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Ng, Kwok-sun Chris. "Hong Kong Children's Museum." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2594888x.
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Yiu, Chi-wai Albert. "The children's museum : a stimulating environment of play, wonder and learning /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25955111.
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Cipora, John. "Using action research protocols to structure the development of a complex exhibit at a regional children's museum." Amherst, Mass. : University of Massachusetts Amherst, 2008. http://scholarworks.umass.edu/dissertations/AAI3303432/.
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Ng, Kwok-sun Chris, and 吳國新. "Hong Kong Children's Museum." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31984101.
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Din, Herminia Weihsin. "A history of children's museums in the United States, 1899-1997: implications for art education and museum education in art museums." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1247850292.
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Din, Herminia. "A history of children's museums in the United States, 1899-1997 : implications for art education and museum education in art museums /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487953204279663.
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Mallos, Melina. "Young children's interactions in art museums: Exploring engagement." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/36686/1/36686_Digitised%20Thesis.pdf.
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How do young children engage with works of art in a museum environment? This study documents the experiences and behaviour of children aged 6-9 years in three Queensland art museums. In each case, three interactive components were investigated for their value in promoting young children's engagement with art: child-centred programs, novel exhibition designs and responsive social interaction.
Recently art museums have invested heavily in the design of innovative interactive exhibition programs to enhance young children's experiences of art. While child-centred programming and novel exhibition designs contribute to children's enjoyment on their art museum visits, this study reveals that it is responsive social interaction, specifically children's interactions with adults, that determines the quality of their aesthetic encounters.
Through photographic evidence, the study documents children's emotional reactions to art. The personal nature of these experiences is highlighted in children's interviews and drawings about their museum interactions. Such findings raise questions about the current views of aesthetic development which underestimate young children's capabilities for engaging with works of art. Photographic evidence used in this study clearly documents young children's emotional reactions to works of art.
The social dimension is the most salient factor in young children's ability to interpret the museum environment and its exhibits in personally meaningful ways. This has implications for the design, installation and programming of exhibition programs for young children in art museums. The research reveals that greater collaboration between early childhood professionals and museum staff (educators and designers) significantly enhances young children's encounters with art. Information about children's responses to interactives enables designers and education staff to design effective innovations to empower young children to understand, appreciate and engage with art.
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Rowlands, Mark Antony. "Using science museums to enrich and enhance primary school children's learning of science : children engaging in dialogue about museum exhibits." Thesis, Manchester Metropolitan University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.568806.
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The research addresses issues identified in an ESRC Case studentship developed in collaboration between Manchester Metropolitan University and the Museum of Science & Industry in Manchester. The original proposal had as its central aim "informing how museums can most effectively contribute to and enhance children's learning in primary school science". A case study is presented of upper primary school groups visiting the Museum, including discussions of the Museum's schools' provision and the practices of visiting school groups. Within that broader context, a main finding is that children can and do engage in dialogue about museum exhibits in ways that are relevant to their science learning. The finding is supported by empirical evidence from a series of discussions held with 8 to lO-year-old primary school pupils who had visited the Museum. The children find the exhibits rich, interesting and comprehensible enough to be engaging topics of conversation while being sufficiently thought provoking to challenge their ideas and their ways of talking. Sociocultural theory is used as a framework for analysing the science-relevant content of what the children talked about, the patterns of discourse they used, and the identities they enacted. The theory provides a fruitful way of understanding the children's engagement in talking as the concerns, sense of purpose, identification and emotion of participation in a social practice. Implications for museum education practice are identified. Talking about exhibits consolidates and strengthens the general educational value of visits by school groups to the Museum. Suggestions are made for how Museum staff and school teachers can build on children's museum experience to enhance their scientific literacy.
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Makriyianni, Chara. "History, museums and national identity in a divided country : children's experience of museum education in Cyprus." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612726.
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Yiu, Chi-wai Albert, and 姚志偉. "The children's museum: a stimulating environment of play, wonder and learning." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983728.
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Bull, Nicola Lucy. "Face to face with the Lewis Chessmen : an exploration of children's engagement with material heritage at the National Museum of Scotland." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/15860.
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Museums can be productive sites for the study of society, because they are spaces where the constitution of knowledge about the past is made visible through public display. Playing an important role in the performance and legitimisation of national culture, museums in Scotland pay particular attention to the education of children. It is often claimed that children can gain an understanding of their history through physical engagement with museum collections. Both the ‘past’ and the ‘future’ are thus constituted within the museum. Through an exploration of children’s education at the National Museum of Scotland and The Lewis Chessmen: Unmasked touring exhibition, I argue that efforts by museums to exert control over ongoing processes through which subjects and objects, past and future, nations and heritage are constituted can be deeply challenged by children and museum objects, both of whose status remain inherently dynamic and unstable. Despite the museum’s claims to have “real things [objects] revealing stories”, objects rarely reveal narratives beyond those exerted upon them. They are, instead, materially and relationally constituted in particular places, at particular times. The same ‘instability’ applies to children visiting the museum. Children engage with the material stuff of the museum in surprising and unpredictable ways. This dynamic, multisensory interaction enables children to pursue personal projects, which do not necessarily adhere to the agendas of the museum. Yet, children often do go along with the museum’s narratives, commonly accepting what they are told by adults about the objects they are handling. They are also deeply concerned with the authenticity of these objects. Whether an objects is ‘real’ or not, however, is not necessarily judged by the same standards shared with the museum. Children’s awareness of a ‘real’ object’s metonymical presence not only enables an experiential encounter with the past, but also enables them to work out their own positions within the power structures of the museum; testing their own concerns relating to trust, truth, value and the process of becoming adults.
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Brandenburg, Christine Luanne. "The use of computer technology in children's museums in the United States : an exploratory study." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621654.
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Potter, Elizabeth A. "Fund-raising systems in children's museums: An analysis of fund-raising behavior and philanthropic income trends." ScholarWorks, 1996. https://scholarworks.waldenu.edu/dissertations/483.
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The problem under investigation. This dissertation analyzed philanthropic donations and fund-raising behavior in children's museums. The research embodies a descriptive, inductive, and deductive study which infers that philanthropic donations increase gradually and are influenced by an organization's fund-raising behavior.
The subjects. A stratified random sample of 15 small, 47 medium, and 20 large U.S. children's museums were surveyed; operating budgets determined museum size.
The methodology. Time-series statistical techniques and economic data measures calculated the change in children's museum philanthropic donations from 1990-1994. Correlation coefficients determined the relationships between the income variables. The fund-raising behavior variables, nominal data, were calculated in percentage/frequency tables. The chi-square test statistic checked for dependency between the behavioral variables and museum size.
The findings. This analysis showed the complex relationships between fund-raising systems and their philanthropic environment. The results demonstrate the strong tie between philanthropy and fund-raising. They illustrate that fund-raising cannot be an isolated management function. The data indicate how fund-raising behavior, donor attitudes, and economic conditions influence giving fluctuations. It discloses organizational donor preferences, and the control those donors might have over internal management decisions. The effects of donor networks, political lobbying, and geographic location were also detected in the figures.
Conclusions. This study affirmed that persistent organizational funding requires diversified, balanced relationships between nonprofit organizations and the philanthropic sector. Children's museums need a fund-raising philosophy; voluntary giving must become a core institutional value. This philosophy must be espoused by the Chief Executive Officer who works with and through a Board President and Board of Directors who embrace the same fund-raising rationale. The organizations also need trained personnel to administer the philosophy.
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Sechrist, Mark Allen. "The Bauhaus for children : a new city center for West Palm Beach, Florida." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/897515.
