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Journal articles on the topic 'Museum techniques'
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1
Greenwald, Michael T. "Techniques for collecting large vertebrate fossils." Paleontological Society Special Publications 4 (1989): 264–74. http://dx.doi.org/10.1017/s2475262200005232.
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When visiting the dinosaur displays in museums such as the American Museum of Natural History, the Tyrrell Museum of Palaeontology, or the United States National Museum of Natural History, one is overwhelmed by the abundance, diversity, and completeness of dinosaur skeletons. What is not obvious to the average visitor is that the majority of those skeletons are not from an individual animal. They are almost invariably composite skeletons containing bones from at least two individials, and many missing bones have been filled in with sculptured models constructed of plaster or fiberglass. How is it possible for paleontologists to reconstruct and mount these titanic skeletons? Perhaps even more fundamentally, how do such enormous fossil bones find their way to museums to begin with?
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Puspasari, Shinta, and Ermatita Ermatita. "A Survey of Data Mining Techniques for Smart Museum Applications." JUITA: Jurnal Informatika 9, no. 1 (May 22, 2021): 33. http://dx.doi.org/10.30595/juita.v9i1.9247.
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This research aims to find out what data mining techniques are effectively implemented in museums and what application trends are currently being used to improve museum performance towards modern museums based on intelligent system technology. The review was carried out on a number of articles found in journals and proceedings in the 2004-2020 period. It is found that the majority of data mining techniques are implemented in museum virtual guide applications, recommender systems, collection clustering and classification system, and visitor behaviour prediction application. Data classification, clustering, and prediction technique commonly used for museum application. Collections with historical and artistic value contain a lot of knowledge making data mining an important technique to be included in various applications in museums so that they can have an impact on the achievement of museum goals not only in the fields of education and culture but also economics and business.
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Mulyana, Eldi, Alni Dahlena, and Slamet Nopharipaldi Rohman. "Strengthening Social Studies Learning Sources through Culture And History Of Yogyakarta Ulen Sentalu Museum." Journal Civics and Social Studies 6, no. 1 (June 6, 2022): 9–15. http://dx.doi.org/10.31980/civicos.v6i1.1600.
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AbstractThe existence of culture and history in the museum as a place to store a collection of historical objects often gives the impression that the museum is an ancient, dark and unkempt building. Meanwhile, the new paradigm in museum management is that museums are no longer just a place to store historical objects, but need to present collections in attractive packaging so that visitors are interested in coming back to the museum. This research method is a qualitative method with interview data collection techniques, observation and documentation studies. Data analysis techniques include data collection, data presentation, data reduction and data verification. The results of this study are (1) the cultural and historical values of the ulen sentalu museum in attaching existing philosophical values, (2) cultural and historical values related to the rules of conduct in the museu ulen sentalu used as a source of social studies learning. Thus, it can be used as culture and history contained in the Ulen Sentalu museum and used as a source of social studies learning as part of educational literacy.Keywords : Ulen Sentalu Museum, Culture and History, Social Studies Learning Resource
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Valtysson, Bjarki, Sanne Lynge Nilsson, and Christine Eva Pedersen. "Reaching Out to be in Reach. Museum Communication in the Current Museum Zeitgeist." Nordisk Museologi 31, no. 1 (May 31, 2021): 8. http://dx.doi.org/10.5617/nm.8821.
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This article focuses on art museums as multi-layered media- and eventmakers. By discussing the National Gallery of Denmark’s Mysteries from the Museum podcast series and the event SMK Fridays, Louisiana’s digital platform Louisiana Channel and the Glyptotek’s Slow arrangements, we scrutinise these museums’ onsite and offsite outreach techniques and strategies. These are further discussed regarding the current museum zeitgeist, and how this relates to dominant cultural policy paradigms in Denmark. The article is based on interviews with museum professionals, observations of onsite events and document analysis; they indicate that museums constantly renew their outreach techniques and strategies, adding layers to their museum communication. While museums succeed in creating quality digital content and arranging events attracting attention and audiences, these productions do not challenge the power dynamics between museums and their users described in current literature on the museum zeitgeist, as in dominant cultural policy strategies in a Danish context.
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Tötszegi, Tekla. "Noi metode și tehnici de antrenare pentru persoanele cu dizabilități vizuale în activitățile de profil desfășurate în cadrul Muzeului Etnografic al Transilvaniei." Anuarul Muzeului Etnograif al Transilvaniei 31 (December 20, 2017): 245–58. http://dx.doi.org/10.47802/amet.2017.31.13.
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In 2009, a project funded by AFCN proposed for the first time the development of a methodology for the cultural integration of persons with visual impairments and its application to museum techniques, the outputs of which was a tactile exhibition having a permanent character. In the project "BaGMIVI PROJECT: Bridging the Gap between Museums and Individuals with Visual Impairment", the Transylvanian Museum of Ethnography has proposed the development and deepening of certain areas, presented briefly in the tactile exhibition through museum educational activities.
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Salim, Polniwati, Christianto R, and Sri Rachmayanti. "PERANCANGAN DESAIN INTERIOR MUSEUM DENGAN TEKNIK INTERAKTIF SEBAGAI RUANG PUBLIK MASA KINI." Jurnal Dimensi Seni Rupa dan Desain 15, no. 1 (September 1, 2018): 45. http://dx.doi.org/10.25105/dim.v15i1.4196.
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Abstract
This study aims to analyze a museum interior design to be able to find the latest output regarding displaying or circulation techniques in a public space, especially museum. This study background is a public phenomenon visited by museums nowadays, which is seen on their social media accounts. Especially for contemporary and art design museums, it becomes an attractive icon for young people, as well as seniors. However, there are many things that need to be considered in designing a museum interior where many factors support for a success interior design, including: display techniques, gallery categorization, signage systems, and lighting. This study will examine how to applied the above items. As a comparison, contemporary art museums in Jakarta and New York. By doing these comparisons, researcher expected there will be a resume on how designing a good contemporary art museum. With good and attractive interior
design in a contemporary art museum, it will further increased visitors interest and the awareness of the community to explore the museum. The method used is by observing and documenting techniques and analyzing the interior of research objects, combined with literature studies, hopefully this research can contribute to the museum design technique as an ergonomic and interactive public space for the wider community. For future development of the museum, this research contributes for a better, good and friendly display techniques.
Abstrak
Penelitian ini bertujuan untuk menganalisa perancangan interior sebuah
museum untuk dapat ditemukan luaran terbaru perihal teknik display
maupun sirkulasi dalam sebuah ruang publik yakni museum. Latar belakang penelitian adalah fenomena masyarakat luas yang terlihat kesadaran untuk berkunjung ke museum, yang terlihat pada akun sosial media masyarakat jaman sekarang yang demikian semarak, khususnya untuk museum bernafaskan contemporary dan art design, menjadi satu ikon menarik bagi kalangan muda, juga para senior. Namun demikian banyak hal yang perlu diperhatikan pada perancangan sebuah interior museum dimana banyak factor yang mendukung kesuksesan sebuah desain museum, antara lain dalam hal teknik display, pengkategorian gallery, system signage, maupun pencahayaan. Dengan design interior yang baik dan menarik pada sebuah museum kontemporer, diharapkan akan semakin menaikkan minat para pengunjung dan kesadaran masyarakat akan semakin meningkat untuk mengeksplorasi isi dari museum tersebut. Metode yang digunakan adalah dengan teknik pengamatan dan pendokumnetasian serta analisa interior objek penelitian, dipadukan dengan studi literature, diharapkan penelitian ini memberikan kontribusi pada teknik perancangan museum sebagai sebuah ruang public yang ergonomis dan interaktif menyenangkan bagi masyarakat
luas. Untuk pengembangan museum ke depannya, penelitian ini memberikan sumbangsih perihal teknik display yang baik dan bersahabat
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Juairiah, Juairiah. "Manajemen koleksi museum dan problematika pengelolaannya di Kalimantan Selatan pada era new normal." Berkala Ilmu Perpustakaan dan Informasi 18, no. 2 (December 1, 2022): 204–18. http://dx.doi.org/10.22146/bip.v18i2.4290.
