Relevant bibliographies by topics / Art museum attendance Art museum visitors

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Art museum attendance Art museum visitors'

Author: Grafiati
Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Art museum attendance Art museum visitors"

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Yeshenkulova, G. I., R. Ye Agybetova, Y. E. Galiakbarov, and A. G. Gizzatzhanova. "The impact of modern technology on the activities of museums." Bulletin of "Turan" University, no. 1 (March 31, 2021): 145–51. http://dx.doi.org/10.46914/1562-2959-2021-1-1-145-151.

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The article describes the state of museums in the past, the impact of monotonous activities in the country on the number of visitors, as well as the introduction of new technologies and their impact on museums. The importance of using new technologies in the provision of their services, quickly focused on the modern period of museums that are among the top 10 world-famous museums, is emphasized. Virtual tours in 3D format of several foreign and patronymic museums and exhibitions with the use of modern technologies and augmented virtual reality indicate that the museum's attendance is increasing both online and offline. The situation in our country shows that significant work needs to be done to increase the number of visitors to museums, including the use of new technologies, good advertising, various promotions. This idea can be confirmed by the results of a survey on the use of augmented reality and virtual reality technologies in the museum in our country. The desire of a total of 179 participants to visit the museum confirms the need to develop this area. In the near future, people's visits to museums may change, their situation shows that the industry needs to be developed in the future, there is a great opportunity to deliver art to people previously unavailable, people who do not have the opportunity to travel and visit famous museums have online access to the world's best collections. Strict restrictions due to the pandemic have increased people's interest in listening to virtual tours of museums, which, among other things, is due to the fact that the museums themselves are beginning to quickly direct visitors to online tours.
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DiMaggio, Paul. "Are art-museum visitors different from other people? The relationship between attendance and social and political attitudes in the United States." Poetics 24, no. 2-4 (1996): 161–80. http://dx.doi.org/10.1016/s0304-422x(96)00008-3.

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최성희. "Visitors' Narrative Identities at an Art Museum." Journal of Research in Art Education 9, no. 1 (2008): 135–49. http://dx.doi.org/10.20977/kkosea.2008.9.1.135.

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López Sintas, Jordi, Ercilia García Álvarez, and Elena Pérez Rubiales. "Art museum visitors: interaction strategies for sharing experiences." Museum Management and Curatorship 29, no. 3 (2014): 241–59. http://dx.doi.org/10.1080/09647775.2014.919175.

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Hall, Margery J. "Information presentation format preferences of art museum visitors." Journal of Business and Psychology 2, no. 3 (1988): 279–84. http://dx.doi.org/10.1007/bf01014045.

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Roth, Emily. "Open to all museum visitors: the Uris Library in the Metropolitan Museum of Art." Art Libraries Journal 24, no. 4 (1999): 26–28. http://dx.doi.org/10.1017/s0307472200019775.

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The Uris Library and Teacher Resource Center is the only library in the Metropolitan Museum of Art open to all Museum visitors. Its 6,000 books, 900 videos and growing numbers of CD-ROMs and electronic resources serve ever increasing numbers of the Museum’s public. Students and teachers, Museum members, Museum educators and volunteers, as well as general Museum visitors all use the Library.
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Fitriana, Rina, Nurima Rahmitasari, and Marcelina Yoseli. "Analisis Motivasi Pengunjung Museum Macan Jakarta." Jurnal Ilmiah Pariwisata 25, no. 1 (2020): 76. http://dx.doi.org/10.30647/jip.v25i1.1362.

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MACAN Museum (Museum of Modern and Contemporary Art in Nusantara) has a wide collection of modern and contemporary Indonesian arts up to the first international scale in Indonesia, and is one of the tourist attractions in Jakarta that is preferred by various circles. The collection is packaged with the concept of art shows and exhibitions that can be enjoyed by every visitor. This research aims to analyze the motivation of visitors coming to the museum using quantitative descriptive methods. Unit of analysis is the visitors of MACAN museum, meanwhile the independent variable is the visitors’ motivation. Data was taken by giving questionnaire to 100 respondents, having observation, and doing structured interviews. The data were analyzed by excel and presented in the frequency table and pie chart. The results showed that of the four motivations, cultural motivation obtained the highest value as the most motivating factor for visitors with a value of 4.19, and the average total value of the four motivations is 3.84 which states that visitors are motivated to visit the MACAN museum. 
 
