To see the other types of publications on this topic, follow the link: Museum exhibits – Social aspects.
Journal articles on the topic 'Museum exhibits – Social aspects'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Museum exhibits – Social aspects.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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».
6
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.
Full textAbstract:
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.
7
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.
Full text
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Humphries, Susan, and Susan Rowe. "Aspects of Museum Education in School." LEARNing Landscapes 5, no. 2 (May 2, 2012): 163–79. http://dx.doi.org/10.36510/learnland.v5i2.559.
Full textAbstract:
A group of teachers working with children, parents, and friends of the school have explored ways to develop environmental, artistic, social, and cultural awareness through events and workshops based on museum education. They saw power in the notion of collections of things that would impact on children’s formal and informal learning. This article describes aspects of museum education in school.
12
Han, Yutong, and Chuanhong Xu. "The Inquiry of Storytelling Narrative in the Museum Display Design." World Journal of Social Science Research 4, no. 2 (April 14, 2017): 114. http://dx.doi.org/10.22158/wjssr.v4n2p114.
Full textAbstract:
<em>This article starts from space story construction, display scene design and the “people-oriented” </em><em>experience design direction, combines with quality cases that leading the world museum display design, </em><em>discusses how to use the storytelling narrative into museum display design. The paper will help better </em><em>promote the plot development between space and exhibits, exhibits, people and exhibits, optimize the</em><br /><em>social education function of traditional museum, and spread exhibition information more effectively.</em>
13
Zheng, Ying, Li Wei Huang, Mi Mi Wang, Hui Qin Chen, and Li Zhen Zhang. "The Application of LED Lighting in Museum Exhibition Hall." Applied Mechanics and Materials 644-650 (September 2014): 3449–52. http://dx.doi.org/10.4028/www.scientific.net/amm.644-650.3449.
Full textAbstract:
This paper analyzed the important of lighting in museum from three main aspects, environmental lighting. LED lighting can not only meet requirements of museum lighting, and also has advantage of protecting historical relics and intelligent energy saving. The dimming control of accent lighting is achieved by infrared detection, distance detection of visitor and exhibits. Intelligent lighting and bionic controlling improve the intelligent level of exhibition, protect historical relics effectively, reflect the topic of energy saving and environmental protection.
14
Peppler, Kylie, Anna Keune, and Ariel Han. "Cultivating data visualization literacy in museums." Information and Learning Sciences 122, no. 1/2 (April 2, 2021): 1–16. http://dx.doi.org/10.1108/ils-04-2020-0132.
Full textAbstract:
Purpose This paper aims to explore what design aspects can support data visualization literacy within science museums. Design/methodology/approach The qualitative study thematically analyzes video data of 11 visitor groups as they engage with reading and writing of data visualization through a science museum exhibition that features real-time and uncurated data. Findings Findings present how the design aspects of the exhibit led to identifying single data records, data patterns, mismeasurements and distribution rate. Research limitations/implications The findings preface how to study data visualization literacy learning in short museum interactions. Practical implications Practically, the findings point toward design implications for facilitating data visualization literacy in museum exhibits. Originality/value The originality of the study lays in the way the exhibit supports engagement with data visualization literacy with uncurated data records.
15
Snitkuvienė, Aldona. "The Path of the First European Porcelain Wares to Lithuanian Museums." Perspektywy Kultury 25, no. 2 (July 1, 2019): 159–78. http://dx.doi.org/10.35765/pk.2019.2502.12.
Full textAbstract:
The state’s development, twists and turns of culture and history of the country, circumstances and passing time, often erase facts, that is why the reconstruction of the history of exhibits’ acquisition in museums is one of the most complicated aspects in museology. The article is dedicated to the presentation of Johann Friedrich Böttger’s (1682-1719) collection of red stone mass exhibits in Lithuanian museums and aims at revealing their history. Thanks to the archival register, it was possible to discover the inventory lists with descriptions of valuable works of art that had been prevented from being seized by Germans and preserved during the Soviet occupation. Among them, there were exhibits stored at the M.K. Čiurlionis National Museum of Art. Particularly valuable are twelve items of red stone mass by J.F. Böttger. Their identification revealed not only the date (1940) and the manor (the Pakruojis manor, Šiauliai region, Lithuania) from which the nationalized art collection was transferred to the museum but also to whom [Leo Carl von der Ropp (27.09.1860 Pakruojis – 09.10.1940 Berlin)] it belonged. That is how the history of J.F. Böttger’s red stoneware exhibits has been unveiled. The Lithuanian Art Museum purchased two exhibits from private persons (1980 and 1982).
16
Christidou, Dimitra. "Social Interaction in the Art Museum: Connecting to Each Other and the Exhibits." International Journal of Social, Political and Community Agendas in the Arts 11, no. 4 (2016): 27–38. http://dx.doi.org/10.18848/2326-9960/cgp/v11i04/27-38.
Full text
17
Julia, Kantor. "The Hermitage and Hermitage Artists in the Urals. Unknown Pages (Based on the Archive Documents)." TECHNOLOGOS, no. 3 (2020): 88–98. http://dx.doi.org/10.15593/perm.kipf/2020.3.06.
