Relevant bibliographies by topics / Museum exhibits Museum exhibits Museum techniques

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Academic literature on the topic 'Museum exhibits Museum exhibits Museum techniques'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Museum exhibits Museum exhibits Museum techniques"

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Pluta, Dominika, Jędrzej Siuta, Mikołaj Jan Czerbak, and Tadeusz Dobosz. "Mokre preparaty muzealne – konserwacja i receptury." Opuscula Musealia 26 (2019): 191–99. http://dx.doi.org/10.4467/20843852.om.18.013.11006.

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Wet museum exhibits – conservation and recipes Due to the uniqueness of wet museum exhibits, there is often a shortage of adequately trained people to carry out conservation work in museum units. Unfortunately, in many cases, the museum exhibits require immediate work. There is usually a visible loss of preservative fluid, or no fluid at all if it has evaporated. Moreover, chipped lids and damaged jars frequently occur. Some exhibit labels are damaged or torn off. Some items have been exhibited incorrectly, but when they are transferred to a new vessel or the fluid is replaced, they gain added value. Although there is a great need for conservation work, many museologists fail to carry it out. A significant problem is the absence of unified conservation procedures or guidelines which could be applied for these types of cases. This paper includes conservation formulas and recipes used at the Molecular Techniques Unit. The authors of this paper hope that it will be helpful to all those who deal with preserving wet museum exhibits.
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Pluta, Dominika, Jędrzej Siuta, Mikołaj Jan Czerbak, and Tadeusz Dobosz. "Mokre preparaty muzealne – konserwacja i receptury." Opuscula Musealia 26 (2019): 191–98. http://dx.doi.org/10.4467/20843852.om.18.013.11006.

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Wet museum exhibits – conservation and recipes Due to the uniqueness of wet museum exhibits, there is often a shortage of adequately trained people to carry out conservation work in museum units. Unfortunately, in many cases, the museum exhibits require immediate work. There is usually a visible loss of preservative fluid, or no fluid at all if it has evaporated. Moreover, chipped lids and damaged jars frequently occur. Some exhibit labels are damaged or torn off. Some items have been exhibited incorrectly, but when they are transferred to a new vessel or the fluid is replaced, they gain added value. Although there is a great need for conservation work, many museologists fail to carry it out. A significant problem is the absence of unified conservation procedures or guidelines which could be applied for these types of cases. This paper includes conservation formulas and recipes used at the Molecular Techniques Unit. The authors of this paper hope that it will be helpful to all those who deal with preserving wet museum exhibits.
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Nubani, Linda, and Aslıhan Öztürk. "Measuring the Impact of Museum Architecture, Spaces and Exhibits on Virtual Visitors Using Facial Expression Analysis Software." Buildings 11, no. 9 (September 18, 2021): 418. http://dx.doi.org/10.3390/buildings11090418.

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Since the launch of online video portals in 2005, museums have encouraged visitors to upload and share their visits online. Although much has been written about visitors’ experiences in museums, very little exists on the impact virtual visits have on viewers. In this qualitative pilot study, a total of 2035 emotional reactions were recorded and analyzed after visiting 14 online museums using a facial expression recognition software. Following open and axial coding techniques, themes and subcategories emerged. Findings showed that while the background of the participant mediated how one experiences a museum online, certain architectural and exhibit attributes, if present, triggered similar emotions to those experienced in an in-person visit. Findings suggest that experiencing museums through online video portals may be as engaging as visiting museums in person—only if the creator captures a significant proportion of architectural details, transitioning of spaces and exhibits details. Further findings showed that facial expression software reveals what captures virtual visitors’ emotions, and what architectural and exhibit features keep them curious and engaged.
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Kannike, Anu, and Ester Bardone. "Köögiruum ja köögikraam Eesti muuseumide tõlgenduses." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 34–60. http://dx.doi.org/10.33302/ermar-2017-002.