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Introduction. Museum collection management is interesting to discuss because it is one of the main activities in museum management as an information institution with problems, especially in the new normal era of famous museums in South Kalimantan (Lambung Mangkurat Museum, Wasaka Museum, and Sultan Suriansyah Museum).
Research methods. This study uses a qualitative method by applying data collection techniques are: interviews, observations, and documents.
Data Analysis. The data analysis process includes data reduction, data presentation, and conclusions/verification.
Results and Discussion. In the new normal era, the Lambung Mangkurat Museum and Wasaka Museum have implemented the concept of museum collection management. In contrast, the Sultan Suriansyah Museum has not properly implemented the collection management concept. There were various problems in the management of museum collections and the solutions sought by each museum.
Conclusions and Suggestions. Lambung Mangkurat Museum, Wasaka Museum, and the Sultan Suriansyah Museum continue to manage museum collections in the new normal era according to their capacity. Therefore, it is recommended that the government pay more attention to coaching and competency development for museum collection managers and the need for an e-catalog system in all museums.
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Burlina, Elena. "From Bonn to Yekaterinburg: chronotope of the modern museum." KANT Social Sciences & Humanities, no. 7 (July 2021): 68–78. http://dx.doi.org/10.24923/2305-8757.2021-7.7.
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The article is devoted to the comparative analysis of innovative trends in domestic and foreign museums. The analysis is interdisciplinary and methodological in nature. The main purpose of the article is to show examples of fundamental changes and the communicative nature of museum forms, dictated by the massization of museums, which changed the quantitative and qualitative composition of the public. According to the author, the museum includes directing and design necessary for communication with the mass audience. In this aspect, the article analyzes the exposition principles of two museums located in different countries. The philosophical foundations of one of the most authoritative museum centers in Europe: the "House of German History" in Bonn are presented in the most detailed way. Noting the integrity of the exhibition in the "House of German History", the author identifies several key principles of the museum exhibition: including:"museum drama", "path", "local space" (chronotope). These staging techniques are comparable to the "Yeltsin Center": the path through 7 rooms is the basis of the exhibition. "Problem Rooms" and the chronotope "Paths" form a common dramatic concept. The scientific novelty of the article also lies in the substantiation of the connection between the museum's drama and mass character. The flow of visitors could not but influence the choice of techniques that are easily read by the mass audience.
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Dubois, Arnaud. "How to understand engineering sciences with the techniques of the body: The case of the bridges collection of the Musée des Arts et Métiers explained by circus acrobatics." Social Science Information 56, no. 2 (April 13, 2017): 254–69. http://dx.doi.org/10.1177/0539018417697387.
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In this article, I will examine an experimental mediation performed by acrobats at the Paris Musée des Arts et Métiers in May 2016. I will ask if body techniques can facilitate the public’s understanding of the abstract engineering sciences exhibited in a science and technology museum. Using the ethnographic study of this performance, I will ask if this new type of museum mediation opens up new research issues about technical gestures and helps us to blur boundaries between tangible and intangible heritage in the museum context. In doing so I try to redeploy the methods of analysis of museum collections and to contribute to the theoretical and methodological renewal of the history of technology. I show that this new way to mediate science and technology museum collections using body techniques and gestures produces a methodological indistinctness between intentionality and contingency that often marks the epistemological break between art, technology and science in western culture. This anthropological way of looking at museums of science and technology opens up new research issues not only for the museum’s scientific and technical heritage but also for the history of science and techniques.
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Canbakal Ataoğlu, Nihan. "Architectural Promenade and MAXXI Museum." Mimarlık Bilimleri ve Uygulamaları Dergisi (MBUD) 9, no. 1 (July 1, 2024): 492–509. http://dx.doi.org/10.30785/mbud.1456902.
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There exists disagreement over the content, purpose, and form of museums, which can be traced back to the Greek temples of antiquity. There is, however, consensus over how museums should be organized, display their art, and circulate their collection. Le Corbusier's concept of the promenade was defined to analyze the circulation setup of the MAXXI museum, which attracts attention with its design in contemporary museology. In this study, the components of the promenade setup for the MAXXI Museum were identified by analyzing photographic sequences taken from the perspective of a mobile observer. To bring out the current museum circulation design, the MAXXI Museum promenade layout was analyzed using spatial experiences, observations, syntactic analysis techniques, and semantic analysis. The purpose of the study is to shed light on how the circulation structure of modern spaces is changing through an analysis concept of a promenade. This brand-new museum area provides a spatial journey with surprises.
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Noviana, Eka, Uli Plank, and Eku Wand. "Museum Maya Indonesia: An immersive museum prototype for cultural education." SHS Web of Conferences 189 (2024): 01021. http://dx.doi.org/10.1051/shsconf/202418901021.
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The development of this virtual museum was a collaborative project of lecturers and students as an effort to create learning media about Indonesia’s cultural identity and history. This was practiced-based research that culminated in the creation of a high-fidelity prototype. Design thinking was used to realize ideas by considering existing problems. The empathize and define stages were conducted on 33 high school students to find out students’ insights about museums and their experiences in real or virtual museums. Visualization of objects with 3D photogrammetric techniques was used to achieve a realistic impression and a more immersive feeling. The museum also features audiovisuals, infographics, motion graphics, and animated objects. This prototype was tested directly on 12 students who were divided into three user groups, namely mobile phones, laptops, and VR. Mobile users experienced problems in accessing this museum, while laptop users managed to access the museum and had a very positive reaction. VR users felt a much more emotional experience. The test of a prototype in a school has shown that such a virtual museum will be attractive and engaging for students and schools, especially in remote areas, and should be further developed.
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Elfarargy, Mohammed, and Amr Rizq. "VirMuF: The Virtual Museum Framework." Scalable Computing: Practice and Experience 19, no. 2 (May 10, 2018): 175–80. http://dx.doi.org/10.12694/scpe.v19i2.1349.
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With the immergence of 3D object digitization technologies, many museums are digitizing their collections using 3D scanning, photogrammetry and other techniques. These large 3D collections are not only great for documentation and preservation, but they are also a great means for introducing these collections to a wider audience worldwide through virtual museums. However, developing Virtual Museums can be a costly process considering that it needs a team of talented software developers, 3D designers and other software/hardware tools. In this paper we present VirMuF (Virtual Museum Framework), which is a set of tools that can be used by non-developers to easily create and publish 3D virtual museums in a very short time. This way, Museum staff doing collection digitization can also publish 3D virtual museums to exhibit these collections. VirMuF is open-source; hence, teams including software developers can further extend VirMuF to fit their needs.
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Uribe, Bernardo, Luis Miguel Méndez, Andrés Tovar, Jean Pierre Charalambos, Olmedo Arcila, and Álvaro David López. "Mixed Reality Boundaries in Museum Preservation Areas." International Journal of Art, Culture and Design Technologies 3, no. 2 (July 2013): 63–74. http://dx.doi.org/10.4018/ijacdt.2013070105.
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The paper presents a work in the field of ‘mixed reality boundaries’ applied to the visualization of museum collections in order to display the collections ‘live’ as a way to extend virtually the preservation areas of museum collections. To achieve this goal, it was set out to integrate several virtual-studio techniques with multicasting IP in the web and the ‘tectonics’ of museums architecture were also redesigned to turn this sort of new infrastructure into what will be a new typology of mixed architectures for museum preservation areas. Dynamic lighting for Chroma-keying techniques were adapted to the real time applications and a MR J3D collision tool was added to the remote motion control of the video camera´s 3d scene live navigation.
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Wulandari, Anak Agung Ayu, Ade Ariyani Sari Fajarwati, and Fauzia Latif. "The Relationship of Exhibition Space Design and the Success of Delivering Messages to Museum Visitors in Jakarta." Humaniora 8, no. 3 (October 19, 2017): 219. http://dx.doi.org/10.21512/humaniora.v8i3.3634.
