Journal articles on the topic 'Museum exhibits'
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1
Houltz, Anders. "Captives of Narrative: Scandinavian Museum Exhibits and Polar Ambitions." Culture Unbound 2, no. 5 (December 17, 2010): 719–44. http://dx.doi.org/10.3384/cu.2000.1525.10239719.
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This article compares the histories of two museums of polar exploration, both founded in the 1930s but based on well-known expeditions dating back to the decades around 1900. The first is the Fram Museum in Oslo, centered around the famous Norwegian polar ship, the second is the Andrée Museum in Gränna, combining accounts of the ill-fated balloon expedition with a polar centre reflecting more recent polar research activities.
The aim of the article is to analyze the relationship between museum and narrative. Museums are shapers of narrative but at the same time shaped by the narratives they relate. The article explores the symbolic and medialized dimensions of polar research, expressed in museums, as well as the way in which museums interrelate with national identities and self-images.
What does it mean to be a modern polar nation? And how is such an identity expressed in cultural terms? In which ways can museum institutions and exhibitions be used as means for such expressions? And how do “the grand narratives” of Sweden and Norway relate to the epic representations of polar activities, presented by the museums?
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Chen, Yu-Lin, Ting-Sheng Lai, Takami Yasuda, and Shigeki Yokoi. "A museum exhibits support system based on history and culture literacy." International Journal of Humanities and Arts Computing 6, no. 1-2 (March 2012): 148–59. http://dx.doi.org/10.3366/ijhac.2012.0045.
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Museums need an interactive data collection and visualisation tool for their artefacts. This paper describes a study in which we enable access to Chinese and Japanese cultural heritage information from two history museums, the National Palace Museum in Taiwan and the Tokugawa Art Museum in Japan. Results from these museum databases were used to develop a prototype system to demonstrate advanced cultural learning and historical timeline functionalities for foreigners. This system is based on temporal data from the museums’ databases, and provided the user with powerful data manipulation and graphical visualisation tools. It might become a basis of an interactive digital museum system for Chinese and Japanese heritages especially for foreign users.
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Chung, Beom Sun, Eun-mi Park, Sang-Hee Kim, Sook-kyoung Cho, and Min Suk Chung. "Comic Strips to Accompany Science Museum Exhibits." Journal of Education and Learning 5, no. 4 (September 22, 2016): 141. http://dx.doi.org/10.5539/jel.v5n4p141.
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<p>Science museums make the effort to create exhibits with amusing explanations. However, existing explanation signs with lengthy text are not appealing, and as such, visitors do not pay attention to them. In contrast, conspicuous comic strips composed of simple drawings and humors can attract science museum visitors. This study attempted to reveal whether comic strips contribute to science exhibitions. More than 20 comic strips were chosen that were associated with exhibits in a science museum. The individual episodes were printed out and placed beside the corresponding exhibits. A questionnaire was administered to museum visitors to evaluate the effects of the comic strips. Most visitors responded that the comic strips were helpful in understanding the exhibits and in familiarizing themselves with the science. Participants also described the comic strips’ deficiencies which will be considered for future revisions. Comic strips are likely to enhance interest in and comprehension of science exhibitions. Furthermore, these strips are expected to enrich science museums in various ways such as establishing their uniqueness.</p>
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Kupriyanov, P. S. "Other worlds in the museum: exhibits as evocative objects." Etnograficheskoe obozrenie, no. 6 (December 15, 2023): 77–91. http://dx.doi.org/10.31857/s0869541523060064.
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The article focuses on the evocative effect in the museum spaces: it examines the situations in which museum exhibits and their complexes operate (“work”) as evocative objects, evoking memories and emotions in visitors. The conditions and mechanisms that ensure such an effect are explored through the field observations and interviews with visitors and employees of museums, as well as reviews of expositions. I analyze the materials of three cases: The Museum-residence “Artkommunalka ‘Yerofeyev and others’” (Kolomna, Moscow region), the museum complex in the Uchma village (Yaroslavl region), and the mobile exhibition “To Trust the Dried-Up”. The analysis shows that the evocative effect in the museum spaces does not arise by itself; rather, it is provided by special efforts: in some cases, preliminary or synchronous discursive support, in others - sensory attunements.
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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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Al-Taie, Inas, Paola Di Giuseppantonio Di Franco, Michael Tymkiw, Duncan Williams, and Ian Daly. "Sonic enhancement of virtual exhibits." PLOS ONE 17, no. 8 (August 24, 2022): e0269370. http://dx.doi.org/10.1371/journal.pone.0269370.
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Museums have widely embraced virtual exhibits. However, relatively little attention is paid to how sound may create a more engaging experience for audiences. To begin addressing this lacuna, we conducted an online experiment to explore how sound influences the interest level, emotional response, and engagement of individuals who view objects within a virtual exhibit. As part of this experiment, we designed a set of different soundscapes, which we presented to participants who viewed museum objects virtually. We then asked participants to report their felt affect and level of engagement with the exhibits. Our results show that soundscapes customized to exhibited objects significantly enhance audience engagement. We also found that more engaged audience members were more likely to want to learn additional information about the object(s) they viewed and to continue viewing these objects for longer periods of time. Taken together, our findings suggest that virtual museum exhibits can improve visitor engagement through forms of customized soundscape design.
