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Journal articles on the topic 'Dioramas'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 January 2023

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1

Wonders, Karen. "Habitat dioramas as ecological theatre." European Review 1, no. 3 (July 1993): 285–300. http://dx.doi.org/10.1017/s1062798700000673.

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Habitat dioramas are natural history scenarios which typically feature mounted zoological specimens arranged in a foreground that replicates their native surroundings in the wild. Ideally, the three-dimensional foreground merges imperceptibly into a painted background landscape, creating an illusion—if only for a moment—of atmospheric space and distance. More profoundly, some of the major controversies hidden in the diorama concept are: taxonomic versus ecologic understanding; art versus science; popular education versus scientific documentation; culturally biased perception versus ‘objectivity’; and ‘Omni-max’ versus diorama.

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2

Peselmann, Veronica. "Dioramas." Culture & musées, no. 32 (December 31, 2018): 218–21. http://dx.doi.org/10.4000/culturemusees.2705.

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3

Siddiqui, Igor. "Dioramas." Interiors 8, no. 3 (September 2, 2017): 169–78. http://dx.doi.org/10.1080/20419112.2018.1446464.

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4

Carneiro, Fernanda Maria Trentini, Alessandra Daniele da Silva Boos, and Vanessa Arlésia de Souza Ferretti. "Diorama Sensorial Interdisciplinar: uma viagem com a expedição Beagle, de Charles Darwin." Revista Educação, Artes e Inclusão 16, no. 1 (February 24, 2020): 385–407. http://dx.doi.org/10.5965/1984317816012020385.

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O artigo apresenta um projeto interdisciplinar realizado com alunos dos primeiros anos dos cursos técnicos em química e informática do IFSC-Gaspar. A atividade objetivou a construção de dioramas sensoriais resultantes de uma pesquisa sobre a expedição Beagle, da qual participou Charles Darwin entre 1831 e 1836. Diorama é um tipo de maquete que apresenta de forma artística uma situação real, ou seja, uma representação tridimensional de uma cena. O diorama foi pensando como objeto sensorial de maneira a torná-lo acessível ao público geral e público de PcD, especificamente, pessoas com deficiência visual. Este trabalho envolveu as unidades curriculares de Artes, Biologia e Português e contou com o apoio da unidade curricular de História e do grupo de trabalho de materiais adaptados da instituição. Ao todo foram realizados vinte e dois dioramas relacionados a vinte e duas localidades por onde Charles Darwin passou com a expedição. Os resultados apontam que o projeto interdisciplinar promove maior engajamento dos discentes com as práticas de pesquisa e de inclusão, bem como apropriação de conhecimentos de modo crítico e articulado às demandas sociais do tempo presente.

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5

Girard, Max. "Les dioramas." Social Sciences and Missions 33, no. 3-4 (September 24, 2020): 243–71. http://dx.doi.org/10.1163/18748945-bja10004.

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Résumé Le but de cet article est d’ étudier l’ utilisation des dioramas missionnaires à l’ exposition coloniale de Paris en 1931. Les dioramas y deviennent les vecteurs les plus utilisés par les missionnaires catholiques pour représenter le contact avec les populations colonisées et leur rôle dans la « mission civilisatrice ». Les différents types de dioramas qui expriment une vision paternaliste des « Autres » sont de moins en moins utilisés à partir de l’ exposition de 1937, car les organisateurs leur préfèrent des vecteurs plus dynamiques comme le cinéma ou les congrès qui montrent l’ universalité et le dynamisme de l’ Eglise.

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6

Tisi, Rodrigo. "Dioramas SCL2110." ARQ (Santiago), no. 80 (April 2012): 54–55. http://dx.doi.org/10.4067/s0717-69962012000100012.

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7

Edwards, Sarah. "Sensorial Interior: Museum Diorama as Phenomenal Space." Interiority 1, no. 2 (July 30, 2018): 173–84. http://dx.doi.org/10.7454/in.v1i2.29.

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Museum dioramas are widely recognised as historic visual tropes used to frame the grandeur of the outside world within an interior viewing space. With the development of digital technologies, data projection and soundscape have increasingly replaced diorama production as a means to transform these once static-animal-posed-in-painted- habitat with immersive interiors that engage the visual and aural senses alike. Andre Breton proposes that two modes of consciousness exist: an exterior world of facts and an interior world of emotions. These interiors and exteriors produce an interface and exchange. An invitation to respond to the interior of RMIT University’s First Site gallery provided an opportunity to experiment with the three traditional dioramic elements used to bring the exterior world into an interior employing taxidermy, model making and set painting. By engaging digital technologies in response to these three elements, I developed a sensorial interior, where the exterior world of facts was set into dialogue with the interior world of emotion. A physical encounter that expanded on ‘interior’ as an experiential, relational, phenomenal and emotive space.

