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Stehlík, Michal. "Exhibition Policy of the National Museum 2017−2020." Muzeum: Muzejní a vlastivedná práce 55, no. 3 (2017): 69–72. http://dx.doi.org/10.1515/mmvp-2017-0039.
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Abstract The National Museum (NM) is preparing several temporary exhibitions in all of its buildings, along with preparing new permanent exhibitions in the New and Historical Buildings. All parts of the National Museum are incorporated in the preparation of new exhibitions, i.e. the Historical Museum, Natural History Museum, Czech Museum of Music, Náprstek Museum and the National Museum Library. In 2017, these exhibition projects are: Light and Life, Masaryk as a Phenomenon, and Indians. In 2018, the National Museum will present the Czech-Slovak / Slovak-Czech exhibition, which will reflect the 100th anniversary of the founding of Czechoslovakia, together with selected moments of Czechoslovakian history and the relationship of these two nations. 2019 could bring the opening of the grand Egyptology exposition Sun Kings and also new Natural history expositions. The remaining permanent expositions should be opened in 2020. The exhibitions in this period will likely recall some important anniversaries (1620, 1920). In future years, the renovation of the Czech Museum of Music and Náprstek Museum will take place.
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Gil, Magdelena. "Exhibiting the Nation: Indigenousness in Chile's National Museums." Museum and Society 14, no. 1 (2017): 82–97. http://dx.doi.org/10.29311/mas.v14i1.627.
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This article describes the history of Chile’s national museums, focusing in particular on their exhibition of indigenous cultures. Three museums are considered: the National Museum of Natural History (originally the National Museum); the National Museum of Fine Arts; and the National Museum of History. Using museum catalogues, visitor’s guides and bulletins as sources, this research traces the role given to indigenousness in the museums’ exhibitions through time. Initially, the ‘Indian’ was presented as either part of the territory conquered by Chileans, or as not part of Chilean culture at all. By the twentieth century, however, a new narrative emerged which recognizes the indigenous people as the ‘pre-historic’ inhabitants of Chile. Most recently, a more complex narrative presents Chile as a blending of races and cultures. Overall, we see that today each museum continues to see nationhood as something that is monolithic, allowing little place for indigenous people beyond mestizaje (blending of ‘races’).Key words: indigenous, exhibitions, Latin America, national identity
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Stehlík, Michal. "Creation of Permanent Exhibitions of the National Museum." Muzeum: Muzejní a vlastivedná práce 55, no. 3 (2017): 6–10. http://dx.doi.org/10.1515/mmvp-2017-0029.
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Abstract At the onset of preparations of new permanent exhibitions of the National Museum (NM) in 2011, it was necessary to define their content. Several expert teams composed of NM staff and other institutions took part in this process. Historical topics were embraced in a novel perspective, their comprehensive presentation was so far absent in the NM. Social science expositions in the History exhibition will map the development of society from the Early Middle Ages until the end of the 20th century. The People exhibition will interlink the topics of anthropology, archaeology and classical archaeology. Natural science topics will be elaborated on three levels – nature around us, stories of evolution, and an experimental area (ExperiMus). They will reveal processes affecting the shape and transformations of Earth. The Social and Natural science parts will be linked through the Treasury exhibition. The Pantheon and the Children’s Museum will form completely independent units. The architecture of exhibitions will be the result of public tenders conducted in compliance with the Act on Public Contracts. New expositions of the NM are to be opened in 2019 (Natural science) and 2020 (Social science) on a total area of 12 000 m2.
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Macek, Ivo. "The Biggest Museum Project in Czech History: The New Permanent Natural History Exhibitions in the National Museum Prague." Biodiversity Information Science and Standards 2 (June 13, 2018): e26375. http://dx.doi.org/10.3897/biss.2.26375.
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In 2018 the National Museum Prague (NMP) is celebrating its 200th anniversary. Today the Museum is facing its most valuable development: brand new permanent exhibitions. Our monumental historic building was constructed in 1891 in the heart of Prague. After more than one hundred years we had to close the building and remove all exhibitions which were older than 40 years. The building has about 8,000m2 and is divided into two parts. One belongs to our Natural History Museum (NHM) collections with Zoology, Palaeontology, Mineralogy, Botany and Mycology exhibitions. Our new natural history galleries will open in autumn 2019. Housed all on one floor, the galleries will be full of animals like invertebrates, fishes, reptiles, birds and mammals. The second floor will focus on palaeontology spanning more than 500 million years of evolution covering the geographical area of the modern Czech Republic. At the beginning we had to ask ourselves a few simple questions. How do we develop permanent exhibitions that will last for decades? Is excluding modern technology the right thing to do? Should we focus on a more informative/education style or should the interpretation be more populist? And what about the display cases? Should we use old repaired ones or modern cases? It would be great to have answers to all these questions but we still have to deal with the vision and constraints of our curators, collections, budget, legislation, technology and construction of the building. The project has no similar equivalent in the history of the Czech Republic so it was an extraordinary challenge to create our own process of developments with ongoing improvements. Through these developments we have formed new cooperation with technological partners and the creative industries. We are defining a new modern approach to the development and preparation of exhibitions in the Czech Republic. Now that we have reached the half way point towards our vision, it is a good time to report on progress.
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Mathiasson, Sven. "Museums of natural history—do we need their collections in the time of molecular biology?" European Review 1, no. 4 (1993): 319–28. http://dx.doi.org/10.1017/s1062798700000727.
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All over the world natural history museums act as storehouses. Billions of creatures are preserved. Most museum visitors never see these collections; they only meet the limited specimens presented in public exhibitions. Most people seem to know little about the value of these collections and how they are used. This article presents some aspects of natural history collections and their value in scientific and other contexts.
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Chervonenko, O., and D. Kepin. "The beginnings of the natural history museology in Europe." History of science and technology 6, no. 8 (2016): 206–14. http://dx.doi.org/10.32703/2415-7422-2016-6-8-206-214.
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The paper deals with the history of development of views on the nature during the ancient era as well as the beginnings of museum studies in the context of creation natural history collections in Europe during classical antiquity. Based on the results of analysis of archeological evidences and historical documents it was revealed that institutions called “mouseion” (lat. thesaurus) common in both Ancient Greece and Rome cannot be equated with museums in the modern sense of the term. The establishment of museums as sociocultural institutions and the creation of natural history exhibitions in European countries were held during the Renaissance and the Age of Enlightenment and were related with major discoveries in the field of biology.