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Kitchen space and kitchen equipment as interpreted by Estonian museums Recent exhibitions focusing on kitchen spaces – “Köök” (Kitchen) at the Hiiumaa Museum (September 2015 to September 2016), “Köök. Muutuv ruum, disain ja tarbekunst Eestis” (The Kitchen. Changing space, design and applied art in Estonia) at the Estonian Museum of Applied Art and Design (February to May 2016) and “Süüa me teeme” (We Make Food) at the Estonian National Museum (opened in October 2016) – are noteworthy signs of food culture-related themes rearing their head on our museum landscape. Besides these exhibitions, in May 2015, the Seto farm and Peipsi Old Believer’s House opened as new attractions at the Open Air Museum, displaying kitchens from south-eastern and eastern Estonia. Compared to living rooms, kitchens and kitchen activities have not been documented very much at museums and the amount of extant pictures and drawings is also modest. Historical kitchen milieus have for the most part vanished without a trace. Estonian museums’ archives also contain few photos of kitchens or people working in kitchens, or of everyday foods, as they were not considered worthy of research or documentation. The article examines comparatively how the museums were able to overcome these challenges and offer new approaches to kitchens and kitchen culture. The analysis focuses on aspects related to material culture and museum studies: how the material nature of kitchens and kitchen activities were presented and how objects were interpreted and displayed. The research is based on museum visits, interviews with curators and information about exhibitions in museum publications and in the media. The new directions in material culture and museum studies have changed our understanding of museum artefacts, highlighting ways of connecting with them directly – physically and emotionally. Items are conceptualized not only as bearers of meaning or interpretation but also as experiential objects. Kitchens are analysed more and more as a space where domestic practices shape complicated kitchen ecologies that become interlaced with sets of things, perceptions and skills – a kind of integrative field. At the Estonian museums’ exhibitions, kitchens were interpreted as lived and living spaces, in which objects, ideas and practices intermingle. The development of the historical environment was clearly delineated but it was not chronological reconstructions that claimed the most prominent role; rather, the dynamics of kitchen spaces were shown through the changes in the objects and practices. All of the exhibits brought out the social life of the items, albeit from a different aspect. While the Museum of Applied Art and Design and the Estonian Open Air Museum focused more on the general and typical aspects, the Hiiumaa Museum and the National Museum focused on biographical perspective – individual choices and subjective experiences. The sensory aspects of materiality were more prominent in these exhibitions and expositions than in previous exhibitions that focused on material culture of Estonian museums, as they used different activities to engage with visitors. At the Open Air Museum, they become living places through food preparation events or other living history techniques. The Hiiumaa Museum emphasized the kitchen-related practices through personal stories of “mistresses of the house” as well as the changes over time in the form of objects with similar functions. At the Museum of Applied Art and Design, design practices or ideal practices were front and centre, even as the meanings associated with the objects tended to remain concealed. The National Museum enabled visitors to look into professional and home kitchens, see food being prepared and purchased through videos and photos and intermediated the past’s everyday actions, by showing biographical objects and stories. The kitchen as an exhibition topic allowed the museums to experiment new ways of interpreting and presenting this domestic space. The Hiiumaa Museum offered the most integral experience in this regard, where the visitor could enter kitchens connected to one another, touch and sense their materiality in a direct and intimate manner. The Open Air Museum’s kitchens with a human face along with the women busy at work there foster a home-like impression. The Applied Art and Design Museum and the National Museum used the language of art and audiovisual materials to convey culinary ideals and realities; the National Museum did more to get visitors to participate in critical thinking and contextualization of exhibits. Topics such as the extent to which dialogue, polyphony and gender themes were used to represent material culture in the museum context came to the fore more clearly than in the past. Although every exhibition had its own profile, together they produced a cumulative effect, stressing, through domestic materiality, the uniqueness of history of Estonian kitchens on one hand, and on the other hand, the dilemmas of modernday consumer culture. All of the kitchen exhibitions were successful among the visitors, but problems also emerged in connection with the collection and display of material culture in museums. The dearth of depositories, disproportionate representation of items in collections and gaps in background information point to the need to organize collection and acquisition efforts and exhibition strategies in a more carefully thought out manner and in closer cooperation between museums.
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Jorion, Natalie, Jessica Roberts, Alex Bowers, Mike Tissenbaum, Leilah Lyons, Vishesh Kumar, and Matthew Berland. "Uncovering Patterns in Constructionist Collaborative Learning Activities via Cluster Analysis of Museum Exhibit Log Files." Frontline Learning Research 8, no. 6 (November 4, 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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López-Martínez, Alejandro, Álvaro Carrera, and Carlos A. Iglesias. "Empowering Museum Experiences Applying Gamification Techniques Based on Linked Data and Smart Objects." Applied Sciences 10, no. 16 (August 5, 2020): 5419. http://dx.doi.org/10.3390/app10165419.