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8

Flannery, Maura C. "Looking into Dioramas." American Biology Teacher 60, no. 5 (May 1, 1998): 379–82. http://dx.doi.org/10.2307/4450500.

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9

Taylor, Simon, and Ben Jones. "Tackling climate-science learning through futures thinking." Set: Research Information for Teachers, no. 3 (December 20, 2020): 23–29. http://dx.doi.org/10.18296/set.0183.

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This study examined the role of a future-oriented scenario with secondary school students using diorama construction which included climate-change knowledge and envisioning alternative futures. To explore the potential role of futures-thinking modelling, students from one class participated in a 12-week cross-curricular inquiry with their teachers. Jensen’s (2002) dimensions of action-oriented knowledge are used to examine the climate-change knowledge developed by the students. Four common images of the future (Dator, 2014) are incorporated as models to forecast alternative futures. The findings suggest the value of future-oriented dioramas for developing climate-change understanding and futures thinking.

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10

Dos Santos, Vinicius Rodrigues, and Martha Marandino. "Dioramas de História Natural em Museus Escolares:." Museologia & Interdisciplinaridade 8, no. 16 (October 30, 2019): 160–82. http://dx.doi.org/10.26512/museologia.v8i16.22144.

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A existência de museus nos espaços escolares está relacionada tanto a exposição das pesquisas em ciência naturais como ao ensino com base nos objetos usados na “lição das coisas”. Dentre esses objetos, encontramos os dioramas, presentes em museus de história natural desde o século XIX, sendo também encontrados nos museus escolares. Assim, neste artigo, nos apoiamos na Teoria Antropológica do Didático para estudar o potencial educativo de um dos dioramas do Museu de História Natural do Colégio Dante Alighieri (MHN-CDA). Nos resultados discutimos as implicações e apontamos o potencial e o limites dos dioramas para os processos de ensino e aprendizagem.

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11

Murriello, Sandra. "Dioramas: el desafío de renovar la mirada." Journal of Science Communication América Latina 03, no. 02 (November 6, 2020): R01. http://dx.doi.org/10.22323/3.03021001.

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“Janelas para a natureza” es una compilación de textos de raigambre brasilera que permiten visibilizar el potencial educativo de los dioramas, representaciones tridimensionales frecuentes en museos de historia natural desde fines del siglo XIX. De manera sencilla los autores dan cuenta de diversas experiencias educativas en base a dioramas y nos permiten conocer algo de la historia de este recurso museográfico.

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12

Engell, Lorenz. "Versetzungen." Zeitschrift für Medien- und Kulturforschung 8, no. 2 (2017): 79–94. http://dx.doi.org/10.28937/1000107974.

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"Im Anschluss an Merleau-Ponty lässt sich nach der Möglichkeit einer ›Ontographie‹ fragen, die mit dem Seienden zugleich die ›Art zu sein‹ dieses Seienden verzeichnet. Solche Überlegungen zu einer »écriture de l’être« lassen sich über den Bereich der graphischen oder diagrammatischen Notation hinaustragen. Als ein Dispositiv, das Sein nicht nur aufschreibt, sondern ›aufstellt‹, wird hier exemplarisch das naturkundliche Habitat-Diorama analysiert. Im Zentrum steht die ontographische Operation der ›Versetzung‹, aus der die spezifischen Evidenz- und Unmittelbarkeitseffekte des Dioramas hervorgehen. Following Merleau-Ponty, one may ask about the possibility of an ‘ontography,’ which would register both the existent and its way of ‘being’. Such reflections on an “écriture de l’être” can transgress the field of graphical or diagrammatic notation. As a dispositive that not only registers being but also ‘assembles’ it, this paper analyses the habitat diorama of natural history. The focus is on the ontographic operation of ‘displacement,’ from which specific effects of evidence and immediacy emerge."

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Kurniyanti, Ratih, Nana Kariada Tri Martuti, and Siti Alimah. "The Effectiveness of Project Based Learning Ecosystems Dioramas with Jelajah Alam Sekitar Approach against Students’ Critical Thinking Ability and Creativity." Journal of Biology Education 8, no. 3 (December 8, 2019): 301–14. http://dx.doi.org/10.15294/jbe.v8i3.27141.

