Academic literature on the topic 'Site specific museum'
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Journal articles on the topic "Site specific museum"
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Kang, Yiyun. "CASTING: Site-Specific Projection Mapping Installation." Leonardo 51, no. 4 (August 2018): 399–404. http://dx.doi.org/10.1162/leon_a_01650.
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This paper investigates CASTING, Yiyun Kang’s site-specific projection mapping installation at the Victoria and Albert Museum in London, U.K., and the acquisition of the piece by the V&A in the following year. It identifies how CASTING developed distinctive properties in the field of projected moving-image installation artworks and how these novel characteristics were reflected in the acquisition by the V&A.
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Bonnes, Stephanie, and Janet Jacobs. "Gendered Representations of Apartheid: The Women’s Jail Museum at Constitution Hill." Museum and Society 15, no. 2 (July 12, 2017): 153–70. http://dx.doi.org/10.29311/mas.v15i2.830.
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This article examines the ways in which women are represented and remembered at The Women’s Jail at Constitution Hill museum, a former women’s jail that was used to incarcerate women during apartheid in Johannesburg, South Africa. Based on fieldwork at the museum, this study examines how the memory of the former prisoners and of the apartheid regime is shaped and narrated at this site. Situating our analysis within the context of the collective memory of apartheid, we examine how the museum uses artifacts and objects to depict both the specific forms of gendered dehumanization that women experienced at the jail, as well as their journeys to incarceration as a result of discriminatory apartheid laws. We also examine the absence of torture memory and references to hierarchical structures and interactions within the jail itself, noting that these were important dynamics of prison life that are not represented in the museum. This research presents a content and visual analysis of how the use of images and artifacts may illuminate and/or silence specific memories of degradation and humiliation in a museum space.Key Words: Collective Memory, Museums, Representation, South Africa, ApartheidMemorialization, Gender and Memorialization
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Del Chiappa, Giacomo, Luisa Andreu, and Martina G. Gallarza. "Emotions and visitors’ satisfaction at a museum." International Journal of Culture, Tourism and Hospitality Research 8, no. 4 (September 30, 2014): 420–31. http://dx.doi.org/10.1108/ijcthr-03-2014-0024.
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Purpose – This research aims to investigate whether emotions can be considered as a suitable variable to segment visitors at a museum. Furthermore, it seeks to analyse whether emotions influence visitor satisfaction and whether this depends on objective variables (such as age, gender and level of education) or not. Design/methodology/approach – A structured questionnaire was developed and data were collected at the National Museum of Archaeology “G.A. Sanna” in Sardinia (Italy) via 410 face-to-face interviews. Hierarchical and non-hierarchical cluster analyses and a series of chi-squared tests were run for the purpose of the study. Findings – Two segments were identified. The cluster with the higher positive emotions reported perceiving a higher level of attractiveness and uniqueness at the museum, and of being more satisfied than the other group. Furthermore, no significant differences were reported between the two segments based on socio-demographic characteristics. Research limitations/implications – The study is site-specific. The application of the study to other museums would allow for wider generalisations to be made from the results obtained. Practical implications – Managers should market and position museums as an emotionally driven experience consumption site. Furthermore, they should consider both cognitive and emotional aspects of visitor experience when designing and planning their businesses, as well as when assessing the visitor’s satisfaction. Originality/value – This study adds to the growing literature on emotions as a tool for segmentation and positioning, and suggests that cognitive and emotional aspects should be considered simultaneously when measuring visitors’ satisfaction. Further, it suggests that emotions are more significant than cognitive aspects in shaping visitors’ satisfaction.
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Rudnickaitė, Eugenija. "GEOLOGICAL „MUSEUM“ OF SCHOOL SURROUNDINGS: TO HELP TEACHERS." GAMTAMOKSLINIS UGDYMAS / NATURAL SCIENCE EDUCATION 9, no. 2 (September 1, 2012): 36–42. http://dx.doi.org/10.48127/gu-nse/12.9.36a.
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Year 2012 in Lithuania is announced as the Year of Museums, nevertheless the num-ber of museums and educational programs dedicated to Natural Sciences did not increase. Geosciences are very significant part of the whole complex of Natural Sciences. How-ever, geological disciplines are not included in Education Programm of Secondary Schools, therefore Museums of Geology became very important. Lithuania can not brag about a big number of geological museums, and most of them are not close enough for a class trip. Such luxury is only available mainly for schools in Vilni-us. Although, during recent years more and more geological knowledge is available at regional parks new information centers (Gražutės, Sartų, Nemuno kilpų, Ventos, etc.). It is convenient to nearby schools. But what about the rest? The idea of this article is to show, that a geological „museum“ can be found in schools surrounding environment: school yard, close by river slope, dug out quarry, by a water spring or a hill. Specific examples are presented how an unregistered user, visiting Lithuanian Geologi-cal Survey internet site (www.lgt.lt), can find enough information about his schools’ surround-ings geological structure (on the surface and underground), protected geological object (ge-otops), interesting outcrops, probable pollution sources, mineral resources, etc. Key words: museum of geology, Vilnius University, nonformal natural science educa-tion, geology, education, museum, teacher.
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Brida, Juan Gabriel, Marta Meleddu, and Manuela Pulina. "Understanding museum visitors’ experience: a comparative study." Journal of Cultural Heritage Management and Sustainable Development 6, no. 1 (May 16, 2016): 47–71. http://dx.doi.org/10.1108/jchmsd-07-2015-0025.
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Purpose – The purpose of this paper is to examine museum visitors’ experience. The objective of the research is to explore preferences, behaviour, overall. This study experience and the determinants on repeated visits to two heritage sites. In particular, a more comprehensive regression approach is introduced and employed to compare results at two regional museums. Design/methodology/approach – First, a factor analysis identifies a set of orthogonal factors related to visitors’ perceptions on their positive and negative experiences at two different museums. Second, a two-step cluster analysis is implemented to identify specific demand segments. Third, a regression analysis reveals the key determinants that influence visitors’ perceptions on the quality of services provided at the cultural sites. The empirical data were collected at two archaeological museums located in Sardinia and Trentino Alto Adige (Italy). Findings – On the whole, some homogeneous findings have been obtained for the two cultural sites, regardless of the different levels of attractiveness exerted by these two museums. Moreover, the outcomes highlight that the two museums need to be reinterpreted and reorganised with the provision of supplementary services, able to satisfy a broader audience, and enriching their traditional mission that is to collect, preserve and exhibit the archaeological heritage. Practical implications – The methodological approach presented in this paper is for practitioners and curators to deepen their understanding of their consumers and to improve the overall quantity and quality of services offered. Originality/value – This paper presents a novel and integrated approach to investigate customers’ experience and their needs with the aim of improving the overall quality of the services provided at the museum. The proposed methodology is used to analyse multidimensional aspects of the visit to a cultural site. Within the literature on museum marketing and management, this methodological framework can be regarded as an alternative approach to analyse visitors’ experience, characteristics, behaviour, preferences and to elicit specific characteristics of different segments of demand.
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Henninger, Maureen. "From mud to the museum: Metadata challenges in archaeology." Journal of Information Science 44, no. 5 (November 17, 2017): 658–70. http://dx.doi.org/10.1177/0165551517741790.
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An archaeological site is a palimpsest in which the evidence of the depositional episodes is destroyed through the excavation processes; all that remains are the artefacts and their documentary evidence manifested in registers, datasets, dig diaries and reports. While the reports may represent the end product of a specific excavation, the archaeological record tells a story; it is interpretative and dynamic, with later excavations adding new knowledge and narratives. Museums preserve the artefacts but unless the documentary evidence is preserved in standard formats, it cannot be easily re-used by the archaeology community to create that knowledge; nor can museums provide the narratives for the general public whose cultural heritage it is. This article presents a case study from the Ness of Brodgar excavations that examines possibilities for reconciling one part of the data of an archaeological dig, the small finds register (SFR) and its sparse amount of descriptive metadata, with the potentiality of data re-use and with the requirements of a museum that may have custody of the artefacts. It maps and enriches messy domain-specific ontologies to standard archaeological and cultural heritage ontologies and taxonomies using simple natural language processing, linked open data and the museum CIDOC conceptual reference model (CRM). This research, in examining the application of ontology mapping tools, explores common practices and processes that are useful in any discipline within the cultural heritage domain.
