Bibliografie tematiche / Art museum visitors – europe

Letteratura scientifica selezionata sul tema "Art museum visitors – europe"

Autore: Grafiati

Pubblicato: 27 luglio 2024

Ultima modifica: 29 luglio 2024

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Articoli di riviste sul tema "Art museum visitors – europe"

Bolshakova, Yu M., S. N. Bolshakov e N. A. Mikhalchenkova. "Assessment of the pedagogical functions and practices of modern museums". Vestnik of Saint Petersburg State University of Culture, n. 3 (44) (settembre 2020): 108–16. http://dx.doi.org/10.30725/2619-0303-2020-3-108-116.

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This article discusses the tasks of implementation of pedagogical functions by the modern museum community. The article interprets the results of a sociological study in the field of the implementation of pedagogical tasks by museums countries of Northern Europe and the Baltic. The relevance of the study lies in the disclosure of the pedagogical potential of museums in the world. The importance of the study lies in the possibility of choosing the forms and methods of pedagogical influence on pupils and students, museum visitors. The study demonstrates the unique capabilities of the museum community. The potential of museums consists not only in the preservation of objects of art and culture, but also in the promotion of civilizational values, the humanization of education, and the continuity of the values of world culture. An important result of the educational function of museums is not only the transfer of knowledge, but also the development of new creative skills in children and youth. The pedagogical potential of museums, as European practice shows, can be effective museum competitiveness strategies.

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Komova, О. "DIRECTIONS OF REFORMING THE MUSEUM SECTOR IN EUROPE: EXPERIENCE FOR UKRAINE". Вісник Київського національного лінгвістичного університету. Серія Історія, економіка, філософія, n. 26 (9 gennaio 2023): 11–23. http://dx.doi.org/10.32589/2412-9321.26.2021.269853.

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The article research the main problems of the Ukrainian museum sector, analyzes museum reforms in the EU-member states over the last 20 years, and suggests the major vectors of museum reform in Ukraine based on the best practices of the Western European museology. The article deals with the forms and methods of activity of the museum institution within the framework of this action on successful dialogue with the public, effective use of information technologies. Communication capabilities of museums are related to their ability to communicate information with real objects directly or indirectly. The foundationof the communicative work of the museum is its foundations since the exhibition, and the educational and communicative projects organized on its basis are impossible without scientifically attributed and carefully preserved collections. Accordingly, the most effective channel of museum communication remains the exposition of the museum.Along with traditional forms and tools of museum communication, such as exhibition and exhibition, educational and educational, publishing, holding scientific conferences, the presentation of museums in the media, the new ones, connected with the development of modern information technologies, become especially important. These include museums’ websites, virtual museums, virtual tours and tours, QR codes, 3D technology, profiles of museums in social networks. It is the active development of the latter that will promote the broader communication of the museums with a broad audience of visitors, the expansion of inter-museum contacts, the integration of domestic museums into the world museum community. Methodological basis of work is a comprehensive and systematic approaches involving methods of analysis, synthesis, comparative history, descriptive methods and methods of «oral history». It was proved that at the present stage museums act as intermediaries in solving complex social problems and conflicts; projects, as an effective form of implementing social activity of museums, contribute to the adaptation of museums and the museum industry as a whole to modern conditions of socio-economic and cultural life, support and promotion of the best examples of creative museum practices in Ukrainе.

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Meyer, Caspar. "Ancient vases in modern vitrines: the sensory dynamics and social implications of museum display". Bulletin of the Institute of Classical Studies 63, n. 1 (1 giugno 2020): 91–109. http://dx.doi.org/10.1093/bics/qbaa009.

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Abstract This contribution explores the changing sensory priorities underpinning the display of Greek painted pottery in European collections. The focus is on the introduction of glass-fronted cabinets in the purpose-designed public museums of art and archaeology of the mid-nineteenth century. Contrary to expectations, the contemporaneous debates surrounding the use of gallery furniture show that the museum stakeholders were less worried about the safety of the objects than the prospect of middle- and working-class visitors being exposed to the sexualized imagery on Athenian pottery. A survey of the different traditions of display in Britain and continental Europe highlights the shift from the multisensory engagements in early modern elite collections with vases as evidence of ancient custom to the selective viewing of the objects’ painted decoration as works of art whose proper interpretation called for classical education.