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Allmon, Warren D., Robert M. Ross, Richard A. Kissel, and David C. Kendrick. "Using Museums to Teach Undergraduate Paleontology and Evolution." Paleontological Society Special Publications 12 (2012): 231–46. http://dx.doi.org/10.1017/s2475262200009345.
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Museum exhibitions possess a long history of serving as useful tools for teaching both paleontology and evolutionary biology to college undergraduates. Yet, they are frequently under-appreciated and underutilized. However, they remain potentially outstanding resources because they can be used to meet a spectrum of learning objectives related to nature of science, real-world relevance, and student interest. Specifically, even small museum displays can provide: 1) authentic specimens, which often are more diverse, of higher quality, and historically more significant than those in teaching collections; 2) specimens in context, with other specimens and/or geological or biological background available; 3) examples of how fossils connect to virtually all of Earth and life sciences (explaining why they have so frequently been at the center of traditional “natural history”); 4) cross-disciplinary experiences, connecting science, art, technology, and history within a social context; and 5) opportunities for students to learn about teaching. A survey of instructor-developed activities performed within a host of natural history museums—with particular attention devoted to the Museum of the Earth, an affiliate of Cornell University—suggests that natural history exhibitions, regardless of size and scope, can complement and strengthen formal education in an undergraduate setting.
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Ash, C. "EXHIBITIONS: NATURAL HISTORY ART: Paper Museums." Science 320, no. 5880 (2008): 1163. http://dx.doi.org/10.1126/science.1159434.
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Vieira, Ana Carolina Maciel, Mariana Gonzalez Leandro Novaes, Juliana Da Silva Matos, Ana Carolina Gelmini Faria, Deusana Maria da Costa Machado, and Luiza Corral Martins de Oliveira Ponciano. "A contribuição dos museus para a institucionalização e difusão da paleontologia." Anuário do Instituto de Geociências 30, no. 1 (2007): 158–67. http://dx.doi.org/10.11137/2007_1_158-167.
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Since the calls "cabinets of curiosities", the essence of natural history was consolidating itself with the birth of the museums and the development of the Museums of Natural History. This consolidation was reached through following activities: expeditions, field trips, collection classification works, catalogues of diffusion of scientific knowledge, educativ activities and expositions. The present paper intends to discuss the importance of the museal institutions for the studies of Paleontology; since the museums of Natural History had exerted a pioneering paper in the institutionalization of certain areas of knowledge, as Palaeontology, Anthropology and Experimental Physiology, in Brazil. The Paleontological studies in museums had collaborated in the specialization and modernization of the appearance of "new museum idea". As this new concept the museum is a space of diffusion of scientific knowledge, represented as an object that reflects the identity of the society without an obligator linking with physical constructions. However, the Brazilian museums have been sufficiently obsolete, with problems that involve acquisition and maintenance of collections to production of temporary or permanent exhibitions. When the Brazilian institutions of natural history are analyzed they are not organized on the new museum conception and the digital age as the North American and European ones. Despite the difficulties found by the Museums since its birth as Institution in the 18th century, the contemporary development of Museology and Palaeontology as Science had contributed for the consolidation and institutionalization of both, helping the diffusion of scientific knowledge.
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Anisimova, Margarita Vyacheslavovna. "The section of history and everyday life in the Russian Museum: establishment, development, and liquidation." Исторический журнал: научные исследования, no. 4 (April 2020): 108–17. http://dx.doi.org/10.7256/2454-0609.2020.4.33047.
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The subject of this research is activity of the section of history and everyday life of the State Russian Museum established in 1918. The department devised a new theme – history of everyday life and its visualization in museum expositions, which was natural development of the Russian historical science. Intended to preserve and actualize the history of everyday life of different social classes, it shared fate of multiple national museums of everyday life: exhibitions that tool place in the 1920s were cancelled; in the late 1930s, the collections were transferred to museums of different categories, such as the State Museum of Revolution, the State Museum of Ethnography of the Peoples of the USSR. However, the section of history and everyday life did not cease to exist, and in 1941 merged into the State Hermitage Museum as an independent structural department of the history of Russian culture. Leaning on the new archival sources, an attempt was made to elucidate the work of the department of history and everyday life along with its branches in conditions of difficult political situation in the country during the 1920s – 1930s. Initially, the primary task of the department consisted procurement of the funds with the items from nationalized manor houses; later in consisted in exposition of the collection; and then due to the absence of the unified state institution for regulation of questions of preservation of historical and cultural heritage, the activity was focused on preventing scattering of the collections. After the First Museum Congress in 1930, the museums were recognized as the means of political-educational propaganda, which let to countrywide stagnation of expositional and exhibition activity of the museums. The museums of history and everyday life, being the mixed type museums, were incapable of resisting new realities, and thus re-specialized into museums of history and art or liquidated completely.
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Arends, Bergit. "Contemporary arts in the Natural History Museum London: symbiosis and disruption." Journal of Science Communication 08, no. 02 (2009): C02. http://dx.doi.org/10.22323/2.08020302.
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The Natural History Museum’s contemporary arts programme is described and discussed, in particular the developments since 2006. The various models of engaging with artists and the rationale behind the resulting exhibitions and displays are explained in more detail. Artists who have created new works enabled through the programme include Mark Dion, choreographer Siobhan Davies, Tania Kovats, Tessa Farmer, Dan Harvey and Heather Ackroyd.
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Ferraro, José Luís Schifino, Adam Goldwater, Caroline McDonald, et al. "Connecting Museums: a case study in leadership, innovation and education in university science museums leading internationalisation projects." Educação 42, no. 1 (2019): 77. http://dx.doi.org/10.15448/1981-2582.2019.1.29526.
