Academic literature on the topic 'Museum practice'
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Journal articles on the topic "Museum practice"
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Tzanelli, Rodanthi. "The “Mangle” of Human Practice." Transfers 8, no. 2 (June 1, 2018): 129–32. http://dx.doi.org/10.3167/trans.2018.080209.
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Praça Mauá, 1 – Centro, Rio de Janeiro – RJ, 20081-240, Brasil https://museudoamanha.org.br/enWe are accustomed to museums full of heritage displays from bygone eras, helpfully “seriated” for the visitor to tell a story of linear human progress toward an “end”: the great metanarrative of (Western) modernity. This is not so with the Museu do Amanhã (Museum of Tomorrow) in Rio de Janeiro. A joint public-private partner venture (by the City of Rio de Janeiro, the Roberto Marinho Foundation, Banco Santander, the British Gas Project, and the government of Brazil), the museum was conceptualized as a dark but openended narrative on climate change and the future of humanity.
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Ray, Joyce. "Digital curation in museums." Library Hi Tech 35, no. 1 (March 20, 2017): 32–39. http://dx.doi.org/10.1108/lht-12-2016-0154.
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Purpose The purpose of this paper is to present a perspective on the development of digital curation education and practice in museums in the USA. Design/methodology/approach Methods used include: a historical overview of the development of digital curation, originally as a field of practice – primarily in the sciences – and then as a field of study; a case study of the adaptation of a digital curation curriculum (DigCCurr) framework developed in schools of library and information science (LIS) to a museum studies program; and a discussion of trends in digital curation practices in museums. Findings The case study (the digital curation certificate program of Johns Hopkins University’s museum studies program) describes a successful adaptation of the LIS DigCCurr framework in a museum studies program. Practical implications Findings could help to advance the museum field through the integration of digital curation education, practice and research. Social implications By adopting and supporting digital curation practices, education and research, museums can reach and engage more online users seeking information about museum collections. More online users may also become onsite visitors. Originality/value There is little existing literature on digital curation education in museum studies programs.
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Dudley, Sandra H., and Kylie Message. "Editorial." Museum Worlds 1, no. 1 (July 1, 2013): 1–6. http://dx.doi.org/10.3167/armw.2013.010101.
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Museum Worlds: Advances in Research represents trends in museum-related research and practice. It builds a profile of various approaches to the expanding discipline of museum studies and to work in the growing number of museums throughout the world. It traces major regional, theoretical, methodological, and topical themes and debates, and encourages comparison of museum theories, practices, and developments in different global settings.
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Perla, Armando. "Democratizing Museum Practice Through Oral History, Digital Storytelling, and Collaborative Ethical Work." Santander Art and Culture Law Review, no. 2 (6) (2020): 199–222. http://dx.doi.org/10.4467/2450050xsnr.20.016.13019.
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The museum as an institution can trace its origins to the colonization process. Many are still undemocratic and exclusionary institutions by nature. This article explores how digital collections, digital storytelling, and ethical guidelines for museum professionals working with historically marginalized communities can contribute to democratize museum practice and theory. Making use of two case studies: 1) the creation of the Canadian Museum for Human Rights’ (CMHR) oral history collection; and 2) the planning of the Swedish Museum of Movements’ (MoM) ethical guidelines – this piece proposes a shift from theory to practice in human rights museology to help institutions be more attuned and responsive to the communities they intend to serve. Both case studies demonstrate that implementing human rights museology in national museums is not an easy task and still faces multiple challenges. Yet, they also indicate that this concept can be more productively informed through practices developed by the marginalized groups which have been historically excluded from taking part in the decision-making processes in museums.
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Prottas, Nathaniel. "Between Practice and Theory." Museum Worlds 6, no. 1 (July 1, 2018): 60–73. http://dx.doi.org/10.3167/armw.2018.060106.
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In this article, I consider the definition and use of the term dialogue in museum education, focusing on the work of Rika Burnham and Elliot Kai-Kee, whose ramifications for art itself have often been sidelined by educators. First, I examine the relationship between Burnham and Kai-Kee’s theory of education and Hans-Georg Gadamer’s and John Dewey’s writing on art, arguing that dialogical museum teaching implicitly relies on a definition of art as performative. Then, I explore the ramifications of Gadamer’s and Dewey’s definition of art as performative for the field of museum education. Finally, I argue that by understanding art as an active participant in our encounters with it—and by refocusing our attention on art’s role in museum educational practice—we create a radically new argument for museums as educational institutions that bring people and art into dialogue with each other.
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Hakamies, Inkeri. "Practice Makes ‘Museum People’." Museum and Society 15, no. 2 (July 12, 2017): 142–52. http://dx.doi.org/10.29311/mas.v15i2.829.
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This article examines how museum work is evaluated, and how it affects museum professionals’ identities. The empirical material consists of biographical interviews of Finnish museum professionals. The key concept for the analysis is ‘museum people’, which represents the ideal museum workers. As a community of practice ‘museum people’ are defined by what they do – ‘proper’ museum work. Analyzing the defining practices and elements of the community also reveals that it is placed in a time and space of its own. Reflecting oneself to ‘museum people’ and their practices can be elemental for the identity work of a museum professional.Keywords: Museum work, practices, community of practice, professional identity
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Whittington, Vanessa. "Decolonising the museum?" Culture Unbound 13, no. 2 (February 8, 2022): 245–69. http://dx.doi.org/10.3384/cu.3296.
