Journal articles on the topic 'Museum organisation'
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1
Rutkauskaitė, Milda. "Integration of Handheld Guides in Museums: The Case of Lithuania’s Art Museums." Art History & Criticism 15, no. 1 (December 1, 2019): 71–82. http://dx.doi.org/10.2478/mik-2019-0005.
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Summary The most common technological device found in organisations of cultural heritage is a handheld guide. This device can simultaneously perform several functions, and its integration in permanent expositions has significance both for the operation of organisations of cultural heritage and experience of visitors when they visit a museum or a gallery. It should be noted that art museums and galleries encounter a task to present often static and difficult to understand at first sight works of art in an interesting fashion. Therefore, in this study, the main functions of a handheld guide as a technological device as well as its benefits, problems, and application in art museums are analysed. In the first part of the study, various functions of handheld guides, their importance, the meaning produced for the organisation of cultural heritage, and experience of a visitor are analysed based on scientific literature. Problems of integration of handheld guides and strategic steps that should be taken to ensure a successful integration process are reviewed. In the second part, four cases of Lithuanian art museums are presented. All museums that participated in the survey were analysed by collecting observational data, communicating with the managers of the organisations, and analysing the experience of museum visitors using the handheld guide. Scientific literature presented in the article substantiates the importance of handheld guides in museums and possible problems of integration of such devices. The study conducted in Lithuanian art museums reveals the fact that handheld guides are significant devices that help improve the experience of a museum visitor, but it is also observed that handheld guides have not yet become an integral part of a visit to a Lithuanian art museum.
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T., Tishkina, and KULIKOVA T. "COLLECTIONS ON THE HISTORY OF THE ALL-UNION PIONEER ORGANISATION NAMED AFTER V.I. LENIN IN BARNAUL MUSEUMS." Preservation and study of the cultural heritage of the Altai Territory 28 (2022): 454–62. http://dx.doi.org/10.14258/2411-1503.2022.28.67.
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The year 2022 marks the centenary of the establishment of the Young Pioneers of Spartacus. In 1926, its new name - the All-Union Pioneer Organization named after Lenin - was confirmed. Over the following decades, the history of every school in the country was associated with the activities of that formation. After the Pioneer associations were liquidated on September 28, 1991, significant material was left, which subsequently gained relevance for the formation of collection collections and the creation of permanent and temporary exhibitions in a number of museums across the country. In the article the museum collections of several Barnaul museums such as Altai State Museum of Local Lore, Altai State Museum of Literature, Art and Culture History, Museum of Education Development of Barnaul, museums of secondary school №78 and gymnasiums №22, №40 connected with the history, activity and attributes of pioneer organizations are examined.
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Heroldová, Helena. "The Dragon Robe as the Professional Dress of the Qing Dynasty Scholar-Official (The Náprstek Museum Collection)." Annals of the Náprstek Museum 37, no. 2 (2016): 49–72. http://dx.doi.org/10.1515/anpm-2017-0012.
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Dragon robes were worn by scholar – officials who were members of bureacracy of the Qing dynasty in China (1644–1911). The cut and design of the robes were uniform, but the embellishment and motifs including religious symbols were individual and personal. Dragon robes as a garment with high homogeneity and visibility is compared to the “organisational dress” worn by members of contemporary Western organisations. The meaning of both garments is found to be similar, especially as they convey social roles within the organisation and society.
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Lewis, D. N., and S. K. Donovan. "Trace fossils - the poor relations of museum palaeontological collections?" Geological Curator 8, no. 5 (June 2006): 255–59. http://dx.doi.org/10.55468/gc370.
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Collections of fossil invertebrates in museums are dominated by certain taxa, such as molluscs, whereas other minor groups are "Cinderella" taxa, of little general interest. Invertebrate trace fossils belong to this latter group, rarely utilised for museum displays and of scientific interest to only a small audience of experts. Organisation of such collections may be alphabetical, stratigraphical, geographical, ethological or a combination of these, but should not be "biological". As illustrations, two national collections are discussed, those of the Natural History Museum, London, and the Nationaal Natuurhistorisch Museum, Leiden.
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Davydova, E. Yu, E. V. Khilkevich, A. V. Khaustov, D. V. Davydov, and A. B. Sorokin. "Inclusive Environment for Working with Children with ASD Organisation Problems in Different Types of Museums." Консультативная психология и психотерапия 29, no. 4 (2021): 95–110. http://dx.doi.org/10.17759/cpp.2021290406.
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Museums today play a pivotal role in creating an environment that follows principles of social inclusion and is accessible for individuals with disabilities including museum visitors with autism spectrum disorders (ASD). Extracurricular activities are an integral part of comprehensive support for children with ASD that require coordinated efforts of museum professionals, psychologists, and educators. However, museum professionals may lack information about autism and appropriate approaches. The Federal Resource Center for Organization of Comprehensive Support to Children with Autism Spectrum Disorders at MSUPE studied this process by conducting a survey about the availability of resources for accommodating individuals with ASD as independent visitors as well as participants in museum programs. The results of the survey attest to a high level of engagement of museum community in creating provisions for visitors with ASD in addition to the demand for consulting centers that would facilitate development of appropriate tools. We present a project that has introduced “social narratives” as an instrument for ASD in a setting that can serve as a model for such a center.
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Craven, D. "Field Science with Gifted and Talented students at Key Stage 3." Geological Curator 8, no. 7 (July 2007): 301–3. http://dx.doi.org/10.55468/gc380.
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Between 2004 and 2006 Bolton Museum participated in a field-based education project for Key Stage 3 students identified as Gifted and Talented for Science. The organisation of such a project is outlined here, along with the observed outcomes of the work. Finally the potential benefits for museums of such a project are discussed.
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Bakre, Opeyemi, and Takalani Mudzanani. "An Exploration of the Use of Marketing Public Relations at the Apartheid Museum in Johannesburg, South Africa." African Journal of Business and Economic Research 17, no. 3 (September 6, 2022): 213–37. http://dx.doi.org/10.31920/1750-4562/2022/v17n3a10.
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The Apartheid Museum is a non-profit organisation that relies on the generosity of government and private organisations, as well as the sale of gate tickets. It, thus, relies on building and sustaining a long-term relationship with its visitors to earn their loyalty and support. Marketing public relations (MPR) is a concept which has been explored by numerous studies in commercial contexts. The aim of this study was to explore the use of marketing public relations at the Apartheid Museum in Johannesburg, South Africa. In order to do so, a survey involving 384 visitors was conducted. The data from the questionnaires were analysed using the SPSS software. The study found that the museum uses such marketing relations tools as exhibitions, sponsorships, seminars, trade shows, its website, social media, media relations and publications. The practical significance of the article resides in its provision of MPR guidelines for organisations such as the Apartheid Museum for the purposes of building long-term, meaningful relations with its customer stakeholders. In addition, its academic significance lies in the meaningful contribution it makes to MPR scholarship.
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Antchak, Vladimir, and Eleanor Adams. "Unusual venues for business events: key quality attributes of museums and art galleries." International Journal of Tourism Cities 6, no. 4 (May 14, 2020): 847–62. http://dx.doi.org/10.1108/ijtc-09-2019-0156.
