Academic literature on the topic 'Museum exhibits – Social aspects'
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Journal articles on the topic "Museum exhibits – Social aspects"
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Kannike, Anu, and Ester Bardone. "Köögiruum ja köögikraam Eesti muuseumide tõlgenduses." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 34–60. http://dx.doi.org/10.33302/ermar-2017-002.
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Kitchen space and kitchen equipment as interpreted by Estonian museums Recent exhibitions focusing on kitchen spaces – “Köök” (Kitchen) at the Hiiumaa Museum (September 2015 to September 2016), “Köök. Muutuv ruum, disain ja tarbekunst Eestis” (The Kitchen. Changing space, design and applied art in Estonia) at the Estonian Museum of Applied Art and Design (February to May 2016) and “Süüa me teeme” (We Make Food) at the Estonian National Museum (opened in October 2016) – are noteworthy signs of food culture-related themes rearing their head on our museum landscape. Besides these exhibitions, in May 2015, the Seto farm and Peipsi Old Believer’s House opened as new attractions at the Open Air Museum, displaying kitchens from south-eastern and eastern Estonia. Compared to living rooms, kitchens and kitchen activities have not been documented very much at museums and the amount of extant pictures and drawings is also modest. Historical kitchen milieus have for the most part vanished without a trace. Estonian museums’ archives also contain few photos of kitchens or people working in kitchens, or of everyday foods, as they were not considered worthy of research or documentation. The article examines comparatively how the museums were able to overcome these challenges and offer new approaches to kitchens and kitchen culture. The analysis focuses on aspects related to material culture and museum studies: how the material nature of kitchens and kitchen activities were presented and how objects were interpreted and displayed. The research is based on museum visits, interviews with curators and information about exhibitions in museum publications and in the media. The new directions in material culture and museum studies have changed our understanding of museum artefacts, highlighting ways of connecting with them directly – physically and emotionally. Items are conceptualized not only as bearers of meaning or interpretation but also as experiential objects. Kitchens are analysed more and more as a space where domestic practices shape complicated kitchen ecologies that become interlaced with sets of things, perceptions and skills – a kind of integrative field. At the Estonian museums’ exhibitions, kitchens were interpreted as lived and living spaces, in which objects, ideas and practices intermingle. The development of the historical environment was clearly delineated but it was not chronological reconstructions that claimed the most prominent role; rather, the dynamics of kitchen spaces were shown through the changes in the objects and practices. All of the exhibits brought out the social life of the items, albeit from a different aspect. While the Museum of Applied Art and Design and the Estonian Open Air Museum focused more on the general and typical aspects, the Hiiumaa Museum and the National Museum focused on biographical perspective – individual choices and subjective experiences. The sensory aspects of materiality were more prominent in these exhibitions and expositions than in previous exhibitions that focused on material culture of Estonian museums, as they used different activities to engage with visitors. At the Open Air Museum, they become living places through food preparation events or other living history techniques. The Hiiumaa Museum emphasized the kitchen-related practices through personal stories of “mistresses of the house” as well as the changes over time in the form of objects with similar functions. At the Museum of Applied Art and Design, design practices or ideal practices were front and centre, even as the meanings associated with the objects tended to remain concealed. The National Museum enabled visitors to look into professional and home kitchens, see food being prepared and purchased through videos and photos and intermediated the past’s everyday actions, by showing biographical objects and stories. The kitchen as an exhibition topic allowed the museums to experiment new ways of interpreting and presenting this domestic space. The Hiiumaa Museum offered the most integral experience in this regard, where the visitor could enter kitchens connected to one another, touch and sense their materiality in a direct and intimate manner. The Open Air Museum’s kitchens with a human face along with the women busy at work there foster a home-like impression. The Applied Art and Design Museum and the National Museum used the language of art and audiovisual materials to convey culinary ideals and realities; the National Museum did more to get visitors to participate in critical thinking and contextualization of exhibits. Topics such as the extent to which dialogue, polyphony and gender themes were used to represent material culture in the museum context came to the fore more clearly than in the past. Although every exhibition had its own profile, together they produced a cumulative effect, stressing, through domestic materiality, the uniqueness of history of Estonian kitchens on one hand, and on the other hand, the dilemmas of modernday consumer culture. All of the kitchen exhibitions were successful among the visitors, but problems also emerged in connection with the collection and display of material culture in museums. The dearth of depositories, disproportionate representation of items in collections and gaps in background information point to the need to organize collection and acquisition efforts and exhibition strategies in a more carefully thought out manner and in closer cooperation between museums.
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Pennisi, Lisa, N. Qwynne Lackey, and Stephen M. Holland. "Can an Immersion Exhibit Inspire Connection to Nature and Environmentally Responsible Behavior?" Journal of Interpretation Research 22, no. 2 (November 2017): 35–49. http://dx.doi.org/10.1177/109258721702200204.
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Nature centers, museums, zoos, and other exhibit-based institutions need to sustain or increase visitation for economic viability. To generate visitor interest, exhibits have become more interactive, with immersion exhibits becoming increasingly popular. Visitor research has traditionally focused on learning or social aspects of the visitor experience rather than psychological dimensions related to attitudes, values, and behaviors. Yet nature-focused institutions increasingly support broad-based issues, such as encouraging connection to nature and environmentally responsible behavior. This paper explores how an immersion exhibit without personal interpretation, impacts connectedness to nature, intentions for environmentally responsible behaviors, and other aspects of visitor experiences. Short visits to a free-flying butterfly exhibit were found to augment visitors’ connectedness to nature and environmentally responsible behavioral intentions. Visitors also described how they appreciated the intensely beautiful surroundings, were awe-struck, felt a great deal of peace and relaxation, and felt oneness with nature.