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As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation. As institutions that arose during the European age of imperial expansion to glorify and display the achievements of empire, museums have historically been deeply implicated in the colonial enterprise. However if we understand coloniality not as a residue of the age of imperialism, but rather an ongoing structural feature of global dynamics, the challenge faced by museums in decolonising their practice must be viewed as ongoing. This is the case not just in former centres of empire, but in settler-colonial nations such as Australia, where “the colonisers did not go home” (Moreton-Robinson 2015: 10). As a white, Western institution, a number of arguably intrinsic features of the museum represent a significant challenge to decolonisation, including the traditional museum practices and values evinced by the universal museum. Using a number of case studies, this paper considers the extent to which mainstream museums in Australia, Britain and Europe have been able to change their practices to become more consultative and inclusive of Black and Indigenous peoples. Not only this, it discusses approaches that extend beyond a politics of inclusion to ask whether museums have been prepared to hand over representational power, by giving control of exhibitions to Black and Indigenous communities. Given the challenges posed by traditional museum values and practices, such as the strong preference of the universal museum to maintain intact collections, this paper asks whether community museums and cultural centres located within Indigenous communities may represent viable alternative models. The role of the Uluru Kata Tjuta Cultural Centre in Australia’s Northern Territory is considered in this light, including whether Traditional Custodians are able to exert control over visitor interpretation offered by this jointly managed centre to ensure that contentious aspects of Australian history are included within the interpretation.
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Geoghegan, Hilary. "Museum Geography: Exploring Museums, Collections and Museum Practice in the UK." Geography Compass 4, no. 10 (October 2010): 1462–76. http://dx.doi.org/10.1111/j.1749-8198.2010.00391.x.
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Luepken, Anja. "Politics of Representation—Normativity in Museum Practice." Journal of Religion in Europe 4, no. 1 (2011): 157–83. http://dx.doi.org/10.1163/187489210x553548.
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AbstractThis article explores the relevance of normativity for the critical term 'museality.' The normative structures that become visible in museum practice are outlined in connection with the practice of appropriation. The relations between museum practice and the ruling paradigm of incumbent political systems are shown as strategies of legitimization. An additional focus is laid on the blurred boundaries between museums and temples. Finally, the 'ethization' of museums in recent decades is discussed. It is shown that normativity is a central aspect of museality, being correlated to all its facets.
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Napoleon, Ebiyefa, and Dr Nwankwo Elochukwu Amaechi. "INFORMATION TECHNOLOGY IN MUSEUM PRACTICE IN 21ST CENTURY." International Journal of Engineering Applied Sciences and Technology 6, no. 6 (October 1, 2021): 55–71. http://dx.doi.org/10.33564/ijeast.2021.v06i06.007.
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This study looks at how information technology can be used in museum practice in the twenty-first century. According to the findings, visitors who visit museums for leisure or enjoyment, as well as students on field trips, can be engaged by technology in a variety of ways. The museum setup must evolve to offer a comfortable experience for visitors to connect digitally as 21st century visitors become more knowledgeable about technology. The employment of outreach packages, social media, and other media strategies, such as a mobile app for the museum and museum screen pads to expose the museum's contents as indicated, is beneficial to both the museum and visitors in general.
Dissertations / Theses on the topic "Museum practice"
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Morse, Nuala Marie. "Museums and community engagement : the politics of practice within museum organisations." Thesis, Durham University, 2014. http://etheses.dur.ac.uk/10846/.
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Community engagement (CE) is a key focus of UK museum policy and practice, increasingly used as a strategy to democratise museums and position them as social agents. However, the practices of CE have not evolved far beyond what I call the ‘contributory museum’, which focuses on how communities can benefit the museum. In this thesis I propose the distributed museum as an alternative contribution to museological theory and practice, and call for a conceptual and practical reconfiguration that focuses on how museums can benefit communities. This concept arises from a deep investigation of the politics of CE practice at Tyne and Wear Archives and Museums. The research takes a unique organisational perspective, focusing on museum professionals’ perspectives to examine how CE is constructed and managed across the museum’s different departments, and highlighting varying practices, competing meanings and discourses, and the operational and cultural barriers to this work. Using a novel collaborative-ethnographic methodology, the research examines how the museum’s Outreach Team negotiates institutional barriers, and how their practices have evolved towards more collaborative ways of working with community organisations and localities. Arising from this close examination of practice, the thesis finds evidence for the distributed museum in some elements of current Outreach practice, but it is yet to be realised across the whole museum institution. It suggests that two distinctive practices make the distributed museum: care and craft. These practices are analysed drawing on the geographies of care literatures, and actor-network and assemblages theories. Critically, this thesis presents a politics of practice that works from within the logics of the museum and therefore attends to the competing demands that are currently placed on museums. I argue that if CE is reconfigured in these ways – as a practice of care and as craft – then community engagement will enable a new basis for collaborative practice with communities. The thesis ends with implications for museum policy and practice, and further research.
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Embola, Oscar Kalu. "Contemporary museum practice in England and its potential applications for Cameroon museums." Thesis, University of Southampton, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443041.
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Rhee, Nakyung. "An Exploration of New Seniors in Arts Participation literature and practice." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1386775161.
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Flood, S. M. "Canadian craft and museum practice 1900-1950." Thesis, University of Manchester, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550289.
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Stroh, Stephanie. "Embodiment and theatricality in post-museum practice." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/39273/.
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A recent shift to a more performative and relational understanding of the museum and its practices can be witnessed in the field of museum studies. This shift reimagines the museum as experience, process or performance, and is reflected in what has been termed the 'post-museum'. The post-museum challenges the representational practices of the museum, and introduces a potential 'liqud imaginary' which dissolves the traditional boundaries of what constitutes a museum. While these ideas point to relevant changes in the way museums are perceived and practiced, the field has so far failed to explore the implications of this shift for the practice of museum research. This study examines the potential of the post-museum for developing new approaches to research practices. It contributes to the field of museum studies by exploring creative research methods that qualify as site-responsive, experimental means of critically engaing with the museum. These creative methods of research are developed on-site at the National Maritime Museum Greenwich, London. Under-represented in the museological literature, maritime museums provide potent opportunity as sites for experimentation into creative, more-than-representational approaches to museum research. The study examines creative research methodologies through the embodied mode of inhabitation, which it conceptualises through the notions of dwelling and travelling. Drawing on the concept of the 'mariner's craft' from maritime literary criticism and so-called wet or liquid ontologies from human geography, the research explores the potential of post-museum thinking from a cross-disciplinary perspective. Inhabiting the Museum through creative-experimental doings, the thesis-in-motion maps out an uncertain voyage into the uncharted territories of creative maritime museum research, a voyage of exploration, intervention, and creativity.