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King, Heather, Kate Steiner, Marie Hobson, Amelia Robinson, and Hannah Clipson. "Highlighting the value of evidence-based evaluation: pushing back on demands for ‘impact’." Journal of Science Communication 14, no. 02 (April 28, 2015): A02. http://dx.doi.org/10.22323/2.14020202.
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This paper discusses the value and place of evaluation amidst increasing demands for impact. We note that most informal learning institutions do not have the funds, staff or expertise to conduct impact assessments requiring, as they do, the implementation of rigorous research methodologies. However, many museums and science centres do have the experience and capacity to design and conduct site-specific evaluation protocols that result in valuable and useful insights to inform ongoing and future practice. To illustrate our argument, we discuss the evaluation findings from a museum-led teacher professional development programme, Talk Science.
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Voronina, A. I. "The Role of the Museum Space Narrative in Constructing Historical Memory." Concept: philosophy, religion, culture 5, no. 1 (April 1, 2021): 146–56. http://dx.doi.org/10.24833/2541-8831-2021-1-17-146-156.
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The paper concerns the issue of representation of historical memory. The museum is analyzed as the particular site of emergement of such a representation. The circulation of specific narratives belonging to a museum is viewed as the research object that is able to provide insights into the construction of historical memory. Therefore, the purpose of the undertaken study is to identify the role of the museum narrative in the formation of memory. This article focuses on the ways of exposing and assessing the effect that museum exhibitions and the concepts and the meaning they translate to the audience have on memory creation. The approach of the interdisciplinary scholar field of memory studies provides a framework for such an analysis. In particular, since the spatial dimension of memory is concerned, the contributions of Hayden White and of the theory of realms of memory of Pierre Nora are crucial. The text deconstructs the memory formation processes taking place in the space of museums using these theoretical and methodological ideas. The paper meets methodological challenges and research questions with conducting a case study. The exhibition of the Museum of the Mologa District that is a part of the Rybinsk State Historical, Architectural and Art Museum Preserve at the Russian Yaroslavl Region serve as the source of oral, textual and visual narratives. This museum offers a view on local history that is in a way unusual for Russian museums — it provides a less formal perspective, and, in addition, the museum was founded by an initiative group of the displaced people from the submerged town of Mologa. The museum displays are dedicated to this town that disappeared because of the construction of the Rybinsk hydroelectric power plant. With limited material evidence to illustrate the Mologa life, this role is passed to oral histories and memory narratives. Thus, based on the historical memory literature, the paper considers that the museum described could be characterized as a memory museum, different from traditional historical museums because of emotional links in the presentation of past events. The author concludes that the image of the flooded city presented in the museum is directly related to the traumatic nature of the social memory of the settlers. Thus, the meanings and the significance of the museum overflow to the realms of memory.
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Śmietana, Marta, and Kamil Karski. "Muzeum-archiwum pamięci. Uwagi na temat roli materiałów archeologicznych w muzeach-miejscach pamięci na przykładzie KL Plaszow." Folia Praehistorica Posnaniensia 24 (December 15, 2019): 289–308. http://dx.doi.org/10.14746/fpp.2019.24.17.
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The issues of memory, heritage, and archaeology are strictly connected to the archaeology of the contemporary past and the Nazi period. That connection is a new field of research that lead to the reconceptualization of ideas of a museum, archives, and their relations to memory. In the paper authors discuss the case study of the area of former labor and concentration camp Plaszow in Krakow (1942–1945). Since 2016, numerous archeological research and education programs were conducted by the Museum of Krakow. The main purpose of documentation, surface surveys, and excavations was preservation of the architectural relicts and landscape, and supplementing the historical knowledge of authentic archaeological sources. The results of the research were related to the preparation of the boundaries for the future commemoration of the former camp’s area and its history as a museum and memorial site. The outcome of the archaeological activity is collection of artifacts, documentation and archaeological knowledge that influenced the idea of commemoration in its specific way. The article attempts to answer the questions about the categories of archives and museums.
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Esarey, Duane, Ian W. Brown, and Anjaneen Coble. "The Mississippian Site of Origin for the So-Called Moundville Spider." Midcontinental Journal of Archaeology 43, no. 1 (April 1, 2018): 23–34. http://dx.doi.org/10.2307/26599966.
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Abstract For 60 years, the origin of an iconographically significant example of Southeastern Mississippian symbolic art has been enmeshed in error and ambiguity. A trail of sleuthing over 25 years provides information used to assess museum curation records and published clues from 1887 to the present, contextualizing the mystery and finally allowing identification of a specific Mississippian period cemetery of origin for the so-called Moundville spider.
Dissertations / Theses on the topic "Site specific museum"
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Mello, Paulo Cezar Barbosa. "Site Specificity na arte contemporânea: Inhotim." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-29062015-151300/.
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O estudo a seguir desdobra as questões de site specificity na arte contemporânea e suas modificações nas três últimas décadas. A compreensão do espaço em arte tomou novas formas não só em função dos espaços e dos discursos artísticos, mas também em função dos novos meios e linguagens. Essas mudanças demandaram alguns acompanhamentos por parte dos espaços expositivos, bem como um novo olhar sobre o que se entende por site specific art. Com base, principalmente nas propostas de Miwon Kwon, o presente material compara as obras de arte contemporânea, tecendo diálogos com as mudanças vistas. Espaços institucionalizados, como Inhotim, dialogam com a noção de site specificic arts, demonstrando as observações sobre site specificity. A pesquisa apresenta esta jornada e fornece subsídios para vislumbrar o espaço da arte contemporânea na segunda década do século XXI.The following research unfolds site specificity matters on contemporary art and its changes for the last three decades. The comprehension of the space in art had reached new standards, not only due to artistic spaces and discourses, but also for new media and languages. Theses changes demanded some accomplishments at the exhibition spaces as well as new looks over what one understands as site specific art. Upon Miwon Kown premisses this study compares contemporary art works creating dialogs with the modifications already achieved. Institutionalized spaces, such as Inhotim, converse with site specific arts, what reinforces the need for a site specificity stare. The probe validates the jouney and endorses a fresh look over contemporary art on the second decade of the 21st century
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Cerri, Giada. "Towards Museum-Like Sites: the Cases of Florence, Rio de Janeiro and New York." Doctoral thesis, IMT Alti Studi Lucca, 2017. http://hdl.handle.net/2158/1183288.
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The thesis aims to initiate a debate around the unexplored field of sites that are not museums but that are used as if they were museums. It addresses a practical issue: whether contemporary museum practices can be used at museum-like sites and yet preserve their original function.
There are places that are not officially classified as museums, but present similar dynamics. These sites attract people for several reasons, they might hold special meaning, house artistic heritage, or stand as symbols. Places such as palaces, churches, natural parks, cemeteries, and urban squares both maintain their original functions and host visitors who come for other reasons. In these sites, museum-like behaviors add to the site-specific uses of the space. We identify all these behaviors (uses and practices) as rituals. In conducting a historical overview, we observe that similar examples were present in the past as well (i.e., the Basilica of Saint Denis in Paris), but the institutionalization of the museum complicates the contemporary understanding of historical examples of museum-like sites. As a consequence, there is a lack of literature about both historical and contemporary museum-like sites.
This research aims to initiate a debate around the unexplored field of sites that are not museums but that are used as if they were. From the perspective of museography, the question that needs to be addressed is: Can contemporary museum practices be implemented at museum-like sites, while preserving the original function of the sites? The main research question leads to further queries. For example: when is a site also a museum? Can different collective social behaviors be considered rituals? How can different behaviors/rituals be managed in the same place? Can different behaviors coexist? If so, how? Which tools and design solutions can an architect apply?
The research develops in two main parts. Following the introduction, the first part describes the theoretical framework, in which general concepts about museums and rituals are related to the research subject. The second is dedicated to the case studies. To answer to the research question, the study aims to construct a theoretical and multidisciplinary framework that helps to interpret complex situations. In fact, the theoretical part is a tool for understanding such spaces and their users. The analysis of the cases enables answering both the main questions and the sub-questions of the research.
