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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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Fairchild, Charles. "LET US NOW PRAISE FAMOUS GUITARS: PERSONA AND THE MATERIAL DISPLAYS OF POPULAR MUSIC MUSEUMS". Persona Studies 5, nr 1 (11.07.2019): 61–74. http://dx.doi.org/10.21153/psj2019vol5no1art841.
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The study of popular music museums has expanded greatly in the past decade or so. The numerous studies produced so far have largely focused on issues to do with tourism, heritage, and curatorship. Most analysis has attempted to gauge the effectiveness and degree of success of the various methods of constructing and displaying collections of sounds, objects, and ideas. One area that can be of interest in moving beyond these analyses of museum practice is to examine how larger ideologies of artistry and artists that pervade the celebrity personas so assiduously built around famous musicians are an important foundation for these museums’ displays. There are two reasons for the value of this approach. First, it should be clear that most exhibits in popular music museums are built to enhance, not contest already-existing images, historical narratives, and genre-defining attributes that surround well-known musicians. Therefore, it is not possible to understand these institutions without some sense of how they work with musician personas that necessarily precede any presentation in museum exhibitions. Second, we can see this dynamic in extraordinarily concise forms when we examine some of the ‘famous objects’ these museums display. We can often see an entire complex of received ideas about an artist encapsulated in just a few well-known objects they once possessed. From this I will suggest that the personas of famous musicians that appear in most popular music museums do so through varied amalgams of symbolic and material forms meant to stabilise or enhance already-existing ideas about canonically-validated ‘great’ artists.
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Cho, Jun-Dong, i Yong Lee. "ColorPoetry: Multi-Sensory Experience of Color with Poetry in Visual Arts Appreciation of Persons with Visual Impairment". Electronics 10, nr 9 (30.04.2021): 1064. http://dx.doi.org/10.3390/electronics10091064.
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Visually impaired visitors experience many limitations when visiting museum exhibits, such as a lack of cognitive and sensory access to exhibits or replicas. Contemporary art is evolving in the direction of appreciation beyond simply looking at works, and the development of various sensory technologies has had a great influence on culture and art. Thus, opportunities for people with visual impairments to appreciate visual artworks through various senses such as hearing, touch, and smell are expanding. However, it is uncommon to provide a multi-sensory interactive interface for color recognition, such as integrating patterns, sounds, temperature, and scents. This paper attempts to convey a color cognition to the visually impaired, taking advantage of multisensory coding color. In our previous works, musical melodies with different combinations of pitch, timbre, velocity, and tempo were used to distinguish vivid (i.e., saturated), light, and dark colors. However, it was rather difficult to distinguish among warm/cool/light/dark colors with using sound cues only. Therefore, in this paper, we aim to build a multisensory color-coding system with combining sound and poem such that poem leads to represent more color dimensions, such as including warm and cool colors for red, orange, yellow, green, blue, and purple. To do this, we first performed an implicit association test to identify the most suitable poem among the candidate poems to represent colors in artwork by finding the common semantic directivity between the given candidate poem with voice modulation and the artwork in terms of light/dark/warm/color dimensions. Finally, we conducted a system usability test on the proposed color-coding system, confirming that poem will be an effective supplement for distinguishing between vivid, light, and dark colors with different color appearance dimensions, such as warm and cold colors. The user experience score of 15 college students was 75.1%, that was comparable with the color-music coding system that received a user experience rating of 74.1%. with proven usability.
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Cebul, Brent. "The National Museum of American History’s American Enterprise Exhibit and the Value of Structurally Sound History". American Quarterly 68, nr 4 (2016): 1061–79. http://dx.doi.org/10.1353/aq.2016.0081.
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Goryacheva, Olga N., Svetlana М. Arefyeva i Кseniia I. Arefyeva. "Semantics of Tatar ornamental motives". Laplage em Revista 6, Extra-A (14.12.2020): 87–96. http://dx.doi.org/10.24115/s2446-622020206extra-a562p.87-96.
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The decorative and applied art of the Kazan Tatars includes ornamental motives which are studied in the article from the point of view of the art semiotics. The relevance of the work is associated with realization of the relationship between the formation of ornamental elements with gesture and sound which in the process of evolution promoted to the creation of a pictorial language. The detected interaction is revealed through the description and ornamentation analysis method in all its forms: geometric outline, zoomorphic, plant, combined, religious, epigraphic, heraldic embodied by the Kazan Tatars in the objects of decorative and applied art. A review of the museum and collection base exhibits of ornamental art objects helped to classify them according to the types of ornamentation: visual, combined and non-visual. The aim of the paper was to analyze the ethno cultural features of Tatar art through the semantics of ornamental motives.