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Pisoni, Galena. "Mediating distance: new interfaces and interaction design techniques to follow and take part in remote museum visits." Journal of Systems and Information Technology 22, no. 4 (November 30, 2020): 331–52. http://dx.doi.org/10.1108/jsit-03-2020-0038.
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Purpose This paper presents a study of a system that allows remote and onsite visitors to share a museum visit together in real time. The remote visitors are older adults at a care home and their relatives and/or friends who are at the museum. The museum visits are interactive. Meaningful stories accompany the museum exhibits, and there’s an audio channel between onsite and remote visitors. The aim of the study is to determine whether the remote visitors, i.e. older adults are able to use such technology and to study the mediated sense of spatial presence, social closeness, engagement and enjoyment in the visit. This study discusses the relationship between these aspects and factors leading to a better remote experience for older adults. Design/methodology/approach This study has 14 onsite and 12 remote older adult participants. Standardized questionnaires measured the mediated sense of spatial presence, the experienced social closeness and the level of participants' engagement and enjoyment in the visit of the older adult participants and traced onsite visitors in their position during the visit. The audio logs were subjected to thematic content analysis. Findings The results show that older adults enjoy and engage in remote visits, and that there is a positive correlation between enjoyment, engagement and social closeness. The findings argue that both the audio channel and the interactive story are important for creating an affective virtual experience: the audio channel increases the sense of closeness, whereas the interactive story makes the visit more engaging, providing structure, direction and purpose to the visit. Originality/value This work advances the state of art in the domain of technologies for older adults and addresses the needs of this population to stay in contact with both people and places.
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Narizhnaya, Oksana V. "Books in museum library collections as a source for the study and representation of significant events in Russian history of the first quarter of the 20th century (on the example of publications from the Civil War period 1917–1922)." Issues of Museology 11, no. 2 (2020): 259–74. http://dx.doi.org/10.21638/11701/spbu27.2020.210.
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The article describes the documents from collections of the scientific library of the East Crimean Historical and Cultural Museum-Reserve published in Crimea during the Civil War of 1917–1922. These documents are book monuments as copies published in the important period of Russian history in the first quarter of the XX century in accordance with the sociovalue criterion. Publications are considered both as objects for the scientific study of the documentary sources themselves, and from the point of view of potential exhibits of the museum exposition. The publications allow for the most complete and widespread coverage of one of the most complex and controversial moments in the history of Russia. The historical conditions of the functioning of the national economy and certain aspects of social life, reflected in the sources studied, are examined. Among them are the publishing industry, public education, museums, the activities of the system of internal affairs bodies and local self-government. Considerable attention is paid to the study of local history publications, reflecting the development of history and archeology of the indicated period and containing valuable information on the history of Crimea. A number of brochures are presented, which methodological recommendations for teaching individual academic disciplines in a unified labor school. Educational and practical publications occupy a significant place among the analyzed documents. They contain excerpts from the works of ancient Roman authors published in Latin and serve as readers for the study of the classical Latin language in the gymnasium. The content and physical safety of publications, their attributive features, are described: book signs, labels, handwritten notes, autographs are described as a result of historical and bibliographical analysis.
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Smirnov, Aleksey V. "Social object: museum object in the participatory museum." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 126–32. http://dx.doi.org/10.30725/2619-0303-2021-1-126-132.
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The «new museology» movement, which seeks to revise the principles and foundations of the activities of modern museums, has introduced a few new concepts into consideration, one of which is the concept of «social object». «New Museology» interprets a social object as the basis for constructing an exposition of a participatory museum, which makes it possible to consider a social object as an analogue of a museum item. Since the concept of a «museum item» is one of the key theoretical tools of modern museology, its content can be expanded within the framework of the scientific understanding of a participatory museum. Directions of such a theoretical study are presented in this article. The analysis of the transformation of a museum object into a social object during the transition from the traditional principle of building a museum exposition to a participatory one made it possible to identify several problems in the activities of a participatory museum related to the communication potential of its exhibits. The understanding of a social object is formed based on an analysis of examples of exposition and exhibition activities presented in the book by N. Simon «The Participatory Museum».
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Velikhanly, N. M. "Social and Historical Aspects of Formation and Functioning." Orientalistica 3, no. 3 (October 3, 2020): 579–90. http://dx.doi.org/10.31696/2618-7043-2020-3-3-579-590.
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The article examines the milestones of formation and development of the first public museum of Azerbaijan - the National Museum of the History of Azerbaijan. The author tracks the changing profile of the museum in the 20-30s of the last century within the context of changes of state policy and ideological priorities in Azerbaijan. The article also provides information on the role of the museum in the emergence and development of archaeological research in Azerbaijan, on the main achievements of the museum in the field of preserving and studying the historical and cultural heritage of the Azerbaijani people.
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Shaby, Neta, Orit Ben-Zvi Assaraf, and Tali Tal. "The Particular Aspects of Science Museum Exhibits That Encourage Students’ Engagement." Journal of Science Education and Technology 26, no. 3 (December 16, 2016): 253–68. http://dx.doi.org/10.1007/s10956-016-9676-7.
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Serafini, Frank, and Danielle Rylak. "Representations of Museums and Museum Visits in Narrative Picturebooks." Libri et liberi 10, no. 1 (August 31, 2021): 45–62. http://dx.doi.org/10.21066/carcl.libri.10.1.3.
