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Journal articles on the topic 'Constructivist museum'
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1
Yoo, Juyoung. "Bridging art viewing and making: Constructivist museum tour and workshop programmes." International Journal of Education Through Art 17, no. 3 (2021): 373–88. http://dx.doi.org/10.1386/eta_00074_1.
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The purpose of this study is to investigate how constructivist approaches are conceptualized and implemented in ‘gallery tour and studio workshop’ educational programmes at art museums, and the relationship that exists between the gallery and studio learning for children. A qualitative multi-case study was employed, and three art museums were involved. Data collection methods included programme observations, participant interviews, photos and museum documents. The findings of the study offer examples of educators’ teaching approaches, which reflect constructivist tenets, as well as factors that might strengthen the connection across gallery and studio learning. An inviting learning environment, consideration of students’ prior knowledge and experience, use of themes and motivating questions and facilitation of reflections, as well as educators’ collaboration all promoted well-connected tour and workshop programmes. This study offers insights and strategies to interested museum professionals and educators who aim to provide children with meaningful and well-connected art-viewing and art-making programmes.
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Charapan, Nadzeya. "Communication Matters: How Do Visitors Interact with Ethnographic Open-Air Museums?" Informacijos mokslai, no. 83 (December 20, 2018): 142–54. http://dx.doi.org/10.15388/im.2018.83.9.
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[full article, abstract in English; abstract in Lithuanian]
 Though the concept of an ethnographic open-air museum is not a new one, little is known about the interplay between a visitor and an amalgam museum setting. Ethnographic open-air museums are complex spaces with shared qualities of outdoor sites and indoor museums. Grounded in Gibson’s theory of affordances (1979), the article explores how visitors interact within and in relation to the hybrid space of ethnographic open-air museum and how communication shapes their interactions. The analysis is based on a qualitative study of visitors in the Belarusian State Museum of Folk Architecture and Rural Lifestyle (Aziartso, Belarus) and the Open-Air Museum of Lithuania (Rumšiškės, Lithuania). The data were collected using participatory observation and semistructured interviews with visitors. The article employs a constructivist approach and conceptualizes an ethnographic museum as a free-choice environment, where behavior patterns are linked to the institutional context and the visitors’ ability to perceive the information about the objects and environments that specified the possibilities and constraints for interacting with the museum’s space. The study reveals how cultural communication fosters the diversity of visiting scenarios and the perceptions of ethnographic open-air museums as cultural heritage sites, natural parks and stages for entertainment. The implications of this research could be relevant to cultural policymakers and communication specialists in designing the cultural, recreational and educational policies of museums.
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Villeneuve, Pat, and Mary Erickson. "Beyond the Constructivist Museum: Guided Interaction through an Exhibition Interface." International Journal of the Inclusive Museum 4, no. 2 (2012): 49–64. http://dx.doi.org/10.18848/1835-2014/cgp/v04i02/44368.
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Miller, Kathleen J. "Inclusive Marketing in the Constructivist Museum: A Study of Non-visitors’ Needs." International Journal of the Inclusive Museum 3, no. 4 (2011): 91–108. http://dx.doi.org/10.18848/1835-2014/cgp/v03i04/44354.
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Belanus, Betty J., and Katie Fernandez. "Making Meaning on the Mall: The Smithsonian Folklife Festival as a Constructivist Museum." Curator: The Museum Journal 57, no. 4 (2014): 437–54. http://dx.doi.org/10.1111/cura.12084.
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Rocha, Edimarcio Francisco, Eduardo Ribeiro Mueller, and Edslei Rodrigues Almeida. "EXPLORANDO UM MUSEU DE PRÉ-HISTÓRIA COMO ESPAÇO NÃO FORMAL PARA O ENSINO E APRENDIZAGEM DE CIÊNCIAS." Revista Prática Docente 3, no. 2 (2018): 461–76. http://dx.doi.org/10.23926/rpd.2526-2149.2018.v3.n2.p461-476.id188.
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Resumo: Neste artigo, apresentamos uma experiência sobre a utilização de espaços não formais para o desenvolvimento de atividades relacionadas ao ensino e à aprendizagem de conteúdos curriculares que podem envolver diversas áreas do conhecimento, como a química e a biologia. Desse modo, destacamos um museu de pré-história como um potencial espaço não formal para o desenvolvimento dessas atividades. Utilizando pressupostos da pesquisa qualitativa e como recurso metodológico a aula de campo, realizamos observações e proposições sobre possíveis abordagens de temas relacionados ao ensino e aprendizagem de conceitos científicos, tendo como objetivo indicar aos professores meios alternativos ao processo tradicional de ensino que fragmenta o conhecimento. Como um espaço não formal para o ensino, o museu apresenta elementos que podem contribuir para a aprendizagem, uma vez que oferece formas de contextualizar o conhecimento das diferentes áreas, demonstrando ser um ambiente que propicia trabalhar assuntos relacionados com as Ciências da Natureza e, também, a conceitos étnicos, históricos, geográficos, linguísticos e políticos. Além disso, esse espaço se caracteriza como um local capaz de romper as barreiras da sala de aula, permitindo a interação do indivíduo com os artefatos expostos, contextualizando questões locais e contribuindo para a apropriação do conhecimento científico de maneira construtivista.Palavras-chave: Museu. Alfabetização científica. Mediação. Construtivista.Abstract: In this article, we present an experience about the use of non-formal spaces for the development of activities related to the teaching and learning of curricular contents that may involve several areas of knowledge, such as chemistry and biology. Thus, we highlight a pre-history museum as a potential non-formal space for the development of these activities. Using qualitative research assumptions and as a methodological resource the field class, we make observations and propositions about possible approaches to topics related to teaching and learning of scientific concepts, aiming to indicate to teachers alternative means to the traditional teaching process that fragments knowledge. As a non-formal space for teaching, the museum presents elements that can contribute to learning, since it offers ways to contextualize the knowledge of the different areas, proving to be an environment that facilitates work related to Nature Sciences and, also , to ethnic, historical, geographical, linguistic and political concepts. In addition, this space is characterized as a place capable of breaking the barriers of the classroom, allowing the interaction of the individual with the exposed artifacts, contextualizing local issues and contributing to the appropriation of scientific knowledge in a constructivist way.Keywords: Museum. Scientific Literacy. Mediation. Constructivist.
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Kempf, Katalin, Beatrix Vincze, and András Németh. "Challenges and in Museum Education, Best Practices in Hungary." Rivista di Storia dell’Educazione 7, no. 2 (2020): 121–31. http://dx.doi.org/10.36253/rse-9830.
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The study aims to present the best practices of museum education, art pedagogy and circus pedagogy in Hungary, to highlight their importance and their role as mediators of cultural values and their role in social equal opportunities. It emphasizes the role of non-formal forms of learning that are capable of meeting learners’ needs in a well-defined, differentiated, and experiential way outside the school system. At the same time, the study reflects on current issues in the renewal of museum education. Among other things, for those who want to study, «everything is more interesting outside of school». Changing learning habits and technical opportunities poses a major challenge in sustaining learning motivation. It also emphasizes the potential of informal learning in diverse settings - family, community, informal and supportive of information acquisition and capacity building (Coombs 1969, 1972). It cites examples of good domestic practice as interpreted by the Constructivist Museum (Anderson 2008; Black 2012; Hein 2004 a, b) and refers to programs, projects, and circus pedagogical initiatives for SEN and disadvantaged groups.
