Throughout most mankind’s history our daily life artifacts have been designed, produced, and used with respect for social and environmental constrains and within the carrying capacity of ecosystems. Also, they have been created to fulfill tangible and specific needs (not desires) of individuals and communities to their daily tasks and have sustained a thorough process of evolution and adaptation to the cultural and environmental context and, so, have been perfected over time. It has been only with the technological and cultural changes implemented with the industrial revolution that several unbalances have been created in the relation between our material culture and the natural world. It stands to reason that there are lessons to be learned from those previous times, from their habits and, with a design perspective, from their products. This paper presents an analysis of vernacular objects identifying design features related to morphology, functionality, production, material, and use. This text presents as case study a set of vernacular objects from the rural life collection of the Portuguese National Museum of Ethnology. The analysis was made with support of literature, drawing and photography, and adapting some examples from previous studies of vernacular heritage and architecture. These products serve as example of the incorporation of circular product design strategies.
Reports on the topic "Human mediation in a museum context"
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Hall, Mark, and Neil Price. Medieval Scotland: A Future for its Past. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.165.
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The main recommendations of the panel report can be summarised under five key headings. Underpinning all five areas is the recognition that human narratives remain crucial for ensuring the widest access to our shared past. There is no wish to see political and economic narratives abandoned but the need is recognised for there to be an expansion to more social narratives to fully explore the potential of the diverse evidence base. The questions that can be asked are here framed in a national context but they need to be supported and improved a) by the development of regional research frameworks, and b) by an enhanced study of Scotland’s international context through time. 1. From North Britain to the Idea of Scotland: Understanding why, where and how ‘Scotland’ emerges provides a focal point of research. Investigating state formation requires work from Medieval Scotland: a future for its past ii a variety of sources, exploring the relationships between centres of consumption - royal, ecclesiastical and urban - and their hinterlands. Working from site-specific work to regional analysis, researchers can explore how what would become ‘Scotland’ came to be, and whence sprang its inspiration. 2. Lifestyles and Living Spaces: Holistic approaches to exploring medieval settlement should be promoted, combining landscape studies with artefactual, environmental, and documentary work. Understanding the role of individual sites within wider local, regional and national settlement systems should be promoted, and chronological frameworks developed to chart the changing nature of Medieval settlement. 3. Mentalities: The holistic understanding of medieval belief (particularly, but not exclusively, in its early medieval or early historic phase) needs to broaden its contextual understanding with reference to prehistoric or inherited belief systems and frames of reference. Collaborative approaches should draw on international parallels and analogues in pursuit of defining and contrasting local or regional belief systems through integrated studies of portable material culture, monumentality and landscape. 4. Empowerment: Revisiting museum collections and renewing the study of newly retrieved artefacts is vital to a broader understanding of the dynamics of writing within society. Text needs to be seen less as a metaphor and more as a technological and social innovation in material culture which will help the understanding of it as an experienced, imaginatively rich reality of life. In archaeological terms, the study of the relatively neglected cultural areas of sensory perception, memory, learning and play needs to be promoted to enrich the understanding of past social behaviours. 5. Parameters: Multi-disciplinary, collaborative, and cross-sector approaches should be encouraged in order to release the research potential of all sectors of archaeology. Creative solutions should be sought to the challenges of transmitting the importance of archaeological work and conserving the resource for current and future research.