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Agostino, Cristiano. "Contemporary digital museum in theory and practice." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9483.
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This dissertation investigates the interplay between a selected set of museum practices, such as online strategies, digitisation of artwork reproductions, and crowdsourcing, through a theoretically grounded perspective. Existing discourse and debate on the museum's movement from an exclusively physical, to a digital or hybrid presence display an excessive interest in advocacy, usually focusing on small examples of successful practices which are then argued as somehow empowering or resolutive, usually from a 'social justice' point of view. Conversely, in those same discourses little attention is paid to the macro-context within which these cases take place: current debates lack an articulation of how museum practices reflect ongoing trends and paradigms on a culture-wide level, and also eschew non-advocative, neutral discussion of the politics, discourses and power relations that such practice entail. I suggest that the contemporary constructivist, digital museum can be better contextualised if we frame emergent digital museum praxis within a framework that resorts to well-established, and well-described theoretical paradigms that can be observed in other cultural and social contexts as well. The advantage of such an approach is that museum practice, and the museum as an institution, can then be seen in continuity with current macro-trends, rather than as isolates whose usefulness and sustainability begins and ends within the museum's precinct. This dissertation begins this proposed shift in point of view by addressing emergent museum practices such as the drafting of digital strategies; the creation of digital reproductions of artworks for online display; and crowdsourcing in the context of theoretical frameworks such as the utopian imagination; ontology of digital-beings; and contemporary labour practices. While not comprehensive, and exploratory in nature, this dissertation contributes to the discipline by providing a new, more in-depth point of view on 'hot' practices, encouraging a contextualisation of the museum that goes beyond the museum itself, into a theoretical and interdisciplinary field that takes advantage of ideas developed within digital humanities, labour critique, informatics and cultural studies.
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James, Kirstin Ares. "Gifting culture : comparing display practice at the British Museum and the Pitt Rivers Museum." Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/37196.
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Indigenous Research Methodology (IRM) is an approach to research defined by members of Indigenous Nations for research of topics that directly concern them (their communities, their families). Gifting Culture constitutes the first time that this approach has been applied to museums studies (in the UK). What is meant by this, is that while it could be argued that any Indigenous museum practitioner conducting museums research on the topic of their own culture, is conducting ‘Indigenous research’, they are generally using (or are required to use) Euro-Western, positivistic approaches to research inquiry, rather than Indigenous Research Methodologies. This study challenges that pattern by using a comparison of display practices at the British Museum (geographic approach to display) and the Pitt Rivers Museum (typological approach to display) as passageways into interrogation of the dominance of Euro-Western approaches to interpretation of Indigenous heritage. Conducted primarily from an Algonquian worldview (by a member of the Lumbee Nation) this study also considers relationships between its findings, methodology and whether or not museum display practices enact as ‘pure gift exchange’. In this study, objectstorytellers (museum objects) from each museum are anchoring participants. Audience mapping facilitates understanding the agency of these storytellers in their respective museum ecologies, while interviews with curators Jago Cooper and Laura Peers lend insight into the practical management of these respective collections. 1555 visitors were observed over a period of six observation days at the Pitt Rivers Museum and 4266 visitors were observed during seven days of observations at the British Museum. Gifting Culture includes a conventional Euro-Western discussion of the study, while also offering a non-European translation of the research experience in the form of an Ititamatpamá ( ‘Time Ball’).
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Swinney, Geoffrey Nigel. "Towards an historical geography of a 'National' Museum : the Industrial Museum of Scotland, the Edinburgh Museum of Science and Art and the Royal Scottish Museum, 1854-1939." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8109.
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This thesis adopts a primarily process-based methodology to put a museum in its place as a site of knowledge-making. It examines the practices of space which were productive of a government-funded (‘national’) museum in Edinburgh. Taking a spatial perspective, and recognising that place is both material and metaphorical, the thesis explores how the Museum’s material and intellectual architectures were produced over the period 1854-1939. The thesis is concerned to bring into focus the dynamic processes by which the Museum was in a continual state of becoming; a constellation of tangible and intangible objects constantly being produced and reproduced through mobility of objects, people and ideas. Its concern is to chart the flows through space which produced the Museum. The thesis comprises nine chapters. An introduction and a literature review are followed by chapters concerned, respectively, with the built space of the museum and with the people who worked there. A further three chapters consider the nature of that work and the practices of space which constituted the processes of collecting, displaying, and educating, whilst another focuses on visiting. The final chapter discusses how the analysis has constructed the museum as constituted through a complex diversity of material and metaphorical settings on a variety of geographical scales. This critical scrutiny of the museum has, in turn, brought to the fore the place of the Museum in contributing to civic and national identity. Through a case-study of a particular museum, the concern has been to explore how critical geographies of science may be applied to the examination of a museum. In particular the thesis examines how contextual concepts developed largely in conscribed sites such as laboratories apply to a public site such as a museum. The thesis suggests that the ordering terms ‘space’ and ‘place’, combined with a focus on practice and performance, may have more general application in constructing an historical geography of museums as sites of production and consumption of scientific knowledge.
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Armitage, Madeline Grace. "Planning for Inclusion in Museum Education Practice: Preparing Docents and Museum Educators for English Language Learners." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492465579374636.