This dissertation focuses on the set of issues related to sites that are enjoyed as “museums,” while maintaining their original use. Given the lack of literature, the research requires initiating a discussion across multiple disciplines. The general framework of this study addresses the concept of a site-specific museum, and takes into account the several meanings of the word museum, as well as the current debate about what constitutes a museum. The lack of definitions and the necessity of a framework for a discussion of museum-like sites brings us to consider the concepts of museums in relation to defined notions, such as: museum-like structure, heritage, museum of itself, house museum, and non-Western museums. In addition, the presence of tourism at museum-like sites introduces further considerations regarding consumption of the space, introduction of specific policies, management of the visitors, the necessity of supplementary services, and safety regulations and features.
Considering rites and rituals, a varied panorama emerges: religious and secular rituals, collective exceptional behaviors, and everyday rituals. Philosophers, sociologists, and anthropologists describe and classify certain behaviors and standardized manners as rituals. The latter might be specific to certain places, allowing the association of people and rituals to a site. In their works, scholars such as Durkheim, Callois, Eliade, Bourdieu, and Segalen describe some typologies of rites executed by groups of people. All the sites examined in this study share touristic use and interest; tourism might therefore be considered a ritual too. The links between rituals and sites are exemplified through an overview of theoretical studies made by architects (Rossi, Norberg-Schultz, and Lynch, Venturi, Scott-Brown and Izenour) and scholars from different disciplines (Augé and Clement).
In order to produce consistent results, it is necessary to define a set of boundaries. The selected criteria led to the choice of case studies. Besides commonalities, we selected three different geographic locations. All of these sites host touristic rituals, are symbolic, popular, accessible, broadly known, part of the Western culture, and are tourist attractions. They have distinctive, site-specific elements, in particular their meanings and rituals.
The selected case-studies are:
· The Monumental Complex and Basilica of Santa Croce in Florence, Italy
· The Maracanã Stadium in Rio de Janeiro, Brazil
· The National September 11 Museum & Memorial in New York City, USA
The Monumental Complex and Basilica of Santa Croce, Florence, Italy
Santa Croce is a sacred place for the Christian religion with an invaluable artistic and architectural heritage. Here, as well as in other European cathedrals, the touristic ritual mixes with the religious. The discussion of whether the church is a religious place or a museum has already begun (Pirazzoli and De Marchi 2011; Gathan, 2012), and remains unanswered. In addition, Santa Croce presents a complex situation from both the museographical and museological sides, and the museum designer must address a multifaceted place that is unchangeable and not flexible.
The Maracanã Stadium, Rio De Janeiro, Brazil
Locally and universally considered to be the “temple” of soccer, the Maracanã Stadium is a must-see for supporters and tourists as well as the historical emblem of equality and social redemption for Brazilians. Moreover, given the close relationship between society and futebol, the stadium is considered to be a secular civic institution. The symbolic and cultural importance of the Maracanã Stadium can be explained only through a historical overview of soccer in Brazil that involves the history of the country, of Rio de Janeiro and, of course, the stadium. In this case study, the identified rituals are touristic and the “cheer” (Durkheim 1912 and Callois 1950). Time has determined different uses of the structure, and consequently, the presence of different rituals at particular moments.
The National September 11 Museum & Memorial, New York City, USA
The National September 11 Memorial & Museum and the victims of that day are linked to the commemoration of a tragedy, which imparts significant symbolic value. The place is a memorial and a public square, where rituals of commemoration join those of urbanism and tourism. Compared to the other cases, the National September 11 Memorial & Museum is the only project which, from its inception, included the memorial square, the underground museum, and the services for citizens, tourists, and the victims’ families. The memorial was erected knowing that it would have to be a tourist location.
All the chosen sites are used as if they were museums, in addition to their primary functions. Besides the general research questions, each case raises additional issues. Each case is presented through the description of its history, architecture, meanings, rituals, current use of the spaces, and the public that visits it. The final part of each case chapter is devoted to a discussion of spaces, rituals, and museum settings, organized according to issues, potentialities, and perspectives. The goal is to start closing the gap in the literature through a coherent approach that can be used in different contexts, with solutions that will correspond to specific needs and issues.
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Ginoulhiac, Michèle. "Muséalités de l'espace urbain : l'œuvre comme dispositif de médiation dans l'espace public au tournant du XXIe siècle." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20112.
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« Musée à ciel ouvert » est devenu une formule de communication choisie par quelques métropoles pour valoriser leur patrimoine artistique auprès du public. Nous allons interroger sa validité en regard de la notion de muséalité, puisque les règles du musée sont dûment convoquées pour légitimer l’espace urbain comme un lieu de mémoire. La muséalité, prise dans son sens le plus large, désigne « la valeur culturelle ou la qualité d’une chose muséalisée », c’est-à-dire la valeur de témoignage de la réalité qu’elle informe. Cette valeur, « en rapport avec l’aspect ontologique de la réalité, est conditionnée par sa pluridimensionnalité et sa charge énergétique, elle dépasse les valeurs temporaires par son importance culturelle. » Or, si l’espace urbain est bien un musée, les formes muséalisées, à savoir l’art public, en appellent à revoir ces valeurs qui restent trop attachées à l’objet. Cette valeur culturelle prêtée aux objets muséaux par l’institution traditionnelle est actée grâce aux frontières que cette dernière établit avec la réalité. Dans un premier temps, nous verrons comment la remise en question de ces limites oblige à repenser les qualités des choses muséalisées. Dans un deuxième temps, nous examinerons l’hypothèse suivante : les pratiques plastiques contemporaines, qu’elles soient ou non autorisées, et notamment celles de l’installation et de l’installation in situ vont accélérer le processus de questionnement de la muséalité. En effet, les recherches des plasticiens concernant le rapport de l’œuvre au lieu et au spectateur vont permettre d’envisager la notion de sculpture de manière élargie. Elles font notamment ressortir les qualités inhérentes au lieu, à ses mémoires identitaires hybrides qui nous paraissent être la clé d’une redéfinition de valeurs muséales plus attachées à une dimension sociale. De fait, l’objet n’est plus le seul légitime porteur de ces valeurs, l’espace ou même une situation peuvent se révéler avoir une importance culturelle. Aussi, la notion de muséalité doit-elle intégrer des valeurs temporelles de l’ordre de l’éphémère, du contingent et du précaire. Ces nouvelles valeurs ne peuvent advenir que parce que les outils de mémorisation, qui sont aussi des outils de diffusion, ont évolué : la photographie, Internet. L'espace urbain, en tant qu'espace public, a toujours été le lieu de dispositifs de démonstration du pouvoir et de commémorations. L’art sculptural en était l'outil privilégié. Au XXIe siècle, cet espace, qui devient le théâtre d'enjeux plus complexes liés à la métropolisation, garde pourtant l'œuvre comme média. Les commandes publiques s’accélérant, en lien aux innovations de l’architecture ou de l’urbanisme et à la valeur portée au patrimoine, tout semble aller dans le sens d’une esthétisation de l’espace public. L’œuvre va s’imposer comme un dispositif de médiation incontournable. Afin de préciser les enjeux de la valeur culturelle attachée à un tel dispositif, nous examinerons des cas actuels, différents et complémentaires, comme l’apport d’œuvres contemporaines sur le site patrimonial du Palais-Royal, mais aussi le site de La Défense à Paris qui propose plus d'une soixantaine de sculptures sur sa longue dalle piétonnière, ou encore le métro de Toulouse qui est doté d'une quarantaine d’œuvres conçues pour chaque station. Les qualités muséales de l'œuvre dans l’espace urbain ne s’évaluent pas en regard des mêmes critères que celles de l’œuvre dans l'institution du musée et nécessitent un changement de paradigme. Au sein de cet espace public, les dispositifs artistiques, muséaux et politiques se rencontrent autour d’objectifs communs de médiation plus que de médiatisation et redéfinissent la muséalité au plus près de son opérativité sociale"The Open Air Museum" is the chosen means of communication by some metropolitan areas to promote their artistic heritage. We will question its validity in comparison with the concept of museality, since the principles of the museum are duly convened to legitimize an urban space as a place of memory. The museality, taken in its broader sense, refers to « the cultural value or quality of something conferred upon a museum object », that is to say, the evidential value of the reality it informs. This value "in relation to an ontological aspect of reality is conditioned by its multidimensionality and its vital impact to exceed temporal values by its cultural significance". Yet, if the urban space is a museum, public art calls to review these values that remain too attached to the object. Traditional institutions relied on the lines it established between reality and the museum to give value to museum objects. First, we will see how the reassessment of these limits requires a rethink of all things museality. Second, we will see that these are contemporary visual art practices, whether they are authorized or not, notably installation works and site specific installation works that will accelerate the process of questioning museality. Actually, the visual artist’s research, with regard to the relation of the art work within the space and to the spectator, will permit to envisage a wider concept of what sculpture can be. In particular, they force the inherent qualities of a site to stand out, to record its hybrid identities that, to us, appear to be the key to redefine museum values attached to a more social dimension. Indeed, these values are no longer solely conferred upon the object; the space, situation or an event can be of cultural importance. Also, the concept of museality must integrate ephemeral temporal values of a contingent and precarious nature. These new values can only happen because recording tools have also evolved: photography, internet. Urban spaces, as public places, have always been used as a mechanism for the public demonstration of power and commemoration. Sculpture was the preferred means. However, the public space which becomes, in the twenty-first century, the most complex theatre of issues related to metropolization, keeps the art work as media. Public commissions are increasing due to innovations in architectural or urban planning and value given to heritage. Everything appears to be heading in the direction of an aestheticization of public places where the art work will impose as an essential mediation mechanism. Finally, to clarify the issues of cultural values attached to such a system we will examine real cases, different and complimentary, such as the contribution of contemporary art works on the heritage site of the Palais-Royal, but also the site of La Défense in Paris which proposes more than sixty sculptures along a footpath, or the Toulouse underground which has allocated forty stations to accommodate art works conceived on site. A paradigm shift is necessary, as the criteria used to evaluate art work in an urban space are not the same as those used for art work in an institutional museum. Within the public space artistic organizations, museums and politics meet around common objectives of mediation rather than media coverage, to redefine museality closer to their own social operativity
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La, Follette Tavia. "Sites of Passage: Art as Action in Egypt and the US-- Creating an Autoethnography Through Performance Writing, Revolution, and Social Practice." Antioch University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1365450771.