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Museums play a crucial role in preserving cultural heritage. However, the forms in which they display cultural heritage might not be the most effective at piquing visitors’ interest. Therefore, museums tend to integrate different technologies that aim to create engaging and memorable experiences. In this context, the emerging Internet of Things (IoT) technology results particularly promising due to the possibility of implementing smart objects in museums, granting exhibits advanced interaction capabilities. Gamification techniques are also a powerful technique to draw visitors’ attention. These often rely on interactive question-based games. A drawback of such games is that questions must be periodically regenerated, and this is a time-consuming task. To confront these challenges, this paper proposes a low-maintenance gamified smart object platform that automates the creation of questions by exploiting semantic web technologies. The platform has been implemented in a real-life scenario. The results obtained encourage the use of the platform in the museum considered. Therefore, it appears to be a promising work that could be extrapolated and adapted to other kinds of museums or cultural heritage institutions.
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Rangel-de Lázaro, Gizéh, Adrián Martínez-Fernández, Armando Rangel-Rivero, and Alfonso Benito-Calvo. "Shedding light on pre-Columbian crania collections through state-of-the-art 3D scanning techniques." Virtual Archaeology Review 12, no. 24 (January 19, 2021): 1. http://dx.doi.org/10.4995/var.2021.13742.

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<p class="VARAbstract">During the 19<sup>th</sup> and 20<sup>th</sup> centuries, numerous museums, scientific societies, and royal academies were founded in Europe and America. In this scenario, the Anthropological Museum Montané was founded in Havana, Cuba. Its collection has grown over the years, thanks to researchers, antiquarians, and amateurs. Since its foundation, the Museum Montané has become an essential institution for anthropological and archaeological research in the region. Nowadays, the Museum Montané, like other museums in developing countries, faces a challenge in the introduction of state-of-the-art technologies to digitizing exhibits and the creation of innovative projects to attract visitors. The current possibilities of virtualization of cultural heritage using digital technologies have a favorable impact on the preservation, access, and management of museum collections. The use of three-dimensional (3D) models fosters engagement with visitors, stimulates new forms of learning, and revalorizes the exhibits. In the current study, we use a hand-held structured light scanner to create 3D reality-based models of pre-Columbian crania from the Caribbean and South American collection of the Anthropological Museum Montané. The resulting 3D models were used for producing 3D printing replicas and animated videos. The 3D resources derived will encourage new knowledge through research, and provide broader access to these pre-Columbian crania collection through learning and outreach activities. The significance of digitizing these specimens goes beyond the creation of 3D models. It means protecting these fragile and valuable collections for future generations. The methodology and results reported here can be used in other museums with similar collections to digitally document, study, protect, and disseminate the archaeological heritage. Going forward, we seek to continue exploring the application of novel methods and digital techniques to the study of the pre-Columbian crania collections in Latin American and the Caribbean area.</p><p class="VARAbstractHeader">Highlights:</p><ul><li><p>A hand-held structured light scanner was used to acquire 3D reality-based models of pre-Columbian crania. The 3D models resulting were used for 3D printing replicas and 3D animations.</p></li><li><p>This study provides unprecedented 3D reconstructions of pre-Columbian crania in the Caribbean area, and new 3D reconstructions of artificially deformed crania from South America.</p></li><li><p>The 3D resources created will encourage new knowledge through research, and provide broader access to these pre-Columbian crania collection through learning and outreach activities.</p></li></ul>
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Magni, Francesca E. "The theatrical communic-action of science." Journal of Science Communication 01, no. 01 (March 21, 2002): A04. http://dx.doi.org/10.22323/2.01010204.