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Jorion, Natalie, Jessica Roberts, Alex Bowers, et al. "Uncovering Patterns in Constructionist Collaborative Learning Activities via Cluster Analysis of Museum Exhibit Log Files." Frontline Learning Research 8, no. 6 (2020): 77–87. http://dx.doi.org/10.14786/flr.v8i6.597.
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A driving factor in designing interactive museum exhibits to support simultaneous users is that visitors learn from one another, via both observation and conversation. Such collaborative interactions among museum-goers are typically analyzed through manual coding of live- or video-recorded exhibit use. We sought to determine how log data from an interactive multi-user exhibit could indicate patterns in visitor interactions that could shed light on informal collaborative constructivist learning. We characterized patterns from log data generated by an interactive tangible tabletop exhibit using factors like "pace of activity" and the timing of “success events." Here we describe processes for parsing and visualizing log data and explore what these processes revealed about individual and group interactions with interactive museum exhibits. Using clustering techniques to categorize museum-goer behavior and heat maps to visualize patterns in the log data, we found that there were distinct trends in how users approached solving the exhibit: some players seemed more reflective while others seemed more achievement oriented. We also found that the most productive sessions occurred when all four areas of the table were occupied, suggesting that the activity design had a desired outcome to promote collaborative activity.
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Saunders, Venelina Dali. "The Churches of Venice: Sacred Places or Museum Spaces?" Journal of Interpretation Research 19, no. 2 (2014): 61–64. http://dx.doi.org/10.1177/109258721401900205.
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Many churches in Venice have become landmarks due to their artistic treasures. Their increased volume of visitors often has a primary goal of sightseeing rather than participating in religious services. Consequently, some of the churches have employed interpretation methods to satisfy the demand of mass tourism. The aim of the study is to investigate the role of current on-site interpretations of the churches and relate them to the visitors’ perceptions and experiences. The evaluation relies on qualitative methods such as case studies, visitors’ surveys, site observations, and interviews. The results are analyzed through the framework of the constructivist-learning theory, which affirms that people create their own meanings based on previous knowledge. The findings demonstrate that the interpretive methods on-sites present the visitors with experiences not usually associated with religious sites. The churches are experienced as tourist attractions rather then sacred sites—a perception that clearly interferes with their original purpose.
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Howlett, Susan E. "Remote Access Museum Education: Next Steps in Moving Toward Constructivist and Inquiry-based Learning Online." International Journal of the Inclusive Museum 1, no. 4 (2009): 1–14. http://dx.doi.org/10.18848/1835-2014/cgp/v01i04/44534.
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Berland, Matthew. "Constructivist Analytics: Using Data to Enable Deeper Museum Experiences for More Visitors—Lessons from the Learning Sciences." Visitor Studies 20, no. 1 (2017): 3–9. http://dx.doi.org/10.1080/10645578.2017.1297116.
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Zimmermann, Tanja. "Objects of Embodiment: A “Post-Material Turn” in Exhibiting Lost Material Culture." Ikonotheka, no. 29 (September 16, 2020): 249–74. http://dx.doi.org/10.31338/2657-6015ik.29.1.
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Exhibiting lost material culture goes beyond documenting, preserving, reconstructing, and staging material traces of the past. Museums, possessing modest collections of original historical objects, have to search for new ways of exhibiting material culture thereby replacing facts (original objects, documents, documentary media) by bodily experience similar to that evoked by mystical religious art addressing different human senses beyond the vision. Bodily sensations can be evoked by ambiences, following expressionist or constructivist architecture, by sculptural displays in tradition of the avant-garde, by soundscapes and large scale image projections evoking illusion and immersion. The “post-material turn” comprises thus not only virtual culture, but also new material approaches to the memory of the past, shifting from original historical artifacts to reproductions and substitutes, evoking an intense bodily experience. Although history gets space for embodiment, such ambiences evoke a strong sense of loss, because they avoid immediate contact with traces of the past by virtual and material “doubles”. The “post-material turn” will be discussed with the example of The Jewish Museum and Tolerance Center in Moscow, relating it to other contemporary “postdocumentary” and “post-factual” phenomena in memorial culture.
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Crowell, Aron L. "Terms of engagement: The collaborative representation of Alutiiq identity." Études/Inuit/Studies 28, no. 1 (2006): 9–35. http://dx.doi.org/10.7202/012637ar.
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Abstract The book and exhibition Looking Both Ways: Heritage and Identity of the Alutiiq People present both Alutiiq and anthropological perspectives on a complex Alaska Native ethnicity. This community-based project, produced by the Smithsonian Institution and Alutiiq Museum in Kodiak, is considered within several frames: cultural identity and revitalization in the Alutiiq region, the new paradigm of collaborative anthropology, and contrasting essentialist and constructivist models of cultural change. An Alutiiq “cultural logic” of connection to ancestors, kin, place and a provident natural environment is proposed as the basis for continuity of identity through two centuries of cultural transformation. Collaborative engagement in Indigenous heritage projects is discussed as a complex but indispensable commitment for contemporary anthropology.
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Stepchenkova, Svetlana, and Veronika Belyaeva. "The Effect of Authenticity Orientation on Existential Authenticity and Postvisitation Intended Behavior." Journal of Travel Research 60, no. 2 (2020): 401–16. http://dx.doi.org/10.1177/0047287519899989.
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This study puts to empirical test the existence of three attitudes toward object-based authenticity that have been theorized in the literature as realist, constructivist, and postmodernist. We examine the relationship between an individual’s orientation toward object-based authenticity and the existential authenticity of tourists’ experience and postvisitation intended behavior. Two tourism settings are used: a museum with genuine historical artifacts and a place where authenticity is re-created, reconstructed, and interpreted. We find that the impact of authenticity orientation depends on the nature of the site: it affects existential authenticity in the re-created setting only. The largest differences are recorded between realists and postmodernists. Intended behavior does not depend on authenticity orientation when we control for the impact of existential authenticity.
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Nam, Jung Eun, Chong Wook Park, and Sung Ju Woo. "A Study on the Development and Validation of the M-ARCS Scale for Motivational Design of Constructivist Museum Education." Korean Association For Learner-Centered Curriculum And Instruction 20, no. 18 (2020): 717–45. http://dx.doi.org/10.22251/jlcci.2020.20.18.717.
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Turner, Stephanie. "Negotiating Nostalgia: The Rhetoricity of Thylacine Representation in Tasmanian Tourism." Society & Animals 17, no. 2 (2009): 97–114. http://dx.doi.org/10.1163/156853009x418055.
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AbstractThe recently extinct thylacine, endemic to Australia, has become a potent cultural icon in the state of Tasmania, with implications for Australian ecotourism and Tasmanian conservation strategies. While the thylacine's iconicity has been analyzed by naturalists and cultural historians, its significance in Tasmanian tourism has yet to be examined. Thylacine representations in tourism-related writings and images, because of their high degree of ambivalence, function as a rich site of conflicting values regarding national identity and native species protection. Drawing on cultural studies of the thylacine and constructivist theories of tourism, this study identifies and documents three polarities in thylacine representation: the thylacine as wild yet domesticated, present yet absent, and an Australian national—yet distinctly regional—subject. A close reading of contradictory textual and visual elements in tourist guides, travel writing, specialized maps, and museum exhibits illuminates ongoing debates about Australian econationalism in the global tourism economy.
