Gotowe bibliografie tematyczne / Sound in museum exhibits

Gotowa bibliografia na temat „Sound in museum exhibits”

Autor: Grafiati
Data publikacji: 27 lipca 2024
Data aktualizacji: 29 lipca 2024

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Artykuły w czasopismach na temat "Sound in museum exhibits"

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Al-Taie, Inas, Paola Di Giuseppantonio Di Franco, Michael Tymkiw, Duncan Williams i Ian Daly. "Sonic enhancement of virtual exhibits". PLOS ONE 17, nr 8 (24.08.2022): e0269370. http://dx.doi.org/10.1371/journal.pone.0269370.

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Museums have widely embraced virtual exhibits. However, relatively little attention is paid to how sound may create a more engaging experience for audiences. To begin addressing this lacuna, we conducted an online experiment to explore how sound influences the interest level, emotional response, and engagement of individuals who view objects within a virtual exhibit. As part of this experiment, we designed a set of different soundscapes, which we presented to participants who viewed museum objects virtually. We then asked participants to report their felt affect and level of engagement with the exhibits. Our results show that soundscapes customized to exhibited objects significantly enhance audience engagement. We also found that more engaged audience members were more likely to want to learn additional information about the object(s) they viewed and to continue viewing these objects for longer periods of time. Taken together, our findings suggest that virtual museum exhibits can improve visitor engagement through forms of customized soundscape design.
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Porshnev, Valeriy P. "Musaeum Kircherianum in the history of museum work during the Baroque epoch". Issues of Museology 13, nr 1 (2022): 16–38. http://dx.doi.org/10.21638/spbu27.2022.102.

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The museum, named after its founder A.Kircher, is not sufficiently appreciated by museum historians in this country, limited only to brief characteristics of this cultural phenomenon of the Baroque era. The exposition of the museum was a complete author’s model of the Universe, a world of metaphors and symbols generated by the mystical worldview of A.Kircher. A world far from physical reality, despite the fact that its creator knew and took into account the main scientific discoveries of that time. The evaluation of this museum should not be based on A.Kircher’s contribution to natural sciences and humanities, but by the way the interior was decorated, how artfully the exhibits were selected and presented, how masterfully the visual and sound effects were thought out. In addition, historians do not sufficiently connect the museum with the extensive written heritage of A.Kircher, who previously outlined his model of the world order in a series of illustrated folios, which together formed a virtual museum, transformed by the author into the Musaeum Kircherianum, replacing book illustrations with an objective row. The sources of the proposed reconstruction of the museum are cosmological, scientific, linguistic and historical works of A.Kircher, notes of travelers, and museum catalogues of 1678–1878.
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Parry, Manon. "Exhibit Review: The Sound of Amsterdam, Amsterdam Museum". Public Historian 35, nr 3 (1.08.2013): 127–30. http://dx.doi.org/10.1525/tph.2013.35.3.127.

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Putcha, Rumya S. "Yoga and White Public Space". Religions 11, nr 12 (14.12.2020): 669. http://dx.doi.org/10.3390/rel11120669.

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This article connects recent work in critical race studies, museum studies, and performance studies to larger conversations happening across the humanities and social sciences on the role of performance in white public spaces. Specifically, I examine the recent trend of museums such as the Natural History Museum of London, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts in Boston, to name but a few, offering meditation and wellness classes that purport to “mirror the aesthetics or philosophy of their collections.” Through critical ethnography and discursive analysis I examine and unpack this logic, exposing the role of cultural materialism and the residue of European imperialism in the affective economy of the museum. I not only analyze the use of sound and bodily practices packaged as “yoga” but also interrogate how “yoga” cultivates a sense of space and place for museum-goers. I argue that museum yoga programs exhibit a form of somatic orientalism, a sensory mechanism which traces its roots to U.S. American cultural-capitalist formations and other institutionalized forms of racism. By locating yoga in museums within broader and longer processes of racialization I offer a critical race and feminist lens to view these sorts of performances.
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Mancuso, Rebecca. "The Finger Saga". Public Historian 40, nr 2 (1.05.2018): 23–42. http://dx.doi.org/10.1525/tph.2018.40.2.23.