 Keywords: MACAN Museum, Visitor Motivation, MICE, Contemporary Art
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Mastandrea, Stefano, Gabriella Bartoli, and Giuseppe Bove. "Learning through Ancient Art and Experiencing Emotions with Contemporary Art: Comparing Visits in Two Different Museums." Empirical Studies of the Arts 25, no. 2 (2007): 173–91. http://dx.doi.org/10.2190/r784-4504-37m3-2370.

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The aim of the present research was to explore possible differences between visitor experiences in two different kinds of art museums according to the art styles of the collections hosted: the Museum Borghese of Rome (ancient art) and the Peggy Guggenheim Collection of Venice (contemporary art). Two questionnaires were administered to 500 Italian participants before and after their visit to one of the museums. Questions (Likert scales and multiple choice) assessed how much visitors liked and were satisfied with the museum and their visit, and the motivations, expectations and preference that drive people to visit museums of ancient versus contemporary art. Results show that people who visit the Guggenheim Museum have higher socio-economic status (education and profession) and visit museums more frequently than those who attend the Borghese Museum. Additionally, educational level relates to the enjoyment of the visit and to the nature of the aesthetic experience; visit conduction by Borghese visitors was driven by the intent of understanding and knowing, while those who attended the Guggenheim took an emotional approach to their experience.
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Jurėnienė, Virginija, and Dovilė Peseckienė. "Art Gallery Visitors’ Motivations." Informacijos mokslai 89 (June 5, 2020): 17–33. http://dx.doi.org/10.15388/im.2020.89.37.

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The article discusses the motivational factors of visual art institution consumers. Analysis includes Falk’s identity-related theory of motivation for visiting art institutions that discusses how visitors’ experience begins before visiting a museum and is focused on the consumer’s attitude (identity) validation. Consumers’ motivation to visit an art institution depends on not only the proposals provided by the institution and their value to the consumer, but also on accessibility, the environment, and the personnel’s communication. The article introduces the motivations, expectations of consumers of the services provided by Kaunas Picture Gallery as well as evaluation of the services and infrastructure provided by the organisation obtained during study Visitors’ Expectations in Visual Art Institutions.
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Yoo, Arim, and Sae June Kim. "A Study on Museum Visitors’ Emotion by Visitors’ Art Exhibition Experience." Korean Arts Association of Arts Management 48 (October 30, 2018): 5–45. http://dx.doi.org/10.52564/jamp.2018.48.5.

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Dissertations / Theses on the topic "Art museum attendance Art museum visitors"

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Axelsen, Megan Lena. "Do the motivations of people attending short-term art exhibitions differ from those of general gallery visitors? : a case study of the Queensland Art Gallery's Asia Pacific Triennial /." [St. Lucia, Qld.], 2003. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17781.pdf.

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Kohl, Manuela. "Kunstmuseen und ihre Besucher : eine lebensstilvergleichende Studie /." Wiesbaden : Dt. Univ.-Verl, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2865968&prov=M&dokv̲ar=1&doke̲xt=htm.

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Hou, Yue. "An investigation into visitors' satisfaction with Port Elizabeth's heritage museums." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/1250.

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Cultural and heritage tourism, one of the fastest growing segments of the tourism industry, is becoming a major pillar in the tourism strategy of many countries. Like elsewhere in the world, museums play a significant role in heritage tourism. South Africa has a rich history of intangible cultural heritage which manifests itself in oral history, traditional music and dance, social practices and indigenous knowledge systems. It is becoming more important for museum managers to identify the variables that will enhance the attraction and retention of museum visitors. The aim of the study was to determine tourists’ satisfaction with their visit to Port Elizabeth’s heritage museums by comparing their expectations and experiences. This could help museum marketers to better understand their customers, and design experiences that match their expectations. The literature review presented a brief overview of heritage tourism, the museum experience, and visitors’ satisfaction. Concepts of heritage tourism, functions of museums and the different museum attributes that might impact customer satisfaction were discussed. Literature on visitors’ satisfaction included descriptions of the expectations and approaches to measuring customer satisfaction. A museum satisfaction conceptual model resulted from these reviews. ii The proposed model was modified in the empirical study. The data were collected by means of a survey, using self-administered questionnaires distributed to visitors at three heritage museums in Port Elizabeth. Two hundred and twelve useable questionnaires were received. The empirical findings did not fully support the conceptual model. By conducting a factor analysis, the data was reduced to eight factors, namely, human interaction, physical evidence, facilities, facility quality, exhibition, edutainment, escape and aestheticism. It was found that the satisfaction mean scores were consistently higher than the expectation mean scores. This implies that museum visitors were satisfied with their experience of the three heritage museums in Port Elizabeth. Finally, the results of the paired sample t-test and regression analyses tested and explained formulated hypotheses. The principal recommendations emanating from this study are summarised in two groups, namely: • recommendations pertaining to the strategic implications of the findings in terms of service, facilities and experience. For example, the museum administration could establish more facilities for the disabled and the elderly, consider discounting and promotion programmes, and increase the use of technology in their displays. • recommendations for future research. For example, future studies could be applied to investigate visitors’ satisfaction with other heritage museums in South Africa.
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Kravchyna, Victoria. "Information Needs of Art Museum Visitors: Real and Virtual." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4692/.