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Drawing on a range of theoretical frameworks to illuminate various aspects of visual and textual representations, this study analyses the ways museums, museum visits, and museum exhibits and activities are represented in contemporary narrative picturebooks featuring a child character going to a museum for a variety of reasons. Analysis of approximately fifty museum picturebooks using a multimodal content analysis tool led to the construction of findings in the following themes: representations of museums; representations of museum exhibits; museum visitors; reasons for museum visits; museum activities and events; children’s attitudes while visiting museums; and metaleptic transgressions in picturebook representations. The findings suggest the potential implications of these multimodal texts in the hands of teachers and young readers.
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Stoupathis, Konstantinos. "Social impact and interpretation of the geological collections of Helmis Natural History Museum of Zakynthos." Bulletin of the Geological Society of Greece 53, no. 1 (January 14, 2019): 266. http://dx.doi.org/10.12681/bgsg.19441.
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The Helmis Natural History Museum is located in Zakynthos, in the village of Agia Marina Fagia, only twenty minutes distance from the centre of the city of Zakynthos. The enlargement of the private collection of Panagiotis Helmis, a collection of natural history that originally included natural history exhibits acquired by the collector to meet his needs, was a challenge for the exhibition of this collection in a museum environment. Moreover, the museum was founded to introduce to the visitors the value of nature, to present information on lesser known fauna and flora species of the island and to focus on geology exhibits.
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ВОРОТНИКОВА, Елена, and Elena VOROTNIKOVA. "SOCIO-CULTURAL ASPECTS OF MUSEUM SERVICE." Services in Russia and abroad 11, no. 4 (July 4, 2017): 35–43. http://dx.doi.org/10.22412/1995-042x-11-4-3.
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The article is devoted to theoretical aspects of the museum development as a unique socio-cultural phenomenon. The author highlights the main directions and prerequisites caused the changes in the museum environment at the present stage. A museum is regarded as an important and effective public institution with purpose determined by a deep socio-cultural meaning as a symbol of culture, in which different opinions, positions and points of view coexist. Modern museum operates within the communication model revealing the multifunctional possibilities inherent in the very essence of the museum. The article considers the historical origins of the current conceptions on a museum, claimed by the Russian thinker N.F. Fedorov, as a mechanism for revitalizing social memory and the organic part of modern cultural life. The author also considers the questions of the museum community concern on the specifics of communication in the museum space, the definition of the museum sociocultural functions, the rethinking of the ways to their distinguishing, and the necessity to form such exposition "non-verbal utterances" that can be understood by visitors through "joining" to personal needs and life experience.
The article also identifies the prerequisites for the inclusion of service experts in museum activities related to the need for improving museum operating. Interprofessional interaction of museum specialists is necessary to meet public requests to the museum and to develop museum product quality – exhibition projects, adequate language texts and a variety of cultural and recreational programs considering the unique social context and cultural features of the museum audience.
Dissertations / Theses on the topic "Museum exhibits – Social aspects"
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Edmundson, Jane, and University of Lethbridge Faculty of Fine Arts. "Dr. Soanes' Odditorium of Wonders : the 19th century dime museum in a contemporary context." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Arts, c2013, 2013. http://hdl.handle.net/10133/3426.
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19th century dime museums were a North American phenomenon that flourished in urban
centres from the mid- to late-1800s. Named thusly due to their low admission cost, dime
museums provided democratic entertainment that was promoted to all classes as
affordable and respectable. The resulting facilities were crammed with art, artifacts,
rarities, living human curiosities, theatre performances, menageries, and technological
marvels. The exhibition Dr. Soanes’ Odditorium of Wonders strives to recapture the spirit
and aesthetic of the dime museum to invoke wonder in the viewer and to combine art,
artifacts, and oddities to provoke questions about the boundary between education and
amusement. Both the academic and curatorial texts utilize a mix of methodological
approaches appropriate to museology, art history and cultural history: theoretical research
into historiographical issues concerning theories of display and spectacle; archival
research and discourse analysis of historical documents, and material culture analysis
(including the semiotics of display).iv, 60 leaves : ill. ; 29 cm
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Dancu, Toni Nicole. "Designing Exhibits For Gender Equity." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/339.
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Gender equity has been a national and global aim for over half a century (Ceci & Williams, 2007; National Center for Education Statistics, 2003; National Science Board, 2008). While gains have been made, one area where inequity remains is spatial reasoning ability, where a large gender gap in favor of males has persisted over the years (Else-Quest, Linn, & Shibley Hyde, 2010; National Science Board, 2008; Ruble, Martin, & Berenbaum, 2006). This gender gap in spatial reasoning has had substantial societal impact on the career interests of females in areas of Science, Technology, Engineering, and Math (STEM), contributing to the larger societal need to engage non-dominant groups in these fields to reduce outsourcing (Ceci & Williams, 2007; Jaschik, 2007; Wai, Lubinski, & Benbow, 2009; White, 1992). Both spatial reasoning ability and STEM career interest have been related to science museum visits (Hamilton, Nussbaum, Kupermintz, Kerkhoven, & Snow, 1995; Salmi, 2001, 2002). However, researchers have also found a gender gap in favor of males in regard to science museum attendance and experiences once at the museum (Borun, 1999; Crowley, 2000). There are many suggestions for increasing female engagement at science museums and creating equitable experiences, but few have been systematically studied (Kekelis, Heber, & Countryman, 2005; Koke, 2005; Maher, 2005; Taylor, 2005). This research investigated gender equitable exhibit development by enhancing a geometry exhibit with several female-friendly design features and analyzing video data to determine the effects on girls' engagement and social interactions with their caregivers. The findings suggest that incorporating several female-friendly design features leads to significantly higher engagement for girls (evidenced by greater attraction and time spent). This study also looked for any unanticipated negative effects for boys after incorporating the female-friendly design features. It is encouraging that this study was unable to detect any unintended negative effects for boys; however, such non-significant results are inconclusive and should not dissuade future research and design teams from continuing to check for unanticipated ill effects of female-friendly design features for boys. While the positive effects for girls were significant, it is important to note that they were not significantly more positive for girls than for boys; further research is needed to determine whether the female-friendly design features create a more equitable experience for girls, or a more positive experience for everyone. This study did not identify any significant differences in parent-child verbal social interactions between the two versions of the exhibit; however, the pattern of results suggests that gender discrepant parent explanations, as found by Crowley, 2001 in a children's museum, may be less of a concern for girls in science centers, providing an interesting area for future study. This research presents evidence to support incorporating female-friendly design features in future science exhibit development projects, and indicates areas where future studies are still needed to gain a deeper understanding of their effects.