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This article reports on Connecting Museums: leadership, innovation and education in Science Museums, an international conference involving three university museums: Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), the Great North Museum: Hancock (GNM), at Newcastle University (NU), and the Oxford University Museum of Natural History (OUMNH). The partnership started with a project to develop a joint exhibition on the theme of evolution organised by MCT-PUCRS and GNM, supported by the British Council’s Newton Fund (Institutional Skills 2016). The two museums shared the project at the UK University Museums Group (UMG) conference in 2016, where it came to the attention of colleagues at OUMNH. Following the UMG conference, the leadership and education teams of the three museums opened a dialogue to exchange knowledge and experience on leadership, innovation and education in science museums. This culminated in the first Connecting Museums conference in Porto Alegre, Brazil in October 2017. The conference was attended by 81 professionals, researchers, undergraduate and graduate students with interests in museology, the natural sciences and related areas. *** Connecting Museums: um estudo de caso sobre liderança, inovação e educação em museus de ciências universitários liderando projetos de internacionalização ***Este artigo constitui-se de um relato sobre o Connecting Museums: liderança, inovação e educação em Museus de Ciências, uma conferência internacional envolvendo três museus universitários: o Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), o Great North Museum: Hancock (GNM), da Newcastle University (NU) e o Oxford University Museum of Natural History (OUMNH). A parceria entre as instituições iniciou-se a partir de um projeto para o desenvolvimento de uma exposição conjunta, organizada pelo MCT-PUCRS e pelo GNM financiada pelo Newton Fund por meio do edital Institutional Skills 2016 promovido pelo British Council. Os dois museus apresentaram o projeto na conferência do University Museum Group (UMG) em 2016 no Reino Unido, despertando a atenção de colegas do OUMNH. Após a conferência, as equipes de gestão e de educação dos três museus iniciaram um diálogo que culminou na troca de conhecimentos e experiências nas áreas de liderança, inovação e educação em museus de ciências. Este diálogo resultou na primeira edição da conferência Connecting Museums em Porto Alegre, Brasil, em outubro de 2017. Participaram do evento 81 profissionais, entre pesquisadores e alunos de graduação e pós-graduação, cujo interesse estava relacionado à museologia, ciências naturais e áreas correlatas.Palavras-chave: Museus de ciência. Liderança. Inovação. Educação em ciências. Internacionalização.
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Castro, Laura. "João Allen: Collecting the World: An Exhibition and Case Study of the First Private Museum in Portugal." Collections: A Journal for Museum and Archives Professionals 16, no. 3 (2020): 279–97. http://dx.doi.org/10.1177/1550190620939975.
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João Allen (1781–1848) was a business man who collected antiques, curiosities, natural history, numismatics, archeological pieces, and fine arts. A trip to Italy in 1826–1827 was fundamental to his collection building, to the opening of the first private museum in Portugal, the Allen Museum in Porto (1837), and to the identity of one of Portugal’s most important museums, the Museu Nacional de Soares dos Reis created in 1833 under a different designation. Allen’s Grand Tour of Italy and his eclecticism were the cornerstone of the exhibition that took place in this museum in 2018. This article addresses the way in which the exhibition reflects the museum itself and recalls the formation of collections which are of great importance for the history of European museums due to what they reveal about the political and cultural circumstances of their times. Finally, we point out some possible developments concerning the permanent exhibition of the museum.
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Datta, Ann. "Our beautiful world: art at the Natural History Museum, London." Art Libraries Journal 30, no. 1 (2005): 15–21. http://dx.doi.org/10.1017/s0307472200013808.
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Behind the scenes at the Natural History Museum is the world’s largest natural history library, with approximately one million printed books. But the crown jewels are the Library’s art collections, depicting rocks, minerals, fossils, plants and animals, and dating from the 17th to the 21st centuries. Its more than half a million individual items make this the largest collection of natural history art not only in the UK but in the world. Commercial exploitation of the collection has mostly been by publishers of books and journals, but others have seen opportunities for writing books about the illustrations, putting the art in exhibitions, printing the images on decorative items, and other marketing ventures. In 2003 the Library launched a website designed to promote the art collections further and make them accessible to a global audience.
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MORITA, Rihito. "Museums of Natural History in Japan. Exhibitions and Science Education in Natural History Museums." Journal of Geography (Chigaku Zasshi) 107, no. 6 (1998): 862–71. http://dx.doi.org/10.5026/jgeography.107.6_862.
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Nash, Stephen E., and Frances Alley Kruger. "Silent Legacy: The Story of Vasily Konovalenko's Gem-Carving Sculptures." Collections: A Journal for Museum and Archives Professionals 13, no. 1 (2017): 7–32. http://dx.doi.org/10.1177/155019061701300102.
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During a career that spanned four decades, Russian artist Vasily Konovalenko (1929–1989) produced more than 70 sculptures carved from gems, minerals, and other raw materials. As unorthodox, compelling, and masterful as Konovalenko's sculptures are, they had been poorly published and poorly known. They are on permanent display at only two museums in the world: the small and obscure State Gems Museum (Samotsvety) in Moscow, Russia, and the Denver Museum of Nature & Science (DMNS), a major natural history museum in Colorado, the United States. This article examines Konovalenko's life and work, as well as the unusual circumstances that led to the two exhibitions, their role in Konovalenko's relative obscurity, and a recent resurgence of interest.
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Liu, Tengfei. "SCIENTIFIC BASE OF CULTURAL AND EDUCATIONAL ACTIVITIES IN THE PALEONTOLOGICAL MUSEUM OF LIAONING IN CHINA." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 236–41. http://dx.doi.org/10.17223/22220836/40/21.
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The article covers the formation of the scientific base for working with visitors at the Paleontological Museum of Liaoning in China. The original reason for the creation of the museum is stated, it was connected with 1990s, when numerous fossils were discovered in Liaoning province. The first of them were Sinosauropteryx and the Liaoning ancient fruit (Archaefructus liaoningensis). Later large number of fossils were discovered, they represent the flora and fauna of China existed more than 3 billion years ago. It is important to say that the Liaoning Provincial Department of Land Resources and Shenyang University saw scientific value of the paleontological findings. They decided to build a paleontological museum on a parity basis. Construction of the museum building at Shenyang University began in 2006, and the Paleontological Museum of Liaoning was opened in 2011. The world-famous paleontologists contributed immensely to the formation of the Paleontological Museum of Liaoning. They are Sun Ge (Chinese researcher), M.A. Akhmetyev (Russian scientist), F. Mosbrugger (director of the Museum of Natural History of Germany), K. Johnson (director of the Smithsonian National Museum of Natural History, Washington, USA) and professor P. Godfroy (Royal Institute of Natural History of Belgium). The staff of the Liaoning Museum, part-time researchers, as well as student volunteers of the Shenyang University participated in the development of the museum resources. Thanks to joint hard work, the museum has collected more than 30 thousand paleontological fossils. At present, the collection of the Liaoning Museum includes all kinds of animals and plants of ancient China, they are subdivided into seven classification groups. The reliance on the rich resources of the museum ensured the creation of the exposition, which occupies eight exhibition halls. They exhibit genuine monuments of paleontology, as well as replicas and models. They acquaint visitors with the ancient world of China, communicate the geological history of the Liaoning province, and reveal the kingdom of dinosaurs. The author of article emphasizes that in 2011, when the museum was opened, a department for the popularization of science was formed along with other departments. The main task of the workers of this department was to carry out cultural and educational activities with specialists and ordinary visitors. The department organizes exhibitions in China and abroad, conducts seminars for workers of Chinese nature museums. The scientific and educational section within the department for popularization of science also work with schoolchildren. During the first nine years of the museum's creation, three million single visitors and twenty thousand social groups have visited Paleontological Museum of Liaoning. So the article reveals the importance of cultural and educational activities that ensures the cooperation of the Liaoning Museum with other schools and museums in China, brings the museum to the international level.