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Kioussis, Sokratis I. "'Nature' and 'culture' in Greek contemporary museum practice : a study of the Goulandris Museum (of Natural History)." Thesis, University of East Anglia, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658703.
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In its various manifestations, 'art' could be described as a product of 'nature', on which it often reflects, alongside being a product of 'culture'. In recent and past scholarship 'nature' and 'culture' are often treated as opposed categories. Museums in particular have a role in the creation and maintenance ' of a nature/culture configuration. Representing the world in different ways, they have established boundaries between them in the very act of focusing attention on each and increasing understanding in both domains. Drawing on different museological traditions and responding to contemporary issues, the project of creating The Goulandris Museum has brought 'nature' and 'culture' together in its program, exploiting antiquities and other evocations of the ancient world to explain the natural world, especially in its latest schemes. This thesis· examines !he background to such practices, the ideas it embodies and the challenges it sets itself. However, it is more than a study of the history of one particular museum created in the second half of the twentieth century; this thesis also considers the history of other European museums, whose practices and development over time have contributed to the distinctive schema realised in Athens in recent decades. Chapter I introduces the Goulandris Museum and discusses the different ways in which museums have chosen to represent nature. Touching on the means by which they generate knowledge and awareness of the natural world, it discusses how the representation of nature in itself also reflects mankind's plasmatic relationship with the natural world. Chapter II looks back to 'cabinets of curiosity' and the founding and development of three influential institutions to reflect on the tradition of natural history museums in Europe. Chapter III continues with a conceptual and historical reading of London's Natural History Museum, an institution that greatly contributed to the rationale and public presentation of the Goulandris Museum, setting up its first displays. The detail of this particular institutional relationship is examined in Chapter IV, an analysis based on original archival research conducted at the Natural History Museum. . Chapter V examines the displays and practices of the Goulandris Museum prior to the emergence of its research and education centre ('Gaia Centre'), which we explore separately in Chapter VI in conjunction with the New Acropolis Museum, an institution that was designed by the same.architect, Michalis Photiadis. Interviews conducted with him and with the Director and several staff of the Goulandris Museum inform our analysis. That with Mrs. Goulandris is referenced throughout the thesis. The literature review is also · distributed through the thesis at the points where it is relevant and especially in Chapter V which discusses the literature on the history and conception of natural history museums as points of access to the 'real' world of nature. . This thesis is set in a conceptual but also in a historical conte:r:t, as indeed were the ambitions of the founders of the Goulandris Museum. It was the first natural history museum in Greece, and the Qoulandrises sought to situate their new project within both European traditions of natural history museums ' and the traditions of archaeological and classical collections, which had until then dominated the Greek understanding of the purposes of museums. Drawing on these sources, the Goulandris Museum has arrived at its latest scheme which deploys ideas of nature and of culture to shape a very particular identity within Greece ' and to engage and infOlID its visitors.
Books on the topic "Museum practice"
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Okpoko, Alex Ikechukwu. Fundamentals of museum practice. Nsukka, Nigeria: Afro-Orbis Pub. Co., 2006.
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Museum exhibition: Theory and practice. London: Routledge, 1994.
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Museum exhibition: Theory and practice. London: Routledge, 1996.
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Janet, Marstine, ed. New museum theory and practice: An introduction. Malden, MA: Blackwell Publishing, 2006.
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Conference, Unesco General. Human remains & museum practice. Paris: United Nations Educational, Scientific and Cultural Organization, 2006.
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Edson, Gary. Museum Ethics in Practice. Abingdon, Oxon ; New York : Routledge, an imprint of: Routledge, 2016. http://dx.doi.org/10.4324/9781315560137.
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1972-, Thomas Catherine, ed. The edge of everything: Reflections on curatorial practice. Banff, Alta: Banff Centre Press, 2002.
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Museology and museum studies: A handbook of the theory and practice of museums. Dar es Salaam, Tanzania: Dar es Salaam University Press, 2010.
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Marstine, Janet, ed. New Museum Theory and Practice. Oxford, UK: Blackwell Publishing Ltd, 2006. http://dx.doi.org/10.1002/9780470776230.
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Museum, Royal Ontario. ROM practice. [Toronto: The Museum, 2002.
Find full textBook chapters on the topic "Museum practice"
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McCann, Mercy. "Activist practice through networks." In Museum Activism, 220–31. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Museum meanings: Routledge, 2019. http://dx.doi.org/10.4324/9781351251044-21.
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Hohenstein, Jill, and Theano Moussouri. "Theory and museum practice." In Museum Learning, 11–30. Abingdon, Oxon ; New York, NY : Routhledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315696447-2.
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Waters, Brenda L. "Museum Techniques." In Handbook of Autopsy Practice, 151–56. Totowa, NJ: Humana Press, 2009. http://dx.doi.org/10.1007/978-1-59745-127-7_16.
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Witcomb, Andrea. "Towards a Cosmopolitical Exhibition Practice." In Edition Museum, 187–212. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839455142-010.
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Anila, Swarupa, and Geoff Emberling. "Negotiations in museum practice." In Museums and the Ancient Middle East, 123–37. Milton Park, Abingdon, Oxon: Routledge, 2019. | Series: Routledge research in museum studies; 11: Routledge, 2018. http://dx.doi.org/10.4324/9781351164160-10.
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Marstine, Janet. "Reconciliation and the discursive museum." In Critical Practice, 157–85. New York : Routledge, 2017. | Series: Museum meanings: Routledge, 2017. http://dx.doi.org/10.4324/9781315272016-5.
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Hohenstein, Jill, and Theano Moussouri. "The importance of methods and methodology for museum practice." In Museum Learning, 31–51. Abingdon, Oxon ; New York, NY : Routhledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315696447-3.