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The purpose of this study was to analyze the effectiveness of Project Based Learning ecosystems dioramas with Jelajah Alam Sekitar approach against students’ critical thinking ability and creativity, and to analyze the relationship between critical thinking ability and students' creativity in Project Based Learning ecosystems dioramas with Jelajah Alam Sekitar approach. This research method is pre-experimental design with pre-test and post-test one group design. The results showed that Project Based Learning ecosystems dioramas with Jelajah Alam Sekitar approach was effective against students' critical thinking ability and creativity. The average of critical thinking ability in post-test is 84.96 and average of creativity in post-test is 84.50. The completeness of classical learning shows "High" criteria, the classical completeness rate in post-test of critical thinking and creativity is same (89.21%). The results of the N-gain mean on the test scores of critical thinking ability and creativity are in the "High" criteria. N-gain of critical thinking ability shows "High" category (66.66%) and N-gain creativity shows "High" category (79.42%). The results of the analysis of the two average difference test (one right side) on the critical thinking ability test has t table of 1.97 < t count of 20.89. The creativity test has t table of 1.97 < t count of 31.80, so it shows a significant difference between the achievements at the pre-test and post-test. Based on these results it can be concluded that the Project Based Learning ecosystems dioramas with Jelajah Alam Sekitar approach are effective against students' critical thinking ability and creativity. The relationship between critical thinking ability and creativity shows the relation of 0.38, has a "Low" criteria, so it can be concluded that the relationship between critical thinking ability and student creativity in Project Based Learning ecosystems dioramas with Jelajah Alam Sekitar approach is low.

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14

Kolbuszewska, Zofia. "The Nutshell Studies of Unexplained Death, Doll-house Homicides, Foster Families, and the Subversion of Domesticity in CSI: Las Vegas." Kultura Popularna 4, no. 54 (May 7, 2018): 50–59. http://dx.doi.org/10.5604/01.3001.0011.6719.

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The article explores similarities and divergencies in how The Nutshell Studies of Unexplained Death, doll-house style dioramas built by Frances Glessner Lee in the 1930s and 1940s in order to train homicide detectives, and miniature crime scenes crafted by a protagonist of the season 7 of the TV show CSI: Las Vegas modelled on them, figure female frustration connected with the traditional shape of family and domesticity. The dioramas reveal and simultaneously contain the foundational Derridean darkness underlying the concept of domesticity.

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15

Кожуховский, Анатолий, and Anatoliy Kozhukhovskiy. "IMPORTANCE OF THE ARCHITECTURAL LAYOUT AND DIORAMAS IN DEMONSTRATION OF HISTORICAL SIGHTS." Servis Plus 10, no. 3 (August 31, 2016): 77–83. http://dx.doi.org/10.12737/21126.

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The article discusses the importance of making different layouts and dioramas for the transmission the complete information about a specific geographic place and its main characteristics on a small site and the use of models and dioramas in various fields of tourism and service. The author of the article pays much attention to the question of the quality of various types of modern layouts and dioramas and their role in attracting large number of viewers and to the determination of viewers’ interest in visiting and exploring any historical site, historical place or monument. There was made the analysis of the necessity of application and of the use in various spheres of tourist and excursion activity prototype samples of art. In addition, there was developed the use of layouts in various interiors and exteriors, as well as the analysis of the necessity of building large models in miniature parks on a natural landscapeto attract a large number of viewers in the sphere of tourism and service. The author examines contemporary architectural and landscape layouts, the dioramas at the highest artistic level, using the latest innovative technologies and materials, modern technological advances in the field of manufacturing layout for achieving a qualitatively new technical, aesthetic and artistic level. The article discusses the importance of the production of the layout as an object of aesthetic and artistic value and the role of the layout work in the professional education of designers. The author investigates the importance of prototyping as a special kind of creative activity that reflects the social and moral problems of human life. There are observed the changes in the social and economic conditions of the architect, designer and desktop publisher, which require further improvement of the layout of the case and the introduction of advanced methods, techniques and hardware in architectural work and layout. For example, the study of peculiarities of the layout process shows artistic-educational and aesthetic role of the layouts, dioramas, miniature parks in artistic and aesthetic education, and aesthetic impact of art on the spiritual world of people.