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Museums and libraries are considered large repositories of human knowledge and human culture. They have similar missions and goals in distributing accumulated knowledge to society. Current digitization projects allow both, museums and libraries to reach a broader audience, share their resources with a variety of users. While studies of information seeking behavior, retrieval systems and metadata in library science have a long history; such research studies in museum environments are at their early experimental stage. There are few studies concerning information seeking behavior and needs of virtual museum visitors, especially with the use of images in the museums' collections available on the Web. The current study identifies preferences of a variety of user groups about the information specifics on current exhibits, museum collections metadata information, and the use of multimedia. The study of information seeking behavior of users groups of museum digital collections or cultural collections allows examination and analysis of users' information needs, and the organization of cultural information, including descriptive metadata and the quantity of information that may be required. In addition, the study delineates information needs that different categories of users may have in common: teachers in high schools, students in colleges and universities, museum professionals, art historians and researchers, and the general public. This research also compares informational and educational needs of real visitors with the needs of virtual visitors. Educational needs of real visitors are based on various studies conducted and summarized by Falk and Dierking (2000), and an evaluation of the art museum websites previously conducted to support the current study.
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Kellogg, Smith Martha. "Viewer tagging in art museums: Comparisons to concepts and vocabularies of art museum visitors." dLIST, 2006. http://hdl.handle.net/10150/105154.

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As one important experiment in the social or user-generated classification of online cultural heritage resources collections, art museums are leading the effort to elicit keyword descriptions of artwork images from online museum visitors. The motivations for having online viewers - presumably largely non-art-specialists - describe art images are (a) to generate keywords for image and object records in museum information retrieval systems in a cost-effective way and (b) to engage online visitors with the artworks and with each other by inviting visitors to express themselves and share their descriptions of artworks. This paper explores the question of how effective non-specialist art keyworders can be in capturing ("tagging") potentially useful concepts and terms for use in art information retrieval systems. To do this, the paper compares evidence from art museum visitor studies which describe how non-specialist art viewers react to and describe artworks and use museum-supplied information in their initial encounters with artworks. A theoretical model of artwork interpretation derived from art museum visitor research provides a framework with which to examine both the activity and the products of artwork tagging for image and information retrieval.
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Smith, Martha Kellogg. "Art information use and needs of non-specialists : evidence in art museum visitor studies /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/7182.

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

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The purpose of the research study was to find about who the National Museum visitors are and what is their five reasons and motives to visit the National Museum. To get a better understanding about finding out who are the National Museum visitors a qualitative method was used in the form of a questionnaire that dealt with questions about the respondent’s demographic background and open questions related to finding out more details about the respondents’ reasons to visit the National Museum that is an art and design museum. The data that was gathered from the questionnaire was analysed through the use of a thematic analysis to find specific themes based on the female and male respondent’s answers. The results indicate that most of the respondents who took part in the questionnaire on the 5th of April 2019 at the National Museum are a mix of female and male between the age 20-72 years from Sweden and other countries, all of them have a higher education (High School, Bachelor and Master Degree) and have studied art, history of art or design. The reason that many of the respondents choose to visit the museum and what attracted them to the National Museum was foremost for they all share an interest in art and design. The National Museum itself is an interesting place to be at because many of the female and male respondents have an appreciation in the art and design collections and exhibitions that is displayed at the museum. The National Museum offers a free admission and entry so many of them could visit the museum either by themselves or with a companion, and many of the respondents like how the National Museum teaches history about the art and design.
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Sbarra, Wendy M. "New Ways of Seeing: Examining Musuem Accessibility for Visitors with Vision Impairments." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/art_design_theses/121.

