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Relevant bibliographies by topics / Museum object

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Academic literature on the topic 'Museum object'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 May 2022

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Journal articles on the topic "Museum object"

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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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Oddie, Graham. "What Do we See in Museums?" Royal Institute of Philosophy Supplement 79 (October 2016): 217–40. http://dx.doi.org/10.1017/s1358246116000151.

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AbstractI address two related questions. First: what value is there in visiting a museum and becoming acquainted with the objects on display? For art museums the answer seems obvious: we go to experience valuable works of art, and experiencing valuable works of art is itself valuable. In this paper I focus on non-art museums, and while these may house aesthetically valuable objects, that is not their primary purpose, and at least some of the objects they house might not be particularly aesthetically valuable at all. Second: to what ontological type or category do museum objects belong? What type of item should be featured on an inventory of a museum collection? I distinguish between typical objects and special objects. While these are different types of object, both, I argue, are abstracta, not concreta. The answer to the second question, concerning the ontological category of special objects, throws new light on various philosophical questions about museums and their collections, including the question about the value of museum experiences. But it also throws light on important questions concerning the preservation and restoration of museum objects.

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Grishina, Natalia V. "THE STRUCTURE OF THE STAFFING THE MUSEUM AS AN OBJECT OF INFORMATIZATION." RSUH/RGGU Bulletin. Series Information Science. Information Security. Mathematics, no. 3 (2021): 74–81. http://dx.doi.org/10.28995/2686-679x-2021-3-74-81.

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As a result of the use of information technologies in their work, museums have acquired qualitatively new opportunities for the registration of exhibits, the preservation of electronic copies of the documents and exhibits, as well as the mode of access to exhibits. Museums strive to become interesting, fashionable, interactive, educational. The modern museum can be fully called an object of informatization. In order to realize all modern possibilities, museums must be staffed with modern personnel. A modern museum worker is not just an art critic with relevant knowledge. A modern museum worker must confidently master the information technologies and use them in the practice. The article analyzes the dynamics of changes in the staff of museum workers over the past six years. It presents the diagram of the distribution of museum workers by the age groups and shows the distribution of museum workers according to their experience. There is an analysis in ratio of the number of men and women among museum workers. The paper analyzes some aspects of staffing the museum as an object of informatization.

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Jagodzińska, Katarzyna. "O istocie muzeum, czyli Justyny Żak W kręgu muzealnych przedmiotów." Przegląd Kulturoznawczy, no. 3 (45) (2020): 312–20. http://dx.doi.org/10.4467/20843860pk.20.030.12590.

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About the nature of museums, the review of the book W kręgu muzealnych przedmiotów by Justyna Żak The review concerns the book W kręgu muzealnych przedmiotów by Justyna Żak, published in 2020 by the Wydawnictwo Uniwersytetu Warszawskiego. The book deals with the nature of museum objects and objects that fill museum rooms and do not have the status of museum objects, being elements of arrangement, reproductions or reconstructions. In a broader sense it is a reflection on the nature of museums, in which the notion of authenticity is of key importance. The book’s asset is a broad perspective of an object in a museum –its status, value, meaning – from theoretical reflection in the field of philosophy, sociology and aesthetics, to case studies and museum practice, supported by quotations from belles-lettres, however, the author fell into the trap of a superficiality that was difficult to avoid.

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Dunn, Heather, and Paul Bourcier. "Nomenclature for Museum Cataloging." KNOWLEDGE ORGANIZATION 47, no. 2 (2020): 183–94. http://dx.doi.org/10.5771/0943-7444-2020-2-183.

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We present an overview of Nomenclature’s history, characteristics, structure, use, management, development process, limitations, and future. Nomenclature for Museum Cataloging is a bilingual (English/French) structured and controlled list of object terms organized in a classification system to provide a basis for indexing and cataloging collections of human-made objects. It includes illustrations and bibliographic references as well as a user guide. It is used in the creation and management of object records in human history collections within museums and other organizations, and it focuses on objects relevant to North American history and culture. First published in 1978, Nomenclature is the most extensively used museum classification and controlled vocabulary for historical and ethnological collections in North America and represents thereby a de facto standard in the field. An online reference version of Nomenclature was made available in 2018, and it will be available under open license in 2020.

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Artar, Müge, Ceren Karadeniz, Hülya Ateş, and Banu Doğan. "A Toy Museum in Education: Evaluation of Ankara University Toy Museum’s Training Activities." ATHENS JOURNAL OF MEDITERRANEAN STUDIES 7, no. 1 (December 29, 2020): 11–28. http://dx.doi.org/10.30958/ajms.7-1-1.