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Pietroni, Eva, Daniele Ferdani, Massimiliano Forlani, Alfonsina Pagano i Claudio Rufa. "Bringing the Illusion of Reality Inside Museums—A Methodological Proposal for an Advanced Museology Using Holographic Showcases". Informatics 6, nr 1 (4.01.2019): 2. http://dx.doi.org/10.3390/informatics6010002.
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The basic idea of a hologram is an apparition of something that does not exist but appears as if it was just in front of our eyes. These illusion techniques were invented a long time ago. The philosopher and alchemist Giovanni Battista della Porta invented an effect that was later developed and brought to fame by Prof. J. H. Pepper (1821–1900) and applied in theatrical performances. The innovation nowadays consists in the adopted technology to produce them. Taking advantage of the available digital technologies, the challenge we are going to discuss is using holograms in the museum context, inside showcases, to realize a new form of scenography and dramaturgy around the exhibited objects. Case studies will be presented, with a detailed analysis of the EU project CEMEC (Connecting Early Medieval European Collections), where holographic showcases have been designed, built and experimented in EU museums. In this case, the coexistence in the same space of the real artifact and the virtual contents, and interior setup of the showcase, its dynamic lighting system, the script and the sound, converge to create an expressive unity. The reconstruction of sensory and symbolic dimensions that are ‘beyond’ any museum object can take the visitor in the middle of a lively and powerful experience with such technology, and represents an advancement in the museological sector. User experience results and a list of best practices will be presented in the second part of the paper, out of the tests and research activities conducted in these three years of the project.
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Pezzoli, Mirco, Antonio Canclini, Fabio Antonacci i Augusto Sarti. "A comparative analysis of the directional sound radiation of historical violins". Journal of the Acoustical Society of America 152, nr 1 (lipiec 2022): 354–67. http://dx.doi.org/10.1121/10.0012577.
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The directivity pattern of a musical instrument describes the sound energy radiation as a function of frequency and direction of emission. Violins exhibit a rather complex directivity pattern, which is known to show rapid variations across frequencies, and whose behavior cannot be easily predicted except in the lowest frequency range. The acoustic behavior of the violin is a fascinating research topic that has prompted numerous published works, but a thorough, comprehensive, and comparative analysis of violin directivity patterns is long overdue. In this article, we propose a set of metrics for characterizing the radiative behavior of musical instruments and, in particular, for comparing their directivity patterns. We apply such metrics for a comparative analysis of the directivity patterns of some of the most prestigious historical violins ever made, including grand masters such as Antonio Stradivari, Giuseppe Guarneri “del Gesú” and members of the Amati family. The instruments are preserved in the Violin Museum of Cremona, Italy, where our lab is located. The analysis methodology introduced in this work allowed us to quantitatively evaluate the similarity of directivity patterns of such extraordinary instruments and draw some interesting conclusions.
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Cho, Jun Dong. "A Study of Multi-Sensory Experience and Color Recognition in Visual Arts Appreciation of People with Visual Impairment". Electronics 10, nr 4 (15.02.2021): 470. http://dx.doi.org/10.3390/electronics10040470.
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Visually impaired visitors experience many limitations when visiting museum exhibits, such as a lack of cognitive and sensory access to exhibits or replicas. Contemporary art is evolving in the direction of appreciation beyond simply looking at works, and the development of various sensory technologies has had a great influence on culture and art. Thus, opportunities for people with visual impairments to appreciate visual artworks through various senses such as hearing, touch, and smell are expanding. However, it is uncommon to provide an interactive interface for color recognition, such as applying patterns, sounds, temperature, or scents. This review aims to convey the visual elements of the work to the visually impaired through various sensory elements. In addition, to open a new perspective on appreciation of the works, the technique of expressing the color coded by integrating patterns, temperature, scent, music, and vibration was explored, and future research topics were presented.
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Wilson, Benjamin, Joshua Hull i Damian Schofield. "An Evaluation of the use of Audio Guidance in Augmented Reality Systems Implemented at Sites of Cultural Heritage". International journal of Multimedia & Its Applications 14, nr 02 (30.04.2022): 1–23. http://dx.doi.org/10.5121/ijma.2022.14201.
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Recently, museums and historic sites have begun reaching out beyond their traditional audience groups, using more innovative digital display technology to find and attract a new audience. Virtual, mixed, and Augmented Reality (AR) technologies are becoming more ubiquitous in our society and “virtual history” exhibits are starting to be available to the public. There are numerous studies focusing on AR, however a scant amount of research is being done at historical sites. An initial experiment used repeated measures (ANOVA) to compare and rank three different types of AR devices used at a site of cultural heritage. A further experiment was then undertaken to observe participants using two different AR devices with and without sound to determine if which device used or the presence of sound impact the usability of the device, or the user’s satisfaction/preference of specific devices. Several surveys, including demographic and usability surveys, were provided in order to collect a range of user data. A two-way repeated measures (ANOVA) were used to analyze the quantitative data gathered. No significant effects were observed based on the quantitative data provided by the surveys, indicating that all devices were equally usable and satisfactory, and that sound did not have a significant impact in this instance. However, the qualitative data indicated that users may prefer using AR technology on a smartphone device and preferred to use this device paired with sound.