Full textAbstract:
The article is devoted to the stay of the State Hermitage collections in Sverdlovsk during the Great Patriotic war. Based on the documents, the author of the article examines the events of the evacuation period, including the organization of evacuation, removal, problems with the placement of exhibits caused by the lack of necessary space for placing the most valuable exhibits, as well as the complexity of the Museum employees’ accommodation. The issue of emergency evacuation of art treasures from Leningrad before the beginning of the blockade has also been raised: curtailing expositions, packaging, routing. In the article it has been shown the participation of regional authorities in solving problems related to the storage of Museum exhibits, has payed attention to the relationship of Museum employees with Sverdlovsk residents, and the stories of mutual assistance and interaction between Sverdlovsk and Leningrad Museum workers have been examined. Also the author considers the aspects of Museum workers ' daily life, problems related to the placement of unique exhibits in Sverdlovsk, and the activities of Sverdlovsk and Republican party and state bodies that responded to the requirements of Museum employees to create the necessary storage conditions. In the article is considered the story related to the placement of the evacuated collections of the Chersonesos archaeological Museum, and it is mentioned that the Crimean artifacts became the part of the Ural branch of the Leningrad Museum. Attention is also paid to the collection of Sverdlovsk posters from the great Patriotic war that was discovered in the Hermitage in the post-Soviet period. The cycles of lectures on the Humanities organized by the Hermitage branch at the Sverdlovsk University, Pedagogical, Legal and Medical Institutes, the Industrial Institute and the Regional Art School have also been referred to in the publication. The article shows the multi-faceted scientific activity of employees of Sverdlovsk branch of the Hermitage who conducted or completed serious scientific research during the evacuation period. One of the most important events during the period when the Hermitage exhibits were in Sverdlovsk was the Exhibition "The heroic military past of the Russian people" (1943). The article is also focused on the multifaceted restoration and educational activities of the Hermitage, which became the basis for professional and personal contacts between Leningrad and Sverdlovsk residents and has continued for 75 years.
18
Kasper, Kimberly, and Russell G. Handsman. "Survivance Stories, Co-Creation, and a Participatory Model at the Mashantucket Pequot Museum and Research Center." Advances in Archaeological Practice 3, no. 3 (August 2015): 198–207. http://dx.doi.org/10.7183/2326-3768.3.3.198.
Full textAbstract:
AbstractSince opening its doors in 1998, the Mashantucket Pequot Museum and Research Center (MPMRC) has had an identity as both a tribal center and a museum committed to challenging the public’s conventional understandings of Native history in New England. Over a 15-year period, museum staff and the tribal community learned to work more collaboratively in an effort to document and illuminate Pequot survivance—the histories of Mashantucket families living and working in and against the modern world. A review of recent museum projects clarifies the benefits of collaboration while revealing how new exhibits and programs are impacting visitor experiences and understandings. Another kind of museum space is envisioned in which visitors, staff, and tribal members actively co-create exhibits and programs centered on Pequot survivance, using content informed by ongoing archaeological studies. In that space, co-creation practices would encourage social interaction—a collaborative pushing-and-pulling of ideas and stories in a shared search for new understandings of survivance at Mashantucket and beyond.
19
Christidou, Dimitra, and Sophia Diamantopoulou. "Seeing and Being Seen: The Multimodality of Museum Spectatorship." Museum and Society 14, no. 1 (June 9, 2017): 12–32. http://dx.doi.org/10.29311/mas.v14i1.623.
Full textAbstract:
This article argues that museum visiting and the act of ‘spectatorship’, both of which are often assumed to be ocularcentric, are multimodal events. Anchored in Goffman’s dramaturgy and frame analysis theory, as well as Kress’s multimodal and social semiotic theory of representation and communication, this article presents an apposite interpretative and methodological framework to account for what has not been widely addressed by museum studies; that is, the multimodality of the museum experience. By drawing upon audio-visual excerpts of museum encounters, this analysis brings to the fore the embodied visiting and viewing practices of visitors in museum galleries. Specifically, this article highlights the range of modes of communication and representation, beyond gazing and looking, which are employed, negotiated and regulated within the social context of the visit. The article suggests that visitors’ experiences are embodied and performative interactions with the exhibits and other visitors.Key words: embodiment, multimodality, museums, social interaction, visitors
20
Kezich, Giovanni. "Materialized identities on the ‘hidden frontier’: ethnographic museum policies in the Italian Tyrol." Journal of Material Culture 16, no. 4 (December 2011): 429–40. http://dx.doi.org/10.1177/1359183511424198.
Full textAbstract:
The establishment of a large museum focusing on local identity is influenced by many aspects of the current political scenario, deeply affecting the general orientation and intended meaning of its exhibits. Such has been the case for the Museo degli Usi e Costumi della Gente Trentina, founded in 1968 by the ethnographer Giuseppe Šebesta, and based in the vicinity of Cole and Wolf’s celebrated and much contended ‘hidden frontier’ between Germanic and Romance worlds in the Italian Alps. Yet local identity is often elusive and easily eschews immediate reduction to material embodiments, as the intricacies of museum politics in the context of the local dialectics of cultural identification demonstrate.
21
Hebert, Kirsten. "Treating Museum Objects as Text: A Case Study." Hindsight: Journal of Optometry History 49, no. 4 (November 6, 2018): 91–96. http://dx.doi.org/10.14434/hindsight.v49i4.25914.
Full textAbstract:
Medical instrument collections are neglected primary source material that can be used to produce original scholarship on thehistory of medicine and the history of optometry. Opening museum collections and associated archives to researchers allowscollections managers to simultaneously address curatorial backlogs, facilitate research, and provide a foundation for craftingpublic-facing exhibits. In order to add to the historiography, research should not only focus on the technical aspects of theinstruments, but also employ theory to examine of the meaning of the objects in context. In this way, objects can be a vehicle forunderstanding broader themes in the history of medicine and reveal their utility as material evidence of the impact of medicineon society and culture. This two-part article includes a historiography of ophthalmic instruments and a case study in which an assemblage of ophthalmometers in the Archives & Museum of Optometry collection are treated as “text” to explore the nature of power in the doctor-patient relationship in early optometry.
22
Lwin, Soe Marlar. "Whose stuff is it?" Narrative Inquiry 22, no. 2 (December 31, 2012): 226–46. http://dx.doi.org/10.1075/ni.22.2.02mar.
