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Journal articles on the topic 'Museum diversity'
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1
Parrino, Lucia. "“Words to receive. Words to be received”: reflections on the Intercultural City museum work." Alterstice 5, no. 2 (June 8, 2016): 45–60. http://dx.doi.org/10.7202/1036690ar.
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Although diversity has always been a fundamental characteristic of human societies, now more than ever it has become central to the political and research agenda. The question of how we can live together while enjoying our differences is a fundamental issue of our time, and the city is viewed as the most promising site to negotiate identities. That being so, what is the role of museums? How can local museums develop interventions that address local cultural diversity issues? In the first part of the article, I introduce the idea of “Intercultural City museum work.” I present a metadesign framework that aims to help museums emphasize the impact of diversity work on their local contexts, proposing the Intercultural City approach as a reference point. In the second part of the article, I describe the “Intercultural City museum work” and on using the metadesign framework with reference to MUST-Museo del Territorio Vimercatese, a civic museum on local history and identity in Vimercate, a town in the metropolitan area of Milan. Immigration to the geographical area over the past few decades and the resulting cultural diversity are neither reflected in the museum collections nor the permanent exhibitions. As a result, the museum decided to address these topics through services, events and special projects. In particular, I describe the exhibition Words to Receive. Words to be Received, designed and created by COI-Centro Orientamento Immigrati—a local immigrants’ resource centre—with the museum.
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Ra, Jiin, and Min Lee. "A Study on the Characteristics of Regional Program in University Museum." Korean Society of Culture and Convergence 45, no. 7 (July 31, 2023): 643–56. http://dx.doi.org/10.33645/cnc.2023.07.45.07.643.
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The purpose of this study is to analyze the current status and characteristics of university museum programs in order to revitalize regional links between university museums. Four university museums established before 1954 (Yonsei University Museum, Korea University Museum, Ewha Women's University Museum, and Seoul National University Museum) were selected as research subjects. The result proves that all four university museums recognize the importance of regional linkages and have conducted programs that pursue regional linkages for local residents, however, there were limits in diversity of the programs that they were mostly focused on specific frames. In the further follow-up studies, measures to strengthen locality are expected to be sought through the development of regional linkage programs by the university museum.
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Franklin, Renee Brummell. "Romare Bearden Graduate Museum Fellowship Program—Outreach to Inreach—A Generation of Cultivating Tomorrow’s Leaders." Public Historian 40, no. 3 (August 1, 2018): 193–210. http://dx.doi.org/10.1525/tph.2018.40.3.193.
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This article chronicles the twenty-six-year history of the Saint Louis Art Museum Romare Bearden Graduate Museum Fellowship, which was created to increase the number of professional staff from underrepresented backgrounds working in museums. It provides an overview of early supporters/founders of the program and details the trajectory of a generation of Bearden Fellows, most of whom are now professionally engaged in museums and arts-related careers. This case study also examines the benefits of staff diversity to the inclusive culture sought by museums as they cultivate new audiences and search for innovative strategies to maintain their relevance and community relationships. It calls upon museums to view diversity as an evolutionary conversation by examining the motivations and objectives that constitute the contemporary “diversity and inclusion” discourse.
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Iacob, Madalina. "Le musée de niche. Nouvel exploit dans la muséographie." Swedish Journal of Romanian Studies 4, no. 1 (May 13, 2021): 160–72. http://dx.doi.org/10.35824/sjrs.v4i1.22109.
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In all the complexity of the museum study, there is a slight border that deserves all the attention of the researchers: the one of the niche museums. This work starts from the idea according to which the museum becomes a symbol of cultural practice in the contemporary era. In addition to the successful museums that are being built and built in the city, there is a new tendency to transform some spaces into small museums. These, in full process of heritage building, can highlight a series of features and characteristics of a society. The research of the niche museum starts from Ulf Hannerz, who says in his study that anthropology must renew its limits, it must take into account urban life. Researchers should not focus only on rural areas, in small, homogeneous communities, especially as they are outside Western societies Urban anthropology must be based on a range of social and cultural phenomena that will rarely be found in rural areas and which must be analyzed in the light of the diversity of human societies in general, says Ulf Hannerz, like the diversity of museums. From the chocolate museum, the lace museum, the cake museum, the cheese museum or the flower museum, all these culturally-rendered spaces are meant to anonymously remove some objects or crafts that are characteristic of a particular group and which subsequently become part of the immaterial cultural heritage. The Dictionary of Ethnology and Anthropology defines the study of anthropology regarding museography as a necessity inherent in the advancement of ethnography. Researchers such as Robert Park, Ulf Hannerz, Clifford Geertz, André Malraux or Chiara Bortolotto have studied the relationship of the museum with the city, thus implicitly with society. The conclusions they draw have the following aspect in common: the museum has the intrinsic ability to model and structure the immediate society.
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Sani, Margherita. "MUSEUMS, MIGRATION AND CULTURAL DIVERSITY – RECOMMENDATIONS FOR MUSEUM WORK." Muzealnictwo 58, no. 1 (May 18, 2017): 84–92. http://dx.doi.org/10.5604/01.3001.0009.9718.
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The role of museums in society has expanded significantly in the last decades: from temples of knowledge to forums for debate and discussion, from repositories of objects to people-centred institutions with social responsibilities and functions. This shift reflects an ongoing trend to democratise museums and make them more accessible to wider audiences and responsive to the public’s changing needs, in particular the interests of local communities, whose composition has changed in recent years to include migrants and people of different ethnic backgrounds. With annual migration flows to the EU as a whole projected to increase from about 1 043 000 people in 2010 to 1 332 500 by 2020, the question of how cultural institutions can contribute to effective integration and dialogue has become more relevant than ever. Funders and society at large expect museums to play their part in facilitating the integration and peaceful coexistence of newcomers, with financial resources being made available, also at the EU level, to support them in this effort. Many questions can be raised as to whether it is right and appropriate to charge museums with these responsibilities and whether this would push the boundaries of their work too far and give the social function an exceedingly prominent role over the traditional conservation and educational tasks museums already fulfil. But this discussion seems to be already obsolete in the light of the growing body of evidence on good practices available at the European level. This essay aims to illustrate some of them, as well as to discuss some underpinning theoretical issues and methodological approaches.
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Bird, Kansas. "Creating the “Modern Museum”: Increasing Diversity in Museum Practice." International Journal of the Inclusive Museum 18, no. 1 (2024): 83–94. http://dx.doi.org/10.18848/1835-2014/cgp/v18i01/83-94.
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Melnikova, Ekaterina A. "From “vernacular museums” to the “do-it-yourself past”." Etnograficheskoe obozrenie, no. 1 (February 17, 2024): 60–76. http://dx.doi.org/10.31857/s0869541524010033.