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Purpose This paper aims to identify the key quality attributes a museum or art gallery should possess and enhance to become an attractive business event venue. Design/methodology/approach The research adopted a two-stage case-study methodology. Firstly, three museums were selected in Manchester, UK, to explore the venues’ approaches to hosting business events. These were the Lowry Art Centre, Salford Museum and Manchester Art Gallery. Secondly, a business event at another museum in the city, Science and Industry Museum, was accessed to explore the audiences’ perceptions and industry requirements regarding the organisation of events in museums. In total, 21 qualitative semi-structured and structured interviews were conducted with the event delegates, event planners and museums’ management. Findings Thematic analysis was applied to identify three key attributes: venue character, memorability and functionality and feasibility. Venue character refers to the overall appeal of a venue, including its history, status and interior design. Memorability refers to the authenticity and uniqueness of the attendee experience at a corporate event organised in a museum. Finally, functionality and feasibility deals with the availability of functional facilities, space flexibility and diverse venue regulations. Originality/value The findings of the research provide valuable insights to both museums and event companies. The research reveals the main benefits and drawbacks of using a museum or an art gallery as a venue for business events and suggests key aspects to consider while staging a business event in a cultural institution. Museums could apply the findings in marketing to emphasise their uniqueness, authenticity and flexibility.
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Karamanov, Oleksii, and Marta Kliuchynska. "The Speciality of the Appliance of Museum Pedagogy in the Art’s Lessons in Secondary School." Bulletin of Luhansk Taras Shevchenko National University 1, no. 6 (344) (2021): 180–87. http://dx.doi.org/10.12958/2227-2844-2021-6(344)-1-180-187.
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The possibility of organisation the museum pedagogical activities in the musical art and art lessons are reviewed in the article by its authors. The important role of museums as dynamic, cultural and educational, as well as scientific impulse and focus in the educational process is implied. Also, the term «interactivity» in the training process is explained on the examples of different methods of museum pedagogy in the practice of the many educational institutions. The importance of the appliance of museum pedagogy is underlined, especially such approaches as comparison, localisation of the events, auditions, performance, commenting and reconstruction. The functions of these approaches are specified, that is, to develop the interdisciplinary art competency of students and to enrich their experience in analysis of musical compositions. As a consequence, the important role of museum pedagogy in musical art and art lessons as an interdisciplinary method is confirmed.
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Kaulingfreks, Ruud, Sverre Spoelstra, and René ten Bos. "Wonders without wounds: On singularity, museum and organisation." Management & Organizational History 6, no. 3 (August 2011): 311–27. http://dx.doi.org/10.1177/1744935911406178.
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Filová, Natália, Lea Rollová, and Zuzana Čerešňová. "Route options in inclusive museums: Case studies from Central Europe." Architecture Papers of the Faculty of Architecture and Design STU 27, no. 1 (March 1, 2022): 12–24. http://dx.doi.org/10.2478/alfa-2022-0003.
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Abstract Museums are complex architectural works with many distinctive elements. One of the most significant museum features are routes or paths on which visitors circulate museums and perceive exhibitions. Children and people with special needs often have specific demands on physical accessibility of the surrounding environment, chronological arrangement of spaces and amount of information presented at a time. The arrangement of functional units in museum layouts affects wayfinding in space, understanding of the exhibition, as well as visitor guidance. The order in which people visit particular segments in a museum can also be described as one of the most important architectural and operational characteristics of this type of cultural buildings and areas. The article examines ways of arranging spaces in a museum building and the suitability of their application. These forms are evaluated based on various aspects; some of the created effects are studied, e.g. creation of a desired atmosphere. Existing concepts are compared and supplemented with other theoretical knowledge. The article aims to present variant suitable ways of composing routes that would meet the needs of different people, and bring them a quality leisure and educational experience from a museum tour. Various types of museum layout organisation and arrangement of exhibition spaces are illustrated with abstract schemes, as well as with specific case studies of five selected museums. The selection consists of architecturally exceptional and high-quality museums in Central Europe, which are able to attract a whole range of various groups of people including a younger audience. They are examples of both modern museums in this area and route planning options. The case studies highlight interesting local ideas, space concepts, routing methods, and also solutions for increasing inclusion of all visitors and children in particular.
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Ferreiro Rosende, Erica. "Museum brand identity model approach: An online Delphi Study." methaodos revista de ciencias sociales 10, no. 2 (October 31, 2022): 160–76. http://dx.doi.org/10.17502/mrcs.v10i2.544.
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Museum brand management is a practice increasingly used in the museum sector, at least at a primary level. The scarce academic literature on the subject has created the opportunity to approach museum brand management from a deeper perspective, including its brand identity. For this purpose, an online Delphi study consisting of three rounds of questions was developed. A total of 12 experts, from the public and private sector, as well as academia, participated in the process, which was carried out between 2019 and 2021. The main objective was to identify a brand identity model for museums and its adaptability to the post-COVID era from a theoretical point of view. The main dimensions that compose the agreed model are: the product, the person, the symbol, the organisation, the territory and the digital sphere. According to the experts, this model is versatile enough to be adapted to all museums, regardless of their type and size/structure. This study provides a theoretical validation of a brand identity model, and it also demonstrates a growing focus on marketing and brand management by experts and academics.
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Ryan, Tracy. "Forgotten Organisations from the First World War." Memoirs of the Queensland Museum - Culture 11 (2020): 143–54. http://dx.doi.org/10.17082/j.2205-3239.11.1.2020.2020-10.
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Like many museums, Queensland Museum has a host of small collection items such as buttons and badges related to organisations that were active during and immediately after the First World War. While some of these organisations existed before the War, others came into existence specifically because of the War. Some have lasted until today, while others ceased to exist once the War was over. Today, the Red Cross and the Returned Services League (RSL) are well known across the country. In Queensland, the Golden Casket lottery began in 1917 as a fundraiser for war workers. Since then it has morphed into the State’s premier lottery, raising a significant amount of revenue for the State’s budget. Legacy started just after the War as a community-led organisation looking after the families of killed or critically wounded service personnel. Meanwhile, the only evidence of the existence of events and organisations such as Jack’s Day, King George’s Fund and For King and Empire lies in archives and in the repositories of collecting institutions such as the Queensland Museum. Where it is tempting to consider the First World War as a one-off event with clear boundaries (and indeed many of the current centenary commemorative events only focus on 1914 to 1918), its legacy is all around us. This paper considers what these badges and buttons, some long forgotten, tell us about fundraising and welfare-related work during and since the First World War. The need for such organisations has not disappeared in the past 100 years of incessant military and other conflicts, despite the lessons of the war to end all wars.
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Severin, Viktor D. "Designing Museum Display, With the Examples Provided by Museum “Kharkiv Region in the Great Patriotic War, 1941-1945”." Observatory of Culture, no. 2 (April 28, 2015): 109–13. http://dx.doi.org/10.25281/2072-3156-2015-0-2-109-113.
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Studies efficient approaches to artistic organisation of the exhibition «Kharkiv in the Great Patriotic War, 1941-1945». The author proposes a definition of museum exhibition’s role, describes the ways and means of producing its artistic image, analyses the design and process of creating the museum exhibition.
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Tzortzi, Kali. "The art museum as a city or a machine for showing art?" Architectural Research Quarterly 14, no. 2 (June 2010): 129–38. http://dx.doi.org/10.1017/s1359135510000746.
