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Journal articles on the topic 'Museums'
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1
Ferraro, José Luís Schifino, Adam Goldwater, Caroline McDonald, Melissa Guerra Simões Pires, Janet Stott, Jessica A. Suess, and M. Paul Smith. "Connecting Museums: a case study in leadership, innovation and education in university science museums leading internationalisation projects." Educação 42, no. 1 (May 6, 2019): 77. http://dx.doi.org/10.15448/1981-2582.2019.1.29526.
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This article reports on Connecting Museums: leadership, innovation and education in Science Museums, an international conference involving three university museums: Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), the Great North Museum: Hancock (GNM), at Newcastle University (NU), and the Oxford University Museum of Natural History (OUMNH). The partnership started with a project to develop a joint exhibition on the theme of evolution organised by MCT-PUCRS and GNM, supported by the British Council’s Newton Fund (Institutional Skills 2016). The two museums shared the project at the UK University Museums Group (UMG) conference in 2016, where it came to the attention of colleagues at OUMNH. Following the UMG conference, the leadership and education teams of the three museums opened a dialogue to exchange knowledge and experience on leadership, innovation and education in science museums. This culminated in the first Connecting Museums conference in Porto Alegre, Brazil in October 2017. The conference was attended by 81 professionals, researchers, undergraduate and graduate students with interests in museology, the natural sciences and related areas. *** Connecting Museums: um estudo de caso sobre liderança, inovação e educação em museus de ciências universitários liderando projetos de internacionalização ***Este artigo constitui-se de um relato sobre o Connecting Museums: liderança, inovação e educação em Museus de Ciências, uma conferência internacional envolvendo três museus universitários: o Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), o Great North Museum: Hancock (GNM), da Newcastle University (NU) e o Oxford University Museum of Natural History (OUMNH). A parceria entre as instituições iniciou-se a partir de um projeto para o desenvolvimento de uma exposição conjunta, organizada pelo MCT-PUCRS e pelo GNM financiada pelo Newton Fund por meio do edital Institutional Skills 2016 promovido pelo British Council. Os dois museus apresentaram o projeto na conferência do University Museum Group (UMG) em 2016 no Reino Unido, despertando a atenção de colegas do OUMNH. Após a conferência, as equipes de gestão e de educação dos três museus iniciaram um diálogo que culminou na troca de conhecimentos e experiências nas áreas de liderança, inovação e educação em museus de ciências. Este diálogo resultou na primeira edição da conferência Connecting Museums em Porto Alegre, Brasil, em outubro de 2017. Participaram do evento 81 profissionais, entre pesquisadores e alunos de graduação e pós-graduação, cujo interesse estava relacionado à museologia, ciências naturais e áreas correlatas.Palavras-chave: Museus de ciência. Liderança. Inovação. Educação em ciências. Internacionalização.
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Bira, Monica, Alexandra Zbuchea, and Mauro Romanelli. "Romanian Museums under Scrutiny." Management Dynamics in the Knowledge Economy 8, no. 3 (September 1, 2020): 297–323. http://dx.doi.org/10.2478/mdke-2020-0019.
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Abstract The museum sector has changed in the past decades, becoming for dynamic, diverse, interactive, participative and innovative. All this shifts make museums more and more appealing and increase the level of satisfaction of museum visits. Understanding to what degree the public perceives and appreciate these trends, could give museum management hints to better fit their development strategies to the audience. Generally, perceptions are very important for appealing organizations. This is valid also for museums. Museum’s image influences the audience’s satisfaction. Perceptions are important for successful museum visits in many ways. Having this is mind, the present study investigates how participative and innovative are considered Romanian museums.
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Cury, Marilia Xavier. "Lições indígenas para a descolonização dos museus: processos comunicacionais em discussão / Indigenous people's lessons for decolonizing museums: communication processes under discussion." Cadernos CIMEAC 7, no. 1 (July 11, 2017): 184. http://dx.doi.org/10.18554/cimeac.v7i1.2199.
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Os museus passam por transformações, novas funções se reorganizam e novos desafios são levados a essa instituição. Após anos de crítica da sociedade e academia ao museu, pela forma fechada como operava e interpretava coleções, há um movimento de transformação. Os processos de descolonização do museu etnográfico vêm trazendo grandes avanços, também porque essa categoria de museu passa pelo processo de indigenização. A comunicação museológica tem papel preponderante tanto na descolonização quanto na indigenização, pois promove o diálogo entre profissionais de museus e indígenas. O artigo apresenta situações em que o museu, em fase de transição entre modelos, é analisado pela Comunicação, considerando o deslocamento dos meios para as mediações, ou seja, do museu para a cultura, no caso tratado as culturas Kaingang, Terena e Guarani Nhandeva, tendo como locus o oeste do estado de São Paulo. Os resultados da ação de comunicação museológica revelam dois aspectos a serem aprofundados pelo museu: a política de gestão de acervo e a ressacralização do museu.Palavras-chave: Indígenas no Oeste Paulista; Políticas museais; Descolonização dos museus. ABSTRACT: Museums are undergoing changes, new roles are created for, and new challenges are posed to those institutions. After years of criticism levelled by society and academia at museums for the closed manner in which they ran and interpreted collections, a transformation is now underway. The decolonization of ethnographic museums has made major advances, especially because this type of museum is currently being indigenized. Museal communication plays a key role both in decolonization and indigenization, because it fosters dialogue between museum professionals and indigenous people. The article describes situations where museums, which are undergoing a transition between different models, are analyzed by Communication, considering the move from the means to mediation, in other words, from museums to culture, specifically the cultures of the Kaingang, Terenaand and Guarani Nhandeva indigenous people who live in the west of the state of São Paulo. The results of the museal communication initiative show two aspects to be explored by museums: The collection management policy and the renewed sacralization of museums.Keywords: Indigenous people in the west of the state of São Paulo; Museum policies; Decolonizing Museums.
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Tołysz, Aldona. "MUSEUM IN THE PROCESS. SELECTED TENDENCIES IN 20TH-CENTURY MUSEOLOGY." Muzealnictwo 61 (June 24, 2020): 96–105. http://dx.doi.org/10.5604/01.3001.0014.2477.
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The debate on the museum definition undertaken at the 2019 Kyoto ICOM General Conference points to the role played contemporarily by museums and the expectations they have to meet. It also results as a consequence of changes happening in museums beginning as of the 19th century until today. Extremely important processes took place in the past century. Initially, the changes covered the museum operating methods, mainly within museum education and display, however, they also had an impact on the status of objects in museum collections in the context of artistic and ethnographic collections. One of the most interesting ideas for museum’s redefinition was that proposed in the 1st half of the 20th c. in the formula of Museums of Artistic Culture. However, the departure from the traditionally conceived museum towards a ‘laboratory of modernity’ proposed by the Russian Avant-garde was still too revolutionary for its times. Beginning as of the 1960s, next to the reflection on museums’ operating modes, there increased the emphasis on the role they played and the one they should play in modern society. It was phenomena of political, social or economic character that had a direct impact on the transformation of the shape of museums, these phenomena appearing under the banners of globalization, liberalization, democratization, glocalization. Criticism of museums and their up-to-then praxes drew attention to the essential character of the relation between the institution and its public. The turn towards society allowed for such formats to appear as an ecomuseum, participatory museum, open museum. The solutions derived from the New Museology not only point to the necessity to move the level of the relationship between museum and society, but first and foremost to reflect on museum’s activity which is assumed to create an institution maximally transparent and ethical. It is for various reasons that not all the solutions proposed by museums meet the criteria. Museums continue to face numerous challenges, yet they boast potential to face them.
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Kazantseva, O. A. "MUSEUMS OF UDMURTIA IN CONDITIONS OF GLOBALIZATION." Вестник Удмуртского университета. Социология. Политология. Международные отношения 4, no. 1 (April 7, 2020): 101–9. http://dx.doi.org/10.35634/2587-9030-2020-4-1-101-109.
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The article presents some analytical results of Udmurtia museums’ work in connection with the processes of globalization. A museum, as a sociocultural institution of society, reacts and feels changes in the world that change the museum's space, and finds other forms of interaction with libraries, archives, universities and research institutes. Informatization as an integral part of globalization has changed the accounting, storage and presentation of historical, cultural and natural heritage to a visitor in domestic museums, including in Udmurtia. Public attention is focused not only on material, but also on intangible objects. Museums of the Udmurt Republic are part of the unified electronic museum space of Russia and the world, where there is an opportunity to join the great cultural achievements of all mankind. Globalization opens up new opportunities for visitors to access the museum's collections and research into the material and spiritual culture of mankind. Museums of Udmurtia are closely connected with the phenomenon of globalization. Based on the use of SHOT analyses to evaluate the activities of the state museums of the Udmurt Republic, the prospects for development are outlined. Some aspects of Udmurtia museums activities are analyzed: informatization of museum environment, new forms of communication and the role of philanthropists and patrons. Museums develop modern forms of communication, introduce multimedia resources, use interactive technologies, successfully develop and participate in projects, and provide visitors with disabilities with group and individual classes - master classes. Museum employees develop special programs for working with such visitors. Udmurtia museums strive to be open to all visitors. Museum community presents successful projects in the field of preservation and study of historical and cultural heritage to Russia and the world. In the process of globalization, museums in Russian society remain a traditional institution where you can see authentic exhibits of history and culture, feel the power of their impact on the thoughts and feelings of a person. It is this educational aspect that makes a museum different from other institutions of society.