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Parent, Anne. "A Virtual Environment Task-Analysis Tool for the Creation of Virtual Art Exhibits". Presence: Teleoperators and Virtual Environments 8, nr 3 (czerwiec 1999): 355–65. http://dx.doi.org/10.1162/105474699566279.
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This paper describes the creation of a hypothetical virtual art exhibit using a virtual environment task analysis tool. The Virtual Environment Task Analysis Tool (VETAT-ART) is a paper-and-pencil tool developed to provide structure and guidance to the needs-analysis process that is essential to the development of lifelike virtual exhibits. To illustrate its potential usefulness, VETAT-ART is applied to the design of a historical art exhibit. The first part of the article draws a general profile of our sample application. It introduces organizational-, user-, and task-related factors typically collected when designing or modifying most computer-based systems. The second part of the paper presents the user and task requirements unique to the creation of a virtual environment. Task requirements determine the contents of various storyboards and draw the architecture of the environment. Storyboards describe the images, sounds, sensations, and scents to be found in individual galleries. The architecture establishes a sensible order in which the galleries may be accessed. User requirements determine the human sensory, cognitive, and ergonomic needs relevant to the key activities museum visitors are expected to perform. Activities include visualization and inspection, exploration, and the manipulation of virtual artifacts. Eight goal-categories define user requirements. Visual, auditory, and haptic requirements are determined by humansensory issues. Features relevant to memory capacity, information load, and mental models describe cognitive issues. Physical and physiological considerations are determined by human ergonomics. The third section of the paper suggests usability goals and possible measures of success. In conclusion, limitations and potential extensions of the tool are discussed.
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Stępień, Piotr M. "WAWEL W POLSKIM SYSTEMIE SŁUŻB KONSERWATORSKICH". Protection of Cultural Heritage, nr 1 (30.05.2016): 117–19. http://dx.doi.org/10.24358/odk_2016_01_12.
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The article describes the system of historic preservation care provided to the architectural complex of outstanding historical value located on the Wawel Hill. The historic preservation supervision is organised in a very particular way, i.e. responsibilities of the Regional Historic Preservation Officer are delegated to the Head of the Wawel Royal Castle acting as Historic Preservation Officer of the Wawel Hill. His area of competence covers the entire Wawel Hill within the boundaries set forth in the register of historic monuments and sites (A-7), i.e. not only the museum premises and the land on which it is located (owned by the State Treasury) but also church facilities (including Wawel Cathedral) and hill slopes for which Cracow Municipality is responsible. It seems that there are sound reasons behind the scope of historic preservation supervision covering both movable (exhibit items) and immovable (architecture) properties. With regard to Wawel, it is also particularly important to keep this ensemble of great historical significance under joint historic preservation supervision. It is therefore not recommended for three separate bodies, i.e. the museum, the church, and the municipality, to be responsible for this group of historic monuments. This results from the fact that a standardised and uniform concept needs to be defined for this ensemble and a great number of problems pertaining to technical and conservation issues need to be solved comprehensively. Furthermore, this article details duties carried out by Historic Preservation Officer of the Wawel Hill and explores matters for which Regional Conservation Officer is responsible. The author is of the opinion that the organisation of the discussed historic preservation supervision may be a role model for other residences of great historical value and other protected ensembles used as museums.
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Filatova, Tetiana. "Bolivian “Music of the Wind” in guitar works: aspects of artistic implementation". Scientific herald of Tchaikovsky National Music Academy of Ukraine, nr 136 (28.03.2023): 179–97. http://dx.doi.org/10.31318/2522-4190.2023.136.276574.
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The relevance of the article is to consider Bolivian guitar music as an important component of the modern South American repertoire. On the example of the works of famous composers and performers Alfredo Domínguez, Fernando Arduz, and Jilberto Rojas, connections with the folklore traditions of the country, the poetics of Bolivian "wind music", and its timbre specificity have been revealed.
Main objective of the study is to reveal aspects of the artistic embodiment of Bolivian «music of the wind» in academic guitar work. The scientific novelty of the article lies in the introduction of materials about Bolivian musical culture and guitar creativity into domestic musicological circulation.
The methodology includes methods of historical, comparative, phenomenological, structural and functional analysis to study: genre and style elements of Bolivian folk music of Indian and Creole origin in academic guitar work; organology of traditional instruments and timbre characteristics of sound; phenomena of imitation of the voices of nature, the timbres of Bolivian wind, percussion, and string-plucked instruments by modern guitar means of sound production; genealogy of rhythmic structures and their manifestations in the researched works; decorative and visual ritual attribution; correlation of associative-figurative series with timbre connotations, specific genres and intonation and chord patterns; anthropological connections of the sound space of «music of the wind» with the surrounding natural and landscape environment and the state of metaphysical dialogue of man with the surrounding world.