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Skalska-Cimer, Beata, and Andrzej Kadłuczka. "Virtual Museum. Museum of the Future?" Technical Transactions 2022 (2022): 1–6. http://dx.doi.org/10.37705/techtrans/e2022004.
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The following article discusses examples of museums that implement virtual reality in presentations of exhibits and museum objects. Trends that shape contemporary museums are discussed. The aim of the article is to familiarise the reader with the possibilities of modern applications in museum exhibition presentations.
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Williams, Joseph. "Day or Night at the Museum: A UX Analysis of Virtual Exhibits." Journal of Technical Writing and Communication 52, no. 2 (February 14, 2022): 166–81. http://dx.doi.org/10.1177/00472816221074101.
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The virtual museum tour has claimed new audiences during the pandemic, but not all virtual tours are created equal. First, this paper will explore the world of virtual museums and UX scholarship. Secondly, the paper will propose a viable set of options in determining effectiveness of virtual museums. Thirdly, the paper will discuss specific examples of UX design among museum virtual exhibits offered currently, specifically those that do not require any additional downloads or software. Finally, the paper intends to discuss the implications of high quality UX design within the realm of virtual museum tour.
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Lisnic, Angela. "Exponatele muzeistice ca surse istorice la orele de istorie în ciclul gimnazial." Revistă de Ştiinţe Socio-Umane = Journal of Social and Human Sciences 42, no. 2 (April 2019): 79–86. http://dx.doi.org/10.46727/jshs.2019.v42.i2.p79-86.
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The Contemporary Museum offers information, exhibitions and educational activities on understanding and perceiving the past. At the same time, the museum and museum exhibits are important sources in contemporary historical education. The capitalization of museum exhibits as historical sources in history classes in contemporary didactic approach must be made in relation to the concrete historical age. Applying the chronological principle to work with museum sources creates prerequisites for the more nuanced reception and understanding of the past. The use of museum tools in history classes demonstrates the timeliness and timeliness of their application in the teaching process. Involvement of museum sources in history classes increases the interest in the past.
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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.
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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.
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Grishina, Natalia V. "THE STRUCTURE OF THE STAFFING THE MUSEUM AS AN OBJECT OF INFORMATIZATION." RSUH/RGGU Bulletin. Series Information Science. Information Security. Mathematics, no. 3 (2021): 74–81. http://dx.doi.org/10.28995/2686-679x-2021-3-74-81.
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As a result of the use of information technologies in their work, museums have acquired qualitatively new opportunities for the registration of exhibits, the preservation of electronic copies of the documents and exhibits, as well as the mode of access to exhibits. Museums strive to become interesting, fashionable, interactive, educational. The modern museum can be fully called an object of informatization. In order to realize all modern possibilities, museums must be staffed with modern personnel. A modern museum worker is not just an art critic with relevant knowledge. A modern museum worker must confidently master the information technologies and use them in the practice. The article analyzes the dynamics of changes in the staff of museum workers over the past six years. It presents the diagram of the distribution of museum workers by the age groups and shows the distribution of museum workers according to their experience. There is an analysis in ratio of the number of men and women among museum workers. The paper analyzes some aspects of staffing the museum as an object of informatization.
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Yermakova, Tetiana, Sergii Iermakov, Mateusz Tomanek, Wladyslaw Jagiello, and Lidiya Zavatska. "The influence of visitors’ specific motor actions on the perception and evaluation of museum exhibits." Pedagogy of Physical Culture and Sports 27, no. 3 (June 29, 2023): 235–46. http://dx.doi.org/10.15561/26649837.2023.0308.
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Background and Study Aim. An important element in the system of museum activities are approaches to attracting visitors. Among these approaches, one can single out the dialogue of the museum with visitors through specially organized active motor actions. Such actions have certain parameters (the nature of physical activity and its age-appropriateness, intensity, duration, etc.), which can influence the perception and evaluation of exhibits and the decision of visitors to return to the museum. The purpose of the study is an attempt to explain how specially organized active motor actions of visitors affect the perception and evaluation of museum exhibits and getting satisfaction from visiting.
Material and Methods. Publications from the Web of Science Core Collection (WoS) were selected as the source of information. The search was carried out using keywords that characterize the interaction of visitors with the subject-spatial environment of the museum. The VOSviewer program was used to analyze the relationships between documents retrieved from WoS.
Results. It is argued that the sedentary behavior of visitors, typical for many museums, does not contribute to their involvement in the museum space and the creation of meaning in museums. It is noted that an important aspect in the organization of special motor actions of visitors is the orientation to their motivation and interpretation of movements in the museum exhibits. The optimal level of physical activity has been identified. It creates a comfortable feeling and contributes to an adequate perception of the exhibits and corresponds to the main mission of the museum.
Conclusions. Specially organized motor actions form the maximum motivation for visitors to study the museum exhibits. Such movements carry a certain semantic character of the theme of the museum.
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Goff, Sheila, Betsy Chapoose, Elizabeth Cook, and Shannon Voirol. "Collaborating Beyond Collections: Engaging Tribes in Museum Exhibits." Advances in Archaeological Practice 7, no. 3 (May 28, 2019): 224–33. http://dx.doi.org/10.1017/aap.2019.11.