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The toy presents a little discovered image of a culture. In addition to being an important object of nostalgia, it is also considered as a research and study subject. The rapidly increasing number of toy museums has also gained importance in transferring economic, sociological, social, and cultural characteristics of the toy. Toy museums have responsibilities such as protecting toys that are threatened with extinction during the rapid change in technology, conducting research on childhood and history of education, raising awareness of history, helping to establish intergenerational communication, and emphasizing the importance of toys in child development. Toy Museums develop educational activities for different ages and interest groups based on their collections. Effective use of collections in museums and the presentation of available resources for visitors with fun, attractive, and different learning methods is one of the characteristics of museum education. Learning from the object, which is one of the basic concepts of museum education, can provide an experience with real objects. The Ankara University Toy Museum can be used as an educational laboratory for courses in preschool, primary, and secondary school education programs within the context of its current collection. The museum can be visited with an appointment with a guide. Search and find activities through collection themes etc. are accompanied by the museum guides and educators. In this study, the evaluation of the design processes of the education booklets of the Toy Museum is determined. The booklets include museum guided tours, and structured educational activities like "before the museum, museum practice, and post museum" activities. Museum booklets have an evaluation section that enables the student to receive feedback where they are expected to make a sustainable contribution to the promotion of the museum. In this context, this paper evaluates the effectiveness of preschool, primary, and secondary school education books that were prepared for the toy museum in line with the feedback of students participating in museum education by establishing a link between the curriculum and the museum collection. Keywords: museum, toy museum, children’s culture, museum education, museum booklet

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Gerasimov, Grigoriy I. "The ideal essence of a museum object." Issues of Museology 12, no. 1 (2021): 116–30. http://dx.doi.org/10.21638/spbu27.2021.112.

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The article examines the museum object from the theoretical and methodological positions of the idealistic approach, placing the Human Creator at the center of culture and history. The museum object is characterized as a substance of nature from the theoretical point of view. Also, it is designed in accordance with the ideological content of human consciousness and having value from the point of view of the main ideas of society’s worldview. An explanation of the phenomenon of information of a museum object is provided in the article. The process of endowing a museum object with such a specific property as museum character is substantiated and the procedure for its creation is described. At the same time, it is indicated that the main properties of a museum object are not immanent, but they are instilled in it by the consciousness of a museum worker and a visitor. The value of a museum object is determined by the ideas of the dominant worldview; when it changes, the value of the museum object also changes. The degree of expression of the main properties of a museum object such as expressiveness, attractiveness, and associativity also depend on the ideas of the current worldview. Original objects that sufficiently express the main content of the subject are of the greatest value. From the authors’ positions, criticism of views on the most important properties of a museum object is made. From the standpoint of an idealistic approach, a definition of authenticity of a museum object is provided and the particular importance of authentic objects inthe current time of multimedia and interactive technologies being introduced into museum practices is emphasized. The article concludes that the idealistic approach, offering a solution to many problems in relation to a museum object, nevertheless, is not at the moment an all-encompassing theory that can explain it in all manifestations of creation and functioning. However, according to the author, in comparison with other theories the idealistic approach is able to give more answers to questions in this area than other museological concepts.

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Waller, Helen J., and David S. Waller. "Opera costumes and the value of object biographies." Journal of Documentation 74, no. 6 (October 8, 2018): 1162–74. http://dx.doi.org/10.1108/jd-02-2018-0032.

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Purpose The purpose of this paper is to observe the nature of documentation and the description used in object biographies by an auction house catalogue and an online museum collection database in relation opera costumes. This research aims to discuss the issues of cultural and economic value in relation to objects in the art world, and examine examples of object biographies for opera costumes that are sold at an auction and exhibited in a museum. Design/methodology/approach The object biographies are compared from an auction house catalogue and the online museum collection database, based on two factors: costumes worn by a famous singer and costumes designed by a famous designer. Findings This study identified the valuation methods of auction houses and museums, including accounting for the market value and fair value, as well as social and cultural values. The nature of the documentation also clearly shows the different purpose of the object biographies. For auction houses the biography needs to be short and specific as it provides sufficient information and is read out at the auction, while art catalogues can also be used by experts as part of the conversation to understanding heritage value, and will also be viewed and used by researchers, investors, other auction house specialists and art world professionals. Research limitations/implications By comparing two institutions, auction houses and museums, this study has shown that the information that is documented and how it is presented in object biographies is determined by the goals of the institutions. These goals may vary or overlap in providing information, demonstrating cultural importance, to be spoken allowed to an audience and make sales, or to educate, conserve and preserve. Practical implications This study shows that to some extent museum online databases display their collection removed from cultural context, with an isolated image of the item, and in an organised, digitally accessible manner. A potential implication is that museums should not only digitally catalogue an item, but also provide discussion and the cultural background and significance of the item. Social implications Auction catalogues are written for a specific event (the auction), while the online museum collection database is meant to be a permanent record, which aims to digitally preserve objects and provide access to images and information to a general audience, and further could be edited with amendments or new information when future research or events lead to potential updates. Originality/value This study adds to the discourse on approaches to the understanding of costumes as an art object of significance and their potential cultural, economic and heritage value, particularly as represented in the documentation of object biographies.