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Uralman, Hanzade. "The library of Istanbul Museum of Modern Art: a new type of art museum library for Turkey." Art Libraries Journal 35, no. 2 (2010): 30–34. http://dx.doi.org/10.1017/s0307472200016370.
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Libraries can easily be integrated into a museum’s activities, since museums too have functions that require the processing of information, such as preservation, research and communication. However museums in Turkey were not notable for developing efficient art libraries until Istanbul Museum of Modern Art opened. The distinctiveness of this museum’s library results from a change in the museum environment in Turkey, and the introduction of a number of features that are new in art libraries in this country.
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Sizova, Irina A. "Museum as an Active Participant in Continuing Education." Vestnik Tomskogo gosudarstvennogo universiteta, no. 464 (2021): 225–31. http://dx.doi.org/10.17223/15617793/464/25.
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The article presents a qualitative analysis of museum educational products. These products have been studied in terms of the possibility of their use in formal, non-formal and informal education. Thus, the role of the museum as an actor of continuing education has been determined. The role of continuing education in the educational process is becoming more obvious for most participants, and informal education plays a huge role in this process. It is urgent now to develop high-quality educational environment. Due to museums and their offline and online educational products, it is possible to get success. The author analyzed educational activities of leading Russian and foreign museums. As a result, the possibilities of museums as an educational institution for formal, non-formal and informal education were determined. Formal education is characterized by the network interaction of educational organizations and museums when the museum educational resources are included in the educational process. The largest number of museum educational products in traditional and innovative forms is made for non-formal or supplementary education. The traditional forms of museum educational resources include excursions, game formats for acquaintance with the exposition/exhibition (quests), museum master classes, interactive classes, as well as offline continuing education programs for a professional audience. The innovative forms include intra-museum programs, for example, performances, thematic classes within the museum’s profile, and Internet resources such as pages of official museum sites, online academies of museums, museum groups on social media, official museum channels on YouTube, webinars, virtual museums. Thus, non-formal educations could be in onsite or online training forms. Informal education can apply the museum’s resources both in traditional forms and in an innovative one. The museum online resources such as online museum games, massive open online courses (MOOC), and podcasts have the highest priority in this area. Museums and universities cooperate to get high-quality competitive educational online resources. In conclusion, it is possible to speak about a new stage in the development of museum educational activity. This stage is characterized by increasing attention to professional education by adding formal and non-formal (supplementary) educational programs, and, simultaneously, increasing the role of informal education due to online technology. It should be emphasized that museum staff could develop museum educational products for formal and non-formal education independently, but it is advisable for museums to intensify cooperation with universities to enter the online education market.
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Hu, Wangming, Hyunsuk Han, Gulong Wang, Tao Peng, and Zhiqiang Yang. "Interactive Design and Implementation of a Digital Museum under the Background of AR and Blockchain Technology." Applied Sciences 13, no. 8 (April 8, 2023): 4714. http://dx.doi.org/10.3390/app13084714.
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A museum is the destination of the crystallization of history and culture, and a museum is the center for the development of heritage culture. The display and exhibition of historical relics can promote the harmonious development of society. However, there are many defects in traditional museums. The collection in the museum is scattered. The exhibition needs a specific time and place to open, and the exhibition mode is boring and lacks entertainment, which seriously limits the museum’s dissemination of history and culture. In order to improve the public’s number of visits, museums need to keep pace with the times. Using augmented reality technology can digitize the information in the museum and integrate it with the user’s real environment, which solves the limitation of time and space for most users to visit the museum, and greatly increases the entertainment of users to visit the museum. In addition, the application of blockchain technology in digital museums can effectively ensure the security of museum cultural relics data and quickly restore the lost cultural relics information. The digital museum can help tourists realize cross-region viewing. Through multimedia software and hardware, it can greatly stimulate tourists’ interest and attract tourists of different ages to visit. This article uses digital technology to present physical museums in a digital form on the network, but it is difficult for digital museums to conduct targeted analysis on tourists of different ages. This article will analyze the attraction ability of digital museums to tourists of different ages, thereby attracting tourists of different ages to visit. This paper compared traditional museums with digital museums based on augmented reality technology and blockchain technology. The experimental results showed that from the perspective of young people, the average interactivity of traditional museums and digital museums was 47.20% and 78.20%, respectively; from the perspective of the elderly, the average interactivity of traditional museums and digital museums was 59.04% and 70.36%, respectively. Therefore, the digital museum built by using augmented reality technology and blockchain technology can effectively improve the interaction with users. The digital museum can improve the interaction with tourists of different ages, attract a large number of tourists for virtual visits, and improve the cultural transmission and economic development of the digital museum.
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Jagodzińska, Katarzyna. "RESPONSIBLE MUSEUM? (ON THE EXAMPLE OF THE TOY MUSEUM IN CRACOW)." Muzealnictwo 63 (September 16, 2022): 150–57. http://dx.doi.org/10.5604/01.3001.0015.9923.
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The contemporary museum debate developing in the context of the need to change the museum definition carried out in ICOM is a debate on the role and responsibility of museums. Museums with a burden of tradition are faced with the challenge to meet contemporary contexts and expectations, while newly-established museums can enter the stage fully aware of the historical contexts, with an agenda reflecting contemporary tasks, and they can chart new perspectives from the very beginning. The case study in the paper focuses on a museum which begins its operation at the time of a heated debate on the new tasks of museums in social life: the Toy Museum in Cracow. The paper tackles several motifs of a very extensive issue, namely museums’ responsibility: who and what should museums show responsibility to? Does responsibility mean presence in the public debate and museum activism? The operation formula of the Toy Museum shows the possible way for private collectors: instead of aspiring to create a traditional place for the collection presentation, they can see how to activate the collection where the supreme goal is not just making the collection available to the public, but making it impact the museum’s environment, which could be caused by that presentation and other programmatic actions connected with the collection.
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Tulliach, Anna. "Simmons, J.E. (2016) Museums. A History. London: Rowman & Littlefield." Museum and Society 15, no. 3 (January 10, 2018): 343–45. http://dx.doi.org/10.29311/mas.v15i3.2507.
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Museums convincingly achieves the aim of giving a general summary of the key themes of the museum’s history. The author does not fail in missing a point: he offers a comprehensive history of museums from the ancient world to contemporary times, focusing on well-known historical examples of museum collections taken from different parts of the world and on contemporary subjects of debate in the museum world, producing a valuable synthesis of this wide topic. I recommend this book to museum studies students interested in the history of museums, but also to scholars who would like to have a complete and valuable summary of the subject.
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Balash, Aleksandra N. "Literary museums: new discussions." Issues of Museology 11, no. 2 (2020): 157–67. http://dx.doi.org/10.21638/11701/spbu27.2020.202.
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The author of the article reviews the proceedings of a scientific conference held in 2018 by the Association of Literary Museums at the Union of Museums of Russia (with the participation of the V. I. Dahl State Museum of History of Russian literature). The conference proceedings are considered as an important step made by Russian Literary museums toward defining the venues for their further development, as well as an attempt to coordinate intellectual contributions by the employees involved in practical museum work and museum researchers. The author stresses the unanimity of the proceeding’s contributors in their approach to the history of literary museums, to the determination of the specific features of their fund’s collections and the principles of their acquisition. Going beyond traditional museographic descriptions is analyzed in the discussion of methods and forms of a museum’s interpretation of the biography and work of the writer, presentation of the author’s texts by means of museum expositions and in museum educational programs. It is important to raise the question of the role of museums in the dynamics of the modern literary process and artistic culture. The author analyzes the concepts of literary heritage, both its material and intangible parts, which the contributors to the proceedings regard as a resource for further development and exploration of new formats for presentation and intercommunication with the museum audience. It is shown that overcoming the local institutional experience is a necessary stage in the development of literary museums. The Association of Literary museums can play a positive role in such development, in particular, by coordinating research.
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Shehade, Maria, and Theopisti Stylianou-Lambert. "Virtual Reality in Museums: Exploring the Experiences of Museum Professionals." Applied Sciences 10, no. 11 (June 11, 2020): 4031. http://dx.doi.org/10.3390/app10114031.
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The past few years have seen an increase in the use of virtual reality (VR) in museum environments in an attempt for museums to embrace technological innovations and adapt to the challenges of the digital era. While there are studies that examine the advantages of VR in museums and visitors’ experiences with it, there are no studies examining the experiences of museum professionals who are responsible for a museum’s objects and narratives. The aim of this paper is to explore the practices, experiences, and perceptions of museum professionals on the use of VR technology in museums, their perceived advantages and challenges of such technologies, and their vision for the future of technology in museums. The paper provides an in-depth analysis of interviews with museum professionals from a number of countries around the world who worked with particular VR projects in their own institutions. The ultimate aim is to offer a more critical and holistic examination and assessment of the use of VR in museums and provide suggestions for designing and developing VR projects in the future.