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Schneider, Amber N. Hafertepe Kenneth. "More than meets the eye the use of exhibitions as agents of propaganda during the inter-war period /." Waco, Tex. : Baylor University, 2009. http://hdl.handle.net/2104/5309.
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DABUL, Lígia Maria de Souza. "O público em público: práticas e interações sociais em exposições de artes plásticas." http://www.teses.ufc.br, 2005. http://www.repositorio.ufc.br/handle/riufc/1290.
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DABUL, Lígia Maria de Souza. O público em público: práticas e interações sociais em exposições de artes plásticas. 2005. 333f. Tese (Doutorado em Sociologia) – Universidade Federal do CEARÁ, Departamento de Ciências Sociais, Programa de Pós- Graduação em Sociologia, Fortaleza-CE, 2005Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2011-11-29T13:54:01Z No. of bitstreams: 1 2005_TESE_LMSDABUL.pdf: 1849039 bytes, checksum: bec58ce55af60c7c6229b3d92fa040f7 (MD5)
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The result of the following thesis was based on research upon public attendance to art exhibition in Cultural Centres as well as Art Museums. Utilizing observing ethnographic facts, we describe social practices and interactions which take place amongst social actors during the time of the exhibit. On bringing the reader to the researching universe and discussing concepts based on a sociologic approach of art exhibition, we cover the fundamental social practices of the public during exhibits on how to study, play, talk, observe the artistic work, take a glimpse, familiarize, caress and court it. We also try to show how the exhibit may consist an item of a group of activities significant to the social actors. As to conclude, we presented our contributions and discussed the limits of the pattern individual / art work and that of the conception of art exhibition as a receptive message arena.
Essa tese é o resultado de pesquisa sobre a presença do público em exposições de artes plásticas em centros culturais e museus de arte. Utilizando dados da observação etnográfica, descrevemos práticas sociais e interações efetuadas entre os atores sociais durante o tempo em que estão em exposições. Após aproximarmos o leitor do universo da pesquisa e discutirmos conceitos da abordagem sociológica de exposições de arte, tratamos das práticas sociais fundamentais do público em exposições, como estudar, brincar, conversar, observar a obra, dar uma olhada, conviver, fazer carinho e namorar. Tentamos também mostrar como a exposição pode consistir em item de um conjunto de atividades significativas para os atores sociais. A título de conclusão, apresentamos nossas contribuições e discutimos os limites do modelo um indivíduo / uma obra e da concepção de exposição de arte como arena de recepção de mensagens.
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Sippel, Elizabeth. "The role of memory, museums and memorials in reconciling the past : the Apartheid Museum and Red Location Museum as case studies." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1005773.
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When South Africa became a democracy, many of its cultural institutions were tainted by the stigma of having been tools for the production and propagation of apartheid ideology. This thesis examines two key facets of post-apartheid museums and memorials. Firstly, how they have repositioned themselves as institutions of cultural and social standing. Secondly, their role as tools of nation building, social change, and creators of national collective memory within the new democratic South Africa. Through an analysis of cultural memory theory pertaining to museology, this study elaborates on the methods employed by museums to incorporate memory into their narratives and in turn, transfer collective memory to their viewers. This thesis provides a comparative study of the architectural, memorial and museological strategies of two post-apartheid museums; the Red Location Museum and the Apartbeid Museum. It examines the contributions of both museums to the introduction of new museological strategies for the successful creation and transmission of South African collective memory. Through this analysis, both the invaluable contributions and the drawbacks of post-apartheid museums as tools for the promotion of new democratic ideologies and philosophies are considered. This thesis does not resolve the arguments and questions which have surfaced regarding cultural institutions as tools for the promotion of reconciliation and the construction of national collective memory within South Africa. As the current climate of memorialisation is one of change and paradox, it is presently impossible to fully quantify post-apartheid museums' roles within South Africa's move toward reconciliation and social change. However, the examination of both the Red Location Museum and the Apartheid Museum reveals the extraordinary change that South African cultural institutions have undergone in addition to their potential to become institutions which facilitate active reconciliation as well as social and cultural growth.
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Liu, Ariel. "The relationship between engagement and learning in school students' interactions with technology-driven multimodal exhibits in museums." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:5c8405d5-a834-4b0f-b160-56c988f452f8.