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AbstractThere has been—and continues to be—tension between Native peoples and museums in the United States due to past collecting practices and exhibitions that strive to interpret their culture and history without their involvement. Previously, many of these exhibitions stereotyped and lumped Native peoples together, depicting their cultures as static and interpreting them and their material culture from a Western scientific perspective. Changes are being made. Collaboration between Native peoples and museums in all areas of museum work, including exhibitions, is beginning to be considered by many as a best practice. Exhibitions developed in collaboration with Native peoples, with shared curatorial authority, decidedly help ease the historic tension between the two, and they are much more vibrant and accurate than when collaboration is lacking. This article will provide three examples of collaboration, defined with our tribal partners, to develop exhibitions at History Colorado, the state history museum, concluding with lessons learned.
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Smith, Samuel A., and Kenneth E. Foote. "Museum/space/discourse: analyzing discourse in three dimensions in Denver’s History Colorado Center." cultural geographies 24, no. 1 (September 20, 2016): 131–48. http://dx.doi.org/10.1177/1474474016663930.
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Museums have recently gained attention from cultural geographers as important sites of cultural production and reproduction. Within this growing field of ‘museum geographies’, we focus on how discourses are arranged in the three-dimensional spaces of galleries and exhibits. We argue that the spatial arrangement of text, media, and artifacts shape narrative storylines and suggest sequences, connections, progressions, and pathways within and between exhibits. In doing so, the spatial arrangement of these museum ‘assemblages’ is tied to the meaning of the underlying discourse. Looking at discourse in three dimensions offers a way for cultural geographers to contribute to an interdisciplinary study of museums, as well as to other modes of discourse where the spatial form of the text contributes to its meaning. We explore this methodology through a study of the History Colorado Center, a recently opened museum in Denver, CO. The center’s exhibits, designed to confront critical histories of the state and the American West, are designed as immersive multimedia reconstructions of Colorado sites and stories, and include iconic regional imagery as well as more dissonant episodes of Colorado’s past. Through an analysis of these exhibits, we highlight how the connections made across museum spaces can enhance or detract from intended exhibit themes. In the History Colorado Center, these spatial arrangements both contribute to and detract from the museum’s presentation of a critically nuanced state history. However, we argue, the spatial arrangements of discourse merit further attention, for museum geographies as well as across other media.
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Storrs, Glen W. "“Missionary lizards” – Palaeontological exhibits and the creationist agenda." Geological Curator 11, no. 7 (October 2022): 419–27. http://dx.doi.org/10.55468/gc1457.
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The use of fossils, and especially dinosaurs, in the exhibits of creationist museums, and their use in the programming efforts of these and similar outlets has become increasingly common. Museum professionals, including scientists, curators and educators should be aware of the appropriation and misuse of palaeontological specimens and data for use in the promotion of a narrow theological and political agenda, that of biblical inerrancy and young earth creationism. By its very nature, this effort attempts to undermine the scientific and educational underpinnings of modern society as part of a larger culture war. The growth of museum-style exhibitry and programming by the creationist community for partisan purposes risks damaging the credibility of natural history and science museums in the eyes of the general public, as the line between data-driven presentation and advocacy becomes blurred.
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Burakov, Yurii, and Liliya Pytlovana. "Regional features of building museum exhibits on history of the modern Russo-Ukrainian War." Skhid 5, no. 1 (June 30, 2023): 16–22. http://dx.doi.org/10.21847/2411-3093.2023.5(1).282361.
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Various aspects of constructing stationary and mobile museum expositions of Ukraine in different regions of the country are analyzed, with the purpose of creating permanent exhibitions on the history of the modern Russo-Ukrainian War. The positive experience in organizing the preservation and popularization of the Russo-Ukrainian War monuments in the capital and regional museums of Ukraine is summarized, as well as the processes of their exposition and exhibition activity transformation at the current stage are studied. It is noted that the significance of constructing expositions on the modern history of Ukraine and the exhibition activities of national museums increased in connection with the Russia-Ukraine war of 2014 - 2023, when exposition materials became not only a means of forming historical memory, but also a source of patriotism and loyalty to national priorities, an important factor in formation of the Ukrainian nation. Individual exhibitions are studied in the “National Museum on the History of Ukraine in the Second World War”, “Memorial Complex”, "National Museum of the History of Ukraine", "National Military Historical Museum", regional local history museums, museums of higher military educational institutions, garrison museums. The study emphasizes the relevance of creating virtual means of presenting the historical past and present. The opening of virtual exhibitions and expositions in Ukraine is promising, as it connects a large audience both in our country and abroad with the exhibition ma-terial and unique funds. Foreign presentations have become an important field in modern expositions presentations. This applies both to the work of individual museums and individual foundations, European and global press centers, individual foundations, etc. A conclusion is made about the accumulated rich experience of the museums of Ukraine in all spheres of activity and, primarily, the active use of museum collections in the national and patriotic education of our country’s youth.
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Kandel, Samikshya, and Luna Thapa. "Study of Space Layout of Museum; A Case of International Mountain Museum at Pokhara, Nepal." Technical Journal 3, no. 1 (December 31, 2023): 91–108. http://dx.doi.org/10.3126/tj.v3i1.61942.