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Kudrjavtsev, Sergej. "Evaluation of the carrying capacity of the building structures in the industrial heritage for its adaptation." MATEC Web of Conferences 146 (2018): 02003. http://dx.doi.org/10.1051/matecconf/201814602003.
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The article presents the results of verification calculations of carrying capacity of building structures of “White Tower”. This former water tower is a constructivist monument of state-wide significance and one of the oldest reinforced concrete structures in Yekaterinburg. Currently the design of adaptation of the object as a museum or an exhibition hall is being developed. The purpose of the study is to answer the question: Will the structures of the 1930s withstand the loads regulated by modern building codes? The results of carried out field inspections and a finite-element model of the LIRA-SAPR software are also described. The data of the weakest sections and elements of the structure are presented. The result of the work will allow carrying out a complex of efforts for the restoration of building structures of the object and will help in deciding whether to develop one or another alternative for its adaptation.
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Corbit, Margaret. "Building Virtual Worlds for Informal Science Learning (SciCentr and SciFair) in the Active Worlds Educational Universe (AWEDU)." Presence: Teleoperators and Virtual Environments 11, no. 1 (2002): 55–67. http://dx.doi.org/10.1162/105474602317343659.
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As a focus of its exploration of desktop 3-D environments for science outreach, the Cornell Theory Center (CTC), Cornell University's high-performance computing center, has been exploring the use of the Active Worlds client/server technology for implementation of a 3-D multiuser virtual science museum, SciCentr, that incorporates interactive simulation-based exhibits. We present here early lessons in accommodating the needs of several interconnected user groups as we move forward with establishing the SciCentr community within the greater educational community of Active Worlds Educational Universe (AWEDU) and the Contact Consortium's VLearn3D initiative. We learned that we must provide the user communities with both social and spatial frameworks within which to work and play. Social support ranges from one-on-one, over-the-shoulder help, to guidance and training within the environment, to coordination of “inworld” activities and inperson pizza parties. Spatial design requirements depend on the activities of the user group and benefit from study of real and virtual world examples. Our experience to date with a pilot group of teenaged participants is encouraging, and we believe that this medium has potential as a resource for constructivist informal science and technology education.
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Makiewicz, Małgorzata. "Mathematical Cognition in Metaphors Expressed Through Photography / Matematyczne Poznanie Poprzez Metafory Wyrażone Fotografią." Chemistry-Didactics-Ecology-Metrology 17, no. 1-2 (2012): 27–39. http://dx.doi.org/10.2478/cdem-2013-0002.
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Abstract The paper signals the foundations of the new method of teaching mathematics that is currently emerging from the concept of human cognition and the constructivist paradigm. The presented examples of the hermeneutic research conducted for 17 years are concerned with an analysis of the formulated mathematical problems in the language of photographic metaphors. Thoughts expressed through the photographic image and text consisting of the caption and the description (dual coding) reveal the structure of cognitive networks of authors of photographs, which has a special significance in creation of the new didactics that will fulfil the needs of the contemporary photosociety. Mathematical photoeducation free transition between art and mathematics lies on the student’s artistic sensitivity and on enlivening the student’s cognitive expression in a space distant from the classroom (at a lake, in the playground, on the skating ring or during a field excursion to a mineral museum). It utilizes the student’s natural interest in observable natural phenomena and in man-made objects. This kind of creativity, which relies on independent uncovering or constructing of knowledge with the help of a photographic camera, opens the gates to an entirely new space of mathematical didactics, as it brings to students’ awareness specific ways of association leading to accomplishment cognitive processes in relation to abstract mathematical objects.
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Parker, Samuel K. "Lived Cosmologies and Objectified Commodities: Reinventing the Traditional Art of India in a World of Cultural Tourism." Copenhagen Journal of Asian Studies 29, no. 1 (2013): 120–58. http://dx.doi.org/10.22439/cjas.v29i1.4023.
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This essay examines how the significance of ancient South Asian monuments is transformed when reframed by the practices of cultural tourism, which are grounded in the values of a modern, globalizing, economic cosmology. Ethnographic evidence collected on a visit to the archaeological park and museum at Sarnath, site of the Buddha's first discourse and home to some of the most celebrated masterpieces of ancient Indian sculpture, are here analyzed to support and illustrate a broader, social-constructivist argument about the representation of reality in Indian visual culture. I will argue that the version of 'reality' presupposed by modern economic practices, such as tourism, works to
 objectify ancient South Asian forms and meanings, previously precipitated out of older living practices, into reified, collectable entities. Such objects and their objectified meanings further contribute toward naturalizing and universalizing economically grounded projects of self-construction among the practitioners of an economic worldview, wherein the self is shaped by routines of production and consumption: I am what I do for a living and I am the goods—including here, the touristic experiences—that I collect. It is this economic cosmology that moves to the foreground when ancient Indian 'art' is re-presented and consumed in the form of tourism products. Meanwhile the cosmology of dharma is pushed into the background. I hope to persuade the reader that the 'cost' of doing this is too high to justify the narrow economic benefits.
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Lankford, E. Louis. "Aesthetic Experience in Constructivist Museums." Journal of Aesthetic Education 36, no. 2 (2002): 140. http://dx.doi.org/10.2307/3333763.
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Duda, Vasile. "Armonia spațialității pozitive și negative în sculptura artistului Ingo Glass." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (2020): 185–220. http://dx.doi.org/10.24193/subbhistart.2020.10.
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"Harmony of Positive and Negative Spaciousness in Ingo Glass sculpture. The aim of this article is to discuss issues regarding the ways spaciousness and harmony of positive and negative surfaces in Inglo Glass sculpture are valorized. The artist was born in 1941 in Timișoara, he studied at the Traditional School of Arts from Lugoj and then he attended the university in Cluj. Between 1967-71 he worked as curator at the Museum of Contemporary Arts from Galați and he established connections with visual artists from all over the country. Later on, between 1972-73 he worked as teaching assistant at the Architecture University from Bucharest and then he became cultural consultant at the German Culture House Friedrich Schiller. During this period, Ingo Glass created a Constructivist Art with metal structures developed vertically following the spatial pattern specific to the great Gothic cathedrals– the most famous work Septenarius was built in 1976 on the Danube boardwalk from Galați. Being forced by the political circumstances from the Socialist Republic of Romania, he emigrated to the Federal Republic of Germany in 1979, he moved to München where he worked for the Municipal Art Gallery and where he was integrated in the group of Concrete-Constuctivist Art artists. After 1989 he came back to Romania with different exhibitions and he created public monuments in Galați, Timișoara, Moinești and Lugoj. Then, in 1992 he presented his PhD thesis about the influence of Constantin Brâncuși Art over the 20th century sculpture. Between 1989-1998 the artist crystallized an original visual concept based on the usage of the basic geometric shapes in conjunction with the primary colours. Ingo Glass upgraded Bauhaus theory and he associated the square with blue, the triangle with yellow and the circle with red. By using shapes and primary colours the artists creates Concrete Art, a new symbolic universe, purely geometrical, the harmony of his entire work being given by the proportion and link between full and empty spaces. Expanded spaciousness specific to the Constructivst Art phase experiments the architecture-sculpture link and the monumentality of the metallic structures encourages the entrance to the central core of works. The open, non-material dimension forms the main volume of the sculpture, the empty space dominates the full shape and it outlines the effects of an unrated and irrational spaciousness. Balanced spaciousness specific to the Concrete Art phase experiments geometrical combinations, based on the basic shapes in positive and negative intersections, by the spaciousness and non-spaciousness link, the pace between full and empty spaces. The usage of the three basic geometrical shapes also influenced the combining vocabulary of these elements, and it even ensured the ordering and deduction of the empty space. The utopia of basic forms expresses tendencies towards positive irreductible forms of energy or negative forms through non-materiality, where the concepts of mass, weight, space and time are added. In each of his works, the artist used a proportion between the elements of the composition through a rational interpretation stimulated by the achievement of a geometrical order as the essential basis of tasks. The relation between positive and negative spaciousness appears constantly in the sculpture of the last century and the rhytm and sequence of its spatial effects are determined by a sense of proportion that involves an aesthetic of proportion. Thus, we can definitely say that the work of the artist Ingo Glass originally captures all these aspects of Contemporary Art. Keywords: sculpture, spaciousness, Ingo Glass, constructivism, Concrete Art. "
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Osborne, Jonathan F. "Constructivism in Museums: A Response." Journal of Museum Education 23, no. 1 (1998): 8–9. http://dx.doi.org/10.1080/10598650.1998.11510363.