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Wood, W. Warner. "Only the Voice of the Other: Science, Power, and Diversity’s Revolt in the Museum—A Manifesto of Sorts." Museum Anthropology Review 8, no. 1 (2014): 45–54. http://dx.doi.org/10.14434/mar.v8i1.3255.
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While the importance of including diverse perspectives in museum programming has received considerable attention in the cultural realm, the same cannot be said for environmental science topics. In science and natural history museums, exhibitions on issues such as global climate change and loss of biodiversity are frequently narrowly defined in relation to an equally narrow perception of what constitutes environmental science. Because the facts of science in museums are still largely told by science curators, the voices of non-scientists are largely absent on such issues. As museum professionals, we must work to ensure that a diversity of perspectives is represented on environmental issues in our museums and on the capacity of our publics to participate in the presentation of environmental topics. We must support the public’s collective “power-to” (as John Holloway has termed it) have a voice in environmental programming.
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Mägi, Reet, and Krista Lepik. "Governing Modes of Permanent Exhibitions in Fostering Museum-Visitor Interaction: Creating a New Permanent Exhibition at the University of Tartu Natural History Museum." International Journal of the Inclusive Museum 12, no. 4 (2019): 1–11. http://dx.doi.org/10.18848/1835-2014/cgp/v12i04/1-11.
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Camp, Betty Dunckel, John J. Koran, and Mary Lou Koran. "Photographs as a Research Tool in Visitor Studies." Journal of Interpretation Research 5, no. 2 (2000): 47–58. http://dx.doi.org/10.1177/109258720000500206.
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Photographs provide valuable descriptive data when used as a research tool. Studies in informal settings have used photographs taken by researchers and visitors to (a) document physical behavior and movement within the setting; (b) learn more about the setting visit and what was learned or remembered from the visit; (c) determine visitor satisfaction, interest, and exhibition impact; and (d) determine exhibition preferences of diverse groups. This article reviews how photographs have been used in informal settings, describes a study at the Florida Museum of Natural History in Gainesville that used photographs to examine student attention in exhibitions, and discusses the advantages of utilizing Visitor Employed Photography (VEP) as a research tool.
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Scheel-Ybert, Rita. "The Past, Present, and Future of Archaeology of the Museu Nacional: A Brief Introduction / Passado, presente e futuro da arqueologia no Museu Nacional: Uma breve introdução." Latin American Antiquity 31, no. 2 (2020): 242–46. http://dx.doi.org/10.1017/laq.2020.40.
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Throughout its 200 years, the Museu Nacional (National Museum) in Rio de Janeiro has been the principal museum of natural history in Brazil. It certainly has been among the most important research institutions in the Americas. Many of the greatest national and international scholars worked in or visited its collections, exhibitions, and laboratories. Botanists, zoologists, ecologists, geologists, paleontologists, anthropologists, archaeologists, and so many other scientists frequented the research facilities of the São Cristóvão Palace, its hallways, internal gardens, associated buildings, and park. They established friendships, scientific partnerships, and antagonisms, engaging in intense and productive exchanges that advanced science in each discipline yet with a multidisciplinary spirit. This thriving space, which we all always referred to as “our home,” was utterly destroyed by the tragedy of September 2018, when we watched in astonishment as the fire consumed our lives.
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Endt-Jones, Marion. "Cultivating ‘Response-ability’: Curating Coral in Recent Exhibitions." Journal of Curatorial Studies 9, no. 2 (2020): 182–205. http://dx.doi.org/10.1386/jcs_00020_1.
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This article explores the reasons for the recent surge of interest in exhibitions and displays featuring corals and coral reefs, as well as the challenges and opportunities involved in curating coral. I argue that, while it can be difficult to convey the complex natural characteristics of corals through displays of coral specimens in museums, exhibitions such as Coral: Something Rich and Strange (2013‐14), and artworks such as Christine and Margaret Wertheim’s Crochet Coral Reef (2005‐present) and Tamiko Thiel’s Unexpected Growth (2018‐19), can deepen a sense of wonder in exhibition visitors and foster experiences of connection between humans and marine invertebrates ‐ ultimately to encourage ‘response-ability’ to and for the natural world. I suggest that collaborative, cross-disciplinary modes of exhibition making ‐ such as displaying works of art alongside scientific or natural history specimens ‐ provides curators with opportunities to intensify the affective responses of audiences.
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de Ceglia, Francesco Paolo. "The Importance of Being Florentine: A Journey around the World for Wax Anatomical Venuses." Nuncius 26, no. 1 (2011): 83–108. http://dx.doi.org/10.1163/182539111x569775.
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AbstractThis article reconstructs the 19th century history of events regarding a few female wax anatomical models made in Florence. More or less faithful copies of those housed in Florence's Museum of Physics and Natural History, these models were destined for display in temporary exhibitions. In their travels through Europe and the United States, they transformed the expression "Florentine Venus" into a sort of brand name used to label and offer respectability to pieces of widely varying quality.
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박영신, 유효숙, and Eunji Choi. "Exploring Science Communication in Panels of Exhibitions and Proposing its Development Direction in Exhibition Education: Two cases of Natural History Museum." Journal of Science Education 38, no. 1 (2014): 205–29. http://dx.doi.org/10.21796/jse.2014.38.1.205.
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Banks, R. E. R. "Resources for the History of Science in the Libraries of the British Museum (Natural History)." British Journal for the History of Science 21, no. 1 (1988): 91–97. http://dx.doi.org/10.1017/s0007087400024407.
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Alfred Waterhouse's ornate Romanesque building at South Kensington, London, has contained the natural history collections of the British Museum since 1881. First opened to the public on Easter Monday, 18 April, in that year, the British Museum (Natural History) (BM(NH)) has become well-known for the excellence of its exhibition galleries, particularly for its dinosaurs, blue whale, and, more recently, for its revolutionary Hall of Human Biology.
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Gitlin, J. "Darwin An exhibition at the American Museum of Natural History." Journal of Clinical Investigation 116, no. 4 (2006): 845. http://dx.doi.org/10.1172/jci28378.
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Pripon, Liviu Răzvan. "Natural Object or Element of an Artwork? Case Study: Artists, Artworks and Exhibitions in Cluj, Romania." Studia Universitatis Babeș-Bolyai Philosophia 65, Special Issue (2020): 159–72. http://dx.doi.org/10.24193/subbphil.2020.spiss.12.