Results and conclusions. In the analyzed compositions («Feria», «Por la Quebrada» by A. Dominguez, «Despedida de Los Chunchos» by F. Arduz, «Guadalquivir» by J. Rojas) various resources of performing guitar technique used to imitate the voices of nature, authentic timbres of ancient Bolivian aerophones quena, erke, сaña, membranophones caja, local chordophones charango, relevant in modern conditions of collective ritual music-making practice. Sound and image connotations are correlated with the voices of Bolivian folk instruments, ritual decorations, plasticity of dance movements, visualization of natural landscapes and attribution of totemic cultures. In the process of defining genre components, the contrasts of juxtapositions were demonstrated: takirari, tonada and Andean huayño, ceremonial Indian ceremonies and sardana dance of Iberian origin, metric fluctuations of Creole and Indian rhythms, melodic movements of pentatonic nature with melismatic ornaments of the Andean type. Linguistic and genre characteristics of guitar works were investigated taking into account the anthropological experience of Bolivian scientists studying their musical and ceremonial culture, which in particular determined the search for the historical roots of musical phenomena among the exhibits of archaeological museums, exhibits of musical instruments, and artifacts of the life of indigenous peoples.
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SANDOVAL, LUIS, PIERRE-PAUL BITTON, ALANA D. DEMKO, STÉPHANIE M. DOUCET i DANIEL J. MENNILL. "Phenotypic variation and vocal divergence reveals a species complex in White-eared Ground-sparrows (Cabanis) (Aves: Passerellidae)". Zootaxa 4291, nr 1 (11.07.2017): 155. http://dx.doi.org/10.11646/zootaxa.4291.1.9.
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The taxonomy of the genus Melozone has recently been analyzed from genus to subspecies level, leading to a significant revision of our understanding of this group of birds. Previous studies quantified differences in phenotypic traits, behavior, and genotypes, to provide a better understanding of the underappreciated diversity within Melozone and the relationship between species within this genus. Yet the relationship between the subspecies of White-eared Ground-sparrows, Melozone leucotis, has not received thorough taxonomic scrutiny. In this study, we evaluate the taxonomic status of the three recognized subspecies of M. leucotis using multiple morphometric characteristics, plumage color features, and vocalizations. We measured plumage patterns and reflectance from museum specimens, morphometric features from museum specimens and live birds, and vocal characteristics from sound recordings. We observed substantial variation between subspecies in plumage, morphometry, and voice, especially between northern and southern birds. The phenotypic and vocal differences exhibited by M. l. occipitalis (from Chiapas, Mexico; Guatemala; and El Salvador) suggest that its taxonomic relationship with the M. l. leucotis and M. l. nigrior complex (from Costa Rica and Nicaragua, respectively) needs to be reevaluated, because these two groups are highly diagnosable from one another. Additionally, M. l. occipitalis is geographically isolated from the other two subspecies, reducing the probability of contact by natural causes in the near future. Based on the clear differences in voice, plumage, and morphometric features reported here, we propose that M. l. occipitalis be recognized as a distinct species, M. occipitalis (Salvin's Ground-sparrow), diagnosed on the basis of its longer tail, longer bill, duller plumage, and songs with a lower frequency of maximum amplitude.
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Chen, Chih Ho, i Sheng-Min Hsieh. "The Research of Aesthetics of Type as Image in Motion-Targeting Video Poetics at Type Motion: Type as Image in Motion Exhibition in Taiwan". Advances in Social Sciences Research Journal 7, nr 6 (22.06.2020): 190–207. http://dx.doi.org/10.14738/assrj.76.8387.
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Characters are signs and symbols that record our thoughts and feelings and allow the documentation of events and history. Later, the appearance of motion images marked a new milestone in the use and application of characters. Not only were the original function of characters improved and enhanced, text that integrate sound and images are also able to communicate much more diverse and abundant information. This technique is commonly found in cinema, television, advertisement, and animation. Thanks to technological advances, the combination of characters, texts, or types and images once again changed how we read. It has also created new meaning for our time. Today, type image seems to have achieved an aesthetic autonomy of their own. This has a profound impact on image and art creation and human communication.
