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1
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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Batyreva, Svetlana G. "Народное прикладное искусство в экспозиции Музея традиционной культуры имени Зая-пандиты Калмыцкого научного центра РАН." Desertum Magnum: studia historica Великая степь: исторические исследования, no. 2 (December 30, 2020): 169–78. http://dx.doi.org/10.22162/2712-8431-2020-10-2-169-178.
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The museum collections contain the material evidence of the past represented in the objects of traditional nomad culture. The documentary significance of the archive materials that represent nomad way of living allows us to give characteristics of the existence and content of the artistic craftwork of the Mongol-origin nations. Nowadays, when most of the traditional Kalmyk handicrafts have been lost due to the transition from the nomad way of living to sedentary life, it is relevant to use the museum exhibits for their reconstruction. This will allow to fill the gaps in the Kalmyk Folk Decorative Arts research the sample of which include the household items made in the traditional techniques of artistic processing of textile, felt and leather, wood and metal. The experience of collecting, research and reconstruction of the nation’s cultural heritage is represented in the permanent exhibit of the Zaya-Pandita Museum of Kalmyk Traditional Culture of the Kalmyk Scientific Center of the RAS.
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Северин, В. Д. "СУЧАСНЕ ОСВІТЛЕННЯ В ДИЗАЙНІ МУЗЕЙНИХ ЕКСПОЗИЦІЙ." Humanities journal, no. 2 (October 29, 2018): 89–98. http://dx.doi.org/10.32620/gch.2018.2.10.
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In modern design practice lighting plays an important role. Lighting means intensification of visual and psychological effect of museum exposition. Light plays an active role in perception of exhibit, revealing its shape, texture and color. Natural light is used to create a broad background, and artificial – to focus attention on specific information. The best way is the combination of artificial and natural light. This balance is possible due to technological achievement. New ways of lighting create the conditions for better preservation of objects.Lighting techniques give the possibility to make the exposure dynamic, without resorting to mechanical kinematic schemes. Since the motion of light attracts the attention of the viewer more than the movement of objects, this fact became the basis for development of a number of interesting schemes of dynamic lighting. Stands and showcases with dynamic illumination leave a brighter footprint in memory.The choice of the lighting system is closely linked with the architecture of the museum building and with the system of museum lighting (natural, artificial and combined). In this case, it is necessary to take into account the complexity of specifics of the museum exposition – the need to create the best illumination of exhibits and at the same time to protect them from the harmful effects of light rays. Lighting systems are based on the composition and properties of exhibited museum objects and the acceptable level of lighting for various categories of exhibits.Artificial lighting must be carried out mainly by sources of light, whose radiation in the spectrum is close to the daytime. For illumination special lighting fittings, which are usually hidden from visitors (behind suspended ceilings, embedded in furniture or exhibition equipment) should be used.Nowadays there is a wide arsenal of lighting means aimed to increase the visual and psychological effect of museum exposition, various types of lighting fixtures and lamps used to illuminate expositions. Among the lighting products, the leading role belongs to LED technologies. These technologies are characterized by qualities that are decisive in the organization of the museum environment. This is the ability to give white light to each exhibit, high light output at low power consumption, fire safety, the possibility of tape mounting of light sources, the implementation of programmable light scenarios with a change in color gamut. The latest technologies in lighting systems play an important role in design of museum exposition.
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Nekrošienė, Rita. "FACILITY OF EDUCATION ACTIVITIES IN THE BOTANICAL GARDENS AND PARKS: EXPERIENCE OF SOUTH GERMANY." GAMTAMOKSLINIS UGDYMAS / NATURAL SCIENCE EDUCATION 4, no. 1 (March 25, 2007): 29–33. http://dx.doi.org/10.48127/gu-nse/07.4.29.
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Some facilities of education activities in south Germany botanical gardens and parks are presented in this article. Research was carried out in Munchen-Nymphenburg, Alpengarten Schachen and Augsburg botanical gardens, Munchen zoological garden, Munchen city parks (in the Museum of Man and Nature). The role of botanic gardens is as an advocate for the maintenance of biodiversity and therefore botanic gardens need to reorient their education programmes and incorporate a vision for a more socially and environmentally sustainable future. Botanic and zoo gardens can use a variety of techniques to convey these messages from guided tours, cultural activities and exhibitions to interpret signs and media such as the internet, radio, television and newspapers. Botanic gardens should develop and promote these institutions as centers for environmental education to schools and develop child-friendly policies and train staff in these policies, conduct regular audits to ensure that the gardens is 'child friendly' e. g. access points, eating areas, storage areas, activity/play areas. The subject areas covered by the Museum of Man and Nature are: the history of the earth and its forms of life, biodiversity, man’s place within the natural world, man’s role in shaping the natural world. The Museum presents an interesting and entertaining approach to natural science, in line with modern educational theory. Authentic natural objects, reproductions, models, interactive exhibits and audio-visual programs are employed to create a lively and stimulating setting. The section “Natural history playtime” successfully combines traditional and modern exhibits and appeals to young and old alike. Attractive exhibits and a convenient location make the Museum of Man and Nature a worthwhile destination for visitors of all ages. The official educational mission of this Museum “… to instruct and inform humans about themselves, their environment and about the threats to nature posed by technical civilization”. Key words: botanic garden, zoological garden, parks, education, natural science.