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The research explored exhibition space designs, particularly the interior design elements such as circulation, lighting, and display techniques to find out whether the design elements corresponded the design principles and to find out which museum had the most ideal exhibition design that was able to deliver exhibition messages to the audience. The research applied qualitative method with case study approach in three museums in Jakarta, those were National Museums, Bank of Indonesia museum, and museum of Fine Art and Ceramic as case studies and qualitative data collecting methods through observations to get real-settings information. Data analysis and comparison of various interior elements shows that from the three case studies only Bank of Indonesia Museum has an integrated exhibition space using various interior elements; circulation and lighting design as well as display technique that support the success of a museum to deliver exhibition messages to their visitor. It can stimulate visitors senses visually, auditory, and kinetic.
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Kolaříková, Veronika. "How to research the concept of national identity with child respondents in museum research." Opuscula Musealia 28 (June 15, 2022): 57–76. http://dx.doi.org/10.4467/20843852.om.21.003.15504.
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Museums have been closely linked to national identity since the 19th century. Currently, museums have to cope with the ways they present themselves to visitors properly. Therefore, national identity in a museum has become the centre of research attention. Children are a large group of visitors who come into contact with the national narrative in museums. Involving children in the research of the concept of national identity constructed in the museum can bring many interesting findings. However, research with children is difficult. Especially for beginning researchers or museum staff, who do not have in-depth experience with qualitative research. Thus, the aim of the study is to present possible ways of researching national identity with children. Attention will be drawn to the discussion of which variables and which data collection techniques are possible to examine national identity and it’s concept with children.
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Ji, Jin Bao, Wei Ming Yan, and Qian Zhou. "Seismic Damage Causes and Strengthening Methods of Museum Free-Standing Cultural Relics." Applied Mechanics and Materials 351-352 (August 2013): 1558–62. http://dx.doi.org/10.4028/www.scientific.net/amm.351-352.1558.
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To protect museum cultural relics, seismic damage causes as well as aseismic strengthening methods of free-standing museum cultural relics were studied in this paper. Museums, cultural relics and their bases were all considered to study causes of damage of free-standing relics. Shortages of typical domestic aseismic methods were discussed, overseas isolation techniques were introduced. Based on 2 typical examples, reasonable strengthening methods for museum cultural relics were further demonstrated. Results show that main damage causes of museum cultural relics under earthquakes relate closely to over strong earthquake intensity, shortage of strengthening measures of relic, destruction of showcase or museum building and so on; museum, showcase and relic are all important factors for aseismic strengthening of the relics. Besides, to effectively protect the relics, traditional strengthening methods have to be improved; development as well as application of new isolation devices is encouraged.
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Syaffa Prameyswari, Christian Wiradendi Wolor, and Marsofiyati Marsofiyati. "Analisis Evaluasi Sistem Keamanan Pada Museum Bank Indonesia." Jurnal Ilmu Manajemen, Ekonomi dan Kewirausahaan 4, no. 1 (January 3, 2024): 151–63. http://dx.doi.org/10.55606/jimek.v4i1.2678.
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The main problem discussed is the Evaluation Analysis of the Security System at the Bank Indonesia Museum based on the standards set by the International Council of Museums (ICOM) and the Indonesian Museum Handbook. This research uses a descriptive evaluative method with a qualitative approach, namely analyzing and assessing museum security. Data collection techniques are carried out by means of observation, interviews, documentation, and reviewing literature studies. The theory used is the museum security system and evaluation of the implementation of museum security. Based on the results of the research that has been carried out, it has been found that there are advantages and disadvantages in the security system of the Bank Indonesia Museum, including the advantage that the Bank Indonesia Museum has minimal threat of theft because there are guards in each collection, and most of the security systems meet standards. security supporting infrastructure, namely that there are still deficiencies in human resources and in terms of technology that can threaten building security.
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AL SAAD, Ziad, and Sana AZAIZEH. "RE-ESTABLISHING CONTEXT OF "ORPHANED" MUSEUM OBJECTS THROUGH SCIENTIFIC INVESTIGATION. A CASE STUDY FROM THE MUSEUM OF JORDANIAN HERITAGE." International Journal of Conservation Science 14, no. 1 (March 15, 2023): 75–82. http://dx.doi.org/10.36868/ijcs.2023.01.06.
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Many objects in museum collections have no or inadequate information on their origin and archaeological evidence. These objects which are classified as unprovenanced or "Orphaned" represent a big ethical and technical challenge for the museums. Re-establishing the context of these objects by scientific research proves to be the best option for museums. This study main aim is to present a testing protocol that can be used to reestablish the context and determining the provenance of unprovenanced museum objects. The testing protocol was applied on a rare copper-based cauldron from the collection of the Museum of Jordanian Heritage. The object rough date, function, provenance and manufacturing technology were determined by employing an array of scientific techniques: Optical microscopy inductively coupled plasma, optical emission spectroscopy (ICP-OES), reflected microscopy and lead isotopes analysis. The obtained results enabled the museum to transfer the object from the neglect of the storeroom to its main exhibition hall.
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Alina, Koroleva, and Smolskaya Elena. "Сadiz Museum and its Communication Strategy." Latin-American Historical Almanac 29 (March 26, 2021): 174–95. http://dx.doi.org/10.32608/2305-8773-2021-29-1-174-195.
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During lockdown 2020, museums reacted by attempting to digitally offer everything that had previously been done in the museum space. The testing of tools and resources, as well as new forms of communication and participatory techniques, leads us to a hybrid museum where virtuality is combined with physical presence. The new reality has intensified the current discussions about the museum as a socio-cultural institution, a new definition of the concept of a museum, about the relationship between entertainment and educational forms of interpretation of heritage. Along with an overview of key research trends and methodological approaches in the field of heritage, the article presents the results of the analysis of social networks of the Museum of Cadiz, based on a methodological approach to planning and evaluating integrated communications - the PESO model, which separates the channels of information dissemination into paid, earned, social and owned. The Cadiz Museum was not chosen as an object of research by chance, since even before the pandemic, its digital communications stood out strongly against the background of other Spanish museums of different levels. It is possible that they managed to achieve this due to the fact that they made their pages on Instagram, Facebook and Twitter not only the showcase of the museum, but also the very entrance to the museum. Social networks for the Museum of Cadiz are the only channel with which he can independently work. The official pages of the Museum of Cadiz, during the pandemic, were analyzed for the period from March 12 (the announcement of the closure of museums) to August 31, using the Russian automated service for analytics of brand communities in social networks, JagaJam. The data is compared with the same period in 2019 (except for Twitter, for which there is no data).
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Natarajan, Srikant, Jyoti Ranjan, and Karen Boaz. "Museum mounting techniques: Revisited econo-mode." Indian Journal of Pathology and Microbiology 55, no. 2 (2012): 260. http://dx.doi.org/10.4103/0377-4929.97902.
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Belal, Mayada, Nievin Nizar, Ussama Abd El Wareth, and Fatma Ahemd Soliman. "Museum Techniques for Educational Tourism Visitors." International Journal of Eco-Cultural Tourism, Hospitality Planning and Development 4, no. 1 (June 1, 2021): 49–71. http://dx.doi.org/10.21608/ijecth.2021.187029.
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Vrana, Vasiliki G., Dimitrios A. Kydros, Evangelos C. Kehris, Anastasios-Ioannis T. Theocharidis, and George I. Kavavasilis. "Top Museums on Instagram." International Journal of Computational Methods in Heritage Science 3, no. 2 (July 2019): 18–42. http://dx.doi.org/10.4018/ijcmhs.2019070102.
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Pictures speak louder than words. In this fast-moving world where people hardly have time to read anything, photo-sharing sites become more and more popular. Instagram is being used by millions of people and has created a “sharing ecosystem” that also encourages curation, expression, and produces feedback. Museums are moving quickly to integrate Instagram into their marketing strategies, provide information, engage with audience and connect to other museums Instagram accounts. Taking into consideration that people may not see museum accounts in the same way that the other museum accounts do, the article first describes accounts' performance of the top, most visited museums worldwide and next investigates their interconnection. The analysis uses techniques from social network analysis, including visualization algorithms and calculations of well-established metrics. The research reveals the most important modes of the network by calculating the appropriate centrality metrics and shows that the network formed by the museum Instagram accounts is a scale–free small world network.