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Currently, the museum is one of the learning and pass time activities space for the public. A good layout of a museum can bring a wonderful visiting experience to the visitors. Overall, museums play an important role in preserving a town's cultural heritage, providing educational opportunities, attracting tourism, and promoting community engagement. Effective space distribution in a museum is critical for creating an engaging and informative experience for visitors. By carefully considering the needs and interests of different types of visitors, museums can create spaces that are both functional and aesthetically pleasing. But there are very few designed museums in Pokhara, one of the growing cities of Nepal. Also, it is one of the tourist attracting places in Nepal. This paper explains the spatial layout of one of the designed museums of Pokhara. For this purpose, a well-known International Mountain Museum is taken as a case area by using observation and questionnaire survey methods. This museum displays a wide range of exhibits related to the Himalayan mountains, mountaineering, and the culture of the people who call the region home. In addition to the mountaineering exhibits, the museum also features displays of the history, culture, geology, flora, and fauna of the Himalayas. Overall, space distribution in a museum is designed to facilitate the flow of visitors through the space, while also highlighting the key messages and themes of the exhibits.
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Kiriyama, Takashi, and Masahiko Sato. "Design of museum exhibits and analysis of visitor-exhibit interactions." Journal of Ambient Intelligence and Smart Environments 5, no. 2 (2013): 147–59. http://dx.doi.org/10.3233/ais-130197.
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Li, Na. "Museums and the Public." Public Historian 42, no. 1 (February 1, 2020): 29–53. http://dx.doi.org/10.1525/tph.2020.42.1.29.
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Museums have grown exponentially in China in the span of approximately 110 years. How does one design an exhibit for a better-informed public? What kind of interpretive space is needed to engage the public? How do museums function as sites of public history? This article traces the genealogy of museum development in China, and argues that the birth of the modern museum in China is a product of the radicalism of the late nineteenth and the early twentieth centuries. Embedded in the subsequent one hundred years of development are a changing definition of “public,” a remodeled idea of “history,” and an evolving relationship between museums and their public. Within this context, the “Museums and the Public: Urban Landscape and Memory” project explores how the public interprets history and landscapes through exhibits, and if or how the exhibits reflect their memories. The analysis raises three possibilities for museums in China.
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Hamer, Naomi. "The hybrid exhibits of the story museum: The child as creative artist and the limits to hands-on participation." Museum and Society 17, no. 3 (November 29, 2019): 390–403. http://dx.doi.org/10.29311/mas.v17i3.3256.
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Since the Brooklyn Children’s Museum opened in 1899, the concept of the children’s museum has evolved internationally as a non-profit public institution focused on informal family-centred education and interactive play environments (Acosta 2000; Allen 2004). The majority of these museums highlight science education; however, over the past decade, a new specialized institution has emerged in the form of the children’s story museum that concentrates on children’s literature, storytelling, and picture book illustration. These story museums feature childhood artifacts through the curatorial and display conventions of museums and art galleries, in combination with the active play environments and learning stations of science-oriented children’s museums. These exhibits also reflect the changing place of the museum as an institution in the age of the “participatory museum”: a movement away from collections towards interactive curatorial practices across physical and digital archives (Simon 2010; Janes 2011). Framed by cross-disciplinary theoretical and methodological approaches from critical children’s museology, picture book theory, and children’s culture studies, this analysis draws upon selected examples (2014-2018) of curatorial practices, exhibits, and the spatial/ architectural design from Seven Stories: National Centre for Children’s Books (Newcastle, UK), the Hans Christian Andersen Haus/Tinderbox (Odense, Denmark), and The Eric Carle Museum of Picture Book Art (Amherst, MA, USA). These institutions provide distinctive venues to examine the tensions between discourses of museums as institutions that house collections of material artifacts including children’s literature texts, discourses of the creative child and ‘hands-on’ engagement (Ogata 2013); and discourses of critical engagement and participatory museums. While these exhibits affirm idealized representations of childhood to some extent, participatory engagements across old and new media within these spaces have significant potential for critical and subversive dialogue with ideological constructions and representations of gender, race, socio-economic class, mobility and nationalism rooted in the children’s literature texts.
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Qafarova, Gunay N. "Azerbaijan National Museum of Art: On the history of foundation." Issues of Museology 13, no. 2 (2022): 214–30. http://dx.doi.org/10.21638/spbu27.2022.205.
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The article briefly gives the history of the creation of the Azerbaijan National Museum of Art, one of the largest museums in the country. The museum has a rich collection of Russian, Western European, Eastern and Azerbaijani art. The collection has been formed throughout the existence of the museum, but its foundation was laid back in the Azgosmusey. A certain part of the collection is made up of exhibits transferred to the museum during the USSR period, a cultural policy that relied on the education of the masses, regardless of nationality and region. A descriptive description of the exhibition activities of the museum is given, in which both collections of Russian and foreign museums were exhibited in different years. In various years, the museum hosted exhibitions of the fraternal republics, as well as China, India, Iran. After each exhibition, the museum’s collection was replenished with new exhibits. The museum constantly held and held personal exhibitions of representatives of various schools of painting in Azerbaijan. The country’s artists are proud that their paintings are exhibited and stored in one of the country’s major museums. In the context of the article, a special place is given to the work of the first theater artist R.Mustafayev, whose name the museum bore for many decades, and whose works are kept in his collection. Unfortunately, the name of this talented artist is little known to the younger generation, although his contribution to the development of national scenography and the protection of architectural monuments is invaluable. Thanks to his artistic flair, the performances “Koroglu” and “Arshin Mal Alan” designed by him have been successfully staged on the stage of various theaters. Тhe analysis of his work is an important thematic contribution to the history of the study of the Azerbaijan National Museum of Art.