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Chapman, Henry P., Vincent L. Gaffney, and Helen L. Moulden. "The Eton Myers collection virtual museum." International Journal of Humanities and Arts Computing 4, no. 1-2 (October 2010): 81–93. http://dx.doi.org/10.3366/ijhac.2011.0009.

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The digitisation of museum collections provides great opportunities for broad communication and access. However, currently the majority of online ‘virtual’ museums present information two-dimensionally. Three-dimensional data capture using laser scanning provides the potential to generate 3D virtual objects that can be used for a much greater interactive experience. This paper presents the results of a JISC-funded project aimed at the generation of a 3D online museum of an internationally important collection of Egyptological artefacts that have not previously been publicly available. The results from the project demonstrate the value of 3D museums, in addition to highlighting some of the future possibilities for interaction with objects and the ways in which such virtual museums can revolutionise access to collections for education and public interest. It also stresses ways in which such collections can benefit scholars in terms of reference collections, object analysis and interpretation. The question of objectivity and authenticity of virtual collections, in comparison with real objects is raised.

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Nancarrow, Jane-Heloise. "Democratizing the Digital Collection." Museum Worlds 4, no. 1 (July 1, 2016): 63–77. http://dx.doi.org/10.3167/armw.2016.040106.

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ABSTRACTThree-dimensional modeling and printing of museum artifacts have a growing role in public engagement and teaching—introducing new cultural heritage stakeholders and potentially allowing more democratic access to museum collections. This destabilizes traditional relationships between museums, collections, researchers, teachers and students, while offering dynamic new ways of experiencing objects of the past. Museum events and partnerships such as the Metropolitan Museum of Art “Hackathon”; the MicroPasts initiative; and Sketchfab for Museums and Cultural Heritage, encourage non-traditional methods of crowd-sourcing and software collaboration outside the heritage sector. The wider distribution properties of digitized museum artifacts also have repercussions for object-based and kinesthetic learning at all levels, as well as for experiential and culturally sensitive aspects of indigenous heritage. This article follows the existing workflow from model creation to classroom: considering the processes, problems, and applications of emerging digital visualization technologies from both a museum and pedagogical perspective.

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Dissertations / Theses on the topic "Museum object"

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Shaw, Haley N. "Exploring the Role of In-Gallery Technology-Based Interactives on Visitor-Object Experience." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1574365068794488.

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Bucciantini, Alima Maria. "Museum, exhibition, object : artefactual narratives and their dilemmas in the National Museum of Scotland." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/7983.

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National museums are spaces where stories of the past are told through the display and interpretation of material culture. The narratives that are created in this way reflect the ways in which the nation wants to be seen at that particular moment, and are often embedded in the larger political and social contexts of that time. This thesis looks at the National Museum of Scotland as having three levels of narrative: that of the museum as a physical space and national institution, that of the temporary exhibitions it hosts and develops, and, most crucially, as a collection of important and iconic objects. By tracing the artefacts that were given a central role in various exhibitions over the life of the museum, the narratives of nation and history which were most valuable at that time can be uncovered. The two permanent and five temporary exhibitions profiled in this work act as windows into the life of the museum, and the goals and challenges it had at that moment. The thesis begins with the story of museum history in Scotland, from the 1780 formation of the Society of Antiquaries of Scotland to the debates in the 1990s about the potential form and contents of a new Museum of Scotland. From there we look at two temporary exhibitions in the 1980s which inspired the Museum of Scotland, before examining some more recent temporary and touring exhibitions – a pair that came to Scotland from Russia, and one that left Edinburgh to travel among other Scottish museums. The final chapter returns to the realm of what it means to have a national museum, as it investigates the 2006 rebranding that changed the Museum of Scotland into the National Museum of Scotland, and what the new nomenclature signals about the objects and narratives within. All together, this work is both the story of a particular national museum and an investigation into the ways in which national history is continuously made and remade for the public through the display of artefacts from the past.

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Eames, Brittany A. "Uncommon historical object appraisals| appraising the south street museum collection." Thesis, Sotheby's Institute of Art - New York, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1554301.

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As the global pattern of severe weather intensifies, complex disaster-related appraisals are becoming increasingly more common. Post-disaster appraisals are particularly challenging due to several key factors: (1) the large number of objects in each appraisal, (2) the diversity of the objects and (3) the limited time frame for completion. Due to these complicating factors the methodologies that were once central to the structure of valuation are crumbling and new metrics are being formed to accommodate these labyrinthine post-disaster jobs. By way of a single case study undertaken post-Hurricane Sandy, this document explores the process of redesigning appraisal methodologies, of approaching uncommon historical objects found often in these now less exceptional cases, of identifying "value signifiers" for those objects and ultimately of reimagining the very core of what it means to appraise fine art.