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Theatrical action can bring out the value of the exhibits of a museum, while creating a new way of experiencing the exhibitions. Theatrical actions link education and entertainment, consequently becoming a highly effective didactic instrument. The advantages of theatre are briefly outlined, considering it as an interpretative technique to communicate science from the point of view of the goals pursued by museums, of epistemology and of theatrical research.
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Nubani, Linda, Alyssa Puryear, and Kristy Kellom. "Measuring the Effect of Visual Exposure and Saliency of Museum Exhibits on Visitors’ Level of Contact and Engagement." Behavioral Sciences 8, no. 11 (October 28, 2018): 100. http://dx.doi.org/10.3390/bs8110100.

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This paper examines visitors’ movement patterns at the Broad Museum designed by Zaha Hadid. Characterized with free, open, and generally unbound spaces, visitors explore a curated exhibition at their own pace, route, and agenda. Unlike most other public environments, a museum lends visitors greater choice and control, and does not hold the social or spatial expectations of other facility types that might subject the visitor’s path of travel. In this study, 72 visitors were observed. A space syntax-based visibility graph analysis (VGA) was then performed to compute the visibility exposure and the spatial position of each exhibit within the museum. Negative binomial regression was used to look at the effects of spatial variables on visitors’ wayfinding, contact, and engagement with the pieces. Results showed that both the amount of visibility area around each exhibit, and its spatial position measured using space syntax techniques explained why visitors established a contact with the piece and their wayfinding behavior. Interestingly, however, the saliency of exhibits along with spatial variables were both strong predictors for why people arriving in groups split to engage with that particular exhibit. The simulation used in this study could be useful in curatorial decisions.
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Johnson, R. E. "Dinosaurs over Distance: An Integrated Program Using Distance Learning Technology in the Classroom." Paleontological Society Papers 2 (October 1996): 49–51. http://dx.doi.org/10.1017/s1089332600003132.

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Dinosaurs are recognized as one of the most ubiquitous groups of fossil organisms in the classroom curriculum. There are many resources (books, videotapes, posters, etc.) available to the classroom teacher, but an actual visit to a natural history museum with dinosaur and related paleontological exhibits is out of the reach of the majority of schools unless located near large urban centers or near universities. Advances in distance learning technologies now provide the opportunity to reach audiences unable to visit museums during the course of the school year. These technologies also lend themselves to the evaluation of various pedagogical techniques that bring scientific content to widely dispersed audiences.
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Dissertations / Theses on the topic "Museum exhibits Museum exhibits Museum techniques"

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Wade, Amanda E. "Balancing preservation and interaction in the museum setting." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1509Wade/umi-uncg-1509.pdf.

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Thesis (M.S.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Feb. 28, 2008). Directed by Patrick Lee Lucas; submitted to the School of Human Environmental Sciences. Includes bibliographical references (p. 149-152).
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Benne, Marcie Rae. "Methods for assessing influences of the visual-spatial environment on museum display attraction." Diss., Georgia Institute of Technology, 2001. http://hdl.handle.net/1853/30341.

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Bhusate, Arvind M. "Intelligent Communication Technologies for Interactive Museum Exhibits." Thesis, Imperial College London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519602.

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Marsh, Hannah. "Memory in World War I American museum exhibits." Thesis, Kansas State University, 2014. http://hdl.handle.net/2097/18813.