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Moore, Daneell D. "NCSS notable trade book lesson plan Before She Was Harriet." Social Studies Research and Practice 14, no. 3 (2019): 349–60. http://dx.doi.org/10.1108/ssrp-12-2018-0047.
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Purpose The purpose of this paper is to allow students to explore the accomplishments of Harriet Tubman at various stages of her life through a guided research investigation. Students will be able to identify Harriet Tubman as a human hero by creating biographical story boards to display first in the classroom and later moved to a local cultural museum. The lesson plan is based on the trade book Before She Was Harriet. This short biography of Harriet Tubman is written in a free verse style to introduce young readers to the several roles she held throughout her impressive life span. Design/methodology/approach Social constructivist principles are integrated throughout the lesson; that is, meaningful interactions with peers and the teacher influence student learning. Students participate in a scaffolded research project with the support of teacher modeling and graphic organizers. They expand their knowledge by creating an original interdisciplinary project, a story board biography. Throughout all phases of the learning experience, students engage in critical thinking and challenging activities that include drawing connections among ideas, evaluating group work, arguing positions and applying research skills. Additionally, a variety of resources, including technology, are incorporated to promote active student engagement. Findings This is a National Council for the Social Studies (NCSS) Notable Tradebook Lesson Plan. Originality/value Young learners need the opportunity to engage in scaffolded research activities in a social studies classroom. This innovative instructional plan provides PreK-3 teachers a guide to introducing students to Harriet Tubman by reading aloud Before She Was Harriet, a 2018 Notable Trade book, and allowing students to gather a deep understanding of this historical figure through guided research over the course of two to three sessions.
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Jeffery-Clay, Kodi R. "Constructivism in Museums: How Museums Create Meaningful Learning Environments." Journal of Museum Education 23, no. 1 (1998): 3–7. http://dx.doi.org/10.1080/10598650.1998.11510362.
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Katz, James E., and Daniel Halpern. "Can Virtual Museums Motivate Students? Toward a Constructivist Learning Approach." Journal of Science Education and Technology 24, no. 6 (2015): 776–88. http://dx.doi.org/10.1007/s10956-015-9563-7.
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Spalter, Anne Morgan, Philip Andrew Stone, Barbara J. Meier, Timothy S. Miller, and Rosemary Michelle Simpson. "Interaction in an IVR Museum of Color: Constructivism Meets Virtual Reality." Leonardo 35, no. 1 (2002): 87–90. http://dx.doi.org/10.1162/002409402753689380.
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Immersive Virtual Reality (IVR) environments would seem naturally to lend themselves to hands-on approaches to learning, but the success of such virtual “direct experience” depends heavily on the design of interface and interaction techniques. IVR presents surprisingly difficult interface challenges, and the study of interface and interaction design for educational IVR use is just beginning. In this paper, the authors discuss three issues encountered in the creation of an IVR-based educational project: the use of architectural spaces for structuring a sequence of modules, the tradeoffs between metaphorical fidelity and convenience, and the use of IVR in interaction with visualizations of abstract concepts.
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Kacprzak, Dariusz. "FROM THE STUDIES ON ‘DEGENERATE ART’ TWENTY YEARS AFTER THE WASHINGTON CONFERENCE. SZCZECIN’S CASE (MUSEUM DER STADT STETTIN)." Muzealnictwo 60 (July 11, 2019): 126–42. http://dx.doi.org/10.5604/01.3001.0013.2857.
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On 5 August 1937, fulfilling the orders of the Chairman of the Reich Chamber of Fine Arts (Reichskammer der bildenden Künste), a confiscation committee showed up at the City Museum in Stettin, and demanded to be presented by the Director of the institution the Museum’s collection in view of ‘degenerate art’. While ‘hunting’ for the Avant-garde and ‘purging museums’, the Nazis confiscated works that represented, e.g. Expressionism, Cubism, Bauhaus Constructivism, pieces manifesting the aesthetics of the New Objectivity, as well as other socially and politically ‘suspicious’ art works from the late Belle Époque, WWI, German Revolution of 1918–1919, or from Weimer Republic Modernism of the 1920s and 30s. The infamous Munich ‘Entartete Kunst’ Exhibition turned into a travelling propaganda display, presented in different variants at different venues. A three-week show (11 Jan.–5 Feb. 1939) was also held in Stettin, in the Landeshaus building (today housing the Municipality of Szczecin). Provenance studies: biographies of the existing works, often relocated, destroyed, or considered to have been lost, constitute an interesting input into the challenging chapter on German and European Avant-garde, Szczecin museology, and on Pomerania art collections. Side by side with the artists, it was museologists and art dealers who cocreated this Pomeranian history of art. The Szczecin State Archive contains a set of files related to ‘degenerate art’, revealing the mechanisms and the course of the ‘museum purge’ at the Stettin Stadtmuseum. The archival records of the National Museum in Szczecin feature fragments of inventory ledgers as well as books of acquisitions, which provide a particularly precious source of knowledge. The published catalogue of the works of ‘degenerate art’ from the Museum’s collections covering 1081 items has been created on the grounds of the above-mentioned archival records, for the first time juxtaposed, and cross-checked. The mutually matching traces of information from Polish and German archives constitute a good departure point for further more thorough studies.
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Vogt, Sebastian, and Annika Maschwitz. "The Non-Cartesian Way." Journal of Cases on Information Technology 16, no. 2 (2014): 13–25. http://dx.doi.org/10.4018/jcit.2014040102.
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Based on the seamless learning approach (Wong, 2012), this paper illustrates how media competence can be developed, what didactic design is necessary, and what features this design possesses for teaching media competence at university. The ‘Natural History Museum Berlin project' is considered as an example of this. In this project, during the 2009 summer term, students at the Carl von Ossietzky Universität Oldenburg (Germany) in cooperation with the Natural History Museum Berlin (Germany) developed and produced media products (magazine articles, audio and video podcasts) in which they explored and reflected on the topic of knowledge transfer in terms of constructivism in an authentic context. The closeness to research activities at the university, especially in the Department of Continuing Education, is one of the essential aspects.