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Wang, Siyi. "Museum as a Sensory Space: A Discussion of Communication Effect of Multi-Senses in Taizhou Museum." Sustainability 12, no. 7 (April 10, 2020): 3061. http://dx.doi.org/10.3390/su12073061.
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Museums are much more than repositories of cultural relics to be preserved for the future. They are centers of learning, community centers, social hubs—even places of healing and contemplation. The museum experience is a multilayered journey that is proprioceptive, sensory, aesthetic and social. In this context, this study takes the case of the ‘People at the Seashore’ multisensory area in the folk exhibition of Taizhou Museum, applies three data collection techniques (questionnaire, in-depth interview and observation) to assess various types of experiences (object, cognitive, social and introspective) and effects (visceral, cognitive and emotional) in the museum, and analyzes the practical effect and relative merits of the multisensory approaches used in this exhibition through the lens of communication effect. Accordingly, multi-senses acquire creative significances upon the attractive and holding power of museum exhibitions, specifically the emotional relevance and resonances. Thus, museums should be more concerned with the connection and complex interaction between senses and experience, meanwhile be active with visual, auditory, olfactory, taste and proprioceptive experiences and engage in the potential impact on visitors from cognitive and emotional aspects, which is an important trend for the museum’s future development and also the vision of this study.
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Gaweł, Łukasz. "Museums without Visitors? Crisis of the Polish Museums during the COVID-19 Pandemic and Their Revival under the Digital Experience Offer." Sustainability 15, no. 15 (August 1, 2023): 11844. http://dx.doi.org/10.3390/su151511844.
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Museums, as many other organisations, froze during the lockdown. Museums offer insights into varying cultures and since no forms of culture can sustain without the engagement of audiences, participants, or visitors, the lockdown forced by the pandemic compelled museum authorities to look for new ways to reach audiences and establish relationships with them, thereby facilitating previously untapped forms of cultural participation. This worldwide experience of the pandemic undoubtedly accelerated the digital transformation of the entire cultural sector. To what extent these new opportunities have changed the forms of participation in the cultural realm remains an open question. This current research carried out in some of the largest Polish museums allowed us to conclude that the pandemic period saw a significant leap forward in terms of the involvement of digital technologies in popularising museum collections, as well as in seeking contact with audiences at various levels. At the same time, the reopening of museums resulted in increased attendances on an unprecedented scale. It could be said that the pandemic made us realise how global threats can, in a short span of time, take away the possibility of enjoying traditional forms of cultural participation, but at the same time enable the development of digital technologies that can significantly contribute to the popularisation of museum collections or exhibitions. This research was designed to find out whether museum audiences wanted a change in the way they experience the collections and exhibitions held in museums, and whether the digital experience created during the pandemic was attractive enough to compete with a personal visit to an art gallery. The results of the research clearly indicated that despite the rich digital experience offered in Polish museums, viewers still stated a desire to return to a “real museum”. The pandemic allowed the museum authorities to learn novel administration techniques and numerous technological solutions that were previously never used have now become a permanent feature of regular museum operations. However, the reaction of the audiences after the lockdown was clear: they still wanted to enjoy traditional forms of cultural participation, valuing above all the possibility of personal contact with an original work of art in a museum gallery.
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Rangel-de Lázaro, Gizéh, Adrián Martínez-Fernández, Armando Rangel-Rivero, and Alfonso Benito-Calvo. "Shedding light on pre-Columbian crania collections through state-of-the-art 3D scanning techniques." Virtual Archaeology Review 12, no. 24 (January 19, 2021): 1. http://dx.doi.org/10.4995/var.2021.13742.
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<p class="VARAbstract">During the 19<sup>th</sup> and 20<sup>th</sup> centuries, numerous museums, scientific societies, and royal academies were founded in Europe and America. In this scenario, the Anthropological Museum Montané was founded in Havana, Cuba. Its collection has grown over the years, thanks to researchers, antiquarians, and amateurs. Since its foundation, the Museum Montané has become an essential institution for anthropological and archaeological research in the region. Nowadays, the Museum Montané, like other museums in developing countries, faces a challenge in the introduction of state-of-the-art technologies to digitizing exhibits and the creation of innovative projects to attract visitors. The current possibilities of virtualization of cultural heritage using digital technologies have a favorable impact on the preservation, access, and management of museum collections. The use of three-dimensional (3D) models fosters engagement with visitors, stimulates new forms of learning, and revalorizes the exhibits. In the current study, we use a hand-held structured light scanner to create 3D reality-based models of pre-Columbian crania from the Caribbean and South American collection of the Anthropological Museum Montané. The resulting 3D models were used for producing 3D printing replicas and animated videos. The 3D resources derived will encourage new knowledge through research, and provide broader access to these pre-Columbian crania collection through learning and outreach activities. The significance of digitizing these specimens goes beyond the creation of 3D models. It means protecting these fragile and valuable collections for future generations. The methodology and results reported here can be used in other museums with similar collections to digitally document, study, protect, and disseminate the archaeological heritage. Going forward, we seek to continue exploring the application of novel methods and digital techniques to the study of the pre-Columbian crania collections in Latin American and the Caribbean area.</p><p class="VARAbstractHeader">Highlights:</p><ul><li><p>A hand-held structured light scanner was used to acquire 3D reality-based models of pre-Columbian crania. The 3D models resulting were used for 3D printing replicas and 3D animations.</p></li><li><p>This study provides unprecedented 3D reconstructions of pre-Columbian crania in the Caribbean area, and new 3D reconstructions of artificially deformed crania from South America.</p></li><li><p>The 3D resources created will encourage new knowledge through research, and provide broader access to these pre-Columbian crania collection through learning and outreach activities.</p></li></ul>
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López-Martínez, Alejandro, Álvaro Carrera, and Carlos A. Iglesias. "Empowering Museum Experiences Applying Gamification Techniques Based on Linked Data and Smart Objects." Applied Sciences 10, no. 16 (August 5, 2020): 5419. http://dx.doi.org/10.3390/app10165419.
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Museums play a crucial role in preserving cultural heritage. However, the forms in which they display cultural heritage might not be the most effective at piquing visitors’ interest. Therefore, museums tend to integrate different technologies that aim to create engaging and memorable experiences. In this context, the emerging Internet of Things (IoT) technology results particularly promising due to the possibility of implementing smart objects in museums, granting exhibits advanced interaction capabilities. Gamification techniques are also a powerful technique to draw visitors’ attention. These often rely on interactive question-based games. A drawback of such games is that questions must be periodically regenerated, and this is a time-consuming task. To confront these challenges, this paper proposes a low-maintenance gamified smart object platform that automates the creation of questions by exploiting semantic web technologies. The platform has been implemented in a real-life scenario. The results obtained encourage the use of the platform in the museum considered. Therefore, it appears to be a promising work that could be extrapolated and adapted to other kinds of museums or cultural heritage institutions.
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Elena Nikolaevna, Mastenitsa. "Theatricalization in a literary museum: principles and forms." Vestnik of Saint Petersburg State University of Culture, no. 2 (51) (2022): 99–106. http://dx.doi.org/10.30725/2619-0303-2022-2-99-106.
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The article is devoted to the consideration of the basic principles and forms of theatricalization in a literary museum. The dubitability and variability of the interpretation of the concepts of «theatricalization» and «theatricality» are noted. About the museum theatricalization, the principles of constructing an exposition based on dramaturgy («plot») are revealed; bringing expressive means and techniques from the field of theatrical action and other types of entertainment into the structure of the museum exposition; expansion of the exposition space by holding performances, art actions, theatrical excursion and performances within its walls. The revealed variety of forms of theatricalization indicates that literary museums actively use them in the process of presenting and interpreting the literary heritage to the public.
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Permana, Aa. "Pelayanan Pengunjung Disabilitas pada Museum Geologi dan Museum Konferensi Asia Afrika di Kota Bandung." Tourism Scientific Journal 9, no. 2 (June 11, 2024): 210–20. http://dx.doi.org/10.32659/tsj.v9i2.353.