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Master of Arts
Department of History
Sue Zschoche
As the world enters the centennial of World War I, interest in this war is reviving. Books, television shows, and movies are bringing the war into popular culture. Now that all the participants of the war have passed away a change is occurring in in American memory. The transition from living to non-living memory is clearly visible in museums, one of the main ways history is communicated to the public. Four museums are studied in this paper. Two exhibits built in the 1990s are in the 1st Infantry Division Museum at Fort Riley, Kansas, and the Chemical Corps Museum in Fort Leonard Wood, Missouri. The other two exhibits are newer and are the National World War I Museum in Kansas City, Missouri and the Cantigny 1st Infantry Division Museum in Wheaton, Illinois. Findings reveal that exhibits become more inclusive over time to civilian bodies, wounded bodies, and the specific image of “Americans killing Germans bodies.” However, even though there is change some things are turning into myths. The icon of the American soldier as a healthy and strong man willing to sacrifice his life for the country is still a major theme throughout all the exhibits. Finally, there are several myths that America has adopted from its allies. The icons of the bandages over the eyes from the chemical attacks and the horrors of the trenches are borrowed, to a certain extent, from America’s allies. The Americans were only in the war for a limited time and borrowed cultural memories to supplement their own. The examination of the four museums is important because this transition will happen again and soon. Museums must be conscious of the changes occurring during this transition in order to confront the challenges.
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Eliason, Clint B. "Evaluating the Effectiveness of Supplemental Labels in Museum Exhibits." DigitalCommons@USU, 2007. https://digitalcommons.usu.edu/etd/6124.

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The present study used an experimental design to investigate the efficacy of using short (12 words or less), prominently placed supplemental labels to increase the effectiveness of select extant labels in museum exhibits. The experimenter-developed supplemental labels were designed to leverage exogenous/bottom-up and endogenous/top-down sources of influence on selective attention. Measures of patron behavior, knowledge retention, and attitude found no significant differences between group means under control and treatment conditions. These outcomes were surprising and inconsistent with findings from similar research conducted by Hirschi and Screven. The supplemental labels in the present study might have failed to capture attention because they were not sufficiently visually stimulating, they did not sufficiently tap internal motivations, or perhaps patrons experienced innattentional blindness in regards to them.
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Redvale, Jolene Kay. "Interactive exhibits in museums: Definitions, methods and visitor experiences." CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1371.

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Zheng, Su. "Promoting children's creativity : a design method for interactive museum exhibits." Thesis, Coventry University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492365.

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This thesis concerns the development ofa design method for interactive museum exhibit with the aim ofpromoting children's creativity. Key to the originality of this research is the development of the Creativity Surprise Model (CSM): a conceptual cognitive framework for the design of interactive museum exhibits. The model is unique in the way it combines areas oftheoretical discourse from a range of perspectives: constructivist learning theory, the philosophy of interactivity and developmental psychology and associated cognitive theories of creativity and motivational drives, into a unified multidisciplinary design approach. This synthesis as a design method to support interactive exhibit design has not been previously explored or attempted. The usability and effectiveness ofthe CSM as a design method to support designers ofinteractive designs that stimulate children's creativity is evaluated by constructing and developing a novel interactive prototype. It . demonstrates how the CSM can be applied as a method in a real life design scenario. The model is further subjected to a practical validation through a process of iterative . design stages and tested in a series ofexperimental trials. Interactive exhibits in museums are providing exciting and dynamic learning experiences with significant potential to stimulate children's creativity. However, many interactive exhibit designs with incorporated new technologies can be distractive or misleading rather than supportive to creative learning. Moreover, sophisticated intuitive interfaces designed to deliver easily accessible information are not teaching children the fundamental skills necessarily to Joster genuine creative outcomes. Certainly, incorporating a diverse range ofcommunication tools is the future of museum interactive exhibit design, including the use ofnew technology. However, these tools should be selectively and appropriately applied for the right purpose to maximise the educational value as well as providing enjoyable interactive learning experiences. The key to communication success lies not merely in the ability to construct an educational experience or make things interactive per se, but in the creativity of designer applying a considered multidisciplinary approach. However, exhibit designers who are skilled in their own design practice are not necessarily experienced in other specialist fields. Therefore, this requires a method which draws on conceptual resources frolll multidisciplinary perspectives to assist these designers in developing and evaluating interactive exhibits to effectively stimulate creativity in the target group. Given these arguments, this research is located in the following interrelated . . theoretic~1 frameworks: constructivist learning theory, the philosophy of interactivity and developmental psychology and associate.d cognitive theories of creativity and motivational drives. Collectively, these perspectives support the developmentand construction of the Creativity Surprise Model (CSM): a cognitive framework that informs a ~esign method for the design of interactive museum exhibits to stimulate creativity in children. Findings reported from the evaluation of the prototype with 118 Primary school children, have validated the effectiveness ofthe CSM guided artefact in producing creative outcomes within a user defined group. The feedback from primary educators was genuinely supportive. Comme~ts from design professional and museum exhibit developer have been variously favourable with theconceptual framework being complimentary to their practice; moreover, it can be seen to formalize their aspirations providing clear insights into multidisciplinary practice. This practical value ofthe CSM model for designers lies in its identification of a motivational link between the emotion of surprise and the generation ofcreative thinking. It targets the user group at the concrete operational stage and directly addresses how to break down the rigid processing associated with this stage of cognitive development, thus it is likely to accelerate their transition to formal -operational thinking in a lasting and positive manner. As a result ofthis research and evaluation, a process ofhow to monitor the design process and assess the effectiveness ofthe artifact was developed from the key finding ofthe conceptual model - the dynamic relationship between creativity and surprise.
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Schneider, Amber N. Hafertepe Kenneth. "More than meets the eye the use of exhibitions as agents of propaganda during the inter-war period /." Waco, Tex. : Baylor University, 2009. http://hdl.handle.net/2104/5309.