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Nadezhda Dimitrova Savova. "Heritage Kinaesthetics: Local Constructivism and UNESCO's Intangible-Tangible Politics at a Favela Museum." Anthropological Quarterly 82, no. 2 (2009): 547–85. http://dx.doi.org/10.1353/anq.0.0066.
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Wazlawick, Raul S., Marta C. Rosatelli, Edla M. F. Ramos, et al. "Providing More Interactivity to Virtual Museums: A Proposal for a VR Authoring Tool." Presence: Teleoperators and Virtual Environments 10, no. 6 (2001): 647–56. http://dx.doi.org/10.1162/105474601753272880.
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This paper describes the museuVirtual project that is developing an authoring tool for the collaborative building of nonimmersive museums in virtual reality. The rationale behind museuVirtual is based on the observation that virtual museums found on the Internet normally have very limited opportunities for user interactivity. We examine different kinds of interactivity and propose an authoring tool that allows a teacher or student to create virtual exhibits in which dynamic interactive objects and chatterbots may be programmed in a relatively easy way. This proposal is strongly based on the concepts of actor-based programming and constructivist theory, which have been applied in the last five years to teach basic programming skills to beginners. The ideas applied with success in many previous experiments using 2-D graphics are now being introduced in an authoring tool that generates VRML/Java code. The museuVirtual project is developing a tool that not only allows the students to be the organizers and curators of their own museums, but also to work collaboratively, by building such museums in a virtual distributed environment.
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Araújo, Anderson Henrique Dos Santos, and João Paulo Celestino Lima. "Planejamento estratégico em museus públicos: uma análise cienciométrica." Mouseion, no. 38 (August 5, 2021): 1. http://dx.doi.org/10.18316/mouseion.v0i38.8367.
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A ênfase no planejamento estratégico em museus traz à tona os principais elementos para uma análise gestorial desse bem de uso comum. Para esse estudo, considerou-se o período de 2016 a 2020, com objetivo de construir um portfólio de artigos. Tal seleção, realizou-se por meio da metodologia ProKnow-C (Knowledge Development Process Constructivist), cujo resultado cienciométrico/bibliométrico, após utilização dos instrumentos de pesquisa, foram trinta artigos alinhados com o tema. Após leitura integral destes, concluiu-se que as principais discussões em torno do planejamento estratégico se agrupavam em cinco grandes blocos: 1) Modernização dos museus: não apenas estrutural, mas também digital; 2) Políticas Públicas: que ainda apresentam dificuldades relativas à dispersão territorial; 3) Plano Museológico: vantajoso por apontar diretrizes seguras para o planejamento eficaz; 4) Uso de ferramentas estratégicas: o BSC e análise SWOT são as mais utilizadas; 5) Tendências contemporâneas: as principais são contrato de gestão e diversidade tipológica dos museus. Desse modo, pelo alto dinamismo do assunto, sugere-se estudos mais aprofundados em cada um dos blocos.
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Tupitsyn, Margarita. "From Black Square to Room Square." Journal of Visual Culture 16, no. 1 (2017): 20–27. http://dx.doi.org/10.1177/1470412917690969.
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Fried’s assertion that Constructivism was a source for Minimalism is supplemented by Donald Judd’s interest in Suprematism. By reading Judd’s review of Kazimir Malevich’s 1973 exhibition in the Guggenheim Museum, this article locates similarity between the two artists’ fascination with painting’s inbuilt objectness that drove them into three-dimensional art. Judd’s reading of Malevich’s work that the author supplements with her own historical analysis reveals that Fried’s characterizations of Minimalism as theatrical, reliant on a viewer, and not interested in ritualizing a single painting, was accurate. Another theme of this article is Judd’s realization – shortly before his death – that damaged Soviet objecthood, a leftover of the Suprematist Utopia, was an antithetical partner to ‘Specific Objects’.
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Rapoport, Alek. "Tradition and Innovation in the Fine Arts." Canadian-American Slavic Studies 45, no. 2 (2011): 183–206. http://dx.doi.org/10.1163/221023910x535593.
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AbstractSince childhood, AR was attracted by art. His first teacher, E. Sagaidachny, was a former member of the nonconformist groups “Youth Union” and “The Donkey Tail”. Later, in Leningrad, AR enrolled in the V. Serov School of Art. In spite of official Socialist Realism, some teachers (Shablovsky, Gromov, Sudakov) introduced their students to Russian avant-garde. AR educated himself, copying the paintings of Old Masters in the Hermitage Museum. During 1959-1963 AR studied Russian Suprematism and Constructivism in the Leningrad's Institute for eater, Music and Cinema under the supervision of N. Akimov. AR considered himself as a follower of Russian Constructivism with the roots in ancient Mediterranean and Byzantine art. After graduating, AR's life was full of different activities. He preferred teaching at the V. Serov School of Art, but was fired for “ideological conspiracy” as a founder of the new courses – Technical Aesthetics, Yu. Lotman's eory of Semiotics and Russian Constructivism. In the 1970s AR became an active member of a nonconformist artist group TEV (Fellowship of the Experimental Exhibitions) and the co-founder of the ALEF group (Union of Leningrad's Jewish Artists). This activity brought close attention of KGB and he was forced to emigrate in 1976. Living in the USA, AR criticized American contemporary art for its un-spirituality, commercialism and rejection of traditions – a necessary basis of existence of art. He belonged to two traditional cultures, Jewish and Russian, and his art is traditional. His art represents his own thoughts turned into his paintings, with a great appreciation to discoveries of the Old Masters. And the circle is not closed.
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Nam, Jungeun, Chongwook Park, and Sungju Woo. "New Directions and Issues In Museum Education Program Based on Constructivism - With A Focus on the ‘Meaningful Gamification’ -." JOURNAL OF GLOBAL CULTURAL CONTENTS 38 (February 28, 2019): 43–65. http://dx.doi.org/10.32611/jgcc.2019.02.38.43.
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Nam, Jungeun, Chongwook Park, and Sungju Woo. "New Directions and Issues In Museum Education Program Based on Constructivism: With A Focus on the ‘Meaningful Gamification’." Academic Association of Global Cultural Contents 38 (February 28, 2019): 43–65. http://dx.doi.org/10.32611/jgcc.2019.2.38.43.
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Lorenc, Magdalena. "The Postulate of Grounded Theory in the Perception of the Museum of the Second World War in Gdańsk in Terms of Political Science." Środkowoeuropejskie Studia Polityczne, no. 4 (December 15, 2020): 27–58. http://dx.doi.org/10.14746/ssp.2020.4.2.
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This article aims to demonstrate the applicability of grounded theory in the analysis of the Museum of the Second World War in Gdańsk in terms of political science. The fundamental question is how to examine the sources which exhibit the ideological character of the space of public museums? In order to answer this question, the concepts by Kathy Charmaz and Adela Clarke are referred to, which have been noticed to offer unused potential for qualitative research conducted in the field of political science. This meant departing from the “classical” versions of grounded theory, created by Barney G. Glaser and Anselm L. Strauss, in favor of what is called “a postmodern turn,” and approaches which synthesize constructivism and social constructionism. Data obtained from primary and secondary sources concerning the main axis of the core exhibition were analyzed. The starting point was my own field research, the results of which were compared with the data from an interview with the museum’s architects and the transcription of a photograph. Inspired by procedures compliant with the non-classical versions of grounded theory, it was demonstrated that the main axis of the core exhibition was designed as a liberal manifesto of freedom. This determined the subject of analysis to be a part of the research field of political science. The spatial solutions applied testified to their designers’ intention to provide visitors with freedom of movement and assembly. They were considered as conceptual categories, related to the absence of a dedicated sightseeing route and the vastness of the space left for visitors. A comparative analysis of codes and categories, however, made it possible to identify yet another interpretative trope, related to the identification of freedom with alienation. In this way, “liberty” has become problematized.