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This study is entitled "Disability Visitor Service at the Museum of Geology and Museum of the Asia Africa Conference in the Bandung City". This study seeks to find a discussion of museum services for persons with disabilities that substantively refer to the service quality concept revealed by Zeinthaml in 2006 consisting of (1) Tangibles, (2) Empathy, (3) Responsiveness, (4) Reliable and (5) Assurance, and performed at the Museum of Geology and the Museum of Asia Africa. This research uses a qualitative method approach. A qualitative approach is considered by researchers to be very appropriate in providing a holistic picture of the existing reality data. Data collection was performed using observation techniques, in- depth interviews, and documentation. Data analyzed was using the stages described by Miles and Huberman (1992: 16). Based on research, a conclusion can be drawn that both museums have all aspect studied for disabilities tourists. Broadly speaking, the Museum of Geology already has infrastructure and services that prepared for disabilities tourists, meanwhile the Museum of Asia Africa still has a variety of obstacles and minimal infrastructure will be aimed for disabilities tourists with some rules procedure and condition.
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Roederer, Claire, and Marc Filser. "Revisiting the museum experience." Qualitative Market Research: An International Journal 21, no. 4 (September 10, 2018): 567–87. http://dx.doi.org/10.1108/qmr-01-2017-0002.
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PurposeThis paper aims to contribute to the area of museum experience research, by exploring how consumers build stories to tell different experiences generated from a visit to a museum and by viewing these inductive findings in the light of recent research on consumption experiences (Lanier and Rader, 2015).Design/methodology/approachA qualitative study is conducted. Twenty-three narratives were analysed relating a visit to ZKM museum in Karlsruhe (Germany) using narrative analysis techniques, as they are suitable to capture sensations, emotions and feelings.FindingsZKM museum emerges from the analysis of the narratives as a cradle for stochastic experiences (Lanier and Rader, 2015). The narratives develop several episodes that correspond to performance and liberatory experiences. A reconceptualization of the museal experience is proposed as a mesh of performance, stochastic or liberatory episodes, that capture the subject’s perspective.Research limitations/implicationsThe study was limited to students who were 19-23 years of age and to one museum. Future research should include a wider age group and other museums.Practical implicationsThe findings provide useful insights for curators, educators and exhibit designers staging museal experiences.Social implicationsThe findings provide a better understanding of different experiences occurring in the same experiential context and their meaning from the subject’s perspective.Originality/valueLanier and Rader (2015) typology has not yet been tested in a museal context. The findings suggest that the same context can generate a set of various episodes (performance, liberatory, stochastic) within a given experience. From a methodological perspective, the results show that qualitative approaches are relevant to segment the museal offer based on sought experiences.
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Ganavi, BS. "The Museum Maze in Oral Pathology Demystified—Part I." Journal of Contemporary Dental Practice 14, no. 4 (2013): 770–76. http://dx.doi.org/10.5005/jp-journals-10024-1401.
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ABSTRACT Museum technologies provide a wide array of choice of museums to those who wish to exploit technology to attract, excite and ensure an unrivalled visitor experience, as well as capture and sustain share of mind and heart. Museum being a combination of both art and science requires skilled workmanship, meticulous planning and execution to exhibit a specimen to its optimal elegance due to its relatively smaller size and fragile nature. A well established oral pathology museum is rarely seen due to negligence of oral specimens, dearth of knowledge in this field and also available data on it. An insight on oral pathology museum, including its establishment, importance and advanced technologies to make it more simple and accessible are discussed in two parts. Part I emphasizes on basics in oral pathology museum, whereas part II highlights the specialized techniques and recent advances in museum technology. Our effort is to present this article as hands on experience for the pathologists, student population and the technicians. How to cite this article Patil S, Rao RS, Ganavi BS. The Museum Maze in Oral Pathology Demystified—Part I. J Contemp Dent Pract 2013;14(4):770-776.
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Berrett, Marilyn. "Book Review: Museum Movement Techniques: How to Craft a Moving Museum Experience." Journal of Dance Education 7, no. 3 (July 2007): 95–96. http://dx.doi.org/10.1080/15290824.2007.10387344.
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Tay, Michael A. "Problems in the Curation of Fossil Marine Reptiles." Geological Curator 4, no. 2 (April 1985): 65–67. http://dx.doi.org/10.55468/gc737.
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The majority of the large fossil marine reptiles stored in British museums are ichthyosaurs, plesiosaurs and crocodiles collected from the Liassic beds of England. Many of these specimens were recovered during the nineteenth century from manually operated quarries, especially those at Street in Somerset and at Barrow-on-Soar in Leicestershire. Others came from coastal exposures at Lyme Regis, or at Whitby where there were also large alum shale quarries (Howe e^ �l. 1981; Benton and Taylor 1984). Many of the more complete skeletons are now in the major collections held by the British Museum (Natural History), Oxford University Museum, and the Sedgwick Museum, Cambridge. The remainder, however, are scattered throughout the provincial museums of Britain and Ireland and often form the bulk of their fossil reptile collections. Virtually every specimen suffers from one of the three most prevalent problems affecting such fossils: poor data, poor standards of preparation and poor display techniques. In discussing these problems, those aspects peculiar to marine reptiles will be examined.
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Puritat, Kitti, Phimphakan Thongthip, Wanvimol Nadee, Orasa Sirasakamol, and Sumalee Sangamuang. "Virtual Reality Locomotion in Place for Virtual Museum Exhibitions of Culture Heritage: Comparing Joystick Controller, Point & Teleport and Arm Swinging." International Journal of Emerging Technology and Advanced Engineering 12, no. 8 (August 2, 2022): 91–99. http://dx.doi.org/10.46338/ijetae0822_12.
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Locomotion methods are user interaction approaches that assist users in navigating the virtual environment when using virtual reality display device of HMDs (head-mounted displays). Most previous studies have been focused on the locomotion techniques with joystick and teleport in general and gaming context. However, there are lack study of locomotion techniques in virtual museum for context of culture heritage. In this study, this paper presents a comparative evaluation with sixty participants of the three locomotions: Joystick Controller, Point & Teleport and Arm Swinging to measure sickness, presence and flow state. In order to evaluate, this paper developed the virtual museum of Himmapan animals (https://angkaew.com/Hinmapan_vr/) which consisted of digital paint art, digitization objects, animation and digitization books. The results showed that Point & teleport less sickness of nausea than other techniques and Point & teleport also highest in perceived enjoyment than other techniques. However, we found no significant difference in presence. Finally, this paper suggested implementing Point & Teleport locomotion techniques in the application of virtual museums
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Ding, Lilan, and Nurul Hanim Romainoor. "A study on the perception of Sichuan Museum tourism experience based on web text analysis." Journal of Social Science and Humanities 5, no. 5 (October 30, 2022): 1–9. http://dx.doi.org/10.26666/rmp.jssh.2022.5.1.
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Museum tourism forms a key element of cultural tourism. Museums are a microcosm of local culture, allowing tourists a window into local history, culture and characteristics in a time and physical space. Using the Sichuan Museum as a case study, this paper uses Python data mining techniques to crawl a total of 4332 visitor web reviews. The text content analysis method was used to explore the characteristics of visitor perceptions of their experience during the Sichuan Museum tour. The results revealed that visitors' behavior is mainly characterized by the following four aspects: "visiting, feeling, learning and taking photos". 73.12% of visitors' reviews showing positive emotions, 18.32% of reviews revealing neutral emotions and only 8.56% of visitor reviews containing negative emotions.
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Sabadash, Juliia, and Nataliia Marakhovska. "Training of museum studies experts and educators: design and implementation of the integrated certificate programme." Bulletin of Mariupol State University Series Philosophy culture studies sociology 12, no. 23 (2022): 110–20. http://dx.doi.org/10.34079/2226-2849-2022-12-23-110-120.