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This thesis reports a qualitative study of the use of multimodal technologies in museums— specifically, it examines the relationship between visitor engagement and learning, focusing on the use of multimodal technologies during school trips. The study was conducted in the Natural History Museum and the Churchill Museum, both in London, with participants from several secondary schools. These sites were chosen due to their concern for the added value of learning and public engagement, including their education-orientated investments in technology, museum activities, and architecture. In the course of data collection, visits were made to six schools and both museum sites; the participants included 117 students, 18 teachers, three museum educators, and eight museum curators and media designers. The study used a combination of video data analysis, stimulated recall interviews, document analysis, and engaging students in talk and reflection about their visit both at the museum and afterwards. The qualitative approach and multimodal analysis identify how the students’ social interactions help them construct learning through decontextualised bodily movements, which trigger contextualised discussion. The study demonstrates how multimodal analysis can be used in research to capture a wide scope of information, while maintaining a micro-level of analysis and understanding—here, capturing the detail of students’ interactions and perceptions. The findings suggest that the learning experience in museums is produced through multiple layers of interaction and through the exchange of physical and psychological behaviour among people, resources, and space. Here, the multimodal technologies with which the students engaged essentially acted as initial platforms for sensory stimuli and social interaction, supporting their peer communication and motivating them to further explore both the given topic and their own understanding of their learning methods. It was the students’ further conversation, observation, and participation, however, that created a more meaningful and entertaining learning experience in the museums.
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Fournier, Anik Micheline. "Building nation and self through the other : two exhibitions of Chinese painting in Paris, 19331977." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82704.
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This thesis investigates Western exhibition practices and the problems that arise when they involve cross-cultural encounters. Two exhibitions of Chinese painting in Paris that were co-planned by French curators and Chinese artists will serve as case studies in this regard. The first exhibition is Exposition de la peinture chinoise held at the Musee du Jeu de Paume in 1933. The second show is Quatre artistes chinoises contemporaines held at the Musee Cernuschi in 1977. Using archival material, I will reconstruct the planning of the exhibitions and reveal diverging French and Chinese agendas. An examination of the press reviews of the two shows will demonstrate that location is key in the public reception of an exhibition. The analysis of the encounter of self and other underlying the two exhibitions will lead to a probing of Western exhibition practices and bring issues of power, authenticity and identity-making to the fore.
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Winn, Alisha R. "Beyond the Business: Social and Cultural Aspects of the Atlanta Life Insurance Company." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1809.
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The dissertation research is an examination of the social and cultural dynamics of the Atlanta Life Insurance Company (ALIC) in Atlanta, GA. During the Jim Crow era (and post Jim Crow era), the ALIC provided economic mobility through employment, home loans, life insurance, and community solidarity. The company was one of the largest and most successful African-American financial institution in the country during the 20th century. It was founded in 1905 by Alonzo F. Herndon, a prosperous black barber and entrepreneur who rose from enslavement to become by 1927 the wealthiest African American in Atlanta. Renamed as the Atlanta Life Financial Group (ALFG), today the insurance company remains the leading African American stock-owned insurance company in the nation. I examine how Atlanta Life employees conceptualized their relationships within the company (past and present) and the larger African American community of Atlanta, along with the role the institution played as a shared space for producing cultural identities through social interactions. I explore the multiple roles of the company that impacted the community in the past and current roles within the African American community. I also explore what the possible closing of the Herndon Home Museum mean for memories and heritage, and the Herndon family's accomplishments if the home were torn down.
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Boyle, Amy L. "Marcel Broodthaers and Fred Wilson : contemporary strategies for institutional criticism." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98914.
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This thesis compares two contemporary artists who practice institutional criticism, Marcel Broodthaers and Fred Wilson. Looking specifically at Broodthaers's fictional museum project the Musee d Art Moderne, Departement des Aigles from 1968-1972 and Wilson's 1992 installation Mining the Museum at the Maryland Historical Society, this thesis will critically analyze each artist's similar application of deconstruction as a method. Both artists employ allegory and history as aesthetic strategies of deconstruction; using allegorical structure, the artists mobilize objects that have been arrested in history, disrupting a historical continuum that would otherwise remain foreclosed. The focus of this study will be to explore the critical approaches of Broodthaers and Wilson individually as well as the similar theoretical tendencies of the artists jointly; this investigation will assess the effect of institutional criticism on the museum's present condition, unfolding both what has changed and what is still at play within this practice.
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Shaw, Nancy (Nancy Alison) 1962. "Modern art, media pedagogy and cultural citizenship : the Museum of Modern Art's television project, 1952-1955." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36790.
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The Museum of Modern Art's television project sponsored by the Rockefeller Brother's Fund between 1952 and 1955 was designed to educate a democratic and cultured citizenry through the principles and practices of modern art and liberal humanism. Through a close reading of four television programs, related policy documents and exhibitions, as well as critical, educational and promotional literature, this study will show how within the context of the MoMA's mandate and history, the television project was a decisive, yet highly troubled attempt to forge cultural citizenship through the burgeoning media of modern art and television. This exploration will establish how the television project was an integral aspect of the MoMA's efforts since World War II to situate modern art as essential to the formation of an international polity shaped around the promise of universality, yet dependent on upholding the primacy of free and creative individuals. In addressing such a challenge, this dissertation will contend that television was not necessarily antithetical to modernism, rather it was just one among an array of struggling forces falling within the rubric of the modern. Moreover, this analysis will consider the importance of culture in logics of liberal governance. In order to elucidate the dimensions of cultural democracy as they emerged through the MoMA's television project, this study will be shaped around a discussion of three components crucial to the formation and maintenance of citizenly conduct---civic education, democratic cultural communications, and cross-cultural governance. To these ends, a range of sources from the disciplines of Communications, Cultural Studies and Critical Artistic Studies will be drawn on in order to investigate the provisional links forged between modern art, media pedagogy, and cultural citizenship in the Cold War period.