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Zeissig, Vanessa. "2.2 Künstlerischer Forschungsbeitrag auf Basis der Methode ›practice-led research‹." In Edition Museum, 27–28. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839463970-004.
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Ludwig, Jurgen, and William D. Edwards. "Museum Techniques and Autopsy Photography." In Handbook of Autopsy Practice, 137–41. Totowa, NJ: Humana Press, 2002. http://dx.doi.org/10.1007/978-1-59259-286-9_15.
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Carvill Schellenbacher, Jennie. "Museums, activism and social media (or, how Twitter challenges and changes museum practice)." In Museum Activism, 380–87. Abingdon, Oxon ; New York, NY : Routledge, 2019. | Series: Museum meanings: Routledge, 2019. http://dx.doi.org/10.4324/9781351251044-36.
Full textConference papers on the topic "Museum practice"
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Avdeeva, Natalya V., and Yu V. Minkina. "Ecological education of schoolchildren at the natural sciences museums." In The libraries and ecological education: Theory and practice. Russian National Public Library for Science and Technology, 2020. http://dx.doi.org/10.33186/978-5-85638-227-2-2020-33-35.
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Various approaches toward ecological education of schoolchildren using the resources of museums (Darwin Museum, MSY Zoological Museum, Moscow Zoo, MSU Agriculture Museum, K. Timiryazev Biological Museum) are discussed. The ecological approach makes the founding principle of structuring displays and research and educational activities of the museums of the natural sciences. Their educational environment provides support for personal creative development, for educating ethical principles of social behavior and attitudes toward nature.
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Egorova, Evgeniia Nikolaevna. "School Museum as an educational space." In International Research-to-practice conference. Publishing house Sreda, 2020. http://dx.doi.org/10.31483/r-86184.
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The article deals with the organization of school museums in the aksubayevsky district of the Republic of Tatarstan. Against the background of attempts to correspond historical events in Ukraine, the countries of the near and far abroad, the issue of preserving the historical memory of the current and future generations of our country is acute. The school Museum becomes an excellent alternative to the usual history lesson, the work of students in the school Museum is of a research nature, develops patriotism, love for their small homeland, their country.
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Shelegina, Olga N. "MODERN TREND IN THE DEVELOPMENT OF MUSEUMS AND MUSEOLOGY: Materials of the IV All-Russian (with International Participation) Scientific Conference." In MODERN TREND IN THE DEVELOPMENT OF MUSEUMS AND MUSEOLOGY, edited by Galina M. Zaporozhchenko. Novosibirsk State University, 2020. http://dx.doi.org/10.25205/978-5-4437-1115-7.
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The collection of materials of the IV all-Russian scientific and practical conference «Modern trends in museums and museology» presents reports of employees of Russian research institutes, leading museums of the Russian Federation and the Republic of Belarus, the Republic of Kazakhstan, teachers of higher educational institutions, representatives of cultural institutions. They reflect a wide range of topical issues related to the development of the theory and practice of Museum business in modern conditions at the international, national and regional levels. Important attention is paid to socio-cultural practices for the development of historical and cultural heritage, digitalization of the Museum sphere and its adaptation to the conditions of the pandemic. The publication will be interesting for specialists in the field of history of science and culture, heritage management, Museum studies and cultural studies, teachers of universities, employees of museums and libraries, local historians.
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Poliakova, Olga Viktorovna. "Education in the Museum." In International Research-to-practice conference. Publishing house Sreda, 2022. http://dx.doi.org/10.31483/r-103126.
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Ozretić Došen, Đurđana, Emanuela Cvetinović, and Tanja Komarac. "MARKETING OF RIJEKA MUSEUMS: CURRENT PRACTICES AND FUTURE DIRECTIONS." In Tourism in Southern and Eastern Europe 2021: ToSEE – Smart, Experience, Excellence & ToFEEL – Feelings, Excitement, Education, Leisure. University of Rijeka, Faculty of Tourism and Hospitality Management, 2021. http://dx.doi.org/10.20867/tosee.06.37.
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Purpose – The paper is dedicated to the marketing of Rijeka museums. It presents the research that encompassed a) museum professionals’ marketing knowledge and skills and their implementation in practice b) core and additional services offered by museums c) museum professionals’ opinions and attitudes about the new trends in museum marketing. Methodology – Exploratory research was conducted. Data for the theoretical foundations were collected from secondary scientific sources and by searching the websites, social networks, and promotional materials. Qualitative research in the form of in-depth, semi-structured personal interviews with key informants was performed to collect primary data. Findings – The level of familiarity with the services marketing in Rijeka museums was low, pointing to a lack of marketing professionals. Nevertheless, the need for marketing was recognised, and museums were striving to implement some generic marketing activities. The core services (exhibitions and/or collections of materials) showed predominant product orientation, with insufficient orientation on a visitor. Opinions and attitudes of interviewees on museum marketing trends were positive. However, museums could not include new content despite wishes due to the lack of capacity. Furthermore, the legal frame prevented expanding the offer of a souvenir shop. Contribution – Although the research was conducted before the onset of the pandemic, the paper provides theoretical insights and practical suggestions, which could help academics and professionals to understand better and deal with the potential opportunities and threats in museum marketing in the dramatically changing environmentns.
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Wolff, Annika. "Framing Data Curation as Museum Practice." In 34th British HCI Workshop and Doctoral Consortium. BCS Learning & Development, 2021. http://dx.doi.org/10.14236/ewic/hci2021-w1.1.
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Рябинин, Константин, Konstantin Ryabinin, Амир Ахтамзян, Amir Ahtamzyan, Мария Колесник, Mariya Kolesnik, Елена Сударикова, and Elena Sudarikova. "Tangible Interfaces for the Virtual Reconstructions of Museum Exhibits." In 29th International Conference on Computer Graphics, Image Processing and Computer Vision, Visualization Systems and the Virtual Environment GraphiCon'2019. Bryansk State Technical University, 2019. http://dx.doi.org/10.30987/graphicon-2019-1-87-92.