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Cortés Meseguer, Luis, Julián Esteban Chapapría, and Rafael Marín Sánchez. "Desmontaje y traslado del ábside de Fuentidueña. Experiencia y método en el arquitecto Alejandro Ferrant." EGA. Revista de expresión gráfica arquitectónica 22, no. 29 (2017): 68. http://dx.doi.org/10.4995/ega.2017.7344.
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En 1957 los gobiernos de España y Estados Unidos, a través del The Metropolitan Museum of Art y el Museo del Prado, acordaron la devolución de algunas pinturas de San Baudelio de Berlanga a cambio del traslado a Nueva York del ábside románico de San Martín de Fuentidueña. El ábside fue dibujado cuidadosamente y todos sus sillares numerados antes de su desmontaje y traslado hasta el nuevo emplazamiento en el museo The Cloisters.<br />En dichos trabajos quedó patente el alto grado de profesionalidad y conocimiento de Alejandro Ferrant Vázquez. Dado que los operarios del desmontaje no iban a intervenir en la reposición del elemento, este arquitecto plasmó con singular rigor en numerosos planos, complementados con un extenso álbum fotográfico, desde las disposiciones constructivas hasta las cotas de las irregulares hiladas de asiento de cada una de sus piezas. Esta metodología, usada en otros traslados, constituye un valioso documento técnico en una materia tan controvertida como el traslado de monumentos.
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Nam, Jungeun, Chongwook Park, and Sungju Woo. "A Preliminary Study on Development of Evaluation Indicators for Learning Motivation of Museum Education Program Based on Constructivism: Focusing on ARCS Model of Motivational Design." Academic Association of Global Cultural Contents 34 (June 30, 2018): 43–65. http://dx.doi.org/10.32611/jgcc.2018.6.34.43.
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Koustourakis, Gerasimos, Ioanna Pefani, and Chris Panagiotakopoulos. "Exploiting Television in Open and Distance Learning: The Case of Undergraduate Courses in Cultural Studies at the Hellenic Open University." Ανοικτή Εκπαίδευση: το περιοδικό για την Ανοικτή και εξ Αποστάσεως Εκπαίδευση και την Εκπαιδευτική Τεχνολογία 6, no. 1,2 (2010): 66. http://dx.doi.org/10.12681/jode.9745.
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This study aims to explore the level of integration television has in the educational process of the undergraduate courses of cultural studies of the Hellenic Open University (HOU), based on Bourdieu’s theoretical standpoints. Acquisition of the research data was performed through a suitable questionnaire. In this research 394 students participated, from the courses «Studies in the European Culture» and «Studies in the Greek Culture». The principal findings of the research are the following: Television is not integrated in the institutional habitus of HOU, regarding the way distance learning is provided. Nevertheless, the majority of the students of the sample approached educational knowledge in a constructivistic way, finally integrating television, which comprises an element of modern humans’ habitus, in personal learning tactics. Finally, the sample’s students desire the exploitation of television from HOU, like many Hellenic Open Universities do, in an international level. They also expressed their desire that HOU will create television educational courses, focusing mainly on presentation of museums, archaeological sites, historical documentaries as well as teachings and lectures clarifying the confusing parts of their educational material.
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Roberts, Jodi. "Diego Rivera: Moscow Sketchbook." October 145 (July 2013): 85–114. http://dx.doi.org/10.1162/octo_a_00149.
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Diego Rivera made the following sketches during a seven-to-eight-month stay in the Soviet Union between 1927 and 1928. A prominent member of the Partido Comunista de México (Communist Party of Mexico), Rivera traveled to Moscow to participate in the tenth-anniversary celebrations of the 1917 Revolution. Word of Rivera's dedication to muralism as a politically potent art form preceded his arrival, and he quickly became embroiled in debates about Soviet art's ideological aims and physical characteristics. He lectured on monumental painting at the Komakademiia (Communist Academy) and joined the Oktiabr' (October) group, a body of artists—many former Constructivists—working in varied media but united in their rejection of easel painting in favor of works intended for public display and mass audiences. Rivera also received a commission from Anatolli Lunacharsky, the first Soviet Commissar of Enlightenment, for a fresco cycle (ultimately unrealized) at the Red Army's headquarters. As Maria Gough argues in this issue, the group of drawings, long assumed to be from a single notebook, is likely an amalgamation of sketches created during two distinct events, the tenth-anniversary celebrations in November 1927 and the May Day festivities of the following year. Rivera's sketches capture his reaction to these officially mandated public demonstrations—spectacles so large in scale that they defined a new type of mass political event. In January 1928, Rivera met two young American scholars—Alfred H. Barr Jr. and Jere Abbott, the future director and associate director of the Museum of Modern Art, New York, respectively—who were on the Russian leg of a European tour designed as an education in contemporary artistic developments. The three met regularly, visiting exhibitions and the studios of Moscow-based artists. The fruits of this unlikely friendship between a radical art-world celebrity and two fledgling art historians were seen in Rivera's one-man show at MoMA in the winter of 1931–32, a blockbuster that decimated the young museum's existing attendance records. In support of the exhibition, Abby Aldrich Rockefeller, a founding trustee of the Museum, purchased the sketches to help defray the cost of the artist's stay in New York. She donated the works to MoMA in 1935.
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Filipkowski, Piotr. "O relacjach byłych więźniów kacetów w kontekście czasu, miejsca i sytuacji ich powstania (albo o pożytkach z historii mówionej)." Wrocławski Rocznik Historii Mówionej 2 (October 30, 2012): 37–71. http://dx.doi.org/10.26774/wrhm.27.
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One of the main objections against oral history interviews is their retrospective character – the distance from the time of events which are covered by the interviews. While it is not the distance itself that is the issue but its deforming potential: the susceptibility of memory to later, in relation to the discussed events, influences. Another issue is the influence of an interview situation itself, relation between the person documenting interview / the researcher and the so-called witness to history. 
 The text starts with those theoretical and methodological questions and considers them on the example of concrete, empirical material. The material is the so-called representations of former Auschwitz prisoners gathered through decades by the Auschwitz-Birkenau State Museum as well as biographic and narrative interviews with the same people recorded in years 2002–2003 for the Mauthausen Survivors Documentation Project and archived in the Oral History Archive of the Karta Center and the History Meeting House. 
 Thorough comparison of both accounts from the same person delivered orally at a different time, place and in a different context (biographic, social, historical) conducted by different institutions and on the basis of different methodologies allows one to analyze the influence of different contexts on the content of the stories told. The effect of those analyses is a new picture of dependencies between the memory of experience of there and then and the entanglement of stories of this experience with the here and now reality. This picture seems quite distant both from naive realism as well as – although today it may seem quite surprising – from extreme constructivism. Analyzed accounts prove to be quite stable and resistant to the lapse of time as well as the current context of an interview situation. In this last regard, on the basis of analyzed sources, one can formulate some methodological postulates related to its impact.