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Fino, John R. "The effects of human/object interaction on museum visit experience satisfaction." Connect to this title online, 2008. http://etd.lib.clemson.edu/documents/1211390647/.

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Walker, Alexandra. "Beyond the Looking Glass : object handling and access to museum collections." Thesis, University of Southampton, 2013. https://eprints.soton.ac.uk/374734/.

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For many, a museum visit may consist of gazing at objects locked away in glass a cabinet accompanied by signs forbidding touch, and complex and often confusing text panels. But what message does this present to the visiting public? How can the public connect with museums and their collections if objects are beyond their reach? Why is handling reserved for the museum elite and not the general public? The value of touch and object handling in museums is a growing area of research, but also one that is not yet fully understood. Despite our range of senses with which we experience the world around us, museums traditionally rely on the visual as the principle means of communicating information about the past. However museums are increasingly required to prove their worth and value in society by becoming more accessible, not just in terms of audience but by opening up their stored collections, and government agenda is pushing for culture to feature in the everyday lives of the public. This research pulls apart the hierarchical nature of touch in the museum, demonstrating the benefits of a “hands-on” approach to engaging with the past, investigating the problems and limitations associated with tactile experiences, and puts forward a toolkit for tactile access to collections. It suggests that handling museum collections, not only enhances our understanding of the past, but provides memorable and valuable experiences that will remain with an individual for life.

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Elizondo, Kristina Kay. "The Museum is the Object: An Action Research Study in How Critical Theory Curriculum Influences Student Understanding of an Art Museum." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc955032/.

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The purpose of this action research study was to determine how a critical theory curriculum implemented in a college-level art appreciation course impacted student understanding of an encyclopedic art museum. A critical theory-based curriculum unit was designed and implemented, and students were given assignments to assess their learning. The most significant assignment centered on a self-guided student visit to the art museum in which students made detailed observations of the museum spaces and responded to articles critiquing museum practices. These documents, together with class discussions and my personal observations, were analyzed and described in this research study. The data revealed that students had a high level of regard for and interest in art museums, were capable of understanding how history and context influences museum practices, detected multiple instances of bias in art museum galleries, and self-reported high levels of cognition and empowerment based on their experiences. The data suggested that, in college students, both art appreciation instructors and museum educators have an ideal audience in which to facilitate sustained, higher-level, critical theory-based museum learning experiences.

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Cravins, Candice L. "An Exploration of Object and Scientific Skills-Based Strategies for Teaching Archaeology in a Museum Setting." DigitalCommons@USU, 2014. https://digitalcommons.usu.edu/etd/2774.

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Archaeologists are increasingly asked to justify the meaning and importance of their work to the public through the development of outreach and education programs. As repositories of culture, museums provide a perfect medium to assist in the promotion of an archaeology that is both relevant and engaging. Many archaeology education programs advocate “doing” or “learning about” archaeology, placing strict emphasis upon stewardship messages and the dangers associated with looting and site destruction. While this approach to teaching makes excellent sense from a modern cultural resource management perspective, it fails to portray archaeology education in any other light. Archaeology exhibits particular relevance within public schools, whose population holds one of the discipline’s largest, most inclusive captive audiences. This paper explores the most effective strategies for teaching archaeology to third and fourth grade students in the museum. I assess student level of engagement with object- and scientific skills-based activities, and results of a pilot study conducted at the Utah State University Museum of Anthropology indicate a need for more object-based curricula within archaeology education programs. Detailed consideration of archaeology’s relevance to skills developed within the social, physical, and life sciences highlights areas of focus and improvement in current and future programs.

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Noble, Jillian S. "The construction of scale in museum exhibition design negotiating context and narrative with object display /." [Ames, Iowa : Iowa State University], 2007.

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Müller, Frederik. "Systém pro využití technologie rozšířené reality v muzeích a galeriích." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2020. http://www.nusl.cz/ntk/nusl-417299.

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The aim of the master thesis is to provide visitors of various types of objects - typically galleries, museums, etc. with additional information about exhibited objects with emphasis on visual display in augmented reality. It includes an analysis of already existing solutions, design and implementation of the entire system needed for deployment. From the point of view of the content creator (administrator), the system represents a complex solution enabling the creation of an interactive walk - scanning 3D objects, scanning 2D objects and adding content to the given objects. On the other hand, the tool for visitors (users) who are part of an interactive walk, provides additional information about objects primarily located near the user, which are automatically detected by the camera on the mobile phone. Solution includes augmented reality, which is implemented using ARKit technology, so the final application is built on the iOS platform. The work addresses the issue of detection of 3D objects and their subsequent recognition, along with the way to work with this information, how to store it and then use it for purposes of this thesis. In the final solution, emphasis is placed on the simplicity of the usage (guide marks, hints...) and overall user experience.