Full textAbstract:
In this study, I investigate how one museum storyteller engaged her audience at different stages of producing a narrative and how museum exhibits were incorporated into her narrative in the process. The analysis focuses on the interplay among various verbal, vocal and visual features emanating from the teller at different storytelling moments and the audience’s outward responses. The study extends our understanding of the ways museum storytelling can enhance the audience’s interest in the displayed artefacts as well as in the life and culture of the people associated with these artefacts.
23
Gwoździewicz-Matan, Paulina. "MUSEUM EXHIBITION VERSUS COPYRIGHT." Muzealnictwo 60 (September 2, 2019): 225–32. http://dx.doi.org/10.5604/01.3001.0013.4132.
Full textAbstract:
Organisation of exhibitions from the point of view of copyright (Act on Copyright and Related Rights of 4 Feb. 1994, further copyright) is a multifaceted issue. The analysis conducted in the paper boils down to some selected aspects: beginning with the right to display, through exhibition as a separate copyrighted work, up to the exhibition author, namely curator. When purchasing items for collections or acquiring them on the ground of a loan contract, museums should make sure the work can be exploited through public display. Such agreement can be either expressed in the contract (rights or licence transfer) or can be implicit (it can be then assumed that non-exclusive licence with all its limitations has been transferred). Furthermore, the construction of fair use from Art. 32.1 of Act on Copyright can be applicable. An issue apart is the question of exhibition as a separate copyrighted work. It can be a co-authored work in the case when it combines creative efforts of e.g. curator and author of the exhibition layout. The article analyses exhibition understood as a collection of exhibits selected and arranged following a script or presented following a layout in order to fulfil the assumptions of a derivative work (Art. 2 Act on Copyright) or a collection (Art. 3 Act on Copyright). As a result of the assumption that exhibition is a work, the curator becomes an author, thus will have copyright to the created work. Depending on the formal curator-museum relationship, the author’s economic rights shall either be transferred to the museum (employee’s work, specific-task contract with rights transfer or licence granting), or shall exceptionally remain with the author.
24
Fan, Lin Pey, and Tzu How Chu. "Optimal Planning Method for Large-Scale Historical Exhibits in the Taiwan Railway Museum." Applied Sciences 11, no. 5 (March 9, 2021): 2424. http://dx.doi.org/10.3390/app11052424.
Full textAbstract:
The curation design of cultural heritage sites, such as museums, influence the level of visitor satisfaction and the possibility of revisitation; therefore, an efficient exhibit layout is critical. The difficulty of determining the behavior of visitors and the layout of galleries means that exhibition layout is a knowledge-intensive, time-consuming process. The progressive development of machine learning provides a low-cost and highly flexible workflow in the management of museums, compared to traditional curation design. For example, the facility’s optimal layout, floor, and furniture arrangement can be obtained through the repeated adjustment of artificial intelligence algorithms within a relatively short time. In particular, an optimal planning method is indispensable for the immense and heavy trains in the railway museum. In this study, we created an innovative strategy to integrate the domain knowledge of exhibit displaying, spatial planning, and machine learning to establish a customized recommendation scheme. Guided by an interactive experience model and the morphology of point–line–plane–stereo, we obtained three aspects (visitors, objects, and space), 12 dimensions (orientation, visiting time, visual distance, centrality, main path, district, capacity, etc.), 30 physical principles, 24 suggestions, and five main procedures to implement layout patterns and templates to create an exhibit layout guide for the National Railway Museum of Taiwan, which is currently being transferred from the railway workshop for the sake of preserving the rail culture heritage. Our results are suitable and extendible to different museums by adjusting the criteria used to establish a new recommendation scheme.
25
Chlebus-Grudzień, Patrycja. "Selfie at a museum: Defining a paradigm for an analysis of taking (self-portrait) photographs at museum exhibitions." Turyzm/Tourism 28, no. 1 (June 30, 2018): 7–13. http://dx.doi.org/10.18778/0867-5856.28.1.09.
Full textAbstract:
Due to the development of social media, posting one's photos is becoming increasingly popular; they often take the form of, so called, ‘selfie’. The phenomenon of photographing oneself has also occurred in cultural institutions, including museums. The museums are implementing various strategies of reacting to people taking pictures of themselves with exhibits at the background. The article presents an analysis of these reactions, and, based on that, various ways of defining the functions and role of the contemporary museum. The author also attempts to provide an answer to the following question: is posting photographs by visitors an element of creating their own image (‘the Culture of Narcissism’), or is it rather a form of interaction with heritage, of a dialogue with the presented contents (‘remix culture’)?
26
Chlebus-Grudzień, Patrycja. "Selfie at a Museum: Defining a Paradigm for an Analysis of Taking (Self-Portrait) Photographs at Museum Exhibitions." Turyzm 28, no. 1 (June 1, 2018): 7–13. http://dx.doi.org/10.2478/tour-2018-0001.
Full textAbstract:
Abstract Due to the development of social media, posting one's photos is becoming increasingly popular; they often take the form of, so called, ‘selfie’. The phenomenon of photographing oneself has also occurred in cultural institutions, including museums. The museums are implementing various strategies of reacting to people taking pictures of themselves with exhibits at the background. The article presents an analysis of these reactions, and, based on that, various ways of defining the functions and role of the contemporary museum. The author also attempts to provide an answer to the following question: is posting photographs by visitors an element of creating their own image (‘the Culture of Narcissism’), or is it rather a form of interaction with heritage, of a dialogue with the presented contents (‘remix culture’)?
27
Tomešková, Kateřina. "Application of the Cooperative Learning Methods within the Representation of Contents of Museum Exhibits as a Suitable Way to Promote Pro-social Behavior of Pupils." Muzeum Muzejní a vlastivedná práce 54, no. 1 (2016): 43–53. http://dx.doi.org/10.1515/mmvp-2017-0006.