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This article examines the idea of “vernacular museums” as it was put forth by Irina Kyzlasova and Elena Chesnokova in an earlier issue of the journal. In response to the authors’ idea, I aim to further develop the line of argumentation, proposing to broaden the scope of analysis for this phenomenon. The article explores the issues surrounding the application of the term “vernacular museum.” These obstacles include the presence of previous iterations of such museums, the inherent contradictions within the categorization of museums’ diversity, and the challenges associated with conceptualizing vernaculars as a significant Other of the officially recognized museum models. The article presents a novel approach to examining modern museum activities, suggesting that they could be placed alongside broader grassroots commemoration activities and memorial activism.
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Jackson, Jason. "Ethnography and Ethnographers in Museum-Community Partnerships." Practicing Anthropology 22, no. 4 (September 1, 2000): 29–32. http://dx.doi.org/10.17730/praa.22.4.30l3vn01482324x4.
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During the 1999 American Association of Museums (AAM) meetings, museum workers reflected on ways in which their institutions could become more relevant. Social structures that have supported museums are rapidly changing and in which cultural diversity is increasingly recognized as both a social value and as a pragmatic challenge for public institutions. Although the forms they take are almost as diverse as the American museum community itself, models of direct collaboration between museums and specific local communities (ethnic, religious, occupational, etc.) are becoming a standard part of museum-based exhibition and research. While this common pattern is emerging, there are wide gaps existing between the aspirations and rhetoric of museum advocates of collaboration and the real work done throughout the United States. What is often missing in collaborative exhibition projects exploring local artistic, cultural, or historical traditions are the values and perspectives that are the common background of professional cultural anthropology and folklore research. In this essay I present, as a case study, an account of a collaborative exhibition project at Tulsa's Gilcrease Museum where I, until recently, served as Curator of Anthropology.
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Lee, Jeongeun. "ICOM’S New Museum Definitionand Korean Public Museums: A Focus on Museum Activism." Institute of Humanities at Soonchunhyang University 43, no. 2 (June 30, 2024): 27–53. http://dx.doi.org/10.35222/ihsu.2024.43.2.27.
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This study presents a theoretical discussion on the qualitative growth of Korean public museums, which constitute the majority of museums in the country. Based on the newly revised definition of museums by the International Council of Museums (ICOM) in 2022, this paper examines the social role of museums and explores the direction of Korean public museums based on the emerging discourse of Museum Activism in Europe. The new definition emphasizes the social role of museums, and the concepts of inclusivity, diversity, and sustainability highlighted therein resonate with the principles of activist museums. Consequently, it is crucial to view museums as potential agents for solving social problems. This study investigates the relationship. Museums are now at a crossroads. This study endeavors to serve as a starting point for Korean public museums to embrace an activist stance. By incorporating the aforementioned recommendations, Korean public museums can evolve into active agents of social change, contributing to the betterment of society.
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Burgess, Chris. "The Development of Labor History in UK Museums and the People's History Museum." International Labor and Working-Class History 76, no. 1 (2009): 26–35. http://dx.doi.org/10.1017/s0147547909990044.
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Labor history in UK museums is constantly in a state of change. A hundred-year-old tradition of displaying and interpreting the history of the common people has seen a shift from the folk life museum to a much more all-encompassing model. The academic trend for and acceptance of working-class history began this process, and museums followed, albeit at a much slower pace. Young curators actively involved in the History Workshop, Oral History, and Women's History movements brought their new philosophies into the museum sphere. This internally driven change in museums has been matched with demand for change from above. Museums have been given a central role in the current Labour government's wide-ranging strategies to promote an understanding of diversity, citizenship, cultural identity, and lifelong learning as part of a broader social inclusion policy. The zenith of this plan would be a museum devoted to British national history, though whether this will take place is yet to be seen. The transformation of the People's History Museum makes an interesting case study. The museum, originally an institution on the fringes of academic labor history and actively outside the museum community, is now at the forefront of labor history display, interpretation, textile conservation, and working-class historical research.
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Suciu, Silvia. "De la muzeul-templlu la muzeul forum - evoluția muzeului în spațiul public." Anuarul Muzeului Etnograif al Transilvaniei 31 (December 20, 2017): 224–44. http://dx.doi.org/10.47802/amet.2017.31.12.
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A nu arăta o operă de artă înseamnă a nu-i permite să fiinţeze. (Boris Groys) Museums and their public haven’t always been as we know them today. In 17th century, curiosity cabinets (mirabilia) have been realized by nobles and aristocrats; the only public of these cabinets was the collector and his fellows, belonging to the same social class. The first museums as public institutions appear in 18th century, continuing to develop during 19th century, but their image and accessibility is very different from nowadays. The situation changes after the World War II, when appear a lot of theoretical studies about museums and their public. The Museum-Temple is transforming into Museum-Forum, where every member of the community must feel represented. In the second part of the article we realized a classification of the museums and a description of each specific class which form this cultural diversity: art museums, history museums, anthropology museum, natural history museums, technical museums, monetary museums. Historical and contemporary examples of museums can be found through this study.
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Greenwald, Michael T. "Techniques for collecting large vertebrate fossils." Paleontological Society Special Publications 4 (1989): 264–74. http://dx.doi.org/10.1017/s2475262200005232.
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When visiting the dinosaur displays in museums such as the American Museum of Natural History, the Tyrrell Museum of Palaeontology, or the United States National Museum of Natural History, one is overwhelmed by the abundance, diversity, and completeness of dinosaur skeletons. What is not obvious to the average visitor is that the majority of those skeletons are not from an individual animal. They are almost invariably composite skeletons containing bones from at least two individials, and many missing bones have been filled in with sculptured models constructed of plaster or fiberglass. How is it possible for paleontologists to reconstruct and mount these titanic skeletons? Perhaps even more fundamentally, how do such enormous fossil bones find their way to museums to begin with?
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Andermann, Jens, and Silke Arnold-de Simine. "Museums and the Educational Turn." Journal of Educational Media, Memory, and Society 4, no. 2 (September 1, 2012): 1–7. http://dx.doi.org/10.3167/jemms.2012.040201.
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Responding to feminist, postcolonial, and memorialistic critiques, museums have over the past decades radically revised their protocols of collection and display, aiming to register in their own curatorial and pedagogical practice the open and contested nature of the historical and ethnographic narratives on which their object lessons had traditionally conferred the status of hard evidence. In this new emphasis on the “museum encounter” as a performative and intersubjective “event”—sometimes referred to as the “educational turn” in museum curatorship—a new type of “inclusive museum” has emerged in diverse geographical and political settings. The inclusive museum seeks to recover the museum’s social role as a purveyor of shared, collective meanings precisely in departing from its high-modern predecessor and in forging “open representations” that acknowledge the diversity of the interpretative community thus interpolated. Inclusive museums, in short, aim to offer a new, contemporary stage for negotiating and performing cultural citizenship.