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The project is located in West Plam Beach, Florida. The Design Process Involved with the urban Plan included these structures: an aquarium, outdoor theater, re-designed library, urban park, landscape plan for the Exploratorium, and the designing of the Exploratorium. A model was completed to show the Exploratrium and its relationship to the urban plan. The design for The Bauhaus For Children is the result of doing research on art/ architectural education and the role of the architect. I feel, the architect needs to play the role of an educator.The majority of society have little teaching in the field of art or architecture. This means the architect, responsible to everyone for what he does, should motivate society to learn. This project is located on a site with civic concerns The site was used as the ferry boat landing and now houses the Public Library. With the new design and functions for the site, it fullfills the need for being civic. My design was created from a series of diagramatic models and images. This series of diagrams dealt wth the reading of the city in order to create a design language. I feel, the project has addressed the civic concern through the marriage of science and art. Architecture is more understandable to the public when it tries to blend the language of its setting with that of the image. My project is a result of this marriage. The Bauhaus For Children evolved into a Center within the City Center that educates society about art, architecture, and science.<br>Department of Architecture
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Hosseini, Seyedeh Yasamin. "Service quality approach in development of children's visit model. Case study Golestan Palace Museum, Tehran, Iran." Doctoral thesis, Universitat de Girona, 2019. http://hdl.handle.net/10803/667502.
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This is an investigation that wants to study about the perspective of service quality for young audiences at a cultural place such as museum. These types of projects allow us to obtain direct feedback from children as young visitors and achieve important outcomes that could help to improve museum services in order to increase children satisfaction and loyalty and help to change the museum managers' view and change the vision of museum administrators.
In this sense, 361 questionnaires responded to boys and girls in primary schools in Tehran, between 7 and 13 years old, while visiting the museum.
Obtained answers have been analyzed through various methods.
The results show that some of the service quality factors have a positive effect on children's visits, but we have discovered that some of these factors may not be direct causes of satisfaction during their visit, unlike adults. It means that these factors are not sufficient for the satisfaction of the children in their visit from a cultural place like the museums.
In summary, it can be said that the Golestan Palace museum has important elements of attraction for children, which with appropriate planning, attention and investment, can become the focus of attracting young audiences in Tehran<br>Aquesta és una investigació que vol informar sobre l´estat de la qüestió i
la importància d´avaluar el nivell de qualitat del serveis dels museus.
Aquest tipus d´estudis ens permeten obtenir informació directa dels infants com a visitants i aconseguir resultats importants que podrien ajudar a millorar els serveis dels museus. D’aquesta manera es pot aconseguir d'augmentar la participació i satisfacció dels infants i, alhora, ajudar a canviar la visió dels administradors dels museus.
Com a evidències en aquest sentit, aportem les enquestes dels nens i nenes d'escoles d´Educació Primària de Teheran, d'entre 7 i 13 anys. Entre tots, varen respondre 361 qüestionaris mentre visitaven el museu. Les respostes obtingudes s'han analitzat mitjançant diversos mètodes i els resultats, mostren que alguns dels factors de qualitat del servei, tenen un efecte positiu en les visites dels nens i nenes, però hem descobert també que, aquests factors, poden no ser valorats com a causa directa de satisfacció durant la visita, a diferència dels adults.
En resum, es pot dir que el museu del Palau de Golestan, té elements importants com a atracció per als infants, i que amb una planificació, atenció i inversió adequades, pot convertir-se en focus d’atracció d’infants i joves a Teheran
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Ashton, Stephen D. "High Priority Design Values Used by Successful Children's Museum Exhibit Developers: A Multiple Case Study Analysis of Expert Opinions." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2630.
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The following qualitative study sought to answer three questions: (1) What are the high priority design values used by expert exhibit developers to create meaningful exhibits at children's museums? (2) How do exhibit developers prioritize these design values? (3) What are the desirable outcomes that exhibit developers seek to achieve with the guests who interact with the exhibits? These questions were answered through interviews with children's museum exhibit developers, personal observations, and artifact analysis. The data collected was organized into four cases, each representing a different children's museum and corresponding exhibit developer. The cases were then compared against each other using multiple case study analysis as described by Stake (2006). The data revealed that most of the developers designed exhibits which promoted family learning by encouraging meaningful interactions between parents and children. Other high priority design values used by exhibit developers included physical engagement, multiple entry points, simplicity, durability, multisensory engagement, staff and volunteer facilitation, safety, and immersive environments. Successful museum exhibits empowered guests and were always created using multiple design values. This thesis may be downloaded for free at http://etd.byu.edu.
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Janis, Julie B. "Exploring the interactive element in architecture: a children's discovery museum for Washington, D.C." Thesis, Virginia Polytechnic Institute and State University, 1993. http://hdl.handle.net/10919/53351.
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The fresh new approach taken by today's children's museums offers great potential for an equally fresh approach to the architecture which houses these special places. Just as the "exhibits" at the children's museums invite a new relationship between the visitor and the museum collection, so too should the architecture encourage a new interaction between the individual and the built structure, between the institution and the urban environment.
The new Children's Discovery Museum proposed for Washington, D.C. takes the theme of interaction as its basis. The design aims to promote a new level of participation between the people, the building, and the city. In this way, the attitude which is central in making children's museums so special was adapted to form an architectural framework: that all children -- regardless of age -- might discover a more meaningful connectedness to the built world around them.<br>Master of Architecture
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Weier, Katrina. "Lessons from an interactive exhibition: Defining conditions to support high quality experiences for young children." Thesis, Queensland University of Technology, 2000. https://eprints.qut.edu.au/36628/1/36628_Digitised%20Thesis.pdf.
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During their early years, young children are exposed to a range of learning settings, both formal and informal. This study focused on young children's engagement and reflection in an informal museum context. Using qualitative research methodology, a three-week community art project, The Art of Eric Carle, was examined. This setting combined an interactive art exhibition and an art studio workshop, to resemble the informal learning context characteristic of popular, contemporary, interactive museum venues of all kinds. Through a descriptive interpretative analysis, the study aimed to document the experiences and abilities of young children (aged birth to eight years) as artists and art appreciators within this environment. A broader aim of the study was to identify a range of conditions that support high quality experiences for young children in informal learning settings in general. A detailed set of ideal criteria, encompassing the physical, programming and social components of the learning setting was developed and applied to The Art of Eric Carle project.
The findings of the study clearly demonstrated that certain conditions enhance young children's engagement and reflection in informal learning settings. While physical, programming and social factors all play a role in forming young visitors' experiences, it is the social component of the learning environment, specifically children's interactions with adults, that determines the quality of their encounters. Social exchanges assist children to interpret the museum environment and its exhibits and to successfully take part in the learning experiences offered. A synergistic relationship exists between physical, programming and social factors, and with equal attention given to each of these aspects of the informal learning setting, high quality experiences can be provided for young children.
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Bradford, Shalen. "Children's Art Museum." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/2175.
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This Thesis explores the question; Is a children’s museum a playground or a museum? Through research and visits to children’s museums I feel that many are playgrounds. They are also visually stimulating to children, but not to the guardians who bring them there. In most cases the exhibits are permanent and there is little change to the atmosphere of the space on a regular basis. An old warehouse located on North Boulevard was chosen to house this project idea of a children’s art museum. The scenario is that The Virginia Museum of Fine Arts and the Children’s Museum of Richmond would have a joint venture in creating a the Children’s Art Museum of Richmond. Thebuildings’ close proximity to these two museums make it an excellent choice for both institutions. There are interactive changing exhibits, a studio that continues the learning experience from the exhibit, and a gallery to display artwork that was created in the studio spaces. Through these three core spaces I hope to create a continuous interactive learning experience in this children’s art museum.