Full textAbstract:
The presented contribution pertains to the museology educational matters. Aiming to a wider understanding of the formative part, this topic corresponds to the final outcomes of the research of educational potential of the Comenius Museum in Přerov. Detailed studies of the museology educational process and its qualities are the objectives of the work as explored within the real example with the special attention paid to the cooperative learning methods in use. The practice of the innovative methods delivering knowledge about the museum exhibits by the interesting interpretation of their historical consequences enriches the perceived content of various educational areas. Also, this practice brings opportunity for the educational programs scholars i.a. to draw the real potential of the exhibits with regard to their pro-social possibilities. The author of the work wishes to represent widely the didactic analyses of specific learning situations from the recent out-of-school practice, reflecting contribution of the initiation.
28
MACGREGOR, ARTHUR, and ABIGAIL HEADON. "Re-inventing the Ashmolean. Natural history and natural theology at Oxford in the 1820s to 1850s." Archives of Natural History 27, no. 3 (October 2000): 369–406. http://dx.doi.org/10.3366/anh.2000.27.3.369.
Full textAbstract:
During the period of the successive keeperships of John Shute Duncan (1823–1829) and his brother Philip Bury Duncan (1829–1854), the collections of the Ashmolean Museum at Oxford were comprehensively redisplayed as a physical exposition of the doctrines of natural theology, specifically as propounded by William Paley. The displays assembled by the Duncans, overwhelmingly dominated by natural history specimens, were swept away with the opening of the University's new Natural Science Museum and with them went almost all recollection of an extraordinary chapter in museum history. From largely unpublished records in the Ashmolean, the Duncans' achievement is here reconstructed. The primary evidence is provided by contemporary reports prepared for the Visitors of the Museum and by surviving texts from the Duncans' museum labels. Additional perspectives are provided by an extensive body of correspondence from the collectors, explorers and others who contributed specimens to the new displays: their texts illuminate aspects of contemporary preoccupations with classification, broader research priorities, and problems associated with collecting, preserving and transporting specimens, as well as shedding light on individual exhibits which they contributed to the Museum. These correspondents include a number of significant figures in the nineteenth century history of natural history, including Andrew Bloxam, N. A. Vigors and William Burchell.
29
Novikova, Alla V. "«Stigma» in museological discourse." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 100–105. http://dx.doi.org/10.30725/2619-0303-2021-1-100-105.
Full textAbstract:
The main purpose of the research is to trace the way of integration of the social concept of «stigma» in museology, to identify new directions of development of the theoretical aspects of this science from the point of view of the socio-cultural potential of the museum in overcoming stigmatization. The article provides a brief retrospective analysis of the history of the development of the museum’s social functions. The characteristic studies of domestic museum schools are revealed, and some dissertation works devoted to the problems of socialization of visitors in the museum are considered. The article analyzes the modern Russian museum experience in overcoming the stigma, and identifies the most vulnerable social groups in Russia with which museums actively interact. The author draws attention to the foreign museum experience of reducing social tension. In conclusion, the article defines the prospects for the development of theoretical research and practices of overcoming stigma by museum means.
30
Komarac, Tanja, Durdana Ozretic-Dosen, and Vatroslav Skare. "Understanding competition and service offer in museum marketing." Academia Revista Latinoamericana de Administración 30, no. 2 (June 5, 2017): 215–30. http://dx.doi.org/10.1108/arla-07-2015-0159.
Full textAbstract:
Purpose The purpose of this paper is to explore the current role of competition as one of the neglected aspects of museum marketing management. It also aims to discover whether museum professionals consider museums to be market immune and to find out what they think about the role of competition in creating and managing their existing and new services. Design/methodology/approach The theoretical part of the paper is based on a review of the literature from the multidisciplinary field of arts and museum marketing management. The exploratory qualitative research included 17 museum professionals and was carried out in 17 museums in one EU emerging market country. Findings Museum professionals are not aware of the competition, or they tend to ignore its existence. They consider the preservation of objects (exhibits) to be equally or even more important than providing services. However, additional services become important. Although some museum professionals try to engage visitors in the active creation of museum experience, most are still conservative in such terms. Research limitations The primary research limitations are related to intentional, convenience sample and the perspective of one employee (marketing manager or museums’ director). Originality/value Research findings provide valuable insights for both marketing academics and professionals engaged in the museum marketing management field. The contribution of the paper is also contextual as it helps to bridge the gap existing in museum marketing management research in the context of the emerging markets.
31
Kosiewski, Piotr. "MUSEUMS – VIEW FROM THE INSIDE." Muzealnictwo 58, no. 1 (August 7, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.2669.
Full textAbstract:
The publication Museums, exhibits, museum professionals complements our knowledge of how museums functioned in the Communist period and their situation after 1989. The book includes discussions or memoirs by eleven people vital to Polish museology, who were connected with National Museums (in Cracow, Poznań and Wrocław), museum-residences (the Wawel Museum, the Royal Castle in Warsaw), specialised museums (the National Maritime Museum in Gdańsk, the Museum of Literature in Warsaw, the Jagiellonian University Museum), ethnographic museums (in Cracow and Toruń) and the Tatra Museum, which is an example of an important regional museum in Poland. Among the people are Zofia Gołubiew, Mariusz Hermansdofer, Jerzy Litwin, Janusz Odrowąż-Pieniążek, Jan Ostrowski, Andrzej Rottermund and Stanisław Waltoś. The book presents the image of Polish museology in a scattershot but interesting way. It also mentions more detailed aspects, such as how particular museums were founded or developed in the Communist period, and the individual role of museum professionals in founding and developing the establishments they managed. However, the most attention is paid to issues regarding the state of museums after 1989. The most important of these include the contemporary functions and tasks of those establishments and the challenges they will face in the future, and the role of a musealium and its place in a contemporary museum. The observations regarding internal changes in museum institutions, in the “master-disciple” relation in the past and today, the appearance of new specialities, and the change of their status and role in institutions (for example, of people responsible for education) are also noteworthy. Another significant thread is the discussion on the definition of a “museum professional” and which museum employees may use this title.