Books on the topic "Museum exhibits – Social aspects"
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Attirer et informer: Les titres d'expositions muséales. Paris: Harmattan, 2005.
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1965-, Wonisch Regina, ed. Gesten des Zeigens: Zur Repräsentation von Gender und Race in Ausstellungen. Bielefeld: Transcript, 2006.
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Museum objects: Experiencing the properties of things. Milton Park, Abingdon, Oxon: Routledge, 2012.
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Urbanski, Christin. Facets: History fellows 2012. St. Paul: Minnesota Historical Society Press, 2012.
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Byrne, Sarah. Unpacking the collection: Networks of material and social agency in the museum. New York: Springer, 2011.
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Double exposures: The subject of cultural analysis. New York: Routledge, 1996.
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Museum materialities: Objects, engagements, interpretations. London: Routledge, 2010.
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Museum und Migration: Konzepte - Kontexte - Kontroversen. Bielefeld: Transcript, 2012.
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Scott, Monique. Evolution in the museum: Envisioning African origins. Milton Park, Abingdon, Oxon: Routledge, 2008.
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Muttenthaler, Roswitha. Gesten des Zeigens: Zur Repräsentation von Gender und Race in Ausstellungen. Bielefeld: Transcript, 2006.
Find full textBook chapters on the topic "Museum exhibits – Social aspects"
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Stellaki, Panagiota. "Families and Multimedia Exhibits." In Advances in Multimedia and Interactive Technologies, 49–72. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-4666-8659-5.ch003.
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The purpose of the current article is to present the results of a survey conducted in 2010 in an exhibition at “Hellenic Cosmos”, the Cultural Centre of the Foundation of the Hellenic World in Athens, Greece. The title of the exhibition was “Is There an Answer to Everything? A journey to the world of Greek mathematics”. The survey was a part of the writer's dissertation at Panteion University at the MA Program “Cultural Management”, Department of Communication, Media and Culture. The survey focuses only in families and it gives insight about important aspects regarding exhibition spaces such as the use of multimedia before entering the exhibition space, the relation of visitors towards multimedia exhibits and the role of the museum as an alternative place for learning, especially with the use of innovative interactive multimedia.
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Goodman, Brian. "Collaborative Mediation." In Advances in Human and Social Aspects of Technology, 21–39. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-0894-8.ch002.
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Individuals are the generators and consumers of content, and in doing so, make up a substantial presence in the literate internet, above and beyond the formal media outlets that make up the minority. Accelerating the explosion of content are Web 2.0 interactions, where participants are encouraged to engage with primary content. These social spaces are a platform, supporting often-overlooked micro-interactions referred to in this chapter as digital fingerprints. In parallel, companies construct web experiences that uniquely deliver Internet inspired experiences. However, the competition that divides popular Internet destinations is absent in well run intranets. Collaboration and cooperation among internal web properties offer a unique opportunity to organize people and information across disparate experiences. An example of such a solution is IBM’s Enterprise Tagging System, a collaborative classification and recommendation service that knits employee identities and destinations together through fingerprints. The benefit of creating such a common service also exhibits the side effect and power of the relative few participants. It introduces the desperate need to consider how actions and relationships affect user experiences. The success of social systems requires a high level of diverse participation. This diversity is what ensures the mediation and influence of co-creation and collaborative filtering is not overly narrow.
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Wakefield, Sarina. "Museums, Migrant Labourers and Ethnic Spatiality in the United Arab Emirates." In The Art of Minorities, 111–29. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474443760.003.0006.
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This chapter explores the relationship between museum spatiality and migrant status in the United Arab Emirates (UAE). Despite accounting for more than 80% of the resident population and having a long and visible presence in society, migrant labourers continue to remain mostly excluded from official museum narratives and they rarely visit collections. Rather, they prefer to gather outside museums, where they meet to socialise and take pictures. This chapter draws attention to the importance of the outside space for museum research. It also highlights the formidable exhibitionary power of museums, showing how they can be used as stages of alternative heritage practices and discourses for a population that remains marginalised, all the while showcasing its social stigma. As they socialise outside museums, migrant labourers become exhibits for incoming and outgoing visitors; the uneasy reminders of the social and economic discrepancies existing in the UAE.
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Miller, Mary. "Museums." In A Field Guide for Science Writers. Oxford University Press, 2005. http://dx.doi.org/10.1093/oso/9780195174991.003.0050.
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Science writers at a museum, zoo, or aquarium are in a powerful position. We provide the first line of information that visitors receive about the place. The reading public comes eager to be inspired or entertained and maybe learn something about science and nature in the process. One of the most important jobs for a museum science writer is producing the text that accompanies exhibits. Exhibit writing was once the province of scientists or specialist curators, who felt no guilt about putting up dense technical prose for the visitor to either plod through or ignore. As long as the label didn't misidentify a dinosaur or a physical law of nature, all was well. Thankfully, the last 20 years have seen an evolution in museum exhibit writing. Curators and museum directors began to take pity on the visitor and started hiring professional writers to make the museum experience less mystifying. Museum developers have become aware they are not talking to themselves, but to an audience that might need some help understanding the physics exhibit, stuffed animal, or strange deep-sea jellyfish swimming in front of their eyes. It can be a challenge, especially at a museum like the Exploratorium, where successful interactive exhibits must be both operated and understood by the visitor. Few writers have so many functions to serve in so few words. A title and a tag line might call on the kinds of skills an advertising copywriter has, pulling people in before they know what they're going to be doing. Then a set of instructions helps a visitor build, experience, or do something that may or may not “work.” After that, you get to be a narrative science writer, explaining what just happened and why, translating, for instance, from the point of view of a biologist, physicist, or exhibit builder. Next, you might turn into a social commentator or a science historian, connecting the experience to the real world or pointing out the exhibit's historical significance. All in no more than 100 words, shorter than this paragraph. It's a tough job, but it can be rewarding when all the pieces come together.