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Erven, Maria Fernanda Van. "Crianças no templo das musas: mediadores culturais e aprendizagens em museus." Universidade Federal de Juiz de Fora (UFJF), 2013. https://repositorio.ufjf.br/jspui/handle/ufjf/2411.
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Previous issue date: 2013-05-20<br>FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais<br>Os museus, em todo mundo, têm crescido e se destacado, ao longo das últimas décadas, como novas modalidades de espaços educativos. As atividades direcionadas para o público, juntamente com as ações educativas, ganharam cada vez mais espaço e importância dentro dos museus. Dentro desse contexto, surgiu a Educação Patrimonial. O alvo das ações de Educação Patrimonial, em uma dada perspectiva, é o próprio patrimônio e não as relações estabelecidas entre os sujeitos e o patrimônio. O que percebi, em alguns projetos e ações, é um distanciamento e uma não identificação do sujeito com o bem patrimonial. Tal fato me motivou a buscar compreender como é que se dá a relação do sujeito visitante com o museu e com os objetos musealizados, ou seja, suas reações, processos de leitura, comportamentos e emoções despertados e disparados por museus – no caso deste trabalho, em crianças. Procurou-se investigar a posição das crianças da Escola Municipal José Calil Ahouagi, a partir de duas perspectivas diferentes de museus: o Museu de Arte Murilo Mendes e o Museu Ferroviário. A alternativa metodológica utilizada foi abordagem qualitativa de inspiração etnográfica. Foram adotadas como estratégias de investigação: observação participante, fotografias, diálogos e a interpretação dos materiais produzidos pelas crianças, derivados do processo das visitas, tais como fotografias, trabalhos escolares e cartas. Priorizou-se o arcabouço conceitual proposto por Bakhtin acerca das mediações e interlocuções pedagógicas, associando-o ao espaço museal e, juntamente com esse referencial, dialogou-se com autores centrais à reflexão sobre o campo da Educação em Museus, tais como Andreas Huyssen, Mario Chagas, Regina Abreu, Francisco Régis Lopes Ramos. Ao final, pude diagnosticar que as crianças, ao terem a oportunidade de conhecer um espaço de cultura e de memória, que nem sempre é acessível a crianças de periferia, como os museus, os visitaram buscando, permanentemente, interpretar seus objetos e o próprio espaço museal, constituindo lógicas explicativas e temporais para o que viram. O museu se tornou um espaço de descobertas, de aventuras, de invenção e, em especial, de aprendizagens múltiplas e plurais.<br>The museums, all over the world, have been growing and highlighting, over the last few decades, as new modalities of educational spaces. The activities directed to the public, along with educational actions, gained increasing space and importance inside the museums. Within this context emerged Heritage Education. The aim of the actions of Heritage Education, in a given prospect, is the Heritage itself and not the established relations between the subjects and the heritage. What I realized, in some projects and actions, is a detachment and a non-identification of the subject and the patrimonial property. Such fact motivated me to seek to understand how is the relation of the visiting subject with the museum and with the musealized objects, in other words, his reactions, reading processes, behaviors and emotions awaken and triggered by museums – in the case of this work, in children. We sought to investigate the position of the children of José Calil Ahouagi Municipal School, from two different perspectives of museums: the Murilo Mendes Art Museum and the Railway Museum. The methodological alternative chosen was qualitative approach of ethnographic inspiration. Chosen as investigation strategies were: participant observation, pictures, dialogues and the interpretation of the material produced by the children, derived from the visitation processes, such as photos, school works and letters. Prioritized the conceptual work proposed by Bakhtin about the mediations and pedagogical dialogues, associating it to the museum space and, along with this referential, dialogued with central authors by the reflection on the field of Education in Museums, such as Andreas Huyssen, Mario Chagas, Regina Abreu, Francisco Régis Lopes Ramos. By the end, I could diagnose that the children, by having the opportunity of knowing a space of culture and of memories, that is not always accessible to periphery children, such as museums, have visited them searching, permanently, for read its’ objects and the museum space itself, constituting explanatory and temporal logics for what they saw. The museum has become a space of discoveries, adventures, inventions and, specially, multiple and plural learnings.
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Servitja, Tormo Lada. "Els visitants infantils dels museus gironins en el marc d'una visita familiar i no organitzada." Doctoral thesis, Universitat de Girona, 2012. http://hdl.handle.net/10803/101526.
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The present research try to analyze the objectively patterns of visitor behavior focused on 5 and 12 years old kids, which visited the museums of the city of Girona in a non organized tour. We combined different methodologies for the data collection: survey, non participant direct observation and symbolic language from offered and self-administered written response. As a result, we know how children interact with museum materials, how they make relations with the different group members, how they use supplementary materials to do the visit, what itinerary they do, how they visit the rooms, what kind of texts they read, in which Units of Attention they provide more interest, what colors attract the most, what effects in their behavior can have the lighting, the noise and the temperature, what are their preferences, and in general, which are the profiles of families who visit the museums of Girona.<br>El present treball de recerca consisteix en estudiar i analitzar les pautes de comportament objectivables del visitant lliure entre 5 i 12 anys d’edat, que visita de forma no organitzada els museus de la ciutat de Girona. Així, mitjançant la combinació de diferents metodologies per a l’obtenció de dades (enquesta, observació directe no participant i llenguatge simbòlic a partir de resposta escrita autoadministrada i oferta), hem sabut de quina forma aquests interaccionen amb els materials, com es relacionen amb els diferents membres del grup, com utilitzen els materials complementaris a la visita, quin recorregut fan i com fan la visita a les sales, quins textos llegeixen, a quines Unitats d’Atenció presten més interès, quins colors els atrauen més, quins efectes en el seu comportament pot tenir la il•luminació, el soroll, la temperatura ambiental, quines son les seves preferències, i a trets generals, quins son els perfils de famílies que visiten els museus gironins.
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Tzibazi, Vasiliki. "Researching primary school children's "museum theatre" experiences." Thesis, University of Leicester, 2006. http://hdl.handle.net/2381/10712.
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As the number of museums that employ theatre as part of their educational provision is increasing there is a need for the articulation of the theoretical framework and an in-depth insight into the children's "museum theatre" experiences. The aim of this empirical research is to examine how primary school children "make meaning" of the form and content of the experience in two forms of "museum theatre": a) a participatory theatrical experience in the heritage site of Clarke Hall and b) first person interpretation events in the Museum of London. Based on the principles of the constructivist qualitative paradigm, the research attempts to offer an insight into how the children understand the content and format of the "museum theatre" experience. The research focuses on the interrelationship between the children's prior-to-the-event agenda and their "museum theatre" experiences and examines the children's experiences as products of relationships between the involved parties: the museum's agenda and the schools' agenda. The constructivist paradigm and the interpretive sociological approach illustrate the epistemological position that underpins the formulation of the research questions and the methodological framework employed. The data generation methods derive from ethnographical research methods and mainly involve interviews, observations and children's drawings. The research attempts to elucidate the parameters that shape the children's "museum theatre" experiences. These include the museum's setting and objects, the children's willingness to suspend disbelief, the interactive/participatory aspects of the experience and the opportunities given to children for reflection and generation of new understandings. The research findings underline the subjectivity of the theatrical experience, as shaped through the various objectives and expectations of the involved parties. They suggest that interplay between the event's format/content and the experience's fictional/real context is evident in the children's interpretation of their "museum theatre" experience.
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Anderson, Miriam. "An internship with the Louisiana Children's Museum." ScholarWorks@UNO, 1996. http://scholarworks.uno.edu/aa_rpts/51.