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The Wood County (Ohio) Historical Center and Museum has struggled with how to treat a controversial artifact a long time in its possession: a set of severed human fingers in a jar. Collected from a murder scene in 1881, “The Fingers in the Jar” have become a popular piece of the museum’s collection but for problematic reasons. This article traces the artifact’s life from creation to lurid objectification and proposes a new interpretation that recognizes its profound moral value. Such provocative exhibits can generate critical moral reflection and thus the museum is exploring ways to present these controversial human remains despite ethical concerns. Displaying them in a humanizing, pedagogically sound way fits squarely within the museum’s updated mission to promote social justice. The museum can offer a pathway toward public education on domestic homicide in all its brutality, historically and today.
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Sadiq, Assadullah. "‘Baba, Take Us to Museum’: An Afghan refugee family’s engagement in language and literacy at the children’s museum". Journal of Early Childhood Literacy 20, nr 4 (4.05.2018): 583–612. http://dx.doi.org/10.1177/1468798418770718.

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Although there is a growing body of literature which focuses on museums’ role in supporting children’s literacy, there is also a need for studies to show ways in which museums can support refugee families’ literacy practices. In light of this gap, this qualitative study explores the role of a children’s museum in the literacy practices of a recent refugee Afghan-American family. Data consisted of interviews with the parents and children, conducted using Skype, over a period of two months. A media capture functionality method was used to receive photos from the family using a smartphone. In addition, the family sent audio-recorded interactions during activities that took place at the children’s museum. The recordings were sent through Whatsapp, a smartphone application that lets users’ text, send images, audio record and make calls for free. The findings demonstrated that the children’s museum played an important role in the Manzoor family’s literacy practices. The exhibits at the museum offered the family a site of multi-modalities, where images, sounds and words together contributed to meaning-making. Moreover, the museum provided the family with important resources, such as books and pamphlets on registering for schools. Lastly, the children’s museum provided a supportive environment for the Manzoor family to learn English and meaningfully engage with print literacy.
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Novak, Royce. "The Guerrilla, the Goddess, and the Girl". Journal of Vietnamese Studies 19, nr 2 (2024): 1–39. http://dx.doi.org/10.1525/vs.2024.19.2.1.

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This article reexamines the life narrative of Võ Thị Sáu, a young female martyr known throughout Vietnam. It brings together close intertextual readings from varied sources, including archival documents, literary and cultural works, historical scholarship, museum exhibits, and social media to scrutinize the veracity of factually suspect stories and reconstruct a new, more historically sound narrative of her life. This article moreover presents new ways of using rumor in historical research—both as a potential source in empirical historical research and as a means through which historical memory is constructed and reproduced in contemporary Vietnam.
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Кардашевская, Лия Ивановна. "Evenk phono-instruments in the collections of Yakutia museums". ТРАДИЦИОННАЯ КУЛЬТУРА, nr 4 (25.12.2019): 22–32. http://dx.doi.org/10.26158/tk.2019.20.4.002.

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В статье освещается история изучения эвенкийских фоноинструментов, описание которых ученые начали делать только с 1960-х гг. Начиная с 1980-х гг. этномузыколог Ю. И. Шейкин на основе исторических сведений и своих полевых исследований классифицирует фоноинструментарий эвенков, выявляя хордофоны, варганы, исторические фоноинструменты, архофоны, связанные с охотой, оленеводством и профессиональные инструменты шаманов. В статье дается обзор фоноинструментов эвенков, представленных в коллекциях музеев Якутии. В Музее музыкальных инструментов народов Северной Азии, который был создан на основе коллекции фоноинструментов Ю. И. Шейкина, представлены струнный инструмент кордавун, конусная труба из бересты оревун и свисток из горла птицы билгау. В Оленёкском историко-этнографическом музее народов Севера экспонируются идиофоны - колокольчики, погремушки из оленьих копыт, подвеска-погремушка из костей и кусочков шерсти животных на люльку, ботало-погремушка для шеи оленя, аэрофон-жужжалка, а также шаманские принадлежности: бубен, колотушки, костюм с подвесками. В фондах Музея музыки и фольклора народов Якутии представлены несколько образцов погремушек из оленьих копыт, изготовленных народной мастерицей Г. С. Керегяевой. В Якутском государственном объединенном музее истории и культуры народов Севера им. Ем. Ярославского экспонируется бубен якутского шамана, обечайка и параметры которого соответствуют эвенкийскому бубну. The article highlights the history of the study of Evenkis phono (sound) instruments that only began to be described by scholars in the 1960s. In the 80s the ethnomusicologist Yu. I. Sheikin created a classification of these instruments based on both historical information and field research. He identified chordophones, Jew’s harps, historical sound instruments, “archophones” associated with hunting and reindeer husbandry, and shamans’ professional tools. This article provides an overview of the Evenki sound instruments held in the collections of Yakutia museums. The Museum of Musical Instruments of the Peoples of Northern Asia - created on the basis of Sheikin’s collection of phono-instruments - contains a stringed instrument called a “kordavun”, a conical tube (“orevun”) made from birch bark, and a whistle (“bilgau”) made from the throat of a bird. The Olenek Historical and Ethnographic Museum of the Peoples of the North preserves mainly idiophones - bells, rattles made from deer hooves, a pendant-rattle for a cradle made of bones and pieces of wool, a rattle (“boltalo-pogremushka”) for a deer’s neck, an “aerofone-zhuzhalka” and also shamanic accessories (drums, beaters, a costume with pendants). The Museum of Music and Folklore of the Peoples of Yakutia exhibits several rattles made from deer hooves by the artist G. S. Keregyaeva. The Yakut State United Museum of History and Culture of the Peoples of the North features a Yakut shaman’s tambourine whose shell and other features correspond to those of the Evenki.
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bandt, ros. "designing sound in public space in australia: a comparative study based on the australian sound design project's online gallery and database". Organised Sound 10, nr 2 (sierpień 2005): 129–40. http://dx.doi.org/10.1017/s1355771805000774.