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Einarsson, Christopher. "Pottery in Museums : How, Why and What do we exhibit?" Thesis, Uppsala universitet, Institutionen för ABM, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-225575.

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This thesis is a study of pottery in the museum world. Throughout the study, questions along the lines of how, why and what we exhibit are brought up and answered. The study is done through observations and interviews with seven different museums, four of which are located in Sweden and three in Italy. The author has also used museological literature and theories in order to strengthen the essay and show that the issues brought up in the observations are known since before in the field, but still exist in the museums today.The exhibiting of pottery comes with several issues, such as overcrowding of displays, requirements of pre-knowledge from the visitors, aesthetical problems with broken, coarse or fine pottery and epistemological prob-lems. Epistemology is a subject that seems to be partly ignored in the observed museums, despite it being general knowledge that fewer visitors will read the text the longer it is. Other epistemological problems that are brought up are the issues of text placement, vocabulary and actual mediated information. These problems are brought up throughout the essay and explained, with a smaller section that discusses possible improvements to them, which have been brought up by researchers in the field.In interviews with curators of the museums, thoughts about what the visitors see and understand compared to what the museums want them the see are presented. Also their views on the possibilities of interaction with pottery as a mediator and whether they focus primarily on aesthetics or learning in the exhibitions are shown. This essay is not meant to be a decider between what is right or wrong concerning the exhibiting of pottery, but could be used as a stepping-stone towards such studies. This is a two years master’s thesis in Archive, Library and Museum studies.
Den här uppsatsen är en studie av krukor i museivärlden. Genomgående i studien kommer frågor som hur, varför och vad vi ställer ut tas upp och besvaras. Studien har gjorts genom observationer och intervjuer med sju olika museer, fyra belägna i Sverige och tre i Italien. Författaren har också använt sig av museologisk litteratur och museologiska teorier för att stärka uppsatsen och visa att de problem som tagits upp i observationerna är kända sedan tidigare inom fältet, men trots det existerar i museer idag.Utställande av krukor medför flera problem, såsom överfulla montrar, krav på förkunskaper hos besökarna, estetiska problem med trasig, bruks- eller finkeramik samt epistemologiska problem. Epistemologi verkar vara ett ämne som delvis ignoreras i de observerade museerna, trots att det är allmänt känt att färre besökare kommer att läsa texten ju längre den är. Andra epistemologiska problem som behandlas är sådana som textplacering, vokabu-lär och faktiskt förmedlad kunskap. Dessa problem tas upp och förklaras i uppsatsen med en mindre sektion som diskuterar möjliga förbättringar av dem, baserat på idéer från forskare inom fältet.I intervjuerna med curatorer från museerna presenteras deras tankar om vad besökarna ser och förstår jäm-fört med vad museerna vill att de ska förstå. Också deras syn på möjligheterna av interaktion genom krukor och huruvida de fokuserar främst på det estetiska eller pedagogiska i utställningarna visas. Den här uppsatsen är inte menad att skilja mellan rätt och fel vid utställandet av krukor, men kan användas som ett avstamp mot sådana studier. Det här är en två-årig masteruppsats i Arkiv-, Biblioteks- och Museivetenskap.
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Naujokaitis, Alina. ""Inside outer space exhibitions" : a museum intern's view of multi-sited exhibit performativity in Smithsonian Institution space culture /." Connect to online version, 2009. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2009/.pdf.