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This report gives a history of the Louisiana Children's Museum, New Orleans, Louisiana. It discusses the Museum's mission, management structure, funding, programs and goals. The internship itself describes the projects in which the intern was involved and the planning that went into these projects. The major project of the internship was a workshop for teachers to instruct them on how to incorporate arts in the classroom, thus the name "Fine Arts in the Classroom." Other projects involved implementation of activities for new areas and updating current exhibits.
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Venderlöf, Sara Noomi. "Barn på museum : En multimodal analys av Naturhistoriska riksmuseets och Nordiska museets riktning mot barn." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-208343.
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This bachelor thesis consists of an analysis of museum environment. In the research, case studies have been done at the, Stockholm based museums, Swedish museum of Natural history’s exhibition Natur i Sverige (Nature in Sweden) and the Nordiska museet’s (Nordic history) exhibition Modemakt (Power of fashion) and learning environment Lekstugan (playhouse). The purpose of the research was to study how cultural heritage is used and developed within the museum pedagogy aimed at children. The research is based on a multimodal approach with focus on learning resources. The research examines the museums focus on children and youngsters, what the goals for this focus looks like on respective museum and how the focus is visible in the actual museums. The investigation has shown that both of the museums have a clear focus towards children and young people and follows the guidelines from the Swedish government. This thesis shows the differences between both museums in their separate ways of focus on children and youngsters. The different possibilities on focus on children and young can provide inspiration for either other museums or the specific museums in the thesis when developing or expanding their focus further. Both museums way to communicate with children and young people considered to have good potential for learning.<br>Denna kandidatuppsats består av en analys av museala miljöer. I undersökningen har fallstudier gjorts på Naturhistoriska riksmuseets utställning Natur i Sverige samt Nordiska museets utställning Modemakt samt lärmiljö Lekstugan. Syftet med undersökningen har varit att studera hur kulturarv används och utvecklas inom museipedagogiken riktad mot barn. Undersökningen utgår ifrån ett multimodalt perspektiv med fokus på lärresurser. Frågeställningarna hanterar museernas riktning mot barn och unga, hur målen för detta ser ut samt hur det ser ut i verkligheten. Undersökningen har visat att båda berörda museer har en tydlig riktning mot barn och unga samt gott och väl följer regeringens riktlinjer för statliga museer. I uppsatsen tydliggörs Naturhistoriska riksmuseets och Nordiska museets olika sätt att angripa frågan ”riktning mot barn och unga”. Detta kan utgöra inspiration för andra museer eller för de berörda museerna att utveckla sin riktning ytterligare. Båda museernas vis att kommunicera mot barn och unga bedöms ha goda förutsättningar för lärande.
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Ledet, Kathleen Rachel. "The Louisiana Children’s Museum: A Time of Transition." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/aa_rpts/175.
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This report details an internship with the Louisiana Children’s Museum’s development office, which started in February 2014; transitioned from internship to employment in May 2014; and concluded in June 2014 after the Museum’s fundraising event, Circus Magic Night. In this paper, I will provide an overview of the Museum’s history, programs, and organizational structure, as well as describe my internship experience and contributions over a period of five months and 480 hours. Additionally, I will analyze LCM’s strengths, weaknesses, opportunities, and threats; discuss relevant best practices; and finally, offer recommendations that propose solutions to some of the challenges I observed as the development/special events intern and as the new special events coordinator.
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Zheng, Su. "Promoting children's creativity : a design method for interactive museum exhibits." Thesis, Coventry University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492365.
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This thesis concerns the development ofa design method for interactive museum exhibit with the aim ofpromoting children's creativity. Key to the originality of this research is the development of the Creativity Surprise Model (CSM): a conceptual cognitive framework for the design of interactive museum exhibits. The model is unique in the way it combines areas oftheoretical discourse from a range of perspectives: constructivist learning theory, the philosophy of interactivity and developmental psychology and associated cognitive theories of creativity and motivational drives, into a unified multidisciplinary design approach. This synthesis as a design method to support interactive exhibit design has not been previously explored or attempted. The usability and effectiveness ofthe CSM as a design method to support designers ofinteractive designs that stimulate children's creativity is evaluated by constructing and developing a novel interactive prototype. It . demonstrates how the CSM can be applied as a method in a real life design scenario. The model is further subjected to a practical validation through a process of iterative . design stages and tested in a series ofexperimental trials. Interactive exhibits in museums are providing exciting and dynamic learning experiences with significant potential to stimulate children's creativity. However, many interactive exhibit designs with incorporated new technologies can be distractive or misleading rather than supportive to creative learning. Moreover, sophisticated intuitive interfaces designed to deliver easily accessible information are not teaching children the fundamental skills necessarily to Joster genuine creative outcomes. Certainly, incorporating a diverse range ofcommunication tools is the future of museum interactive exhibit design, including the use ofnew technology. However, these tools should be selectively and appropriately applied for the right purpose to maximise the educational value as well as providing enjoyable interactive learning experiences. The key to communication success lies not merely in the ability to construct an educational experience or make things interactive per se, but in the creativity of designer applying a considered multidisciplinary approach. However, exhibit designers who are skilled in their own design practice are not necessarily experienced in other specialist fields. Therefore, this requires a method which draws on conceptual resources frolll multidisciplinary perspectives to assist these designers in developing and evaluating interactive exhibits to effectively stimulate creativity in the target group. Given these arguments, this research is located in the following interrelated . . theoretic~1 frameworks: constructivist learning theory, the philosophy of interactivity and developmental psychology and associate.d cognitive theories of creativity and motivational drives. Collectively, these perspectives support the developmentand construction of the Creativity Surprise Model (CSM): a cognitive framework that informs a ~esign method for the design of interactive museum exhibits to stimulate creativity in children. Findings reported from the evaluation of the prototype with 118 Primary school children, have validated the effectiveness ofthe CSM guided artefact in producing creative outcomes within a user defined group. The feedback from primary educators was genuinely supportive. Comme~ts from design professional and museum exhibit developer have been variously favourable with theconceptual framework being complimentary to their practice; moreover, it can be seen to formalize their aspirations providing clear insights into multidisciplinary practice. This practical value ofthe CSM model for designers lies in its identification of a motivational link between the emotion of surprise and the generation ofcreative thinking. It targets the user group at the concrete operational stage and directly addresses how to break down the rigid processing associated with this stage of cognitive development, thus it is likely to accelerate their transition to formal -operational thinking in a lasting and positive manner. As a result ofthis research and evaluation, a process ofhow to monitor the design process and assess the effectiveness ofthe artifact was developed from the key finding ofthe conceptual model - the dynamic relationship between creativity and surprise.
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Acosta, Teresa Yvette. "Contextual influences on parent-child pretend play in a children's museum /." Digital version accessible at:, 1997. http://wwwlib.umi.com/cr/utexas/main.
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Meisner, Robin Stephanie. "Encounters with exhibits : a study of children’s activity at interactive exhibits in three museums." Thesis, King's College London (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.606395.