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Nijhoff, Michiel. "The early history of the Stedelijk Museum library: the Kloet years". Art Libraries Journal 33, n. 4 (2008): 14–16. http://dx.doi.org/10.1017/s030747220001556x.

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On 5 May 2007, the Stedelijk Museum library in Amsterdam was exactly 50 years old – although a collection of books known as ‘the library’ began long before that in the building on the Paulus Potterstraat. Louis Kloet was the first librarian. He founded and ran the library from 1953 until 1980, a period in which the collection and the number of visitors grew steadily and it evolved into one of the most important libraries of modern art in Europe.

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Ian Shin, K. "The Chinese Art “Arms Race”". Journal of American-East Asian Relations 23, n. 3 (27 ottobre 2016): 229–56. http://dx.doi.org/10.1163/18765610-02303009.

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Interest in Chinese art has swelled in the United States in recent years. In 2015, the collection of the late dealer-collector Robert Hatfield Ellsworth fetched no less than $134 million at auction (much of it from Mainland Chinese buyers), while the Metropolitan Museum of Art drew over 800,000 visitors to its galleries for the blockbuster show “China: Through the Looking Glass”—the fifth most-visited exhibition in the museum’s 130-year history. The roots of this interest in Chinese art reach back to the first two decades of the 20th Century and are grounded in the geopolitical questions of those years. Drawing from records of major collectors and museums in New York and Washington, D.C., this article argues that the United States became a major international center for collecting and studying Chinese art through cosmopolitan collaboration with European partners and, paradoxically, out of a nationalist sentiment justifying hegemony over a foreign culture derived from an ideology of American exceptionalism in the Pacific. This article frames the development of Chinese art as a contested process of knowledge production between the United States, Europe, and China that places the history of collecting in productive conversation with the history of Sino-American relations and imperialism.

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Rangel-de Lázaro, Gizéh, Adrián Martínez-Fernández, Armando Rangel-Rivero e Alfonso Benito-Calvo. "Shedding light on pre-Columbian crania collections through state-of-the-art 3D scanning techniques". Virtual Archaeology Review 12, n. 24 (19 gennaio 2021): 1. http://dx.doi.org/10.4995/var.2021.13742.

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During the 19th and 20th centuries, numerous museums, scientific societies, and royal academies were founded in Europe and America. In this scenario, the Anthropological Museum Montané was founded in Havana, Cuba. Its collection has grown over the years, thanks to researchers, antiquarians, and amateurs. Since its foundation, the Museum Montané has become an essential institution for anthropological and archaeological research in the region. Nowadays, the Museum Montané, like other museums in developing countries, faces a challenge in the introduction of state-of-the-art technologies to digitizing exhibits and the creation of innovative projects to attract visitors. The current possibilities of virtualization of cultural heritage using digital technologies have a favorable impact on the preservation, access, and management of museum collections. The use of three-dimensional (3D) models fosters engagement with visitors, stimulates new forms of learning, and revalorizes the exhibits. In the current study, we use a hand-held structured light scanner to create 3D reality-based models of pre-Columbian crania from the Caribbean and South American collection of the Anthropological Museum Montané. The resulting 3D models were used for producing 3D printing replicas and animated videos. The 3D resources derived will encourage new knowledge through research, and provide broader access to these pre-Columbian crania collection through learning and outreach activities. The significance of digitizing these specimens goes beyond the creation of 3D models. It means protecting these fragile and valuable collections for future generations. The methodology and results reported here can be used in other museums with similar collections to digitally document, study, protect, and disseminate the archaeological heritage. Going forward, we seek to continue exploring the application of novel methods and digital techniques to the study of the pre-Columbian crania collections in Latin American and the Caribbean area.Highlights:<ul><li>A hand-held structured light scanner was used to acquire 3D reality-based models of pre-Columbian crania. The 3D models resulting were used for 3D printing replicas and 3D animations.</li><li>This study provides unprecedented 3D reconstructions of pre-Columbian crania in the Caribbean area, and new 3D reconstructions of artificially deformed crania from South America.</li><li>The 3D resources created will encourage new knowledge through research, and provide broader access to these pre-Columbian crania collection through learning and outreach activities.</li></ul>

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de Chermont, Isabelle le Masne. "The architecture of museum libraries: an overview of the years 2000 to 2003". Art Libraries Journal 29, n. 3 (2004): 28–31. http://dx.doi.org/10.1017/s0307472200019039.