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16

Insley, Jane. "Little landscapes: dioramas in museum displays." Endeavour 32, no. 1 (March 2008): 27–31. http://dx.doi.org/10.1016/j.endeavour.2008.01.002.

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17

Wonders, Karen. "Habitat Dioramas and the Issue of Nativeness." Landscape Research 28, no. 1 (January 2003): 89–100. http://dx.doi.org/10.1080/01426390306532.

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18

Davidson, Betty. "Une rencontre des dioramas, pas seulement visuelle [Une expérience d'évaluation de dioramas au musée de Science (Boston, États-Unis) ]." Publics et Musées 11, no. 1 (1997): 214–24. http://dx.doi.org/10.3406/pumus.1997.1307.

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19

Anggraeni, Denok Dwi. "Peningkatan Kemampuan Bahasa Anak Melalui Metode Bercerita Dengan Media Diorama." WISDOM: Jurnal Pendidikan Anak Usia Dini 2, no. 1 (June 26, 2021): 59–78. http://dx.doi.org/10.21154/wisdom.v2i1.2716.

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The purpose of this research was to determine the process of implementation of learning activities using storytelling methods with dioramas media in improving the language skills of children in group B and to know the extent of the results of improving children's language skills through storytelling methods with dioramas in group B. The method used in this research is an action research which refers to the model of a Classroom Action Research Kemmis and Mc. Taggart consist of four phase: planning, action, observation and reflection. This research consist of two cycles, each cycle consist of 6 times in actions. Analysis of the data used quantitative and qualitative approaches. Analysis of quantitative data used descriptive statistics that compare the results obtained from the first cycle and the second cycle. While the analysis of qualitative data used analyzing data from the field notes and interviews during the research by steps of data reduction, data display and data verification. The results showed an improvement in language skills through storytelling methods with dioramas, as evidenced by the average pre-action language proficiency score of children by 39%. Then increased in cycle I by 20% to 59%. Furthermore, from cycle I to cycle II children's language skills increased by 30% from 59% to 89%. So that the total improvement of children's language skills ranging from pre-action, cycle I to cycle II 39% which is 59% to 89%.

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20

Voss, Christiane. "Mimetische Inkorporierung am Beispiel taxidermischer Weltprojektionen." Zeitschrift für Medien- und Kulturforschung 8, no. 1 (2017): 193–208. http://dx.doi.org/10.28937/1000107630.

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"Die Ablehnung der Mimesis, verstanden als ein Anspruch von Darstellungen auf Naturnachahmung, ist ein charakteristischer Grundzug moderner Ästhetik und Erkenntnistheorie seit dem Ende des 19. Jahrhunderts. Parallel dazu existieren zeitgleich im Raum wissensbildender Institutionen wie den Naturkundemuseen Dispositive, etwa die Habitat-Dioramen, die das traditionell mimetische Ideal auf kreative Weise aufrechterhalten. Diese vermeintlich anachronistischen Dispositive werden hinsichtlich ihrer mimesisproduktiven Dimensionen medienphilosophisch reflektiert und zu Adornos Mimesisverständnis ins Verhältnis gesetzt. The rejection of mimesis, understood as a depiction’s claim on imitation of nature, has been a characteristic feature of modern aesthetics and epistemology since the end of the 19th century. At the same time, there are also dispositives, such as habitat dioramas, which creatively maintain the traditionally mimetic ideal in the space of knowledge-building institutions such as museums of natural science. These supposedly anachronistic dispositions are reflected in media-philosophical terms with regard to their dimensions of mimesis production and are related to Adorno’s understanding of mimesis. "

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Le Gall, Guillaume. "Dioramas aquatiques : Théophile Gautier visite l’aquarium du Jardin d’acclimatation." Culture & musées, no. 32 (December 31, 2018): 81–106. http://dx.doi.org/10.4000/culturemusees.2370.

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22

WONDERS, KAREN. "The Illusionary Art of Background Painting in Habitat Dioramas." Curator: The Museum Journal 33, no. 2 (June 1990): 90–118. http://dx.doi.org/10.1111/j.2151-6952.1990.tb00981.x.

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23

Baumann, Franz. "Les dioramas biologiques du musée d'histoire naturelle de berne." Museum International (Edition Francaise) 1, no. 3-4 (April 24, 2009): 156–58. http://dx.doi.org/10.1111/j.1755-5825.1948.tb00276.x.