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This thesis develops arguments relevant to learning in informal environments about the nature of the activity, interaction and collaboration that emerge in young children (ages 4-12) at specific interactive exhibits in informal learning institutions. Using video recordings of children's activity at ten different interactive exhibits as principal data, this thesis seeks to unpack the notion that children are merely 'just playing' with, at and around the exhibits - or, put differently, it aims to specify the activity behind 'interactivity'. In so doing, it explores the ways in which the diverse forms of social interaction occurring at the exhibit face contribute to and might enable the emergence of specific forms of activity. A case is made for the use of two distinct analytic methods in order to address, firstly, what behaviours are displayed by young children at the exhibits studied, and then, how and why aspects of those behaviours emerge in the particular manner in which they do. Sources from education, cognitive development and developmental psychology are used in the development of a theoretically and empirically driven coding schema that is applied systematically to the video data to begin to address 'what' behaviours are displayed - the first question. Subsequently, building on an interactional perspective that gives primacy to the pervasive nature of the contributions of others - to social interaction - the 'how' and 'why', or second questions are addressed. To this end, an analysis that draws on ethnomethodology and conversation analysis is used to explore the role of observation and imitation in the children's activity at the exhibit face. The final chapter reflects upon the observations and findings of the whole study to consider their implications for potential learning at and the design of interactive exhibits. It explores the extent to which the design of exhibits might enable particular forms of activity and co-participation, and puts forth design sensitivities for exhibit designers to consider. It offers a critique of the two analytic methods and their potential utility for future research. And, finally, it seeks to show that when children's activity at exhibits is analysed in detail, children who are seen to be 'just playing' are indeed engaged in a range of productive actions and interactions.
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Leporo, Natalia. "Pequenos visitantes na exposição \"o mundo gigante dos micróbios\": um estudo sobre a percepção." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/81/81133/tde-03062015-144613/.
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Este trabalho teve como objetivo principal estudar como se dá a percepção de crianças pequenas durante uma visita a um museu de microbiologia. Mais do que identificar os conhecimentos das crianças em relação ao tema microrganismos, nossa intenção nessa investigação foi estudar quais elementos estão envolvidos na aprendizagem de temas científicos durante uma visita a uma exposição. Para isso, elegemos o conceito de percepção como foco de análise, no sentido que este assume dentro da teoria sociocultural. Foram analisados dados coletados durante visitas de famílias com crianças entre quatro e seis anos à exposição permanente \"O Mundo Gigante dos Micróbios\" do Museu de Microbiologia do Instituto Butantan (São Paulo - SP). O referencial teórico teve aporte principal na teoria sociocultural, no que diz respeito à aprendizagem como processo social, que se desenvolve no convívio com os outros. Baseamonos em obras de Vigotski (2007; 2009); Allen (2002) e Silva (2008) para compor o escopo teórico e as categorias de análise de dados. Elaboramos com base em Campos (2013) um sistema de categorias de análise que buscam identificar quais tipos de conversas se estabelecem durante a visita das crianças ao museu. Esse sistema de categorias se divide em três frentes: conversas centradas na percepção, conversas de conexão e conversas de maior elaboração conceitual. Os resultados apontam para a grande predominância das conversas centradas na percepção, que englobam operações cognitivas de nomeação, identificação, caracterização, afetividade, além das falas que expressam o próprio uso dos objetos expositivos e espaço da exposição pelas crianças. Esses resultados reforçam nossa ideia inicial de que dentre todas as operações e processos ligados à aprendizagem que o museu pode provocar, a percepção é o que ocorre com maior frequência e intensidade. Este trabalho reforça a necessidade de aprofundar as investigações em torno dessa temática para estudar as possibilidades de aprendizagem promovidas pelo museu de ciências para as crianças pequenas.<br>This work aimed to study how young children\'s perception develops during a visit to a museum of Microbiology. More than identifying the knowledge of children in relation to the microorganisms theme, our intent in this research study was to understand what elements are involved in science learning during visits to an exhibition. In that way, we chose the concept of \'perception\' as the focus of our analysis in terms of the meaning it takes within the sociocultural theory. We analyzed data collected during family visits with children between four and six years old to the permanent exhibition \"The Giant World of Microbes\" at the Museum of Microbiology in the Instituto Butantan. (São Paulo, Brazil). The main theoretical framework was primarily based on the sociocultural theory, with regard to learning as a social process that develops in the interaction with others. We rely on works of Vygotsky (2007; 2009); Allen (2002) and Silva (2008) to compose the theoretical scope and categories of data analysis. We drafted a system of categories of analysis based on Campos (2013) that seeks to identify which types of conversations occur during children\'s visits to the museum. This category system is divided into three types: perception-oriented conversations, connecting conversations and conversations with greater conceptual elaboration. Results point to a great prevalence of perception-oriented conversations which encompass cognitive operations of naming, identifying, characterizing, affection, besides children\'s own words that express the specific usage of the displayed objects and exhibition space. Such results emphasize our initial idea that among all operations and processes associated to learning that the museum is able to trigger, perception is the one more frequently and more intensely applied. This study emphasizes the need to deepen investigations on such theme in order to study learning possibilities promoted by science museums to young children.
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Klein, Ritchie Jeanette. "Children's perceptions of their personal collections in relation to their art museum experiences." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0001/MQ43673.pdf.
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Zapri, Dimitra. "An ecological examination of young children's museum-related perceptions : a Greek case study." Thesis, University of Leicester, 2007. http://hdl.handle.net/2381/31155.
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The purpose of this study is to provide an alternative ecological approach to exploring the nature of young children's perceptions about museums, and the conditions where these perceptions are developed. Drawing on Urie Bronfenbrenner's ecological theory of human development (1979) and James Gibson's theory of affordances (1986), the study conceptualises museums as ecological settings, and perceptions as ecological entities, which are formed through dynamic transactions between individuals and their environment. The study attempts to identify the contextual parameters of young children's museum perceptions, by implementing ecological research principles in terms of a qualitative research ethos. The study followed a largely ethnographic approach, combining naturalistic research methods with sets of questionnaires, in the context of multiple museum visits and feedback sessions with children, museum professionals and parents. The field research focused on a Greek museum context and was conducted in collaboration with three museums, nine kindergarten schools and nineteen children of approximately five years of age and their families.;Findings suggest a weak relation between museums and young children's developmental contexts. On the one hand, museums seem to demonstrate a lower commitment towards young children and their families, which is reflected in teachers' and parents' feeling that current museum education provision is not supportive enough for their own needs or those of young children. On the other, young children seem to be able to perceive a wider range of possibilities in the museum setting, but such perceptions do not seem to be sustained in the long-term, as parents may not include museum visits in their leisure agenda. A major issue raised is the question of accessibility --- intellectual or physical --- and relevance of any cultural setting to its local community. The thesis proposes a long-term museum education for building sustainable relationships between museums and local communities at an early stage.
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Badran, Arwa. ""Archaeological Museums and Schools : Teaching Primary-Aged Children about the Past in Jordan." Thesis, University of Newcastle upon Tyne, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.525065.
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Inloes, Tory Dawn Swim. "Enriching Representation| Finding the Voice and Perspective of Children in California History Museums." Thesis, University of California, Santa Barbara, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3637419.
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<p> This dissertation explores how California history museums represent the history of children and childhood. This work is inspired by earlier studies in the fields of anthropology, sociology, museum studies, and public history that question and analyze the underrepresentation or misrepresentation of groups, such as women and ethnic minorities, in US museums. How US museums represent children and their history has yet to receive scholarly attention. </p><p> This dissertation contributes to filling this gap in the literature and bases its conclusions on a state-wide survey of more than 200 California museums, interviews with 110 museum professionals or volunteers, site visits to 40 museums, and in-depth field research at 10 museums. I argue that too often the experiences, stories, and contributions of children are overlooked, absent, or marginalized in California history museums. When representations of children's history do emerge, they often reflect ideals rather than realities, universalize the historical experience of childhood, and, in the process, romanticize the past. This dissertation acknowledges obstacles that get in the way of richer representation and offers potential solutions.</p><p> During my study it became clear that multiple meanings of children's history are at work in the California museum community: the history <i> of</i> children, history <i>for</i> children, and history <i> by</i> children. This dissertation examines each in turn and demonstrates how conceptions of children, many with deep historical roots, influence not only museum exhibitions but also programming for children. Central to this dissertation is the study of history <i>by</i> children at the Pasadena Museum of History, which provides middle-school students the opportunity to teach history as docents to younger children. Drawing upon my three years of participant observation at this site and interviews with forty middle-school students, I contend that inviting children to participate, create, and co-produce in museum spaces improves children's attitudes towards museums, enriches representation, and brings to light perspectives that may otherwise remain marginalized.</p>
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Breier, Ana Cláudia Böer. "Museus infantis : uma questão contemporânea." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2005. http://hdl.handle.net/10183/5751.