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Georgiou, E., E. Karachaliou, and E. Stylianidis. "3D REPRESENTATION OF THE 19TH CENTURY BALKAN ARCHITECTURE USING SCALED MUSEUM-MAQUETTE AND PHOTOGRAMMETRY METHODS." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 18, 2017): 275–79. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-275-2017.
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Characteristic example of the Balkan architecture of the 19th century, consists the "Tower house" which is found in the region of Epirus and Western Macedonia, Greece. Nowadays, the only information about these heritage buildings could be abstracted by the architectural designs on hand and the model – Tower that is being displayed in the Folklore Museum of the Municipality of Kozani, Greece, as a maquette. The current work generates a scaled 3D digital model of the "Tower house", by using photogrammetry techniques applied on the model-maquette that is being displayed in the Museum exhibits.
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Brothwell, D., T. Holden, D. Liversage, B. Gottleib, P. Bennike, and J. Boesen. "Establishing a minimum damage procedure for the gut sampling of intact human bodies: the case of the Huldremose Woman." Antiquity 64, no. 245 (December 1990): 830–35. http://dx.doi.org/10.1017/s0003598x00078923.
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The investigation of the Lindow I1 bog body (Stead et al. 1986), made it necessary to consider aspects of previously discovered human remains of a similar kind. Two of us (DL and DB) found that further studies could profitably be undertaken on the specimens in the National Museum of Copenhagen. As a result of this, a number of detailed specialist reports relating to the Huldremose bog body are being prepared for press. An overriding concern in these studies was the development of techniques that would entail only minimal damage to the body. In this way, it should be possible to satisfy the requirements of museums and excavation units that such investigations would not detract from the value of ancient bodies as permanent records and potential exhibits.
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D.О., Dryga. "The technique of creating three-dimensional models cultural heritage exhibits of museum collections." Geodesy and Aerophotosurveying 63, no. 5 (2019): 512–23. http://dx.doi.org/10.30533/0536-101x-2019-63-5-512-523.
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Kulikova, Irina Gennadevna, and Fanis Renatovich Akhmadullin. "Methods of Composing and Conducting an Interactive Ethnographic Excursion in the Museum of an Educational Institution." Ethnic Culture, no. 2 (3) (June 20, 2020): 111–14. http://dx.doi.org/10.31483/r-75035.
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The methodological techniques for conducting an interactive ethnographic excursion in the museum of the educational institution are reviewed in the article. It has been hypothesized that the introduction of elements of interactivity and immersivity into the structure of an ethnographic excursion will allow for a stronger and deeper learning of the material of the excursion. In order to confirm the hypothesis, an analysis of theoretical material on the topic of the study was carried out, a modern view of the museum of the educational institution as an object for transmitting cultural experience, as a guardian of historical memory was revealed. Methods. The research was carried out using the following methods: analysis of theoretical material, survey of participants of the museum and pedagogical process in order to identify the most effective methods of functioning of the museum, modeling, involving organization of various formats of activity of the museum of the educational institution, as well as methods of empirical level – observation, description, experiment. The results of the study, given in the work, confirmed that unlike the traditional excursion, which involves passive participation of students, interactive excursions allow to involve students in active interaction with the guide, motivate them to “independent” study and consideration of exhibits of the museum. The survey of participants of the museum and pedagogical process confirmed that emotional immersion in the material of the excursion contributes to its better learning and memorization.
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Pisoni, Galena. "Mediating distance: new interfaces and interaction design techniques to follow and take part in remote museum visits." Journal of Systems and Information Technology 22, no. 4 (November 30, 2020): 331–52. http://dx.doi.org/10.1108/jsit-03-2020-0038.
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Purpose This paper presents a study of a system that allows remote and onsite visitors to share a museum visit together in real time. The remote visitors are older adults at a care home and their relatives and/or friends who are at the museum. The museum visits are interactive. Meaningful stories accompany the museum exhibits, and there’s an audio channel between onsite and remote visitors. The aim of the study is to determine whether the remote visitors, i.e. older adults are able to use such technology and to study the mediated sense of spatial presence, social closeness, engagement and enjoyment in the visit. This study discusses the relationship between these aspects and factors leading to a better remote experience for older adults. Design/methodology/approach This study has 14 onsite and 12 remote older adult participants. Standardized questionnaires measured the mediated sense of spatial presence, the experienced social closeness and the level of participants' engagement and enjoyment in the visit of the older adult participants and traced onsite visitors in their position during the visit. The audio logs were subjected to thematic content analysis. Findings The results show that older adults enjoy and engage in remote visits, and that there is a positive correlation between enjoyment, engagement and social closeness. The findings argue that both the audio channel and the interactive story are important for creating an affective virtual experience: the audio channel increases the sense of closeness, whereas the interactive story makes the visit more engaging, providing structure, direction and purpose to the visit. Originality/value This work advances the state of art in the domain of technologies for older adults and addresses the needs of this population to stay in contact with both people and places.