32
BUXTON, HILARY. "Health by design: teaching cleanliness and assembling hygiene at the nineteenth-century sanitation museum." British Journal for the History of Science 51, no. 3 (September 2018): 457–85. http://dx.doi.org/10.1017/s0007087418000493.
Full textAbstract:
AbstractIn 1878, amid a rapidly proliferating social interest in public health and cleanliness, a group of sanitary scientists and reformers founded the Parkes Museum of Hygiene in central London. Dirt and contagion knew no social boundaries, and the Parkes's founders conceived of the museum as a dynamic space for all classes to better themselves and their environments. They promoted sanitary science through a variety of initiatives: exhibits of scientific, medical and architectural paraphernalia; product endorsements; and lectures and certificated courses in practical sanitation, food inspection and tropical hygiene. While the Parkes's programmes reified the era's hierarchies of class and gender, it also pursued a public-health mission that cut across these divisions. Set apart from the great cultural and scientific popular museums that dominated Victorian London, it exhibited a collection with little intrinsic value, and offered an education in hygiene designed to be imported into visitors’ homes and into urban spaces in the metropole and beyond. This essay explores the unique contributions of the Parkes Museum to late nineteenth-century sanitary science and to museum development, even as the growth of public-health policy rendered the museum obsolete.
33
Shim, H., J. Y. Jun, and J. Ahn. "PERSONALIZATION ENVISAGED IN MUSEUM APPLICATION GUIDES AND THEIR IMPLICATIONS: UNDERSTANDING THE CONTEXTUALIZATION OF THE VIRTUAL MUSEUM WITHIN THE MUSEUMS OF KOREA." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 26, 2019): 1089–96. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-1089-2019.
Full textAbstract:
<p><strong>Abstract.</strong> The emergence of innovative technologies in the museum environment has influenced the development of guide application tools for personalization, greatly contributing to the enhancement of collection accessibility and enriching the museum experience. Most Korean museums have thus developed strategic objectives for the application of evolved technological advances in their guide applications over the past decade. Beyond such endeavors, the critical analysis and understanding of technical aspects, the information and interactive approach of the applications, and their personalization strategies, are still not broadly explored. This study aims to investigate the various types of technologies that museums use to envisage the personalization of museums exhibits in light of a range of classifications and their correlations. In addition to providing an overview of personalization, the paper aims to access the level and degree of user experience and engagement found in different forms of digital storytelling to investigate the realization of virtual museum(VM) within the museum sector of Korea. To this end, this paper contributes toward filling the gap in the literature by addressing how museum communities can do critical thinking on the reflection of resources when creating their application guides in developing the appropriate digital strategies.</p>
34
Wang, Siyi. "Museum as a Sensory Space: A Discussion of Communication Effect of Multi-Senses in Taizhou Museum." Sustainability 12, no. 7 (April 10, 2020): 3061. http://dx.doi.org/10.3390/su12073061.
Full textAbstract:
Museums are much more than repositories of cultural relics to be preserved for the future. They are centers of learning, community centers, social hubs—even places of healing and contemplation. The museum experience is a multilayered journey that is proprioceptive, sensory, aesthetic and social. In this context, this study takes the case of the ‘People at the Seashore’ multisensory area in the folk exhibition of Taizhou Museum, applies three data collection techniques (questionnaire, in-depth interview and observation) to assess various types of experiences (object, cognitive, social and introspective) and effects (visceral, cognitive and emotional) in the museum, and analyzes the practical effect and relative merits of the multisensory approaches used in this exhibition through the lens of communication effect. Accordingly, multi-senses acquire creative significances upon the attractive and holding power of museum exhibitions, specifically the emotional relevance and resonances. Thus, museums should be more concerned with the connection and complex interaction between senses and experience, meanwhile be active with visual, auditory, olfactory, taste and proprioceptive experiences and engage in the potential impact on visitors from cognitive and emotional aspects, which is an important trend for the museum’s future development and also the vision of this study.
35
Manca, Stefania. "Digital Memory in the Post-Witness Era: How Holocaust Museums Use Social Media as New Memory Ecologies." Information 12, no. 1 (January 13, 2021): 31. http://dx.doi.org/10.3390/info12010031.
Full textAbstract:
With the passing of the last testimonies, Holocaust remembrance and Holocaust education progressively rely on digital technologies to engage people in immersive, simulative, and even counterfactual memories of the Holocaust. This preliminary study investigates how three prominent Holocaust museums use social media to enhance the general public’s knowledge and understanding of historical and remembrance events. A mixed-method approach based on a combination of social media analytics and latent semantic analysis was used to investigate the Facebook, Twitter, Instagram, and YouTube profiles of Yad Vashem, the United States Holocaust Memorial Museum, and the Auschwitz–Birkenau Memorial and Museum. This social media analysis adopted a combination of metrics and was focused on how these social media profiles engage the public at both the page-content and relational levels, while their communication strategies were analysed in terms of generated content, interactivity, and popularity. Latent semantic analysis was used to analyse the most frequently used hashtags and words to investigate what topics and phrases appear most often in the content posted by the three museums. Overall, the results show that the three organisations are more active on Twitter than on Facebook and Instagram, with the Auschwitz–Birkenau Museum and Memorial occupying a prominent position in Twitter discourse while Yad Vashem and the United States Holocaust Memorial Museum had stronger presences on YouTube. Although the United States Holocaust Memorial Museum exhibits some interactivity with its Facebook fan community, there is a general tendency to use social media as a one-way broadcast mode of communication. Finally, the analysis of terms and hashtags revealed the centrality of “Auschwitz” as a broad topic of Holocaust discourse, overshadowing other topics, especially those related to recent events.