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Esta dissertação consiste em um estudo sobre os museus infantis, buscando identificar e analisar um conjunto de questões contemporâneas que hoje participam do ambiente museal. Para a exploração das implicações arquitetônicas desta proposta museológica, foram selecionados três edifícios projetados para abrigar museus infantis: Kodomo no Yakata, de Tadao Ando, no Japão, Lied Discovery Children’s Museum, de Antoine Predock, nos Estados Unidos; e Papalote Museo del Niño, de Ricardo Legorreta, no México.
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Studart, Denise Coelho. "The perceptions and behaviour of children and their families in child-orientated museum exhibitions." Thesis, University College London (University of London), 2000. http://discovery.ucl.ac.uk/1318009/.
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This study explores the part that child-orientated exhibitions play in the child and family museum experience. Such exhibitions are characterised by their distinctive approaches to learning, interpretation, and design, being especially devised for children. The research was carried out in children's galleries from three types of museum (a maritime museum, a science museum, and a children's museum) in order to compare and contrast similarities and differences between them. Since most of the research in this area has been carried out in science centres or science museums, there is a need to explore the situation in child-orientated exhibitions and compare it to studies carried out in other informal learning settings. Understanding the qualities of their experience in a child-orientated exhibition which children and families value and why and how design and interpretation decisions may affect family behaviour, perceptions, and learning, will enable educators, museum designers and other museum professionals to plan more responsive and meaningful child-centred exhibitions. Children from seven to eleven years old and their accompanying adults were considered in this study. The research involves both qualitative and quantitative approaches and the use of different methods of investigation, such as face-to-face interviews with children and an adult relative; unobtrusive observation of family group interactions at three exhibits in each gallery; and collection of children's drawings about their favourite exhibit in the galleries. The sample sizes for each investigation varied: 150 families, totaling 300 individuals, were interviewed (150 adults and 150 children); 450 different family groups were observed at the galleries (150 in each gallery); and 120 children's drawings were collected. The guiding principle was to adopt an holistic approach to the situation under investigation, taking into consideration Falk & Dierking's interactive museum experience model (Falk & Dierking, 1992), which considers the personal, social, and physical contexts of a museum visit. Findings from the observations indicated gender effects in adult splitting behaviour from the family group at exhibits according to family members joint-activity compositions, and that differences in exhibit design/tasks affected adult manipulation of hands-on exhibits and the level of proximity between family members. Nine attributes from attractive child-orientated exhibits were drawn from the observed exhibits: element of fun, challenging situation, element of surprise, child-sized exhibit design, imaginative design, opportunity for experiencing things, opportunity for role play, interactive machine/game, and teamwork. The analysis of the children's drawings revealed that drawings can be a valuable source of information about children's interactions with hands-on exhibits and can be used to assess children's understanding of exhibits through the depiction of the exhibit outcomes. The interview data was analysed qualitatively (inductive content analysis) and statistically (chi-squared tests). The analysis of the open-ended interview questions indicated that adult relatives were enthusiastic about the opportunity for the children to interact with exhibits and perceived the hands-on gallery approach as motivating to the child with regard to learning. Children perceived the exhibitions as exciting places and reported positive feelings. A few children mentioned negative feelings, which were related to problematic exhibit design. The majority of children said that they prefer to visit museums in a family context rather than in a school context. The statistical analysis of the closed questions indicated twenty-two significant associations between the adults' and children's interview variables, related to adults' and/or children's age, gender, education, perceptions, behaviour, preferences, visiting habits, and type of museum, supporting the notion that personal, social, and museum aspects affect the child's and adult's museum experience, perceptions and learning. Children's perceptions of their learning in the galleries were found to be affected by the time spent in the gallery, the type of museum, the accompanying relative, and the child's preference for the social context of the museum visit. This investigation provided new insights into the study of galleries designed for children, and has demonstrated that child-orientated exhibitions have features which positively affect the child and family museum experience, that children do perceive that they are learning in this environment, and that it is a effective catalyst for family social activity. Therefore, child-orientated exhibitions are a valuable museum provision for the child and family audiences.
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Stewart, Nancy L. "Preparing Young Children to Respond to Art in the Museum." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3098.
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This thesis describes a research study which the Investigator prepared and documented. It involved two groups of five kindergarten children who were prepared by the Investigator to view one artwork in a museum. Children were prepared to view the artwork by exploring and solving open-ended design problems with large shapes, one-third the size of those in the artwork. The Investigator guided children to respond to the artwork through inquiry and discovery activities related to the artwork's specific characteristics. Findings revealed that kindergarten children enjoyed exploring large shapes and were capable of solving collaborative design problems with the shapes, which prepared them to respond to an artwork with similar shapes.
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Warpas, Katarzyna Bogusława. "Designing for dream spaces : exploring digitally enhanced space for children's engagement with museum objects." Thesis, University of Wolverhampton, 2013. http://hdl.handle.net/2436/304817.
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This thesis presents an investigation into the potential of digitally enhanced exhibition spaces to foster the engagement of children within family groups with museum objects on display, i.e. where physical contact is prohibited. The main focus is on the influence of digital enhancement on visitors’ engagement with artefacts and not on the digital elements themselves. This study has taken the mixed methods approach. It combines ethnographicallyinformed field studies with a design intervention within an overarching methodology of action research. In the review of literature, research from multiple fields including museum studies, interaction design and play research was brought together and examined from the perspective of exhibition design. This led to the development of the Social Dream Spaces Model. This model, which describes how visitors engage with museum objects, was used as the basis for a design intervention aimed at enhancing children’s engagement with exhibited artefacts. In-gallery participant observations were carried out in Bantock House Museum, Wolverhampton. Insights, based on data analysed from the perspective of the Social Dream Spaces Model, were used to develop a prototype of a digitally enhanced space, which was implemented into the existing exhibition. Data gathered in observations before and after the design intervention were compared in order to determine any changes in visitors’ responses to the exhibition. This study demonstrates the benefit of using the Social Dream Spaces Model for designing digitally enhanced exhibition spaces that promote children’s engagement with artefacts and social contact around them. The findings also confirm that designing subtle and nonintrusive digital enhancement can facilitate intergenerational interaction in exhibition spaces.
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Iszlaji, Cynthia. "A criança nos museus de ciências: análise da exposição Mundo da Criança do Museu de Ciência e Tecnologia da PUCRS." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/81/81133/tde-13062012-111917/.