The emergence of cinema art in the late 19th century brought motion into written media and greatly expanded the possibilities of art. In today’s world of instant communication media, text and images face unprecedented changes. Chinese characters are one of the most ancient writing systems in human history. Unlike western alphabet, each Chinese character has its own form, sound, and meaning. Chinese characters are a highly figurative cultural element. This essay takes Chinese characters and the works featured in the concrete poetry/sound poetry and fragment poetry categories in the National Taiwan Museum of Fine Arts “Type Motion: Type as Image in Motion” exhibition as the subject of study to examine the history of text and media and changes in the way we deliver information and communicate. This essay also provides an analysis of the relationship between text and motion image and the interdependency between culture and technology and media. The connections and differences between Chinese characters in different time and space is also investigated to highlight the uniqueness of the characters as a medium, its application in motion writing techniques and aesthetic forms.
This essay focuses on the following four topics:
Artistic expression and styles related to the development of type as image in motion.
Video poetics: the association between poetics and video images, poetic framework, and analysis of film poetry.
Structure, format, characteristics, and presentation of meaning in concrete poetry/sound poetry, and fragment poetry.
how Chinese characters are used in Taiwan and the aesthetic features of type through the exhibited works.
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Leivategija, Karin. "Filmid Eesti Rahva Muuseumi püsinäitusel „Kohtumised“". Eesti Rahva Muuseumi aastaraamat 62, nr 1 (20.12.2019): 101–22. http://dx.doi.org/10.33302/ermar-2019-004.
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The world’s first film specifically produced for an exhibition was displayed in the American Museum of Natural History back in 1930. In the 1960s the Estonian National Museum also began to collect actively ethnographic film material during fieldwork, but its use in exhibitions was marginal. The films at the museum’s new permanent exhibition, ’Encounters’, however, contribute significantly to the visual and content identity of the display and invite visitors to engage in a social and cultural dialogue. Along with the showcases, the films create a visual rhythm in the display hall, and their visuals and sound accompany visitors throughout the entire exhibition. By virtue of presenting diverse perspectives and their integration with the surrounding display, the films can visibly and audibly join in the discussions that ’Encounters’ seeks to elicit. The films of ’Encounters’ focus on the past and present inhabitants of the territory of Estonia, primarily, who have their subjective views and particular life experience and through whom an exhibition visitor can gain an insight into the broader cultural and social context. If in the past, museum films and display items were strictly curated, with the power to create and distribute knowledge concentrated in the hands of curators-filmmakers, then at present the role of museum visitors examining the material has increasingly become more active. Without a recourse to the voice-over or music, which prescribe to the visitors how they should perceive and construe the content, visitors can experience and decipher the films independently. Without the curator’s direct didactical intervention, visitors are free to assign a personal meaning to the themes presented. The films of ’Encounters’, which are unconventionally slow and long-lasting for contemporary people, offer a challenge and opportunity for thoughtful reflection. My own video exhibit ’Stories of Freedom’, which presents the thoughts of nearly 80 inhabitants of Estonia on the subject of freedom in the form of videotaped interviews and written citations, explores meanings and ideas that are abstract and nonmaterial but universally inherent to human beings. The documentaries of Marko Raat take a detailed look at various processes and work techniques from traditional as well as modern life. His films deal with some cultural practices that are still in use but inevitably vanishing as well as some contemporary practices such as a day at a supermarket checkout belt, or activities in the kitchens of top chefs. Raat’s scripted portrait films summon up the lives of people from the past. By his use of aesthetically eclectic and stylised form instead of maximally accurate reconstruction, the filmmaker deliberately minimises the possibility of the films being seen as accurate representations of history. Although the films are not historically faithful depictions in terms of their aesthetics, Raat has used archival documents and authentic museum objects as the films’ source material. Thus, by building on historical documents and objects, he has created characters who tell their real-life stories on the vertical screens, look into the eyes of the visitors and go about their business. The text of archival documents has been brought to life in a historical re-enactment, and the use of authentic objects illustrates the context in which these objects were originally used. When film is integrated with other materials, such as written citations in the video exhibit ’Stories of Freedom’ or traditional costumes in the film ’Clothing’, we are able to detect connections and associations which would not have emerged in isolation. By observing the exhibited items through the perspective of the people who have used and experienced them, such as the traditional dress that an elderly lady from the island of Kihnu puts on, we can also sense more keenly the meaning of these objects. Their story becomes visible through the perspective of the user. The exhibition films can also efficiently describe daily life from thousands of years ago, of which there are no visual records. For instance, the experiment of grinding a stone axe in the film ’Touchstone of Patience’, gives us a sense of what people in the Stone Age had to routinely endure. Combining film with some authentic stones exhibited nearby, enhances the communicative potential of each exhibition item which would not be as great without such a juxtaposition. Traditional work practices, goods placed on the supermarket checkout belt, thoughts on freedom expressed by people with different age, social and cultural backgrounds comprise an important ethnographic material which will unlock stories of modern Estonia in a diversified and polyvocal manner in the future as well.