36
Cain, Victoria. "The Art of Authority: Exhibits, Exhibit-Makers, and the Contest for Scientific Status in the American Museum of Natural History, 1920–1940." Science in Context 24, no. 2 (April 28, 2011): 215–38. http://dx.doi.org/10.1017/s026988971100007x.
Full textAbstract:
ArgumentIn the 1920s and 1930s, the growing importance of habitat dioramas at the American Museum of Natural History forced staff members to reconsider what counted as scientific practice and knowledge. Exhibit-makers pressed for more scientific authority, citing their extensive and direct observations of nature in the field. The museum's curators, concerned about their own eroding status, dismissed this bid for authority, declaring that older traditions of lay observation were no longer legitimate. By the 1940s, changes inside and outside the museum had destroyed any lingering notions that what exhibit-makers garnered from observing raw materials constituted scientific knowledge.
37
Krasuska, Karolina. "Gendering the Holocaust gallery in POLIN Museum of the History of Polish Jews." European Journal of Women's Studies 26, no. 3 (June 21, 2019): 247–60. http://dx.doi.org/10.1177/1350506819857220.
Full textAbstract:
Even though a gender perspective, in reference to various aspects of museums and their exhibits, permeates the reflection on museums, gender is not explicitly taken up as a category of knowledge within the self-reflective narratives about the core exhibition or the conceptualization of the Holocaust gallery in POLIN Museum of the History of Polish Jewish, which opened in Warsaw, Poland in 2014. Building upon the research gendering the memory of the Holocaust, especially with regard to historical exhibitions, and using a cultural studies framework to the study of representation, this article asks how femininities are framed by the representation of masculinities and how museum technologies work to produce gendered meanings. It concludes that most of the Holocaust gallery in POLIN problematically instrumentalizes gender relations to underpin a chronological historical narrative. In a dialogue with queer research on temporality, underscoring the coincidence of normative gender/sexuality and linear progressive narrative, it analyses this strategy as gender chronotechnology.
38
Spallazzo, Davide, and Ilaria Mariani. "Mobile Games for a house museum." Convergences - Journal of Research and Arts Education 14, no. 27 (May 31, 2021): 90–104. http://dx.doi.org/10.53681/c1514225187514391s.27.63.
Full textAbstract:
The paper discusses a formal didactic activity in a higher education context, which brought to the design, development, and testing of thirteen Location-Based Mobile Games (LBMGs) for the Bagatti Valsecchi House Museum. The activity involved BSc Design students in developing and testing interactive solutions aimed at reaching out to the "under 35" community of the museum with engaging and entertaining experiences. For this purpose, the stakeholder group of the museum experts was also involved in co-designing the solutions. On the one hand, this study focuses on the beneficial approach of involving Design students in the multiple roles of designer, player/visitor, and target audience. On the other hand, it looks at those aspects that may turn LBMGs into a means for engaging and entertaining museum visitors' experiences. We focus on four LBMGs (out of thirteen) that the museum selected to be tested with their younger community, highlighting those elements that emerged as particularly relevant for enhancing visitors' engagement and motivations. In this regard, three aspects stand out as the most impacting: (i) the benefits of a design approach based on the early involvement of both experts (the museum) and the target audience (students themselves); (ii) an intelligent orchestration of narratives and game mechanics, specifically designed to leverage the fascinating museum space, and (iii) the ability of such games to stimulate social engagement.
39
Nubani, Linda, Alyssa Puryear, and Kristy Kellom. "Measuring the Effect of Visual Exposure and Saliency of Museum Exhibits on Visitors’ Level of Contact and Engagement." Behavioral Sciences 8, no. 11 (October 28, 2018): 100. http://dx.doi.org/10.3390/bs8110100.
Full textAbstract:
This paper examines visitors’ movement patterns at the Broad Museum designed by Zaha Hadid. Characterized with free, open, and generally unbound spaces, visitors explore a curated exhibition at their own pace, route, and agenda. Unlike most other public environments, a museum lends visitors greater choice and control, and does not hold the social or spatial expectations of other facility types that might subject the visitor’s path of travel. In this study, 72 visitors were observed. A space syntax-based visibility graph analysis (VGA) was then performed to compute the visibility exposure and the spatial position of each exhibit within the museum. Negative binomial regression was used to look at the effects of spatial variables on visitors’ wayfinding, contact, and engagement with the pieces. Results showed that both the amount of visibility area around each exhibit, and its spatial position measured using space syntax techniques explained why visitors established a contact with the piece and their wayfinding behavior. Interestingly, however, the saliency of exhibits along with spatial variables were both strong predictors for why people arriving in groups split to engage with that particular exhibit. The simulation used in this study could be useful in curatorial decisions.
40
Mancuso, Rebecca. "The Finger Saga." Public Historian 40, no. 2 (May 1, 2018): 23–42. http://dx.doi.org/10.1525/tph.2018.40.2.23.
Full textAbstract:
The Wood County (Ohio) Historical Center and Museum has struggled with how to treat a controversial artifact a long time in its possession: a set of severed human fingers in a jar. Collected from a murder scene in 1881, “The Fingers in the Jar” have become a popular piece of the museum’s collection but for problematic reasons. This article traces the artifact’s life from creation to lurid objectification and proposes a new interpretation that recognizes its profound moral value. Such provocative exhibits can generate critical moral reflection and thus the museum is exploring ways to present these controversial human remains despite ethical concerns. Displaying them in a humanizing, pedagogically sound way fits squarely within the museum’s updated mission to promote social justice. The museum can offer a pathway toward public education on domestic homicide in all its brutality, historically and today.
41
Mohamed, Mostafa Khaled, Amal Abdou, and Doaa Abouelmagd. "Assessing “the Revival of the Egyptian Museum Initiative” for the People with Special Needs as an Approach for Social Sustainability." Academic Research Community publication 3, no. 4 (May 27, 2019): 64. http://dx.doi.org/10.21625/archive.v3i4.539.