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In recent years many museums and art galleries in Europe have remodelled their libraries, often funding the physical changes by means of sponsorship, while at the same time re-thinking access and the services to be provided. This article analyses some current examples in Paris, London and the Netherlands and describes a range of different approaches. But it finds most successful the British Museum’s Paul Hamlyn Library, housed in the famous circular Reading Room and open to all visitors: these will discover, that, alongside modern databases, the Library has kept its traditional links with the book.

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Svyrydenko, N. "Music in museum (second half of 20th century, Ukraine)". Musical art in the educological discourse, n. 3 (2018): 61–65. http://dx.doi.org/10.28925/2518-766x.2018.3.6165.

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Due to the process of early music revival, started in the USSR from the 60s of the 20th century, there are searches of the appropriate premises, in which early music could be perceived naturally, where one can feel a single style in combination of rooms, music, instrumentation and performance style that would increase the perception of each of the components of the creative process. Such most suitable premises are found out to be the halls of museums — former mansions, or palaces, which serve as museums in our time. The practice of conducting concerts in museums was introduced in Western Europe in the first half of the 20th century as a part of the overall process of early music revival and became an example for other countries including Ukraine.The Museum of Ukrainian Fine Arts was one of the first museums where concerts of early music were held in 1988. The concert programs featured the music of prominent Ukrainian composers of the 16th–18th centuries. Since 1989, the «Concerts in Museum» began to be held at the Museum of Russian Art, where one could hear music from the 18th to the beginning of the 19th century from «The Music Collection of the Razumovsky Family». Since 2003, the door has opened for concerts at the National Museum of History of Ukraine, where, in addition to chamber music, the visitors watched the whole performance — the chamber opera by D. Bortniansky «Sokil». The performance of this opera was also held at other museums of Ukrainian cities, as well as in Poland.Ancient instruments in some museums, that have lost its sound and artistic qualities, attracted attention of the musical experts. In association with scholars and the administration of museums, restoration work was carried out and brought back the old tools to life, which made it possible to hear the true «voice of the past «. This happened from the pianoforte at the Museum of Ukrainian History, the Lesia Ukrainka Museum in the village Kolodyazhny of Kovelsky District in Volyn and the Memorial Museum of Maxim Rylsky in Kyiv. Nowadays many museums in Ukraine have become centres of culture, both visual and musical. Due to this process, contemporaries’ views about the past art have expanded, the recordings of ancient music phonograms initiated film-making.

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Petrov, Julia. "Visitors to Versailles (1682–1789) Metropolitan Museum of Art, New York, NY April 16–July 29, 2018 Casanova’s Europe: Art, Pleasure, and Power in the 18th Century Museum of Fine Arts, Boston, MA July 8–October 8, 2018". Dress 45, n. 1 (2 gennaio 2019): 99–102. http://dx.doi.org/10.1080/03612112.2019.1565655.

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Thouki, Alexis. "The Role of Ontology in Religious Tourism Education—Exploring the Application of the Postmodern Cultural Paradigm in European Religious Sites". Religions 10, n. 12 (26 novembre 2019): 649. http://dx.doi.org/10.3390/rel10120649.

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The cultural and spiritual repository of religion is an indispensable resource for shaping public and cultural life in a post-secular era. Although the floods of culturally intrigued ‘pilgrims’ and spiritually ‘captivated’ tourists have marked religious sites on nationwide cultural maps, religious sites have yet to achieve a holistic interpretative experience which will reveal the deeper meanings of ecclesiastical art. The absence of ‘holistic interpretations’ from European Christian churches, addressing the tangible and intangible (faith) aspect of Christian tradition, run the risk of undermining both the cognitive and emotive aspects of visitors. Following a thematic analysis on interpretations found at Orthodox, Catholic and Protestant churches in Europe, this article investigates how religious sites adapt different interpretational strategies to communicate their stories. The findings are discussed with reference to heritage practices found at religious sites expressed through two coexisting cultural ideologies: the prominent postmodern cultural paradigm, expressed through New Museology, and the religious cultural paradigm, expressing religious tradition and vision. The research concludes that the more content a denomination appears to be over the postmodern cultural paradigm of New Museology, the more likely it is to experiment with postmodern interpretative strategies. In this context, the article raises the question of whether museum theory is applicable to religious settings. The bottom line is that stakeholders’ ontological presuppositions are the catalyst of how religious history, tradition, and faith, are negotiated and presented in religious settings.