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While I have always loved to go to the art museum I have often found it difficult to convince friends and family to go with me. It seems to be a particularly daunting task for visitors with disabilities and specifically those with vision impairments. This study surveys the accessibility of the programming for visitors with visual impairments at 25 art museums in the United States of America and how they communicate that information to potential visitors. It highlights museums that go beyond what is required by the Americans with Disabilities Act and create programming that is enjoyable for all. This study will be a reference to create a more enjoyable experience for all.
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McFelter, Gypsy. "Is the price right? : Admission fees and free admission in American art museums /." [Pleasant Hill, Calif. : John F. Kennedy University Library], 2006. http://library2.jfku.edu/Museum_Studies/Is_the_Price_Right.pdf.

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

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Books on the topic "Art museum attendance Art museum visitors"

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

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The audience for American art museums. Seven Locks Press, 1992.

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

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

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

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

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

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

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

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Mironer, Lucien. Cent musées à la rencontre du public. France édition, 2001.

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Book chapters on the topic "Art museum attendance Art museum visitors"

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

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

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Engineer, Altaf, and Kathryn H. Anthony. "Museum critics and museum visitors." In Shedding New Light on Art Museum Additions. Routledge, 2017. http://dx.doi.org/10.4324/9781315443164-3.

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Hsu, Hsuan L. "Olfactory Art and Museum Ecologies." In The Smell of Risk. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479807215.003.0004.

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Chapter 3 considers the tensions between mixed-media artworks that incorporate scent and the carefully controlled atmospheres of Western art museums and galleries. After tracing the origins and rationales of museums’ climate control practices, the chapter argues that conventional museum ecologies are premised on an artificially deodorized atmosphere that renders air imperceptible as a matter of political concern. Olfactory art, by contrast, underscores the trans-corporeal exchanges between galleries and visitors’ bodies by centering the experience of inhalation. Close analysis of artworks by Boris Raux, Sean Raspet, Anicka Yi, and Peter de Cupere exemplifies how artists use scent to communicate atmospheric risks and disparities in direct and visceral terms.
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Ho, Selina C. F. "He Xiangning Art Museum in Shenzhen." In Museum Processes in China. Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463723527_ch03.

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This chapter explicates the museum circuit of the He Xiangning Art Museum in Shenzhen as a process of interplay between the state’s political and cultural-economic agents, the museum’s curators and academic stakeholders, and the migrant educated elites. The museum’s intermediaries play a role in negotiating meaning at the interface of expertise and official discourse, and they arguably act as reflexive producers, contributing to a public sphere that has links to Habermasian ‘communicative rationality’. Besides, visitors can be categorized into six distinct identities, and they display limited alignment with the state interest in Chineseness or political patriotism. The study reflects on the national museum’s contingent institutional framework, the ideological dilemma driven by its curatorial activities, and the rise of a middle-class museum public.
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"Best Practices in Visitors Studies. The Permanent Laboratory of Museum Audiences." In Socializing Art Museums. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110662085-003.

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Ho, Selina C. F. "Hong Kong Museum of Art in Hong Kong." In Museum Processes in China. Amsterdam University Press, 2019. http://dx.doi.org/10.5117/9789463723527_ch05.

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This chapter examines the museum circuit of the Hong Kong Museum of Art, an official art museum in Hong Kong, which was shaped by national, local and global forces, and colonial legacies. The museum’s intermediaries, mainly in-house curators, have demonstrated potency in articulating cultural representations for diplomacy, cultural nationalism, leisure consumption, global gratification, and interpretation of the local, tending to produce a feudalized public sphere that discourages critical thinking and public debate. Visitors to the museum are demographically diverse and characterized by six distinct identities. Critical audience and activists oppose or resist the strategies of consumption that the museum’s structures enjoin. The museum reveals the tension between the government and its counter-publics and has created a cultural circuit of contested values and identities.
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Micheli, Francesca De. "Minority Audience: The Oudayas Museum and the Manufacturing of Elitism in Moroccan Museums1." In The Art of Minorities. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474443760.003.0004.