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Hawthorne, LE. "The museum as art : site-specific art in Australia's public museums." Thesis, 2013. https://eprints.utas.edu.au/17179/2/whole-hawthorne-thesis-2013.pdf.
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This thesis critically examines site-specific art projects in Australian museums from the late 1960s onwards. Despite the fact that site-specific art practice is relatively widespread, there have been few in-depth or systematic studies published on this subject, particularly in terms of its historical and theoretical foundations. More importantly, there have been no in-depth studies explicitly on Australian site-specific art, and so my research aims to extend the existing knowledge on this art form while applying it to an Australian context.
Because the site-specific field is vast, I narrowed my research to focus on artworks located in museums, including art, natural history, cultural history museums, historic houses and sites, and botanic gardens. The inclusion of such a wide range of museums is in part due to the fact that the artistic projects in these institutions vary greatly. Additionally, the comparisons between art museums, and those in which art is a (usually) temporary visitor reveal certain aspects of Australian culture, values and colonial history, than discussing art museums alone. The title, 'the museum as art', refers to the role of the museum as site, subject and medium in the site-specific works of art under examination. It reinforces the significant relationship and dialogue with the museum in question- the museum is an integral part of the artwork.
The key aim of this thesis is to identify and critically analyse significant site-specific art projects undertaken in Australian museums by both local and international artists. I also critique existing theoretical writings about site-specific art, particularly the paradigms established by Miwon Kwon and James Meyer and devise my own working models as applicable to museum-based site-specific art. The aim is not to replace these paradigms, but to expand on existing models using local and more recent examples. Although this thesis focuses on Australian site specific art practice, and the way in which Australian museums construct knowledge and reflect national values, my models are equally relevant to international museums.
The chapters in this thesis are arranged thematically, centred around significant art examples which are in turn used to illustrate wider issues relating to site-specific art practice. In analysing a large number of art projects, I have observed a range of strategies used by artists working in museums. Firstly, an artwork may respond to the physical or spatial aspects of the museum. Artworks also frequently interact with a museum's collection or archives, or question the institution's representation of history or social constructions of nature. Others mimic museum classification strategies or highlight ingrained display methods that have become normalised, almost invisible, to the average visitor. More functionally, the work might be used by curators to enliven tired museum spaces or communicate aspects of history poetically, allowing for speculative histories or subjective responses - methods unavailable to regular historians. Lastly, an artwork may seek to preserve intangible heritage or highlight gaps in knowledge or history, particularly when it comes to the representation of Aboriginal Australians or women.
I argue that current site-specific art practice reflects a move away from the Modernist frame, illustrated by the growing popularity of non-art museum sites and converted ex-industrial 'raw' spaces, particularly since the mid-1990s. Theorists such as Kwon and Meyer tend to ignore the pre-Modernist philosophy towards art, where art frequently sat in dialogue with the site. However, contemporary site-specific art practice, although distinctly different to the pre-Modern site/art relationship, indicates an acknowledgment and celebration of the unavoidable influence of exhibition environments on works of art.
At the start of this research, I questioned the notion of an 'Australian art'; however, I can now demonstrate that site-specific art, more than any other art form, has the ability to address distinctly Australian concerns. It can reveal how a nation's museums not only reflect, but also develop and promote particular values and knowledge. The very marginality of art practice makes it an ideal method in which to critically examine cultural assumptions and norms, and despite the risk of site-form of institutionalised institutional critique, I have demonstrated how artworks can question institutional authority and highlight gaps in knowledge in a way that curators, historians and museum directors simply cannot. By recording a range of artistic interventions in Australia's public museums, and analysing them in relation to both existing site-specific theories as well as my new extended models, this thesis demonstrates not only the complexities of site-specific art practice, but also the role that art can play in interpreting, challenging and re-presenting existing knowledge as mediated by the museum.
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Caetano, Sofia Mendes. "Espaço enquanto matéria da arte, espaço enquanto matéria do museu : (re)configurações da experiência site-specific." Master's thesis, 2016. http://hdl.handle.net/10451/24075.
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The central theme of this dissertation encompasses the importance of space, particularly the exhibition space, and how it has become part of the subject matter, as well as a medium in art. Some artistic practices of the 20th century, mainly in the 20s and 60s, both in Europe and the United States of America have provided the contextual foundation. The close relation between the architectural and exhibition spaces has become an intrinsic link to establish the existence of the three-dimensional work of art. The overarching importance of space in the contemporary artistic practice is visible through the creative and exhibition installation process, most notably in the artistic movements of Installation art and Site-specific.
By carrying over the transformative contemporary art scene concepts to an institutional and museological context, paired with the inherent evolution of its practices, these have allowed for a convergence of the museological fields. With the intention of providing audiences a unique experience, curators and museologists have relied on site-specific practices. By inviting artists (typically featured in the current artistic scene) to develop projects specially thought for a specific museum space, this simultaneously allows for a dialogue between the work of art and the space. These temporary exhibitions have garnered the attention a more diverse audience. As a result sustainability and independence of the museums are a constant source of debate. The result of which has allowed for the broadening of the notions of how museums function and have integrated the audience as a main element of the strategies of the museum programming. The principles of the cultural marketing provide museums a clearer vision of the understanding of the different audience and their needs. Thus, the main goal of this study is to perceive the importance of the museum space in the relation to the artistic practice. While existing as a strategic resource of the museological program, insofar as having the ability to lure new audiences. It also matters to notice, if the fact of the artist working directly inside the museum, contribute to a narrowing of the artist/audience relationship, being the museum the mediation element
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Shen, Tzu-Chen, and 沈慈珍. "An Investigation of Site-specific of Public Art creative development-By the example of Public art creation on HsinChu Museum of history." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/93747899787403428128.
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碩士中原大學
室內設計研究所
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In this paper, the author exams herself on the development process and motivation in the fine art firstly, then differentiates the essence between the public art creation and the fine art creation, and also investigates the relationship among public art, people and the environment. Additionally, she also derives the relationship between the site-specific characteristics and some masterpieces in public art. Currently, the development of public art in Taiwan is mostly presented in the form of sculpture, and the majority of deployment is located in the North Taiwan though it has been changing in recent years. By the way, the author is also to depict her viewpoint to “Public Artist” in this paper. The author interviewed two artists who are fully devoted themselves into the creation of public art, and analyzed the difference of presentation between their pieces from the perspective of site-specific characteristics. In the last is the creation concept and design process of this paper topic. The motivation is initially derived by the specific nature and culture in Hsinchu area which impresses people with its IC wafer, persimmon, camellia (the flower of county) and the agriculture products and historical spots in its thirteen towns…etc, which strengthen the topic “Site-specific” and also emphasize the city image of Hsinchu to people.