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Madison, Joseph D., Brandon C. LaBumbard, and Douglas C. Woodhams. "Shotgun metagenomics captures more microbial diversity than targeted 16S rRNA gene sequencing for field specimens and preserved museum specimens." PLOS ONE 18, no. 9 (September 19, 2023): e0291540. http://dx.doi.org/10.1371/journal.pone.0291540.
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The use of museum specimens for research in microbial evolutionary ecology remains an under-utilized investigative dimension with important potential. Despite this potential, there remain barriers in methodology and analysis to the wide-spread adoption of museum specimens for such studies. Here, we hypothesized that there would be significant differences in taxonomic prediction and related diversity among sample type (museum or fresh) and sequencing strategy (medium-depth shotgun metagenomic or 16S rRNA gene). We found dramatically higher predicted diversity from shotgun metagenomics when compared to 16S rRNA gene sequencing in museum and fresh samples, with this differential being larger in museum specimens. Broadly confirming these hypotheses, the highest diversity found in fresh samples was with shotgun sequencing using the Rep200 reference inclusive of viruses and microeukaryotes, followed by the WoL reference database. In museum-specimens, community diversity metrics also differed significantly between sequencing strategies, with the alpha-diversity ACE differential being significantly greater than the same comparisons made for fresh specimens. Beta diversity results were more variable, with significance dependent on reference databases used. Taken together, these findings demonstrate important differences in diversity results and prompt important considerations for future experiments and downstream analyses aiming to incorporate microbiome datasets from museum specimens.
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Kurbatova, M. S., E. Y. Dunaevskiy, and А. V. Dunaievska. "EVOLUTION AND DEVELOPMENT OF MUSEUM BUILDINGS." Regional problems of architecture and urban planning, no. 17 (October 17, 2023): 251–63. http://dx.doi.org/10.31650/2707-403x-2023-17-251-263.
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Museums are not just places where valuable artifacts of historical significance are stored and exhibited. They are true masterpieces of architectural art and places that win the hearts of visitors with their internal organization and aesthetic expression. The article examines the phenomenon of spectacular buildings, focusing on museums that fascinate with their architectural solutions and interior design. The author examines the emergence of the first museums as institutions that store and display artifacts of historical significance. The author reveals how over time museums have become not only places of preservation of valuable things, but also cultural centers that reflect social and intellectual achievements. The further evolution of museums has led to the emergence of incredible architectural creations that have become real spectacles of the museum world. The article explores various concepts used in the creation of modern museums. The functionality of the museum and the basic principles of museum interior design are considered. The importance of the aesthetic components of the museum interior is highlighted, showing how lighting and colors play an important role in creating an atmosphere and mood that support the goals and ideas of the museum. Attention is paid to the establishment of the art of museum exposition in recent years as an independent and valuable genre of creativity. All of these aspects allow museums to remain relevant and engaging for audiences. They fulfill an important mission of preserving cultural heritage and provide an opportunity to enjoy art and history in a unique way. Museums continue to amaze us with their beauty and intellectual richness, revealing to us the greatness and diversity of the world.
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Saucier, Renee, Stefanie Martin, Moska Rokay, and Tomoko Shida. "Dismantling White Supremacy in GLAMs and GLAM Education [Galleries, Libraries, Archives, Museums]." IJournal: Graduate Student Journal of the Faculty of Information 4, no. 3 (September 25, 2019): 11–20. http://dx.doi.org/10.33137/ijournal.v4i3.33075.
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For the 2019 Information and Museum Studies Conference, a group of five Master’s students offered a workshop titled Dismantling White Supremacy in GLAMs and GLAM Education [Galleries, Libraries, Archives, Museums]. This workshop was based on activities developed by the Archivists Against collective. This workshop was not a one-off event, but rather the first action of the Diversity Working Group, a student-led entity at the Faculty of Information.
Keywords:
Archives, Libraries, Museums, Archival Education, White Supremacy, Professional Education, Equity, Race, Diversity
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Kasemsarn, Kittichai, Antika Sawadsri, David Harrison, and Farnaz Nickpour. "Museums for Older Adults and Mobility-Impaired People: Applying Inclusive Design Principles and Digital Storytelling Guidelines—A Review." Heritage 7, no. 4 (March 24, 2024): 1893–916. http://dx.doi.org/10.3390/heritage7040090.
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The research problems addressed in this article pertain to the limited understanding and insufficient availability of digital storytelling guidelines for elderly and physically impaired individuals in museum presentations. The objective of this review is to explore digital storytelling guidelines along with the latest technology in museums catering to older adults and those with mobility impairments. This literature review included databases such as Scopus, ScienceDirect, and Google Scholar, covering the period from 2000 to 2023. Researchers comprehensively examined and employed content analysis to categorize all papers into three primary themes: (1) inclusive design for museum presentations; (2) trends in technology for digital storytelling in museum presentations; (3) guidelines for digital storytelling in museum presentations. This review article could enhance understanding and promote diversity, accessibility, and motivation among two specific groups of museum visitors, both onsite and online.
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Charapan, Nadzeya. "Communication Matters: How Do Visitors Interact with Ethnographic Open-Air Museums?" Informacijos mokslai, no. 83 (December 20, 2018): 142–54. http://dx.doi.org/10.15388/im.2018.83.9.
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[full article, abstract in English; abstract in Lithuanian]
Though the concept of an ethnographic open-air museum is not a new one, little is known about the interplay between a visitor and an amalgam museum setting. Ethnographic open-air museums are complex spaces with shared qualities of outdoor sites and indoor museums. Grounded in Gibson’s theory of affordances (1979), the article explores how visitors interact within and in relation to the hybrid space of ethnographic open-air museum and how communication shapes their interactions. The analysis is based on a qualitative study of visitors in the Belarusian State Museum of Folk Architecture and Rural Lifestyle (Aziartso, Belarus) and the Open-Air Museum of Lithuania (Rumšiškės, Lithuania). The data were collected using participatory observation and semistructured interviews with visitors. The article employs a constructivist approach and conceptualizes an ethnographic museum as a free-choice environment, where behavior patterns are linked to the institutional context and the visitors’ ability to perceive the information about the objects and environments that specified the possibilities and constraints for interacting with the museum’s space. The study reveals how cultural communication fosters the diversity of visiting scenarios and the perceptions of ethnographic open-air museums as cultural heritage sites, natural parks and stages for entertainment. The implications of this research could be relevant to cultural policymakers and communication specialists in designing the cultural, recreational and educational policies of museums.
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Kahn, David M. "Diversity and the Museum of London." Curator: The Museum Journal 37, no. 4 (December 1994): 240–50. http://dx.doi.org/10.1111/j.2151-6952.1994.tb01022.x.