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Nemirovsky, Ricardo, Molly L. Kelton i Bohdan Rhodehamel. "Playing Mathematical Instruments: Emerging Perceptuomotor Integration With an Interactive Mathematics Exhibit". Journal for Research in Mathematics Education 44, nr 2 (marzec 2013): 372–415. http://dx.doi.org/10.5951/jresematheduc.44.2.0372.
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Research in experimental and developmental psychology, cognitive science, and neuroscience suggests that tool fluency depends on the merging of perceptual and motor aspects of its use, an achievement we call perceptuomotor integration. We investigate the development of perceptuomotor integration and its role in mathematical thinking and learning. Just as expertise in playing a piano relies on the interanimation of finger movements and perceived sounds, we argue that mathematical expertise involves the systematic interpenetration of perceptual and motor aspects of playing mathematical instruments. Through 2 microethnographic case studies of visitors who engaged with an interactive mathematics exhibit in a science museum, we explore the real-time emergence of perceptuomotor integration and the ways in which it supports mathematical imagination.
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Broman, Arne, i Lars Broman. "Museum Exhibits for the Conics". Mathematics Magazine 67, nr 3 (1.06.1994): 206. http://dx.doi.org/10.2307/2690611.
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Imai, Yunoshin. "Exhibits of the Metals Museum." Materia Japan 34, nr 10 (1995): 1158–65. http://dx.doi.org/10.2320/materia.34.1158.
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DANILOV, VICTOR J. "Corporate Sponsorship of Museum Exhibits". Curator: The Museum Journal 31, nr 3 (wrzesień 1988): 203–30. http://dx.doi.org/10.1111/j.2151-6952.1988.tb00693.x.
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Broman, Arne, i Lars Broman. "Museum Exhibits for the Conics". Mathematics Magazine 67, nr 3 (czerwiec 1994): 206–9. http://dx.doi.org/10.1080/0025570x.1994.11996213.
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Cogan, D. G. "Academy Exhibits and the Museum". Archives of Ophthalmology 103, nr 2 (1.02.1985): 189. http://dx.doi.org/10.1001/archopht.1985.01050020041014.
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Hayes, C. "Museum exhibits brought to life". Engineering & Technology 18, nr 2 (1.03.2023): 48–51. http://dx.doi.org/10.1049/et.2023.0209.
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Hayes, C. "Museum exhibits brought to life". Engineering & Technology 18, nr 2 (1.03.2023): 48–51. http://dx.doi.org/10.1049/et.2023.3209.
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Skalska-Cimer, Beata, i Andrzej Kadłuczka. "Virtual Museum. Museum of the Future?" Technical Transactions 2022 (2022): 1–6. http://dx.doi.org/10.37705/techtrans/e2022004.
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The following article discusses examples of museums that implement virtual reality in presentations of exhibits and museum objects. Trends that shape contemporary museums are discussed. The aim of the article is to familiarise the reader with the possibilities of modern applications in museum exhibition presentations.
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Elwick, Alex, Pam Burnard, Jayne Osgood, Laura Huhtinen-Hildén i Jessica Pitt. "Young children’s experiences of music and soundings in museum spaces: Lessons, trends and turns from the literature". Journal of Early Childhood Research 18, nr 2 (9.12.2019): 174–88. http://dx.doi.org/10.1177/1476718x19888717.
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This article considers the value and role of early years music and sound activities in museum spaces – in relation to children themselves, as well as to their families and wider communities. The article reviews literature around early years music and sound activities; early childhood and the museum; and the use of music and sound in museum spaces – reflecting on reconceptualisation’s of the child within museum spaces and in relation to music and sound. In particular, the article highlights gaps in the literature that present an opportunity to explore the role of music and sound with young children (and particularly with so-called ‘hard-to-reach’ communities or families) within museums.
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Mortensen, Christian Hviid. "A Museological Approach: Radio as Immaterial Heritage". SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, nr 2 (31.12.2012): 21–35. http://dx.doi.org/10.7146/se.v2i2.6258.
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Radio is a major part of our media heritage, but it is seldom featured in exhibitions or as part of museum collections. Museums traditionally operate with a material concept of artefacts, but with the advent of electronic and digital media the need for a broader concept to accommodate intangible forms of heritage, such as radio, has become apparent. This article outlines the challenges of conceptualising the sounds of radio as artefacts of cultural heritage to be exhibited in a museological context. These challenges range from the purely theoreti- cal matter of delineating intangible artefacts to more practical and methodological concerns about presenting these kinds of artefacts in exhibitions. An appreciative understanding of radio heritage calls for didactic strategies for bridging the knowledge gap that exists between the majority of modern audiences and the historic radio material. This article proposes possible responses to this challenge based on insights from learning and design theories.
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Hristov, Pavel, i Emiliyan Petkov. "Study of 3D for Web". Innovative STEM Education 1, nr 1 (29.08.2019): 41–47. http://dx.doi.org/10.55630/stem.2019.0106.