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Ferraro, José Luís Schifino, Caroline McDonald, and Paul Smith. "Connecting museums." Revista Internacional de Educação Superior 7 (April 11, 2020): e021009. http://dx.doi.org/10.20396/riesup.v7i0.8658203.
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O presente ensaio se constitui em um relato sobre a experiência de internacionalização entre o Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), o Great North Museum: John Hancock (GNM), da Newcastle University, e o Oxford University Museum of Natural History (OUMNH), da University of Oxford. Trata-se da constituição de uma rede entre estas instituições que discute educação, gestão e liderança em museus universitários de ciências. Desde a criação desta rede, denominada Connecting Museums, em 2016, foram realizados encontros internacionais entre pesquisadores, profissionais da área e público interessado. Como ações da rede em ensino, pesquisa e extensão – desde então –, foram organizadas formações para professores de escolas públicas e privadas em ciências, bem como a troca de expertise entre profissionais da área no que tange a gestão de museus universitários de ciências. Publicações como artigos, trabalhos científicos apresentados em conferências nacionais e internacionais e, ainda, um livro são os primeiros frutos do Connecting Museums. Todas as atividades foram fomentadas e tiveram apoio do British Council. A ampliação da rede inicia-se este ano com uma mudança na configuração do tradicional evento que leva seu nome, que pela primeira vez ocorrerá fora do MCT-PUCRS em Porto Alegre, com atividades planejadas e orientadas pelo Museum Leaders’ Report, produzido pela Saïd Business School, da University of Oxford, visando a formação de futuros líderes para os museus brasileiros.
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Jiang, Hao, and Si Jia Jiang. "The Architecture of Daniel Libeskind’s Jewish Museums." Applied Mechanics and Materials 174-177 (May 2012): 1812–19. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.1812.
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Memorial architecture faces the special challenge of commemorating the absent; Jewish museums deal with an extra problematic history of high sensitivity. This paper examines and compares Daniel Libeskind’s architectural solutions to the cultural and political challenges in each of the three Jewish museums that he designed in Berlin, San Francisco and Copenhagen. The focus is on how the architecture institutionalizes the web of political relationships attached to the particular museum and delivers the museum’s message. It will be concluded that Libeskind has used space to address visitors bodily and affectively, control their behavior and help them see what the museums want them to see; the museums’ spatial existence can never really be independent of their contents. Light will be shed on the future of museum architecture: the trend is for museums designed for an expressive experience, involving movement, rather than the static enjoyment of single works of art.
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Aldes, Liora, and Tally Katz-Gerro. "Contextualizing the Artistic Repertoire in Museums." Museum Worlds 10, no. 1 (July 1, 2022): 93–111. http://dx.doi.org/10.3167/armw.2022.100108.
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To remain financially sustainable while promoting cultural activity and operating within artistic, symbolic, and cultural norms, museums must consider a multitude of commercial and organizational elements. This article examines the impact of economic, organizational, and structural characteristics of art museums on the repertoire of art they exhibit. Using a mixed-methods approach, we draw on data pertaining to 11 art museums in Israel that are supported by the Ministry of Culture, analyzing administrative data collected yearly from the museums from 2000 to 2014. Next, we analyze 20 interviews with museum directors, curators, and artists to further explore the findings that emerge from the analysis of administrative data. Findings indicate three factors that influence a museum’s artistic repertoire: revenue structure, museum location (center or periphery), and the museum director’s preferences. We discuss these factors and explain the significant role that nonartistic factors play in shaping cultural outcomes.
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Dorfsman, Marcelo I., and Gabriel Horenczyk. "Educational Approaches and Contexts in the Development of a Heritage Museum." Journal of Experiential Education 41, no. 2 (November 22, 2017): 170–86. http://dx.doi.org/10.1177/1053825917740155.
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Background: Educational museums are composed of objects, documents, and narratives that together create a learning experience. Existing models of museum education tend to analyze the visitor experience, but rarely take into consideration the unique characteristics and challenges of multicultural heritage museums. Purpose: This article proposes a conceptual model of experiential multicultural museum education that delineates teaching approaches in multicultural museum education. Methodology/Approach: The article is grounded in the framework of conceptual research aimed at identifying and clarifying key characteristics and educational concepts raised by museum’s designers and educators. The analysis it presents is based on insights learned during the design of the Interactive Jewish Museum of Chile. Findings/Conclusions: The major contribution of this article is the development of a conceptual model that allows for the identification of three approaches in multicultural museum education: the academic-educational approach, the artistic approach, and the identity-cultural approach. Implications: Our model can be applied to other heritage museums, and can be useful for the training and development of formal and informal educators interested in including multicultural heritage museums as experiential learning spaces.
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Nugraheni, Nur Endah, Ghifari Yuristiadhi Masyhari Makhasi, Endang Soelistiyowati, Shu-Chuan Chen, Mei-Ru Chen, and Chia-Chen Chang. "Challenges of internationalization of the Indonesian museum guides' communication skills competency." International Journal of Communication and Society 4, no. 1 (December 27, 2021): 92–101. http://dx.doi.org/10.31763/ijcs.v4i1.254.
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As the front guards, museum guides need to master many skills that support the role of transferring information in the museum to every visitor who comes, both domestic and foreign. More specifically, every museum guide must master foreign language skills in order to serve foreign visitors. Unfortunately, not all museum guides have foreign language skills, especially English, and other supporting skills such as curation, communication, and public speaking. This paper investigates the limited ability of English mastery and other supporting skills of museum guides in two government-owned museums in Yogyakarta, the second tourism city in Indonesia, and how far they affect the internationalization of the two museums as representatives of other museums in Indonesia. This descriptive research uses data collection methods in surveys with questionnaires and in-depth interviews with guides and visitors of the museum, both domestic and foreign. This research found that limited foreign language skills, especially English and other professional skills of museum guides, can slow down the museum's internationalization process in Indonesia.
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Cho, Sungsil. "Reproduction of Local Culture Exhibitions at Japanese Local Museums and Community Participation: Focusing on the Case of Urayasu City Museum." Academic Association of Global Cultural Contents 58 (February 29, 2024): 137–55. http://dx.doi.org/10.32611/jgcc.2024.2.58.137.
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This study aimed to examine the reproduction of local history and the participation patterns of residents in exhibitions at local Japanese museums. According to data from the Agency for Cultural Affairs under the Ministry of Education, Culture, Sports, Science and Technology, there are more than 5,700 museums in Japan. Japan's rapid growth after its defeat in World War II accelerated the establishment of museums that store local history and folklore materials. Around 1993, 452 local museums with history and folklore themes were built. This can be interpreted as a measure to respond to the standardization of existing centrally oriented museums due to the triggering of awareness of issues such as local population decline and regional crises. Unlike central or tourism-oriented museums, museums established in local areas tend to focus on residents living in the area. The local museum examined in this study also considers local ‘people’, who put the concept of ‘hometown’ at the forefront, as a significant element of museum operation, and their participation becomes the basis of the local museum's identity. As the leading case covered in this paper, the Urayasu City Local Museum promotes citizen participation by turning the results from various local participation programs, such as collaboration with local schools, student curator system, and regional competitions to transmit local cultural heritage, into exhibition contents. Japanese local museums provide many implications for today's Korean society, especially in the current era where there is talk of local extinction due to population decline, the direction in which the ‘region’ should move, and the social role that museums should take.
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Bezrukova, Nataliya B. "THE FIFTH PROLETARIAN MUSEUM. HISTORY OF CREATION AND ACTIVITIES OF THE MOSCOW ART MUSEUM IN THE 1920S." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 52–65. http://dx.doi.org/10.28995/2686-7249-2020-8-52-65.
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The article highlights the history of the so-called proletarian museums that opened in Moscow’s working-class suburbs in the 1920s. The study of their activities seems relevant, since it opens up the opportunity for a deeper study of the history of art museums in Moscow in the 1920s. Special attention is given to the Fifth Proletarian museum, which was a part of the State Tretyakov Gallery. More archival documents have survived on this museum than on any other of the proletarian museums. After studying some unpublished documents in Russia’s major archives, the author has discovered some important, previously unknown facts about these museums. This article takes a close look at how the paperwork was handled at the museum, how the items were registered, accounted for and taken care of and how the collections were accumulated and organized. Also thoroughly described in the article is the history of the museum’s closure as the author analyzes why it was eventually shut down. Moscow’s proletarian museums went down in history as an original new form of art institutions targeting “uncultured” visitors. Unfortunately, these museums were short-lived as they fell victim to the lack of funding and shortage of trained staff during the New Economic Policy era (1921–1928).
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Zhang, Jiayi. "Digital Revitalization of Museums: An Analysis of the Digital Marketing Strategy of the Sanxingdui Museum." Advances in Economics, Management and Political Sciences 86, no. 1 (June 28, 2024): 170–76. http://dx.doi.org/10.54254/2754-1169/86/20240969.