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Archibald, Joanna. "Museums and music : an argument in favour of a broader evaluation of the object-based nature of music collections in the United Kingdom." Thesis, University of St Andrews, 1996. http://hdl.handle.net/10023/15131.

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This work seeks to show that the experience gained through music in its practical and aural sense is not represented adequately in music museums because of the necessarily object-based nature of most museum displays. Restricting the analysis to museums - or their equivalent - in the United Kingdom, a representative cross-section of different museums containing music collections is studied. This material is discussed in terms of type, display, interpretation and visitors. Music's problematic standing in museums is subsequently ascribed to its essentially non-visual and transitory nature. A further series of case study museums is then examined - dealing with Film, Theatre, Sport and 'Conceptual Experiences' as subjects - each of which share elements of music's difficulty in presentation. From this, it is shown that many of these difficulties may be overcome; and some of the solutions may be adapted for musical material in both a practical and ideological sense.

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Books on the topic "Museum object"

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Risk assessment for object conservation. Oxford: Butterworth-Heinemann, 1999.

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Holm, Stuart A. Guidelines for constructing a museum object name thesaurus. (London): Museum Documentation Association, 1993.

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National Museum of African Art (U.S.), ed. The art of the personal object. Washington, D.C: National Museum of African Art, 1991.

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Fergus, Cannan, Duffy Eamon, Perkinson Stephen, and Society of the Four Arts., eds. Object of devotion: Medieval English alabaster sculpture from the Victoria and Albert Museum. Alexandria, Va: Art Services International, 2010.

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Art, McMaster Museum of. This object, that object: To reveal the hidden meaning of things : an exhibition of contemporary European art from the permanent collection of McMaster University, September 4-October 16, 1994. Hamilton, ON: McMaster Museum of Art, 1994.

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New York. Still life: The object in American art, 1915-1995 : selections from the Metropolitan Museum of Art. New York: Rizzoli, 1996.

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New York. Still life: The object in American art, 1915-1995 : selections from the Metropolitan Museum of Art. New York: Rizzoli, 1996.

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Brown, Elizabeth A. "The Living object": The art collection of Ellen H. Johnson : Allen Memorial Art Museum, Oberlin College, March 6-May 25, 1992. Oberlin: The Museum, 1992.

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Suzanne, Keene, ed. Museums and their silent objects: Designing effective exhibitions. Burlington, VT: Ashgate, 2012.

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Pearce, Susan M. Museums, objects, and collections: A cultural study. Washington, D.C: Smithsonian Institution Press, 1993.

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Book chapters on the topic "Museum object"

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Fasel, Beat, and Luc Van Gool. "Interactive Museum Guide: Accurate Retrieval of Object Descriptions." In Lecture Notes in Computer Science, 179–91. Berlin, Heidelberg: Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-71545-0_14.

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Mohammad Shuhaili, Fasihah, Suziah Sulaiman, Saipunidzam Mahamad, and Aliza Sarlan. "Visual Object Interface Signifier of Museum Application for Large Display." In Advances in Visual Informatics, 582–91. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-70010-6_54.

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Isaac, Gwyneira. "Digital/object/beings and 3D replication in the intercultural museum context." In Museums, Societies and the Creation of Value, 207–22. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003139324-15.

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Ohlei, Alexander, Lennart Bundt, David Bouck-Standen, and Michael Herczeg. "Optimization of 3D Object Placement in Augmented Reality Settings in Museum Contexts." In Lecture Notes in Computer Science, 208–20. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-25999-0_18.

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Pietrobruno, Sheenagh. "Tales of the Viking Helmet: Narrative Shifts from Museum Exhibitions to Personalised Search Requests." In Museum Digitisations and Emerging Curatorial Agencies Online, 39–70. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-80646-0_3.

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AbstractThe stories of museum objects on YouTube can counter and support those advanced by museums. How the narratives of the Viking helmet on YouTube reflect or differ from those put forward by the Swedish History Museum’s Viking exhibitions is approached through a previous methodological study that investigated the issue of location in the personalisation of historical narratives of museum objects on YouTube search engine result pages (SERPs) (Pietrobruno 2021). This revised method combining language with location brings together two media forms—actual museum exhibitions and personalised YouTube SERPs. The philosophy behind their interconnection is rooted in how the personalised content of SERPs produce meaning and museum exhibitions employ forms of individual customisation to generate meaning by enabling visitors to personalise their exhibition experience.