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This paper presents the comparative analysis of the National Museum of Modern Art, in the Pompidou Centre, Paris, designed by Richard Rogers and Renzo Piano (1972–77), and the Tate Modern art gallery, London, the conversion of an industrial building by Swiss practice Herzog & de Meuron (1995–2000). The two museums share a set of conspicuous similarities so that their parallel investigation seems self-evident. Both are large-scale national museums of modern art, extending over two floors, in buildings that constitute urban landmarks and are often seen as examples of the museum as a box [1a–b]. Their ground floors are conceived as a space you walk through, as a ‘piazza’; their spatial organisation is modular and flexible; their visual construction, punctuated by powerful views to the city. Moreover, they are guided by similar spatial ideas and share common fundamental morphological properties. Interestingly, their affinities extend to their collections – both begin with the turn of the twentieth century and extend to the twenty-first century; and their curatorial practices – as, for instance, the practice of reprogramming the galleries on a regular basis. But the experience of visiting the two museums is entirely different and each appears to have its own idiosyncratic spatial character, quite distinct from the other (described metaphorically by the museum designers as the museum as a city in the case of the Pompidou and as a machine for showing art in the case of Tate Modern). So, could these obvious similarities hide critical differences between the two museums?
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Iwan, Dariusz, and Piotr Daszkiewicz. "Koncepcja organizacji pracy w instytucji naukowej – ankiety i opracowania z okresu okupacji (1941–1942) w Państwowym Muzeum Zoologicznym w Warszawie." Kwartalnik Historii Nauki i Techniki, no. 3 (2021): 51–59. http://dx.doi.org/10.4467/0023589xkhnt.21.018.14179.
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The Concept of Work Organisation in a Scientific Institution – Surveys and Studies from the Occupation Period (1941–1942) at the State Zoological Museum in Warsaw During the Second World War, the State Zoological Museum in Warsaw (PMZ) suffered severe losses. Many workers were killed, and parts of the zoological and book collections were stolen by the Germans as early as 1939. The Museum became an important centre of the resistance movement, as it became a storage for weapons, explosives, and chemicals used for sabotage. Despite the repressions, the Museum employees tried to continue their work under the occupation and developed a modern model for the functioning of this institution to be implemented after the war. In the archives of the Museum and Institute of Zoology, a folder was found containing the documentation of the surveys conducted in 1941–1942 on the organisation of work and the future structure of the PMZ. This article presents the first analysis of these documents, which turned out to be a valuable source of information on the functioning of scientific institutions during the occupation, as well as on the history of the PMZ itself.
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Vasileva, Anna V. "Modern principles of organisation of university museums and exhibition spaces." Stroitel'stvo: nauka i obrazovanie [Construction: Science and Education] 13, no. 1 (March 30, 2023): 120–36. http://dx.doi.org/10.22227/2305-5502.2023.1.9.
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Introduction. Today, many university museums around the world are facing the need to revise the principles of their activities in order to fully integrate into the daily life of their educational institutions. The main functions for such museums are patriotic, image-building, educational, educational and career guidance. Modern challenges include attracting not only students and applicants, but also a wider audience. Challenges of introducing new technologies will make them more relevant to younger generation. However, without defining the main purpose of the museum’s existence, it is impossible to build a coherent path for its development. Purpose. To determine the basic principles of exhibition organisation and its placement in the structure of a university campus, depending on the nature of the museum and the image of the educational institution. Results. Using the example of museums of the world’s largest universities, the specifics of their location depending on specialisation, the correlation between the organization of space and the theme of the exhibition, the characteristics of exhibition equipment, the principles of placement of different types of expositions in the structure of campuses are determined. Conclusions. It has been found that when the university is image oriented towards history and traditions, the museums are located in historical buildings and have a more familiar spatial structure and principles exhibition organization. In the case of striving to demonstrate the innovative nature of the university, the priority is given to the placement in the most accessible and technologically advanced modern buildings. Exhibitions related to the current life of the university are housed in more light, versatile and democratic spaces. The latest trend is the active use of multimedia and interactivity.
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Rindzevičiūtė, Eglė. "When Formal Organisations Meet Informal Relations in Soviet Lithuania: Action Nets, Networks and Boundary Objects in the Construction of the Lithuanian Sea Museum." Lithuanian Historical Studies 15, no. 1 (December 28, 2010): 107–34. http://dx.doi.org/10.30965/25386565-01501007.
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This study considers organisation in countries under the Soviet regime. The focus is on the creation of the Sea Museum in Klaipėda from the 1960s to the 1980s, a massive undertaking that required huge capital investments, use of rare foreign materials, cooperation between many different sectors (Soviet military, heritage preservation, seaport management, seagoing fishing vessels and zoos in Eastern bloc countries), and many innovations in designing the local sea aquarium system. The whole project was formally illegal: there was an all-union wide restriction on building so-called ‘spectator venues’. This article analyses the roles of formal and informal relations in the construction of the Sea Museum as a project concerning the public good. It suggests that the presence of informality did not undermine formal organising in the overtly centralised Soviet regime. Belonging to formal organisations was an important resource for actors who constructed action nets that went beyond the boundaries of these organisations. Although it is widely known that the successful functioning of formal organisations often depended on informal relations, this point raises complex questions about the identity and uniqueness of the Soviet system.
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Lorenc, Magdalena. "WITHDRAW FORWARD, PLEASE! ON PARTICIPATION POLICY IN ICOM’S WORKS ON THE ‘PRAGUE MUSEUM DEFINITION’." Muzealnictwo 63 (September 29, 2022): 165–72. http://dx.doi.org/10.5604/01.3001.0016.0224.
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ICOM’s decision to revise the museum definition valid as of 2007 was accounted for with the need to adjust the existing statutory phrasing to meet the challenges museums face in the 21st century. Having adjourned the vote on the new definition at the Extraordinary General Assembly in Kyoto in 2019, the organisation suffered a leadership crisis. In late 2020, in order to reform the management, a new methodology of working on the definition was introduced. Its foundation was to be sought in participatory policy, namely redistribution of authority. Interestingly, this approach was facilitated by the application of remote communication forced by the COVID-19 pandemic. In harmony with the adopted time schedule the extensive and multi-stage process was to climax with the vote on the adoption/ rejection of the new museum definition during the subsequent Extraordinary General Assembly in Prague on 24 August 2022. As a result of the participation in consultations of 126 out of the 178 eligible Committees, the ‘Prague museum definition’ was phrased as a compromise between the 2007 statutory definition valid until then and the ‘Kyoto definition’. On the essential issues, i.e., answering the question: ‘what is a museum?’, it actually retained the earlier regulation: a museum is a not-for-profit permanent institution. This yielded the question about the purposefulness of the works conducted in 2020–2022, based on the new participation paradigm, which the present paper attempts to answer.
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de Rosset, Alicja. "HIGH STANDARD MEANS WHAT STANDARD? THE NEED OF INTRODUCING AN ACCREDITATION SCHEME FOR POLISH MUSEUMS." Muzealnictwo 59 (August 6, 2018): 157–62. http://dx.doi.org/10.5604/01.3001.0012.2305.