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This chapter focuses on the relationship between Moroccan museums and their relationship with local visitors. Drawing from original interviews, historical archives and the Moroccan museum context, it investigates how a postcolonial country like Morocco translates a colonial museum apparatus into public national heritage, destined to all citizens. The chapter’s analysis is based on an exhibition held at the Oudayas Museum in Rabat in 2003, as well as interviews with residents of the kasbah surrounding the museum. It highlights a slew of social, cultural, and economic issues linked to symbolic capital and local perception. The chapter shows the need for the Moroccan museum sector to re-think museums in local terms as a pathway toward cultural democratisation.
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Wakefield, Sarina. "Museums, Migrant Labourers and Ethnic Spatiality in the United Arab Emirates." In The Art of Minorities. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474443760.003.0006.

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This chapter explores the relationship between museum spatiality and migrant status in the United Arab Emirates (UAE). Despite accounting for more than 80% of the resident population and having a long and visible presence in society, migrant labourers continue to remain mostly excluded from official museum narratives and they rarely visit collections. Rather, they prefer to gather outside museums, where they meet to socialise and take pictures. This chapter draws attention to the importance of the outside space for museum research. It also highlights the formidable exhibitionary power of museums, showing how they can be used as stages of alternative heritage practices and discourses for a population that remains marginalised, all the while showcasing its social stigma. As they socialise outside museums, migrant labourers become exhibits for incoming and outgoing visitors; the uneasy reminders of the social and economic discrepancies existing in the UAE.
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Geronimo, Giuliana, and Salvatore Giannella. "Employing Real-Time Game Technology for Immersive Experience (VR and Videogames) for all at MAIO Museum." In Virtual and Augmented Reality in Education, Art, and Museums. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1796-3.ch013.

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3D real time game technologies create an opportunity to design interactive immersive experiences developing affordable, easy-to-use, and incredible virtual worlds for Museums. This chapter presents the potential of these technologies for the development of edutainment content for their visitors at MAIO - Museum of Art Taken Hostage in Cassina de' Pecchi (Milan). The Museum presents the story of 1,623 masterpieces such as Michelangelo, Tiziano, Raffaello, and Canaletto that were stolen in Italy during World War II and never found again. Visitors can explore the artworks through 2 installations: MAIO Virtual Museum, through VR inside an oniric 3D environment, and MAIO Play, a multiplayer video game.
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Conference papers on the topic "Art museum attendance Art museum visitors"

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

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Zaki, Ahmed H., Essam E. Khalil, Esmail M. Bialy, and Waleed A. Abdelmaksoud. "Numerical Investigations of the Air Flow Patterns and Temperature Distribution in a Museum Showroom, King Tutankhamun’s Gallery, Egyptian Museum." In ASME 2014 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/detc2014-34102.

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The use of numerical simulation methods for the Cultural Heritage is of increasing importance for the analysis, conservation, restoration and appreciation of works of art. This is particularly important when their preservation and planned maintenance is the primary aim [1, 2]. King Tutankhamen’s gallery at the Egyptian museum is chosen for our study. The conservation of such artworks requires precise control of the indoor microclimatic conditions. Thus, a suitable HVAC system with reliable control is often necessary for a museum, to maintain acceptable indoor thermal-hygrometric parameters and air velocity and also to minimize the deviations of these parameters from the design values. An investigation of airflow characteristics inside King Tutankhamen’s gallery at the Egyptian museum is studied. The effect of visitors within the gallery space is discussed. Lighting is mainly neglected and its effect is shown in a limited procedure. The variability of inlet air velocities and the grills location in the gallery is studied to achieve a better understanding of the closest solution for air distribution within the gallery.
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Güner, Atiye, and İsmail Erim Gülaçtı. "The relationship between social roles of contemporary art museums and digitalization." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p77.