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"Natural object or element of an artwork? Case Study: Artists, Artworks and Exhibitions in Cluj, Romania. In this article, we discuss the relationship between art and natural objects such as stuffed animals, skins, bones, dried plants or minerals and their aesthetical value from their position as artworks or elements of an artwork. In Cluj, between 2017 and 2019, artworks and exhibitions which integrate this type of practices and natural history materiality flourished. We aim to compose an inventory that could contribute to the archive of local art events, artworks, and artists in order to serve further analysis of local specificity, which could eventually find relevance in the theoretic approaches of art. In conclusion, we underline some of the theoretical approaches of the dynamics of natural object’s values and of the procedures established by organizations such as museums and galleries. Keywords: art galleries, art museums, natural history museums, natural object, BioArt"
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Atkinson, Jeanette, Tracy Buck, Simon Jean, et al. "Exhibition Reviews." Museum Worlds 1, no. 1 (2013): 206–40. http://dx.doi.org/10.3167/armw.2013.010114.
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Steampunk (Bradford Industrial Museum, UK)Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)The New American Art Galleries, Virginia Museum of Fine Arts, RichmondScott's Last Expedition (Natural History Museum, London)Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)21st Century: Art in the First Decade (QAGOMA, Brisbane)James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)
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Stoupathis, Konstantinos. "Social impact and interpretation of the geological collections of Helmis Natural History Museum of Zakynthos." Bulletin of the Geological Society of Greece 53, no. 1 (2019): 266. http://dx.doi.org/10.12681/bgsg.19441.
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The Helmis Natural History Museum is located in Zakynthos, in the village of Agia Marina Fagia, only twenty minutes distance from the centre of the city of Zakynthos. The enlargement of the private collection of Panagiotis Helmis, a collection of natural history that originally included natural history exhibits acquired by the collector to meet his needs, was a challenge for the exhibition of this collection in a museum environment. Moreover, the museum was founded to introduce to the visitors the value of nature, to present information on lesser known fauna and flora species of the island and to focus on geology exhibits.
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Polevod, V. A. "THE HISTORY OF FORMATION OF ENTOMOLOGICAL COLLECTIONS IN THE MUSEUMS OF KEMEROVO REGION." Bulletin of Kemerovo State University, no. 2 (July 8, 2016): 41–49. http://dx.doi.org/10.21603/2078-8975-2016-2-41-49.
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Collections of insects in the museums are a part of natural heritage. Their preservation presents complexity, but is relevant for scientific, educational and exposition tasks. The history of entomological researches in the territory of Kemerovo region is described, the problem of discrepancy of data in references on stories of collecting entomological material to the maintenance of museum entomological collections in the region is analyzed.The generalizing research on existence and history of completing of entomological collections in the Region’s museums was never carried out earlier. 6 museums with such materials, the collections of the Department of Zoology and Ecology of Kemerovo State University and a number of private collections were revealed. Also detailed description of large collections of Kemerovo State University (materials of the Museum, the Department of Zoology and Ecology) and the Kemerovo Regional Museum of Local Lore is provided for the first time. The example of particular collections allowed observing the general regularity of merge of private collections with museum funds. Unambiguous leadership of of Kemerovo State University collections in quantity of units of storage and their importance is established. They are actively used and involved in research, educational, exposition and exhibition life of the University and the Region (with active support of private collections).
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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 (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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Taylor, Paul. "‘A Routh O’ Auld Nick-Nackets’ – the antiquarian collection of John Rae." Scottish Archaeological Journal 36-37, no. 1 (2015): 163–83. http://dx.doi.org/10.3366/saj.2014.0054.
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John Rae, a Scottish antiquarian collector and spirit merchant, played a highly prominent role in the local natural history societies and exhibitions of nineteenth-century Aberdeen. While he modestly described his collection of archaeological lithics and other artefacts, principally drawn from Aberdeenshire but including some items from as far afield as the United States, as a mere ‘routh o’ auld nick-nackets' (abundance of old knick-knacks), a contemporary singled it out as ‘the best known in private hands' (Daily Free Press 4/5/91). After Rae's death, Glasgow Museums, National Museums Scotland, the University of Aberdeen Museum and the Pitt Rivers Museum in Oxford, as well as numerous individual private collectors, purchased items from the collection. Making use of historical and archive materials to explore the individual biography of Rae and his collection, this article examines how Rae's collecting and other antiquarian activities represent and mirror wider developments in both the ‘amateur’ antiquarianism carried out by Rae and his fellow collectors for reasons of self-improvement and moral education, and the ‘professional’ antiquarianism of the museums which purchased his artefacts. Considered in its wider nineteenth-century context, this is a representative case study of the early development of archaeology in the wider intellectual, scientific and social context of the era.
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Novcic, Ivana. "List of Strigiformes species in the Belgrade Natural History Museum bird collection." Archives of Biological Sciences 56, no. 3-4 (2004): 79–88. http://dx.doi.org/10.2298/abs0404079n.
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During re-inventory of the order Strigiformes in the ornithological collection of the Belgrade Natural History Museum, we recorded a total of 134 specimens, collected at over 40 localities throughout Serbia. Of these 71 are in the study collection, 59 in the exhibition collection, and four in the historical collection of birds. In view of the number of specimens diversity of species, and the geographical representatives, the collection of owls in the Natural History Museum represents an extremely important source of information for the taxon Strigiformes.
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Conway, Rebecca. "Collaboration with the Past, Collaboration for the Future: Joseph Neparrŋa Gumbula’s Makarr-garma Exhibition." Preservation, Digital Technology & Culture 47, no. 3-4 (2018): 115–32. http://dx.doi.org/10.1515/pdtc-2018-0015.
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AbstractThe Yolŋu elder and academic Joseph Neparrŋa Gumbula curated the exhibition, Makarr-garma: Aboriginal Collections from a Yolŋu Perspective (Makarr-garma), staged at the University of Sydney’s Macleay Museum from 29 November 2009 to 15 May 2010. This article describes this exhibition’s development and curatorial rationale. A product of his 2007 Australian Research Council (ARC) Indigenous Research Fellowship at the University, Makarr-garma reflected Gumbula’s Yolŋu philosophies as applied to collections in the Gallery, Libraries, Archives and Museums (GLAM) sector. Employing artworks, cultural objects, historic photographs, natural history specimens and his own manikay (songs), he framed this show as a garma (open) ceremonial performance that spanned an archetypal Yolŋu day. The exhibition was immersive and “culturally resonant” (Gilchrist, Indigenising), and provides intellectual and practical insights for the GLAM sector’s representation and management of Indigenous collections.