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In the Act on Museums, Chapter 3, the National Register of Museums is pointed out as an official list to be entered by those institutions which represent both a high standard of their cultural activity and a great importance of their collections. The relevant Ordinance – in accordance with the Act – is to specify the manner in which the Register should be run, the application form for candidates, the mode and conditions of entering it, and the control procedures. However, the Ordinance reveals neither the requirements museums should meet nor the criteria of their assessment; only the application form contains the range of issues which are to be analysed. It is a bit like taking part in a contest without the general terms. The categories used for the evaluation are known from the application form, but there is no reference to any goals, the museums should strive for, or criteria that serve for their either positive or negative final assessment. Even though the members of an evaluation committee are distinguished specialists, who undoubtedly are able to assess the standard of museum performance, an assessment without criteria will always be purely subjective and immeasurable. In countries like e.g. the United Kingdom there are accreditation systems which allow to have the high standard of museum performance certified. The accreditation schemes that are officially in use specify the requirements for museums in a clear manner, leaving no doubt which constituent is being assessed and what criterion is used for it. It also has a positive impact on unification of management in museums, and indicates the direction they should take for improving the quality of their performance. These standards refer both to the strategic issues in relation to the management of the museum as an organisation and its collection, and to the experience it offers to their visitors.
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Basso, Antonella, and Stefania Funari. "DEA-BSC and Diamond Performance to Support Museum Management." Mathematics 8, no. 9 (August 21, 2020): 1402. http://dx.doi.org/10.3390/math8091402.
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In the present paper, we propose some models for the computation of an overall indicator which measures the performance of a set of museums from a multidimensional point of view. One of the most used methodologies that provide a multiple input–multiple output performance score is Data Envelopment Analysis (DEA), which in recent years has also been applied to museums. Recently, the literature on museums performance has proposed a model that combines DEA with the Balanced Scorecard (BSC) approach, which is used in the management control of organisations and focuses on a multidimensional framework based on four different dimensions of the organisation management. In the present contribution, we propose a two-stage DEA-BSC model which adopts more plain DEA models without weight restrictions and can be better understood by museums’ managers. In addition, in order to overcome the drawback of the low discriminatory power shown by this model when applied to a few museums, we propose some alternative ways to compute the overall performance at the second stage. One indicator computes the area of a special geometric representation of the efficiency scores obtained at the first stage for the four BSC perspectives and for this reason is named diamond efficiency. Finally, the models proposed are applied to the set of municipal museums of Venice.
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Tucci, G., M. Betti, A. Conti, M. Corongiu, L. Fiorini, C. Matta, C. Kovačević, C. Borri, and C. Hollberg. "BIM FOR MUSEUMS: AN INTEGRATED APPROACH FROM THE BUILDING TO THE COLLECTIONS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W11 (May 5, 2019): 1089–96. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w11-1089-2019.
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<p><strong>Abstract.</strong> The paper discusses the first outcomes of an ongoing research activity aimed at developing a general BIM-based methodology for the organization and the management of the information needed for maintenance and safety assessment of museums. The Galleria dell’Accademia di Firenze (Florence, Italy) which has a very complex spatial organisation as a result of transformations occurred over the centuries, has been considered as an illustrative application of the proposed methodology. One of the specific elements which characterize museums, compared to other buildings, is the issue of the relationship between the building itself and the artworks there contained. A specific element of the research is consequently the need not to limit the attention to only the building (i.e. the envelope), but to consider within the BIM also the presence of the art collections. Starting from a recent laser scanner survey, a BIM has been created and a semi-automatic workflow has been investigated to obtain a FE (Finite Element) model to be employed for static and dynamic structural analysis purposes. Currently, since the scans inevitably included the artworks, a test is underway to add in the BIM of the museum also its collections (M-BIM). Each element can be inserted as a BIM object including its geometric representation and physical data (dimensions, materials, weight…) and linked to different museum inventory and conservation databases for the museum management.</p>
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Liston, Jeff J. "The Earth Sciences Review: Twenty Years On." Geological Curator 9, no. 6 (December 2011): 363–69. http://dx.doi.org/10.55468/gc79.
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The current round of cuts resulting from the global financial crisis once again places museum collections in a vulnerable position in terms of resource allocations from funders national, regional and private. Often, cuts in institutional funding are proposed in the context of being designed to reshape an organisation for a more streamlined role, better designed to meet the challenges of the future. But however well museums are redesigned, they rarely escape being viewed as legitimate targets for funding cuts whenever a new round of belt-tightening comes up. The inherent implication of the language of institutional reshaping is that a certain amount of protection, if not immunity, will be conferred on the museum come the next round - but that rarely happens. This is true from all ranges of funding sources: it is simply hard in political terms for funders to justify resources going to cultural preservation instead of hospitals or nursery education. Within museums, geological collections traditionally have a particularly hard time in terms of funding and justifying their existence. Whereas artworks, archaeological, historical or ethnographic objects appear to have an intuitively obvious value to external assessors, arguing the case for natural science in general, and geology in particular, has always been an uphill struggle. So it is worth reflecting on an unusual manifestation of this phenomenon in the late 1980s, when cuts in funding actually led to an increase in funding for geological museum collections.....at least for some.
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Reshetnyk, Mariia, Volodymyr Grytsenko, and Dmytro Starokadomsky. "The role of the individual in the organisation of communication ‘museum–visitor’ (in memory of Vira Franchuk)." GEO&BIO 2022, no. 23 (December 30, 2022): 53–64. http://dx.doi.org/10.15407/gb2305.
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The article highlights the role of personality in the creation of museum exhibitions. Among the pleiad of prominent museum figures of the second half of the last century was Vira Franchuk (1916–2014). She managed the Geological Museum of the Natural Museum of Natural History NAS of Ukraine during its radical change in the 1960s. In addition to the permanent exhibitions, Franchuk organised temporary exhibitions in each year. She constantly organised field work and brought new valuable exhibits from business trips and enriched the scientific collections. The materials collected by her impress with their brightness, clarity, attractiveness, and correspond to the essence of scientific collections. And this also shows the reflection of the high erudition and versatility of the personality of V. P. Franchuk. Vira Prokopivna went from a young field geologist to a successful manager capable of bringing a private project (which was first a geological museum) to world level. Under her leadership, five widely visited exhibition halls were created displaying materials from Ukraine and all over the world—about five thousand geological specimens. She left a rich legacy of scientific and popular science publications that have not lost their relevance to this day. A distinctive feature of Franchuk was the love of stone, its unique beauty, which is transmitted to the visitor in carefully selected spectacular specimens. In combination with explanatory text, photographs, diagrams, and geological cuts, the visitor receives a complete imaginary model of the geological environment. The creation of a museum space under the direction of Franchuk was using versatile communication capabilities. For a long time, Franchuk led the scientific editing of the geology and geography sections of the Ukrainian Soviet Encyclopaedia, and for her active participation in its preparation and publication, she was awarded the diploma of the Verkhovna Rada of the Ukrainian Soviet Socialist Republic. The high standard for material selection and qualitative visualization of scientific knowledge laid down by the team of geologists under the leadership of Franchuk, until this operate on a worthy level for the benefit of enlightenment and science popularisation.
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Docampo, Javier, and Rosario López de Prado. "Are the latest exhibition ephemera available? Problems and solutions for a neglected material in museum libraries1." Art Libraries Journal 26, no. 2 (2001): 29–37. http://dx.doi.org/10.1017/s0307472200012177.