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In this paper we propose an approach to create cyber-physical museum exhibits based on the methods and means of scientific visualization, Internet of things, additive technologies and ontology engineering. Cyber-physical exhibit consists of tightly interconnected virtual and real parts. Scientific visualization is used as methodological and technological basis for presenting the virtual part, which can contain relevant digital content and 3D-reconstructions. Internet of things is a core technology to create tangible interfaces for the corresponding visualization software. Additive technologies allow creating virtual reconstructions and precise copies of museum exhibits. Ontology engineering provides adaptive mechanisms for seamless integration of new cyber-physical exhibits into the existing digital infrastructure of museums. The proposed approach is used in practice to create cyber-physical exhibits in State Darwin Museum (Moscow) and Museum of Permian Antiquities (Perm).
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Maitre, Henri, Francis J. M. Schmitt, and Jean-Pierre Crettez. "High-quality imaging in museum: from theory to practice." In Electronic Imaging '97, edited by V. Ralph Algazi, Sadayasu Ono, and Andrew G. Tescher. SPIE, 1997. http://dx.doi.org/10.1117/12.270054.
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Sokolova, Ekaterina V. "Ecological education at the Paleontology Museum of Nizhny Novgorod State University of Architecture and Civil Engineering." In The libraries and ecological education: Theory and practice. Russian National Public Library for Science and Technology, 2020. http://dx.doi.org/10.33186/978-5-85638-227-2-2020-270-275.
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Chang, Yujin. "SIMPLE LIFE (CHANG UCCHIN MUSEUM OF ART)." In Bridging Asia and the World: Globalization of Marketing & Management Theory and Practice. Global Alliance of Marketing & Management Associations, 2014. http://dx.doi.org/10.15444/gmc2014.06.09.02.
Full textReports on the topic "Museum practice"
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Кучерган, Єлизавета Валеріївна, and Надія Олександрівна Вєнцева. Historical educational experience of the beginning the twentieth century in the practice of the modern higher school of Ukraine. [б.в.], 2018. http://dx.doi.org/10.31812/0564/2139.
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The author of the study analyzes and determines the features of the introduction of new forms of education in the highest historical pedagogical institutions of Ukraine in the early twentieth century. In particular: colloquiums, excursions, rehearsals, the organization of scientific sections of students and societies. Colloquiums were held to discuss the creative work of students. Proseminars prepared students for participation in seminars. Excursions prepared students for scientific work and taught them to collect information about historical monuments. Interviews and rehearsals took an important place in the revitalization of academic activity of students in universities. During the interviews, students learned to express their thoughts freely. Rehearsals were used as a means of monitoring the progress of students. An important component of the preparation of the future teacher of history was the organization of scientific student sections and societies. The main forms of their work were: the discussion of scientific reports, the publication of periodicals, the creation of libraries, museums, etc. The most talented students took part in scientific sections and societies. Thus, higher education institutions created prerequisites for the education of gifted young people. The publication also reveals the specifics of the practical training of students. The practical component included not only pedagogical, but also museum practice. In addition, pedagogical institutions of higher education conducted educational excursions, literary and musical evenings, organized social, sanitary and charitable activities. The author of the publication not only explores the features of various forms of education, but also the possibility of using them in the practice of the modern higher pedagogical institution in Ukraine.
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DMITRIENKO, B. Ch, O. A. KOVALEVA, and E. A. RUBETS. VR TECHNOLOGIES AS A MEANS OF VIRTUAL MUSEUM PEDAGOGY. Science and Innovation Center Publishing House, April 2022. http://dx.doi.org/10.12731/2658-4034-2022-13-1-2-63-70.
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Currently, museum pedagogy is a very promising area, covering all types of interactions between the museum and its audience. Museum pedagogy is an interdisciplinary field of scientific knowledge, “formed at the intersection of pedagogy, psychology, museology and the relevant discipline of the museum and built on its basis specific practical activities focused on the transfer of cultural (artistic) experience in a museum environment”. The rapid development of technology has led to the so-called modification of this scientific field, we mean a new branch of pedagogical knowledge is emerging - virtual museum pedagogy. VR technologies are beginning to occupy leading positions, but it is important to note that today in art pedagogy there is no idea how to build the educational process in such a context. Thus, this area of pedagogy today requires a deep and comprehensive study. This has determined the purpose of this study. The objectives of the study follow from the goal: 1) To reveal the specifics of virtual museum pedagogy 2) To develop basic pedagogical recommendations for conducting virtual excursions using VR technologies Materials and methods. The methods of this study were analysis and synthesis. Results and discussion. The results of the study consist in the VR technologies usage in art pedagogy features identification.
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Sweeney, Liam, and Roger Schonfeld. Interrogating Institutional Practices in Equity, Diversity, and Inclusion: Lessons and Recommendations from Case Studies in Eight Art Museums. Ithaka S+R, September 2018. http://dx.doi.org/10.18665/sr.309173.
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Albrecht, Milde, Bertha Jacobs, and Arda Retief. The influence of important values and predominant identity on South African female Muslim students’ dress practices. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-798.
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Hulme, Celia, Alys Young, Katherine Rogers, and Kevin Munro. Deaf Sign Language users and Audiology Services: A scoping review on cultural competence. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, January 2022. http://dx.doi.org/10.37766/inplasy2022.1.0133.