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Lamar, Cynthia Chavez, and Jennifer A. Shannon. "Embracing the diversity of museum anthropology." Museum Anthropology 36, no. 1 (March 26, 2013): 1–3. http://dx.doi.org/10.1111/muan.12000.
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Echarri, Fernando. "The metamuseum as the future of the museum institution?" Museologica Brunensia, no. 1 (2022): 4–9. http://dx.doi.org/10.5817/mub2022-1-1.
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Throughout its history, the museum has undergone a great evolution in the sense that it has shifted its weight from the column of objects to the column of people. Today, museums face many challenges in an increasingly fast-paced and changing society, where the personal, the social, diversity and inclusion are advancing forcefully. Taking into account the necessary adaptation of the museum to social requirements, this article analyzes the situation of the museum institution with foresight for the future to conceptualize the so-called metamuseum, capable of reflecting with itself in real time and with characteristics such as resilience, interdisciplinarity, adaptation, openness, independence and delocalization. Tise article proposes the metamuseum as a fifth generation of museums, where the interaction with objects is transformed into a successful experience where the needs and expectations of individuals and social groups are fully satisfied.
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Luttermann, Karin. "Museumskommunikation in Klarer Sprache – Theorie, Praxis und Perspektiven." Linguistik Online 124, no. 6 (December 26, 2023): 63–84. http://dx.doi.org/10.13092/lo.124.10715.
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The International Council of Museums redefined the term museum in August 2022. According to this, museums are at the service of the public and promote diversity and sustainability for, among other things, education, the enjoyment of art and the transmission of knowledge. The aim of this contribution is to use the multi-perspective approach of the Legal-Linguistic Comprehensibility Model to examine what applied linguistics can contribute to comprehensible communication in museums. The focus is on Clear language as a means for knowledge transfer. The theory and methodology of Clear Language is essentially based on text linguistics and pragmatics. The examples are taken from four explanatory films by the State Gallery Stuttgart, which guide a heterogeneous target audience through the permanent collection of the art museum.
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Picot, Nicole. "Museum Libraries in France: Their Wealth and Their Influence." Art Libraries Journal 24, no. 4 (1999): 17–19. http://dx.doi.org/10.1017/s0307472200019751.
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The following words preface Francoise Cachin’s introduction to Marie-Thérèse Cavignac’s Les bibliothèques des musées en Aquitaine: Richness and diversity! Reading this volume demonstrates how wide and varied is the subject matter of the museum libraries in the Aquitaine region, whether it be the library in the Bonnat Museum in Bayonne or in the national museum at the Château de Pau, those in museums specialising in the history of Aquitaine, the Pays Basque or the Périgord, or those in museums dealing with prehistory or contemporary art or seaplanes, the customs service or folk art.This description is just as valid for the rest of France. Considerable effort has been put into the modernisation of French museums during the last twenty years or so and their libraries have benefited from this renewal as well. I would like in this paper to describe some of the strengths of libraries and documentation centres in museums of art, and to try and define their role within their institutions and within the network of French art libraries.
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Nessel-Łukasik, Beata. "AUDIENCE OUTSIDE THE MUSEUM." Muzealnictwo 58 (October 13, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.5264.
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Polish museums are increasingly conducting research into their audiences. Results of statistical analyses and evaluations of educational activities help museum professionals to learn more about the people visiting their museums. However, it is essential to broaden the scope of research, to differentiate the methods and tools used, and above all to systematise the work and adapt it to the requirements and reality of how institutions with various profiles function. Therefore, the question arises: how can such research be carried out on a national scale? What is the best way to support museums which function daily in different surroundings so that their audience research translates to the programme they offer, and thus help them broaden the range of their visitors in the future? At the stage of the initial long-term programme for researching museum audiences which the National Institute for Museums and Public Collections conducted in 2017, it was already possible to gather material which allows for the determination of directions of activities which, in turn, will help answer the above- -mentioned questions in the following years. On the basis of this programme, we can conclude that having introduced the idea of a museum which is open and accessible to various groups, it is now time to turn theory into practice. Apart from keeping statistics, museums should broaden their scope of research in terms of their audiences, and look at the audience in a broader perspective, not just in terms of their presence and the diversity of activities. Only then, after they have repeated the question “who constitutes the museum’s audience, and who is absent from them?”, would it be possible to determine what is indispensable to deepen the relation between a museum and its audience. Nevertheless, it will be clear whether museum professionals opt for such steps and try to learn whom they still have not met in the museum once broader research has been carried out.
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Park, Kyoung-Shin. "A Study on the Legal Character of Museums and Art Museums under the Promotion Law for Museum and Art Museums of Korea: Focusing on Non-for-Profit Character." Korean Arts Association of Arts Management 65 (February 28, 2023): 211–38. http://dx.doi.org/10.52564/jamp.2023.65.211.
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In August 2022, the International Council of Museums (ICOM) held a general meeting and adopted a new museum definition, which emphasized “diversity”, “sustainability”, and “ethics”, while the expression of “non-profit” was changed to “not-for-profit”. Discussions on non-profit or not-for-profit of museums and art museums are not new, but discussions on whether non-profit or not-for-profit is a prerequisite for museums and galleries under the Promotion Law for Museum and Art Museums of Korea are supposed to intensify in line with ICOM’s revision of definition of museums. In particular, considering that many of the materials of museums and art museums of academic, artistic, educational, and historical value, including national treasures, are held in private museums or private art galleries, controversies over for-profit activities of museums and art museums are expected to intensify in the future. Therefore, it is more necessary than ever to reconsider the scope and allowable making-profit activities of museum and art museums under the Promotion Law for Museum and Art Museums of Korea, taking into account the role of museums and art museums and various environmental changes surrounding museums and art museums. In this regard, this paper reviewed the fact that the introduction of non-profit or not-for-profit prerequisite for the registration into the Promotion Law for Museum and Art Museums of Korea could be a problem in terms of legal stability and excessive restrictions on freedom of occupation in current situation, where private or for-profit corporations have been registered and operated as private museums or art museums under the Promotion Law for Museum and Art Museums of Korea. However, terms of non-profit or not-for profit does not mean banning of all profitable activities, and thus detailed standards need to be prepared, considering that the criteria for for-profit activities are unclear and it is not easy to evaluate for-profit activities in the business plan in the course of reviewing museums and art museums to give supports and aids to them. In addition, it is necessary to revise related articles for the overall reorganization of the registration and support system for museums and art museums.
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Filippoupoliti, Anastasia, and Stella Sylaiou. "Museum education today: creative synergies and pedagogic innovations in multicultural contexts." Museum and Society 13, no. 2 (March 1, 2015): 119–22. http://dx.doi.org/10.29311/mas.v13i2.321.