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Tesi sul tema "Art museum visitors – europe"

Kravchyna, Victoria. "Information Needs of Art Museum Visitors: Real and Virtual". Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4692/.

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Museums and libraries are considered large repositories of human knowledge and human culture. They have similar missions and goals in distributing accumulated knowledge to society. Current digitization projects allow both, museums and libraries to reach a broader audience, share their resources with a variety of users. While studies of information seeking behavior, retrieval systems and metadata in library science have a long history; such research studies in museum environments are at their early experimental stage. There are few studies concerning information seeking behavior and needs of virtual museum visitors, especially with the use of images in the museums' collections available on the Web. The current study identifies preferences of a variety of user groups about the information specifics on current exhibits, museum collections metadata information, and the use of multimedia. The study of information seeking behavior of users groups of museum digital collections or cultural collections allows examination and analysis of users' information needs, and the organization of cultural information, including descriptive metadata and the quantity of information that may be required. In addition, the study delineates information needs that different categories of users may have in common: teachers in high schools, students in colleges and universities, museum professionals, art historians and researchers, and the general public. This research also compares informational and educational needs of real visitors with the needs of virtual visitors. Educational needs of real visitors are based on various studies conducted and summarized by Falk and Dierking (2000), and an evaluation of the art museum websites previously conducted to support the current study.

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Kellogg, Smith Martha. "Viewer tagging in art museums: Comparisons to concepts and vocabularies of art museum visitors". dLIST, 2006. http://hdl.handle.net/10150/105154.

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As one important experiment in the social or user-generated classification of online cultural heritage resources collections, art museums are leading the effort to elicit keyword descriptions of artwork images from online museum visitors. The motivations for having online viewers - presumably largely non-art-specialists - describe art images are (a) to generate keywords for image and object records in museum information retrieval systems in a cost-effective way and (b) to engage online visitors with the artworks and with each other by inviting visitors to express themselves and share their descriptions of artworks. This paper explores the question of how effective non-specialist art keyworders can be in capturing ("tagging") potentially useful concepts and terms for use in art information retrieval systems. To do this, the paper compares evidence from art museum visitor studies which describe how non-specialist art viewers react to and describe artworks and use museum-supplied information in their initial encounters with artworks. A theoretical model of artwork interpretation derived from art museum visitor research provides a framework with which to examine both the activity and the products of artwork tagging for image and information retrieval.

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Smith, Martha Kellogg. "Art information use and needs of non-specialists : evidence in art museum visitor studies /". Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/7182.

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Mbuyi, Ruddy. "Who are the visitors to the National Museum in Stockholm?Sweden's museum of art and design". Thesis, Södertörns högskola, Turismvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-39873.

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The purpose of the research study was to find about who the National Museum visitors are and what is their five reasons and motives to visit the National Museum. To get a better understanding about finding out who are the National Museum visitors a qualitative method was used in the form of a questionnaire that dealt with questions about the respondent’s demographic background and open questions related to finding out more details about the respondents’ reasons to visit the National Museum that is an art and design museum. The data that was gathered from the questionnaire was analysed through the use of a thematic analysis to find specific themes based on the female and male respondent’s answers. The results indicate that most of the respondents who took part in the questionnaire on the 5th of April 2019 at the National Museum are a mix of female and male between the age 20-72 years from Sweden and other countries, all of them have a higher education (High School, Bachelor and Master Degree) and have studied art, history of art or design. The reason that many of the respondents choose to visit the museum and what attracted them to the National Museum was foremost for they all share an interest in art and design. The National Museum itself is an interesting place to be at because many of the female and male respondents have an appreciation in the art and design collections and exhibitions that is displayed at the museum. The National Museum offers a free admission and entry so many of them could visit the museum either by themselves or with a companion, and many of the respondents like how the National Museum teaches history about the art and design.