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QURESHI, SADIAH. "ROBERT GORDON LATHAM, DISPLAYED PEOPLES, AND THE NATURAL HISTORY OF RACE, 1854–1866." Historical Journal 54, no. 1 (2011): 143–66. http://dx.doi.org/10.1017/s0018246x10000609.
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ABSTRACTIn 1854, the Crystal Palace reopened at Sydenham. Significantly, it featured a court of natural history. Curated by the philologist and physician, Robert Gordon Latham, it was designed to provide the public with an ethnological education. Understanding Latham's project is of particular importance for broader understandings of the scientific importance of displayed peoples and mid-nineteenth-century debates on the nature of human variation. Recent scholarship has shown considerable interest in the relationship between exhibitions of foreign peoples and anthropology, particularly within the context of world fairs. Nevertheless, anthropologists are routinely claimed to have used fairs merely to display or publicly validate, rather than to make, scientific knowledge. Meanwhile, the 1850s and 1860s are often seen as having witnessed the emergence of a new ‘harder-edged’ scientific racism as, older, elastic definitions of ‘race’ were successfully overthrown by one rooted in biological difference (most commonly exemplified by the anatomist Robert Knox). By examining how Latham produced and used his museum of human types, this article proposes an alternative approach. It suggests that displayed peoples were used as ethnological specimens and that Latham's work is at a particularly significant crossroads for the mid-nineteenth-century remaking of ‘race’.
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Françozo, Mariana. "Exhibition Review." Museum Worlds 6, no. 1 (2018): 158–59. http://dx.doi.org/10.3167/armw.2018.060111.
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The Musée des Confluences in Lyon, France, recently organized a remarkable exhibition: Venenum, un Monde Empoisonné. It ran from April 2017 to April 2018 and was located in one of the museum’s five large temporary exhibition spaces. Venenum did justice to the multidisciplinary and multi-thematic nature of this newly founded museum, bringing together objects otherwise classified separately as natural history, art, ethnography, or history.
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Graham, Mark R. "Professional fossil preparators at the British Museum (Natural History), 1843–1990." Archives of Natural History 46, no. 2 (2019): 253–64. http://dx.doi.org/10.3366/anh.2019.0589.
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Since the inception of the British Museum (Natural History) in 1881 (now the Natural History Museum, London), the collection, development and mounting of fossils for scientific study and public exhibition have been undertaken by fossil preparators. Originally known as masons, because of their rock-working skills, their roles expanded in the late nineteenth and early twentieth centuries, when, at the forefront of the developing science of palaeontology, the Museum was actively obtaining fossil material from the UK and abroad to build the collections. As greater numbers of more impressive specimens were put on public display, these preparators developed new and better methods to recover and transport fossils from the field, and technical improvements, in the form of powered tools, enabled more detailed mechanical preparation to be undertaken. A recurring theme in the history of palaeontological preparation has been that sons often followed in their fathers' footsteps in earth sciences. William and Thomas Davies, Caleb and Frank Barlow, and Louis and Robert Parsons were all father-and-son geologists and preparators.
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Van Bockhaven, Vicky. "Decolonising the Royal Museum for Central Africa in Belgium's Second Museum Age." Antiquity 93, no. 370 (2019): 1082–87. http://dx.doi.org/10.15184/aqy.2019.83.
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In December 2018, the Royal Museum for Central Africa (RMCA) in Tervuren, Belgium, reopened its doors after a renovation project that started nearly 20 years ago. Founded by the infamous King Leopold II, the RMCA contains cultural and natural history collections from Belgium's former colonies of Congo, Rwanda and Burundi, as well as other parts of Africa and beyond. Today, a new ‘Welcome pavilion’ leads the visitor through a monumental subterranean corridor to the historic building's basement and to an introduction to the history of the collections. The exhibition halls on the ground level have been refurbished, including the old colonial maps painted on the walls, while in the Crocodile Room, the original display has been retained as a reminder of the museum's own history. The largest halls now present displays linked to the scientific disciplines and themes within the museum's research remit (Figure 1): ‘Rituals and Ceremonies’ (anthropology), ‘Languages and Music’ (linguistics and ethnomusicology), ‘Unrivalled art’, ‘Natural History’ (biology), ‘Natural resources’ (biology, geology) and ‘Colonial History and Independence’ (history, political science). Eye-catching developments include: a room featuring some of the statues of a racist style and subject matter, which were formerly exhibited throughout the museum, and are now collected together in a kind of ‘graveyard’ (although this symbolic rejection is not properly explained); a new Afropea room focusing on diaspora history; a section on ‘Propaganda and representation’ (Imagery), a Rumba studio and a Taxolab. In place of racist statues, and occupying a central position in the Rotunda, is a new sculpture by Aimé Mpane named ‘New breath, or burgeoning Congo’. The accompanying label states that this piece “provides a firm answer” to the remaining allegorical colonial sculptures in the Rotunda by “looking at a prosperous future”. Alas, this answer is not as clear as is claimed and its message may be lost on many visitors.
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Liverovskaya, Tatyana, and Marina Pikulenko. "THE CALIFORNIA ACADEMY OF SCIENCES AS A PRIME EXAMPLE OF THE AMERICAN MUSEUM." LIFE OF THE EARTH 43, no. 2 (2021): 202–16. http://dx.doi.org/10.29003/m2026.0514-7468.2020_43_2/202-216.
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The article is dedicated to one of the largest museum centers of natural history in the world - the California Academy of Sciences (San Francisco, USA), which is, since its founding in 1853, both a research and scientific and educational organization. The California Academy of Sciences, in its current version, presents a prime example of the development of basic museum’s concepts in USA: guardianship, corporate museum, museum communication, achieving the goals of sustainable development of society, the involvement in science the population on the basis of the system “STEM-education” (Science, Technology, Engineering Mathematics). The article analyzes the history and modern activities of the museum in terms of exhibition features, scientific and educational practice. Architectural, artistic and engineering solutions, features of internal infrastructure, themes, content and design of the exhibition complex reflect the stated national mission to "explore, explain and sustain"), in accordance with the implementation of the declared environmental concept of sustainable development (fighting global climate warming, the development of technologies of energy conservation, cleanliness and waste of production, etc.). On the basis of our own museum observations, analysis of literary data, we can conclude that museums as social institutions and interactive technologies used in the educational process are most suitable for the task of introducing the widest range of citizens to science and culture. The example of the California Academy of Sciences provides important guidelines for the development of museums in our country.