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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.
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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).
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Michalik, Magdalena. "THE INSTITUTION OF MUSEUM, MUSEUM PRACTICE AND EXHIBITS WITHIN THE THEORY OF POSTCOLONIALISM – PRELIMINARY RESEARCH." Muzealnictwo 59 (April 3, 2018): 28–33. http://dx.doi.org/10.5604/01.3001.0011.7254.
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The article contributes to considerations on the exhibits of colonial origin that exist in Western culture, and on the institution of museum with regard to the terms of postcolonial theory. Moreover, it addresses practical issues concerning museum’s policy towards artefacts of non- European origin. I referred to the basic concepts used in the theory of postcolonialism, such as: otherness, hybridity, mimicry, the Third Space, and to the interpretation of collectibles – “semiophores” (carriers of meaning) – as named by Krzysztof Pomian. I presented issues related to museum exhibitions, and the existence of museums in countries affected by colonialism, using the examples of: the return of Maori heads (mokomokai) from French museums to New Zealand, permanent exhibitions of the Cinquantenaire Museum in Brussels and the Rijksmuseum in Amsterdam, activities of the AfricaMuseum in Tervuren, and the temporary exhibition in Berlin – “Deutscher Kolonialismus: Fragmente seiner Geschichte und Gegenwart” from 2017. The problems that have been examined reveal the hybrid structure of “semiophores” coming from outside Europe, which makes both their reception by the viewer and the way of their presentation by the museum difficult. The article helps to realise that displaying the “otherness” of the non- European cultures is quite a challenge for curators, similarly as the concept of such institution like museum must be for these cultures. This results in creation by the museum of the so-called Third Space. The soonest research should give an answer to the question asked by Professor Maria Poprzęcka: To what extent history of art co-created the massive structure of cultural supremacy and intellectual and artistic domination, which found its institutional and material form in museums that were being erected all over the world.
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MAKHANOV, N. I. "THE MUSEUM IS A MEDIUM OF SPIRITUAL KNOWLEDGE, COLLECTING EXHIBITS OF ANCIENT HISTORY." Ethnography of Altai and Adjacent Territories 11 (2023): 305–8. http://dx.doi.org/10.37386/2687-0592-2023-11-305-308.
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The purpose of the article is to conduct a scientifc analysis of the history of the development of the Turkic peoples through the exhibits of the State Historical and Cultural Reserve - Museum “Otyrar”, one of the largest historical monuments of Kazakhstan. In addition, to show an original approach to the spiritual and social aspects of the current activities of this museum. One of the tasks of the research work is to determine the essence of the historical and spiritual reasons that determine the signifcance of the formation and development of the museum. Today, the assessment of the museum’s role in state and public spaces is relevant. We set ourselves the task of analyzing the statistical data of museum visitors and developing a general judgment. As the relevance of the research work, we would call the inadmissibility of the stagnation of the consequences of spiritual and cultural consciousness in modern information and global movements. We especially promote the activities of museums as one of the sources of education of the younger generation in order to protect themselves from the fow of information waves and not lose their national and cultural identity. It is obvious that the ability to properly convey the historical and cultural resources of the “Otrar” Museum to the consciousness of the younger generation enriches their spiritual values. As a result of the research, a comprehensive analysis of the historical ways of formation and development of the «Otrar» Museum was carried out. At the same time, on the basis of various examples, an assessment of the historical and spiritual activities of the museum today is given. Opinions were expressed on the future signifcance of the development of museums.
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Pluta, Dominika, Jędrzej Siuta, Mikołaj Jan Czerbak, and Tadeusz Dobosz. "Mokre preparaty muzealne – konserwacja i receptury." Opuscula Musealia 26 (2019): 191–98. http://dx.doi.org/10.4467/20843852.om.18.013.11006.
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Wet museum exhibits – conservation and recipes Due to the uniqueness of wet museum exhibits, there is often a shortage of adequately trained people to carry out conservation work in museum units. Unfortunately, in many cases, the museum exhibits require immediate work. There is usually a visible loss of preservative fluid, or no fluid at all if it has evaporated. Moreover, chipped lids and damaged jars frequently occur. Some exhibit labels are damaged or torn off. Some items have been exhibited incorrectly, but when they are transferred to a new vessel or the fluid is replaced, they gain added value. Although there is a great need for conservation work, many museologists fail to carry it out. A significant problem is the absence of unified conservation procedures or guidelines which could be applied for these types of cases. This paper includes conservation formulas and recipes used at the Molecular Techniques Unit. The authors of this paper hope that it will be helpful to all those who deal with preserving wet museum exhibits.
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Pluta, Dominika, Jędrzej Siuta, Mikołaj Jan Czerbak, and Tadeusz Dobosz. "Mokre preparaty muzealne – konserwacja i receptury." Opuscula Musealia 26 (2019): 191–99. http://dx.doi.org/10.4467/20843852.om.18.013.11006.