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Books on the topic "Museum exhibits Museum exhibits Museum techniques"

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The design of educational exhibits. 2nd ed. London: Allen & Unwin, 1988.

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Miles, Roger S. The design of educational exhibits. 2nd ed. London: Routledge, 2001.

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Museum exhibition: Theory and practice. London: Routledge, 1994.

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Museum exhibition: Theory and practice. London: Routledge, 1996.

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Muzeĭne ekspozyt͡s︡iĭne mystet͡s︡tvo: Monohrafii͡a︡. Kharkiv: Kharkivsʹka derz͡h︡. akademii͡a︡ kulʹtury, 2000.

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Rubenstein, Rosalyn. Audience research for French language interpretation in exhibits. Toronto: R. Rubenstein, 1988.

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Museums and popular culture. London: Cassell, 1997.

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M, Pearce Susan, ed. The thing about museums: Objects and experience, representation and contestation : essays in honour of professor Susan M. Pearce. Milton Park, Abingdon, Oxon: Routledge, 2011.

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Hoppe, Jens. Jüdische Geschichte und Kultur in Museen: Zur nichtjüdischen Museologie des Jüdischen in Deutschland. Münster: Waxmann, 2002.

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Pippo, Ciorra, and Suma Stefania, eds. Nuovi musei: I luoghi dell'arte nell'era dell'iperconsumo. Melfi (Italia): Librìa, 2008.

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Book chapters on the topic "Museum exhibits Museum exhibits Museum techniques"

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Kiriyama, Takashi, and Masahiko Sato. "Aesthetic Design of Interactive Museum Exhibits." In Communications in Computer and Information Science, 5–11. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-31479-7_2.

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Tomaka, Agnieszka, Leszek Luchowski, and Krzysztof Skabek. "From Museum Exhibits to 3D Models." In Man-Machine Interactions, 477–86. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-00563-3_50.

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Partarakis, N., M. Antona, and C. Stephanidis. "Adaptable, Personalizable and Multi User Museum Exhibits." In Curating the Digital, 167–79. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-28722-5_11.

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Kiriyama, Takashi, and Masahiko Sato. "Design and Analysis of Interactions with Museum Exhibits." In Lecture Notes in Computer Science, 182–89. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-25167-2_22.

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Rammos, Dimitris, and Tharrenos Bratitsis. "Museum Exhibits that Interact with Pupils’ Mobile Devices. The Case of Hellenic Maritime Museum." In Internet of Things, Infrastructures and Mobile Applications, 189–201. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49932-7_19.

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Ikei, Yasushi, Ken Ishigaki, Hirofumi Ota, and Keisuke Yoshida. "Image Mnemonics for Cognitive Mapping of the Museum Exhibits." In Human Interface and the Management of Information: Applications and Services, 268–77. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-40397-7_26.

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Neitscher, Eva, and Hae-Yon Weon-Kettenhofen. "Window to Nature: MuseobilBOX-Dioramas in the Museum Koenig." In Natural History Dioramas – Traditional Exhibits for Current Educational Themes, 37–51. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00208-4_4.

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Bohnert, Fabian, and Ingrid Zukerman. "Using Keyword-Based Approaches to Adaptively Predict Interest in Museum Exhibits." In AI 2009: Advances in Artificial Intelligence, 656–65. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-10439-8_66.

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Emerson, Andrew, Nathan Henderson, Wookhee Min, Jonathan Rowe, James Minogue, and James Lester. "Multimodal Trajectory Analysis of Visitor Engagement with Interactive Science Museum Exhibits." In Lecture Notes in Computer Science, 151–55. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78270-2_27.