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Review question / Objective: This study aims to identify culturally competent practice in audiology services from service provider and adult Deaf sign language users’ perspectives. Therefore, the questions are as follows: (1) Are audiology services providing culturally competent practice to adult patients who are Deaf sign language users? (2) What are adult Deaf sign language users’ experiences of audiology services from the perspective of cultural competence? Information sources: The following databases will be used: PubMed, Embase, CINHAL, PsychInF0, Web of Science SSCI and Project Muse. Grey literature (for example, guidelines, policies, and practice documents) will be searched. Also, key journals, reference lists and grey literature will be searched for additional references. There will be no publication date restriction to avoid excluding papers identified in non-indexed papers. The search date for each database and platform will be reported.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geelong and Surf Coast. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206969.
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Geelong and the Surf Coast are treated here as one entity although there are marked differences between the two communities. Sitting on the home of the Wathaurong Aboriginal group, this G21 region is geographically diverse. Geelong serviced a wool industry on its western plains, while manufacturing and its seaport past has left it as a post-industrial city. The Surf Coast has benefitted from the sea change phenomenon. Both communities have fast growing populations and have benefitted from their proximity to Melbourne. They are deeply integrated with this major urban centre. The early establishment of digital infrastructure proved an advantage to certain sectors. All creative industries are represented well in Geelong while many creatives in Torquay are embedded in the high profile and economically dominant surfing industry. The Geelong community is serviced well by its own creative industries with well-established advertising firms, architects, bookshops, gaming arcades, movie houses, music venues, newspaper headquarters, brand new and iconic performing and visual arts centres, libraries and museums, television and radio all accessible in its refurbished downtown area. Co-working spaces, collective practices and entrepreneurial activity are evident throughout the region.
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HEFNER, Robert. IHSAN ETHICS AND POLITICAL REVITALIZATION Appreciating Muqtedar Khan’s Islam and Good Governance. IIIT, October 2020. http://dx.doi.org/10.47816/01.001.20.
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Ours is an age of pervasive political turbulence, and the scale of the challenge requires new thinking on politics as well as public ethics for our world. In Western countries, the specter of Islamophobia, alt-right populism, along with racialized violence has shaken public confidence in long-secure assumptions rooted in democracy, diversity, and citizenship. The tragic denouement of so many of the Arab uprisings together with the ascendance of apocalyptic extremists like Daesh and Boko Haram have caused an even greater sense of alarm in large parts of the Muslim-majority world. It is against this backdrop that M.A. Muqtedar Khan has written a book of breathtaking range and ethical beauty. The author explores the history and sociology of the Muslim world, both classic and contemporary. He does so, however, not merely to chronicle the phases of its development, but to explore just why the message of compassion, mercy, and ethical beauty so prominent in the Quran and Sunna of the Prophet came over time to be displaced by a narrow legalism that emphasized jurisprudence, punishment, and social control. In the modern era, Western Orientalists and Islamists alike have pushed the juridification and interpretive reification of Islamic ethical traditions even further. Each group has asserted that the essence of Islam lies in jurisprudence (fiqh), and both have tended to imagine this legal heritage on the model of Western positive law, according to which law is authorized, codified, and enforced by a leviathan state. “Reification of Shariah and equating of Islam and Shariah has a rather emaciating effect on Islam,” Khan rightly argues. It leads its proponents to overlook “the depth and heights of Islamic faith, mysticism, philosophy or even emotions such as divine love (Muhabba)” (13). As the sociologist of Islamic law, Sami Zubaida, has similarly observed, in all these developments one sees evidence, not of a traditionalist reassertion of Muslim values, but a “triumph of Western models” of religion and state (Zubaida 2003:135). To counteract these impoverishing trends, Khan presents a far-reaching analysis that “seeks to move away from the now failed vision of Islamic states without demanding radical secularization” (2). He does so by positioning himself squarely within the ethical and mystical legacy of the Qur’an and traditions of the Prophet. As the book’s title makes clear, the key to this effort of religious recovery is “the cosmology of Ihsan and the worldview of Al-Tasawwuf, the science of Islamic mysticism” (1-2). For Islamist activists whose models of Islam have more to do with contemporary identity politics than a deep reading of Islamic traditions, Khan’s foregrounding of Ihsan may seem unfamiliar or baffling. But one of the many achievements of this book is the skill with which it plumbs the depth of scripture, classical commentaries, and tasawwuf practices to recover and confirm the ethic that lies at their heart. “The Quran promises that God is with those who do beautiful things,” the author reminds us (Khan 2019:1). The concept of Ihsan appears 191 times in 175 verses in the Quran (110). The concept is given its richest elaboration, Khan explains, in the famous hadith of the Angel Gabriel. This tradition recounts that when Gabriel appeared before the Prophet he asked, “What is Ihsan?” Both Gabriel’s question and the Prophet’s response make clear that Ihsan is an ideal at the center of the Qur’an and Sunna of the Prophet, and that it enjoins “perfection, goodness, to better, to do beautiful things and to do righteous deeds” (3). It is this cosmological ethic that Khan argues must be restored and implemented “to develop a political philosophy … that emphasizes love over law” (2). In its expansive exploration of Islamic ethics and civilization, Khan’s Islam and Good Governance will remind some readers of the late Shahab Ahmed’s remarkable book, What is Islam? The Importance of Being Islamic (Ahmed 2016). Both are works of impressive range and spiritual depth. But whereas Ahmed stood in the humanities wing of Islamic studies, Khan is an intellectual polymath who moves easily across the Islamic sciences, social theory, and comparative politics. He brings the full weight of his effort to conclusion with policy recommendations for how “to combine Sufism with political theory” (6), and to do so in a way that recommends specific “Islamic principles that encourage good governance, and politics in pursuit of goodness” (8).
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Gattenhof, Sandra, Donna Hancox, Sasha Mackay, Kathryn Kelly, Te Oti Rakena, and Gabriela Baron. Valuing the Arts in Australia and Aotearoa New Zealand. Queensland University of Technology, December 2022. http://dx.doi.org/10.5204/rep.eprints.227800.