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The aim of the study is to explore the peculiarities of obtaining the qualification of a museum studies expert and educator by higher education seekers within the framework of the integrated certificate program “Museum pedagogy”. The article describes domestic and foreign experience of training specialists for the integrated field of museum pedagogy. The analysis of the scientific literature shows that while defining a museum educator researchers give primary importance either to museum or pedagogical component of their work. Therefore, the authors provide a comprehensive definition for a specialist in the field of museum pedagogy in the paper. It is shown that a museum studies expert and educator is able to combine cultural and pedagogical expertise and skills, develop teaching technologies through museums, design a museum-educational environment, experiment with museum and pedagogical methods and techniques. The content of the two-year certificate programme designed and implemented on the basis of Mariupol State University is comprised of ten three-credit academic disciplines, inter alia,“Museum Studies”, “History of Arts”, “Cultural Studies”, “Preservation of Historical Monuments of Ukraine”, “Practicum on Perception of Contemporary Art”, “Modern Museum Communications”, “Museum Didactics”, “Methodology of Museum Education”, “Art Pedagogy” and “Pedagogical Practicum”. In the focus of the programme are: acquisition of theoretical knowledge in museum studies, familiarisation with museum development in Ukraine and all over the world; enhancing the understanding of cultural and art orientations; development of skills to design and organise the educational process in institutions of general secondary education by means of museum pedagogy, and create a museum-educational environment. The paper gives rationale for the core competencies for a prospective museum studies expert and educator, enumerates the learning outcomes of the integrated certificate programme. The authors provide the requirements for text and visual content of the programme presentation.
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Ahmad, Shamsidar, Mohamed Yusoff Abbas, Wan Zaiyana Mohd. Yusof, and Mohd Zafrullah Mohd. Taib. "Creating Museum Exhibition: What the public want?" Asian Journal of Behavioural Studies 3, no. 11 (May 19, 2018): 27. http://dx.doi.org/10.21834/ajbes.v3i11.98.
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The purpose of this paper is the identification of issues from the perspective views of museum scholars and experts toward creating direction in developing museum exhibitions in Malaysia for public learning. Recently, museums have developed a strong interest in technology as their path more towards of leisure industries. However, there are contradicting opinions arising between using “traditional” approach and “interactive” technology exhibition techniques for visitor learning. This paper initiates a search for such literature and identifies key concepts for further deliberations. Finally, these findings are intended to formulate the best-practice on learning “tool” in a museum exhibition practice.Keywords: Museum; museum learning and museum exhibition. eISSN 2398-4295 © 2018. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. http://dx.doi.org/10.21834/ajbes.v3i11.98
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Inzerillo, L. "SMART SfM: SALINAS ARCHAEOLOGICAL MUSEUM." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W5 (August 18, 2017): 369–74. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w5-369-2017.
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In these last years, there has been an increasing use of the Structure from Motion (SfM) techniques applied to Cultural Heritage. The accessibility of SfM software can be especially advantageous to users in non-technical fields or to those with limited resources. Thanks to SfM using, everyone can make with a digital camera a 3D model applied to an object of both Cultural Heritage, and physically Environment, and work arts, etc. One very interesting and useful application can be envisioned into museum collection digitalization.<br><br> In the last years, a social experiment has been conducted involving young generation to live a social museum using their own camera to take pictures and videos. Students of university of Catania and Palermo were involved into a national event #digitalinvasion (2015-2016 editions) offering their personal contribution: they realized 3D models of the museums collection through the SfM techniques. In particular at the National Archaeological Museum Salinas in Palermo, it has been conducted an organized survey to recognize the most important part of the archaeological collection. It was a success: in both #digitalinvasion National Event 2015 and 2016 the young students of Engineering classes carried out, with Photoscan Agisoft, more than one hundred 3D models some of which realized by phone camera and some other by reflex camera and some other with compact camera too. The director of the museum has been very impressed from these results and now we are going to collaborate at a National project to use the young generation crowdsourcing to realize a semi-automated monitoring system at Salinas Archaeological Museum.
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DENG, YIXIAO, and Jin Woo Lee. "The Sentiment Analysis of Museum Brand Personality: Focused on Visitor Reviews of the Beijing Palace Museum." Korean Society of Culture and Convergence 45, no. 6 (June 30, 2023): 583–95. http://dx.doi.org/10.33645/cnc.2023.06.45.06.583.
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This study aims to conceptualize the scale of brand personality for museums, and to understand the dimensions and attributes contributing to that scale. To achieve this, we reconstructed the brand personality scale proposed by Aaker(1997), incorporating the unique characteristics of museums through a critical review of previous research in this domain. Thereafter, we collected a total of 10,805 visitor reviews of the Beijing Palace Museum from an online platform (Dianping.com). The collected data were analyzed by considering sentiment analysis based on text mining techniques, enabling us to identify the dimensions and attributes of museum brand personality that elicit positive or negative reviews. The findings indicate that visitor reviews expressing favorable opinions regarding the museum's brand personality are closely associated with the dimensions of “Sophistication” and “Competence” exhibited by the cultural institution. Furthermore, negative opinions were found to be attributed to visitor fatigue from the vast exhibition space and the implemented epidemic prevention procedures within the institution. This study holds academic significance as it presents a measurement framework for exploring the brand personality of museums, serving as a foundation for understanding the visitor experience.
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Moh Rahmat Fauzi Hamka, Misnah, Nuraedah, and Juraid Abdul Latief. "Utilization of Museum Collections as Media for Learning History at Ma Al-KhairatBatusuyaGo'o." Journal of Scientific Research, Education, and Technology (JSRET) 2, no. 3 (July 9, 2023): 964–76. http://dx.doi.org/10.58526/jsret.v2i3.171.
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This research aims to determine the use of museums as learning resources, learning media, and the role of historical teachers in introducing museum collections as historical learning media. This research applied a qualitative descriptive research design through several stages of data collection techniques, which are observations, interviews and documentation. The results of this research indicated that the use of museums as a history of learning media had been going well. Visiting museums provide new insights and knowledge to students so that students are more active and their interest in learning about local history is higher. However, the implementation had not been optimal and there were still some obstacles generally experienced by teachers who were the unavailability of a specific time given regarding visiting museums, and the difficulty of coordinating students when visiting the UPT Cultural Park and Museum. There are also some obstacles experienced by students which are incomplete information and explanations from several collections stored at UPT Cultural Park and Museum so that students find it difficult to understand what they observe. In other words, museums as learning media in history subjects can increase student enthusiasm for learning because visiting museums provides new insights and knowledge to students so that students are more active, interested, and motivated to learn about local history even though there were several obstacles faced by both students and teachers.
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Hetherington, Kevin. "Museum." Theory, Culture & Society 23, no. 2-3 (May 2006): 597–603. http://dx.doi.org/10.1177/0263276406023002107.
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Through analysis of a critical engagement between Blanchot and Malraux on the museé imaginaire, it becomes apparent that both were seeking to understand the relationship between the museum and experience within modernity. This short article seeks to develop these ideas and to understand the museum as a key institutional space of modernity implicated in addressing the changing character of experience in the present. Following Benjamin's distinction between experience as Erfahrung and Erlebnis, the essay argues that the museum has always sought to offer a fabricated sense of Erfahrung through its narrative and display techniques and that this facilitates a distracted mode of reception that is now prominent within contemporary cultural life. Through this we can see that the idea of the museé imaginaire is still a prescient one, but it has moved from the virtual space of the photographic art book to the simulated culture of the museumified city in general.
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Ermolenko, Elena V. "Daylighting in a Space of a Modern Museum: Light Core." Light & Engineering, no. 04-2023 (August 2023): 57–64. http://dx.doi.org/10.33383/2022-112.
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Based on the analysis of a number of the newest museums and museum complexes, one of the most striking and significant architectural techniques for building a daylighting system is presented, which received the name “light core” in the study. Sunlight acts as a focused, dense, and narrowly directed stream when this technique is using. The light core is the most important tool for shaping and creating a unique atmosphere of the interior space of a modern museum, especially in its public and recreational parts. On the examples of the works of T. Ando, M. Botta, D. Libeskind, R. Piano, F. Romero, as well as the architectural bureaus Ennead Architects, Perkins+Will show options for constructing and accentuating the light core in the main public spaces of the museum, as well as in the exhibition halls.