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Tsangaratos, P., M. Perraki, and I. Ilia. "Developing an interactive application embodied in the geosciences educational procedure." Bulletin of the Geological Society of Greece 47, no. 2 (January 24, 2017): 1031. http://dx.doi.org/10.12681/bgsg.11142.
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The aim of this study is to develop a Geovisual Mineralogical Cognitive Tool (GeMiCo Tool), a digital application that utilizes techniques from the domain of Information and Communication Technology. The application is part of the educational tools used at the Mineralogical Museum of the School of Mining and Metallurgical Engineering, National Technical University of Athens and concerns students of Higher, Primary and Secondary Education. The learning tool developed here embodies Google Earth API (Application Programming Interface), allowing users to interactively display and investigate geological and mineralogical related data. By that, users are able to select and present thematic layers of information related to the geo-exhibits, to create queries and searches and to navigate in 3D environment. The application runs on a large format multi-touch interactive display in the Mineralogical Museum of NTUA that attracts audiences and engages them in interactive collaborative tasks.
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Tsangaratos, P., M. Perraki, and I. Ilia. "Developing an interactive application embodied in the geosciences educational procedure." Bulletin of the Geological Society of Greece 47, no. 2 (January 24, 2017): 1031. http://dx.doi.org/10.12681/bgsg.11430.
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The aim of this study is to develop a Geovisual Mineralogical Cognitive Tool (GeMiCo Tool), a digital application that utilizes techniques from the domain of Information and Communication Technology. The application is part of the educational tools used at the Mineralogical Museum of the School of Mining and Metallurgical Engineering, National Technical University of Athens and concerns students of Higher, Primary and Secondary Education. The learning tool developed here embodies Google Earth API (Application Programming Interface), allowing users to interactively display and investigate geological and mineralogical related data. By that, users are able to select and present thematic layers of information related to the geo-exhibits, to create queries and searches and to navigate in 3D environment. The application runs on a large format multi-touch interactive display in the Mineralogical Museum of NTUA that attracts audiences and engages them in interactive collaborative tasks.
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Radulescu, Stihi, Ion, Dulama, Stanescu, Stirbescu, Teodorescu, et al. "Seasonal Variability in the Composition of Particulate Matter and the Microclimate in Cultural Heritage Areas." Atmosphere 10, no. 10 (October 2, 2019): 595. http://dx.doi.org/10.3390/atmos10100595.
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This study is the first attempt to decipher the effect of particulate matter (PM) composition on people’s health and on historic sites, in correlation with the daily and seasonal microclimate monitoring of the indoor and outdoor areas of the Roman Mosaic Edifice museum (the maritime port of Constanta, Romania). More specifically, the increase of metal concentrations in particulate matter during the summer of 2018 and spring of 2019 in the museum under investigation could possibly be associated with the microclimates of both seasons, with coastal factors, as well as with the anthropic activities specific to the port of Constanta. FTIR and inductively coupled plasma mass spectroscopy (ICP-MS) techniques, used for the investigation of PM2.5–10 samples, revealed high concentrations of Fe, Al-rich, and soluble particles inside the investigated museum area. In this respect, the chemical measurements of the PM2.5–10 masses highlighted high concentrations of heavy metals (i.e., Al, Fe, Zn, Mn, and Pb) and low concentrations of trace metals (i.e., Cr, Ni, Cu, and Cd). Statistical analysis showed that the chemical compositions of the particulate matter in the indoor and outdoor areas of the Roman Mosaic Edifice were influenced by microclimatic conditions, mainly temperature and relative humidity (RH). A potential health risk for tourists is the thermal and humid conditions, alongside the toxic components of the particulate matter. This research seeks to provide solutions for improving the environmental conditions inside the Roman Mosaic Edifice and to offer useful suggestions concerning health promotion and the protection of museum exhibits against possible future deterioration.
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Dall’Asta, E., N. Bruno, G. Bigliardi, A. Zerbi, and R. Roncella. "PHOTOGRAMMETRIC TECHNIQUES FOR PROMOTION OF ARCHAEOLOGICAL HERITAGE: THE ARCHAEOLOGICAL MUSEUM OF PARMA (ITALY)." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B5 (June 15, 2016): 243–50. http://dx.doi.org/10.5194/isprsarchives-xli-b5-243-2016.