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Museums as mere repositories for cultural artefacts have long disappeared giving their place to museums as active institutions that prioritize engagement with a diverse range of communities. In today’s multicultural landscape1 that refers, reflects and at the same time adapts to diverse cultures, it is true that there is a growing international growing international recognition of the importance of ethnic diversity2 and a constant demand for museums to update their profileas social and learning settings (Ang 2005). Increasing emphasis has been put by museums, nowadays, on interacting with a variety of multicultural audiences, not only visitors and education programs’ participants, but also educators and teachers, via a wealth of education programmes (Acuff and Evans 2014). Also, several examples of museum exhibitions, mostly temporary, set out to narrate and share the stories of various social and ethnic groups. Museum educationoffers theoretical insights and practical means to engage visitors, trigger aesthetic and cultural sensitivities, exercise creativity and imagination, increase tolerance, reduce prejudices (Sleeter and Grant 1988, after Chin 2013), display historical empathy (Skolnick et al. 2004), as well as respect for all, promote equity and justice, in order to address challenges of cultural dialogue, social inclusion, and new models of cultural identity (Innocenti 2014, p. 2). Museums need to adapt to a diversifying and multicultural society and shall offer accessibility to inclusive, comprehensive and creative educational experiences that embrace and foster cultural diversity, and provide to everyone the ability to live and participate equally in a pluralistic society.
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Bakker, Freek T., Alexandre Antonelli, Julia A. Clarke, Joseph A. Cook, Scott V. Edwards, Per G. P. Ericson, Søren Faurby, et al. "The Global Museum: natural history collections and the future of evolutionary science and public education." PeerJ 8 (January 28, 2020): e8225. http://dx.doi.org/10.7717/peerj.8225.
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Natural history museums are unique spaces for interdisciplinary research and educational innovation. Through extensive exhibits and public programming and by hosting rich communities of amateurs, students, and researchers at all stages of their careers, they can provide a place-based window to focus on integration of science and discovery, as well as a locus for community engagement. At the same time, like a synthesis radio telescope, when joined together through emerging digital resources, the global community of museums (the ‘Global Museum’) is more than the sum of its parts, allowing insights and answers to diverse biological, environmental, and societal questions at the global scale, across eons of time, and spanning vast diversity across the Tree of Life. We argue that, whereas natural history collections and museums began with a focus on describing the diversity and peculiarities of species on Earth, they are now increasingly leveraged in new ways that significantly expand their impact and relevance. These new directions include the possibility to ask new, often interdisciplinary questions in basic and applied science, such as in biomimetic design, and by contributing to solutions to climate change, global health and food security challenges. As institutions, they have long been incubators for cutting-edge research in biology while simultaneously providing core infrastructure for research on present and future societal needs. Here we explore how the intersection between pressing issues in environmental and human health and rapid technological innovation have reinforced the relevance of museum collections. We do this by providing examples as food for thought for both the broader academic community and museum scientists on the evolving role of museums. We also identify challenges to the realization of the full potential of natural history collections and the Global Museum to science and society and discuss the critical need to grow these collections. We then focus on mapping and modelling of museum data (including place-based approaches and discovery), and explore the main projects, platforms and databases enabling this growth. Finally, we aim to improve relevant protocols for the long-term storage of specimens and tissues, ensuring proper connection with tomorrow’s technologies and hence further increasing the relevance of natural history museums.
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Zubekhina, Tetiana, Olesia Dyshko, Liudmyla Matviichuk, and Yuliia Dashchuk. "Virtualization of Museums as an Element of the Modern Education of Young Tourist Specialists." Sport i Turystyka. Środkowoeuropejskie Czasopismo Naukowe 7, no. 2 (2024): 123–37. http://dx.doi.org/10.16926/sit.2024.02.06.
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The article justifies the expediency of training specialists in the field of tourism by means of museum virtualization. It is emphasized that the development of modern information technologies shapes the theory and practice of electronic education. Various definitions of the term ‘virtual museum’, types of virtual museums, criteria for their classification, reasons for popularity, and the history of their development are partly presented. It is emphasized that virtual museums are characterized by structural and functional diversity and are of great importance for the development of cultural tourism. The results of a student survey are presented, confirming the feasibility of using virtual tours in the educational process: it is interesting for students, increases the level of mastery of professionally-oriented knowledge and skills, promotes the development of a sustained in-depth interest in communication with museum objects, the development of creative abilities, the formation of media competences. It is shown that virtual museums provide an opportunity to fill the learning process with new interesting content through the use of modern Internet technologies.
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Van Linden, Christophe, Paula T. Roberts, and D. Lee Warren. "DEI Maturity: Diversity, Equity, and Inclusion at a Not-for-Profit Organization." Journal of Business Ethics Education 19 (2022): 253–74. http://dx.doi.org/10.5840/jbee20221916.
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This teaching case focuses on Diversity, Equity, and Inclusion (DEI) at a museum. At the beginning of 2021, the organization found itself in a crisis when more than 2,000 community members and 85 anonymous employees demanded the resignation of the museum’s President due to the language he defended in a job posting advocating for a job applicant to diversify audiences while “maintaining the traditional white core audience of the museum” (Salaz 2021). Students take on the role of an external consultant to assess DEI maturity at the museum. The case challenges students to propose implementation and impact metrics for a DEI action plan. The case facts provide a timely and relevant setting to discuss DEI challenges in not-for-profit organizations.
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Wood, W. Warner. "Only the Voice of the Other: Science, Power, and Diversity’s Revolt in the Museum—A Manifesto of Sorts." Museum Anthropology Review 8, no. 1 (July 15, 2014): 45–54. http://dx.doi.org/10.14434/mar.v8i1.3255.
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While the importance of including diverse perspectives in museum programming has received considerable attention in the cultural realm, the same cannot be said for environmental science topics. In science and natural history museums, exhibitions on issues such as global climate change and loss of biodiversity are frequently narrowly defined in relation to an equally narrow perception of what constitutes environmental science. Because the facts of science in museums are still largely told by science curators, the voices of non-scientists are largely absent on such issues. As museum professionals, we must work to ensure that a diversity of perspectives is represented on environmental issues in our museums and on the capacity of our publics to participate in the presentation of environmental topics. We must support the public’s collective “power-to” (as John Holloway has termed it) have a voice in environmental programming.
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Taylor, Evan. "Museums Narrating the Nation: Case Studies from Greece and Bosnia-Herzegovina." University of Western Ontario Journal of Anthropology 25, no. 1 (March 30, 2023): 72–93. http://dx.doi.org/10.5206/uwoja.v25i1.16030.