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Astuti, Ika Asti, and Ahmad Subekti. "APPLICATION LIDAR AND POINT CLOUDS FOR 3D MODELING OF MUSEUM OBJECT." Jurnal Riset Informatika 4, no. 4 (September 6, 2022): 385–90. http://dx.doi.org/10.34288/jri.v4i4.436.
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A museum is an institution intended for the general public that collects, cares for, presents, and preserves the community's cultural heritage for study, research, and pleasure or entertainment. The museum is undoubtedly one of the educational places for the community because it has many historical objects. It provides an opportunity to make the museum a vital place to be developed in a virtual form, such as Augmented Reality or Virtual Reality. However, one problem in developing virtual media is the 3D modeling of objects for interior design in museums. LiDAR (Light Detection And Ranging) is a near real-time 3D positioning technology. A point cloud collects data points in a 3D coordinate system, generally defined by x, y, and z coordinates. Both of these technologies can be used to create 3D object models quickly. The final result of this research is applying LiDAR & point cloud as a 3D modeling technique and assessing the accuracy of using these techniques for 3D modeling of the museum object
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Buijs, Cunera. "Museum collection decolonization and indigenous cultural heritage in an island community: East Greenland and the ‘Roots 2 Share’ Photo Project." Island Studies Journal 11, no. 2 (2016): 537–60. http://dx.doi.org/10.24043/isj.366.
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The Roots 2 Share project, a collaboration between two Dutch and two Greenlandic museums, was established to share museum collections and photographs housed in the Netherlands with the Tunumiit people of East Greenland. The Tunumiit regard the collections in the Netherlands as belonging to their cultural heritage, yet the Dutch maintain authority over the collections, leading to imbalanced power relations. This unequal relationship has its basis in museums’ colonial pasts and hinders the sharing and exchange of cultural heritage. As an island, Greenland is often regarded as the periphery in contrast to mainland centres of Denmark. Physical and cultural distance, as well as a power imbalance, prevent the Tunumiit of East Greenland from reconnecting with museum collections containing their own indigenous cultural heritage. The Roots 2 Share project was set up using the internet to overcome this distance, exploring new possibilities and techniques for providing access and giving indigenous communities a voice. New means of open communication, sharing authority, cooperation and exchange, and providing space for alternative stories may facilitate a decolonization of museum collections in island communities.
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AbuElEnain, EmadEddin Ahmed. "The Role of Virtual Museums in Restarting Tourism Post- Covid19." Al-Adab Journal 1, no. 142 (September 15, 2022): 79–100. http://dx.doi.org/10.31973/aj.v1i142.1805.
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Virtual museums are designed as interactive websites in which information is communicated smoothly by allowing the possibility of 3Dvirtual tours in the museum and obtaining information through a database. These websites represent virtual entities in order to display a number of museum holdings that exist in different places with the possibility of commenting on them. Additionally, these museums rely on digital audio and visual technologies created on the Internet with the aim of promoting a museum. It is possible that this museum does not have a real presence on the ground to preserve artifacts like paintings, pottery, and sculptures and the like.
The current study explores this new boom (the era of electronics, computers, the international information network, e-mail and other achievements and developments that made it easier for people to obtain high speed and accurate information about any place, from their homes). The use of modern technologies has an important and pivotal role in distinguishing the work of the tourist guide, especially by relying on virtual reality techniques that contribute effectively to simulating the natural reality of tourist attractions. The main aim of this study is to focus on how to improve virtual museums to help people with special needs and qualifying tourist guides in the use of modern technologies, scientific tourism, and educational, academic and artistic museums. These museums contain an integrated virtual electronic guide that contains all the information related to tourist attractions and archaeological sites that could be useful for tourists.
The research then investigates potentialities of working to increase the average number of nights of residence, by expanding the base of tourist attractions of all kinds to overcome the problem of seasonality and reducing the prices to encouraging incentive tourism and holding carnival shows to attract tourists to spend more days and nights in the tourism destination.
This research first examines relevant literature on possibility to develop virtual museums’ important and pivotal role in spreading the culture of tourism and the development of the tourism processes from the traditional towards the modern style that depends on artificial intelligence techniques. Findings revealed that modern technologies have an important and pivotal role in the development of tourism and facilitate the processes of museums to integrate practical reality with virtual reality. The study provides recommendations that could encourage more tourists to enjoy their visit and improve marketing efforts, to increase the number of visitors of tourist destinations.
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Setiawan, Aditya Sugih, and Gratia Wirata Laksmi. "Efektivitas Komunikasi Museum Perjuangan sebagai Wisata Sejarah Terhadap Zilenial." Santhet (Jurnal Sejarah Pendidikan Dan Humaniora) 7, no. 1 (April 25, 2023): 36–45. http://dx.doi.org/10.36526/santhet.v7i1.2522.
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The Perjuangan Museum was founded on November 10, 1957, to pass on the spirit and fighting spirit of the 45 values to future generations. However, tourist visits to the struggling museum are not as busy as other history museums in the city of Bogor, such as the Map Museum. Travelers especially zilenial. One of the current problems is that millennial tourists are indirectly less interested in visiting the Perjuangan Museum. This could be motivated by the lack of optimal communication from the Perjuangan Museum. The purpose of this study is to identify the elements of communication effectiveness from the Museum Perjuangan as historical tourism for the zilenial generation. This research was carried out at the Bogor City Perjuangan Museum. The research method uses descriptive qualitative. Meanwhile, data collection techniques refer to observation, in-depth interviews, and literature studies. The research variables using communication effectiveness can be seen from the elements of the communication process namely Credibility, Context, Content, Clarity, Continuity and Consistency, Channel, and Capability of the audience. Qualitative data analysis consists of three streams of activities that occur simultaneously, namely data reduction, data presentation, and drawing conclusions/verification. Referring to the results obtained related to the effectiveness of communication in the Perjuangan Museum. In the content element, the concern is that the historical information conveyed is not too long but more effective. As for the Channel element, what needs to be emphasized is that the scope of information through the media is expanded.
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Yakubovska, Svitlana, and Yurii Oleksin. "Use of museum pedagogics in the training of teachers of social sciences." ScienceRise: Pedagogical Education, no. 1 (58) (February 29, 2024): 62–65. http://dx.doi.org/10.15587/2519-4984.2024.298865.
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The article defines museum pedagogy as an interdisciplinary educational technology that develops in the field of academic and non-formal education, covering various forms of communication, current educational programs and cultural practices and is a basic element of the program-targeted management of the activities of applicants and scientific-pedagogical workers in the museum-pedagogical environment , a means of its practical implementation, a kind of activity plan, in which the connections of the defined goal and the mechanisms of its achievement are clearly established; the general principles that must be relied upon in the application of museum pedagogy in the process of training a social science teacher are outlined; the concept of "museum resource" is presented as the ability to increase the power of professional and pedagogical potential, to reproduce and deepen the content of educational programs in the exposition, to be accessible and suitable for implementation in the conditions of the educational process, understandable for the majority of consumers of museum information, important components of which contribute to professional training future history teacher, there are: museum-pedagogical information, which contains news about specific museum-pedagogical and educational programs and their specifics; educational and methodological support of programs; forms and methods of pedagogical activity in the museum environment; results of the pedagogical process and results of research and experimental work; expert assessments of specialists, etc.; "museum environment" as a certain active space for learning and educating students of pedagogical specialties and a perfect means of implementing productive changes in teacher training, which ensures direct "communication" with original museum objects and active participation in various types of activities, organized on the basis of museums, the ability to awaken in future teachers' desire for professional and personal self-realization, to form stable humanistic orientations, a conscious positive attitude towards society, children, pedagogical activity and oneself, which causes deeper personal professionalization and creates conditions for correction of professional growth; directions of work with student audiences, organizational forms, methods, techniques of use in the educational activity of museums are substantiated; it is proposed to include in the educational and professional training program of historians the educational component "Fundamentals of museum and archive work" and to create a complex of methodical support for the proposed discipline
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Kannike, Anu, and Ester Bardone. "Köögiruum ja köögikraam Eesti muuseumide tõlgenduses." Eesti Rahva Muuseumi aastaraamat, no. 60 (October 12, 2017): 34–60. http://dx.doi.org/10.33302/ermar-2017-002.