Full textAbstract:
Disability is one of the greatest challenges faced by the societies. Recent statistics from the World Health Organization indicated that the percentage of people with special needs with different disability problems is around 13% globally and exceeds 10% at the local level.Despite the many national laws and codes that seek to make people with special needs have corresponding life to that of others, there are still barriers to their involvement in the society adequately, especially their use of the social infrastructure, and public and cultural buildings like museums.Museums are one of the most important establishments that must be suitable for the use of every person including people with special needs. They are catalysts for culture, history, art and science as well as their representation of the progress and renaissance of countries and societies.The Egyptian Museum with its 19th century neoclassical style has been one of the most prominent landmarks of downtown Cairo for more than 100 years. It has the largest collection of works of ancient Egyptian history and art. Despite its status as one of the most important museums in the world, it has suffered a great deterioration over several decades, which reflected the building and the exhibits negatively. As a result, “The Revival of the Egyptian Museum Initiative” was launched in May 2012 to define the national and international future role of the museum. It aimed to study the current situation of the museum and develop a comprehensive plan for rehabilitation.The paper discusses and assesses “The Revival of the Egyptian Museum Initiative” and its suitability for the people with special needs as an approach to achieve social sustainability. Moreover, the paper analyzes the appropriateness of the Egyptian Museum for the use of people with special needs and its comparison with a similar global example to come up with a set of recommendations to increase the efficiency of the Egyptian museum and it’s surrounding area.
42
Soćko-Mucha, Alicja. "Wspólnota śmiechu muzealników (Szkic do dalszych studiów)." Prace Etnograficzne 48, no. 3 (November 30, 2020): 253–69. http://dx.doi.org/10.4467/22999558.pe.20.019.13147.
Full textAbstract:
Laughter Community of Museum Employees (A Research Note) The subject of the article is the occupational humor of museum employees and the laughter community connected to it. The author shows which aspects of work in a museum trigger off comical effect according to the employees themselves. The research material comes from the author’s personal experiences as well as the interviews with other staff members and Facebook fanpage Muzealnicy. The author tries to answer the question concerning the cultural and social functions of the laughter community of museum employees. The theoretical framework of this analysis is provided by K. Żygulski’s concept of the “laughter community”.
43
Tinning, Katrine. "To Survive Ravensbrück: Considerations on Museum Pedagogy and the Passing on of Holocaust Remembrance." Museum and Society 14, no. 2 (June 9, 2017): 338–53. http://dx.doi.org/10.29311/mas.v14i2.647.
Full textAbstract:
How can museums pass on the remembrances of the survivors of Holocaust in ways that engage visitors? This article looks at the ways museums remember the Holocaust by focusing on an exhibition entitled To Survive - Voices from Ravensbrück at the museum of cultural history, Kulturen, in Lund, Sweden. The exhibition centres on a unique collection of small objects secretly and illegally created by women in the Ravensbrück concentration camp as acts of resistance against the inhuman conditions in the camp. Exhibits on the Holocaust represent a particular tradition of museum pedagogy, associated with the imperative of ‘never again’, often read as an attempt to evoke empathy and responsibility for other human beings. In line with this tradition, the educational aim of To Survive is to encourage the viewers, to be moved to a greater sense of responsibility. The article provides a detailed description of the exhibit, discusses the choice of the museum to tone down the dark aspects of the story, and looks into how the exhibition realizes various appeals to the visitor, but also how it makes some voices mute. As such this article contributes to the ongoing museological discussions of the complexities of putting so-called difficult knowledge on display.Key Words: Museum Pedagogy, Visual Pedagogy, Memory Studies, Holocaust Studies, Difficult Knowledge, Ethical responsibility, Visitor involvement.
44
��������, V. Teslenko, ���������, and Yuliya Kornilova. "Museum and Educational Complex as an Effective Means of Iteraction Between the School and the Museum." Standards and Monitoring in Education 2, no. 5 (October 17, 2014): 43–46. http://dx.doi.org/10.12737/6892.
Full textAbstract:
The article considers one of the ways to create open information and educational space on the basis of interaction of two social environments: school
and museum.Four models are analyzed on the basis of the following criteria: frequency and duration of interaction and forms of carrying out studies in
"school and museum"system. For ensuring this interaction authors offer a special museum and educational complex representing the educational form
that materialize the teacher�s model of training of pupils and allow its implementation in educational process.Conceptual aspects of the offered complex
are provided and interaction models are presented: incidental, periodic, systematic and system. These models place teacher, pupil and their interaction
into museum space. The article presents a short characteristic of the allocated models, along with forms of estimating the results of pupil�s interaction
with museum space.
45
Fedotova, Olga, Vasilij Zhurakovskij, Pavel Ermakov, Ilia Cherkashin, and Elena Cherkashina. "Virtual museum in the system of informal education (based on sports materials)." E3S Web of Conferences 273 (2021): 12072. http://dx.doi.org/10.1051/e3sconf/202127312072.
Full textAbstract:
The article raises the problem of using the educational potential of virtual museums. It is noted that virtual museums are a new organizational form of the modern system of informal education. Thanks to the availability and openness of museum funds, it becomes possible to acquaint young people with the artifacts of culture and social life. The exposition fund of the virtual museum of bookmarks created in Germany is analyzed. The thematic field “sport” is chosen as the object of research. Based on content analysis, the frequency of manifestation of this concept is revealed. On the basis of cluster analysis, the belonging of the exhibits to various sections of the virtual museum is established. It is concluded that sport is presented as a subject of three clusters 1) financial savings for sports, 2) advertising lifestyle and sporting goods and 3) world-class sporting events. The assessment of the peculiarities of presentation of the content of bookmarks on the subject of sports creolized texts is given.