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Fernandes, Catarina Manuel Pinelo. "A arquitectura do museu de arte : de arquivo a site-specific." Master's thesis, 2015. http://hdl.handle.net/10316/28572.
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Dissertação de Mestrado Integrado em Arquitectura, apresentada ao Departamento de Arquitectura da Faculdade de Ciências e Tecnologia da Universidade de Coimbra.A arquitectura do museu de arte sofreu, durante as últimas décadas, uma expansão sem precedentes. Arte e Arquitectura lideram o debate em torno da instituição museológica e o conceito de lugar para a arte tem sido reformulado, assistindo-se a uma consolidação do mesmo enquanto elemento marcante no espaço urbano. Entendidos como espaços de memória e preservação da História, aliam a estas funções primordiais a capacidade de se reinventarem no tempo através do cruzamento entre arte e arquitectura. Quando estes dois saberes se intersectam, há uma abrangente possibilidade de estruturas que permitem a fruição do espaço expositivo, assim como das obras de arte que o completam. O estudo de exemplos seleccionados, já inseridos na cidade, resultado de um processo de reintegração no território urbano, permitiram compreender como os paradigmas estudados se verificam, ou não, nestes modelos. A importância desta preferência vai além das premissas inerentes à arquitectura do museu de arte e prende-se com a oportunidade de incidir esta investigação em exemplos menos versados mas não menos interessantes, de escala mais controlada, contrastando com os grandes cânones arquitectónicos. Procurando uma compreensão acerca das relações entre Arte e Arquitectura no espaço expositivo, esta investigação pretende reflectir acerca da vasta possibilidade de espaços gerados por este vínculo e simultaneamente perceber de que forma a arquitectura do museu de arte irá envolver-se na recepção da obra de arte por parte do espectador.
Architecture of art museum experienced, during the last decades, an unprecedented expansion. Art and architecture lead the debate around the museum institutions and a concept of a place for art has been redesigned, permitting its consolidation as a striking element in the urban space. Understood as spaces of memory and history preservation, museums combine these primary functions and the ability to reinvent themselves along the time through the intersection between art and architecture. When these two knowledges are intersecting there is a wide possibility of structures which allows enjoying the relationship between the exhibition space and the artworks. The selected case studies of this dissertation, which already were introduced in the city, result of a reintegration process in the urban space, they allowed us to understand how the studied paradigms are perceived, or not, in these practical models. The importance of this preference goes beyond the premises inherent to the architecture of art museum, and it is related with the opportunity to center this investigation in unusual examples, but not least important in opposition to greatest architecture’s canons. Hoping to understand the relationship between art and architecture in the exhibition space, this research proposes to think about the large possibilities created by these spaces and simultaneously understand in which way the architecture of art museum is deeply involved with the viewer.
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Fabbri, Isabella. "Sounds at an exhibition : uma proposta de intervenção performativa musical para os museus de arte moderna e contemporânea." Doctoral thesis, 2022. http://hdl.handle.net/10451/51712.
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The purpose of this doctorate project is to build a proposal for a performative intervention that can be combined with cultural and educational activities aimed at visitors of modern and contemporary art museums. Having as protomodel the work Pictures at an Exhibition by the composer Modest Mussorgsky, the artistic creation project Sounds at an Exhibition consists of a site-specific performance in the shape of a guided tour with me participating as performer-musician. This performance, based on an interartistic transposition process, calls for a visitors group to be accompanied on a tour through the museum rooms, where participants are invited to admire ten previously selected artworks, all the while listening to music pieces that I play live. Moving away from the guided tour models, this performative action main goal is to make the audience fall in love with modern and contemporary art through a different artistic expression – music –, aiming to reformulate the fruition form of the artistic objects exposed at the museum, and thus, the relation between visitor and artworks. This project also aims to: increase the audience ability to empathize with the artwork; extend the contemplation length adding the musical dimension; turn the visitor from an observer into a participant; experience the museum as a meeting point between arts and as a space for artistic experimentation. The research, proposing itself as a theoretical and practical project which aims to articulate artistic practice with theoretical reflections, seeks to help answering to the question: how can this kind of performance promote a new way of appreciating the artworks and of visiting the museum, today, on an era of inattentive receiving?
Books on the topic "Site specific museum"
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Piraz, Giacomo. Site specific Museum_ONE: Parthenon, David, Accademia. Pistoia: Gli ori, 2011.
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Icastic (4th : 2016 : Prato, Italy), ed. Icastic: For Pecci Museum : 2016 project : anything to declare? Falciano]: Maretti editore, 2016.
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Scholte, Tatja. The Perpetuation of Site-Specific Installation Artworks in Museums. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723763.
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Site-specific installations are created for specific locations and are usually intended as temporary artworks. The Perpetuation of Site-Specific Installation Artworks in Museums: Staging Contemporary Art shows that these artworks consist of more than a singular manifestation and that their lifespan is often extended. In this book, Tatja Scholte offers an in-depth account of the artistic production of the last forty years. With a wealth of case studies the author illuminates the diversity of site-specific art in both form and content, as well as in the conservation strategies applied. A conceptual framework is provided for scholars and museum professionals to better understand how site-specific installations gain new meanings during successive stages of their biographies and may become agents for change in professional routines.
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Museo nazionale delle arti del XXI secolo (Italy), ed. Open museum open city. [Milan, Italy]: Mousse Publishing, 2014.
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Friedmann, Gloria. Gloria Friedmann: Die Stellvertreter : [Ausstellung], Museum Moderner Kunst, Stiftung Ludwig, Wien, [7.2.-15. 3. 92. Wien: Das Museum, 1992.
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Leon Tarasewicz: Muzeum Architektury we Wrocławiu = Museum of Architecture in Wroclaw, 10.05 - 26.08.2018. Wrocław: Muzeum Architektury, 2018.
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Graham, Burnett D., and De Guzman René 1964-, eds. The marvelous museum: Orphans, curiosities & treasures : a Mark Dion project. San Francisco: Chronicle Books, 2010.
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Amorepacific Museum of Art Project (2013 Osan, Kyŏnggi-do, Korea). Amorepacific Museum of Art Project 2013 Osan: APMAP 2013 : Reverscape. Kyŏnggi-do Yongin-si: Amore P'ŏsip'ik Misulgwan, 2013.
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Sandro Veronesi, Andrea M. N. Mati: La Serra dei poeti. Pistoia: Gli ori, 2018.
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Tree, Museum (Gravenhurst Ont ). The Tree Museum: 2005, the 8th annual exhibition, Locating, September 25 to October 30, 2005 : site-specific installations. Toronto: Tree Museum, 2006.
Find full textBook chapters on the topic "Site specific museum"
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Trigona, Simon Luca. "Archeologia subacquea in Liguria: un progetto integrato per la tutela e la valorizzazione." In Proceedings e report, 137–46. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-147-1.15.
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The Soprintendenza of Liguria has always given a particular attention to underwater archaeology and still today it pursues clear and specific aims: design, build, manage and increase competences and technologies that can be able to contribute to the regional and cultural development. The experience reached in Liguria by many years, leaded our activities of protection, research and valorization in order to develop a network of integrated archaeological sites and naval museums. On land this project provides two new museums in the cities of Albenga and Imperia that will be connected with a series of exhibitions and conferences
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"“Someone (A Woman) Watching”: Site-Specific Ekphrasis by Three Feminist Innovators." In Museum Mediations, 157–200. Routledge, 2006. http://dx.doi.org/10.4324/9780203959244-11.
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Scholte, Tatja. "Ernesto Neto’s Célula Nave." In The Perpetuation of Site-Specific Installation Artworks in Museums. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723763_ch04.
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Célula Nave. It happens in the body of time, where truth dances (2004) by the Brazilian artist Ernesto Neto is an interactive installation artwork, commissioned by the Museum Boijmans Van Beuningen in Rotterdam. The artwork consists of a spacious construction of turquoise fabric – the “nave” – hanging on a series of aluminium poles. Visitors are allowed to enter the nave and touch the fabric with their hands and feet. The spatial design of Célula Nave is intertwined with the museum’s Bodon Gallery, for which the artwork was created. The size of the installation has been adapted to its large-scale dimensions; the colour of the fabric matches the greenish floor of the gallery, and the daylight falling into the room enhances the fabric’s translucency.