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Wet museum exhibits – conservation and recipes Due to the uniqueness of wet museum exhibits, there is often a shortage of adequately trained people to carry out conservation work in museum units. Unfortunately, in many cases, the museum exhibits require immediate work. There is usually a visible loss of preservative fluid, or no fluid at all if it has evaporated. Moreover, chipped lids and damaged jars frequently occur. Some exhibit labels are damaged or torn off. Some items have been exhibited incorrectly, but when they are transferred to a new vessel or the fluid is replaced, they gain added value. Although there is a great need for conservation work, many museologists fail to carry it out. A significant problem is the absence of unified conservation procedures or guidelines which could be applied for these types of cases. This paper includes conservation formulas and recipes used at the Molecular Techniques Unit. The authors of this paper hope that it will be helpful to all those who deal with preserving wet museum exhibits.
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Tallou, Konstantina. "Museum and Kindergarten: STEM connections between exhibits and science." Advances in Mobile Learning Educational Research 2, no. 2 (2022): 333–40. http://dx.doi.org/10.25082/amler.2022.02.003.
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The present work supports the possibility of connecting exhibits of the Museum of Ali Pasha on the island of Ioannina with the Natural Sciences through an educational scenario in the light of the Theory of Activity and the SciEPIMGI design framework. In this way the educational programs designed for Museums of general interest gain added value by supporting the cooperation of formal and non-formal education. The script was designed during the training program of the University of Ioannina and was implemented in November 2021 by students of the Kindergarten of Ioannina. Through selected exhibits of the Museum, bridges with themes were detected from the Curriculum for Natural Sciences in the Kindergarten, focusing specifically on the theme "water". Theoretically, it is based on the approach of Hein's constructivism, Gardner's multiple intelligences and the active participation of Simon's student, with particular emphasis on the student's individual peculiarities regarding the ways of perceiving reality and the personal meanings he forms. The Museum-pedagogical activities that are designed apply a variety of methodologies such as students' oral expression, visual creations, hidden treasure game, writing, experimentation, creating connections, problem solving, interpretation and expression of crises, etc. Special emphasis was given to of students' senses and in experiential and exploratory learning. The museum space was utilized as a constructed environment for learning and application of museum-pedagogical methods and as an invisible educational framework that allows effective learning processes, mobilizes curiosity, evokes emotions and impressions.
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Broman, Arne, and Lars Broman. "Museum Exhibits for the Conics." Mathematics Magazine 67, no. 3 (June 1, 1994): 206. http://dx.doi.org/10.2307/2690611.
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Imai, Yunoshin. "Exhibits of the Metals Museum." Materia Japan 34, no. 10 (1995): 1158–65. http://dx.doi.org/10.2320/materia.34.1158.
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DANILOV, VICTOR J. "Corporate Sponsorship of Museum Exhibits." Curator: The Museum Journal 31, no. 3 (September 1988): 203–30. http://dx.doi.org/10.1111/j.2151-6952.1988.tb00693.x.
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Broman, Arne, and Lars Broman. "Museum Exhibits for the Conics." Mathematics Magazine 67, no. 3 (June 1994): 206–9. http://dx.doi.org/10.1080/0025570x.1994.11996213.
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Cogan, D. G. "Academy Exhibits and the Museum." Archives of Ophthalmology 103, no. 2 (February 1, 1985): 189. http://dx.doi.org/10.1001/archopht.1985.01050020041014.
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Hayes, C. "Museum exhibits brought to life." Engineering & Technology 18, no. 2 (March 1, 2023): 48–51. http://dx.doi.org/10.1049/et.2023.0209.
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Hayes, C. "Museum exhibits brought to life." Engineering & Technology 18, no. 2 (March 1, 2023): 48–51. http://dx.doi.org/10.1049/et.2023.3209.
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Dziuban, Roman. "Moving of the сollections of the Lubomirsky museum in 1940." Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, no. 13(29) (2021): 264–91. http://dx.doi.org/10.37222/2524-0315-2021-13(29)-16.
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Relevance and purpose. The purpose of the article is to include in the scientific circulation a collection of newly discovered acts and lists of individual collections of the Lubomirsky Museum, which since May 1940 have been submitted to the Lviv Museum Institutions. We believe that these documents deserve further scrutiny and will help identify individual exhibits in the collections of Lviv (and not only Lviv) museums, as well as help locate exhibits that are now considered lost. Research methodology. In order to achieve this, a descriptive method is generally employed. The historical source method and the comparative method were partly used. Historical principles are also especially emphasized. Keywords: Prince Lubomirsky Museum, Ossolineum, Lviv State Museum of History, Regional Art Gallery, Lviv State Art Gallery, Lviv Museum of Art Crafts, Lviv State Ethnographic Museum, collections, exhibits, archeological finds, archeological sites, paintings, carvings, orders, cameos, medallions, watches, furniture, collection weapons.
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Petrina, Oksana B., Dmitry G. Korzun, Valentina V. Volokhova, Svetlana E. Yalovitsyna, and Aleksey G. Varfolomeyev. "Semantic Approach to Opening Museum Collections of Everyday Life History for Services in Internet of Things Environments." International Journal of Embedded and Real-Time Communication Systems 8, no. 1 (January 2017): 31–44. http://dx.doi.org/10.4018/ijertcs.2017010103.