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A museum that represents a community’s history and culture has the ability to influence visitors’ perceptions of that community in the present. In this paper, museums in Greece and Bosnia-Herzegovina are examined as case studies to better understand how museums narrate national identity to visitors, both domestic and international. Critical analysis of exhibits reveals that museum narratives often project the image of singular national identities. Meanwhile, they may deny the history of place of other contemporary or historic communities. In Greece, museums project a ‘Greek’ identity based on Classical, Byzantine, and post-Ottoman history. Museums in Bosnia-Herzegovina emphasize a unifying, shared history of the state’s three main ethnic communities without recognizing the profound differences felt between these communities today. These institutions encourage visitors to imagine the nation in a singular manner, without recognizing contemporary or historic diversity. Through these case studies, I interrogate the role of national museums in contemporary society, and consider the implications of transforming representational practices.
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Querner, Pascal, Nikola Szucsich, Bill Landsberger, and Peter Brimblecombe. "DNA Metabarcoding Analysis of Arthropod Diversity in Dust from the Natural History Museum, Vienna." Diversity 16, no. 8 (August 6, 2024): 476. http://dx.doi.org/10.3390/d16080476.
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This paper introduces a new method for identifying museum pests through the analysis of DNA present in settled dust. Traditionally, the identification of pests in cultural institutions such as museums and depositories has relied on insect trapping (monitoring). They give good results but need time (minimum spring until summer of one year for a complete survey) and face challenges related to the identification of small, rare, or damaged species. Our study presents a non-invasive approach that utilizes metabarcoding analysis of dust samples to identify pests and other arthropods at the species level. We collected dust samples with a handheld vacuum cleaner in summer 2023 from the six different floors of the Natural History Museum in Vienna and compared the results with the insect monitoring. We found over 359 different species of arthropods in the museum and could show how the diversity increases with the elevation of the building floor. This method could be used for rapid and cost-effective screening of pests before monitoring. But the interpretation of results is sometimes difficult (for Lepismatidae, for example), and it cannot replace a continuous monitoring of pests with traps. This investigation might present the highest indoor animal biodiversity ever found in a single building.
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Mairesse, François. "MUSEUM DIVERSITY THROUGH THE LENS OF THE KYOTO DEFINITION." Muzealnictwo 61 (May 29, 2020): 75–79. http://dx.doi.org/10.5604/01.3001.0014.1605.
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The author analyses the logic underlying the ICOM museum definition process and the sense of continuity among the different definitions, since its creation in 1946. The new definition proposed in Kyoto in 2019 (during the ICOM General Conference, 1–7 September) created a risk of breaking within this continuity and the museum community. The definition process is here put in parallel with the notion of mission statement, associated with strategic management, and the value system linked to a resolutely activist vision of the museum, integrating such topics as gender, postcolonialism, sustainable development or human rights.
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Santana da Silva, Bruno, and Cristiana Moreira Lins de Medeiros. "The school audience diversity that visits the Câmara Cascudo Museum." Museologia & Interdisciplinaridade 10, no. 20 (November 4, 2021): 191–208. http://dx.doi.org/10.26512/museologia.v10i20.32824.
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Museus podem ser ter atuação importante na educação não formal. Eles precisam conhecer seu público escolar para colaborar adequadamente com as instituições de ensino. Este trabalho relata um estudo do público escolar do Museu Câmara Cascudo. Realizou-se uma pesquisa descritiva documental com dados de agendamentos de visitas de instituições de ensino entre abril e dezembro de 2019. Identificou-se um público diverso bem distribuído no tempo, proveniente de várias cidades do estado e de estados vizinhos. Todas as faixas etárias a partir dos 4 anos e todos os níveis de ensino foram significativos. As instituições de ensino públicas foram mais presentes do que as privadas. Houve retorno de 31,5% das instituições de ensino, sem impedimento de distância, natureza da instituição e nível de ensino. Os objetivos de visita foram muito abstratos. O museu precisa avaliar se seus serviços e comunicação estão adequados ao seu público escolar e tomar as providências necessárias.
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Branen, Karen, and Kristin Congdon. "An Elementary School Museum Celebrates Community Diversity." Art Education 47, no. 4 (July 1994): 8. http://dx.doi.org/10.2307/3193483.
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Szot-Radziszewska, Elżbieta. "The diversity of modern forms of preservation of rural and small towns’ wooden architecture in Poland." Budownictwo i Architektura 14, no. 3 (September 8, 2015): 161–71. http://dx.doi.org/10.35784/bud-arch.1625.
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In this paper I discuss the modern forms of preservation of wooden historical monuments, included in the legal framework, such as protection via an entry in the records or monuments’ list, protection in open-air museum, being declared historical monument, protection via creation of a cultural park. I am pointing out the tragic state of the protection and conservation of the resources of this part of heritage. I discuss in wider scope the idea of open-air museum in Poland and the specificity of preservation of wooden monuments in the open-air museums as being the most rational and effective so far. I show positive protection examples via making use of and adaptation of the monument to the new function- cultural, educational or museum. I also emphasize the role of education and society participation in the protection of rural architecture. The wooden architecture is only 11% of all monuments registered in monuments’ list. In this situation, according to Polish law, the vast majority of monuments, not mentioned in the registry, cannot be protected. It is necessary to quickly create comprehensive regulatory framework and take action in the field of identification and inventory of wooden architecture as well as creating effective preservation programs. There is a chance to preserve the significant part of heritage by further diversification of forms of protection and adaptation in cooperation and substantive assistance of conservation department and museums as well as financial support of the governments. I present specific proposals of solutions to this problem.
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Kofi Preko, Alexander, and Theophilus Francis Gyepi-Garbrah. "Museum experience and satisfaction: moderating role of visiting frequency in national museum of ghana." PASOS. Revista de Turismo y Patrimonio Cultural 19, no. 2 (2021): 239–53. http://dx.doi.org/10.25145/j.pasos.2021.19.016.
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This research aims to investigate how tourist experience elicits satisfaction and contributes to loyalty and willingness to pay more for a museum destination. More specifically, this study also investigates the significant moderating role of visiting frequency on the relationship between satisfaction and willingness to pay more. Museums offer unique collections for tourists’ education and recreation while providing a better understanding of the cross‑cultural diversity of societies. The research was conducted with 285 tourists visiting the National Museum in Ghana, with questions relating to experience, satisfaction, loyalty and willingness to pay more. Structural equation modelling was used to test the effects of the museum experience, satisfaction and loyalty on willingness to pay more. Responses emanating from the questionnaire on the National Museum of Ghana was analysed and the study findings suggest the significant effects of tourist experience on satisfaction as well as the significant effects of satisfaction on loyalty and willingness to pay more. In addition, the significant moderating effect of visiting frequency was reported on the relationship between satisfaction and tourist willingness to pay more. In this regard managers should develop marketing strategies that promote museum tourism in the travelling experience and that guarantee greater satisgfaction on site
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Baranova, Svetlana I. "TO SEE THE INVISIBLE. CONCEPT OF EXHIBITION “OPEN STORAGE OF POTTERY AND CONSTRUCTION MATERIALS COLLECTION OF THE STATE RESEARCH INSTITUTE AND MUSEUM OF ARCHITECTURE NAMED AFTER A.V. SHCHUSEV”." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2021): 67–86. http://dx.doi.org/10.28995/2686-7249-2021-9-67-86.