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24

Quill, Elizabeth. "Cosmic dioramas: Metamaterials may offer windows into other worlds." Science News 178, no. 9 (October 22, 2010): 28–29. http://dx.doi.org/10.1002/scin.5591780921.

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25

Layinah, Shofiyatul, and Farhatin Masruroh. "MENINGKATKAN PERKEMBANGAN BAHASA ANAK MELALUI MEDIA DIORAMA DI TK DHARMA WANITA PERSATUAN 1 ASEMBAGUS SITUBONDO." Atthufulah : Jurnal Pendidikan Anak Usia Dini 1, no. 1 (October 10, 2020): 14–20. http://dx.doi.org/10.35316/atthufulah.v1i1.916.

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The development of children's language in class B1 with 21 students is still a minority of children who still have difficulty in communicating even just to convey ideas or ideas they still feel embarrassed or afraid to convey it. Even when invited to talk with others they are still unable to respond properly. Based on the background of the problem, this research aims to find out the results of improving children's language development through diorama media at the TK Dharma Wanita Persatuan 1 Asembagus Situbondo. The type of research used is classroom action research by conducting a controlled investigation to find and solve learning problems in class. Problem solving is done in cycles, which consists of planning, action, observation, and reflection with the aim of improving the quality and learning outcomes in class. The results obtained from improving children's language development through media dioramas in TK Dharma Wanita Persatuan 1 Asembagus Situbondo in the first cycle reached 61.9% of students who were able to reach KKM from a total of 21 students and in cycle II it reached 90% meaning that of 21 students only there are 2 students who have below average ability.

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Heck, Kilian. "Das Kaum Noch Sichtbare Sichtbar Machen." Artium Quaestiones, no. 27 (September 8, 2018): 57–65. http://dx.doi.org/10.14746/aq.2016.27.3.

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The so-called faraglioni painting (Faraglioni-Landscape), painted in ca. 1837 byCarl Blechen (1798-1840) and held at the National Museum in Poznań is one of hismost unusual achievements. What can be seen in the picture are rocks protrudingnear the shore of Capri, the so-called faraglioni – a characteristic motif of romanticpainting. Still, Blechen was interested in more than just a mimetic representation ofthe rocks. Experimenting with extremely changing light, he intended to find the limits of visibility. Such attempts at playing with optical phenomena were typical for his works painted after his visit in Italy in 1829/1830. Examining color effects conditioned by changes of light was for Blechen a kind of necessity. It should be remembered that dioramas were particularly popular in that period. In Berlin they were shown, among others, by the Gropius brothers for whom, according to the records, Blechen was working. In dioramas, illumination from the back was just as obvious as presenting pictures in changing light. Blechen found the changing intensity of illumination interesting, which can be seen in his paintings.

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Bitgood, Stephen. "Les méthodes d'évaluation de l'efficacité des dioramas : compte rendu critique." Publics et Musées 9, no. 1 (1996): 37–53. http://dx.doi.org/10.3406/pumus.1996.1070.

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28

Parrs, Alexandra. "Such Goodhearted People: Dioramas in the Nubia Museum of Aswan." Autrepart N° 84, no. 4 (2017): 129. http://dx.doi.org/10.3917/autr.084.0129.

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29

Kasman, Amanda. "Charles Dawson’s Dioramas, Conservation, and Racial Equity, 1940 to Present." Winterthur Portfolio 55, no. 1 (March 1, 2021): 9–47. http://dx.doi.org/10.1086/716335.

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Triquet, Éric. "Évocation et abstraction : Une approche alternative au réalisme des dioramas." Culture & musées, no. 32 (December 31, 2018): 107–29. http://dx.doi.org/10.4000/culturemusees.2415.

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Claypool, Lisa. "Habitat Dioramas: Liu Kuiling’s Animal Paintings in Republican-Era Tianjin." Archives of Asian Art 64, no. 2 (2014): 165–90. http://dx.doi.org/10.1353/aaa.2014.0017.

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Ash, Doris. "How Families Use Questions at Dioramas: Ideas for Exhibit Design." Curator: The Museum Journal 47, no. 1 (January 2004): 84–100. http://dx.doi.org/10.1111/j.2151-6952.2004.tb00367.x.

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Peart, Bob, and Richard Kool. "Analysis of a natural history exhibit: Are dioramas the answer?" International Journal of Museum Management and Curatorship 7, no. 2 (June 1988): 117–28. http://dx.doi.org/10.1080/09647778809515113.