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the purpose of this paper is to articulate some of the ways in which australian sound practitioners are already designing sound in the public domain so that current trends and practices can be examined, compared and contrasted. this paper interrogates the new hybrid art form, public sound art, and the design processes associated with it as it occurs in public space in australia. the right to quiet has been defined as a public commons (franklin 1993). public space in australia is becoming increasingly sound designed. this article investigates the variety of approaches by sound artists and practitioners who have installed in public space through a representative sample of works drawn from the australian sound design project's online gallery and article, http://www.sounddesign.unimelb.edu.au, a site dedicated to the multimedia publishing of diverse sound designs installed in public space in australia, as well as its international outreach hearing place. works include permanent public and ephemeral sculptures, time-dense computerised sound installations, museum designs, exhibits in airports, art galleries, car parks, digital and interactive media exhibitions, and real-time virtual habitats on and off the web. the degree of interactivity in the sound-designed artworks varies greatly from work to work. stylistic features and design processes are identified in each work and compared and contrasted as a basis for examining the characteristics of the genre as a whole and its impact on the soundscape now and in the future.
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Lensing, Jorge. "The future of audio-visual designers with a focus on sound". International Journal of Film and Media Arts 8, nr 3 (29.12.2023): 38–58. http://dx.doi.org/10.24140/ijfma.v8.n3.03.

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Sound designers have historically been associated primarily with the realm of films, TV-movies, and series production. However, the scope of their influence is expanding significantly beyond these domains. Notably, professionals in the fields of museum curation, festivals, theatres, and planetariums are increasingly recognizing the transformative potential of incorporating audio-visual elements into their presentations, thereby enhancing the overall quality of audience engagement. Traditionally, many museums have relied on subpar audio guides and monotonous recordings played through inadequate loudspeakers to accompany their exhibits. In stark contrast, innovative exhibition concepts are foregrounding the profound impact of audio-visual installations. These installations completely rethink exhibition experiences, offering visitors entirely new dimensions of engagement within the realms of art, history, and science. In the context of planetariums, a substantial majority of shows continue to feature cosmological themes and scientific narratives presented in full-dome environments. Nevertheless, universities and younger audio-visual designers are now pioneering groundbreaking advancements in immersive audio-visual experiences. The evolution of theatre is yet another arena undergoing a profound metamorphosis due to the integration of audio-visual elements. As multimedia theatre forms such as picture theatre, new music theatre, and dance theatre increasingly embrace interactive electronic media, the traditional theatrical experience is undergoing a paradigm shift. This departure from convention is ushering in a new era of audio-visual performance quality that transcends prior artistic boundaries. Given these transformative trends, the study of sound design is compelled to evolve in tandem. Incorporating visual tasks into the curriculum is becoming imperative, as sound designers navigate these innovative frontiers of multimedia integration. By embracing cross-disciplinary approaches that encompass both sonic and visual dimensions, aspiring sound designers will be better equipped to shape the future of immersive audio-visual storytelling across a diverse array of creative platforms.
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Rozprawy doktorskie na temat "Sound in museum exhibits"

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Bhusate, Arvind M. "Intelligent Communication Technologies for Interactive Museum Exhibits". Thesis, Imperial College London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519602.