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This paper was adapted from the author’s PhD dissertation named “The Effects of Digitalization on Contemporary Art Museums and Galleries”. The digital age has started with the digitalization of information and information communication. The digitalization processes that accelerated with the rapid developments in information and communication technologies have deeply affected museums. Museums are information-based organizations, their primary functions are to protect and spread information. Digitalized information and information communication have obligated contemporary art museums to follow digitalization processes. In this process, technological convergence is another factor that accelerates digitalization of contemporary art museums. ICOM has defined a contemporary museum as a polyphonic platform including participatory, inclusive and democratizing elements. When all these concepts are considered, the importance of communication between museum-community becomes apparent. Today, contemporary art museums have taken communication to their focal points. Museum-society communication is experienced in contemporary art museums through artistic activities as well as institution's communication-oriented strategies. Contemporary art activities using digital technologies and multimedia technologies generally require audience participation. Global access and various digital platforms provide the society with equal access to museums and art events, as well as making the arts of various countries and identities more visible. In the field of education, contemporary art museums develop projects by cooperating with various institutions. The effective use of digital platforms and institutional pages serves as a catalyst in the realization of these roles that museums undertake. Innovations in information and communication technologies accelerate the digitalization processes and serve as a mediator in maintaining the social roles of museums. For example, it can be said that technological convergence increases the number of museum visitors, therefore, it is the mediator of the social roles of museums. Technologies such as virtual reality, augmented reality and artificial intelligence, which are used in exhibition design in museums, require audience interaction. Digital art based on digital technology takes its place in contemporary art museums. In this study, it was aimed to reveal that social roles undertaken by contemporary art museums, such as participatory, inclusive, democratizing and polyphonic roles, are closely related to the digitalization of institutions and that digitalization acts as a catalyst for these roles.
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Zaytseva, A. M. "NATURAL MONUMENTS IN THE CONSERVATION OF BIOLOGICAL AND LANDSCAPE DIVERSITY (HISTORICAL AND MEMORIAL DEPARTMENT «THE HOMESTY V.P. SUKACHEVA» IRKUTSK REGIONAL ART MUSEUM)." In Prirodopol'zovanie i ohrana prirody: Ohrana pamjatnikov prirody, biologicheskogo i landshaftnogo raznoobrazija Tomskogo Priob'ja i drugih regionov Rossii. Izdatel'stvo Tomskogo gosudarstvennogo universiteta, 2020. http://dx.doi.org/10.17223/978-5-94621-954-9-2020-96.

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The problems of preserving biological and landscape diversity in the historical park of the Estate of V.P. Sukacheva. Presented are forms of work with visitors aimed at the formation of an ecological culture and the preservation of a natural monument.
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Guerrera, Francesca. "Art Wonder: Using Technology Enhanced Learning (TEL) and Wearable-Enhanced Learning (WELL) in the Museum Context to Enhance their Visitors’ Experience." In Electronic Visualisation and the Arts (EVA 2015). BCS Learning & Development, 2015. http://dx.doi.org/10.14236/ewic/eva2015.60.

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Lendvay, Miklós. "Országos Könyvtári Platform – központi könyvtári szolgáltatások együttműködő rendszere." In Networkshop. HUNGARNET Egyesület, 2020. http://dx.doi.org/10.31915/nws.2020.10.

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In 2020/21, the collaborative distributed Hungarian library platform will be completed and introduced, revolutionizing library services with state-of-the-art IT solutions. The Hungarian National Library Platform (HNLP) puts the national library services, the common catalog and interlibrary loan, the services of the ISBN office, the digitization cooperation on a new foundation, and integrates the Hungarian National Namespace and opens up entity-based data connections beyond the library world. It expands the range of services provided to readers, providing legitimate digital content to both library visitors and remotely logged in online users. It provides modern interfaces for publishers and authors to expand the range of information about their publications with relevant data. It is open to libraries to replace, in part or in full, their existing IT solutions and, moving into the cloud-based system, use it as their own integrated library platform. The parameterdriven HNLP allows connected libraries to create a unique brand image, deliver their collections in the most diverse way, while becoming an integral part of an entity-based data model-based metadata repository and digital object repository. The collaboration between libraries, which began in 2016 with the design of the new platform, has now entered a new phase: our partners review the specifications, the libraries provide their data for the developed modules, test the system elements, and then the entire platform in an integrated way. The first module of the HNLP, the “old and rare books” module, was launched in October 2019, followed by the launch of the Library Science Library in 2020, and in 2021 the operation of the National Széchényi Library in this modern environment will follow. What are the main pillars of this platform? What secures the required flexibility? What makes it capable of accommodating any type of metadata and serving any type of library? How can all types of libraries be connected, small and large libraries, university and church, public and private libraries alike? How is the system open to the processing of archival and museum materials? What has been achieved so far and what are the next steps until the full transition?
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Reports on the topic "Art museum attendance Art museum visitors"

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

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