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Lamanauskas, Vincentas. "THE TWENTY SECOND NATIONAL SCIENTIFIC-PRACTICAL CONFERENCE „NATURAL SCIENCE EDUCATION IN A COMPREHENSIVE SCHOOL – 2016“: A REVIEW OF CONFERENCE." GAMTAMOKSLINIS UGDYMAS / NATURAL SCIENCE EDUCATION 13, no. 2 (2016): 81–88. http://dx.doi.org/10.48127/gu-nse/16.13.81.
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This year, on April 22nd-23rd, the 21st National Scientific Practical Conference “Natural science education in a comprehensive school - 2016” took place. This time the participants of the conference gathered in Jan Sniadecki Gymnasium of Salchininkai. The conference was organized by the scientific methodological centre “Scientia Educologica”, and the most important conference partners were – Jan Sniadecki gymnasium and the „Ecological Education Center“ in Vilnius. On the first day of the conference four plenary reports were presented. Dr. Agnaldo Arroio presented teacher professional development issues in Mozambique. Denis Zhilin from Moscow Polytechnic Museum has presented the issues related to instructivism and constructivism ideology in education. Obviously, some interesting questions of modern natural science and technology education are presented in these reports. In the afternoon the work went on in two sections. In the first section the reports were mostly devoted to pre-school, primary and general natural science education problems. The second section is devoted to the science and technology education perspectives at the secondary and higher school. The work of a conference was fruitful. Participants got acquainted with topical issues and the new ideas in the sphere of natural science and technology education. In the frame of a conference two seminars were organized. During the first seminar participants analysed some possibilities science and mathematics teacher collaboration. The latest results based on the international MaT²SMc project were presented and discussed. The second seminar was devoted to the development of chemical concepts through experiment. So, 22nd national conference is a history already. As always, not everything was successfully recorded, not all interesting questions discussed. 23rd conference is expected to take place in Pakruojis, in April, 2017. Key words: national conference, science education, science and technological education movement.
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Bodrova, О. А., and I. А. Razumova. "Modern technologies in representation and preservation of the Kola Sami ethnic culture." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 1(52) (February 26, 2021): 172–78. http://dx.doi.org/10.20874/2071-0437-2021-52-1-16.
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The paper is based on the latest comprehensive study of representations of the Sami people in Murmansk Region. The aim of the article is to describe and analyse the representations, which are considered as a product of the sociocultural practices which use specific technologies. The latter are regarded as methods and tools of practices aimed at preservation of ethnic culture, including its construction. The subject of this study is textual, visual, objective and animated forms of representations of the Sami culture, as well as interactive and other tech-nologies for imaging and branding of Murmansk Region, preservation of cultural heritage of the Sami, and market-ing of regional and ethnic products. For the first time, regional sociocultural practices of actualization and conser-vation of the tangible and intangible heritage have been analyzed using materials of the Kola Sami culture. The study involved ethnographic field research methods, content analysis of regional printed and network media, de-scription of expositions of the regional ethnographic museums, Sami private collections and archives. The analy-sis was based on the framework of constructivism methodology of ethnic studies, actor-network theory, sociology of things and memory studies. It has been determined that museums and mass media appear as collective au-thors of representations. The main commissioner of the technologies of representation and preservation of ethnic and cultural heritage of the Kola Sami of Murmansk Region is the regional government, which uses public and media practices as a managerial tool for the economic and social development of the Region. In the context of development of the ethnocultural tourism, the Sami historical and cultural heritage acts as a very attractive touris-tic resource which requires new sociocultural technologies, such as various forms of visualization and objectifica-tion of ethnic cultural elements, museumification and commercialization of material objects, symbolization and branding of the Sami culture. Sami self-presentations dominate in modern public space and discourse since 2010. At the same time, heteroethnic presentations demonstrate sustainable linguistic modes to describe and to portray Kola Sami people. Construction of cultural models results in reformatting of the Sami ethnic culture, changes of functionality of its elements, and appearance of new ethnocultural forms.
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Bougsiaa, Hussein. "Teaching and Learning Context in Augmented Reality Environment." Ars Educandi, no. 13 (December 1, 2016): 23–31. http://dx.doi.org/10.26881/ae.2016.13.02.
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The article presents Augmented reality (AR) as a step between reality and virtual reality for the benefit of education. After some introductory example of where AR heads, the technology will be explained itself. Then, I describe the modules of the AR that are developed and how it can be used in university courses and activities.AR is the mid-point on a continuum between the real physical world around us, and the virtual digital world online superimposing information on our sensory experiences as we move through time and space. Viewing physical objects through a mobile’s camera, AR uses image recognition, geo-location, the device’s accelerometer, and online databases to provide information relevant in time and space to the user. Research continues into different interaction methods and display possibilities making engagement with online data more natural and intuitive. The article explores current research in AR and associated technologies in order to understand possibilities for learners today and in the future.This literature review focuses on AR for learning that utilize mobile, context-aware technologies (e.g., smartphones, tablets), which enable participants to interact with digital information embedded within the physical environment. Summarizing research findings about AR in formal and informal learning environments (i.e., schools, universities, museums, parks, zoos, etc.), with an emphasis on the affordances and limitations associated with AR as it relates to teaching, learning, and instructional design. As a cognitive tool and pedagogical approach, AR is primarily aligned with situated and constructivist learning theory, as it positions the learner within a real-world physical and social context while guiding, scaffolding and facilitating participatory and meta-cognitive learning processes such as authentic inquiry, active observation, peer coaching, reciprocal teaching and legitimate peripheral participation with multiple modes of representation.
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Костров, Геннадий Леонидович. "CULTURAL TRAUMA: MEMORY, OBLIVION, REPRESENTATION." Вестник Тверского государственного университета. Серия: Философия, no. 4(54) (December 10, 2020): 74–88. http://dx.doi.org/10.26456/vtphilos/2020.4.074.
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В последние годы одной из самых актуальных проблем общественной науки становится проблема культурной травмы. По этой теме выходят сотни статей, монографий. Чрезвычайно популярным является направление Cultural Studies. Как формируется культурная травма? Как превращается из коллективной, коммуникативной в культурную? Что представляют собой память, интерпретация, забвение, репрезентация? Какую роль в этом процессе играют репрезентанты, носители, создатели новых культурных смыслов? Как в культуре возникает новый смысл, который коренным образом трансформирует сознание, жизненный мир, социальные связи? Смысл открывается, обнаруживается как нечто данное, как «объективная реальность» или же выдумывается, строится по образцу мифа, сказки? Как выстраивается борьба интерпретаций смыслов, их сохранение, проработка, разрушение, забвение? Какое значение имеют в этом процессе репрезентации медиа, праздники, традиции, фильмы, сериалы, музеи, общественные дискуссии и пр.? В статье дан анализ этих проблем с позиций умеренного конструктивизма. In recent years, one of the most pressing problems of social science is the problem of cultural trauma. Hundreds of articles and monographs are published on this topic. The direction of Cultural Studies is becoming extremely popular. How is cultural trauma formed? How does it turn from a collective, communicative into a cultural one? What are memory, interpretation, oblivion, representation? What role do representatives, carriers, creators of new cultural meanings play in this process? How does a new meaning arise in culture that radically transforms consciousness, the life world, and social ties? The meaning is revealed as something given, as «objective reality» or is it invented, built on the model of a myth, a fairy tale? How is the struggle between interpretations of meanings built, their preservation, elaboration, destruction, oblivion? What is the significance of media representations, holidays, traditions, films, TV shows, museums, public discussions, etc. in this process? The article analyzes these problems from the standpoint of moderate constructivism.