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Wade, Amanda E. "Balancing preservation and interaction in the museum setting". Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1509Wade/umi-uncg-1509.pdf.

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Thesis (M.S.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Feb. 28, 2008). Directed by Patrick Lee Lucas; submitted to the School of Human Environmental Sciences. Includes bibliographical references (p. 149-152).
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Marsh, Hannah. "Memory in World War I American museum exhibits". Thesis, Kansas State University, 2014. http://hdl.handle.net/2097/18813.

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Master of Arts
Department of History
Sue Zschoche
As the world enters the centennial of World War I, interest in this war is reviving. Books, television shows, and movies are bringing the war into popular culture. Now that all the participants of the war have passed away a change is occurring in in American memory. The transition from living to non-living memory is clearly visible in museums, one of the main ways history is communicated to the public. Four museums are studied in this paper. Two exhibits built in the 1990s are in the 1st Infantry Division Museum at Fort Riley, Kansas, and the Chemical Corps Museum in Fort Leonard Wood, Missouri. The other two exhibits are newer and are the National World War I Museum in Kansas City, Missouri and the Cantigny 1st Infantry Division Museum in Wheaton, Illinois. Findings reveal that exhibits become more inclusive over time to civilian bodies, wounded bodies, and the specific image of “Americans killing Germans bodies.” However, even though there is change some things are turning into myths. The icon of the American soldier as a healthy and strong man willing to sacrifice his life for the country is still a major theme throughout all the exhibits. Finally, there are several myths that America has adopted from its allies. The icons of the bandages over the eyes from the chemical attacks and the horrors of the trenches are borrowed, to a certain extent, from America’s allies. The Americans were only in the war for a limited time and borrowed cultural memories to supplement their own. The examination of the four museums is important because this transition will happen again and soon. Museums must be conscious of the changes occurring during this transition in order to confront the challenges.
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Eliason, Clint B. "Evaluating the Effectiveness of Supplemental Labels in Museum Exhibits". DigitalCommons@USU, 2007. https://digitalcommons.usu.edu/etd/6124.

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The present study used an experimental design to investigate the efficacy of using short (12 words or less), prominently placed supplemental labels to increase the effectiveness of select extant labels in museum exhibits. The experimenter-developed supplemental labels were designed to leverage exogenous/bottom-up and endogenous/top-down sources of influence on selective attention. Measures of patron behavior, knowledge retention, and attitude found no significant differences between group means under control and treatment conditions. These outcomes were surprising and inconsistent with findings from similar research conducted by Hirschi and Screven. The supplemental labels in the present study might have failed to capture attention because they were not sufficiently visually stimulating, they did not sufficiently tap internal motivations, or perhaps patrons experienced innattentional blindness in regards to them.
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Redvale, Jolene Kay. "Interactive exhibits in museums: Definitions, methods and visitor experiences". CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1371.

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Schneider, Amber N. Hafertepe Kenneth. "More than meets the eye the use of exhibitions as agents of propaganda during the inter-war period /". Waco, Tex. : Baylor University, 2009. http://hdl.handle.net/2104/5309.

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Zheng, Su. "Promoting children's creativity : a design method for interactive museum exhibits". Thesis, Coventry University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492365.