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Sbarra, Wendy M. "New Ways of Seeing: Examining Musuem Accessibility for Visitors with Vision Impairments". Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/121.

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While I have always loved to go to the art museum I have often found it difficult to convince friends and family to go with me. It seems to be a particularly daunting task for visitors with disabilities and specifically those with vision impairments. This study surveys the accessibility of the programming for visitors with visual impairments at 25 art museums in the United States of America and how they communicate that information to potential visitors. It highlights museums that go beyond what is required by the Americans with Disabilities Act and create programming that is enjoyable for all. This study will be a reference to create a more enjoyable experience for all.

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Tam, Cheung On. "Understanding museum visitors' experience of paintings : a phenomenological study of adult non-art specialists". Thesis, University College London (University of London), 2006. http://discovery.ucl.ac.uk/10006676/.

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Penzel, Joachim. "Der Betrachter ist im Text : Konversations- und Lesekultur in deutschen Gemäldegalerien zwischen 1700 und 1914". Münster LIT, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2919099&prov=M&dokv̲ar=1&doke̲xt=htm.

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Sweney, Barbara Zollinger. "Student learning in an art museum: a study of docent-led tours and changes in docent training to improve visitors' experiences". The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1068230273.

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Evans, Laura E. "Eating Our Words: How Museum Visitors and a Sample of Women Narratively React to and Interpret Lauren Greenfield's THIN". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299860725.

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Aljuidan, Hanan Abdulaziz M. "Building a Collaborative Smartphone Application for Blind and Low Vision Visitors at the Dallas Museum of Art". Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505223/.

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The goal of my study is to develop a mobile application to enable all visitors, including blind and low-vision visitors, to autonomously gather and share information about interpretations of art and to have a fully independent museum-going experience. With an application, blind visitors have more access to opportunities and tools in the museum, which empowers their museum experience. My study used a qualitative, mixed-methods approach to research how blind and low vision museum visitors might increase their independence in the museum space and discover ways to equalize their access without relying on museum educators. In carrying out my study, I conducted interviews and collected data based on observations and transcribed and analyzed them using a grounded theory approach. I used Freire's theory of pedagogy of the oppressed and hooks' theory of education as the practice of freedom to frame my study.

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Libri sul tema "Art museum visitors – europe"

Bourdieu, Pierre. The love of art: European art museums and their public. Cambridge, UK: Polity Press, 1991.

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Bourdieu, Pierre. The love of art: European art museums and their public. Cambridge: Polity, 1990.

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Bourdieu, Pierre. The love of art: European art museums and their public. Stanford, Calif: Stanford University Press, 1990.

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Schuster, J. Mark Davidson. The audience for American art museums. Washington: Seven Locks Press, 1991.

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Lehalle, Evelyne. Musées et visiteurs: Un Observatoire permanent des publics. [Paris]: Ministère nationale de l'education et de la culture, Direction des musées de France, Département des publics, de l'action éducative et de la diffusion culturelle, 1993.

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Tony, Bennett. Art galleries, who goes?: A study of visitors to three Australian art galleries, with international comparisons. Redfern, NSW: Australia Council, 1991.

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Warczok, Tomasz. Miłośnicy, znawcy, koneserzy czy przechodnie?: Recepcja sztuki współczesnej na przykładzie galerii Górnego Śląska. Bielsko-Biała: Galeria Bielska BWA, 2010.

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Duhaime, Carole P. La clientèle des musées d'art: Une revue de littérature. Montréal: École des hautes études commerciales, 1988.

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Duhaime, Carole P. La clientèle des musées d'art: Une revue de littérature. Montréal: Ecole des hautes études commerciales, 1988.

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Christiane, Heuwinkel, e Kunsthalle Bielefeld, a cura di. Veit Mette: Menschen im Museum. Bielefeld: Kerber, 2011.

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Capitoli di libri sul tema "Art museum visitors – europe"

Constantin, Felicia, e Androniki Kavoura. "Boosting Multilingualism of Websites in Digital Cultural Heritage with Chat Generative Pre-training Transformer (ChatGPT) in Accredited Museums, Romania". In Strategic Innovative Marketing and Tourism, 651–60. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51038-0_70.