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Kim, Si Jung SJ, Alexis Sanchez, John Farhad Hanifzai, Francis Palispis, and Keitaro Nishimura. "The OTC (Object to Camera) Approach to Visualize Behind Stories of Museum Exhibits." In HCI International 2019 – Late Breaking Papers, 243–52. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-30033-3_19.

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"The Object of the Story." In Museum Rhetoric, 65–92. Penn State University Press, 2017. http://dx.doi.org/10.5325/j.ctv14gpf3p.8.

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"The model museum." In Risk Assessment for Object Conservation, 60–72. Routledge, 2013. http://dx.doi.org/10.4324/9780080938523-10.

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"3 The Object of the Story." In Museum Rhetoric, 65–92. Penn State University Press, 2017. http://dx.doi.org/10.1515/9780271080246-006.

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Butler, Alison. "Objects in Time." In Theorizing Film Through Contemporary Art. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462989467_ch02.

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As artists’ films have become more common in museums, artists have begun to film the museum and its objects with increasing frequency. The artists’ museum film opens up a dialogue between the moving image and the museum object, in which the medium’s capacity to preserve and remodel time resonates with the object’s power as a repository of past time. Through two examples, Tacita Dean’s Day for Night (2009) and Elizabeth Price’s A Restoration (2016), this essay explores the ways that these artists’ understanding of the temporalities of analogue film and digital video underpin their poetic expression of the temporality of objects. Rather than dematerializing its objects, the museum film is rematerialized by them, through the encounter between their specific temporalities.

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Conference papers on the topic "Museum object"

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Mezzini, Mauro, Carla Limongelli, Giuseppe Sansonetti, and Carlo De Medio. "Tracking Museum Visitors through Convolutional Object Detectors." In UMAP '20: 28th ACM Conference on User Modeling, Adaptation and Personalization. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3386392.3399282.

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Phạm, Thị Thủy Chung. "Religious Object” Exhibition in the Context of Cultural Change and Covid-19 Social Distancing (Case studies of Khmer’s Nagar boat in the South of Vietnam) | Trưng bày hiện vật tôn giáo trong bối cảnh biến đổi văn hóa và giãn cách xã hội do Covid-19 (Trường hợp ghe ngo của người Khmer ở Nam Bộ, Việt Nam)." In The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-30.

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The museums, nowadays, facing to many challenges in religious objects exhibition. Especially, in the current context of Covid-19 pandemic and cultural change, regular methods of the museum exhibition expose many limitations. Through a case study of ghe ngo (the Khmer’s Nagar boat) exhibition at the Vietnam Museum of Ethnology (VME), this paper discusses some principles dealing with the religious objects in the museum, and outline some modern display methods that can contribute to improving the display efficiency of ghe ngo exhibition towards the museum sustainable development. Trưng bày hiện vật tôn giáo vốn đặt ra nhiều thách thức đối với các bảo tàng. Đặc biệt, trong bối cảnh Covid-19 và biến đổi văn hóa hiện nay, các phương thức trưng bày truyền thống thể hiện nhiều mặt hạn chế. Qua trường hợp ghe ngo của người Khmer đang được trưng bày tại Bảo tàng Dân tộc học Việt Nam, bài viết này thảo luận về việc ứng xử với hiện vật tôn giáo, tín ngưỡng trong bảo tàng, và một số phương pháp trưng bày hiện đại nhằm góp phần nâng cao hiệu quả trưng bày ghe ngo của người Khmer hướng tới mục tiêu phát triển bền vững bảo tàng.

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Pilegaard, Ane. "Object/display/architecture: Integrating scales in museum exhibition design." In Nordes 2021: Matters of Scale. Nordes, 2021. http://dx.doi.org/10.21606/nordes.2021.6.

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"VIRTUAL MUSEUM – AN IMPLEMENTATION OF A MULTIMEDIA OBJECT-ORIENTED DATABASE." In 1st International Conference on Software and Data Technologies. SciTePress - Science and and Technology Publications, 2006. http://dx.doi.org/10.5220/0001309901020107.

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Azulay Tapiero, Marilda. "Arquitectura, dispositivo de experiencia memorial. *** Architecture: a drive of memorial experience ." In 8º Congreso Internacional de Arquitectura Blanca - CIAB 8. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/ciab8.2018.7604.