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Scholte, Tatja. "Site-Specific Installation Art in Historical Perspective." In The Perpetuation of Site-Specific Installation Artworks in Museums. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723763_ch02.
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The argument in this chapter starts with a discussion of the art historical discourse on site-specific installation art. Artists as well as critics have explored various notions of site specificity, usually in concordance with successive art historical periods: the first “wave” of site-specific installations created during the late 1960s and early 1970s, and a second period, from the 1980s and early 1990s until today. The chapter elucidates several art historical perspectives on both periods and the shifts occurring in the relationship between artists and museum institutions, between the artwork and the site. Furthermore, it is important to realize that site-specific installation artworks are highly diverse in form, content, and meaning. For the current purpose of developing a model with an eye to the artworks’ perpetuation, a chronological approach is only partly effective. A further abstraction in categorization is needed, focusing on the network of site-specific functions and their changes over time. To this end, a selection of relevant notions elucidate the extended lives of site-specific installations, which I derive from case studies and observations made by artists and art historians in this respect. The discussion is a prelude to chapter 3, in which I take the vocabulary for site-specific installation artworks one step further by employing a triadic set of spatial functions, which I derive from Henri Lefebvre’s theory on space.
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Scholte, Tatja. "Conclusion and Further Discussion." In The Perpetuation of Site-Specific Installation Artworks in Museums. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723763_ch07.
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The readers of this book have taken note of the history of site-specific installation art and were offered an analytical model for examining the perpetuation of the artworks in a museum context. As the term suggests, site-specific installations are physically tied to the surrounding space and would, strictly speaking, have no afterlives after their initial manifestation. However, as demonstrated with many examples, site-specific installations can have extended lives and are frequently relocated to different contexts and times. Hence, rather than defining site specificity as a “fixed” characteristic, this study took a broader perspective by looking into the biographies of the artworks in relation to the exhibition site, ongoing institutional engagement, the locations of production, and the visitors’ interaction in the here and now.
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Scholte, Tatja. "Jason Rhoades’s SLOTO." In The Perpetuation of Site-Specific Installation Artworks in Museums. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723763_ch05.
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This chapter is dedicated to Jason Rhoades’s SLOTO. The Secret Life of the Onion (2003), a complex, multilayered, site-specific installation artwork in the collection of the Van Abbemuseum. [Figure 20] It introduces the problem of perpetuating a site-specific installation that includes processes of growth and transformation, not only in content but also in form. Museum professionals are often confronted with profound questions in order to keep processual artworks alive and sometimes need to make radical decisions when reinstalling the work in different contexts than foreseen by the artist. Comparative examples are Dieter Roth’s Garden Sculpture (1968–1996) and Jason Rhoades’s P.I.G. (Piece in Ghent) (1994).
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Scholte, Tatja. "The Problem of the Perpetuation of Site-Specific Installation Art." In The Perpetuation of Site-Specific Installation Artworks in Museums. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723763_ch01.
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In the summer of 1961, Allan Kaprow (1927–2006) installed dozens of used car tyres in the courtyard of the Martha Jackson Townhouse Gallery in New York City. The artist had collected these tyres from a nearby garage and invited his friends and fellow artists to participate in the Happening called Yard.2 There was no audience except for the participants who jumped over the heaps of tyres and moved them around. Photographs of Yard show Kaprow arranging the tyres within the small space of the courtyard, which was officially the sculpture garden of the gallery. Apart from the photographs, accounts of the event are scarce, and the press hardly paid any attention to it. And yet, Yard became one of Kaprow’s seminal Happenings. The work has been acquired for many museum collections and was re-executed on numerous occasions, both by Kaprow and others, at different places and with other participants.
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Noriega, Chon A. "VI.1.7 Barricades of Ideas: Latino Culture, Site Specific Installation and the U.S. Art Museum." In Resisting Categories: Latin American and/or Latino?, 1042–55. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300187151-182.
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C.A. Thomopoulos, Stelios. "SYNTHESIS: A Platform of Platforms for Integrated Management, Curation, and Visualization of Digital Cultural Experiences through VR and AR Technologies." In Heritage - New Paradigm [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.98213.
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SYNTHESIS is a platform of platforms (PoP) for the management, curation, and creation of digital cultural experiences related to cultural heritage material (artifacts), and their visualization through mobile applications and virtual and augmented reality (VR/AR) technologies. The digital cultural experiences may relate to specific cultural heritage monuments or exhibits of museum collections and may reside either on site or remotely. The platform provides a comprehensive supervisory tool that allows curators to select digital artifacts from different databases around the topic of interest, associate them through narratives that translate them into a sequence of semantic correlations that can be visualized using VR/AR technologies. The SYNTHESIS of platforms contributes to the creation of a new condition for the promotion of cultural heritage sites, museums, and exhibits, and facilitates the management and interaction of the user-visitor with them. The platform contributes to the creation of an innovative system for the management and curation of large volume of digital material related to an exhibit and consequently its promotion by unifying the stages of: (a) production of digital content; (b) connection of additional digital multimedia material related to the digital content; (c) curation of the digital content and transformation to a digital experience in accordance to a desired narrative; and (d) visualization of the digital experience in-situ or remotely with the use of mobile apps and VR/AR technologies.
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Sharples, Niall. "The Landscape Context." In Social Relations in Later Prehistory. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780199577712.003.0006.
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The archaeological landscape of Wessex is one of the best known in Europe. There are very few students of archaeology who have not been taken to see sites such as Stonehenge, Avebury, Maiden Castle, and Danebury. Most archaeology departments insist that an in-depth knowledge of the region is essential for the training of an archaeologist, and as a student at Glasgow in the 1970s, one of the most distant departments from the region, it was considered a prerequisite for me to visit Wessex. I was loaded on to a coach and after a long journey I arrived at Devizes, where we stayed for a week of site and museum visits. I remember very little of what we saw, certainly the sites named above, but I do remember that I was tremendously excited by certain road signs. As we drove across the landscape I was confronted by names that were exotically familiar: All Cannings Cross, Gussage All Saints, Tollard Royal, and Overton Down. These names were exotic, particularly for a northerner brought up on names like Milngavie and Auchenshuggle, but very familiar since they cropped up frequently in the lectures and text books that were a feature of my course. It should be stressed that this course was untouched by the new ideas of statistical and behavioural studies that were so popular in other universities. My lectures were dominated by site and sequence and at this time, the late seventies, the sites that were available to us were the sites of Wessex that had been excavated and published by the great excavators of the previous generation. Today I am regularly involved in two trips to the region for the undergraduates studying archaeology at Cardff University. The first trip involves a visit to the hillforts of Maiden Castle and South Cadbury and the chalk figure at Cerne Abbas. These visits are very site focused and involve standing around listening to me giving a lecture on the context of hillforts—when they were built, what they were for, their distribution and the specific sequence of the particular site we are visiting.
Conference papers on the topic "Site specific museum"
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Nitu, Florentina. "UNIVERSITY MUSEUMS AND DIGITAL DATA. CASE STUDY: UNIVERSITY OF BUCHAREST MUSEUM." In eLSE 2020. University Publishing House, 2020. http://dx.doi.org/10.12753/2066-026x-20-238.
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Museum of the University of Bucharest represents the cultural memory and the institutional identity in the specific field of higher education in Romania. But this mission needs to be adapted to the public nowadays, in cultural contexts that are different from those of the last century, when the museum was founded. The impact of an university museum in society is increasingly based on the diversification of communication paths, with the use of the new media, on the development of new audiences for whom the museum's message is relevant. Also, the university museum must investigate future development directions and opportunities, to be a dynamic and vivid institution. The 21st Century brings with it new and increasingly complex methods of communication for all University Museums, especially ones that allow the public to manage their intellectual needs in their own, customized way. That being said, we're talking about communication through the museum's institutional site, via the various social media platforms, through the online catalogue and portal, which grant access to information regarding the museum's collection. Other interactive elements developed in the 21st century are represented by QR codes, by virtual or augmented reality, these digital breakthroughs being a way for museums not only to attract new types of public, but also to complete the information by making it multisensorial. Our research shows how the aspects mentioned above and others represent the challenges to which the University of Bucharest Museum had to find adequate answers in order to fulfill its mission.