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In the modern era, museums are undergoing a significant transformation propelled by digital advancements. This paper delves into the realm of digital revitalization within museums, focusing specifically on the Sanxingdui Museum's digital marketing strategy. Situated at the heart of China's cultural landscape, the Sanxingdui Museum offers a unique lens into the Bronze Age civilization. Through a meticulous analysis, this study scrutinizes the museum's digital initiatives, encompassing online platforms, social media engagement, virtual exhibitions, and digital storytelling. By evaluating the effectiveness of these strategies in enhancing visitor experiences, expanding audience reach, and promoting cultural heritage, this research aims to provide actionable insights for museums worldwide seeking to navigate the digital frontier.The Sanxingdui Museum's digital marketing strategy serves as a compelling case study, It underscores the importance of leveraging digital tools to cultivate meaningful connections with diverse audiences and foster a deeper appreciation for cultural heritage. Through this analysis, we can gain a deeper understanding of the opportunities and challenges associated with digital revitalization, ultimately guiding strategic decision-making and driving innovation in museum practices.
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Karczewski, Leszek. "Distributed Community. Participatory Actions and Organizational Culture of a Museum Institution." Nauki o Wychowaniu. Studia Interdyscyplinarne 18, no. 1 (June 30, 2024): 155–63. http://dx.doi.org/10.18778/2450-4491.18.12.
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The article discusses the consequences of participatory actions in a museum exemplified by the Find Art exhibition presented at the Muzeum Sztuki Lodz in 2017. It focuses on the transformative impact of participatory projects on museum culture and organizational structure. Museums have shifted from collection-driven entities to audience-oriented institutions, blurring lines between entertainment, education, and cultural heritage. The author highlights the changing paradigm of museums from old to new museology, critiquing power structures within museums. Based on the analysis of the Find Art exhibition the author argues that participatory projects reconfigure a museum institution, creating a Protean community of multi-functional collaborations that challenge conventional museum roles. He suggests a post-critical approach, defining a “distributed museum,” where networks of dependencies redefine the museum’s role beyond traditional boundaries. The author acknowledges the diverse contributions within the distributed museum, encompassing both formal and informal entities and addresses potential implications of exploitation within this dynamic community.
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Li, Zhiqing. "Research on the Application of Artificial Intelligence in Intelligent Services of Museums." BCP Business & Management 19 (May 31, 2022): 1–5. http://dx.doi.org/10.54691/bcpbm.v19i.649.
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In many museums in China, the use of artificial intelligence for transformation has been a new path of development. At the same time, the use of artificial intelligence technology has broken through the limitations of time and space, allowing people to visit museums anytime and anywhere, to get the information they need, and to observe and experience all aspects of the museum's activities. The use of artificial intelligence technology for museum development has great relevance and value to the development of museums. This paper discusses the intelligent development path of the Forbidden City Museum from the perspective of several intelligent services, such as intelligent reception, intelligent exhibition and intelligent tourism, and makes relevant suggestions in this regard.
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Peng, Ruoyu. "Public Relations between British Museum and Chinese Audience." SHS Web of Conferences 148 (2022): 03009. http://dx.doi.org/10.1051/shsconf/202214803009.
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In the era of new media, the external publicity of museums should also actively use new media thinking and new media tools. Web pages are one of the main new media tools for external publicity of museums today, or they can be called the “facade on the Internet” of museums. This paper attempts to understand the public relations between the British Museum and Chinese audiences through the comparison of the layout and content of the British Museum’s Chinese and English homepage, including the perfection of its communication information, the frequency of maintaining the website, the aesthetics of the layout design, etc., in order to get a glimpse of the attitude of the British Museum towards Chinese audiences.
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Zhuang, Qingbin, Wanni Xu, Danyang Yang, and Ning Wei. "Multimedia Analysis of Digital Museum User Interface Based on Goal-Oriented Theory and Information Fusion and Intelligent Sensing." Journal of Sensors 2022 (August 8, 2022): 1–17. http://dx.doi.org/10.1155/2022/9656817.
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Introduction. The development of network technology is promoting the process of digitalization. The digital museum, an emerging museum display mode, is gradually highlighting its great value in the wave of digitalization. In the context of the rapid development of digital museums and mobile applications, the user interface of digital museums, as the integration point of human-computer interaction, the artistic expression of its visual design is also more important. This paper takes the digital museum application (APP) user interface design as the research direction. By optimizing the visual design of the interface, the user’s operating experience is improved, so that users can enjoy an orderly, time-saving, efficient, comfortable, and interesting interactive experience. Methods. User interface design to analyze related theories such as target-oriented design and visual hierarchy design and dig out the manifestation of user goals in the museum’s APP visual hierarchy and clarify the design content. Use qualitative and quantitative user research methods to conduct demand research for museum users and build user role models. Build user role target task model. Determine the function settings of the museum’s APP and establish an information structure. Secondly, build a low-fidelity model through the level analysis of the visual elements in the interface and use the low-fidelity prototype test to guide the museum’s APP visual level design. The interface visual level elements are integrated into the museum’s APP visual level framework and integrated with the museum’s characteristics Together, put forward the visual hierarchical design strategy of the museum APP. Results. A new model for the dissemination and display of cultural information resources by transposing the display of museum information content fusion to the works of the digital platform. The ease of use, fun, and artistic quality of the user interface of the digital museum are the keys to attracting users. Through the summary of the theory and the construction of the design strategy, we build and design a museum APP that meets the user’s experience, meets the user’s goals, and has a good visual hierarchy. The experimental results show that the largest number of people, 62.6%, wanted to learn about local culture by visiting museums. The number of people whose purpose was to travel and the study was the next highest, and they accounted for an equal share, 43.1% and 40.6%, respectively. A smaller number, 23.4%, attended museums for hobbies and interests. The number of people who visit museums for research purposes is even lower, at 11.9%. Through usability testing and user satisfaction analysis of the design model, the rationality and effectiveness of the design strategy are verified, which can provide appropriate guidance for museum app design. Conclusion. The problems encountered in the visual design and production of digital museums and the solutions were discussed, and through a comparative analysis with other digital museum visual designs, it provided theoretical and practical basis for the construction and research of digital museum visual design in the future. Our digital museum user interface design is based on user needs and solves the previous problem of users not understanding how to use the museum app effectively.
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Ogurenko, Yegor V. "Museum Construction in Ural Region (1923–1934): Based on the Materials of the State Archive of Sverdlovsk Region." Izvestia of the Ural federal university. Series 2. Humanities and Arts 25, no. 2 (2023): 98–112. http://dx.doi.org/10.15826/izv2.2023.25.2.026.
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This article considers the development of the network of museums in Ural Region in 1923–1934. The author examines the features of the Ural museums, such as formation, organization, management, typology, educational activities, interaction with the Soviet authorities, the relationship of museums and the Ural local history movement, as well as the influence of state policy. Museums emerged in the Urals in the late nineteenth and early twentieth centuries. During the post-revolutionary period, i.e. in 1917–1923, in many ways due to the purposeful state policy, new institutions appeared in the museum network. The reorganization of the administrative and territorial division in the Urals influenced the interaction between the local authorities and the museums subordinate to them. The introduction of a new economic policy in 1921 positively influenced the activity of the museums. Local history organizations and societies actively conducted scientific and educational work on their basis. With the creation of the super-region, Ural Region, in 1924, the museum activity on its territory was directed at implementing the decisions of the RSFSR People’s Commissariat for Education. Based on data sent to the museum subdivision of the Ural Public Education Department, the author reconstructs the museum system of the region as of 1926. The results of the analysis make it possible to speak about the inefficiency of the accounting and control of museums by the Ural Public Education Department. In addition to the complex management of museums, the museum industry also faced other problems. Throughout the 1920s, the material and normative consolidation of the museum network took place. By the early 1930s, the rejection of the new economic policy was followed by the ideological rethinking of the museum’s functions. The museum and local history movement shifted its focus from education and excursion activity to propaganda and political-educational tasks. The author draws a conclusion about the contradictions in the development of museums in the Soviet Urals between the 1920s and the early 1930s characterized by the complexity of management, weakness of material resources, low financing of the creation of the new Soviet museum. The paper refers to documents of the State Archive of Sverdlovsk Region.
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Prianti, Desi Dwi, and I. Wayan Suyadnya. "Decolonising Museum Practice in a Postcolonial Nation: Museum’s Visual Order as the Work of Representation in Constructing Colonial Memory." Open Cultural Studies 6, no. 1 (January 1, 2022): 228–42. http://dx.doi.org/10.1515/culture-2022-0157.