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Peart, B. "Analysis of a natural history exhibit: Are Dioramas the answer?" Museum Management and Curatorship 7, no. 2 (June 1988): 117–28. http://dx.doi.org/10.1016/0260-4779(88)90016-7.

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Rule, Audrey C., Amy K. Lockhart, Frank Darrah, and Lois A. Lindell. "Cereal Box Dioramas of Native American Cultures: A Collaborative Project." Social Studies Research and Practice 5, no. 1 (March 1, 2010): 119–30. http://dx.doi.org/10.1108/ssrp-01-2010-b0011.

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A social studies methods instructor and college students collaborated with an elementary teacher and fifth grade students to produce exciting cereal box dioramas of Native American cultures from different parts of the United States. The dioramas were constructed of a cereal box with a model of a historic Native American home on the front. The box was cut to open like a book to reveal the inside of the home and a ceremonial scene. The back and sides of the box featured crafts, clothing, food, transportation, or other information. Seven steps were implemented to guide this project-based learning experience. 1) Project’s goal: to engage students in active, meaningful learning, integrated with art, challenging in complexity and three-dimensional spatial reasoning, while addressing the values of Native Americans. 2) Involve students in researching and illustrating, “What were the lives of Native Americans like?” 3) Plan assessment of student research notebooks. 4) Plan assessment of final project’s required components. 5) Map how the project will unfold. 6) Respond to the challenge of making a three-dimensional model by providing examples and assistance. 7) Manage the project through collaboration between pre-service teachers and elementary students along with involvement of other school personnel.

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Gkouskou, Eirini, and Sue Dale Tunnicliffe. "Natural History Dioramas: An opportunity for children to observe physical Science in action in a moment of time." Science Education International 28, no. 2 (June 28, 2017): 97–103. http://dx.doi.org/10.33828/sei.v28.i2.1.

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Î¤he natureofscientificresearch goes beyond the learning of concepts and basic manipulation to the key factors of engaging students in identifying relevant evidence and reflecting on its interpretation. It is argued that young children have the ability to acquire viable realistic concepts of the living world when involved in relevant activities (Tunnicliffe, 2000). Visiting a museum of natural history is an educational experience, which offers, children experiences that cannot be obtained within the classroom and research found that museums are excellent sources of cognitive experiences that complement and / or enrich the curriculum of formal education (Dillon et al., 2016). Dioramas have specific context, which give visitors the opportunity to be creative and have more learning opportunities when they engage with them (Achiam et al., 2014). This paper draws upon data that were gathered at a natural history museum. These data were the spontaneous conversations of child visitors and a workshop with structured educational activities with a pre- and post-test research design, which provided the opportunity for children to observe Science in action in a moment of time. These data focused on aspects of historical and experimental aspects of Science in action shown in the positions and environments of the animals featured which may be identified in natural history dioramas.

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Teske, Jolene K., Phyllis Gray, Julie L. Klein, and Audrey C. Rule. "Making Dioramas of Women Scientists Help Elementary Students Recognize Their Contributions." Creative Education 05, no. 23 (2014): 1984–2002. http://dx.doi.org/10.4236/ce.2014.523223.

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38

Reiss, Michael J., and Sue Dale Tunnicliffe. "Dioramas as Depictions of Reality and Opportunities for Learning in Biology." Curator: The Museum Journal 54, no. 4 (October 2011): 447–59. http://dx.doi.org/10.1111/j.2151-6952.2011.00109.x.

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Fossen, Thomas, and Bert van den Brink. "Electoral Dioramas: On the Problem of Representation in Voting Advice Applications." Representation 51, no. 3 (July 3, 2015): 341–58. http://dx.doi.org/10.1080/00344893.2015.1090473.

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Voss, Julia, and Sahotra Sarkar. "Depictions as surrogates for places: From Wallace's biogeography to Koch's dioramas." Philosophy & Geography 6, no. 1 (February 2003): 59–81. http://dx.doi.org/10.1080/1090377032000063324.

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Knutson, Karen, Mandela Lyon, Kevin Crowley, and Lauren Giarratani. "Flexible Interventions to Increase Family Engagement at Natural History Museum Dioramas." Curator: The Museum Journal 59, no. 4 (October 2016): 339–52. http://dx.doi.org/10.1111/cura.12176.

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Newman, Inbal. "Candace Hicks, Many Mini Murder Scenes." Public 30, no. 60 (March 1, 2020): 282–84. http://dx.doi.org/10.1386/public_00024_4.