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In a context rich in history and cultural heritage, such as the Italian one, promotion and enhancement of historical evidences are crucial. The paper describes the case study of the Archaeological Museum of Parma, which, for the main part, conserves evidences found in the roman archaeological site of Veleia (Piacenza, Italy). To enhance the comprehension of the past, the project aims to promote the exhibits through new digital contents, in particular 3D models and AR applications, to improve their usability by the public. Projects like this pose some difficulties especially in data acquisition and restitution due to complexity of the objects and their dimension and position that are not always adequate for an easy survey. Furthermore, in this case, it was necessary to find a solution that takes into account, on one hand, the necessity of a high degree of detail to ensure high metric quality and, on the other hand, the need of producing small files, in order to easy load and consult them on the web or smartphone applications. For all these reasons, close-range photogrammetry was considered the most adequate technique to produce the major part of the models. In this paper, particular attention will be dedicated to the description of the survey campaign and data processing, underlining difficulties and adopted solutions, in order to provide a methodological summary of the actions performed.
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Dall’Asta, E., N. Bruno, G. Bigliardi, A. Zerbi, and R. Roncella. "PHOTOGRAMMETRIC TECHNIQUES FOR PROMOTION OF ARCHAEOLOGICAL HERITAGE: THE ARCHAEOLOGICAL MUSEUM OF PARMA (ITALY)." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLI-B5 (June 15, 2016): 243–50. http://dx.doi.org/10.5194/isprs-archives-xli-b5-243-2016.
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In a context rich in history and cultural heritage, such as the Italian one, promotion and enhancement of historical evidences are crucial. The paper describes the case study of the Archaeological Museum of Parma, which, for the main part, conserves evidences found in the roman archaeological site of Veleia (Piacenza, Italy). To enhance the comprehension of the past, the project aims to promote the exhibits through new digital contents, in particular 3D models and AR applications, to improve their usability by the public. Projects like this pose some difficulties especially in data acquisition and restitution due to complexity of the objects and their dimension and position that are not always adequate for an easy survey. Furthermore, in this case, it was necessary to find a solution that takes into account, on one hand, the necessity of a high degree of detail to ensure high metric quality and, on the other hand, the need of producing small files, in order to easy load and consult them on the web or smartphone applications. For all these reasons, close-range photogrammetry was considered the most adequate technique to produce the major part of the models. In this paper, particular attention will be dedicated to the description of the survey campaign and data processing, underlining difficulties and adopted solutions, in order to provide a methodological summary of the actions performed.
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Odin, Giliane P., Véronique Rouchon, Frédéric Ott, Natalie Malikova, Pierre Levitz, and Laurent J. Michot. "Neutron imaging investigation of fossil woods: non-destructive characterization of microstructure and detection of in situ changes as occurring in museum cabinets." Fossil Record 20, no. 1 (February 28, 2017): 95–103. http://dx.doi.org/10.5194/fr-20-95-2017.
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Abstract. This paper discusses the applicability of neutron imaging techniques for probing the internal microstructure of several fossil woods upon wetting and drying, two phenomena occurring in museum cabinets and endangering the fossil woods. Investigations were carried out using lignites (fossil woods) from two French localities (Rivecourt, Parisian Basin, Oise – Paleogene; Angeac, Aquitanian Basin, Charente – Cretaceous), which present different macroscopic behavior upon drying. Thanks to the high sensitivity of neutrons to hydrogen content, it was possible to track water diffusion through 3 mm thick samples and to follow in situ changes related to either supply or withdrawal of water without any special preparation and in a relevant time range (from 1 min to a few hours). Classical image analysis allows discriminating between the behavior of the two fossil woods with regard to their interaction with water. Further analysis based on a Fourier transform of projection images provides additional information regarding the existence of large pores in one of the samples. Differences in pore network and internal structures have important mechanical consequences as one of the samples retains its integrity upon drying, whereas the other one shatters into pieces. A better understanding of the underlying processes will clearly require multi-scale analyses, using additional techniques that could probe the materials at a lower scale. Such a combination of multi-scale analyses should provide valuable information for a better conservation of wood remnants, which is crucial for both paleobotanical research and museum exhibits.
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Cho, Jun Dong. "A Study of Multi-Sensory Experience and Color Recognition in Visual Arts Appreciation of People with Visual Impairment." Electronics 10, no. 4 (February 15, 2021): 470. http://dx.doi.org/10.3390/electronics10040470.
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Visually impaired visitors experience many limitations when visiting museum exhibits, such as a lack of cognitive and sensory access to exhibits or replicas. Contemporary art is evolving in the direction of appreciation beyond simply looking at works, and the development of various sensory technologies has had a great influence on culture and art. Thus, opportunities for people with visual impairments to appreciate visual artworks through various senses such as hearing, touch, and smell are expanding. However, it is uncommon to provide an interactive interface for color recognition, such as applying patterns, sounds, temperature, or scents. This review aims to convey the visual elements of the work to the visually impaired through various sensory elements. In addition, to open a new perspective on appreciation of the works, the technique of expressing the color coded by integrating patterns, temperature, scent, music, and vibration was explored, and future research topics were presented.