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Abstract The study of colonialism and its legacies have mostly left the category of memory studies. However, for the colonised subject, what they experienced in the past inevitably forms their present and future discourse. This study focuses on how the museum’s visual order articulates colonial memory. By looking at the work of representation, in this context museum’s visual order, this study investigates how memory lives on through the circulation of colonial memory that the museum simulates. Museum’s visual order translates how colonial memory should be remembered and celebrated as public knowledge. Although research on how museums affect society knowledge have been part of both memory and museum studies, those two studies barely touch upon museums’ role in translating colonial memory in the postcolonial nation. Memory lives on through its circulation in media forms. However, premeditation and mediation are made possible through articulating social and cultural sites, in this case, museums practice. In order to achieve its purposes, this research investigates public museums in different parts of Java, Indonesia which have colonial memory objects. The combination of field observation, document review, and visual method followed by focus group discussion between stakeholders and researchers are conducted to propose the research conclusion. This research argues that the museum’s visual order translates interrelated colonial memories to be accepted as a part of the history that forms the “existence” of the nation and to be appreciated as public knowledge that is shared and forms the national identity. In doing so, museum practice roams into the area of political visibility which decides the legibility of the narrative related to colonial memory. In addition, as museum practice is basically a colonial legacy, this research concludes that it is essential to deconstruct the practice from the perspective of the colonised.
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Andermann, Jens, and Silke Arnold-de Simine. "Museums and the Educational Turn." Journal of Educational Media, Memory, and Society 4, no. 2 (September 1, 2012): 1–7. http://dx.doi.org/10.3167/jemms.2012.040201.
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Responding to feminist, postcolonial, and memorialistic critiques, museums have over the past decades radically revised their protocols of collection and display, aiming to register in their own curatorial and pedagogical practice the open and contested nature of the historical and ethnographic narratives on which their object lessons had traditionally conferred the status of hard evidence. In this new emphasis on the “museum encounter” as a performative and intersubjective “event”—sometimes referred to as the “educational turn” in museum curatorship—a new type of “inclusive museum” has emerged in diverse geographical and political settings. The inclusive museum seeks to recover the museum’s social role as a purveyor of shared, collective meanings precisely in departing from its high-modern predecessor and in forging “open representations” that acknowledge the diversity of the interpretative community thus interpolated. Inclusive museums, in short, aim to offer a new, contemporary stage for negotiating and performing cultural citizenship.
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Holovko, Olha M., Larysa I. Udvorheli, and Myroslava V. Chorii. "Analyzing the Essence of Museum Workmanship Today and in the Future." Business Inform 2, no. 541 (2023): 168–73. http://dx.doi.org/10.32983/2222-4459-2023-2-168-173.
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The purpose of this study is to analyze the essence of museum workmanship today and in the future. Research methods include analysis, observation, comparison and generalization of data on the activities of museum institutions and enterprises, as well as scientific literature. The functions of museums are complex, given the variety of forms of their activities. Until recently, traditional forms of exhibiting were cultivated, and detailed information could be obtained during excursions. Today, the cultural and educational activities of museums have undergone significant changes: the educational and upbringing functions are realized by means of modernized educational programs, digital and factual materials, cultural and artistic events, in cooperation with educational institutions; the entertainment function is manifested in the active participation of individuals in creative workshops, clubs, recreation evenings, concerts, and in the creation of commercial structures on the territory of museums, such as restaurants, bars, and merch stalls. In other words, museums are gradually becoming part of the entertainment industry. With the advent of the media and the Internet, the role of the museum in society has been significantly transformed. Nowadays, the main functions of disseminating culture, which used to belong to museums, have been transferred to the mass media (press, television, and the Internet). At the same time, the role of museums and museum networks in the global «broadcasting» of cultural heritage is growing. Modern museums around the world have acquired this «broadcasting» function with the widespread introduction of the latest museum technologies. In the era of the information boom, an urgent problem for museums is the desire to maintain the bar of public interest, relevance, and popularity of the institution among visitors. In such realities, the very idea of a museum exhibition as something unshakable and stable in time is transformed, and a space for a virtual museum appears. Another innovation is holding presentations of public resonance in the museum. Traditional subjects of presentations for Ukrainian museums are the release of a new art catalog or album, a book by a famous scientist, a new archaeological find, an exhibit transferred to the museum, etc. The statistics of recent years, based on such indicators as the popularity of the museum among virtual and real visitors, the prestige of the museum, and public awareness of the museum’s existence and activities, have convincingly proved that in the information society, those museums that successfully compete with other institutions of the leisure industry are those that disseminate information about themselves as fully and widely as possible.
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Murawska, Agnieszka, Jarosław M. Fraś, Ewa Frąckowiak, and Andrzej Rybicki. "PROFESSION OF A ‘MUSEUM CURATOR’. ON LEGAL CHANGES IN THE CONTEXT OF THE EROSION OF THE ROLE PLAYED BY MUSEUM CURATORS." Muzealnictwo 61 (July 24, 2020): 145–53. http://dx.doi.org/10.5604/01.3001.0014.3323.
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Changes in the legislation related to museum curators and museology, introduced with small steps in harmony with the Overton Window concept, are discussed; they are leading away from the letter and spirit of the Act on Museums of 21 Nov 1996 and the traditions of Polish museology based on creating collections of museum objects and working on them in various manners. Regulations and legal opinions on the museum curator profession are presented, pointing to the fact that the initially cohesive definitions and provisions are becoming blurred, to the extent of losing their initial sense, and threatening the identity of this professional group, as well as the identity of museums as heritage-preserving organizations. Furthermore, attempts to extend the concept of museum curator to encompass also the institution’s executives or the entire museum staff undertaken in order to depreciate this professional group and deprive it of the impact on the institution’s management have been signalled. A tendency has been observed to deprive the employees fulfilling the museum’s basic activity, museum curators included, of the influence on shaping state policies with respect to museology, this clearly illustrated by the composition of the Council for Museums and National Memorial Sites. Provisions of the labour legislation as regards professions of public trust museum curators aspire to join have been quoted. Mention has also been made of certain activities they have undertaken to prevent the process of de-professionalising the profession of a museum curator in the museum-related legislation, and to subsequently reverse it. The 2016 Bill on Museum Collections and on Museums prepared by the National Section for Museums and Institutions for the Preservation of Historical Monuments of the Solidarity Trade Union has been presented. The main demands of the Bill have been pointed to: the consolidation of the status of museum collections as the main purpose of the museum’s raison d’être, the status of a museum curator as a profession of public trust, and the shift in museum management from technocratic (New Public Management) to modern, aiming to serve the national heritage and people in harmony with the principles of the New Public Service.
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Jabbarova, Fargana. "Music-themed museums serve as institutions that preserve musical instruments." InterConf, no. 43(193) (March 20, 2024): 192–98. http://dx.doi.org/10.51582/interconf.19-20.03.2024.021.
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The article discusses music museums that collect, preserve, study, and display materials related to the development of music culture. It notes that the main foundation of each music museum's collection is a collection of musical instruments. The article also highlights the active involvement of scientific-research and public centers in the dissemination of music culture experience of music-profile museums and the implementation of music communication. There is information about museums as the Russian National Music Museum, located in Russia's capital city, Moscow, which has one of the oldest and richest collections of museums; music museum situated in the music city (Cité de la Musique) of Paris, France; National Music Museum in Lisbon, Portugal, which boasts a rich collection of academic and folk musical instruments from Portugal and other countries around the world; The Music Instrument Museum in Phoenix, Arizona, USA, established through the personal initiative of businessman Robert Ulrich; the Musical Instruments Museum near the Royal College of Music in London houses a collection of over 800 musical instruments and accessories from Europe, Asia, and Africa, dating back to the 15th century; in Yakutsk, Russia, Museum and Center of The Khomus of The People of The World, founded in 1990, preserves around 10,000 museum items. Finally, the Hamamatsu Musical Instruments Museum, established in 1995, stands out as Japan's first and perhaps only museum dedicated solely to musical instruments.
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Figueiró, Belisa. "Museus e ciência: revisão dos estudos históricos e das instituições na Espanha." Transições 1, no. 2 (December 14, 2020): 195–214. http://dx.doi.org/10.56344/2675-4398.v1n2a202010.
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Este artigo propõe uma análise dos estudos históricos de pesquisadores espanhóis sobre a criação dos museus científicos na Espanha. Como método, aplica a revisão bibliográfica dos trabalhos publicados pela revista Arbor, os quais examinam o papel da ciência e da tecnologia não apenas no propósito de instauração das próprias instituições, mas também na restauração de obras e peças museológicas, com especial atenção ao Museu de Ciência e Tecnologia de Madri e ao Instituto San Isidro. Da mesma forma, este texto aborda a interação entre o público e os museus espanhóis, reconhecendo a perspectiva da museologia crítica como uma possibilidade de aproximação entre as escolas, os visitantes e os museus.
Abstract: This article analyzes the historical studies of Spanish researchers on the creation of science museums in Spain. As a method, it applies the bibliographic review of the works published by Arbor scientific journal, which examine the role of science and technology not only in the purpose of establishing this kind of institutions, but also in the restoration of works and museum pieces, with special attention on the National Museum of Science and Technology (Madrid) and San Isidro Institute. Likewise, this text talks about the interaction between the museums and its audience, recognizing the critical museology perspective as a possibility of bringing schools, visitors and museums together.
Keywords: Science museums. Critical museology. Spain. Restoration. History.