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Zagorodniuk, Igor, Kateryna Ocheretna, Sergiy Kharchuk, and Maryna Korobchenko. "Symbol species, days and years of animals in natural history events and museum activities." GEO&BIO 2021, no. 20 (2021): 135–59. http://dx.doi.org/10.15407/gb2013.
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The paper presents an analytical review of focal animal species as those that are important in sharing natural history knowledge and in the development of environmental initiatives. A detailed analysis of the history and experience of using such animals in the practice of education and museology in the world and in Ukraine is presented. Among the most famous areas of the topic are as follows: 1) attention to wild animals versus attention to domestic ones, 2) formation of a pool of zoo-mascots for different activities and increase the ranking of such species or groups of species, 3) development of zoosymbolism in all forms of activities related to nature (scientific societies, publications, schools-seminars, natural history museums), 4) formation and development of the idea of years of animals (mammal of the year, bird of the year, insect of the year), and 5) formation, share, and development of ideas of special days (bat night, lark day, etc.). The analysis of world and Ukrainian experience showed that the most effective forms of dissemination of knowledge are as follows: 1) production of various small printed products (stickers, calendars, envelopes, stamps, prints), 2) production of more complex forged or minted products (badges, coins, medals), 3) use of paraphernalia on various consumer goods (caps, T-shirts, mugs, balloons, fountain pens, notebooks), 4) holding special promotions, quizzes, contests or quests on thematic days (European Bat Night, International Bird Day, Whale Protection Day), and 5) production and participation in the production of special media products or initiation of social networks (social advertising, documentaries, round tables on the radio and flash mobs on social networks). All these forms of activity can be developed within the "background" work of natural history museums, among them the simplest and least expensive are the days and years of certain animal species that can be performed within the existing exhibitions, complementing such events with interactive forms of work with visitors (competitions, excursions, lectures, presentations of thematic paraphernalia). All this is aimed at sharing knowledge and increasing social attention to the issues of biological diversity, sustainable nature and sustainable community development.
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Frigo, Manlio. "The International Symposium “From Anatomic Collections to Objects of Worship: Conservation and Exhibition of Human Remains in Museums,” Paris (France), February 22–23, 2008." International Journal of Cultural Property 15, no. 4 (2008): 437–39. http://dx.doi.org/10.1017/s0940739108080260.
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The Musée du Quay Branly held an international symposium, “From Anatomic Collections to Objects of Worship: Conservation and Exhibition of Human Remains in Museums,” in Paris on February 22–23, 2008, at the museum's Théatre Claude Levy Strauss. The main purpose of the 2-day conference—opened by the French Ministry of Culture and Communication's Christine Albanel—was to stimulate an international debate on a multidisciplinary basis concerning the roles and responsibilities of museums in the exhibition and repatriation of human remains. The subject turned out to be topical, originating from the case of thetoi moko, the Maori tattooed head belonging to the collection of the Natural History Museum in Rouen, France, since 1875. The restitution of thetoi mokoto the Papa Museum in Wellington, New Zealand, deliberated by the city of Rouen, was recently banned by the Administrative Tribunal of Rouen, on request of the Ministry of Culture at the end of 2007. The head actually belonged to a municipal museum, which was in fact part of the Musées de France, and therefore it was considered part of a public collection. Accordingly, the 2002 French statute providing for the inalienability of state properties was applicable.
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Küster, Mathias. "The Müritzeum in Waren (Müritz): natural history museum and modern nature discovery centre." DEUQUA Special Publications 2 (August 15, 2019): 77–81. http://dx.doi.org/10.5194/deuquasp-2-77-2019.
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Abstract. The Müritzeum is a nature discovery centre and a museum in the heart of the Mecklenburg Lake District. It is the first natural history museum in Mecklenburg-Vorpommern, with natural history collections that are over 150 years old, and are still growing today. The collections contain about 290 000 specimens from the fields of botany, zoology and geology. An extensive library and an archive are also part of the museum. Collecting, preserving and researching natural history are our main spheres of activity. The exhibition in the Müritzeum offers the visitor a comprehensive insight into the development of the nature and landscape of northeastern Germany and of Mecklenburg-Vorpommern and the Lake Müritz region in particular. The largest aquarium for indigenous freshwater species in Germany enables visitors to imagine themselves in the underwater world of the Mecklenburg Lake District.
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Smith, Rebecca L. "Denver Museum of Natural History Prehistoric JourneySm: Teacher Resources and School Programs." Paleontological Society Papers 2 (October 1996): 183–88. http://dx.doi.org/10.1017/s1089332600003259.
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Prehistoric Journey, the museum's newest permanent exhibition, offers students and teachers the opportunity to explore the history of life on Earth through spectacular fossil specimens, interactive exhibits, and re-created environments depicting crucial points in life's history. A rich array of educational resources and programs are offered in conjunction with this exhibition. Opportunities for K-12 students include guided and unguided visits for school groups, Classroom Adventures on prehistoric subjects, an outreach assembly program, and the Prehistoric Universe show in Gates Planetarium. Teacher resources include teacher workshops, the comprehensive Prehistoric Journey Educators' Sourcebook, the Prehistoric Journey Previsit Video for Teachers (including portions for students in Spanish), and the Prehistoric Journey: A History of Life on Earth exhibit book. Prehistoric Journey educational materials and programs are correlated with the Colorado Standards for Science Teaching. All of these resources and programs, ordering information, and registration procedures are described in the museum school brochure which is mailed to Colorado schools and teachers in August (with an update in January). If you are not currently receiving this brochure, please call (303) 370-6314 to be placed on the mailing list.
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Macdonald, Maritza, David Silvernail, Natasha Cooke-Nieves, et al. "How museums, teacher educators, and schools, innovate and collaborate to learn and teach geosciences to everyone." Terrae Didatica 14, no. 3 (2018): 271–76. http://dx.doi.org/10.20396/td.v14i3.8653525.