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Benente, Michela, Valeria Minucciani, and Gianluca D'Agostino. "Contents accessibility in archaeological museums and sites: a proposal for a neuropsychological approach." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001881.
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With specific reference to the issue of accessibility to cultural content and the inclusion of different audiences, the Authors point out an overview where museums usually tend to create educational activities and support assistive devices dedicated to specific audiences, rather than integrated solutions, that can “be usable by all people, to the greatest extent possible", as stated in the United Nations Convention on the Rights of Persons with Disabilities (2006).On the basis of previous studies on cultural accessibility and emotional appropriation, the Authors have recently carried out a survey focused in particular on archaeological museums audiences, considering their expectations, their reactions, and their prejudices. At the same time, they have conducted an extensive series of online interviews with Curators and Directors of many archaeological museums and sites in Europe and worldwide, including some in-depth site visits too. The investigations and surveys carried out have strengthened the awareness that museum spaces generate not only cognitive, but also physical and emotional reactions, and that the various publics react to cultural stimuli in very different ways. Therefore it is necessary, in designing museum communication, a disciplinary contamination involving in particular the field of neuropsychology. Such involvement would provide scientific support for the critical assessment of the effects that the environment and the cultural mediation trigger on the different publics.In particular, the Authors believe that the physical arrangement and the atmosphere are usually underestimated in the overall design of museums: on the contrary these two elements combined would allow each visitor to grasp the signals that best suit him or her, according to his/her senses and understanding. In other words, the atmosphere can play a key role in being an immersive communicative medium, in a truly inclusive way where everyone has the opportunity to "feel" and learn something.The Authors are developing a series of experiments that will be carried out first in the laboratory and then in some archaeological museums, in collaboration with a team of Neuropsychologists from the University of Turin and with the support of archaeological consultants and communication experts. By illustrating the current research and describing a series of examples (including best practices, problematic cases, ongoing projects), the paper aims at highlighting how the "design for all" in museums is a field in continuous development. Requiring an evolution in its approach, it also, and above all, represents a challenge in relation to the communication of particularly difficult cultural content, such as those related to the archaeological heritage.
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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.
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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the public and the private. One of the best-known theatrical projects in this field is ‘Remote X’ (‘Rimini Protokoll’ band). Here, the close co-existence habitual to city dwellers turns into a social substrate, and a way to implement interpersonal artistic communication, thereby largely changing the disposition of the former, and transforming itself. Another new form of relationship between collective and individual aspects in the public sphere is the synthetic museum-theatre form, on the example of immersion dramatics ‘Permian Pantheon’ (Perm Academic Theatre, stager Dmitry Volkostrelov). The natural ‘calendar-seasonal’ tempo-rhythm of the dramatics creates a triple semantic effect risen from artistic reality. It immerses the viewer into the process of traditional subsistence in whole (actualisation of the cultural collective unconscious), represents cultural phenomena (which corresponds to the culture-focused paradigm of artistic consciousness of the second half of the 20th century to the early 21st century), reaches the level of worldview values, the philosophical generalisation of cultural-existential reality. Thus, on the example of two Perm theatrical plays the author can speak about the origin of new forms of publicness in contemporary culture to entail new relationships between publicity and privacy in the current realities.
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Drossinou-Korea, Maria. "Targeted, individually structured special education and training intervention programs and pedagogical applications in museum." In 7th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2021. http://dx.doi.org/10.32591/coas.e-conf.07.11107d.
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Anthropocentric museums are “an important place in public debate, creation and questioning ideas” because they can have a positive impact on the lives of underprivileged or marginalized people. They can also strengthen specific communities and contribute to the creation of fairer societies. The science of Museology together with the science of Special Education and Training (SET) support with the Targeted Individual Structured and Integrated Program for Students with Special Educational needs (TISIPfSEN), in children and young people with special educational needs and disabilities (SENDs). The purpose of this work was to study museology applications in accordance with the pedagogical tool TISIPfSEN. The main working hypothesis explored access to theatre and entertainment events, museums and archaeological sites of people with SENDs, which is not always an easy process given that they are a heterogeneous group due to their inherent or acquired specificity. The applications also drew pedagogical materials through the charm of the art of theatre and puppetry. In this context, performances were given free of charge through the Kalamata Experimental Stage to children and young people with SENDs, in the city of Kalamata and Sparta. This project led to voluntary application from students of department of history of University of Peloponnese. The results showed that people’s disability does not always mean impotence. Accessibility to museum programs and theatrical events in modern organized societies is possible. The learning process becomes accessible with the pedagogical tool TISIPfSEN to people with special needs. Necessary conditions, knowledge in the SET and the necessary training of all according to universal design. In conclusion, TISIPfSEN museum pedagogical programs facilitate different social groups in approaching, understanding the differential material culture, with alternative forms of communication and learning, given that heterogeneity in nature is a universal phenomenon.
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Munteanu, Angela. "Times and the interior and exterior architectural stylistic character of the Romanian-Moldovan traditional dwelling, incontestable museum decoration." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.09.
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Every nation has a history of multiple cultural, ethnic, linguistic interferences, which complement each other from one century to another. The Romanian people have a tumultuous past, with periods of Ottoman occupation, the liberation and unification of Greater Romania, but also the separation from the mother country after the Second World War. Currently, the political and national development path of the Republic of Moldova is struggling between the East and the West. Romanian traditional stylistics represents us through culture, tradition, and customs. We have a valuable cultural heritage inherited from our ancestors, characterized by architecture and folklore, costumes, traditions, and national holidays, which bring back the beautiful spring, winter, and autumn holidays of yesteryear. The home is a peasant house, today a monument of traditional-vernacular architecture (made by folk craftsmen) with architecture specific to each area of the Republic of Moldova, has currently become an ethnographic museum of this richly endowed land. The peasant house is the interior space characterized by the inhabitants of a country. The constructions had a plan, size, and aspect influenced by the physical-geographical conditions of the natural environment, by the particularities and specifics of the household system, historically and socially conditioned. Starting from the stylistic origins of manifestation in interior design and architecture, the traditional Romanian-Moldovan style can be aligned in a rustic ethnic style, monuments of peasant architecture. Therefore, according to its characteristics the rustic style represents the preservation or conservation of the traditional, the old, the folklore of a people, which makes you immediately think of the family home in an atmosphere torn from a fairy tale, sitting on a soft carpet in front of the fireplace (sobă). The rustic style is closely linked to tradition and the countryside. Traditional architecture, regardless of country and geographical area, presupposes the use of natural materials from the environment where the houses are built – wooden beams, stone, clay, straw both inside and outside. For example, the peoples of Romania, Moldova, Ukraine used wood in forested areas and stone in mountain areas.
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Saeedi, Azin. "Community Participation in Conservation Proposals of Islamic Pilgrimage Sites." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. online: SAHANZ, 2022. http://dx.doi.org/10.55939/a4025pfdgv.
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There is increasing pressure on urban landscapes surrounding Islamic pilgrimage sites to accommodate growing numbers of pilgrims. Recent developments have responded to this issue with comprehensive clearance of historic urban landscapes, constructing grand open spaces and dislocating local residents. The traditional expansion of Islamic pilgrimage sites was characterised by a layering of interconnected structures with continuous functions that merged gradually over time into the surrounding landscape. The rift between the traditional urban growth and the recent expansion approach across the Muslim world is inconsistent with international developments that seek to incorporate sustainable development into urban heritage conservation. To achieve sustainability, developments should meet intergenerational equity and protect the interests of stakeholders including the community. Literature has established two operational characteristics for sustainable development that helps gauging the extent to which it is integrated into practice: Stakeholder participation and strategic planning. Participatory processes create shared visons among stakeholders and facilitate long-term directions. However, in non-Western contexts where decision-making power and financial control reside in the central state, participation is either considered a threat to the state or its potential benefit is unrecognised. This paper argues where conservation objectives are determined by experts in isolation from the community’s interests, the plans fail to be achieved. This will be demonstrated by undertaking a comparative analysis of conservation proposals prepared by international heritage experts for Islamic pilgrimage sites of Mecca, Medina, Kāzimayn and Shiraz. Visited by millions of pilgrims annually, the four sites have similar clearance and expansion patterns. This paper analyses the extent of community participation integrated into these proposals as one of the significant operational dimensions of sustainable development and a crucial link that enhances strategic planning. Finally, by reflecting on site specifics and social methods, this paper recommends participatory methods to enhance community engagement.