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Every museum generates a considerable amount of printed and graphic ephemeral material, which provides first-hand information on its permanent exhibitions and temporary activities. These can be exhibition brochures, didactic material, activity announcements, cards, etc. and they are frequently the only source of direct information on the active life of the organisation which precisely reflects its public image. However, few museums are devoting effort to preserving this material, whose retention is not always guaranteed. This paper aims to establish a classification of the different types of ephemeral publications common in museums (informative, educational, commercial, of internal use, etc). It sets forth an elementary system for dealing with them which, by using the MARC format (in those libraries using a standardised system) or a database in ACCESS (for those lacking one), should result in the establishment of a secure system for storage, retrieval and diffusion of this data.
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Hubáčková, Pavla. "Náprstkovo muzeum a světová výstava v Chicagu." Acta Musei Nationalis Pragae – Historia 77, no. 1-2 (2023): 21–28. http://dx.doi.org/10.37520/amnph.2023.003.
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In 1893, the World’s Fair was held in Chicago, during which a special building dedicated to women’s work was erected. Through the Czech expatriate community, the Náprstek Museum participated in the exhibition and sent a collection of embroidery called The Work of Our Mothers. Alongside Josefa Náprstková, Josefa Humpal Zemanová played an important role in the organisation of the event. For the Czechs, the exhibition was an opportunity not only to raise public awareness of women’s work, but also to promote national activities and to establish their identity in relation to Austria. The present study examines how the whole organisational process took place, identifies key participants and evaluates the outcome of the exhibition.
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Badia, Francesco, and Fabio Donato. "Il sistema di misurazione del Museo Nazionale della Scienza e della Tecnologia "Leonardo da Vinci" di Milano." MANAGEMENT CONTROL, no. 1 (May 2012): 91–115. http://dx.doi.org/10.3280/maco2012-001006.
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This paper aims at analysing the case of the National Museum of Science and Technology "Leonardo da Vinci", in Milan, focusing particularly its performance measurement system. The performance measurement system is neither fully coherent with the strategic aims of the organisation nor complete, although it has some positive characteristics. The deficiencies of the internal measurement system are well-known to the management of the museum. Some possible improvements of the performance measurement system are suggested. Under this respect, it is pointed out the need for a higher consistency between the mission of the organization and its performance measurement system. That is necessary both for supporting the internal decision systems, and for improving the transparency and the degree of accountability of the museum.
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Michalski, Artur. "HERITAGE OF THE ANTI-COMMUNIST CIVIL RESISTANCE IN THE POLISH PEOPLE’S REPUBLIC OF THE YEARS 1968–1989. INTRODUCTION TO THE CLASSIFICATION OF COLLECTIONS." Muzealnictwo 59 (June 26, 2018): 98–106. http://dx.doi.org/10.5604/01.3001.0012.1465.
Full textAbstract:
2018 we are commemorating the hundredth anniversary of Polish independence regained after the years of partitions of Poland. Special celebrations are on all over the country; many events are planned to be continued up to 2021 in line with, inter alia, the programme of the Ministry of Culture and National Heritage named Niepodległa 2017– 2021. The article presents the results of research on the material artefacts left behind by the not easily defined historic formation of the years 1968–1989, which can be generally described as an anti-communist civil resistance in the Polish People’s Republic. The actions taken by the resistance started from the so-called March events as well as the foundation of the “Ruch” Organisation. It was followed by: the Workers’ Defence Committee, the Committee for Social Self-Defence “KOR”, the Movement for Defence of Human and Civic Rights, the Confederation of Independent Poland, the Movement of Young Poland; next came: the Independent Self-governing Labour Union “Solidarity”, the Independent Students’ Association, and many smaller organisations or parties, up to the negotiations of the so-called Round Table. The opposition to communist regime was a major factor in the process of regaining by Poland its full independence, restoration of market economy, and putting an end to censorship that had been affecting the freedom of speech. The huge amount of published prohibited materials from this historic period, the so-called second circulation, remained: books, periodicals, leaflets, photos, posters, stamps, badges, cassette tapes, as well as printing machines, duplicating machines, broadcasting equipment, and other material remains. They are presently collected by Polish museums, some of them still in the process of organisation; they are also in possession of associations and foundations as well as private owners who often create remarkable collections, e.g. Krzysztof Bronowski’s “Muzeum Wolnego Słowa” (Museum of Free Speech) containing 700 000 items that arouse interest of foreign museums. Information about the individual oppositionists, events, underground prints and organisations published in the Internet also adds to the legacy of anticommunist resistance; among the available sources are: mentioned above “Muzeum Wolnego Słowa”, Dictionary Niezależni dla Kultury 1976–1989 by the Association of Free Speech, or collection of the “Karta” Centre. The author of the article attempts to classify these collections after interviewing the representatives of relevant institutions and organisations or private owners.
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Stuart Mogg, David T. "The Chamare Museum, Mua Mision, Malawi." African Research & Documentation 75 (1997): 1–4. http://dx.doi.org/10.1017/s0305862x00016046.
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The gradual opening of the Chamare Museum at Mua Mission over a period of many weeks during the mid-summer of 1997 most naturally reflected its prolonged periods of conception and gestation, exceeding thirty years and more in total. For such represents the period of time that the guiding light and moving spirit behind this truly epic work of ethnological scholarship, Claude Boucher, has been acquiring his deep knowledge, love and understanding of the complex, ritual-imbued lives of the surrounding Chewa, Ngoni and Yao peoples of central Malawi. As the culmination of this extended process of intelligent observation and detailed record, the Chamare Museum offers much that is surely unique in interpretation, organisation and presentation anywhere in Africa. Certainly Malawi has never seen the like, and no visit to Malawi can now be considered satisfactory or complete without the inclusion of the Mua Mission.
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Prischepova, Valeria. "The MAE RAS Khiwan Collections of A. N. Samoilovich." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 26, no. 2 (December 2020): 64–68. http://dx.doi.org/10.31250/1238-5018-2020-26-2-64-68.
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The expedition of academician Alexander Nikolaevich Samoylovich (1880—1938) to the Khanate of Khiwa in 1908 have been one of the most significant trips of Peter the Great's Museum of Anthropology and Ethnography (Kunstkamera). A. N. Samoylovich's activity on gathering ethnographic material has enriched the MAE item and photo collections related to the life of Khiwan population, the Uzbeks and the Turkmen. Unfortunately, little is known about the expedition itself, its organisation, its route, and the circumstances under which the field materials were collected. The Museum collections, together with the published works of the academician, helped reveal another facet of his talent — as ethnographer and collector. A. N. Samoylovich's Museum collections represent original material, which will allow to reconstruct the cultural situation in the Khanate of Khiwa of the beginning of the 20th century.
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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.
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Badia Solé, Marta, and Ángel Pío González Soto. "Construyendo el aprendizaje desde el contexto. Confluencia de objetivos. Instituto Quatre Cantons y Museu del Disseny, Barcelona." Profesorado, Revista de Currículum y Formación del Profesorado 21, no. 2 (July 1, 2017): 409–24. http://dx.doi.org/10.30827/profesorado.v21i2.10342.