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La arquitectura puede introducirnos en la experiencia de la memoria; memoria como reflexión, y arquitectura como dispositivo para la experiencia memorial a la vez que contenedor de la información. Cada objeto es definido en un proceso en el que considerar diversos actores, sus voluntades, opciones y experiencias. Es el caso de las obras que aborda este trabajo, en las que evidenciar e interrogarnos sobre el gesto arquitectónico, la memoria evocada y su interpretación social. Obras que han alcanzado notoriedad por diferentes motivos: como la Sala del Recuerdo, de Arieh Elhanani, Arieh Sharon y Benjamin Idelson (1961) en Yad Vashem, Jerusalén; por su significado científico e histórico, como el Museo de Historia del Holocausto, también en Yad Vashem, de Moshé Safdie (2005); por su relevancia cultural o arquitectónica, como el Museo Judío (Ampliación del Museo de Berlín con el Departamento del Museo Judío) de Daniel Libeskind en Berlín (1999); e incluso por la controversia que han suscitado, como el Monumento en Memoria de los Judíos Asesinados de Europa, también en Berlín, conocido como el Monumento del Holocausto, de Peter Eisenman (2004).***Architecture can introduce us to the experience of memory; memory as reflection, and architecture as a drive for the experience of remembering as well as a container of information. Each object is de ned in a process in which different actors, their wills, options and experiences, are taken into account. This is the case of the artworks addressed by the present communication, in which we reveal and ask ourselves about the architectural gesture, the evoked memory and its social interpretation. Artworks that have achieved prominence for different reasons, such as the Hall of Remembrance, of Arieh Elhanani, Arieh Sharon and Benjamin Idelson (1961) in Yad Vashem, Jerusalem; for its scientific and historical significance, such as the Holocaust History Museum, also in Yad Vashem, by Moshe Safdie (2005); for its cultural or architectural relevance, such as the Jewish Museum (Extension of the Berlin Museum with the Department of the Jewish Museum) by Daniel Libeskind in Berlin (1999); and even because of the controversy they have raised, such as the Memorial to the Murdered Jews of Europe, also in Berlin, known as the Holocaust Memorial, by Peter Eisenman (2004).

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Hervy, Benjamin, Florent Laroche, and Alain Bernard. "An Information System for Driving the Future PLM for Museum: The DHRM, Digital Heritage Reference Model." In ASME 2012 11th Biennial Conference on Engineering Systems Design and Analysis. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/esda2012-82830.

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In this article we propose a new way for enriching technical models that drive contemporary enterprise. Our proposition is to take into account a new stage in the object lifecycle: at its end, it enters into a new phase that we call “heritage lifecycle”. Indeed, many old technical objects fall in ruins and are destroyed after their uses. After capitalization, we propose to conserve them virtually. Thanks to virtual tools coupled to database, it will help us to define a new information system for driving the long life cycle of objects: it is the Digital Heritage Reference Model, DHRM. This information system will be implemented in a new PLM dedicated to museum, place where know-how and mankind’s knowledge is stored and promoted when possible. Museum-related PLM would eventually interact with enterprises PLM as a bijective enrichment.

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Trocchianesi, Raffaella, Daniele Duranti, and Davide Spallazzo. "Tangible interaction in museums and temporary exhibitions: embedding and embodying the intangible values of cultural heritage." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3322.

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Moving from a design perspective, the paper explores the potential of tangible interaction in giving shape to intangible contents in museums and temporary exhibitions. Going beyond tangibility intended in the strict sense of touching assets (Dudley 2010), we use here a wider interpretation of tangibility that considers touch in the sense of embodied experience. In this way we consider as tangible all those experiences that foster a strong involvement of the body. Tangible interaction is interpreted as a practice able to multiply the levels of the narrative, to make the visit experience memorable and to give physicality to intangible values. This approach sees the use of tangible interaction as a way to transfer practices and rituals linked to the contents and representative of the intangible values embedded in the assets. Therefore we can identify “gesture-through” and “object-through” interactions able to enhance the visitor experience and the understanding of cultural heritage. The rituals of gestures is linked to the concept of museum proxemics (author 2013) that involves both sensuousness and movements in space. If proxemics is the discipline which deals with investigating the relationship between individuals and space, and the significance of gestures and distances among people, then museum proxemics relates to the forms of behaviour which govern the relationship between individuals and museum space, between the visitor and the items on display and among visitors. In the paper we outline existing practices by analysing some case studies representative of the potential of tangible interaction in the cultural heritage field and classified according to the categories in the following: - Smart replicas: visitors interact with a technology-enhanced replica of the artworks to feel sensorial aspects and activate further levels of narrative; - Symbolic objects: visitors interact with objects, icons or elements imbued with symbolic meaning as a vehicle to reach the intangible value of the cultural asset; - Touchable screens: visitors interact with a surface mediating their relationship with contents and allowing for a personalised path within them; - Perfoming gestures: visitors perform meaningful gestures in order to trigger specific effects able to stage the narrative of intangible contents. In conclusion we highlight three actions in the cultural experience driven by tangible interaction and matter of design: (i) interacting with a sensitive object able to trigger intangible values; (ii) revealing contents difficult to transmit; (iii) multiplying the levels of knowledge and narrative.DOI: http://dx.doi.org/10.4995/IFDP.2016.3322

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Tamulevich, S. V. "SPECIFICITY OF DESIGNING THE CATALOG OF THE ETHNOGRAPHIC COLLECTION OF THE MUSEUM AS AN OBJECT OF GRAPHIC DESIGN." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.19.