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Hryhorevska, Olena. "Book Museums of the Kingdom of Belgium as a Space of Socio-Cultural Communication." Culture and Arts in the Modern World, no. 24 (September 22, 2023): 19–28. http://dx.doi.org/10.31866/2410-1915.24.2023.287655.
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The aim of the article is to analyse the features of the development of socio-cultural space of two well-known book museums in the Kingdom of Belgium: the Royal Library of Belgium and the Wittockiana Museum; to focus on the methods of promoting the collections that form the basis of the museum holdings, information services, and educational programmes. Results. The Royal Library of Belgium is defined as a unique high-tech socio-cultural space where the cultural life of medieval Europe is explored through images, histories, and characters from the Library of the Dukes of Burgundy. The analysis of the museum’s website and blog materials leads to the conclusion that the national library takes its communication with user audiences very seriously. The Wittockiana is a museum of book art and bookbinding and an organiser of projects. The museum engages in diverse exhibitions, research, and educational activities. An interesting component of the museum’s socio-cultural space is the bookbinding workshop, which serves as a basis for educational projects. The scientific novelty of the study is that for the first time in the Ukrainian scientific discourse, the development of the socio-cultural space of contemporary European museums is considered using the example of the book museums of the Kingdom of Belgium. Conclusions. The successful formation and development of the socio-cultural space of contemporary European book museums is largely the result of persistent and multifaceted research activities of such institutions. The Royal Library of Belgium is a vivid example of the development of the “media” concept of a museum as a socio-cultural institution. The museum’s socio-communication space is developing in many areas, including the expert environment and public relations. The educational services of the Wittockiana Museum and the partner book workshop of the Royal Museum of Mariemont are considered as an experience worthy of in-depth study and implementation in Ukraine.
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Laszlo Klemar, Kosjenka, and Željka Miklošević. "Educational Museum Action – Characteristics and Possibilities of Development." Etnološka istraživanja, no. 25 (December 3, 2020): 51–68. http://dx.doi.org/10.32458/ei.25.10.
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On the occasion of observing International Museum Day, Croatian museums carry out the Educational Museum Action (EMA) by conducting educational activities - most often workshops, guided tours and didactic exhibitions - on a specific topic set by a museum-leader. Ethnographic museums in Croatia have participated in the Action from the very beginning; in 2000 and 2010, Ethnographic Museum in Zagreb was the leader of the Educational Museum Action. This paper presents a research of EMA features as an educational museum action conducted by analysis of printed booklets as the Action program publications and by responses of museum experts who took part in the organization and implementation of the Action, obtained as a result of a survey. The research points out the discrepancy between the name and features of the organized activity, upon which a state and potentials of the Action development, as well as the museum’s educational activities have been questioned. Curators of ethnographic collections and museum educators in Croatian ethnographic museums, having participated in the research, gave their contribution to determination of issues related to museum educational programs and to determination of their development potentials.
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Andermann, Jens. "Showcasing Dictatorship." Journal of Educational Media, Memory, and Society 4, no. 2 (September 1, 2012): 69–93. http://dx.doi.org/10.3167/jemms.2012.040205.
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This article compares two recently inaugurated museums dedicated to the period of dictatorial terror and repression in the Southern Cone: the Museum of Memory and Human Rights at Santiago, Chile (opened in 2009), and the Museum of Memory at Rosario, Argentina (2010). Both museums invoke in their very names the "memorial museum" as a new mode of exhibitionary remembrance of traumatic events from the past. They seek to sidestep the detachment and "objectivity" that has traditionally characterized historical museum displays in favor of soliciting active, performative empathy from visitors. Neither of the two institutions, however, complies entirely with the memorial museum's formal characteristics; rather, they reintroduce modern museographical languages of history and art, thus also challenging the emergent "global canon" of memorial museum aesthetics.
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Karamanov, Oleksiy, and Olha Zheleznyk. "Technology of the organization of volunteer activities in the space of the museum." Pedagogika. Studia i Rozprawy 31 (2022): 129–35. http://dx.doi.org/10.16926/p.2022.31.10.
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The authors of the article consider various aspects of the organization of volunteer work in the space of the museum - in the context of social concepts, ways of influencing and preserving cultural heritage. The respective roles of volunteers are defined - as "agents of influence" of museums, effective communicators, implementers of the museum's mission, co-authors of current museum programs and projects. Various volunteer practices in museums are analyzed, which confirm the technological nature of volunteering in the appropriate contextual conditions. The authors come to the conclusion that volunteers contribute to the active development of the museum space by means of museum pedagogy, contribute to the development of a strategic course for the museum, focused on the prospect of sustainable development.
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Yeshenkulova, G. I., R. Ye Agybetova, Y. E. Galiakbarov, and A. G. Gizzatzhanova. "The impact of modern technology on the activities of museums." Bulletin of "Turan" University, no. 1 (March 31, 2021): 145–51. http://dx.doi.org/10.46914/1562-2959-2021-1-1-145-151.
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The article describes the state of museums in the past, the impact of monotonous activities in the country on the number of visitors, as well as the introduction of new technologies and their impact on museums. The importance of using new technologies in the provision of their services, quickly focused on the modern period of museums that are among the top 10 world-famous museums, is emphasized. Virtual tours in 3D format of several foreign and patronymic museums and exhibitions with the use of modern technologies and augmented virtual reality indicate that the museum's attendance is increasing both online and offline. The situation in our country shows that significant work needs to be done to increase the number of visitors to museums, including the use of new technologies, good advertising, various promotions. This idea can be confirmed by the results of a survey on the use of augmented reality and virtual reality technologies in the museum in our country. The desire of a total of 179 participants to visit the museum confirms the need to develop this area. In the near future, people's visits to museums may change, their situation shows that the industry needs to be developed in the future, there is a great opportunity to deliver art to people previously unavailable, people who do not have the opportunity to travel and visit famous museums have online access to the world's best collections. Strict restrictions due to the pandemic have increased people's interest in listening to virtual tours of museums, which, among other things, is due to the fact that the museums themselves are beginning to quickly direct visitors to online tours.
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Andžāne, Ieva. "MUSEUM AS AN OBJECT OF CHANGE." Culture Crossroads 11 (November 10, 2022): 68–80. http://dx.doi.org/10.55877/cc.vol11.132.
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Over the last decades the museum sector has experienced substantial changes. The need for change has been stressed by such well-known museologists and practi- tioners as Stephen E. Weil, David Flemming and others. Moreover, the change of and within museums has arisen as one of the most important topics of several professional networks and conferences, such as “We Are Museums”, which was cre- ated in 2013 as yearly event at the intersection of culture and innovation. Thus, we can speak about paradigm of change in contemporary museums that affects their performance and future strategies. This paradigm of change in museum sector seems especially interesting if we think about the symbolic role of a museum. Traditionally a museum is an institution that keeps our heritage intact and until recently this task has been perceived as its main function. Not without reason the museum has been used as symbol for standstill, unchangeable in art and literature. Yet now we are asking for museums to change themselves and their public offer. The aim of the article is to track the development of paradigm of change in museum sector and to outline the most important fields that had been affected by change during past decades. The change of museum sector has been viewed in regional context, marking the most important trends: 1) changes in the models of museum funding; 2) changes in museum’s strategic priorities; 3) changes in our perception of a museum. Still, it is important to remember that an organization can never change just one thing – in most cases museums are subjected to more than one of these trends. The results in almost all cases are similar – growing importance of museum management.
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Li, Yin. "Museums and Marketing: a Controversy over New Strategies." ESIC MARKET Economic and Business Journal, Volume 51, Issue 1 (April 14, 2020): 183–208. http://dx.doi.org/10.7200/esicm.165.0511.4.
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Objective: This paper aims to review the function of marketing in the field of museum management and offers practical and creative solutions for museums to successfully balance the conflict between the museums’ sustainable operation and their original functions, such as education and preservation. Methodology: The research is mainly based on long-term observations of museum management and marketing in both China and Spain. A review and analysis of previous studies has been conducted to build the context. Results: The implementation of appropriate marketing methods by way of cross-industry cooperation and new technologies can not only assist museums in financial issues but could also result in a win-win outcome which could promote the original mission of museums. Limitations: This article is mainly based on the Chinese and Spanish contexts, however, some relevant features of other countries have also been described. Practical implications: The suggested strategies mentioned in this paper contribute to the development of practical marketing methods for Spanish museums, oriented towards meeting the need for sustainable operation, and ways to communicate to the public at large, in accordance with the museum’s key objectives.
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Borges, Priscila Lopes d'Avila. "Museu Imperial: narrar entre as reticências da memória e as exclamações da História." Revista Discente Ofícios de Clio 5, no. 8 (October 14, 2020): 187. http://dx.doi.org/10.15210/clio.v5i8.19023.