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Resumen:El artículo que presentamos es la narración de una experiencia pedagógica realizada por los alumnos de primero de Educación Secundaria Obligatoria del Instituto “Quatre Cantons” de Barcelona. Dicha experiencia se ha desarrollado a partir de la propuesta educativa del “Museu del Disseny” de Barcelona. “Muntem una exposició: un món d’objectes, mirades i relats” es el proyecto piloto organizado por el Museu del Disseny de Barcelona, que invita a alumnos y profesores a conocer y valorar la cultura material del mismo modo que lo hace un museo. La metodología adoptada por todo el equipo docente y la singular organización del centro de secundaria, permiten contextualizar los contenidos y consigue implicar realmente a los alumnos en su propio aprendizaje. La flexibilidad pedagógica, el uso generalizado y cotidiano de la tecnología, la predisposición de los alumnos y la disposición de acción de todos los profesores es visible dentro y fuera del recinto escolar. El Instituto Quatre Cantons, crea sinergias activas entre las personas, los conocimientos y los saberes sumergiéndose en la realidad y aprendiendo “en directo”.Abstract:This article explains the development of a pedagogical experience carried out by students of the first year of compulsory secondary education at the Quatre Cantons secondary school from Barcelona. Such experience was developed from an educational proposal submitted by the Museum of Design of Barcelona. “Let’s set up an exhibition: a world of objects, looks and stories” is a pilot project organised by the Museum of Design of Barcelona that invites students and teachers to know and value material culture the same way a museum does. (Museum of Design. The methodology used by all the teachers and the particular organisation of the school make it possible to contextualise the contents and manage to get the students really involved in their own learning process. The pedagogical flexibility, the general and daily use of technology, the students’ interest and all the teachers’ eagerness to act are visible inside and outside the school. The Quatre Cantons school creates active synergies between persons, knowledge and wisdom by diving into reality and learning “live”.
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Wateren, J. F. van der. "Archival resources in the Victoria and Albert Museum." Art Libraries Journal 14, no. 2 (1989): 16–27. http://dx.doi.org/10.1017/s0307472200006192.
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The Victoria and Albert Museum, itself an archive of material culture, houses several collections of archival records. The Museum’s Registered Papers are divided between the Museum itself, which holds those papers relating to objects in the Museum, and the Public Record Office, where papers relating to Museum buildings and administration can be found; all papers produced since 1984 are to be housed together in a newly established V & A Archive. The quality of the archive of Registered Papers is uneven due to the lack of a controlling and unifying policy; this, and questions of conservation and administration, are being addressed as part of the current restructuring of the Museum. For the same reason the archives of the different Departments, though important, vary considerably not only in content but also in their organisation. The National Art Library, part of the V & A, includes archival collections of ephemera, comprising examples of printing and graphic design, and of manuscripts, including artists’ papers; it also includes the Archive of Art and Design, founded in 1978 to avoid the splitting up of significant archives between the Museum’s Departments.
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Wiśnicka, Anna. "Simple yet effective. Remarks on Finnish approach to design promotion." Załącznik Kulturoznawczy, no. 6 (2019): 263–84. http://dx.doi.org/10.21697/zk.2019.6.13.
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This paper gathers and analyses the main parts of the Finnish model of design promotion. It starts with providing the clear idea of division into global and national mechanisms as well as into commercial and cultural initiatives. Global mechanisms work on an international level, raising the design awareness and building the global perception of Finland as the country of design. They include works of the International Council of Societies of Industrial Design (now the World Design Organisation) and UNESCO. The promotional efforts taken on the national level focus on establishing the position of the designer and raising the understanding of the importance of design in public spaces. Those are supported by national organisations such as the Arts Promotion Centre Finland (Taike), the Finnish Association for Designers (ORNAMO) and Design Forum Finland (the official organisation of the Finnish Society of Crafts and Design), as well as local initiatives. The last section looks at the role of commercial initiatives, such as fares and marketing strategies, applied to design and the importance of cultural projects, such as museum exhibitions, publications, lectures, etc. All of the measures amalgamate to form a well-established model of design promotion which has been proven to work on many levels. Keywords: design promotion, marketing, d
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Ljubić Tobisch, Valentina, Mirta Pavić, Jasna Širec, and Žana Matulić Bilač. "RIZIK – a risk management survey for Croatian museums geared towards the better assessment, prevention and reduction of risk." Libellarium: časopis za istraživanja u području informacijskih i srodnih znanosti 13, no. 1 (August 26, 2022): 17–30. http://dx.doi.org/10.15291/libellarium.3475.
Full textAbstract:
Purpose. The aim of the survey on risk management in Croatian museums was to collect comprehensive data on the preparedness of Croatian cultural organisations for various risks in order to better assess, prevent and reduce risks. Approach and methodology. Against the background of the devastating damage caused by the March 2020 earthquake to cultural heritage in Zagreb, Croatia, the International Institute for the Restoration of Historical and Artistic Works, IIC-Croatian Group, conducted a national survey under the name of RIZIK. The online survey included 73 questions divided into four categories: general information about the institution, the property including buildings and collections, followed by questions on finances and audience. Questions on safety and regular maintenance, work and business plans, essential emergency services in case of danger, possible hazards and risks affecting the buildings and the collection, along with questions on measures that can help prevent or minimise risks and damage to the collection, the building, staff, and visitors, are part of the survey. Findings. As many as 188 museums were invited to participate in the survey, more than 100 responded, although some answered the questions only partially. This paper shows a cross-section of the general situation in Croatian museums, addresses the problem of modernising exhibition and depository spaces, describes the idea behind the survey, and discusses its results and possibilities for enhancement. Originality/value. The RIZIK survey is the first risk management survey sent to all museum institutions in the Republic of Croatia. The collected data are an important first insight into the current state and standards in Croatian museums, galleries and collections. Based on the results obtained, the survey participants can identify areas where they can strengthen or change their work practices, organisation and further planning.
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Dunn, Tammy, Ian W. Gibson, Heather Bohaty, Gary Merritt, and Erick Witherspoon. "School and Community Partnerships: Collaborating Through the Development of Interactive, Multimedia Learning Resources." Australian and International Journal of Rural Education 9, no. 2 (July 1, 1999): 43–56. http://dx.doi.org/10.47381/aijre.v9i2.442.
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In conducting an evaluation of a new partnership between a school and an art museum, the research team discovered the value of technology in generating the motivation for collaboration between an educational and a community organisation. Together, these community~based groups had agreed to share their resources and their expertise in the creation of a CD-ROM based 'virtual museum'. This interactive multi-media product was designed to allow those without access to the museum, to visit the 'art treasures' therein. The partnership provided school students with access to community experts, involvement in the development of advancedtechnologies and experience in team work, task management and problem solving. The school benefited from having the positive potential of community partnerships in achieving educational objectives confirmed at the same time as gaining a valuable resource for future use. As a direct result of this project, the museum recognised increased exposure in the community and received a perpetual resource (the Virtual Museum CD) available for future sale and community education purposes. The predominantly graduate student research team gained a clear understanding of the processes inherent in successful school and community partnerships. The potential for this type of technology based partnership to enhance the lives of all students, including rural and isolated students, is only just beginning to be realised.
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Toomsalu, Maie. "Fulfilment of August Antonius Rauber’s long-time dream." Papers on Anthropology 30, no. 1 (September 29, 2021): 9–18. http://dx.doi.org/10.12697/poa.2021.30.1.01.
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In his educational work, August Antonius Rauber, professor of Anatomy of the University of Dorpat (nowadays the University of Tartu) paid great attention to improving students’ training. He expected the educational museum of anatomy to be of great help in this. He began arranging it immediately after his arrival in Tartu in 1886. Professor Rauber lectured in German, but the number of Russian students was increasing rapidly in that period. Their command of German was limited – therefore, illustration of lectures with models and original specimens was of great significance. The museum opened in 1890 and found great recognition because of the quality of its specimens, originality of models and general organisation. Part of the exhibits of the educational museum of anatomy have been preserved to the present, and they are displayed at the exhibition of the Medical Collections of the Faculty of Medicine and are used in everyday work of the Department of Anatomy.