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Kitchen space and kitchen equipment as interpreted by Estonian museums Recent exhibitions focusing on kitchen spaces – “Köök” (Kitchen) at the Hiiumaa Museum (September 2015 to September 2016), “Köök. Muutuv ruum, disain ja tarbekunst Eestis” (The Kitchen. Changing space, design and applied art in Estonia) at the Estonian Museum of Applied Art and Design (February to May 2016) and “Süüa me teeme” (We Make Food) at the Estonian National Museum (opened in October 2016) – are noteworthy signs of food culture-related themes rearing their head on our museum landscape. Besides these exhibitions, in May 2015, the Seto farm and Peipsi Old Believer’s House opened as new attractions at the Open Air Museum, displaying kitchens from south-eastern and eastern Estonia. Compared to living rooms, kitchens and kitchen activities have not been documented very much at museums and the amount of extant pictures and drawings is also modest. Historical kitchen milieus have for the most part vanished without a trace. Estonian museums’ archives also contain few photos of kitchens or people working in kitchens, or of everyday foods, as they were not considered worthy of research or documentation. The article examines comparatively how the museums were able to overcome these challenges and offer new approaches to kitchens and kitchen culture. The analysis focuses on aspects related to material culture and museum studies: how the material nature of kitchens and kitchen activities were presented and how objects were interpreted and displayed. The research is based on museum visits, interviews with curators and information about exhibitions in museum publications and in the media. The new directions in material culture and museum studies have changed our understanding of museum artefacts, highlighting ways of connecting with them directly – physically and emotionally. Items are conceptualized not only as bearers of meaning or interpretation but also as experiential objects. Kitchens are analysed more and more as a space where domestic practices shape complicated kitchen ecologies that become interlaced with sets of things, perceptions and skills – a kind of integrative field. At the Estonian museums’ exhibitions, kitchens were interpreted as lived and living spaces, in which objects, ideas and practices intermingle. The development of the historical environment was clearly delineated but it was not chronological reconstructions that claimed the most prominent role; rather, the dynamics of kitchen spaces were shown through the changes in the objects and practices. All of the exhibits brought out the social life of the items, albeit from a different aspect. While the Museum of Applied Art and Design and the Estonian Open Air Museum focused more on the general and typical aspects, the Hiiumaa Museum and the National Museum focused on biographical perspective – individual choices and subjective experiences. The sensory aspects of materiality were more prominent in these exhibitions and expositions than in previous exhibitions that focused on material culture of Estonian museums, as they used different activities to engage with visitors. At the Open Air Museum, they become living places through food preparation events or other living history techniques. The Hiiumaa Museum emphasized the kitchen-related practices through personal stories of “mistresses of the house” as well as the changes over time in the form of objects with similar functions. At the Museum of Applied Art and Design, design practices or ideal practices were front and centre, even as the meanings associated with the objects tended to remain concealed. The National Museum enabled visitors to look into professional and home kitchens, see food being prepared and purchased through videos and photos and intermediated the past’s everyday actions, by showing biographical objects and stories. The kitchen as an exhibition topic allowed the museums to experiment new ways of interpreting and presenting this domestic space. The Hiiumaa Museum offered the most integral experience in this regard, where the visitor could enter kitchens connected to one another, touch and sense their materiality in a direct and intimate manner. The Open Air Museum’s kitchens with a human face along with the women busy at work there foster a home-like impression. The Applied Art and Design Museum and the National Museum used the language of art and audiovisual materials to convey culinary ideals and realities; the National Museum did more to get visitors to participate in critical thinking and contextualization of exhibits. Topics such as the extent to which dialogue, polyphony and gender themes were used to represent material culture in the museum context came to the fore more clearly than in the past. Although every exhibition had its own profile, together they produced a cumulative effect, stressing, through domestic materiality, the uniqueness of history of Estonian kitchens on one hand, and on the other hand, the dilemmas of modernday consumer culture. All of the kitchen exhibitions were successful among the visitors, but problems also emerged in connection with the collection and display of material culture in museums. The dearth of depositories, disproportionate representation of items in collections and gaps in background information point to the need to organize collection and acquisition efforts and exhibition strategies in a more carefully thought out manner and in closer cooperation between museums.
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Cerdan Chiscano, Monica, and Ana Isabel Jiménez-Zarco. "Towards an Inclusive Museum Management Strategy. An Exploratory Study of Consumption Experience in Visitors with Disabilities. The Case of the CosmoCaixa Science Museum." Sustainability 13, no. 2 (January 12, 2021): 660. http://dx.doi.org/10.3390/su13020660.
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In the field of cultural tourism, museums have been pioneers in focusing on visitors with disabilities. They have used inclusive orientation to offer the kind of memorable and satisfying experiences that are so beneficial to a group at constant risk of social exclusion. Their task is made more difficult, however, by visitors’ perception of barriers to inclusion, and identification therefore becomes a priority at the strategic level. Based on this idea, the present study analyzes experiences from two tours of the CosmoCaixa Barcelona museum by 32 people with disabilities (PwD). The use of ethnographic techniques and post-experience interviews shows how, despite the legal framework in relation to people with disabilities, hospitality managers find it difficult to put this framework into practice and cater to the needs of this segment of the population. Two factors become particularly clear: the difficulties experienced by museum staff in identifying people with disability, and museum managers’ lack of training and knowledge of the wants and needs of people with disabilities. Academic and strategic recommendations for museum managers are provided at the end of the article.
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Nurpermadi, Erwin Dwi, Rudi Hartono, and Djoko Sutopo. "Translation Techniques and Quality of Indonesian-English Translation of Captions in Pekalongan Batik Museum." English Education Journal 10, no. 4 (December 23, 2020): 426–35. http://dx.doi.org/10.15294/eej.v10i4.38727.
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This study aims to classify and identify how the translation techniques and quality achieved in Indonesian-English translation of Captions in Pekalongan Batik Museum. The aim is broken down into translation techniques, accuracy, acceptability, readability, and the translation quality influenced by translation techniques. The data of this study is the captions in Pekalongan batik museum written in Indonesian and English. The limitation of this study covers up the translation techniques and quality of Indonesian-English Translation of captions in Pekalongan Batik Museum. Descriptive qualitative research is employed in this study. The data gathered through 331 sentences for translation techniques and 30 texts in the form of captions for being investigated in translation quality. The results show that thirteen of the eighteen translation techniques proposed by Molina and Albir (2002) are chosen by the translator. They are: literal translation, reduction, borrowing, addition, generalization, modulation, established equivalent, transposition, adaptation, particularization, linguistic amplification, linguistic compression, and calque. The result of the analysis in the translation quality shows that the captions in Pekalongan batik museum as accurate, acceptable, and readable translation.
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Wančová, Nina. "The Use of New Media, Technologies and Other Modern Presentation Techniques in Czech Museums." Muzeum Muzejní a vlastivedná práce 56, no. 1 (2018): 24–36. http://dx.doi.org/10.2478/mmvp-2018-0011.
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Museums in the information society are finding ways how to incorporate the technologies, the media and the modern presentation techniques into the exhibitions by designing interactive and collaborative activities and by online communication with the public. The article presents data from the quantitative questionnaire survey conducted in 2015 which was attended by 203 Czech museums. The hypothesis of the frequent utilisation of modern presentation techniques in exhibitions has not been confirmed. Not event in relation to museums which have been significantly modernised during 2005–2015. Only 27 % of the modernised museums utilise at least 4 types of the modern forms. The hypothesis which expected that majority of museums offer the accompanying activities has been confirmed. The hypothesis that Czech museums are lacking in regard to the use of new media in online communication has not been confirmed, however data show that there is a space for improvement. The implementation of the modern presentation techniques is dependent on the size of the museum that is defined by a number of employees. 65 % of all Czech museums have 1–10 employees and in these institutions the implementation is more difficult and is used only modestly.