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AbstractIn the context of the creative industries, the museum serves as a promoter of tourism, economic development, education, and science. In the era of the onslaught of Artificial Intelligence (AI), we are witnessing an expansion of opportunities to optimize its role as a communicator of values and information. In order to openly serve communities, a modern museum employs marketing and digital promotion techniques and creates a communication strategy. Within this strategy, adopting a linguistic approach can strengthen a museum’s brand, stimulate cultural mediation, and enhance visitor services. Taking into consideration the European concern for multilingualism in digital cultural heritage, we employed content analysis to examine the multilingualism on the websites of all 133 accredited museums and museum sections in Romania in 2023. On one hand, the paper highlights the lack of systematic consideration towards multilingualism, as physical and virtual visitors are generally left to “manage” with the languages. On the other hand, the research presents relevant solutions for providing websites in multiple languages: among these solutions, we suggest ChatGPT, which is starting to stand out as a revolutionary tool capable of translating diverse content for free, instantly, and accurately in multiple languages. Managerial implications are discussed since a website with comprehensive content in multiple foreign languages, strengthens the brand image and exponentially expands its global reach.

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Bradburne, James M. "Postface: From Visitors to Users—COVID-19 Accelerating Change". In Visiting the Art Museum, 155–68. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-12089-3_10.

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Pringle, Emily. "Co-researching with community members, academics and visitors". In Rethinking Research in the Art Museum, 96–127. New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781315298832-5.

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Hofmann, Yannick, e Cecilia Mareike Carolin Preiß. "Say the Image, Don't Make It". In Edition Museum, 245–56. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839467107-023.

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In this article, Yannick Hofmann and Cecilia Preiß discuss the use of AI technologies in art by means of the interactive installation 'Wishing Well'. 'Wishing Well' by media artist Yannick Hofmann uses generative AI to transform the dreams, wishes, and fantasies expressed by exhibition visitors into images. Central aspects addressed are the use of AI technologies in art and the challenged identity of art in the face of new technical tools. The text discusses how co-creativity between humans and machines can be facilitated, as well as conveying ethical dilemmas that are to be expected in any use of generative AI. In this way, 'Wishing Well' is representative of the 'intelligent.museum' project, within whose framework it was developed.

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Ohm, Tillmann. "Algorithmic Exhibition-Making". In Edition Museum, 209–16. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839467107-019.

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This paper characterizes the potential of networks and embeddings for curatorial selection processes using the case of our algorithmically curated exhibition at HALLE 14-Center for Contemporary Art Leipzig. The curatorial process involved the construction of an undirected bipartite network of artworks and associated keywords, further enriched with keyword embeddings based on the ConceptNet Numberbatch dataset. The algorithmic selection of artworks was initially topic-guided and based on keyword associations. Three distinct communities within the network were then used to divide the exhibition into subtopics. Visualizing these communities created a coherent, conceptually focussed display serving both curators and visitors, demonstrating as such the capacity of network-based analysis in curatorial practice.

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Somogyi-Rohonczy, Zsófia. "Museum: The bridge between art and society". In Arts-Based Interventions and Social Change in Europe, 183–94. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003376927-26.

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Bewer, Francesca G. "Experiments in a Teaching Museum". In Histories of Conservation and Art History in Modern Europe, 127–42. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003127369-11.

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Tsita, Christina, Charalabos Georgiadis, Maria Zampeti, Evi Papavergou, Syrago Tsiara, Alexandros Pedefoudas e Dionysios Kehagias. "An Approach to Facilitate Visitors’ Engagement with Contemporary Art in a Virtual Museum". In Trandisciplinary Multispectral Modelling and Cooperation for the Preservation of Cultural Heritage, 207–17. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-20253-7_17.

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Čubrilo, Jasmina. "The Museum of Contemporary Art in Belgrade and Post-Revolutionary Desire". In Making Art History in Europe After 1945, 125–48. 1. | New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351187596-9.