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Elfarargy, Mohammed, and Amr Rizq. "VirMuF: The Virtual Museum Framework." Scalable Computing: Practice and Experience 19, no. 2 (May 10, 2018): 175–80. http://dx.doi.org/10.12694/scpe.v19i2.1349.
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With the immergence of 3D object digitization technologies, many museums are digitizing their collections using 3D scanning, photogrammetry and other techniques. These large 3D collections are not only great for documentation and preservation, but they are also a great means for introducing these collections to a wider audience worldwide through virtual museums. However, developing Virtual Museums can be a costly process considering that it needs a team of talented software developers, 3D designers and other software/hardware tools. In this paper we present VirMuF (Virtual Museum Framework), which is a set of tools that can be used by non-developers to easily create and publish 3D virtual museums in a very short time. This way, Museum staff doing collection digitization can also publish 3D virtual museums to exhibit these collections. VirMuF is open-source; hence, teams including software developers can further extend VirMuF to fit their needs.
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Ganavi, BS. "The Museum Maze in Oral Pathology Demystified—Part I." Journal of Contemporary Dental Practice 14, no. 4 (2013): 770–76. http://dx.doi.org/10.5005/jp-journals-10024-1401.
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ABSTRACT Museum technologies provide a wide array of choice of museums to those who wish to exploit technology to attract, excite and ensure an unrivalled visitor experience, as well as capture and sustain share of mind and heart. Museum being a combination of both art and science requires skilled workmanship, meticulous planning and execution to exhibit a specimen to its optimal elegance due to its relatively smaller size and fragile nature. A well established oral pathology museum is rarely seen due to negligence of oral specimens, dearth of knowledge in this field and also available data on it. An insight on oral pathology museum, including its establishment, importance and advanced technologies to make it more simple and accessible are discussed in two parts. Part I emphasizes on basics in oral pathology museum, whereas part II highlights the specialized techniques and recent advances in museum technology. Our effort is to present this article as hands on experience for the pathologists, student population and the technicians. How to cite this article Patil S, Rao RS, Ganavi BS. The Museum Maze in Oral Pathology Demystified—Part I. J Contemp Dent Pract 2013;14(4):770-776.
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Roederer, Claire, and Marc Filser. "Revisiting the museum experience." Qualitative Market Research: An International Journal 21, no. 4 (September 10, 2018): 567–87. http://dx.doi.org/10.1108/qmr-01-2017-0002.
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PurposeThis paper aims to contribute to the area of museum experience research, by exploring how consumers build stories to tell different experiences generated from a visit to a museum and by viewing these inductive findings in the light of recent research on consumption experiences (Lanier and Rader, 2015).Design/methodology/approachA qualitative study is conducted. Twenty-three narratives were analysed relating a visit to ZKM museum in Karlsruhe (Germany) using narrative analysis techniques, as they are suitable to capture sensations, emotions and feelings.FindingsZKM museum emerges from the analysis of the narratives as a cradle for stochastic experiences (Lanier and Rader, 2015). The narratives develop several episodes that correspond to performance and liberatory experiences. A reconceptualization of the museal experience is proposed as a mesh of performance, stochastic or liberatory episodes, that capture the subject’s perspective.Research limitations/implicationsThe study was limited to students who were 19-23 years of age and to one museum. Future research should include a wider age group and other museums.Practical implicationsThe findings provide useful insights for curators, educators and exhibit designers staging museal experiences.Social implicationsThe findings provide a better understanding of different experiences occurring in the same experiential context and their meaning from the subject’s perspective.Originality/valueLanier and Rader (2015) typology has not yet been tested in a museal context. The findings suggest that the same context can generate a set of various episodes (performance, liberatory, stochastic) within a given experience. From a methodological perspective, the results show that qualitative approaches are relevant to segment the museal offer based on sought experiences.
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Dubois, Arnaud. "How to understand engineering sciences with the techniques of the body: The case of the bridges collection of the Musée des Arts et Métiers explained by circus acrobatics." Social Science Information 56, no. 2 (April 13, 2017): 254–69. http://dx.doi.org/10.1177/0539018417697387.
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In this article, I will examine an experimental mediation performed by acrobats at the Paris Musée des Arts et Métiers in May 2016. I will ask if body techniques can facilitate the public’s understanding of the abstract engineering sciences exhibited in a science and technology museum. Using the ethnographic study of this performance, I will ask if this new type of museum mediation opens up new research issues about technical gestures and helps us to blur boundaries between tangible and intangible heritage in the museum context. In doing so I try to redeploy the methods of analysis of museum collections and to contribute to the theoretical and methodological renewal of the history of technology. I show that this new way to mediate science and technology museum collections using body techniques and gestures produces a methodological indistinctness between intentionality and contingency that often marks the epistemological break between art, technology and science in western culture. This anthropological way of looking at museums of science and technology opens up new research issues not only for the museum’s scientific and technical heritage but also for the history of science and techniques.
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Imai, Yunoshin. "Exhibits of the Metals Museum." Materia Japan 34, no. 10 (1995): 1158–65. http://dx.doi.org/10.2320/materia.34.1158.