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This thesis concerns the development ofa design method for interactive museum exhibit with the aim ofpromoting children's creativity. Key to the originality of this research is the development of the Creativity Surprise Model (CSM): a conceptual cognitive framework for the design of interactive museum exhibits. The model is unique in the way it combines areas oftheoretical discourse from a range of perspectives: constructivist learning theory, the philosophy of interactivity and developmental psychology and associated cognitive theories of creativity and motivational drives, into a unified multidisciplinary design approach. This synthesis as a design method to support interactive exhibit design has not been previously explored or attempted. The usability and effectiveness ofthe CSM as a design method to support designers ofinteractive designs that stimulate children's creativity is evaluated by constructing and developing a novel interactive prototype. It . demonstrates how the CSM can be applied as a method in a real life design scenario. The model is further subjected to a practical validation through a process of iterative . design stages and tested in a series ofexperimental trials. Interactive exhibits in museums are providing exciting and dynamic learning experiences with significant potential to stimulate children's creativity. However, many interactive exhibit designs with incorporated new technologies can be distractive or misleading rather than supportive to creative learning. Moreover, sophisticated intuitive interfaces designed to deliver easily accessible information are not teaching children the fundamental skills necessarily to Joster genuine creative outcomes. Certainly, incorporating a diverse range ofcommunication tools is the future of museum interactive exhibit design, including the use ofnew technology. However, these tools should be selectively and appropriately applied for the right purpose to maximise the educational value as well as providing enjoyable interactive learning experiences. The key to communication success lies not merely in the ability to construct an educational experience or make things interactive per se, but in the creativity of designer applying a considered multidisciplinary approach. However, exhibit designers who are skilled in their own design practice are not necessarily experienced in other specialist fields. Therefore, this requires a method which draws on conceptual resources frolll multidisciplinary perspectives to assist these designers in developing and evaluating interactive exhibits to effectively stimulate creativity in the target group. Given these arguments, this research is located in the following interrelated . . theoretic~1 frameworks: constructivist learning theory, the philosophy of interactivity and developmental psychology and associate.d cognitive theories of creativity and motivational drives. Collectively, these perspectives support the developmentand construction of the Creativity Surprise Model (CSM): a cognitive framework that informs a ~esign method for the design of interactive museum exhibits to stimulate creativity in children. Findings reported from the evaluation of the prototype with 118 Primary school children, have validated the effectiveness ofthe CSM guided artefact in producing creative outcomes within a user defined group. The feedback from primary educators was genuinely supportive. Comme~ts from design professional and museum exhibit developer have been variously favourable with theconceptual framework being complimentary to their practice; moreover, it can be seen to formalize their aspirations providing clear insights into multidisciplinary practice. This practical value ofthe CSM model for designers lies in its identification of a motivational link between the emotion of surprise and the generation ofcreative thinking. It targets the user group at the concrete operational stage and directly addresses how to break down the rigid processing associated with this stage of cognitive development, thus it is likely to accelerate their transition to formal -operational thinking in a lasting and positive manner. As a result ofthis research and evaluation, a process ofhow to monitor the design process and assess the effectiveness ofthe artifact was developed from the key finding ofthe conceptual model - the dynamic relationship between creativity and surprise.
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Dancu, Toni Nicole. "Designing Exhibits For Gender Equity". PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/339.

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Gender equity has been a national and global aim for over half a century (Ceci & Williams, 2007; National Center for Education Statistics, 2003; National Science Board, 2008). While gains have been made, one area where inequity remains is spatial reasoning ability, where a large gender gap in favor of males has persisted over the years (Else-Quest, Linn, & Shibley Hyde, 2010; National Science Board, 2008; Ruble, Martin, & Berenbaum, 2006). This gender gap in spatial reasoning has had substantial societal impact on the career interests of females in areas of Science, Technology, Engineering, and Math (STEM), contributing to the larger societal need to engage non-dominant groups in these fields to reduce outsourcing (Ceci & Williams, 2007; Jaschik, 2007; Wai, Lubinski, & Benbow, 2009; White, 1992). Both spatial reasoning ability and STEM career interest have been related to science museum visits (Hamilton, Nussbaum, Kupermintz, Kerkhoven, & Snow, 1995; Salmi, 2001, 2002). However, researchers have also found a gender gap in favor of males in regard to science museum attendance and experiences once at the museum (Borun, 1999; Crowley, 2000). There are many suggestions for increasing female engagement at science museums and creating equitable experiences, but few have been systematically studied (Kekelis, Heber, & Countryman, 2005; Koke, 2005; Maher, 2005; Taylor, 2005). This research investigated gender equitable exhibit development by enhancing a geometry exhibit with several female-friendly design features and analyzing video data to determine the effects on girls' engagement and social interactions with their caregivers. The findings suggest that incorporating several female-friendly design features leads to significantly higher engagement for girls (evidenced by greater attraction and time spent). This study also looked for any unanticipated negative effects for boys after incorporating the female-friendly design features. It is encouraging that this study was unable to detect any unintended negative effects for boys; however, such non-significant results are inconclusive and should not dissuade future research and design teams from continuing to check for unanticipated ill effects of female-friendly design features for boys. While the positive effects for girls were significant, it is important to note that they were not significantly more positive for girls than for boys; further research is needed to determine whether the female-friendly design features create a more equitable experience for girls, or a more positive experience for everyone. This study did not identify any significant differences in parent-child verbal social interactions between the two versions of the exhibit; however, the pattern of results suggests that gender discrepant parent explanations, as found by Crowley, 2001 in a children's museum, may be less of a concern for girls in science centers, providing an interesting area for future study. This research presents evidence to support incorporating female-friendly design features in future science exhibit development projects, and indicates areas where future studies are still needed to gain a deeper understanding of their effects.
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Benne, Marcie Rae. "Methods for assessing influences of the visual-spatial environment on museum display attraction". Diss., Georgia Institute of Technology, 2001. http://hdl.handle.net/1853/30341.