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Chang, Mi, Taeha Yi, Sukjoo Hong, Po Yan Lai e Ji-Hyun Lee. "Type and Behavior Pattern Analysis of Art Museum Visitors Based on Social Network Analysis". In KAIST Research Series, 43–54. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7707-9_4.

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Atti di convegni sul tema "Art museum visitors – europe"

Ásványi, Katalin, Zsuzsanna Fehér e Melinda Jászberényi. "THE CRITERIA FRAMEWORK FOR SUSTAINABLE MUSEUM DEVELOPMENT". In Tourism in Southern and Eastern Europe 2021: ToSEE – Smart, Experience, Excellence & ToFEEL – Feelings, Excitement, Education, Leisure. University of Rijeka, Faculty of Tourism and Hospitality Management, 2021. http://dx.doi.org/10.20867/tosee.06.3.

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Purpose –The purpose of this study is to identify the criteria for sustainable museums found in reference literature and specified in our research, and to suggest guidelines for museums to follow. Methodology –In our primary research, the criteria for a sustainable museum were interpreted along four pillars, for which in-depth expert interviews were conducted with Hungarian museum professionals. Semi-structured interviews were used to explore the viewpoints, expectations, and perceptions of museum staff. Findings – In terms of environmental sustainability, Hungarian contemporary museums place less emphasis on making the museum building itself more sustainable. However, it is worthwhile for institutions that have long-term plans to become more and more eco-friendly. The issue of economic sustainability is the most problematic for Hungarian museums, which can be greatly improved with an active support community that helps museums either through volunteer work or financially. From a social point of view, one of the most important tasks of museums is to ensure equal opportunities, to reach the widest possible range of people, which is facilitated if the museum can function as a community space that adequately involves museum visitors and if it continuously strengthens its role in education. In terms of cultural sustainability, the responsibilities of museums are collection management, maintaining quality, and artistic vitality. Contribution – We conceptualize and provide a framework for sustainable museums. Through our research, we have contributed to broadening the theoretical background of sustainable museums from the perspective of contemporary art museums.

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Irrgang, Daniel. "Thought Exhibition. On critical zones, cosmograms, and the impossible outside". In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-66-full-irrgang-thought-exhibition.

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The paper discusses the curatorial concept of “thought exhibition” coined by Bruno Latour and Peter Weibel and developed in collaboration with curators, artists, and researchers during four exhibitions at the ZKM Centre for Art and Media, Karlsruhe (Germany). Thought exhibitions transgress the distinctions between philosophy, art, and science by testing ideas in an art museum, a space of discourse, representation, and participation. They engage visitors in a spatio-aesthetic thought experiment by bringing them into a position where preconceptions derived from epistemes of European Modernity are explicated and where alternatives are suggested. The analysis focusses on the most recent exhibition, in the preparation of which the author was involved: “Critical Zones. Observatories for Earthly Politics” (May 23, 2020 – January 9, 2022) mapped the symptoms and origins of the “New Climatic Regime” (Latour) of the late Anthropocene. In this paper, Critical Zones is framed within its theoretical context (Descola, Haraway, Margulis, Whithehead, among others) and discussed as relational spatio-aesthetic approach (Dikeç). The analysis concludes with Sarah Sze’s installation “Flash Point (Timekeeper)” (2018) as one of the exhibition’s central works – a representation, or “cosmogram” (Tresch), of a common planet that may provide an alternative to the globalized world of late capitalism.

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Družetić-Vogel, Ivana, Alina Fuchte e Marina Bauernfeind. "ARt chat - A Museum App combining AR, Art and Communication". In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-52-full-druzetic-vogel-et-al-art-chat.

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Museum labels are often looked at more intensively than the actual work itself. And who says that the interpretation written there is the only possible one? ARt chat is an application that enables museum visitors to place their own opinions, knowledge or even questions as comments virtually in the exhibition space. Through the application, they can also discuss the artworks with others and follow and respond to comments even after leaving the exhibition. The application combines augmented reality, art and communication.

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Pitsch, Karola, Sebastian Wrede, Jens-Christian Seele e Luise Süssenbach. "Attitude of german museum visitors towards an interactive art guide robot". In the 6th international conference. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/1957656.1957744.