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Natural History museums are well known and even famous for the multiple educational opportunities they offer to the public, which includes international visitors, and students and schools. This paper introduces a new role for museums, as sites for the education and certification of new science teachers. In 2017, the American Museum of Natural History (AMNH) completed evaluation of its initial six years as the first museum-based Master of Arts in Teaching (MAT) Earth science program in the USA. The program was conceptualized in response to multiple levels of local and national education policies, and the still cur-rent need to improve Earth science education for all students, especially those designated ‘at-risk.’ Race to the Top (RTTT) in New York State and the National Commission on Teaching for America’s Future had been call-ing for the reconceptualization of teacher education for several years. MAT began as a pilot program authorized by NYS, the result of a competition for inno-vation in the design of programs outside the traditional university structures that corre-sponded to areas of need (at the inter-section of the sciences and quality education for New English Learners and students with learning disabilities). In developing the museum-specific part of the program, theoretical perspectives from research on Strands of Learning Science in Informal In-stitutions, Spatial thinking, and Place-based Learning. Also the selection of candidates required background in one of the Earth Science fields. In addition, scientists and curators became part of the faculty and directed the field and laboratory residencies at the end of the school year and before beginning to teach in schools. After three years, the pilot was fully authorized to grant its own degrees. The institution operates on multiple levels: it is a teaching residency program that awards degrees, maintains strong partnerships with schools, is a member of the network of Independent Colleges and Universities in New York State, and provides on-site graduate courses for other col-leges and universities on the educational role of, and research on, informal learning in science institutions. The museum is at the heart of the program’s design. Courses include research on learning in museums, pedagogical content knowledge re-garding science, and experiential residencies geared toward preparing candidates to teach in both museums and public schools, as well as conduct independent and team science research. Courses are co-taught by scientists and educators, and are designed to use museum exhibitions and resources, including current and past scientific research, technology, and online teaching tools in order to facilitate instruction, demonstrate the nature of science, and com-plement science with cultural histories that highlight the role of science in society. Evaluation evidence indicates the program has been successful in pre-paring teachers to teach in high-needs urban schools in New York State. An external-impact quanti-tative study by NYU, focused on student performance on the standardized New York State Earth Science Regents Examination, indicated that (1) students of MAT graduates are doing as well as students taught by other Earth science teachers with similar years of experience in New York City; and (2) demographically, MAT teachers instruct a higher percentage of students with lower economic and academic profiles. This paper focuses on how the program design utilizes all aspects of a natural history museum to offer the science museum community, teacher educators, and policy-makers new approaches for the preparation of teachers and the education of their students.
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Trimble, Jennifer. "Why are our Jar Lids Crumbling?" Biodiversity Information Science and Standards 2 (June 13, 2018): e25928. http://dx.doi.org/10.3897/biss.2.25928.
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Glass jars and lids used to house fluid preserved specimens in Natural History Museums are arguably one of the most important factors needed to ensure the long term conservation of the specimens in their collections. Additionally these jars are used to display specimens in exhibits, and are the first, and often the only line of defense against damage caused by evaporation of the fluids used to preserve specimens. The Harvard Museum of Natural History (HMNH) was established as the public face of the Museum of Comparative Zoology (MCZ) which opened its doors in 1859. Often, the Museum of Comparative Zoology loans fluid preserved invertebrates to the Museum of Natural History at Harvard for display. Of specific interest to this project is a permanent arthropod exhibit displaying a variety of specimens in jars ranging from 4 oz to 1 gallon in size. During a 7-year public exhibition loan, lids began to deteriorate while on display. Visually, these lids became cracked and webbed, and upon physical manipulation the plastic crumpled into pieces. Notably, this problem has not been observed in research collections where the specimens are permanently stored. Possible factors affecting lid stability include temperature and light, and other unknowns. Given the potential impact of this issue on all collections we investigated the possible causes of lid degradation and wish to bring attention to this issue. Photography was used to document the physical problem and MicroCT was used to investigate both cracked and new lids. The resulting images are displayed here. Although the composition of lids are explored, and other jar methods outlined, flint jars remain the most consistent, and sturdy option for a student oriented museum.
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Scheffer, Krisztina, Enikő Szvák, and Hedvig Győry. "Korok és Kórok kiállítás 2019-2020." Kaleidoscope history 11, no. 22 (2021): 305–15. http://dx.doi.org/10.17107/kh.2021.22.305-315.
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The HNM Semmelweis Museum of Medical History's exhibition „Diseases for the Ages, What the Deceased Tell Us”, is displaying the anthropological collection of the Museum which never was presented earlier, and the mummy-research made in the framework of the Nephthys Project, with some additional material from the Hungarian Natural History Museum and the Hopp Ferenc Asian Art Museum. Visitors can learn about the appearance of known and little-known diseases visible on archaeological human remains and gain insight into the know-how and the results of the mummy research. The exhibition is accompanied by a museum educational program and a series of lectures.
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정감순, Byeong Mee Min, Dong Ryeul Kim, and Yeon-A Son. "Analyzing the Nature of Science that was Reflected on the Exhibition Panel of Evolution House at Natural History Museums: Centered on Seodaemun Museum of Natural History and the Field Museum in Chicago." BIOLOGY EDUCATION 40, no. 2 (2012): 195–208. http://dx.doi.org/10.15717/bioedu.2012.40.2.195.
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Wigger, Iris, and Spencer Hadley. "Angelo Soliman: desecrated bodies and the spectre of Enlightenment racism." Race & Class 62, no. 2 (2020): 80–107. http://dx.doi.org/10.1177/0306396820942470.
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The case of Angelo Soliman − a black man raised in the royal courts of eighteenth-century Vienna who appeared during his lifetime to have attained significant social status and acceptance into bourgeois society, only to have his body stuffed and exhibited after death in a natural history museum − is discussed in the context of Enlightenment race theories at the core of a then-new ‘scientific racism’. This article explores his representation in its wider discursive and historical context, and critically reflects on predominant narratives and typologies associated with him. The piece then reflects on contemporary attempts to retell his story – via museum exhibitions, literature and film – some of which started to critically reflect on age-old European stereotypes of blackness used in earlier representations of Soliman. The piece promotes a discussion of Soliman’s life from a more critical, historically reflexive, de-colonialising and anti-racist position that questions white normativity and the scientific racism of the European Enlightenment and colonialism, the foundations of modern racism.
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Lloyd, Timothy. "The Cyrus Tang Hall of China: Deep Tradition, Dynamic Change." Museum Anthropology Review 11, no. 1-2 (2017): 15–16. http://dx.doi.org/10.14434/mar.v11i1.23543.
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Erba, Valeria. "Natura e cultura per un progetto di riqualificazione e valorizzazione del paesaggio." TERRITORIO, no. 47 (February 2009): 78–87. http://dx.doi.org/10.3280/tr2008-047010.
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- The San Colombano hill in the province of Milan is used as an opportunity and a context for defining analytical details and design aspects for a project to redevelop and enhance the landscape. This area, rich in history and of significant environmental and landscape value is divided into three park areas (‘From the grape to the Bottle', ‘Adopt and rent a tree', ‘Walking in the woods') with three paths through them, while the castle is renovated to house a museum, hold exhibitions and develop an experimental theatre.