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Naujokaitis, Alina. ""Inside outer space exhibitions" : a museum intern's view of multi-sited exhibit performativity in Smithsonian Institution space culture /". Connect to online version, 2009. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2009/.pdf.

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Książki na temat "Sound in museum exhibits"

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Wolska-Pabian, Karolina. Muzeum i zmiana: Losy muzeów narracyjnych. Warszawa: Muzeum Powstania Warszawskiego, 2019.

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Stephanie, Glagla-Dietz, Jacoby Marianne 1959- i Matter Max, red. Museum im Dialog. Marburg: Jonas Verlag, 1999.

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Djurslev, Anders Thrue, i Mathias Kokholm. Museum for fremtiden. Aarhus: Antipyrine, 2022.

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Harvard University. Museum of Comparative Zoology. About the exhibits. Wyd. 3. Cambridge, Mass: Museum of Comparative Zoology, Harvard University, 1985.

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Neal, Arminta. Exhibits for the small museum: A handbook. Walnut Creek, Calif: AltaMira Press, 1996.

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Shiryōkan, Shibusawa. Shibusawa Memorial Museum guide to the exhibits. Tokyo: Shibusawa Memorial Museum, 2009.

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Reiko, Yanagi, i Inro Museum, red. Inro Museum: A photographic record of exhibits. Takayama City: Inro Museum, 1990.

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Shiryōkan, Shibusawa. Shibusawa Memorial Museum guide to the exhibits. Tokyo: Shibusawa Memorial Museum, 2009.

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Qi, Mei. Bo wu guan chen lie zhan lan nei rong ce hua yu shi shi. Beijing: Wen wu chu ban she, 2009.

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Maznyĭ, N. V. Muzeĭnai͡a︡ vystavka: Istorii͡a︡, problemy, perspektivy. Moskva: [s.n.], 1997.

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Części książek na temat "Sound in museum exhibits"

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Müller, Ana, Michael Schiffmann, Anke Neumeister i Anja Richert. "Exploring Beyond the Exhibits". W Edition Museum, 273–86. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839467107-026.

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Technological advancements are integrating social robots into public spaces. The scientific community has consequently become aware that relying on laboratory studies may not be the best approach to developing (social) robots, particularly when they are meant to interact with humans. Studies of human- robot interaction in real-world settings, such as museums, are deemed more beneficial in under- standing the complexities of these interactions (Sabanovic et al. 2006). Our goal in conducting this study was thus to better understand the requirements with respect to social robots in public spaces and to make them as representative of real-world conditions as possible by drawing on actual users, systems, and environments for real-world tasks. Our analysis of user utterances offers insights into identifying user expectations as well as system limitations and weaknesses that can be addressed through further development and training.
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de Jong, Steffi. "Museum". W Handbuch Sound, 291–95. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-05421-0_53.

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Middleton, Margaret. "Making exhibits for young children". W Welcoming Young Children into the Museum, 91–108. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003055198-6.

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Tomaka, Agnieszka, Leszek Luchowski i Krzysztof Skabek. "From Museum Exhibits to 3D Models". W Man-Machine Interactions, 477–86. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-00563-3_50.

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Kiriyama, Takashi, i Masahiko Sato. "Aesthetic Design of Interactive Museum Exhibits". W Communications in Computer and Information Science, 5–11. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-31479-7_2.

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Partarakis, N., M. Antona i C. Stephanidis. "Adaptable, Personalizable and Multi User Museum Exhibits". W Curating the Digital, 167–79. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-28722-5_11.

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Brooks, Jeanice. "Music and stories of space in the historic house museum". W Sound Heritage, 214–35. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429281327-12.