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This paper presents solutions for objectives and presentation related to three-dimensional web visualization, implementation of approaches for 3D reconstruction of museum exhibits, creation of models for three-dimensional imaging systems and geometric models of museum exhibits on web, development of web application for displaying three-dimensional images and geometric patterns of museum exhibits.
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Doherty, Paul. "Teaching with Exploratorium sound exhibits". Journal of the Acoustical Society of America 102, nr 5 (listopad 1997): 3198. http://dx.doi.org/10.1121/1.420909.
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Hristov, Pavel, i Emiliyan Petkov. "Study of 3D Technologies for Web". Digital Presentation and Preservation of Cultural and Scientific Heritage 9 (13.09.2019): 309–14. http://dx.doi.org/10.55630/dipp.2019.9.32.
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This paper presents solutions for objectives and presentation related to 3D technology exploration and three-dimensional web visualization, implementation of approaches for 3D reconstruction of museum exhibits, creation of models for three-dimensional imaging systems and geometric models of museum exhibits on web environment, development of web application for displaying threedimensional images and geometric patterns of museum exhibits.
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Kwon, Jungmin. "Guidelines for Serious Game Museum Exhibits". Journal of Korea Game Society 19, nr 4 (31.08.2019): 119–38. http://dx.doi.org/10.7583/jkgs.2019.19.4.119.
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Ucko, David A. "Science Literacy and Science Museum Exhibits". Curator: The Museum Journal 28, nr 4 (24.06.2010): 287–300. http://dx.doi.org/10.1111/j.2151-6952.1985.tb01756.x.
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BUNCH, SNOWDEN, PHILIP JACOBS, WILLIAM LUKSETICH i MARK LANGE. "Do Traveling Exhibits Influence Museum Attendance?" Curator: The Museum Journal 31, nr 2 (czerwiec 1988): 131–36. http://dx.doi.org/10.1111/j.2151-6952.1988.tb00683.x.
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Klausner, Arthur, i Jeffrey Fox. "Museum Exhibits Both Educate and Confound". Nature Biotechnology 6, nr 3 (marzec 1988): 246–47. http://dx.doi.org/10.1038/nbt0388-246.
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Park, Eun Ji. "Read about History with Museum Exhibits". Chongramsahak 39 (31.12.2023): 203–13. http://dx.doi.org/10.36492/crsh.39.6.
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Lønstrup, Ansa. "Facing sound – voicing art". SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, nr 1-2 (1.12.2013): 153–71. http://dx.doi.org/10.7146/se.v3i1-2.15646.
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This article is based on examples of contemporary audiovisual art with a primary focus on the Tony Oursler solo exhibition Face to Face in Aarhus Art Museum ARoS, 2012. My investigation involves a combination of qualitative interviews with visitors, observations of the audience’s interactions with the exhibition and the artwork in the museum space, and short analyses of individual works of art based on reception aesthetics, phenomenology, and newer writings on sound, voice and listening. The focus of the investigation is the quality and possible perspectives of the interaction with audiovisual works of art, articulating and sounding out their own ‘voices’. This methodological combination has been chosen to transgress the dichotomy between the aesthetic or hermeneutic artwork ‘text’ analysis and cultural theory, which focuses on the context understood as the framing, the cultural acts and agendas around the aesthetic ‘text’. The article will include experiences with another exhibition, David Lynch: The Air is on Fire (Fondation Cartier pour l’art contemporain, Paris, 2007 and Kunstforeningen Gl. Strand, Copenhagen, 2010- 2011). The two exhibitions are fundamentally different in their integration of sound. My field of interest concerns the exploration of sound as artistic material in audiovisual combinations and those audiovisual works of art that might cause a change in the participatory strategy of the art museum towards the audience.
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Lisnic, Angela. "Exponatele muzeistice ca surse istorice la orele de istorie în ciclul gimnazial". Revistă de Ştiinţe Socio-Umane = Journal of Social and Human Sciences 42, nr 2 (kwiecień 2019): 79–86. http://dx.doi.org/10.46727/jshs.2019.v42.i2.p79-86.
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The Contemporary Museum offers information, exhibitions and educational activities on understanding and perceiving the past. At the same time, the museum and museum exhibits are important sources in contemporary historical education. The capitalization of museum exhibits as historical sources in history classes in contemporary didactic approach must be made in relation to the concrete historical age. Applying the chronological principle to work with museum sources creates prerequisites for the more nuanced reception and understanding of the past. The use of museum tools in history classes demonstrates the timeliness and timeliness of their application in the teaching process. Involvement of museum sources in history classes increases the interest in the past.
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Serafini, Frank, i Danielle Rylak. "Representations of Museums and Museum Visits in Narrative Picturebooks". Libri et liberi 10, nr 1 (31.08.2021): 45–62. http://dx.doi.org/10.21066/carcl.libri.10.1.3.