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O presente trabalho propõe a análise dos discursos produzidos na visita guiada do Museu Imperial (Petrópolis-RJ), bem como o estudo de elementos materiais da exposição permanente da instituição. A composição hegemônica formulada pelo museu, como retrato da sociedade oitocentista, promove silenciamentos ensurdecedores acerca de temas sensíveis da história do Brasil, restringindo a percepção dos visitantes. O artigo indica alguns desafios do uso pedagógico de museus históricos. Em seguida, apresenta dados coletados em visitas observadas em pesquisa de campo, entre os anos de 2017 e 2018, com o objetivo de esclarecer a natureza hegemônica das narrativas do setor educativo e da exposição permanente do museu. Finalmente, aborda dificuldades cognitivas do público escolar, decorrentes da atual relação social com o tempo, no uso do patrimônio material e memória coletiva reforçada por museus históricos, superando as fronteiras expográficas.Palavras-chave: Ensino de história; Museus históricos; Educação museal; Museu Imperial.Abstract The present article proposes an analysis of the speeches produced in the guided tour of the Museu Imperial (Petrópolis-RJ), as well as the study of the material elements of the permanent exhibition of the institution. The hegemonic composition formulated by the museum, as a portrait of 19th century society, promotes deafening silences about sensitive themes in the history of Brazil, restricting the perception of visitors. The article indicates some challenges of the pedagogical use of historical museums. After that, it presents some data collected in visits observed in field research, between the years 2017 and 2018, in order to clarify the hegemonic nature of the narratives of the museum's educational sector and permanent exhibition of the museum. Finally, it approaches cognitive difficulties of the school public arising from the current social relationship with time, in the use of material patrimony and collective memory reinforced by historical museums, overcoming expographic boundaries.Keywords: History teaching; Historical museum; Museum education; Museu Imperial.
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Yoon, Byung-hwa, and Yeun-hee Kim. "Activation Plan for the Education of Coffee Museum: Focused on Waltz & Dr. Mahn Coffee Museum and Gangneung Coffee Museum." Association for International Tea Culture 28 (June 22, 2015): 1–24. http://dx.doi.org/10.21483/qwoaud.28..201506.127.
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The coffee is the most popularized food and it is not just for drinking but also tool for conversation and communication among people. Based on this recognition on the coffee, coffee museums are being established as lifelong education institutes and social education institutes with the theme of coffee. Currently, Waltz & Dr. Mahn Coffee Museum of Namyangju-si, Gyeonggi-do and Gangneung Coffee Museum of Gangneung-si, Gangwon-do are settled down as complex culture and arts center through various programs and education program in the regions.
This study, therefore, aims to suggest an activation plan for coffee museum by investigating the current state of these museums. Especially, I investigated a direction to develop the coffee culture in the museological aspect by focusing on the educational function.
In order to strengthen the education of coffee museum, first, the work should be done by hiring educational experts: commentator and teacher. Second, exhibition and education should be strengthened to increase professionalism, and connect the result of coffee culture research to the museum education. Third, coffee museum's programs should be connected with various festivals and coffee exhibition in the community to enlarge openness, and visiting coffee museum should be performed.
As this study was performed on the registered coffee museums only, broad studies that contain nonregistered museums and coffee culture facilities are needed in the future. However, I hope this study can be a little help as a reference for the current coffee museum.
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Thorp, H. Holden. "Museum ethics—more than lip service." Science 381, no. 6653 (July 7, 2023): 7. http://dx.doi.org/10.1126/science.adj4713.
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In the past few years, museums around the world have started to grapple with questions about the origins and ethics of their collections. This includes the acquisition and maintenance of natural history specimens. As museums examine their missions and processes, it seemed like a good time to talk to Sean Decatur, the new president of the American Museum of Natural History (AMNH) in New York City. He spoke with me (see the full conversation here) about the museum’s research and how collaborations between museums and partner nations should aspire to assemble collections that responsibly disseminate information about human cultures, the natural world, and the Universe.
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Smaysa, Smaysa, and Zafri Zafri. "Ketersediaan Sumber Sejarah pada Museum Adityawarman yang Relevan dengan Pembelajaran di SMA." Jurnal Kronologi 5, no. 2 (June 27, 2023): 181–95. http://dx.doi.org/10.24036/jk.v5i2.686.
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The use of museums as a source for studying history can add broad insights for students. One example is making the museum collection a source of study. The museum collection is supposed to be used to add information, insights, and to increase interest in studying history. The study is a qualitative description that aims to identify the availability of museum Adityawarman history sources. The object in this study is a historical or museum collection. Some historical sources in museums include libraries, sites/temples, relics, textbooks, encyclopedias, the Internet, maps, atlas, newspapers, historical dictionaries, archives, historiography works, and other written sources. The museum’s mollection of relics of ancient human life, the roots of Indonesian ancestors, of pre-racial cultures, and of object during the colonization of Europe.
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Soraya, Ayu, and Yusup Sigit Martyastiadi. "Aesthetics of Virtual: The Development Opportunities of Virtual Museums in Indonesia." International Journal of Creative and Arts Studies 8, no. 1 (June 28, 2021): 25–33. http://dx.doi.org/10.24821/ijcas.v8i1.5346.
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The Covid-19 pandemic requires us to carry out physical and social distancing. It is undeniable, this also has an impact on government policy to close tourist destinations, including museums. Currently, sophisticated 3D visualization technology provides the potential for the development of virtual museums. The virtual museums were developed for giving the experience of the visiting museum in the digital world as a distance learning. This application can provide immersion through interactivity while exploring virtual museums. Basically, this article explains the aesthetic investigations in some virtual museums. The researchers describe the aesthetic of each sampled virtual museums projects. The literature synthesis of several virtual museums projects is expected to be able to give an idea of the potential development of virtual museums in Indonesia. The aesthetics of virtual elements could be used as a recommendation for museum conservator for the development of prospective Indonesian virtual museums. Furthermore, the aesthetics of virtual in digital museums provide opportunities to present virtual museums exploration experiences. Estetika Virtual: Peluang Perkembangan Museum Virtual di IndonesiaAbstrakPandemi Covid-19 mengharuskan kita melakukan jarak fisik dan sosial. Tak bisa dipungkiri, hal ini juga berdampak pada kebijakan pemerintah untuk menutup destinasi wisata, termasuk museum. Saat ini, teknologi visualisasi 3D yang canggih memberikan potensi untuk pengembangan museum virtual. Museum virtual dikembangkan untuk memberikan pengalaman mengunjungi museum di dunia digital sebagai pembelajaran jarak jauh. Aplikasi ini dapat memberikan immersion melalui interaktivitas sambil menjelajahi museum virtual. Pada dasarnya, artikel ini menjelaskan investigasi estetika di beberapa museum virtual. Para peneliti mendeskripsikan estetika dari setiap proyek museum virtual yang dijadikan contoh. Sintesis literatur dari beberapa proyek museum virtual diharapkan dapat memberikan gambaran tentang potensi perkembangan museum virtual di Indonesia. Estetika unsur virtual dapat dijadikan sebagai rekomendasi bagi konservator museum untuk pengembangan museum virtual Indonesia yang akan datang. Selain itu, estetika virtual dalam museum digital memberikan peluang untuk menghadirkan pengalaman eksplorasi museum virtual.
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Charapan, Nadzeya. "Communication Matters: How Do Visitors Interact with Ethnographic Open-Air Museums?" Informacijos mokslai, no. 83 (December 20, 2018): 142–54. http://dx.doi.org/10.15388/im.2018.83.9.
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[full article, abstract in English; abstract in Lithuanian]
Though the concept of an ethnographic open-air museum is not a new one, little is known about the interplay between a visitor and an amalgam museum setting. Ethnographic open-air museums are complex spaces with shared qualities of outdoor sites and indoor museums. Grounded in Gibson’s theory of affordances (1979), the article explores how visitors interact within and in relation to the hybrid space of ethnographic open-air museum and how communication shapes their interactions. The analysis is based on a qualitative study of visitors in the Belarusian State Museum of Folk Architecture and Rural Lifestyle (Aziartso, Belarus) and the Open-Air Museum of Lithuania (Rumšiškės, Lithuania). The data were collected using participatory observation and semistructured interviews with visitors. The article employs a constructivist approach and conceptualizes an ethnographic museum as a free-choice environment, where behavior patterns are linked to the institutional context and the visitors’ ability to perceive the information about the objects and environments that specified the possibilities and constraints for interacting with the museum’s space. The study reveals how cultural communication fosters the diversity of visiting scenarios and the perceptions of ethnographic open-air museums as cultural heritage sites, natural parks and stages for entertainment. The implications of this research could be relevant to cultural policymakers and communication specialists in designing the cultural, recreational and educational policies of museums.
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Kliuchko, Yuliia. "COMMUNICATIVE SPACE OF MODERN MUSEUMS DURING THE PANDEMIC." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 145–55. http://dx.doi.org/10.31866/2410-1915.22.2021.235902.