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Broman, Arne, and Lars Broman. "Museum Exhibits for the Conics." Mathematics Magazine 67, no. 3 (June 1, 1994): 206. http://dx.doi.org/10.2307/2690611.
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DANILOV, VICTOR J. "Corporate Sponsorship of Museum Exhibits." Curator: The Museum Journal 31, no. 3 (September 1988): 203–30. http://dx.doi.org/10.1111/j.2151-6952.1988.tb00693.x.
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Broman, Arne, and Lars Broman. "Museum Exhibits for the Conics." Mathematics Magazine 67, no. 3 (June 1994): 206–9. http://dx.doi.org/10.1080/0025570x.1994.11996213.
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Cogan, D. G. "Academy Exhibits and the Museum." Archives of Ophthalmology 103, no. 2 (February 1, 1985): 189. http://dx.doi.org/10.1001/archopht.1985.01050020041014.
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Björling, Mikael, and Guro Hjulstad. "Air Exchange Rate and Internal Air Flows in a Naturally Ventilated Museum Building." E3S Web of Conferences 246 (2021): 01003. http://dx.doi.org/10.1051/e3sconf/202124601003.
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A controlled indoor environment is crucial to the preservation of valuable historical artefacts in museums, but is influenced by many factors such as building properties, exhibit design, number of visitors, outdoor conditions etc. This study aims to monitor the local air exchange rates (AERs) and internal air flows in the Viking Ship Museum, Oslo, Norway during different outdoor conditions and is part of a project to create a new museum for the ships. Homogeneous emission tracer techniques (with tracer A) were used to monitor the local mean age of air (from which the local AER can be estimated). The internal air flows from a building zone were monitored by loading that zone with another tracer (B). The building outline is in the shape of a cross with four wings emanating from a central tower and thus naturally creates five zones to investigate. Three measurement periods were conducted with outdoor conditions ranging from winter to late summer. During winter conditions the average hourly air exchange rate (ACH) for the museum is fairly low (0.05 h-1), but during summer conditions it rises fourfold (0.2 h-1). During the summer, windows and doors may be kept open and the number of visitors peaks. The internal flows are very large, as indicated by very similar patterns of the sampler loads for both A and B tracers in relation to the twenty sampling positions.
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Ucko, David A. "Science Literacy and Science Museum Exhibits." Curator: The Museum Journal 28, no. 4 (June 24, 2010): 287–300. http://dx.doi.org/10.1111/j.2151-6952.1985.tb01756.x.
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BUNCH, SNOWDEN, PHILIP JACOBS, WILLIAM LUKSETICH, and MARK LANGE. "Do Traveling Exhibits Influence Museum Attendance?" Curator: The Museum Journal 31, no. 2 (June 1988): 131–36. http://dx.doi.org/10.1111/j.2151-6952.1988.tb00683.x.
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Klausner, Arthur, and Jeffrey Fox. "Museum Exhibits Both Educate and Confound." Nature Biotechnology 6, no. 3 (March 1988): 246–47. http://dx.doi.org/10.1038/nbt0388-246.
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Lbova, L. V., V. V. Kazakov, and K. B. Zhumadilov. "Information System “Prehistory Art of Siberia and the Far East”: A New Scientific and Educational Resource in Novosibirsk State University." Archaeology and Ethnography 18, no. 5 (2019): 9–20. http://dx.doi.org/10.25205/1818-7919-2019-18-5-9-20.
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Purpose. Development of electronic educational resources in the humanitarian environment of higher school is an urgent problem of modern education. The aim of our work is to systematize didactic forms and approaches to the development of e-learning resources as exemplified by the interactive educational and methodological complex “Prehistoric Art of Siberia and the Far East”. Results. We describe models of electronic tutorials in terms of a modern direction, development of interactive teaching complexes. An original proprietary information system “Prehistoric Art of Siberia and the Far East” (mobileart.artemiris.org) contains information on the monuments of the Paleolithic age of Siberia, which is presented in a systematic way. Objects of the Siberian Paleolithic collections are attributed, provided with a scientific description, photographs, macro, three-dimensional models and a list of references. Conclusion. Modern education at the university supposes a wide usage of information technology. Interactive educational and methodological complexes today can fully satisfy this need. 3D technology proposed for presenting archaeological materials not only provides effective illustrations of the context, but also implements a new, more sophisticated methodology for studying historical and cultural heritage. Enhanced capabilities of working with a virtual model of archaeological objects allow researchers and students to get more information remotely, which reduces the anthropogenic load on the object under study. The complex developed implies non-contact processing of museum exhibits with varying degrees of damage, using computer simulation techniques for the pre-excavation state of reconstruction, provides an opportunity to restore badly damaged or even gone objects and to preserve the model shape with a possibility of subsequent replication. All of the above forces us to open a new course in the educational programs for archaeology students. It is assumed that this educational segment will find its place in the new Federal State Educational Standard and will contribute to the formation of the competencies of a modern specialist.