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The concept of “Open storage of pottery and construction materials collection of the State research institute and Museum of architecture named after A.V. Shchusev” adopted for implementation is considered in the article. A survey of collection items (collection contain more than 4000 items that allow to reflect diversity of construction materials used by master builders of ancient Rus’ and prior to the early 21st century. Having performed analysis of the Russian and foreign experience, the author argues that the selected form of exposition provides the access and maximum contact authentic items that the major part of them has not been displayed earlier. This concept is easily combined with the space of museum dedicated to architecture. It is well-known that the number of items in museum collections by far exceeds possibility to exhibit them in museum. Hence the principal reproach addressed to museum community: the greater part of any collection that are preserved in museum vaults are inaccessible to public. The main reason for that is the shortage of exposition areas. This shortage exists nearly at every Russian museum. With increasing frequency museums use for performance of their main function (storage and provision of social-cultural information not only exposition areas but also vaults in form of open storage.
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Morphy, Howard, Jason M. Gibson, and Alison K. Brown. "Special Section." Museum Worlds 10, no. 1 (July 1, 2022): 218–29. http://dx.doi.org/10.3167/armw.2022.100119.
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Anthropology, Art, and Ethnographic Collections: A Conversation with Howard MorphyJason M. Gibson (JG): In your book Museums, Infinity and the Culture of Protocols: Ethnographic Collections and Source Communities (Morphy 2020), you begin with an anecdote of visiting the Pitt Rivers Museum as a young child. Did museums play a part in sparking an interest in humanity, and its diversity, or were you fascinated by the Other?Book Review: Museums, Societies and the Creation of Value, Howard Morphy and Robyn McKenzie, eds. (London: Routledge, 2022)What does value mean within and beyond museum contexts? What are the processes through which value is manifested? How might a deeper understanding of these processes contribute to the practice of museum anthropology? These questions are explored in Museums, Societies and the Creation of Value, which looks at collaborative work in museums using ethnographic collections as a focus. Most of the chapters involve collections from Australia and the Pacific—reflecting the origins of many of them in two conferences associated with the project “The Relational Museum and Its Objects,” funded by the Australian Research Council and the Australian National University and led by Howard Morphy. Bringing together early career researchers, as well as museum-based scholars who have many years of thinking through and learning with community-based research partners, makes evident how the processual shifts in museum anthropology toward a more collaboratively grounded practice have become normalized, but crucially also highlights the value of “slow museology,” as the editors note in their introduction (3), acknowledging Raymond Silverman’s (2015) term. While the editors caution that the core values of ethnographic collections and museums are not universal, the inclusion of chapters from beyond the Australia/Pacific region highlights that the foundational underpinning values and aspirations for cross-cultural work—“the desire for understanding” and “the desire to be understood” (22) are shaping much of the innovative museum-based work currently being carried out worldwide. Examples include Gwyneira Isaac’s chapter on 3D technologies of reproduction and their value for Tlingit of Alaska, and Henrietta Lidchi and Nicole Hartwell’s examination of how materiality and memory intersect in collections associated with nineteenth-century British military campaigns.
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Correa, Manuel. "History in Our Hands. Participatory Methodologies in Curatorial Work at the National History Museum of Chile." Encounters in Theory and History of Education 24 (December 20, 2023): 127–52. http://dx.doi.org/10.24908/encounters.v24i0.16976.
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This article, which features a video and a fanzine, consists of an academic description of our participatory methodologies in curating exhibits from our permanent collection at the National History Museum of Chile. This reflection on methodology asks itself about the didactic role of the museums beyond the goal of representing the diversity and complexity of the members of the nation. What abilities and values can communities acquire from the act of curating an exhibition? What type of methodologies permit a horizontal exchange of effects and affects? What are the reaches and limits of these creative activities? Online version, including video. Keywords: museum studies, curatorial practice, participatory methods, Chile, cultural heritage
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Neufeld, Michael J. "The Smithsonian’s National Air and Space Museum and “The Romance of Technological Progress”." Journal of Educational Media, Memory, and Society 14, no. 1 (March 1, 2022): 76–97. http://dx.doi.org/10.3167/jemms.2022.140105.
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The Smithsonian Institution’s National Air and Space Museum (NASM) remains one of the world’s most visited museums precisely because it embodies the “romance of technological progress.” From its origins in the US National Museum of the early twentieth century to the opening of its first dedicated building in 1976 and beyond, visitors have flocked to the NASM to see exhibits on the wonders of aerospace technology. An attempt to depart from that narrative in the 1990s by telling the story of the atomic bombings of Japan was crushed by an organized campaign. In the aftermath, the museum reverted to its old pattern, albeit broadened to include greater diversity in the historical actors it featured. Today, as NASM rebuilds its original building, it is again striving, albeit more cautiously, to stretch the limits of its traditional mission.
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de Prado, Jose Enrique Llamazares, and Ana Rosa Arias Gago. "Inclusion through technology and education: A commitment to the improvement of museographic cultural spaces." Technology and Disability 32, no. 3 (August 5, 2020): 137–48. http://dx.doi.org/10.3233/tad-190246.
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In the following research, we intend to highlight the importance of inclusion in the museum spaces, being the key the educational value, with the use of the new tools (ICTs), as well as the interculturality showing the diversity of the current cities in its cultural aspect, and allowing the access to all type of public, with functional diversity. A systematic review has been carried out with a selection of 490 articles examined up to 56 articles from 2002 to October 2017. The search was conducted using ten databases: Esci, Circ, Miar, Eric, Isoc, Dialnet, Scopus, Google Scholar, Teacher Reference Center and Wos. The purpose is to provide elements to carry out good practices that facilitate inclusive education and avoid cultural exclusion. Within the conclusions obtained, the role of the museum space as a place of reflection and grouping of different intergenerational groups is evident. The incorporation of ICTs that improve interaction and learning should be encouraged, valuing cooperation between museums and schools.
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Levin, Amy. "Museums, Activism, and the Importance of Self-Reflection: Book Review Essay." Museum and Society 19, no. 2 (July 30, 2021): 273–75. http://dx.doi.org/10.29311/mas.v19i2.3792.
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Review of: Apsel, Joyce, and Amy Sodaro, eds. Museums and Sites of Persuasion: Politics, Memory, and Human Rights. Abingdon, Oxon: Routledge, 2020, hardback £120, paperback £34.99, ebook £31.49, pp.232. Chynoweth, Adele, Bernadette Lynch, Klaus Petersen, and Sarah Smed, eds. Museums and Social Change: Challenging the Unhelpful Museum. Abingdon, Oxon: Routledge, 2021, hardback £120, paperback £34.99, ebook £31.49, pp.214. Cole, Johnetta Betsch, and Laura L. Lott, eds. Diversity, Equity, Accessibility, and Inclusion in Museums. Lanham, MD: Rowman & Littlefield, 2019, hardback £61.41, paperback £25.29, ebook £21.67, pp.182.