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Technologies of the Internet of Things (IoT) and of smart spaces support creating smart museums based on digitized infrastructures and information systems already deployed in modern museums. Cultural heritage knowledge in such a museum is used by interested visitors as well as by personnel. This work continues the authors' research on the smart museum concept and its case study of everyday life history in the History Museum of Petrozavodsk State University (PetrSU). The authors develop an ontological model for the needs of studying the everyday life history. The ontology supports integrating descriptions of collected exhibits into a semantic network, where the links reflect meaningful relations between exhibits and other historical objects. They apply the wiki technology within the smart spaces-based architecture of a smart museum. The wiki implements an ontology-enabled system that experts use to extract and represent knowledge hidden in the museum collection. The authors discuss possible semantic algorithms for data mining in the museum semantic network.
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Ivanov, Rosen, and Victoria Velkova. "Tangible and Personalized Smart Museum Application." Digital Presentation and Preservation of Cultural and Scientific Heritage 13 (September 1, 2023): 97–106. http://dx.doi.org/10.55630/dipp.2023.13.9.
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This paper presents the architecture of a Web app designed to deliver personalized content to museum visitors both indoors and outdoors. The app uses a tangible type of interface to obtain information about the museum's exhibits. For this purpose, each exhibit can be associated with an NFC tag, a Bluetooth Low Energy (BLE) beacon or a geofence in open-air museums. The service automatically profiles its users based on statistics about the preferred type of exhibits, media formats and time spent viewing each exhibit. Visitors can get the information they want about an exhibit even when the app is not running. Push notifications are used for this purpose. The necessary experiments have been conducted to prove the applicability of the service for real-time delivery of personalized content.
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Xu, Lijun, Shengzan Yan, Zhe Chen, and Xin Chen. "Design of the Museum Interactive Lighting System Based on the Digital Twin Technology." Scientific Programming 2021 (October 29, 2021): 1–8. http://dx.doi.org/10.1155/2021/4824417.
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With the improvement of people’s cultural level, more and more museums are being built or renovated. The design of lighting products for museums is a specialized field that requires designers to take into account a variety of factors, such as safety, presentation, and maintainability. As museum lighting systems meet the needs of conservation, visitor experience, and maintenance, the traditional design process is limited by the experience of the designer and the actual situation of the museum, and the actual light conservation effect of the exhibits is difficult to quantify. We have designed a digital-twin-based intelligent lighting system for museums, which can facilitate museum managers to quantify and manage the light life of exhibits while providing a more immersive viewing experience and recognition effect for visitors.
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Akhmedov, Jasurbek, Umidjon Alimov, and Sukhrob Kayumov. "The history of the creation of museums in Uzbekistan on the basis of agricultural and industrial exhibitions (on the example of the museums of the Fergana Valley)." OOO "Zhurnal "Voprosy Istorii" 2023, no. 3-1 (March 1, 2023): 122–31. http://dx.doi.org/10.31166/voprosyistorii202303statyi02.
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This article is devoted to the history of museums in the Fergana Valley. In particular, the activities of the State Museum of History and Culture of the Ferghana region, the State Museum of History and Culture of the Namangan region, the State Museum of History and Culture of the Andijan Region, the Kokand State Museum-Reserve were investigated. The modern activity of the museums of the Ferghana Valley, expositions and exhibits of funds, rare monuments of antiquity are characterized.
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Pilarz, Łukasz. "Szczątki ludzkie w azjatyckich muzeach a prawa ludności rdzennej." Azja-Pacyfik 26, no. 2 (December 31, 2022): 45–63. http://dx.doi.org/10.15804/ap2022.2.03.
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The work concerns the restitution of museum remains as a special cultural asset found in archaeological museums. The research problem concerns reverence towards human remains constituting museum exhibits on the example of Singapore museums. This type of museum inventory has become the subject of intensified restitution activities on the part of tribal minorities, indigenous peoples, who claim the right to them on the basis of the right to worship after their deceased ancestors, the right to protect cultural, religious and traditional heritage. Such law is based in particular on the Declaration on the Rights of Indigenous Peoples. The research objective focuses, first of all, on the legal grounds resulting from the Declaration, and secondly on the analysis of the inventory of selected Singaporean museums, which contain exhibits that are human remains in their collections. The main research hypothesis focuses on the statement that Singapore, as one of the few Asian countries, maintains a special regime of pietism towards the deceased, which is manifested in the way of treating and storing human remains as museum exhibits. This may be due to the country’s cultural conditions on the one hand, and religious and legal conditions on the other. This, in turn, translates into the approach of museums to restitution claims, which are increasingly being put forward by representatives of indigenous peoples in connection with the return of the remains of their deceased ancestors. These claims find their legal basis in acts of international law and collective human rights. Therefore, the work answers the questions whether museums in Singapore duly respect international law in the field of protection of human remains and the rights of indigenous peoples, and how this translates into reverence for this type of exhibits in museum practices in connection with ICOM regulations.