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CANNELL, PETER F. "Focus on Exhibits: A Museum Program Proposal." Curator: The Museum Journal 31, no. 1 (March 1988): 5–8. http://dx.doi.org/10.1111/j.2151-6952.1988.tb00669.x.
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KREMER, KRISTIN BENNE, and GARY W. MULLINS. "Children's Gender Behavior at Science Museum Exhibits." Curator: The Museum Journal 35, no. 1 (March 1992): 39–48. http://dx.doi.org/10.1111/j.2151-6952.1992.tb00733.x.
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Chung, Beom Sun, Eun-mi Park, Sang-Hee Kim, Sook-kyoung Cho, and Min Suk Chung. "Comic Strips to Accompany Science Museum Exhibits." Journal of Education and Learning 5, no. 4 (September 22, 2016): 141. http://dx.doi.org/10.5539/jel.v5n4p141.
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<p>Science museums make the effort to create exhibits with amusing explanations. However, existing explanation signs with lengthy text are not appealing, and as such, visitors do not pay attention to them. In contrast, conspicuous comic strips composed of simple drawings and humors can attract science museum visitors. This study attempted to reveal whether comic strips contribute to science exhibitions. More than 20 comic strips were chosen that were associated with exhibits in a science museum. The individual episodes were printed out and placed beside the corresponding exhibits. A questionnaire was administered to museum visitors to evaluate the effects of the comic strips. Most visitors responded that the comic strips were helpful in understanding the exhibits and in familiarizing themselves with the science. Participants also described the comic strips’ deficiencies which will be considered for future revisions. Comic strips are likely to enhance interest in and comprehension of science exhibitions. Furthermore, these strips are expected to enrich science museums in various ways such as establishing their uniqueness.</p>
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Najbrt, Lukáš, and Jana Kapounová. "Categorization of Museum Visitors as Part of System for Personalized Museum Tour." International Journal of Information and Communication Technologies in Education 3, no. 1 (June 1, 2014): 17–27. http://dx.doi.org/10.1515/ijicte-2014-0002.
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Abstract In the past few years, the process of lifelong learning has become more important. A tour of an educational exhibition is an interesting and attractive activity for a person receiving an education. A museum, art gallery, zoological or botanical garden or even a technological park can all be perceived as an educational exhibition. If we want the exhibition tour to provide an educational benefit to the visitor, we need to offer him adequate information about individual exhibits. The exhibition has to be personalized, that is, tailored for the various kinds of visitors. This paper deals with the issue of categorizing museum visitors using ICT, specifically an expert system which is a part of a “virtual guide”. Based on an initial analysis of a visitor, the virtual guide proposes a tour through the exhibition so that it brings the visitor the maximum educational benefit while at the same time offers information about the displayed exhibits in such a way that is most interesting and comprehensible.
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Karpiewska, Anna, Dariusz Iwan, Przemysław Szymroszczyk, Ewa Lenard, Marek Halama, Dominika Pluta, and Tadeusz Dobosz. "Analysis of museum labels description." Opuscula Musealia 26 (2019): 143–56. http://dx.doi.org/10.4467/20843852.om.18.009.11002.
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The aim of the study was to analyse the content of museum labels from various periods in terms of their usefulness in creating new labels for exhibits included in museum collections. Nearly 5,000 museum labels from the years 1811 to 2017 were reviewed, for exhibits at the Museum of Zoology of the Polish Academy of Sciences in Warsaw, Herbarium of the University of Wroclaw, and the Museum of Forensic Medicine at the Medical University of Wroclaw. On the basis of the collected information, an attempt was made to develop a ‘universal label’template, including a range of necessary information from the point of view of managing and maintaining the accessibility of the relevant collection.
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Karpiewska, Anna, Dariusz Iwan, Przemysław Szymroszczyk, Ewa Lenard, Marek Halama, Dominika Pluta, and Tadeusz Dobosz. "Analysis of museum labels description." Opuscula Musealia 26 (2019): 143–56. http://dx.doi.org/10.4467/20843852.om.18.009.11002.
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The aim of the study was to analyse the content of museum labels from various periods in terms of their usefulness in creating new labels for exhibits included in museum collections. Nearly 5,000 museum labels from the years 1811 to 2017 were reviewed, for exhibits at the Museum of Zoology of the Polish Academy of Sciences in Warsaw, Herbarium of the University of Wroclaw, and the Museum of Forensic Medicine at the Medical University of Wroclaw. On the basis of the collected information, an attempt was made to develop a ‘universal label’template, including a range of necessary information from the point of view of managing and maintaining the accessibility of the relevant collection.
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Serafini, Frank, and Danielle Rylak. "Representations of Museums and Museum Visits in Narrative Picturebooks." Libri et liberi 10, no. 1 (August 31, 2021): 45–62. http://dx.doi.org/10.21066/carcl.libri.10.1.3.