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Veselkova, Natalia V. "Politics or Romance: Students of 1956." Sociological Journal 26 (2020): 153–73. http://dx.doi.org/10.19181/socjour.2020.26.2.7271.
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Student unrest of 1956 in Soviet universities is examined based on the example of the Ural State University and the Ural Polytechnic Institute in Sverdlovsk. Student attitudes are analyzed in terms of social and critical thinking, and the reaction of authorities — in light of the policy towards the intelligentsia. The theoretical and methodological frame of analysis is constructivism, with emphasis put on aspects of bilateral, reciprocal design and temporality. The empirical base consists of documents from the collections of the Documentation Centre of the Social Institutions of Sverdlovsk Region, the University Museum, as well as materials from local and national press. The mid 1950’s were marked by a radical revision of the limits of acceptable criticism, which was unfolding until the end of 1956. Unorthodox activity was not regarded as seditious up until a point. The gap, interval between the original action and the resulting stigmatizing mark shows how such a notion crystallized. At some point it seemed as if you could criticize everyone and everything. It is shown that the most crucial effect was produced not by the theme of student statements but rather by a mismatch in the magnitude of the subjects and objects of public criticism. The position of authorities was to depoliticize student activity, while using such a relatively new course as pathologizing objectification: the younger generation was treated as a bearer of specific problems requiring special attention. “Labor education” with emphasis on hard physical labor was used as the universal lifesaver. Sundays at construction sites, hedgehog-fit visits to farms, as well as sending expelled students to factories inform the phenomenon of organic intellectuals “on the contrary” (in the words of A. Gramsci and N. Savelyeva). At the same time, the pragmatic benefits of resolving to admit to universities only those who had sufficient work experience was not reduced to disposing of students’ “unhealthy moods”, but rather “postponement” of higher education was to attract the youngsters to the virgin lands and construction sites. Students themselves insisted on the political connotations of their actions. The desire of the young generation to “catch the winds of history in their sails” was gradually accumulated in the concept of romance, which had yet to displace the patriotism and heroism that prevailed within the ideological orientations and the official rhetoric of the 50’s.
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Leśniak, Kamila. "The Family of Man in Poland: An Exhibition as a Democratic Space?" Ikonotheka 26 (June 26, 2017): 213–38. http://dx.doi.org/10.5604/01.3001.0010.1679.
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The exhibition entitled The Family of Man, which was designed by Edward Steichen and presented for the fi rst time in 1955 at the Museum of Modern Art in New York, belongs to the most famous and most controversial photographic expositions of the 20th century. Usually perceived in the light of the anachronistic, West-centric vision of humanism, i.e. as an embodiment of Modernist views on photography, it constitutes a good example of the museum’s infl uence as a Modernist “social instrument”. However, contemporary theories in exhibition studies offer a more complex interpretation. The present work provides insight into this process by referring to the views of Mieke Bal (on the “cinematic effect” of photographic exhibitions, the narrative and relational aspect of expositions), Fred Turner (on the space of an avant-garde exhibition as the realisation of the political and social idea of a “democratic personality”) and Ariella Azoulay (on exhibition space as a “visual declaration of human rights” and the fi eld for a “photographic social contract”). The primary aim of the present article is to set The Family of Man within the framework of Polish exhibition practices. The complex origins of the American project can be traced back to avant-garde experiments with exhibition space conducted in the Bauhaus movement and in Soviet Constructivism (the psychology of perception, “photo-murals”); the analysis focuses on the political and propagandistic aspects. An analysis of the above issues provides the starting point for considering the signifi cance and probable reception of the exhibition’s spatial arrangement in the milieu of Polish architects and designers as well as its Polish variant as prepared by Stanisław Zamecznik and Wojciech Fangor. It was therefore useful to refer to Oskar Hansen and his theory of Open Form, as he cooperated with Zamecznik and Fangor at the time. Models of avant-garde and Modernist “utopian thinking” are juxtaposed, thus making it possible to perceive the process of reception in the light of its effectiveness. The article also discusses The Family of Man as a model for projects with propaganda undertones, i.e. the so-called “problem-oriented exhibitions”. It mentions attempts at adapting Steichen’s design of exhibition space to the needs of the offi cial narrative in the People’s Republic of Poland. Finally, it uncovers the ambivalent nature of the infl uence of The Family of Man and the dual status of the exhibition as both a propagandistic project and as an anti-systemic space supporting the ideal of a creative, free individual.
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Soler Gallego, Silvia, and María Olalla Luque Colmenero. "Training audio describers for art museums." Linguistica Antverpiensia, New Series – Themes in Translation Studies 18 (January 10, 2020). http://dx.doi.org/10.52034/lanstts.v18i0.509.
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Audio description (AD) for art museums and exhibitions is a growing professional field. This article investigates the profiles of audio describers for art museums that exist today and presents a curriculum proposal for one of these profiles, namely the graduate in Translation Studies. This proposal consists of the incorporation of an internship in art museum AD into the Translation Studies curriculum. More specifically, this article describes the internship offered by the Kaleidoscope non-profit association, based in Granada, to graduates in Translation. Our proposal is discussed in relation to Kiraly’s (2000, 2012) social constructivist and holistic–experiential approaches to translator education and recent studies that advocate more internship opportunities for Translation graduates to help their meta-competence emerge (Kiraly & Hofmann, 2016) and to foster their employability (Schnell & Rodríguez, 2017).
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Jarosz, Katarzyna. "Captioning the occupation: The role of textual elements in the process of building national narratives in historical museums." QScience Connect 2021, no. 3 (2021). http://dx.doi.org/10.5339/connect.2021.tii.5.
Full textAbstract:
Background: After the dissolution of the Soviet Union, in the ideology vacuum it left behind, the question of national identity became one of great importance. Adopting the Benedict Anderson constructivist idea that nations are imagined – or socially constructed communities that have to be continuously reproduced in order to exist, we aim to analyse whether and in what ways historical and archaeological museums can serve as tools in the process of building or reshaping national identity in the post-Soviet landscape in order to achieve the state ambitions of the nation. Museums are a powerful tool for policymakers; they not only present neutral objects but also usually enter into dialogue with visitors and create a certain vision of history. The stories told in museums can incorporate selected episodes into a national narrative. Aim, Method, and Discussion: The author aims to verify whether there is a disconnection between two or three parallel texts, between the texts and the visual image, and finally between the texts in question and the master narrative, as imposed by the policymakers. The materials for the analysis are captions, labels, audio guides, and texts from the websites, from the Museum of Soviet Occupation, Tbilisi, Georgia; the Museum of Occupation and Fights for Freedom in Vilnius, Lithuania; and the National Museum of the Holodomor-Genocide in Kiev, Ukraine. The research demonstrated that the analysed texts in the museums in question are a key element of building the museums’ narratives. In addition, the choice of language version is a significant factor that strengthens the museum’s discourse. Captions and labels are an integral part of the narrative styles. Conclusion: The caption is a key element in relation to what a spectator thinks they are seeing: if the contextualising text is changed, the meaning of the artefacts and of the exhibits changes to a large degree.