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Froneman, Willemien. "Subjunctive pleasure: the odd hour in the boeremusiek museum." Popular Music 33, no. 1 (January 2014): 1–17. http://dx.doi.org/10.1017/s0261143013000500.
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AbstractThis paper introduces the subjunctive as a modality of engaging in musical life, in this instance the contemporary white folk music scene of boeremusiek in South Africa. The genre has repeatedly been portrayed as forever vanishing – a discourse that still characterises contemporary events put up by the largest boeremusiek organisation in South Africa, the Boeremusiekgilde (Boeremusiek Guild). The aim of the paper is to analyse the effects of discourses of nostalgia and salvage on participants' experiences of liveness in the present. It is shown how a deep dissatisfaction for live performance developed throughout the genre's 20th-century history. The repeated framing of present enjoyment in terms of past models of nationalist duty cast the actual actions of participants in the mode of subjunctive possibility, it is argued. As rituals of mourning, boeremusiek events bemoan personal histories fundamentally tainted by political transgression: the loss of intimate spaces of white innocence.
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Tyte, Kate. "Discovering the Company of Surgeons." Bulletin of the Royal College of Surgeons of England 93, no. 6 (June 1, 2011): 208–9. http://dx.doi.org/10.1308/147363511x573923.
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In November 2010 I started work at the Royal College of Surgeons on a five-year project to catalogue the College's institutional archives. These are the records created by the organisation since 1745 as part of its everyday business – a unique and valuable historical research resource. The archives document many aspects of the College's history: Council decisions; examinations; College buildings; research and teaching programmes; the Hunterian Museum; and relationships with other bodies including the government and the National Health Service.
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Żak, Katarzyna. "Impact of the COVID-19 Crisis in the Cultural and Creative Sectors – Three Perspectives: International, National and the Cultural Entity." Cultural Management: Science and Education 6, no. 1 (July 11, 2022): 71–90. http://dx.doi.org/10.30819/cmse.6-1.05.
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This article presents the issues related to the impact of the COVID-19 crisis on the activities of the cultural and creative sectors. The description of the situation faced by the entities of these sectors comprises both the international and national perspectives. Special attention is paid to the analysis and evaluation of a specific example of the Castle Museum in Pszczyna. The studies and research of available literature, papers and statistical data for 2019–2020 allowed for diagnoses at the general level, i.e. the level of a specific field of activity, which is the activity of museums, and at the level of a given entity. The presented statistical data from 2020 compared to 2019 (normal year of operation) indicate a drastic deterioration of the financial situation and the scope of conducted activity of the surveyed entities. When looking for an antidote to emerging problems, many of them reorganized their activities and transferred their operation to the Internet. It seems that new forms of building relationships with consumers have become a routine and will be continued in an improved form in the future. This article presents a critical review of domestic and foreign literature, as well as Internet sources. The presented assessments and conclusions are justified by the analysis of statistical data contained in the documents of Głowny Urząd Statystyczny (GUS) (the Central Statistical Office), Organisation for Economic Co-operation and Development (OECD), international reports and information provided by the Castle Museum in Pszczyna.
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Eklund, Peter, Tim Wray, Peter Goodall, and Amanda Lawson. "Design, information organisation and the evaluation of the Virtual Museum of the Pacific digital ecosystem." Journal of Ambient Intelligence and Humanized Computing 3, no. 4 (June 28, 2012): 265–80. http://dx.doi.org/10.1007/s12652-012-0144-9.
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Ciric, Biljana. "Building archives through curatorial practice." Art Libraries Journal 39, no. 2 (2014): 10–13. http://dx.doi.org/10.1017/s0307472200018253.
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An understanding of the museum as an exhibiting space, rather than as a research-based organisation, has led to the current lack in China of institutions tasked with archiving and making art documentation public. A number of projects organised by the author in Shanghai and elsewhere, including History in the Making: Shanghai 1979-2009 and From a History of Exhibitions towards a Future of Exhibition-Making, have addressed the role of archives in exhibition making, while developing new documentary resources for curatorial and art historical research.
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Zagorodniuk, Igor V. "The phenomenon of Theodosius Dobrzhansky: to the 100th anniversary of the beginning of his scientific research in Kyiv (1921–1924)." Visnik Nacional'noi' academii' nauk Ukrai'ni, no. 02 (February 25, 2021): 49–68. http://dx.doi.org/10.15407/visn2021.02.049.
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The results of the research on the history of formation and growth of Theodosius Dobrzhansky as a scientist in his first and most important Kyiv period are presented. This period lasted from 1909 to 1924 (15 years in total) and included studies at the First Kyiv Gymnasium (until 1917), 4 years of study at the University of St. Volodymyr (1917–1921) and work at the Department of Zoology of the Kyiv Polytechnical Institute (1920–1923) and the Zoological Museum of the Ukrainian Academy of Sciences (1921–1922 [1923?]). The essay has been prepared considering numerous clarifications on misbeliefs accumulated in various sources, in particular on dates, places of residence and work, names of institutions, organisations, etc. Peculiarities of his work and activity in the Ukrainian Scientific Society, in the Department of Zoology of Kyiv Polytechnic, and in the Zoological Museum (Zoological Cabinet) of the Ukrainian Academy of Sciences are analysed. Information on places of study and work, topics of scientific publications and reports, information on created collections and circles of communication is given. The motives for further change of place of work and departure of the scientist to St. Petersburg, where he spent the next 4 years, and to the United States are considered. The Kyiv period is considered being key for the formation of the scientist and his main scientific interests, as well as for the practice of communication with leading experts in their field and for the organisation of successful work despite social difficulties and upheaval.
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Pacher, Jeanette. "Art libraries in Austria." Art Libraries Journal 21, no. 4 (1996): 27–30. http://dx.doi.org/10.1017/s0307472200010087.
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Kunstbibliotheken in Österreich können gemäß ihrer jeweiligen institutionellen Verankerung in drei Gruppen unterteilt werden: in Museums- und Universitätsbibliotheken sowie in Bibliotheken, die in anderen Austellungs-institutionen, Galerien und Kunsthallen untergebracht sind. Gerade in jüngster Vergangenheit ist die Zahl der ‘alternativen’ Ausstellungsräume stark gewachsen, die vorwiegend internationale Gegenwartskunst präsentieren und in ihren Bibliotheken und Archiven grundlegende Materialien dazu sammeln. Museums- und Universitätsbibliotheken verfügen hingegen meist über einen umfangreichen Bestand an Basisliteratur zur bildenden Kunst und Kunstgeschichte, aber auch über Literatur zu ihren Sammlungs- und Studien-schwerpunkten. Insgesamt muß festgestellt werden, daß aufgrund der äußerst unterschiedlichen Organisationsstrukturen Fragen von allgemeinem Interesse (etwa eine zentrale Vernetzung aller Daten oder eine generelle Ausbildungs-regelung) nicht koordiniert werden und die Situation daher recht unzufriedenstellend ist. Immerhin ist aber ein Trend in Richtung länger-fristiger Kooperationen im Ansatz zu erkennen. Zu nennen wären in diesem Zusammenhang etwa der Verein zur Förderung der Errichtung einer Fachhochschule für Informationsberufe (FIB) oder die ‘Kunstreferentensitzungen’, bei denen (seit 1949!) Bibliothekarlnnen aktuelle Probleme und Entwicklungen im Bibliotheksbereich diskutieren.Art libraries in Austria are basically divided into three main groups according to their specific form of institutional organisation: museum libraries, university libraries, and libraries in galleries. The latter are often situated in recently founded institutions and usually put their focus on contemporary art. Museums and university libraries traditionally have rather extensive collections of basic literature on art and art history as well as specialized literature according to the main subject of their collections. It is characteristic of the present stage of development that innovations in the organisation of these libraries (i.e. computer systems for online catalogues, specialized training, etc.) are not being co-ordinated and the results of local improvements are therefore not as rewarding as they could be. Nevertheless, the first steps towards long term cooperation are being taken, and include such initiatives as the Verein zur Förderung der Errichtung einer Fachhochschule für Informationsberufe, FIB (= Association to promote the foundation of an academy for information professions), and the Kunstreferentensitzungen, an assembly of librarians who discuss current trends and problems in library organization.