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Piqueras, Jesús, Karim Hamza, and Susanna Edvall. "Learning Science Through Encounters with Museum Dioramas Themes and Patterns in Students’ Conversations." In Natural History Dioramas – Traditional Exhibits for Current Educational Themes, 185–204. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00175-9_13.

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Conference papers on the topic "Museum exhibits Museum exhibits Museum techniques"

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Soga, Asako, Masahito Shiba, and Takuzi Suzuki. "Computer-Aided Sugoroku Games in the Edo Period Using Interactive Techniques for Museum Exhibits." In 2018 International Conference on Cyberworlds (CW). IEEE, 2018. http://dx.doi.org/10.1109/cw.2018.00033.

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Yiannoutsou, Nikoleta, Ioanna Papadimitriou, Vassilis Komis, and Nikolaos Avouris. ""Playing with" museum exhibits." In the 8th International Conference. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1551788.1551837.

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Basballe, Ditte Amund, and Kim Halskov. "Projections on museum exhibits." In the 22nd Conference of the Computer-Human Interaction Special Interest Group of Australia. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1952222.1952240.

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Hemminger, Bradley M., Gerald Bolus, and Doug Schiff. "Visiting virtual reality museum exhibits." In the 2004 joint ACM/IEEE conference. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/996350.996490.

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Johnson, Kyle D., J. C. Díaz, and Robert B. Pickering. "Virtual Tours for Museum Exhibits." In Electronic Visualisation and the Arts (EVA 2012). BCS Learning & Development, 2012. http://dx.doi.org/10.14236/ewic/eva2012.18.

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Fosh, Lesley. "Performing Interpretations of Museum Exhibits in Groups." In MobileHCI '15: 17th International Conference on Human-Computer Interaction with Mobile Devices and Services. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2786567.2794346.

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Mann, Laura, and Oleg Fryazinov. "3D printing for mixed reality hands-on museum exhibit interaction." In SIGGRAPH '19: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3306214.3338609.

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Ando, Yuhei, Ruck Thawonmas, and Frank Rinaldo. "Inference of Viewed Exhibits in a Metaverse Museum." In 2013 International Conference on Culture and Computing (Culture Computing). IEEE, 2013. http://dx.doi.org/10.1109/culturecomputing.2013.73.

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Chen, Dalei. "Museum Exhibits Display the Artistic Expression Fully Reflecting the Exhibits Social Significance." In International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-14). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icelaic-14.2014.134.

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Рябинин, Константин, Konstantin Ryabinin, Амир Ахтамзян, Amir Ahtamzyan, Мария Колесник, Mariya Kolesnik, Елена Сударикова, and Elena Sudarikova. "Tangible Interfaces for the Virtual Reconstructions of Museum Exhibits." In 29th International Conference on Computer Graphics, Image Processing and Computer Vision, Visualization Systems and the Virtual Environment GraphiCon'2019. Bryansk State Technical University, 2019. http://dx.doi.org/10.30987/graphicon-2019-1-87-92.

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Abstract:
In this paper we propose an approach to create cyber-physical museum exhibits based on the methods and means of scientific visualization, Internet of things, additive technologies and ontology engineering. Cyber-physical exhibit consists of tightly interconnected virtual and real parts. Scientific visualization is used as methodological and technological basis for presenting the virtual part, which can contain relevant digital content and 3D-reconstructions. Internet of things is a core technology to create tangible interfaces for the corresponding visualization software. Additive technologies allow creating virtual reconstructions and precise copies of museum exhibits. Ontology engineering provides adaptive mechanisms for seamless integration of new cyber-physical exhibits into the existing digital infrastructure of museums. The proposed approach is used in practice to create cyber-physical exhibits in State Darwin Museum (Moscow) and Museum of Permian Antiquities (Perm).
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Reports on the topic "Museum exhibits Museum exhibits Museum techniques"

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Shubinski, R. [Energy education exhibits for Insights El Paso Science Museum]. Office of Scientific and Technical Information (OSTI), May 1998. http://dx.doi.org/10.2172/639730.

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Peshkin, M. Scientific support of SciTech museum exhibits and outreach programs. Office of Scientific and Technical Information (OSTI), August 1995. http://dx.doi.org/10.2172/166509.

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