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Sivertsen, Christian. "Educating the attention of museum visitors through non-verbal art mediation". In IASDR 2023: Life-Changing Design. Design Research Society, 2023. http://dx.doi.org/10.21606/iasdr.2023.222.

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Benente, Michela, Valeria Minucciani e 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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Ronco, Francesca. "Smart technologies in the museum environment. AR experiments on physical models at the Museum of Oriental Art in Turin". In HEDIT 2024 - International Congress for Heritage Digital Technologies and Tourism Management. Valencia: Universitat Politècnica de València, 2024. http://dx.doi.org/10.4995/hedit2024.2024.17472.

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The concept of Smart Tourism has developed rapidly within the Smart Cities paradigm, which emerged at the beginning of the new millennium in various scientific fields. Museums, traditionally centres of cultural and technological dissemination and display, are becoming places to experiment with smart technologies (digital survey, AR, VR, digital fabrication, and AI) for analytical purposes and to enhance the visitor experience. This technological revolution affects the way museum visitors interact with cultural heritage. This process is part of the Fourth Industrial Revolution and is based on multiple technologies that blend physical and virtual environments. These tools have shown benefits for accessing, comparing, and understanding space-related information about artefacts and advantages in developing compelling forms of storytelling aimed at visitors. Trying to give an overview of the technologies used, which have some relevance to the disciplinary field of representation, one can talk about digital acquisition techniques, Augmented Reality, Virtual Reality, digital fabrication, and artificial intelligence. The models obtained with different digital acquisition techniques allow new ways of content fruition. Both virtual and physical outputs aim to increase the inclusiveness of collections, meeting the various needs of users related to age, physical, sensory, cognitive, cultural, and experiential factors. The paper presents the outcomes of some experiments conducted in Museo d'Arte Orientale of Turin aimed to explore the continuum between real and virtual in the museum field through intelligent technologies. The experiments illustrate how to integrate AR technologies into the enjoyment of content, inside and outside the museum, with the support of real models.

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Morozova, K. I. "CONTEMPORARY ART IN A CLASSICAL MUSEUM (BASED ON THE RESULTS OF A SURVEY OF MUSEUM VISITORS IN SAINT PETERSBURG)". In Месмахеровские чтения - 2022. Санкт-Петербург: Федеральное государственное бюджетное образовательное учреждение высшего образования «Санкт-Петербургская государственная художественно-промышленная академия имени А.Л. Штиглица», 2022. http://dx.doi.org/10.54874/9785604789377_579.

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Hofmann, Yannick. "Towards an Intelligent IoT System for the Data-Informed Museum of the Future". In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-64-full-hofmann-iot-system.

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This article describes the ongoing prototypical development of an intelligent IoT system for art and cultural institutions as part of the intelligent.museum project. Partial development steps that have already taken place are described and the system is conceptually framed. The system will be used to condense data from various IoT sensors in the exhibition space and the building complex, along with data from the Internet, into intelligent data analytics. The goal is to provide human decision-makers with intelligent analytics as well as machine recommendations for action to enhance museum intelligence. This initiative, which can be tracked transparently and comprehensively via a code repository on the Internet, will enable art and cultural institutions to adapt museum experiences to the needs of visitors. In addition, a technological framework is created for artists to create computer-based works and develop interactive art experiences using this system.

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Bartseva, A. A., A. G. Shakhparunyants, A. Sh Chernyak, R. I. Stolyarevskaya e E. I. Rozovskiy. "DEVELOPMENT OF NEW STANDARDS FOR MUSEUM LIGHTING". In CIE 2021 Conference. International Commission on Illumination, CIE, 2021. http://dx.doi.org/10.25039/x48.2021.po48.

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The new standards for museum lighting development was based on data collection by means of questionnaires, processing and analysis of subjective assessments of art historians, museum workers, research results of restorers and expert visitors, along with objective, physical measurements of photometric parameters of lighting installations in selected exhibition halls of the most famous museums in Russia. Based on the studies performed, national standards of both permanent and preliminary nature were prepared and introduced in 2020 by institute VNISI named after S.I. Vavilov.

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Rapporti di organizzazioni sul tema "Art museum visitors – europe"

Butyrina, Maria, e Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, febbraio 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.

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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.

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Kerrigan, Susan, Phillip McIntyre e Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.

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