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Minenko, M. A., and L. M. Minenko. "MANAGERIAL ASPECTS OF STOCK WORK (ON THE EXAMPLE OF THE NATIONAL MUSEUM OF MILITARY HISTORY OF UKRAINE)." In RESEARCH, CHALLENGES AND DEVELOPMENT PROSPECTS IN THE AREA OF SOCIAL SCIENCES, 179–99. Izdevnieciba “Baltija Publishing”, 2020. http://dx.doi.org/10.30525/978-9934-588-42-6/179-199.
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Kramp, Amanda. "A Scenic Route to Interpretation." In An Archaeology and History of a Caribbean Sugar Plantation on Antigua, 236–46. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401285.003.0015.
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Betty’s Hope is important and multifaceted in its historical and social significance related to the production and economy of sugar, the labor and life of enslaved Africans and their descendants, and the Codringtons, an influential family in the British Caribbean. However, tourism has long surpassed sugar as Antigua’s primary economic driver, such that today Betty’s Hope is a cultural heritage tourism site. An interpretive exhibition in the Visitors Center at Betty’s Hope and a smaller exhibit within the Museum of Antigua and Barbuda in St. Johns aid in the fulfilment of ethical responsibilities of those who steward the cultural heritage resources of both Betty’s Hope and Antigua. The recent renewal and installation of these exhibits constitute an important component of cultural heritage management. At the crossroads of best practices in museology and cultural heritage management, by way of accountability and accessibility, the final destination is interpretation, serving both local Antiguans and international travelers while fulfilling stewardship responsibilities, particularly in view of contested historical narratives of a colonial past.
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Wright, Jennifer Cole, Michael T. Warren, and Nancy E. Snow. "Strategies for Measuring Virtues." In Understanding Virtue, 121–87. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190655136.003.0004.
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In Chapter 3 we use our working conception of virtue developed in Chapter 1 to anchor an integrated proposal for virtue measurement. More specifically, we argue that what is needed to accurately measure any virtue is a multilayered research program that allows us to track the degree to which a person exhibits each of several aspects of trait manifestation: (1) the perception of virtue-relevant stimuli (the “inputs”); (2) the processing of those inputs by various social-cognitive systems (the “intermediates”); and (3) the production of situation-specific virtue-appropriate behaviors (the “outputs”). Sensitivity to the connections between these components is of prime importance for accurately measuring virtue. We provide an inclusive overview of these elements of virtue and strategies for their measurement.
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Tselios, Nikolaos, Ioanna Papadimitriou, Dimitrios Raptis, Nikoletta Yiannoutsou, Vassilis Komis, and Nikolaos Avouris. "Design for Mobile Learning in Museums." In Mobile Computing, 3282–99. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-054-7.ch242.
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This chapter discusses the design challenges of mobile museum learning applications. Museums are undoubtedly rich in learning opportunities to be further enhanced with effective use of mobile technology. A visit supported and mediated by mobile devices can trigger the visitors’ motivation by stimulating their imagination and engagement, giving opportunities to reorganize and conceptualise historical, cultural and technological facts in a constructive and meaningful way. In particular, context of use, social and constructivist aspects of learning and novel pedagogical approaches are important factors to be taken in consideration during the design process. A thorough study of existing systems is presented in the chapter in order to offer a background for extracting useful design approaches and guidelines. The chapter closes with a discussion on our experience in designing a collaborative learning activity for a cultural history museum.
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Tselios, Nikolaos, Ioanna Papadimitriou, Dimitrios Raptis, Nikoletta Yiannoutsou, Vassilis Komis, and Nikolaos Avouris. "Design for Mobile Learning in Museums." In Handbook of Research on User Interface Design and Evaluation for Mobile Technology, 253–69. IGI Global, 2008. http://dx.doi.org/10.4018/978-1-59904-871-0.ch016.
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This chapter discusses the design challenges of mobile museum learning applications. Museums are undoubtedly rich in learning opportunities to be further enhanced with effective use of mobile technology. A visit supported and mediated by mobile devices can trigger the visitors’ motivation by stimulating their imagination and engagement, giving opportunities to reorganize and conceptualise historical, cultural and technological facts in a constructive and meaningful way. In particular, context of use, social and constructivist aspects of learning and novel pedagogical approaches are important factors to be taken in consideration during the design process. A thorough study of existing systems is presented in the chapter in order to offer a background for extracting useful design approaches and guidelines. The chapter closes with a discussion on our experience in designing a collaborative learning activity for a cultural history museum.
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Hamidaddin, Abdullah. "Criticizing Religion on Twitter." In Tweeted Heresies, 65–103. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190062583.003.0004.