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The article discusses the design features of the ethnographic catalog on the example of the project of the multi-page publication «Nanai» Khabarovsk Museum of Local Lore named after N.I. Grodekova. The author defines the purpose and target audience of the museum catalog, describes the relationship between design and content - the interaction of elements of end-to-end design and spread, color, illustrations and typography with text, ways to solve the information and logistics catalog by visual means, traditions and current trends in the implementation of navigation through the publication.

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Wang, Xinfeng, GuiHai Xie, Ziyuan Qi, and Liang Ming. "Estimation Algorithm of Identifying Object Number in Passive RFID System." In Second Workshop on Digital Media and its Application in Museum & Heritage (DMAMH 2007). IEEE, 2007. http://dx.doi.org/10.1109/dmamh.2007.4414575.

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Wang, Xinfeng, GuiHai Xie, Ziyuan Qi, and Liang Ming. "Estimation Algorithm of Identifying Object Number in Passive RFID System." In Second Workshop on Digital Media and its Application in Museum & Heritages (DMAMH 2007). IEEE, 2007. http://dx.doi.org/10.1109/dmamh.2007.65.

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Reports on the topic "Museum object"

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Sheptunov, M. V. Innovation interdisciplinary: a Method of optimizing the performance of production lines for the digitization of Museum objects and archival library materials and collections. Science and Innovation Center Publishing House, 2017. http://dx.doi.org/10.12731/ofernio.2017.23132.

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Levochkina, N. A. Lecture course for distance learning "Museum management" (training course: 43.03.02 "Tourism", 51.03.04 "Museology and protection of objects of cultural and natural heritage", level of higher education - bachelor's degree). Science and Innovation Center Publishing House, November 2016. http://dx.doi.org/10.12731/levochkina.01112016.22234.

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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos Evening Gown c. 1957. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/jkyh-1b56.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening gown is from Galanos' Fall 1957 collection. It is embellished with polychrome glass beads in a red and green tartan plaid pattern on a base of silk . It was a gift of Mrs. John Thouron and is in The James G. Galanos Archive at Drexel University. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Wool Evening Suit. Fall 1984. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/6gzv-pb45.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This evening suit is from Galanos Fall 1984 collection. The skirt and bodice of the jacket are black and white plaid wool. The jacket sleeves are black mink with leather inserts that contrast the sheen of the leather against the luster of the mink and reduce some of the bulk of the sleeve. The suit is part of The James G. Galanos Archive at Drexel University gifted to Drexel University in 2016. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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Martin, Kathi, Nick Jushchyshyn, and Claire King. James Galanos, Silk Chiffon Afternoon Dress c. Fall 1976. Drexel Digital Museum, 2018. http://dx.doi.org/10.17918/q3g5-n257.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening suit by American fashion designer James Galanos with related text. This afternoon dress is from Galanos' Fall 1976 collection. It is made from pale pink silk chiffon and finished with hand stitching on the hems and edges of this dress, The dress was gifted to Drexel University as part of The James G. Galanos Archive at Drexel University in 2016. After it was imaged the gown was deemed too fragile to exhibit. By imaging it using high resolution GigaPan technology we are able to create an archival quality digital record of the dress and exhibit it virtually at life size in 3D panorama. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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Martin, Kathi, Nick Jushchyshyn, and Claire King. Christian Lacroix Evening gown c.1990. Drexel Digital Museum, 2017. http://dx.doi.org/10.17918/wq7d-mc48.

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The URL links to a website page in the Drexel Digital Museum (DDM) fashion image archive containing a 3D interactive panorama of an evening gown by French fashion designer Christian Lacroix with related text. This evening gown by Christian Lacroix is from his Fall 1990 collection. It is constructed from silk plain weave, printed with an abstract motif in the bright, deep colors of the local costumes of Lacroix's native Arles, France; and embellished with diamanté and insets of handkerchief edged silk chiffon. Ruffles of pleated silk organza in a neutral bird feather print and also finished with a handkerchief edge, accentuate the asymmetrical draping of the gown. Ruching, controlled by internal drawstrings and ties, creates volume and a slight pouf, a nod to 'le pouf' silhouette Lacroix popularized in his collection for Patou in 1986. Decorative boning on the front of the bodice reflects Lacroix's early education as a costume historian and his sartorial reinterpretation of historic corsets. It is from the private collection of Mari Shaw. The panorama is an HTML5 formatted version of an ultra-high resolution ObjectVR created from stitched tiles captured with GigaPan technology. It is representative the ongoing research of the DDM, an international, interdisciplinary group of researchers focused on production, conservation and dissemination of new media for exhibition of historic fashion.

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