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Drawing on a range of theoretical frameworks to illuminate various aspects of visual and textual representations, this study analyses the ways museums, museum visits, and museum exhibits and activities are represented in contemporary narrative picturebooks featuring a child character going to a museum for a variety of reasons. Analysis of approximately fifty museum picturebooks using a multimodal content analysis tool led to the construction of findings in the following themes: representations of museums; representations of museum exhibits; museum visitors; reasons for museum visits; museum activities and events; children’s attitudes while visiting museums; and metaleptic transgressions in picturebook representations. The findings suggest the potential implications of these multimodal texts in the hands of teachers and young readers.
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Everrett, Tom. "A Curatorial Guide to Museum Sound Design". Curator: The Museum Journal 62, nr 3 (lipiec 2019): 313–25. http://dx.doi.org/10.1111/cura.12305.
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Yermakova, Tetiana, Sergii Iermakov, Mateusz Tomanek, Wladyslaw Jagiello i Lidiya Zavatska. "The influence of visitors’ specific motor actions on the perception and evaluation of museum exhibits". Pedagogy of Physical Culture and Sports 27, nr 3 (29.06.2023): 235–46. http://dx.doi.org/10.15561/26649837.2023.0308.
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Background and Study Aim. An important element in the system of museum activities are approaches to attracting visitors. Among these approaches, one can single out the dialogue of the museum with visitors through specially organized active motor actions. Such actions have certain parameters (the nature of physical activity and its age-appropriateness, intensity, duration, etc.), which can influence the perception and evaluation of exhibits and the decision of visitors to return to the museum. The purpose of the study is an attempt to explain how specially organized active motor actions of visitors affect the perception and evaluation of museum exhibits and getting satisfaction from visiting.
Material and Methods. Publications from the Web of Science Core Collection (WoS) were selected as the source of information. The search was carried out using keywords that characterize the interaction of visitors with the subject-spatial environment of the museum. The VOSviewer program was used to analyze the relationships between documents retrieved from WoS.
Results. It is argued that the sedentary behavior of visitors, typical for many museums, does not contribute to their involvement in the museum space and the creation of meaning in museums. It is noted that an important aspect in the organization of special motor actions of visitors is the orientation to their motivation and interpretation of movements in the museum exhibits. The optimal level of physical activity has been identified. It creates a comfortable feeling and contributes to an adequate perception of the exhibits and corresponds to the main mission of the museum.
Conclusions. Specially organized motor actions form the maximum motivation for visitors to study the museum exhibits. Such movements carry a certain semantic character of the theme of the museum.
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Grishina, Natalia V. "THE STRUCTURE OF THE STAFFING THE MUSEUM AS AN OBJECT OF INFORMATIZATION". RSUH/RGGU Bulletin. Series Information Science. Information Security. Mathematics, nr 3 (2021): 74–81. http://dx.doi.org/10.28995/2686-679x-2021-3-74-81.
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As a result of the use of information technologies in their work, museums have acquired qualitatively new opportunities for the registration of exhibits, the preservation of electronic copies of the documents and exhibits, as well as the mode of access to exhibits. Museums strive to become interesting, fashionable, interactive, educational. The modern museum can be fully called an object of informatization. In order to realize all modern possibilities, museums must be staffed with modern personnel. A modern museum worker is not just an art critic with relevant knowledge. A modern museum worker must confidently master the information technologies and use them in the practice. The article analyzes the dynamics of changes in the staff of museum workers over the past six years. It presents the diagram of the distribution of museum workers by the age groups and shows the distribution of museum workers according to their experience. There is an analysis in ratio of the number of men and women among museum workers. The paper analyzes some aspects of staffing the museum as an object of informatization.
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Dziuban, Roman. "Moving of the сollections of the Lubomirsky museum in 1940". Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, nr 13(29) (2021): 264–91. http://dx.doi.org/10.37222/2524-0315-2021-13(29)-16.
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Relevance and purpose. The purpose of the article is to include in the scientific circulation a collection of newly discovered acts and lists of individual collections of the Lubomirsky Museum, which since May 1940 have been submitted to the Lviv Museum Institutions. We believe that these documents deserve further scrutiny and will help identify individual exhibits in the collections of Lviv (and not only Lviv) museums, as well as help locate exhibits that are now considered lost. Research methodology. In order to achieve this, a descriptive method is generally employed. The historical source method and the comparative method were partly used. Historical principles are also especially emphasized. Keywords: Prince Lubomirsky Museum, Ossolineum, Lviv State Museum of History, Regional Art Gallery, Lviv State Art Gallery, Lviv Museum of Art Crafts, Lviv State Ethnographic Museum, collections, exhibits, archeological finds, archeological sites, paintings, carvings, orders, cameos, medallions, watches, furniture, collection weapons.