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O estudo em questão teve como objetivo principal analisar se e como os museus de ciências levam em consideração a criança pequena em suas ações, em especial a exposição. Para tal, a pesquisa visou à compreensão da concepção de criança e infância a partir das mudanças ao longo do tempo, através dos principais teóricos da área. Nesta pesquisa a concepção de criança e infância está fundamentada nas discussões de Vygotsky, cuja teoria caminha numa perspectiva histórico-cultural. A criança que emerge dos estudos dessa teoria é uma criança a ser compreendida como sujeito histórico, social e cultural, uma vez que ela influencia e é influenciada pelos determinantes que constituem a formação social no qual se encontra inserida. A escolha do contexto da pesquisa baseou-se nos resultados do questionário enviado para os museus de ciências brasileiros com objetivo de mapear as instituições que desenvolvem exposições e/ou ações educativas voltadas para o público infantil. Para este projeto, foi selecionada a exposição Mundo da Criança no Museu de Ciência e Tecnologia da PUCRS, por apresentar uma área destinada para crianças pequenas de 3 a 6 anos. Por se configurar como uma pesquisa qualitativa a coleta de dados se deu por meio de entrevistas ao conceptor da exposição investigada, bem como, o supervisor da monitoria e uma monitora, a observação da exposição e análise documental. Para a fundamentação da análise foram criadas categorias, a partir dos pressupostos da teoria históricocultural, de Vygotsky, com o objetivo de caracterizar a concepção de criança apresentada na exposição para crianças pequenas. As categorias elaboradas foram: organização do espaço físico e social, formas de expressão infantil e a formação de conceitos. Dessa forma, a análise foi dividida em três momentos: primeiro foi analisado o espaço museal da exposição como um todo; segundo os aparatos que proporcionam as formas de expressão infantis, como a brincadeira, o desenho, a imaginação; por último os aparatos da exposição estimulam a formação de conceitos. Contudo, é importante destacar são poucos os museus de ciências que possuem exposições destinadas à criança, sendo que a grande maioria atendem este público em atividades pontuais na exposição de longa duração. A exposição estudada apresenta em suas intenções e por meio de seus aparatos e espaço físico, possibilidade de promover o desenvolvimento da criança. Por fim, entendemos que este trabalho contribuir com a determinação de elementos que podem ser considerados pela equipe educativa dos museus como parâmetro para o processo de concepção de uma exposição voltada para criança.<br>The present study aimed to examine whether and how science museums take into consideration the young child in their actions in exhibitions. To this end, the research aimed to understand the concept of children and childhood from the changes over time. In this research, the conception of children and childhood is based on the discussions of Vygotsky, whose theory is oriented in a historical-cultural perspective. The child who emerges from studies of this theory is a child to be understood as a historical, social and cultural, since he influences and is influenced by determinants that constitute the social formation in which it is inserted. The choice of the context of the research was based on the results of the questionnaire sent to the Brazilian science museums in order to map the institutions to develop exhibits and / or educational interventions for children. For this study, we selected the exhibition World´s Children Museum of Science and Technology PUCRS, by presenting a designed area for children 3-6 years. Configured as a qualitative research, the data collected was through interviews investigating the designer of the exhibition, the supervisor monitoring and monitoring, as well as the observation of the exhibition and documental analysis. To perform the data analysis, categories were created from the assumptions of cultural-historical theory of Vygotsky, in order to characterize the conception of the child presented in the exhibition for young children. The categories developed were: organization of the physical and social forms of expression and the formation of children\'s concepts. Thus, the analysis was divided into three moments. At first we analyzed the museum exhibition in their space as a whole, in the second moment, we analyzed the apparatuses that provide forms of expression for children, such as play, drawing, imagination, and finally we analyzed the apparatus of the exhibition that stimulate the formation of concepts. However, it is important to note that there are few science museums that have exhibits designed for children, and most public activities answer this point in the long term displays. The exhibition features studied in their intentions and through their equipment and space, ways of promoting child development. Finally, we believe that this work brings important contributions to the determination of elements that can be considered by the teams responsible for the educational activities of museums, such as parameters for the process design for the exhibits for children.
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Kirk, Eleanor Sian. "Crystal teeth and skeleton eggs : snapshots of young children's experiences in a natural history museum." Thesis, University of Leicester, 2014. http://hdl.handle.net/2381/29320.
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This thesis has two aims of equal importance: firstly to reveal the fine details of the typical experiences of young children visiting a museum; secondly to find a method of accessing these experiences in such a way as to prioritise the children’s own perspectives, and to do so with a light touch, in order to minimise the impact on the visits. The research focuses on the experiences of 32 children, aged four and five years old, in their family visits to the Oxford University Museum of Natural History. Drawing on the field of Childhood Studies, the project contrasts the effectiveness of several research methods for their potential use with young children in this setting, including children’s drawings and tours. The final method involved using children’s digital photographs of their visit as prompts for photo-elicitation interviews, thus providing both visual and verbal expressions of their experience. The major contribution of this thesis to museum visitor studies is its development and description of a highly effective, minimally-invasive method that richly documents children’s experiences during the time of their museum visit using their own words and images. The research adds to a small but growing field of study about young children’s museum experiences with the addition of a detailed case study from a British natural history museum. Findings reveal children’s navigations of the social and physical setting, their responses to different types of museum object and modes of exhibit display, and the highly varied ways in which they make sense of the things that they encounter in the museum. The thesis thus argues for a move away from a solely learning-focused view of young children in museums to one that sees them as visitors in their own right, who value many different aspects of their museum visits.
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Lincoln, Margaret L. "The Online and the Onsite Holocaust Museum Exhibition as an Informational Resource." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5407/.
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Museums today provide learning-rich experiences and quality informational resources through both physical and virtual environments. This study examined a Holocaust Museum traveling exhibition, Life in Shadows: Hidden Children and the Holocaust that was on display at the Art Center of Battle Creek, Michigan in fall 2005. The purpose of this mixed methods study was to assess the informational value of a Holocaust Museum exhibition in its onsite vs. online format by converging quantitative and qualitative data. Participants in the study included six eighth grade language arts classes who viewed various combinations or scenarios of the onsite and online Life in Shadows. Using student responses to questions in an online exhibition survey, an analysis of variance was performed to determine which scenario visit promotes the greatest content learning. Using student responses to additional questions on the same survey, data were analyzed qualitatively to discover the impact on students of each scenario visit. By means of an emotional empathy test, data were analyzed to determine differences among student response according to scenario visit. A principal finding of the study (supporting Falk and Dierking's contextual model of learning) was that the use of the online exhibition provided a source of prior orientation and functioned as an advanced organizer for students who subsequently viewed the onsite exhibition. Students who viewed the online exhibition received higher topic assessment scores. Students in each scenario visit gave positive exhibition feedback and evidence of emotional empathy. Further longitudinal studies in museum informatics and Holocaust education involving a more diverse population are needed. Of particular importance would be research focusing on using museum exhibitions and Web-based technology in a compelling manner so that students can continue to hear the words of survivors who themselves bear witness and give voice to silenced victims. When perpetuity of access to informational resources is assured, future generations will continue to be connected to the primary documents of history and cultural heritage.
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Beaton, Donna G. "Environment & education : the development of an outdoor experiential learning centre for the Manitoba Children's Museum." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq23217.pdf.
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DeSantis, Lisa, and n/a. "Engaging with the past : structuring historic house museum visits for young children." University of Canberra. Resource, Environmental & Heritage Sciences, 1999. http://erl.canberra.edu.au./public/adt-AUC20060704.151238.
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Historic house museums have been the subject of very little structured research. As ideal
learning environments for young children they have the potential to facilitate very special
educational interactions, yet children's experiences in house museums remain relatively
unexplored, with very little professional analysis of the nature, the value or the impact of
school visits. As museums, historic houses are educational institutions, yet with limited
professional expertise and restricted resources as commonplace, many house museums
provide very little in the way of structured educational experiences for schools. This
study aims to increase our understanding of educational encounters in house museums.
Using Falk and Dierking's Interactive Experience Model this thesis explores the personal,
physical and social contexts of young children's visits to house museums. It follows the
progress of children aged 5-8 years, as they participate in class visits to two very
different kinds of house museum. A structured, age-appropriate education program
implemented at Calthorpes' House is compared to the approach taken at Blundells'
Cottage, where a lack of resources and professional expertise has resulted in unstructured
school visits, typical of amateur house museums throughout Australia. The study directly
compares these structured and non-structured museum visits to determine the immediate
and long term value of constructed learning experiences in historic houses. The thesis
concludes that the structure of a school visit has a significant influence on the museum
experience. Research revealed that structured education programs prepare children better
for their visit, allow for more successful interactive experiences on site, encourage
enjoyable social interactions and result in more detailed museum memories. Finally this
thesis outlines implications for house museums as a result of this research and makes
recommendations to assist under-resourced house museums provide more structured,
more informed educational interactions for schools.