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Katkeviča, Santa, and Aina Strode. "Projection Mapping Method in Advertising Design." In 80th International Scientific Conference of the University of Latvia. University of Latvia Press, 2022. http://dx.doi.org/10.22364/htqe.2022.71.
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Projection mapping is a projection technique used in video or interactive installations to project on irregularly shaped objects, adapting to their unique structure. The projection mapping technique dates back to the late 1960s, where it was mostly used for special film effects and film studio amusement parks. This technique was academically recognized in 1990 by the Office of the Future research experiment. Since then, projection mapping techniques have gained popularity and thus available programs have been created. Over the last decade, it has become extremely widespread around the world, especially in technologically advanced countries, with a tendency to advertise a product in a large format. This is a promising technology that can have a major impact on non-computer technology or design industries. Such as museums, libraries, universities, and various historical sites that want to get modern opportunities to present their specifics, services, and many other informative aspects. In this way, the public is offered to get acquainted with the offers in an attractive and interactive way. The aim of the article is to determine the evaluation criteria of the developed digital products by studying the essence of the projection mapping method, its use in advertising design. Research methods: theoretical – research and analysis of literature and Internet resources; empirical – expert interviews, analysis of analogues. Within the framework of the research, the following evaluation criteria were developed for the evaluation of projection mapping installations: Adequacy of the used method; Uniqueness of the content; Adequacy of the use of the programs; Cyclicality; Location of the projection. The criteria can be used by professionals as well as anyone interested in developing an original digital installation design.
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Alcino, Valeria Fabiana. "Voces de la ausencia/poética de la memoria en la obra Evidencias (2010) de Norberto Puzzolo, Museo de la Memoria, Rosario, Argentina. Sonido, silencio e imagen durante la dictadura argentina (1976-1983)." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9164.
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Este trabajo se propone analizar los diversos planos puestos en relación a partir del sonido y la visualidad con las poéticas de la memoria a partir de la instalación Evidencias (2010) del artista argentino Norberto Puzzolo (Rosario,1943).La obra trata una doble problemática.Por una parte, expone los trágicos hechos de apropiación de niños, hijos de detenidos desaparecidos por el terrorismo de Estado argentino entre 1976 y 1983. Por otro lado, muestra la ardua búsqueda de las Abuelas de Plaza de Mayo y la restitución de la identidad a sus nietos.En la instalación de Puzzolo, el sonido se ubica como una evocación del pasado en tanto que el aspecto visual instala el tiempo presente y futuro. En esta unión de poéticas y temporalidades, emerge el interrogante del ser social nacional. El artista ha dejado los espacios vacíos para que sea la voluntad de la sociedad la que cierre esta obra.Evidencias, es un site specific concebido para el Museo de la Memoria de Rosario, Provincia de Santa Fe, Argentina. Asimismo, es una obra en progreso, en constante cambio a medida que los hallazgos de las identidades de los nietos desaparecidos se incorporan a la composición.Desde este punto, se intenta abordar la relación entre la materialidad de la obra visual y la invisibidad del sonido. La dimensión sonora como medio evocativo de múltiples temporalidades: pasado/presente; pasado/futuro; presente/futuro. Pensar el sonido como un signo de presencia/ausencia en esas temporalidades, como signo de aquello que en un tiempo venidero podrá –o no- estar presente. La dimensión histórica/política y política/social enfrentando la tensión entre memoria/olvido, resulta central en este abordaje. La pregunta sobre cómo vamos a reconstruir nuestro pasado reciente se pone en evidencia en el proceso de ir completando la obra. El desafío al que nos enfrenta como sociedad es la incógnita de saber si seremos capaces de restituir las imágenes faltantes y a partir de ellas, reponer las voces del pasado.
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Gheorghiu, Dragos, and Livia Stefan. "E-LEARNING PORTALS AND MOBILE PERSONAL LEARNING ENVIRONMENTS AS NEW LEARNING ECOSYSTEMS." In eLSE 2015. Carol I National Defence University Publishing House, 2015. http://dx.doi.org/10.12753/2066-026x-15-178.
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The current paper presents a case study describing a learning ecosystem which comprises a specialized web portal called Time Maps, designed to collect and distribute information on ancient technologies, as well as a mobile personal learning environment (MPLE), designed with the purpose of gathering resources from the portal's pool of educational information, based on user's personal learning needs and interests. The portal is an educational web tool structured as a set of web pages presenting different archaeological sites and offering different educational resources (mainly video films) describing in detail the technological stages of several technologies specific to certain local periods of habitation, i.e. prehistory and Iron Age. The educational resources of the portal are organized in several layers to suggest the local stratigraphy. As a Content Management System (CMS), the information is organized in data collections and categories, under the headings of virtual museums of artifacts, technological gestures, or artistic performances. Resources accessible on different pages are interconnected, resulting in an informational mind map. A part of the educational information is also distributed using the social web, i.e. on the dedicated Facebook and Google+ pages of the schools participating in the project. Personal learning environments represent a modern educational paradigm, with the learning process strongly centered on the learner, as he/she is selecting the educational resources and is establishing the individual learning pace and objectives. Generally speaking, personal learning approaches gather content from heterogeneous sources and ecosystems, from different educational websites and/or social networks. Our approach addresses this educational strategy differently. First, we propose the large scale use of mobile devices (smartphones, tablet PCs), as efficient learning instruments well suited to the users' mobility, and to contextual information displays. Secondly, apart from the traditional use of mobile devices for accessing the mobile version of a learning web portal, we propose a new strategy, that of creating a specialized application which supports the development of a mobile personal learning environment. This application is designed as an interface with the portal and uses a middleware service whose role is to filter and extract resources from the portal depending on the declared user's profile and learning objective. The present paper describes the design of the mobile personal learning environment and of the "extractor service", the implementation/deployment of the tandem system (web portal - MPLE) and several experimentations involving children from participant schools. The paper also contains results and evaluations, conclusions regarding the utility of the proposed learning ecosystem in the case of the vocational education, and further proposed work.
Reports on the topic "Site specific museum"
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Hall, Mark, and Neil Price. Medieval Scotland: A Future for its Past. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.165.
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The main recommendations of the panel report can be summarised under five key headings. Underpinning all five areas is the recognition that human narratives remain crucial for ensuring the widest access to our shared past. There is no wish to see political and economic narratives abandoned but the need is recognised for there to be an expansion to more social narratives to fully explore the potential of the diverse evidence base. The questions that can be asked are here framed in a national context but they need to be supported and improved a) by the development of regional research frameworks, and b) by an enhanced study of Scotland’s international context through time. 1. From North Britain to the Idea of Scotland: Understanding why, where and how ‘Scotland’ emerges provides a focal point of research. Investigating state formation requires work from Medieval Scotland: a future for its past ii a variety of sources, exploring the relationships between centres of consumption - royal, ecclesiastical and urban - and their hinterlands. Working from site-specific work to regional analysis, researchers can explore how what would become ‘Scotland’ came to be, and whence sprang its inspiration. 2. Lifestyles and Living Spaces: Holistic approaches to exploring medieval settlement should be promoted, combining landscape studies with artefactual, environmental, and documentary work. Understanding the role of individual sites within wider local, regional and national settlement systems should be promoted, and chronological frameworks developed to chart the changing nature of Medieval settlement. 3. Mentalities: The holistic understanding of medieval belief (particularly, but not exclusively, in its early medieval or early historic phase) needs to broaden its contextual understanding with reference to prehistoric or inherited belief systems and frames of reference. Collaborative approaches should draw on international parallels and analogues in pursuit of defining and contrasting local or regional belief systems through integrated studies of portable material culture, monumentality and landscape. 4. Empowerment: Revisiting museum collections and renewing the study of newly retrieved artefacts is vital to a broader understanding of the dynamics of writing within society. Text needs to be seen less as a metaphor and more as a technological and social innovation in material culture which will help the understanding of it as an experienced, imaginatively rich reality of life. In archaeological terms, the study of the relatively neglected cultural areas of sensory perception, memory, learning and play needs to be promoted to enrich the understanding of past social behaviours. 5. Parameters: Multi-disciplinary, collaborative, and cross-sector approaches should be encouraged in order to release the research potential of all sectors of archaeology. Creative solutions should be sought to the challenges of transmitting the importance of archaeological work and conserving the resource for current and future research.