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Women & Their Work Gallery, Austin, TX, 29 September - 8 November 2018This review examines works by artist Candace Hicks, with special attention given to those in the 2018 exhibit Many Mini Murder Scenes. Hicks’s practice as a printmaker and book artist explores embroidered composition notebooks, encoded text in books and on posters, and interactive exhibits. The pieces in this exhibit include dioramas from murder mystery novel scenes with invisible ink clues and contrasting large scale papercraft images.

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Scripps, Sarah Michel. "The Downfall of the Diorama." Nuncius 35, no. 3 (December 14, 2020): 660–84. http://dx.doi.org/10.1163/18253911-03503009.

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Abstract Over the course of the twentieth century, millions of American children conducted their first science experiments by participating in science fairs. In tracing the development of a new visual medium of the 20th century – the science fair display – this paper captures the unruliness of scientific representation from a child’s eye view. The essay traces this phenomenon against the backdrop of broader debates regarding the role scientifically inclined youth would play in shaping the nation’s future. Science fairs also raise important philosophical questions regarding the epistemology of children’s experimentation. Over the course of fifty years, three-dimensional dioramas of the Progressive era were supplanted by postwar argument-driven text panels, capturing a distinct rupture in scientific representation. The essay argues that science fair displays provide an entry point for understanding how adolescents conceived of science on visual, material, social, and epistemological terms.

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Tunnicliffe, Sue Dale. "Animals and plants in natural history dioramas in museums: specimens or objects?" Journal of Biological Education 47, no. 4 (December 2013): 189–91. http://dx.doi.org/10.1080/00219266.2013.854123.

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Allison, Steven W. "Habitat Dioramas: Illusions of Wilderness in Museums of Natural History. Karen Wonders." Isis 87, no. 4 (December 1996): 760–61. http://dx.doi.org/10.1086/357718.

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张, 寅. "Three Dimensional Dioramas Modeling Research of Oblique Images Based on Smart 3D." Advances in Geosciences 08, no. 08 (2018): 1316–22. http://dx.doi.org/10.12677/ag.2018.88143.

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McManus, Elizabeth Berkebile. "Illusion and the True: Arcades, Dioramas, and Irony in Théophile Gautier’s Fortunio." Nineteenth-Century French Studies 44, no. 3-4 (2016): 218–34. http://dx.doi.org/10.1353/ncf.2016.0008.

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Spero, Susan, and Lisa Hubbell. "Dioramas as a Window for Teaching and Learning in Natural History Museums." Science & Education 26, no. 6 (June 30, 2017): 739–41. http://dx.doi.org/10.1007/s11191-017-9904-4.

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Avdeev, A. S., and N. N. Golovchenko. "The experience of using miniatures in the exposition work on the popularization of historical and cultural heritage." Field studies in the Upper Ob, Irtysh and Altai (archeology, ethnography, oral history and museology) 16 (2021): 176–83. http://dx.doi.org/10.37386/2687-0584-2021-16-176-183.

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The article considers the practice of using sculptural historical miniatures by the staff of the Museum of the Railway District of Novosibirsk and the laboratory «Historical Local Lore» of the Altai State Pedagogical University. It is noted that the sculptural miniature has been tested as the main and auxiliary object of the show, within the framework of the exhibition of one and several objects, thematic dioramas and fashion shows, interactive exhibitions, excursions. The authors come to the conclusion about the prospects of using sculptural historical miniatures to increase the immersive effect of scientific and popularization exhibitions.

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Gray, Phyllis, Audrey C. Rule, and Mindy Gordon. "Black Fifth Graders Make Dioramas of Traditional African Cultures to Explore Racial Identity, Cultural Universals, and Spatial Thinking." Urban Education 54, no. 2 (November 8, 2015): 274–308. http://dx.doi.org/10.1177/0042085915613552.

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This rich, arts- and spatial-thinking-integrated project examined the effects of making three-dimensional dioramas of traditional African cultures on Black fifth graders at an urban school on students’ racial identities, knowledge of cultural universals, and spatial thinking skills. Pretest and posttest attitudes measured with the Multidimensional Inventory of Black Identity–Teen evidenced an increase in sense of belonging to other Black people. Students learned social studies content and recognized many cultural universals, allowing them to feel connected to the African groups. Student essays showed admiration for African cultures, connections through similar foods, and links through appreciation of animals.

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