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Kiriyama, Takashi, i Masahiko Sato. "Design and Analysis of Interactions with Museum Exhibits". W Lecture Notes in Computer Science, 182–89. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-25167-2_22.

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Ikei, Yasushi, Ken Ishigaki, Hirofumi Ota i Keisuke Yoshida. "Image Mnemonics for Cognitive Mapping of the Museum Exhibits". W Human Interface and the Management of Information: Applications and Services, 268–77. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40397-7_26.

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Rammos, Dimitris, i Tharrenos Bratitsis. "Museum Exhibits that Interact with Pupils’ Mobile Devices. The Case of Hellenic Maritime Museum". W Internet of Things, Infrastructures and Mobile Applications, 189–201. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49932-7_19.

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Streszczenia konferencji na temat "Sound in museum exhibits"

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Tomlinson, Brianna J., R. Michael Winters, Christopher Latina, Smruthi Bhat, Milap Rane i Bruce N. Walker. "Solar System Sonification: Exploring Earth and Its Neighbors Through Sound". W The 23rd International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2017. http://dx.doi.org/10.21785/icad2017.027.

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Informal learning environments (ILEs) like museums incorporate multi-modal displays into their exhibits as a way to engage a wider group of visitors, often relying on tactile, audio, and visual means to accomplish this. Planetariums, however represent one type of ILE where a single, highly visual presentation modality is used to entertain, inform, and engage a large group of users in a passive viewing experience. Recently, auditory displays have been used as a supplement or even an alternative to visual presentation of astronomy concepts, though there has been little evaluation of those displays. Here, we designed an auditory model of the solar system and created a planetarium show, which was later presented at a local science center. Attendees evaluated the performance on helpfulness, interest, pleasantness, understandability, and relatability of the sounds' mappings. Overall, attendees rated the solar system and planetary details very highly, in addition to providing open-ended responses about their entire experience.
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Yiannoutsou, Nikoleta, Ioanna Papadimitriou, Vassilis Komis i Nikolaos Avouris. ""Playing with" museum exhibits". W the 8th International Conference. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1551788.1551837.

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Basballe, Ditte Amund, i Kim Halskov. "Projections on museum exhibits". W the 22nd Conference of the Computer-Human Interaction Special Interest Group of Australia. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1952222.1952240.

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Hemminger, Bradley M., Gerald Bolus i Doug Schiff. "Visiting virtual reality museum exhibits". W the 2004 joint ACM/IEEE conference. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/996350.996490.

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Johnson, Kyle D., J. C. Díaz i Robert B. Pickering. "Virtual Tours for Museum Exhibits". W Electronic Visualisation and the Arts (EVA 2012). BCS Learning & Development, 2012. http://dx.doi.org/10.14236/ewic/eva2012.18.

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Fosh, Lesley. "Performing Interpretations of Museum Exhibits in Groups". W MobileHCI '15: 17th International Conference on Human-Computer Interaction with Mobile Devices and Services. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2786567.2794346.

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Chen, Dalei. "Museum Exhibits Display the Artistic Expression Fully Reflecting the Exhibits Social Significance". W International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.134.

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Ando, Yuhei, Ruck Thawonmas i Frank Rinaldo. "Inference of Viewed Exhibits in a Metaverse Museum". W 2013 International Conference on Culture and Computing (Culture Computing). IEEE, 2013. http://dx.doi.org/10.1109/culturecomputing.2013.73.

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Wynn, Nathan, Kyle Johnsen i Nick Gonzalez. "Deepfake Portraits in Augmented Reality for Museum Exhibits". W 2021 IEEE International Symposium on Mixed and Augmented Reality Adjunct (ISMAR-Adjunct). IEEE, 2021. http://dx.doi.org/10.1109/ismar-adjunct54149.2021.00125.

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Long, Duri. "Conducting Remote Design Research on Embodied, Collaborative Museum Exhibits". W CHI '23: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3544549.3573842.

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Raporty organizacyjne na temat "Sound in museum exhibits"

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Shubinski, R. [Energy education exhibits for Insights El Paso Science Museum]. Office of Scientific and Technical Information (OSTI), maj 1998. http://dx.doi.org/10.2172/639730.

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Peshkin, M. Scientific support of SciTech museum exhibits and outreach programs. Office of Scientific and Technical Information (OSTI), sierpień 1995. http://dx.doi.org/10.2172/166509.

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