46
Whittier, JM, and J. Martin. "Aspects of Social-Behavior and Dominance in Male Rainbow Skinks, Carlia-Rostralis." Australian Journal of Zoology 40, no. 1 (1992): 73. http://dx.doi.org/10.1071/zo9920073.
Full textAbstract:
A laboratory study was conducted to observe patterns of social behaviour of males of the sexually dimorphic rainbow skink, Carlia rostralis. Animals were observed alone or in matched pairs, both as residents and non-residents of the testing cage. Behavioural patterns observed included active, aggressive, submissive, assertive, exploratory and escape categories of acts. These patterns of behaviour varied in social contexts. Active behaviour increased significantly when males were paired. Of the paired encounters, 60% had neutral outcomes in which no dominant/subordinate individual could be determined. When dominance/subordinance interactions occurred they were found to be expressed in a linear hierarchy. Dominance was positively correlated with male snout-vent length. Dominance of males was absolute and did not depend on residence status. These observations of social behaviour in the laboratory, together with preliminary observations of behaviour of this species in the field, suggest that Carlia rostralis exhibits different patterns of social behaviour from that observed in other scincid lizards.
47
Kellner, Alexander Wilhelm Armin. "Museus e a divulgação científica no campo da paleontologia." Anuário do Instituto de Geociências 28, no. 1 (June 1, 2005): 116–30. http://dx.doi.org/10.11137/2005_1_116-130.
Full textAbstract:
Museums are generally regarded as having high potential for science communication. In Brazil, however, those institutions are still far away from accomplishing this mission, particularly regarding paleontology. Here we discuss several aspects regarding science communication and museums. The three main activities associated to museums are research, repositories of collections and exhibitions. The collections of the Brazilian museums and the exhibits tend to be poor when compared with similar European and North American institutions, causing a distance between museum and society. Among the attempts of changing this picture, the Museu Nacional/UFRJ, in collaboration with the Museu de Ciência da Terra (DNPM), has organized in 1999 the temporary exhibition THE TIME OF THE DINOSAURS, which turned out to be the most visited exposition regarding fossils organized in the country so far. Among the several benefits of this exhibit was to increase the interest of the population regarding paleontology. This experience has shown that the museum must interact more strongly with the society in order to fully develop its potential of science communication.
48
Sturken, Marita. "Containing absence, shaping presence at ground zero." Memory Studies 13, no. 3 (June 2020): 313–21. http://dx.doi.org/10.1177/1750698020914015.
Full textAbstract:
This essay analyzes the dynamics of absence and presence at the 9/11 memorial and museum in New York, as elements of their design and aspects of the haunting of the site. Of the 2753 victims, 1113 have never been identified, despite a huge and expensive forensic identification process, and this absence has been a shaping force at the site. While the designs of the memorial and the museum both evoke absence, both also attempt to render the dead present, through naming at the memorial and through an array of media, most effectively audio, in the museum. This essay examines the complex forensic identification of the 9/11 dead and the effect of the disappearance of so many, and analyzes the strategies through which the memorial and museum aim to render the 9/11 dead present.
49
Gordon, A., and V. Kalmykova. "THE SONG OF LOVE TRIUMPHANT. ON I. S. TURGENEV MUSEUM." Voprosy literatury, no. 4 (October 2, 2018): 336–62. http://dx.doi.org/10.31425/0042-8795-2018-4-336-362.
Full textAbstract:
In their joint interview, Elena V. Polyanskaya, the curator of Ivan Turgenev’s museum in Moscow, and its senior research fellow Elena M. Gribkova tell the story of the museum’s founding in 2007. Prefacing the interview is a brief in memoriam devoted to the recently passed E. Gribkova, who had worked at the Ostozhenka-based memorial house since its inception. Much emphasis is given to Turgenev’s integration into European culture through his friendship with Louis and Pauline Viardot, and the perception of his works by Flaubert, Maupassant, and Mеrimеe. The interview touches on the social and political stance of Turgenev and mentions a number of facts of his personal and creative life that are related to Moscow. The interviewees also reveal the selection process behind the museum’s exhibits and dwell on their main professional objective, i. e. to try and recreate, at least partially, the genuine period setting and decoration of the house. The new exhibition immerses the visitors into the world of Turgenev, an 1840-s man, and his mother: the world of the Russian landed gentry, of fathers and sons.
50
Romanowska-Zadrożna, Maria. "PROVENANCE STUDIES IN POLAND (PART 2)." Muzealnictwo 58, no. 1 (April 14, 2017): 47–59. http://dx.doi.org/10.5604/01.3001.0009.8777.
Full textAbstract:
This article continues the first part of Provenance studies in Poland published in issue 57 of the “Muzealnictwo” Annual in 2016, and complements the text published two years ago, which was more general and focused on the situation in the USA and Europe. It presents diverse aspects of the topic, through statistical analysis of the situation in our museums and discussing works by Polish authors who tackled the problem of methodology, including first texts on library science and war losses, so-called orphaned works and property of Holocaust victims, and the post-war situation which contributed to the work’s loss of its origin. The article also draws attention to the legal aspects of purchasing artworks without due diligence, as well as to the verification of museum exhibits’ origin before obtaining legal protection for those works which are to be placed under so-called museum immunity. In the literature on provenance studies when examining the provenance of artworks, the increasing role of digital tools, such as the internet or digitisation, has been noted. Attention has also been drawn to the contribution of conservators and their innovative methods which may help determine the origin of an object. Another aspect raised in the text is the issue of the theoretical preparation to conduct provenance studies as well as the education which is already standard in library science faculties, but still a long-awaited subject for students of art history and archiving. Although NIMOZ has already organised day-long workshops for museum professionals, and the University of Warsaw has conducted academic seminars lasting several hours, there is still a long way before reaching the two-term studies offered at the Berlin Open University.