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This chapter demonstrates the types of critical discussion on religion, showing that Saudis on Twitter have been critical of Islam in all its aspects, and that while critiques have stayed within the boundaries of orthodoxy Islam—albeit stretching that boundary—many others have crossed it into outright heresy. The chapter focuses on types of criticism that exhibit a tension between sensibilities shaped by modernity and traditional understandings of religion, demonstrating the effect of modernity on religion in Saudi Arabia. The chapter also briefly discusses the method of using Twitter hashtags as a source that exhibits various forms of discussions happening in Saudi Arabia, without claim about the extent of representation of the Saudi populace. The chapter also shows that criticism of religion has not been without antecedents, and that this public criticism can be seen as a new wave facilitated by the rise and ubiquity of social media, rather than as a novel phenomenon. In this chapter, most of the tweets here have been anonymized to protect the privacy of the tweeters but the hashtags from which those tweets were selected are available for further research.
Conference papers on the topic "Museum exhibits – Social aspects"
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Chen, Dalei. "Museum Exhibits Display the Artistic Expression Fully Reflecting the Exhibits Social Significance." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.134.
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Clarke, Loraine, Eva Hornecker, and Ian Ruthven. "Fighting Fires and Powering Steam Locomotives: Distribution of Control and Its Role in Social Interaction at Tangible Interactive Museum Exhibits." In CHI '21: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3411764.3445534.
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Strizhkova, Natalia. "Museum as an Institutional Form of Personal & Social Experiments: Project of Russian Avantgardism Artists." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-10.
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Museums as cultural institutions certainly reflect the sociocultural transformations of the new era and are changing with the new reality. Except for that, a museum is, by definition, an institution of memory, a keeper of history, it is based on adoption: the collection, successiveness and actualisation of past experience. What is perceived as innovation by contemporary society may have historical roots and be an actualisation of innovations of a bygone era. Modern museum development recalls a global project undertaken by Russian avant-garde artists in the early 20th century, and implying the institutional modernisation of museums. This study addresses a project taken on by avant-garde artists for the modernisation of museums in the context of general cultural construction, in cooperation with the Soviet Government. The research methodology is based on a conjunction of a historical study and culturological analysis, primarily the concept of the institutional approach. The study consisted in looking through archival documents: The Fund of the People’s Commissariat for Education and its departments (declarations, provisions, resolutions, decrees, minutes of meetings, correspondence, protocols and statements of estimates, inventory books of the State Museum Fund etc.), personal funds of artists and cultural figures, their theoretical works, articles, correspondence. A holistic inter-disciplinary approach combining historical and culturological analysis with prospects for contemporary sociocultural development and the role of museums is seen as a promising novelty of the research. Russian avantgardism as an artistic and sociocultural phenomenon has remained of great interest for a century. Different studies shed light only on separate aspects of this vast topic in different scientific contexts. The examination of the museum project by avant-garde artists under this study allows us to conclude that they were the first to undertake the institutional modernisation of museums by considering them in the focus of new demands of time and society, innovative programmes as forms of personal initiatives and experiments expressed in the broad public space of artistic culture.
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Poce, Antonella, Mara Valente, Maria Rosaria Re, Francesca Amenduni, and Carlo De Medio. "Professional development of in-training museum educators: an experience of curriculum improvement in time of a pandemic." In Seventh International Conference on Higher Education Advances. Valencia: Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/head21.2021.12881.
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The present paper aims to illustrate the reorganization of two post-graduate courses, “Museum Education. Theoretical aspects” and “Advanced Studies in Museum Education” promoted by CDM (Center for Museum Studies) - Dept. of Education at Roma Tre University, carried out during the Covid-19 pandemic, and to analyze the education strategies adopted in terms of museum professionals development to face the Covid-19 museum and universities 2020 Italian lockdown.The results emerging from the quantitative evaluation of the module “Museum and Social Networks”, taking into consideration the activities and digital tools proposed, show the efficacy of the courses reorganization, in terms of transverse and professional skills development in university students, critical thinking and collaboration in particular. Moreover, the data analysis give useful indications in term of university online lectures, laboratory activities and practices in e-learning mode, evaluation tools and methodologies aimed at solliciting professional development of in-training museum educators in university learning context.
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Nastase, Mihai-Claudiu, Alexandru Mitru, and Loredana Andreea Paun (Parnic). "The Social and Economic Impact of COVID 19 Pandemic on Museums. Case Study: „Princely Court” National Museum Ensemble." In International Conference Innovative Business Management & Global Entrepreneurship. LUMEN Publishing, 2020. http://dx.doi.org/10.18662/lumproc/ibmage2020/25.
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The new coronavirus (Covid-19) is one of the main challenges world today has to address. With no large scale availability vaccine yet, and more or less experimental medical treatments for curing the disease, we can safely say that we are still far behind a solution to this problem. This new pandemic is considered the biggest threat to the global economy since the Second World War and there is no aspects of human life have not been affected it, spiritual ones included. Its high contagiousness, as well as novelty, raised all kind of challenges and one of the main ones was our manner to produce answers, in early stages at least, this creating problem on its own and of its design. As well as all the other institutions, theatres, cinemas, concert halls, spaces of socialization and in the same time places of wonder, knowledge and spiritual enrichment the museums were heavily affected by the pandemic crisis, especially those who’s collections are not, but in very small proportion available, to the public through virtual media. Such a case is „Princely Court„ National Museums Ensemble from Targoviste, Dambovita County, Romania. The present paper proposes an overview of the highlights in institution′s activity the past years in comparison with how the pandemic crisis affected its activity in the past months and what were the responses given to keep the museum in the eye of the public. It will also try to summarize how and to what extent the activity went back to „normal” after the emergency state earlier imposed was lifted and how the visitors responded to the new realities.
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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.
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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.