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Drawing on a range of theoretical frameworks to illuminate various aspects of visual and textual representations, this study analyses the ways museums, museum visits, and museum exhibits and activities are represented in contemporary narrative picturebooks featuring a child character going to a museum for a variety of reasons. Analysis of approximately fifty museum picturebooks using a multimodal content analysis tool led to the construction of findings in the following themes: representations of museums; representations of museum exhibits; museum visitors; reasons for museum visits; museum activities and events; children’s attitudes while visiting museums; and metaleptic transgressions in picturebook representations. The findings suggest the potential implications of these multimodal texts in the hands of teachers and young readers.
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Smirnov, Aleksey V. "Social object: museum object in the participatory museum." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 126–32. http://dx.doi.org/10.30725/2619-0303-2021-1-126-132.
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The «new museology» movement, which seeks to revise the principles and foundations of the activities of modern museums, has introduced a few new concepts into consideration, one of which is the concept of «social object». «New Museology» interprets a social object as the basis for constructing an exposition of a participatory museum, which makes it possible to consider a social object as an analogue of a museum item. Since the concept of a «museum item» is one of the key theoretical tools of modern museology, its content can be expanded within the framework of the scientific understanding of a participatory museum. Directions of such a theoretical study are presented in this article. The analysis of the transformation of a museum object into a social object during the transition from the traditional principle of building a museum exposition to a participatory one made it possible to identify several problems in the activities of a participatory museum related to the communication potential of its exhibits. The understanding of a social object is formed based on an analysis of examples of exposition and exhibition activities presented in the book by N. Simon «The Participatory Museum».
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Antonis, Tsakalos. "Transforming Excavation Finds into Museum Exhibits: Examples from the Byzantine and Christian Museum, Athens." Actual Problems of Theory and History of Art 7 (2017): 180–89. http://dx.doi.org/10.18688/aa177-2-19.
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Foris, Yu, O. Yudina, and V. Vynohradova. "TO THE QUESTION OF THE ESATBLISHENT AND FUNCTIONING OF THE MUSEUM OF THE KYIV SCIENTIFIC RESEARCH INSTITUTE OF FORENSIC EXPERTISE OF THE MINISTRY OF JUSTICE OF UKRAINE." Criminalistics and Forensics, no. 65 (May 18, 2020): 770–76. http://dx.doi.org/10.33994/kndise.2020.65.77.
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The article deals with the history of the museum from the year 1913 up to 2020. The premises and the exposition of the museum are described. The history of the museum begins with the history of the Kyiv Institute, since the first museum was established under the Cabinet and the Cabinet under the Prosecutor of the Kyiv Judicial Chamber. The museum housed seized items that were material evidence in criminal cases. During the Second World War and after it, the Kyiv Institute did not initially have its premises. For a long time, the institute had problems with the premises, until the question of the dissolution of the institute was raised due to the inability to provide it with the proper premises Up to its one hundred jubilee celebration, the museum has to be restored once again. Particularly, this is the merit of Oleksandr Ruvin, the Director of the Kyiv Institute, the ideological organizer and leader who decided to create the museum and Dytro Hamov,the exemployee of the Kyiv Institute, whose efforts created the exposition.The exhibits for the Museum of the Kyiv Institute have been collected for decades, kept by the staff of the Institute and passed from one expert unit to another. Some of the exhibits were donated by colleagues. Part of the exhibits was selected within the Institute from the other departments (information-reference fund, archive, etc.), part was donated to the museum free of charge by individuals and organizations. The exhibits of the museum are unsuitable for use on a previously scheduled destination, and those left out of the civil circulation, items of scientific interest. In general, it should be noted that the dream of many generations of employees of the Institute came true, the Kyiv Institute operates its own forensic museum. However, the exposition also presents other types of forensics. The exhibits of the museum tell about the glorious past of the Kyiv Institute and set up an optimistic view of its future. The museum exhibits also eloquently confirm that one should not abandon the history of the establishment of the institute until the advent of Soviet rule and the onset of 1923, when the institute was “founded” once again, as this history has taken place and imprinted on the continued existence of both science and expert practice, not only the Kyiv Institute, but all forensic and expert institutions.
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Dangerfield, Nadine, and Ennis Barbery. "Co-Creating Museum Exhibits of the Immigrant Experience." Practicing Anthropology 35, no. 4 (September 1, 2013): 36–41. http://dx.doi.org/10.17730/praa.35.4.h257635335415q54.
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On the evening of January 28, 2013 we—the authors—sat in a darkened room at the local library in Hyattsville, Maryland, waiting a little anxiously for the third documentary film of the evening. We did not necessarily expect this film to be the most entertaining or thought-provoking, but it was more meaningful to us because we had been a part of its creation. The faces that would soon be moving across the screen were familiar. They were people we had interviewed, and, in some cases, these interviewees had become our friends. The participants, whose stories formed the subject matter of the film, saturated the sterile-sounding term "the immigrant experience" with strong individual voices and poignant details from their lives. Some of these participants were in the audience.