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Andreeva, Vera, Svetlana Shmachilina-Tsibenko, Elena Ozhogova, Ekaterina Namsing, and Oksana Morozova. "Stimulating students’ cognitive activity by means of interactive lectures in a museum environment." SHS Web of Conferences 101 (2021): 03004. http://dx.doi.org/10.1051/shsconf/202110103004.
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Considering the innovative interest of society in competent specialists, Higher Education strives to meet these needs by positioning introduction of interactive learning dynamic application in educational process as one of the forms of cognitive activity organisation. An illustrated lec-ture, a binary lecture, a consultation lecture and a conference were used in the study as priority means of cognitive activity stimulation. In doing so, we relied on the ideas of museum pedagogy as one of the important conditions of creating dialogicity, searching activity, team interaction and social experience. While conducting the abovementioned lectures in a museum environment, the special atmosphere is being created, which encourages fruitful work with historical sources, receiving information through exhibits, positive communicative environment aimed at initiating cognitive interest and activity, creativity, students’ independence in the knowledge assimilation, practical application of skills and abilities. All these, as our research has shown, contribute to the increase of the students’ cognitive ac-tivity stimulation levels.
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Вайтович, Александра Владимировна. "Wandalin Szukiewicz’s ideas about the social role of the archaeology." Journal of the Belarusian State University. History, no. 3 (August 2, 2022): 15–23. http://dx.doi.org/10.33581/2520-6338-2022-3-15-23.
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The article is devoted to the reconstruction of W. Szukiewicz’s views on the issue of the role of the archaeology in the society. The scholar didn’t leave the systematic explanation of the thoughts. Nevertheless, the study of his scientific works, newspaper notes and epistolary heritage allows to understand his main theses and ideas. He realised the value of the archaeological sites and artifacts and cared about drawing the attention of the compatriots to the local antiquities. According to W. Szukiewicz the priority should be given to the creation of the archaeological maps. The scholar urged the public to protect the archaeological heritage. He supported the idea of the organisation of the national museum. Moreover, he understood the importance of the scientific approaches to the formation of the museum collections. He kept in mind the popularisation of the archaeological and historical knowledge. W. Szukiewicz interpreted archaeological objects as key factor of the formation of national identity and called the specialists for participation in public life.
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Cardellicchio, Luciano, and Paolo Tombesi. "Learning from Failures: Reflections on the Role of Project Design and Design Management in the Procurement of Non-Standard Buildings." Buildings 11, no. 6 (June 11, 2021): 253. http://dx.doi.org/10.3390/buildings11060253.
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The opening of the Guggenheim Museum in Bilbao in 1997 heralded the beginning of an era in world architecture defined by iconic buildings underpinned by mediatic exposure and the belief in the power of design to leverage urban conditions. Today, a conspicuous number of such buildings featuring non-standard geometries are experiencing accelerated forms of decay with the emergence of construction defects. This study compares the type of problems encountered in the Jubilee Church in Rome (1996–2003), analysed in previous studies, with the failures of other two contemporary buildings of analogous features, namely: the Palau de les Arts Reina Sofia in Valencia (1996–2005) and the Museum of the Arts of the XXI Century in Rome (1998–2010). The findings of the study show that the accelerated decay of the three buildings shares familiar features and common challenges: geometry of the façade, local environmental factors, labour organisation, and limited regard of maintenance principles. Building on the patterns identified here, the paper suggests structural reasons for their emergence and speculates on the potential benefits deriving from the amplification of the design function.
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Lahoda, Oksana, Zoya Alferova, and Vladyslava Hurdina. "Clothing displayed in museums: from conservation to innovative design representations." Muzeológia a kultúrne dedičstvo 10, no. 4 (2022): 47–62. http://dx.doi.org/10.46284/mkd.2022.10.4.3.
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The presentation in museum exhibitions of samples of historical clothing, fashionable costumes from different periods and conceptual costumes of our time has acquired particular relevance. The development of exhibition design has attracted the attention of gallery owners, curators and representatives of the scientific community. The general cultural significance of the practices of preserving the heritage of material and artistic cultures and their representations synthesises traditional and innovative approaches to reconstruction, conservation and perception of costume, while remaining poorly studied. The strategies of contemporary curatorial practices form alternative approaches to fashion exhibitions and their organisation. In the information society, fashion exhibitions have become self-sufficient art projects that require careful scientific consideration.
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Toșa, Ioan, and Gabriela Rădoiu Leș. "Colecțiile Muzeului Etnografic al Transilvaniei, mesagere ale artei populare românești peste hotare (1924-1954)." Anuarul Muzeului Etnograif al Transilvaniei 32 (December 20, 2018): 266–300. http://dx.doi.org/10.47802/amet.2018.32.16.
Full textAbstract:
The authors aim to present to the interested public some moments of the valorification activity of the folk heritage by organising some exhibitions abroad in the period 1924-1956. From Brussels to Prague, from London to Vienna, Frankfurt or Geneva, from Paris to Sweden, the collections and artefacts of the Romanian folk culture have crossed and impressed the world. In addition, the article contains brief presentations of the events to which the Transylvanian Museum of Ethnography contributed with artefacts of its collections, and also part of the papers, correspondence, briefly minutes, the way of work in the mentioned period. The organisation, the way of cooperation between institutions and the responsibility of the ones involved in the transport of the artefacts are presented in this article. Not least, the paper presents information about the collections and artefacts lost, disappeared or damaged during the period they were abroad. We think that the topic can be an example of good practice nowadays through the interest, concern and seriousness with which the ethnographic collections were treated by the specialists and also the paper is a proof of the fact that the collections and artefacts of the Transylvanian Museum of Ethnography have been recognised abroad.
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Repina, Evgeniya, and Nikita Sopin. "Trends in organisation of interactive exhibition spaces. A modern example of revising the interaction of the exhibition space and the visitor." E3S Web of Conferences 457 (2023): 03009. http://dx.doi.org/10.1051/e3sconf/202345703009.
Full textAbstract:
The paper explores exposition/exhibition spaces on the basis of interactivity and analyses the principles of interaction between a museum visitor and the exhibition space. The authors describe several cases of interactive exhibition environment. The main task of the architect is to create an environment in which one not only receives information but also can interact with it, change its structure, control the forms and methods of communication with it and thus be involved in the process of creating and changing the environment.