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The arts do not exist in vacuum and cannot be valued in abstract ways; their value is how they make people feel, what they can empower people to do and how they interact with place to create legacy. This research presents insights across Australia and Aotearoa New Zealand about the value of arts and culture that may be factored into whole of government decision making to enable creative, vibrant, liveable and inclusive communities and nations. The COVID-19 pandemic has revealed a great deal about our societies, our collective wellbeing, and how urgent the choices we make now are for our futures. There has been a great deal of discussion – formally and informally – about the value of the arts in our lives at this time. Rightly, it has been pointed out that during this profound disruption entertainment has been a lifeline for many, and this argument serves to re-enforce what the public (and governments) already know about audience behaviours and the economic value of the arts and entertainment sectors. Wesley Enoch stated in The Saturday Paper, “[m]etrics for success are already skewing from qualitative to quantitative. In coming years, this will continue unabated, with impact measured by numbers of eyeballs engaged in transitory exposure or mass distraction rather than deep connection, community development and risk” (2020, 7). This disconnect between the impact of arts and culture on individuals and communities, and what is measured, will continue without leadership from the sector that involves more diverse voices and perspectives. In undertaking this research for Australia Council for the Arts and Manatū Taonga Ministry for Culture & Heritage, New Zealand, the agreed aims of this research are expressed as: 1. Significantly advance the understanding and approaches to design, development and implementation of assessment frameworks to gauge the value and impact of arts engagement with a focus on redefining evaluative practices to determine wellbeing, public value and social inclusion resulting from arts engagement in Australia and Aotearoa New Zealand. 2. Develop comprehensive, contemporary, rigorous new language frameworks to account for a multiplicity of understandings related to the value and impact of arts and culture across diverse communities. 3. Conduct sector analysis around understandings of markers of impact and value of arts engagement to identify success factors for broad government, policy, professional practitioner and community engagement. This research develops innovative conceptual understandings that can be used to assess the value and impact of arts and cultural engagement. The discussion shows how interaction with arts and culture creates, supports and extends factors such as public value, wellbeing, and social inclusion. The intersection of previously published research, and interviews with key informants including artists, peak arts organisations, gallery or museum staff, community cultural development organisations, funders and researchers, illuminates the differing perceptions about public value. The report proffers opportunities to develop a new discourse about what the arts contribute, how the contribution can be described, and what opportunities exist to assist the arts sector to communicate outcomes of arts engagement in Australia and Aotearoa New Zealand.
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Brophy, Kenny, and Alison Sheridan, eds. Neolithic Scotland: ScARF Panel Report. Society of Antiquaries of Scotland, June 2012. http://dx.doi.org/10.9750/scarf.06.2012.196.
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The main recommendations of the Panel report can be summarised as follows: The Overall Picture: more needs to be understood about the process of acculturation of indigenous communities; about the Atlantic, Breton strand of Neolithisation; about the ‘how and why’ of the spread of Grooved Ware use and its associated practices and traditions; and about reactions to Continental Beaker novelties which appeared from the 25th century. The Detailed Picture: Our understanding of developments in different parts of Scotland is very uneven, with Shetland and the north-west mainland being in particular need of targeted research. Also, here and elsewhere in Scotland, the chronology of developments needs to be clarified, especially as regards developments in the Hebrides. Lifeways and Lifestyles: Research needs to be directed towards filling the substantial gaps in our understanding of: i) subsistence strategies; ii) landscape use (including issues of population size and distribution); iii) environmental change and its consequences – and in particular issues of sea level rise, peat formation and woodland regeneration; and iv) the nature and organisation of the places where people lived; and to track changes over time in all of these. Material Culture and Use of Resources: In addition to fine-tuning our characterisation of material culture and resource use (and its changes over the course of the Neolithic), we need to apply a wider range of analytical approaches in order to discover more about manufacture and use.Some basic questions still need to be addressed (e.g. the chronology of felsite use in Shetland; what kind of pottery was in use, c 3000–2500, in areas where Grooved Ware was not used, etc.) and are outlined in the relevant section of the document. Our knowledge of organic artefacts is very limited, so research in waterlogged contexts is desirable. Identity, Society, Belief Systems: Basic questions about the organisation of society need to be addressed: are we dealing with communities that started out as egalitarian, but (in some regions) became socially differentiated? Can we identify acculturated indigenous people? How much mobility, and what kind of mobility, was there at different times during the Neolithic? And our chronology of certain monument types and key sites (including the Ring of Brodgar, despite its recent excavation) requires to be clarified, especially since we now know that certain types of monument (including Clava cairns) were not built during the Neolithic. The way in which certain types of site (e.g. large palisaded enclosures) were used remains to be clarified. Research and methodological issues: There is still much ignorance of the results of past and current research, so more effective means of dissemination are required. Basic inventory information (e.g. the Scottish Human Remains Database) needs to be compiled, and Canmore and museum database information needs to be updated and expanded – and, where not already available online, placed online, preferably with a Scottish Neolithic e-hub that directs the enquirer to all the available sources of information. The Historic Scotland on-line radiocarbon date inventory needs to be resurrected and kept up to date. Under-used resources, including the rich aerial photography archive in the NMRS, need to have their potential fully exploited. Multi-disciplinary, collaborative research (and the application of GIS modelling to spatial data in order to process the results) is vital if we are to escape from the current ‘silo’ approach and address key research questions from a range of perspectives; and awareness of relevant research outside Scotland is essential if we are to avoid reinventing the wheel. Our perspective needs to encompass multi-scale approaches, so that ScARF Neolithic Panel Report iv developments within Scotland can be understood at a local, regional and wider level. Most importantly, the right questions need to be framed, and the right research strategies need to be developed, in order to extract the maximum amount of information about the Scottish Neolithic.