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Herczyńska, Sara. "Paradoks Kasztanki. Fantazmatyczne eksponaty w domach-muzeach." Czas Kultury XL, no. 2 (June 17, 2024): 189–200. http://dx.doi.org/10.61269/kmmy4710.
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This article deals with exhibitions in house-museums. The author focuses on a phenomenon peculiar to such establishments: the ambiguous authenticity of the objects on display. The primary example is the hoof of Kasztanka exhibited in the manor house “Milusin” belonging to the complex of the Józef Piłsudski Museum in Sulejówek. Within the logic of the exhibition, the hoof is simultaneously both authentic and not. To explain this phenomenon, the author uses Tom Selwyn’s theory, especially his anthropological analysis of the category of authenticity. The second part of the article relates this issue to the controversy surrounding the striped uniform from the museum commemorating Maximilian Maria Kolbe. Key-words: phantasmal exhibits, house-museum, biographical museum, authenticity
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Dorokhov, Victor B. "Light and Climate: Regulatory Requirements and Practice of Cultural Valuables Preservation." Light & Engineering, no. 01-2023 (February 2023): 29–33. http://dx.doi.org/10.33383/2022-097.
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The article presents the set of data related to development of museum illumination control standards. The main goal of the review is to demonstrate the balance between illumination adjustment as a means to improve preservation of museum exhibits and adjustment as a means to improve presentation of exhibits to visitors. Such review became necessary due to intensification of activities for development of museum illumination regulations since 2018. As part of these activities, the specialists of two leading organisations – light engineers of the Russian Lighting Research Institute named after S.I. Vavilov (VNISI) and the museum and restoration community of the State Research Institute for Restoration – fulfilled a contract for analysis of museum practice in the sphere of museum illumination. The results of the studies under the contract were reviewed and approved during an extended meeting of the museum illumination commission of the Scientific and Technical Council of the Lighting Industry in the Russian Federation (STC “Svetotekhnika”) with participation of representatives of the museum community. The results of this work were also discussed at a meeting of the scientific council of GosNIIR. In 2020, specialists of VNISI developed four regulations of LED illumination for museums after fulfilling the contract. The article presents a brief description of the potential of these documents for improvement of development of LED museum illumination. It demonstrates limited applicability of the developed standards to actual needs of museums and the mistakes made by the developers, which pose risks for preservation of museum exhibits if these standards are used in practice. The author proposes the ways of further development and improvement of the regulatory framework of museum illumination. These ways and the programme of regulation development were discussed and approved at the meeting of the scientific council of GosNIIR.
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Stoddard, Jeremy, Alan Marcus, Kurt Squire, and John Martin. "Learning Local Immigration History In and Out of the Museum." Museum and Society 13, no. 2 (March 1, 2015): 123–41. http://dx.doi.org/10.29311/mas.v13i2.322.
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In this article we utilize three case studies from the US as models for structuring historical inquiry in museum education programs focused on local immigration history. We focus on how models of practice from museums can be utilized as part of authentic history education pedagogy – in particular conducting historical inquiry with archival material and creating engaging exhibits. The three cases we draw from are the Tenement Museum (New York City), the Open House exhibit at the Minnesota History Center (St Paul, Minnesota), and a middle grades project in the Greenbush neighborhood (Madison, Wisconsin).
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Bárd, Edit, and Zsolt László Márkus. "Extending the GUIDE@HAND Tourist Guide Application with QR Codes for Museum Learning." Digital Presentation and Preservation of Cultural and Scientific Heritage 2 (September 30, 2012): 19–26. http://dx.doi.org/10.55630/dipp.2012.2.1.
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The following paper attempts to encompass the opportunities for applying QR codes for museums and exhibits through the example of the Hungarian Museum of Environmental Protection and Water Management (Esztergom, Hungary). Besides providing interactivity in the museum for the mobile phone generation through the utilization of a device and a method that they are familiar with, it is important to explain how and why it is worthwhile to “adorn” the exhibits with these codes. In this paper we also touch upon the technical issues of how an existing mobile phone application can be incorporated into and used for the presentation of the museum.
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Kwon, Jungmin. "Guidelines for Serious Game Museum Exhibits." Journal of Korea Game Society 19, no. 4 (August 31, 2019): 119–38. http://dx.doi.org/10.7583/jkgs.2019.19.4.119.
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Ucko, David A. "Science Literacy and Science Museum Exhibits." Curator: The Museum Journal 28, no. 4 (June 24, 2010): 287–300. http://dx.doi.org/10.1111/j.2151-6952.1985.tb01756.x.
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BUNCH, SNOWDEN, PHILIP JACOBS, WILLIAM LUKSETICH, and MARK LANGE. "Do Traveling Exhibits Influence Museum Attendance?" Curator: The Museum Journal 31, no. 2 (June 1988): 131–36. http://dx.doi.org/10.1111/j.2151-6952.1988.tb00683.x.
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Klausner, Arthur, and Jeffrey Fox. "Museum Exhibits Both Educate and Confound." Nature Biotechnology 6, no. 3 (March 1988): 246–47. http://dx.doi.org/10.1038/nbt0388-246.
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Park, Eun Ji. "Read about History with Museum Exhibits." Chongramsahak 39 (December 31, 2023): 203–13. http://dx.doi.org/10.36492/crsh.39.6.
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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.
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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.