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Qin, Wei. "An Analysis of the Development and Marketing Strategy of Art Merchandise in Art Museums." Highlights in Art and Design 2, no. 1 (February 20, 2023): 44–48. http://dx.doi.org/10.54097/hiaad.v2i1.5323.
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There have been many limitations and lags in the commercial operation of public art institutions, while art merchandise is an important business for the commercial operation and profitability of art museums. How to make profits in the market while still building an art brand image has been the priority for art museum operators to think and study. This paper examines the new experiences and innovative initiatives of public art museums in the art merchandising business through the case of the National Museum of Modern and Contemporary Art, Korea (MMCA). First, through the experience of operating art merchandise at the MMCA, it is found that a sound archival management of art museums is conducive to boost the quality and diversity of art merchandise and to dominating the market. Secondly, the production of high-quality digital content and its display on the visited web pages are favorable to increase online sales, raise profits and advertise the brand at the same time.
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Jung, Yuha. "The Ecological Museum: Improving Diversity in Museum Practice through an Ecological Mind-set." International Journal of the Inclusive Museum 3, no. 2 (2010): 73–84. http://dx.doi.org/10.18848/1835-2014/cgp/v03i02/44324.
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Levitt, Peggy. "Using the Local to Tell a Global Story: How the Peabody Essex Museum Became a World Class Museum." Museum and Society 14, no. 1 (June 9, 2017): 146–60. http://dx.doi.org/10.29311/mas.v14i1.631.
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According to the World Bank, one out of every seven people in the world today is an internal or international, voluntary or involuntary migrant. Learning to live with diversity next door or across the globe is the challenge of the day. What role are contemporary museums playing in imparting cosmopolitan values and skills to their visitors? What helps explain how they present the nation in relation to the world? In this article, we use the case of the Peabody Essex Museum, in Salem, Massachusetts to explore these questions. In 1993, the Peabody Museum and the Essex Institute were poised to close. Despite their long histories and important collections, they were operating at the far frontier of the regional cultural map. In the ensuing years, the new PEM rewrote that cartography. By telling new global stories about very local objects, and by showcasing its global institutional roots, the museum dramatically transformed visitors’ experiences. It broadened and diversified the possible messages they might take away from their visits and sought to connect them to other times and places. Excavating pieces of Salem’s cultural armature enabled the PEM to display cosmopolitan ideas and to cultivate cosmopolitan skills while rescaling itself and its city in the process.Key words: museums, cosmopolitanism, global, culture, scale
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Holman, Valerie. "Reading between the lines: museum and gallery publications in mid-Victorian England." Art Libraries Journal 25, no. 2 (2000): 36–39. http://dx.doi.org/10.1017/s0307472200011597.
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When national museums and galleries were still a relatively new form of public institution, official policies of accessibility and popular education were frequently expressed through a sustained use of metaphor drawn from the discourse of the book. Museums became repositories of knowledge or sources of information on good design, and the visitors readers of objects. Such rhetorical devices could prove counter-productive, for they were based on assumptions, not facts, about the extent of popular literacy and the nature and diversity of reading practices, and yet this form of conceptualisation affected the form, content and quantity of early museum and gallery publications.
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Ružanović, Lea, and Vlatka Mičetić Stanković. "Urban Beetle Diversity in Natural History Collections—A Hundred-Year Perspective." Diversity 15, no. 12 (December 18, 2023): 1224. http://dx.doi.org/10.3390/d15121224.
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Natural history museum collections are essential for understanding biodiversity and environmental changes, especially in large cities with rapid urbanization. While the collaboration between curators and taxonomists with ecologists becomes more frequent, the museum collections still are not used to their full potential. This study aimed to digitize beetle specimens from Zagreb, which are kept in the Croatian Natural History Museum collections, provide recent nomenclature, analyse the proportion of currently endangered species, georeference, and compare the sampling locations with today’s iNaturalist citizen science records, as well as land cover changes between the time of collection creation and now. Comparing the sampling locations of collection specimens and citizen science records, it is possible to track the city’s expansion. Beetle family composition is more similar in the city centre than on the outskirts of Zagreb, where land cover changes are more pronounced. The districts in the northern part of Zagreb held higher numbers of threatened saproxylic beetles in both museum collections and citizen science records, highlighting the importance of urban parks and forests and providing insights into potential conservation threats. Museum collections have proved to be a valuable source of biodiversity records frozen in time, helping us track the urban beetle fauna decline.
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Qanita Ahmed and Dr Farkhanda Jabeen. "Role of museums as a resource in learning of history at elementary level." Sukkur IBA Journal of Educational Sciences and Technologies 3, no. 2 (January 4, 2024): 17–24. http://dx.doi.org/10.30537/sjest.v3i2.1217.
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The purpose of this research was to highlight the importance of museums as a resource in learning history at the elementary level. Museums are institutions used as evidence of historical activities. It was recognized in the 15th century to describe the concept of evidence in a form of a permanent non-profit institute. They reveal the diversity of the culture and society. Museums are the authentic source to interpret historical indications. They are used to educate people about their diversity in cultural traits, science, and history. How the museums are utilized as educational institutions. They preserved the historical happenings to explain the real picture of history. The study targets the role of museums as a resource in learning history at the elementary level. The objective of the study was to explore the academic performance of elementary school students before and after using museums as a resource. The public elementary school students were the population of research. One public school was chosen to conduct the research. The researcher adopted a quantitative approach to collect the parametric data. The research procedure consisted of three phases i.e. planning, development, and implementation phase. One group pretest-posttest design was used to conduct research. The researcher prepared a subject-based test with the help of subject specialists working in the Punjab School Education Department. A pretest was conducted before visiting the museum and a posttest was conducted after visiting the museum. Paired t-test was used to measure the academic performance of the participants. The results of the pretest-posttest indicated that museums can be utilized as a resource in learning history at the elementary level.
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McCarthy, Conal. "Editorial." Museum Worlds 7, no. 1 (July 1, 2019): vii—ix. http://dx.doi.org/10.3167/armw.2019.070101.
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Museum Worlds: Advances in Research Volume 7 (2019) is an open issue, covering a rich variety of topics reflecting the range and diversity of today’s museums around the globe. This year’s volume has seven research articles, four of them dealing with very different but equally fascinating issues: contested African objects in UK museums, industrial heritage in Finland, manuscript collecting in Britain and North America, and Asian art exhibitions in New Zealand. But this issue also has a special section devoted to Barbara Kirshenblatt-Gimblett, which contains three articles and an interview.