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The purpose of the article is to explore the communicative space of modern museums in the conditions of the COVID-19 pandemic, to outline the main vectors of its development. The research methodology is based on the general scientific principle of objectivity, structural and functional, analytical methods are used during the analysis of the communicative space of museums in the context of the COVID-19 pandemic. Taking into account the current state of museums in Ukraine, the main theoretical achievements of the issue are systematized and generalized; it is shown that the topic of the research at the present stage has not yet been comprehensively reflected in the domestic scientific literature. The novelty of the article is to determine the main vectors of the development of the communicative space of foreign and domestic museums during the COVID-19 pandemic, to study the most successful projects of Ukrainian museums in the context of the transformation of the communicative space. Conclusions. The study shows that today the establishment of a sustained and constructive dialogue with its audience is an important result of the museum activities as one of the communication centers in the cultural space. This article demonstrates that there is a rather significant transformation of the museum environment and the museum communicative space, which is manifested in a combination of traditional and innovative directions, the development of adaptation strategies following the modern conditions. It is claimed that for museums the time of the pandemic is the time of mastering new communication channels, the time of pooling resources. Information technologies adjust and supplement the content of the main functions of museum’s activities. Without digital technologies and digital communication, the museum is no longer able to achieve its full potential as a sociocultural and educational institution. The article shows that during the COVID-19 pandemic the Internet communication between Ukrainian museums and their audience has actually become the only way to interact. To attract a new audience, Ukrainian museums are implementing inclusion practices, rebranding, interdisciplinary and inter-museum projects, applying creative approaches to adapt educational programmes to the online format, and significantly increasing the amount of content for children and adolescents.
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Park, Kyoung-Shin. "A Study on the Legal Character of Museums and Art Museums under the Promotion Law for Museum and Art Museums of Korea: Focusing on Non-for-Profit Character." Korean Arts Association of Arts Management 65 (February 28, 2023): 211–38. http://dx.doi.org/10.52564/jamp.2023.65.211.
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In August 2022, the International Council of Museums (ICOM) held a general meeting and adopted a new museum definition, which emphasized “diversity”, “sustainability”, and “ethics”, while the expression of “non-profit” was changed to “not-for-profit”. Discussions on non-profit or not-for-profit of museums and art museums are not new, but discussions on whether non-profit or not-for-profit is a prerequisite for museums and galleries under the Promotion Law for Museum and Art Museums of Korea are supposed to intensify in line with ICOM’s revision of definition of museums. In particular, considering that many of the materials of museums and art museums of academic, artistic, educational, and historical value, including national treasures, are held in private museums or private art galleries, controversies over for-profit activities of museums and art museums are expected to intensify in the future. Therefore, it is more necessary than ever to reconsider the scope and allowable making-profit activities of museum and art museums under the Promotion Law for Museum and Art Museums of Korea, taking into account the role of museums and art museums and various environmental changes surrounding museums and art museums. In this regard, this paper reviewed the fact that the introduction of non-profit or not-for-profit prerequisite for the registration into the Promotion Law for Museum and Art Museums of Korea could be a problem in terms of legal stability and excessive restrictions on freedom of occupation in current situation, where private or for-profit corporations have been registered and operated as private museums or art museums under the Promotion Law for Museum and Art Museums of Korea. However, terms of non-profit or not-for profit does not mean banning of all profitable activities, and thus detailed standards need to be prepared, considering that the criteria for for-profit activities are unclear and it is not easy to evaluate for-profit activities in the business plan in the course of reviewing museums and art museums to give supports and aids to them. In addition, it is necessary to revise related articles for the overall reorganization of the registration and support system for museums and art museums.
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Teixeira de Vargas, Márcia Isabel, and Andréia Von Hausen Bederode Becker. "POLÍTICA NACIONAL DE EDUCAÇÃO MUSEAL – PNEM: MUSEUS, EDUCAÇÃO E REDES." Revista Docência e Cibercultura 3, no. 2 (September 1, 2019): 176–98. http://dx.doi.org/10.12957/redoc.2019.44362.
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ResumoEste artigo apresenta uma análise do cenário emergido com a efetivação da Política de Educação Museal (PNEM), temática principal, e a participação das Redes de Educadores em Museus, vivenciadas pelos sujeitos da dinâmica educacional em instituições culturais desde a sua concepção. Relata a participação da Rede de Educadores em Museus do Rio Grande do Sul (REM-RS), na elaboração compartilhada do Programa de Educação Museal, no período de 2012 a 2017. Tem o objetivo de evidenciar tensões experimentadas pelo museu, a escola e por seus agentes nas atividades do setor educacional museológico. Sugere que as ações empreendidas para fomentar a incorporação da PNEM às instituições museológicas sejam efetivadas de forma articulada e com indispensável reconfiguração de acordo com os princípios e diretrizes da política pública voltada aos museus brasileiros, enquanto referencial para o setor. Destaca a Carta de Petrópolis, a Carta de Belém e a Carta de Porto Alegre documentos que demonstram a participação e as discussões, presenciais e em rede, geradas pelos profissionais efetivamente envolvidos nos processos de construção que resultaram na referida política. Conclui com relatos de experiências e atividades na formação docente no espaço museológico como forma de adequar o trabalho educacional em museus ao PNEM.Palavras-chave: Educação Museal. Redes. Rede de Educadores em Museus. Formação docente. NATIONAL POLICY OF MUSEAL EDUCATION - PNEM:Museums, Education and Networks Abstract This article presents an analysis of the emerged scenario with the implementation of the Museum Education Policy (PNEM), the main theme, and the participation of the Educator Networks in Museums, experienced by the subjects of the educational dynamics in cultural institutions from their conception. It reports on the participation of the Network of Educators in Museums of Rio Grande do Sul (REM-RS), in the shared elaboration of the Museum Education Program, from 2012 to 2017. Its objective is to tensions experienced by the museum, the school and its agents in the activities of the museum educational sector. It suggests that the actions undertaken to promote the incorporation of PNEM to museological institutions should be carried out in an articulated manner and with an indispensable reconfiguration in accordance with the principles and guidelines of the public policy focused on Brazilian museums, as a reference for the sector. The Petrópolis Charter, the Belém Charter and the Porto Alegre Charter emphasize the documents that demonstrate the participation and the discussions, both in person and in a network, generated by the professionals effectively involved in the construction processes that resulted in this policy. Concludes with reports of experiences and activities in teacher training in the museum space as a way to adapt the educational work in museums to the PNEM. Key words: Museum Education. Networks. Educators Network in Museums. Teacher training.
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Kristinsdóttir, AlmaDís, and Sigurjón Baldur Hafsteinsson. "Organizational structures and the museum’s educative function. Empty options at the Reykjavík Art Museum." Nordisk Museologi 26, no. 2 (December 6, 2019): 77–94. http://dx.doi.org/10.5617/nm.7478.
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Museum education is a field in flux that faces continuous theoretical and practical challenges. We argue that formal museum organizational structures, the informal, and experiences of museum workers should be intertwined. We also argue that the influence of museum educators on shaping policies is relevant. Formal organizational structures in museums should be acknowledged and systematically embedded in the shaping and governance of sustainable museum education practices if museums are to succeed as learning institutions. We contend that museum organizational structures disempower the development of museum education as a profession, serving other purposes more rigorously. We interviewed twelve museum staff members for this paper. They all worked at the Reykjavík Art Museum’s (RAM) education department as full-time and/or part-time employees from 1991 to 2018. Multiple meetings with the participants occurred from June 2011 until June 2018, resulting in twenty semi-structured interviews.
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Dmitrievna, Evallyo Violetta. "Online Museums as a Complex Work of Art." Perspectiva Filosófica 50, no. 2 (October 4, 2023): 150–69. http://dx.doi.org/10.51359/2357-9986.2023.259054.
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Since the 21st century, digitalization has been actively implemented in all spheres of life, and this trend is relevant for Russian museums. The main content of the museum's digital environment is characterized by visual diversity and various communication accents. The same theme or exhibitions can be exploited in various visual forms, which allows you to see different shows. An important component of visual content is its split-screen implementation, which partially restores the lost material architectonics to the abstract digital space, or rather, creates an illusion of such a process. The purpose of this article is to analyze the digital museum as a complex art object. As a result of the study, it is concluded that the key features of the subject are media integration, the variability of communication modes, game manipulation of exhibiting objects, and in some cases overacted conceptuality. Communication with the digital museum’s content includes elements of interactivity, virtual immersion in the environment. All of these are characterized by a mostly private tone. By all its activities in the virtual media environment, the museum demonstrates the desire to correspond to modernity, to be an integral element of today's public culture, to have a memorable image.
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Abbasov, Iftikhar B., and Christina Lissette Sanchez. "Design features of the Inca museum of culture." International research journal of engineering, IT & scientific research 6, no. 5 (August 19, 2020): 1–12. http://dx.doi.org/10.21744/irjeis.v6n5.970.
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The paper deals with the development of a design concept for a museum of Inca culture in Ecuador. The current trends in the organization of historical museums in Latin America are presented. An overview of the graphic support of the Latin American museums of culture, archeology, and history is made. The historical foundations of the Museum of Inca culture are presented, the iconography of the Inca civilization of various periods is analyzed. The current state of the museum, the history of its foundation, prerequisites for creating a new brand are described. Associative graphic images for creating a new logo for the museum were considered, corporate colors were substantiated, and components of the brand were developed. This will strengthen the museum's brand and increase its social significance for the popularization of the Inca culture.