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Williams, Charlotte Grojean. "Mother Earth's Museum for Children, Boulder Colorado : harmounious design, an identity with setting." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/70695.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1996.<br>Includes bibliographical references (78-79).<br>Natural phenomenons are conceived of the Earth and appropriate to their setting. Architecture designed harmoniously with its setting belong. to the Earth and, through this association, appropriately contributes to the environment. Harmonious design is the concept of this thesis. By definition, harmony implies a fitting, an orderly and pleasant joining by complement. In this sense, harmonious design refers to a conceptual relationship between architectural elements: the structural systems, the building materials, the circulation, the spacial values, and the experiential aspects of the setting. The concept that architecture has the ability to enhance the character of the site by its contribution, elevates the responsibility of the design. This thesis is in response to architecture which apparently lacks any sensitivity to its site and is perceived as alien, without responsibility to the environment. The analyzing of architecture which enriches its setting, from simple vernacular structures to prestigious contemporary building develops an understanding of harmony through the deSIgn process. The architectural project of my thesis is a children's museum on ecology for Boulder, Colorado at the foothills of the Rocky Mountains. The museum is a nature center to inform and address issues of ecology for small children and their families. The approach of harmonious design in conceiving an architectural presence in this natural setting reinforces the museum's concept of respect for the environment.<br>by Charlotte Grojean Williams.<br>M.Arch.
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Mifsud, Edward. "The visualization of natural history museum habitat dioramas by Maltese primary school children." Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/10021923/.
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The thesis addresses a relatively under-explored area in this field of study within the socio-constructivist paradigm. The main aim is to investigate how 9-year-old school children visualize habitat dioramas to build a mental model, how they make sense of the dioramas to understand local flora and fauna, and how previous knowledge influences the way they visualise habitat dioramas. Data collected included a first drawing done in class, a second drawing done at the Natural History Museum before and a third following the viewing of the habitat dioramas. Each pupil was interviewed after the respective task to allow for a comprehensive description of the content of the drawings. The children we also asked to produce a web (mind map) and they were also observed as they interacted with the dioramas. Data was mainly analysed qualitatively through direct examination of the drawings and with the aid of the computer package Atlas.ti. Some general trends emerge in the findings such as animals being more present in drawings than plants. Animal diversity ranks in decreasing order from birds, mammals, arthropods and fish to reptiles, while plants are mainly seeded and ornamental. Generally drawings progress from imaginative in class and before seeing the diorama, to increasingly drawing from observation in the diorama drawings. More significantly, pupils undergo a transformation through their drawings, which may show a change from isolated organisms on a sheet of paper to greater elaboration or better accuracy in placing organisms in habitat. However, others show an opposite transformation or no significant change at all. To a certain extent, children seem to interpret the diorama through the lens of their previously held mental model. What children already know partly influences what they choose to represent, but they also accommodate new knowledge they obtain from the diorama. Dioramas that help recall familiar environments are more likely to capture attention and afford a longer viewing time, thus imparting new knowledge and moulding the child’s mental model. Habitat dioramas have the potential to serve as models for learning in Biology and Environmental Education at primary level. An interpretative model for museum settings is proposed, while its potential applications in other areas of science education and limitations are considered.
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Sim, Grace. "Learning about biodiversity : investigating children’s learning at a museum, environment centre and a live animal show." Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/10021761/.
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School trips in environment centres, in museums and at live animal shows can cover the same curriculum objectives, relating to habitats and adaptations, at age-appropriate levels. However, each of these three settings has traditions and goals which influence the subtexts conveyed by educators, and therefore the messages pupils gather from learning experiences. This research investigated children’s experiences in these three different informal learning settings in London, UK. The aim was to identify and understand the learning that took place. The main evidence was collected with 180 year 4 pupil participants from local state primary schools. Their learning is visualised in a conceptual framework ‘SPEAK’ that represents learning in the domains of Skills, Place, Emotion, Attitudes and Knowledge (SPEAK). Analysis was based on an existing socioecological literacy framework. There is evidence that the environment exploration was the source of considerable motivation for children. Live animal shows led to children describing species, and subsequently recalling aspects of individual animals’ personalities. Natural history specimen collections developed skills of observation, identification, discovery and reading. A representation of the SPEAK domains is proposed as a tool for reflection for educators, to review the learning intentions of informal teaching experiences. A case study at the Royal Veterinary College shows how it has been used to understand learning, using iPads. A salience theory of informal learning is proposed through considering memorable and transformative aspects of informal learning, from a learning psychology perspective. Aspects of this theory are suggested as areas for future research.
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Youngquist, Betsy. "Children's museums creating holistic learning environments for children /." 1992. http://catalog.hathitrust.org/api/volumes/oclc/27340745.html.
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Thesis (M.A.)--University of Wisconsin--Madison, 1992.<br>Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 65-68).
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Verbanszky, Stephanie J. "Winning over tweens : museum programming for the middle school audience /." 2006. http://library2.jfku.edu/Museum_Studies/Winning_Over_Tweens.pdf.
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Hamilton, Alex. "Children's museums, computer technology and developmentally appropriate practice /." 2005. http://library2.jfku.edu/Museum_Studies/Childrens_Museums.pdf.
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YEH, TING-CHUN, and 葉庭君. "Curriculum Planning and Children's Learning Experiences in Art Museums - A Case Study on “Tim’s Children Art School ” of the Museum of Contemporary Art, Taipei." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/ge39ku.
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碩士<br>國立臺北藝術大學<br>博物館研究所<br>106<br>As a social education institute, an art museum should actively engage the public to know more about art, to enjoy it and to cultivate aesthetics. What role should the art classroom of the museum play to perform the function of the museum education? How does the learning experience of those children who have attended the art classroom affect their impressions of the art museum? The “Tim’s Children’s Art School” thus is chosen as a case study to explore the design of curriculum and children's learning experiences in the art classroom of the Museum of Contemporary Art (MOCA), Taipei.
In this thesis, the context of the development of the “Art Classroom” of MOCA was reviewed and concepts and learning goals of “Tim’s Children’s Art School” were analyzed. It shows that artist as teacher is the key feature and the course was dedicated to creating fun for children. Interviews and observations were conducted as well as the analysis of children’s artworks to explore the learning experiences of children. There are 5 factors that children think which make fun in an art class: 1. Novelty and interesting content, 2. Varieties of materials, 3. Free Learning styles, 4. The comfortable and stress-free learning environment, and 5. Game-based learning. However, the course in this case only apply the first four factors, thus the researcher suggests the teacher may apply game-based techniques to enhance children’s learning motivations and enjoyment. In addition, the analysis of children’s artworks shows that children were not only influenced by the course content but also combined their life experiences into their artworks. Lastly, the study points out that the children’s motivation to visit the art museum is not enhanced by their experiences in the art classroom, due to the lack of connections between the course, the concept of Contemporary Art and the exhibitions. In the future, if MOCA can integrate and make the best of the resources of the museum in the course to establish a unique value of the “Art Classroom”, it will further perform the functions and missions of art museum education.
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Yen-HuiLi and 李妍憓. "Interactive Games Design for Children's Learning in Art Museums – A Case Study of the Children‟s Play Room in National Taiwan Museum of Fine Arts." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/04674739151634766276.
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