Academic literature on the topic 'Museum with live exposition'
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Journal articles on the topic "Museum with live exposition"
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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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Terebilov, Maxim G. "Reconstructing the everyday culture of medieval society in the museum exposition." Vestnik of Saint Petersburg State University of Culture, no. 2 (47) (2021): 96–100. http://dx.doi.org/10.30725/2619-0303-2021-2-96-100.
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The issue of representing the everyday culture of archaic societies in the museum exposition is quite relevant for modern museology. The culture of everyday life itself plays an important role in studying history of culture as well as the existence of society in different historical periods; therefore its museum interpretation requires particular emphasis. The author reflects on things, which distinguishes historical, long-defunct everyday live culture, artificially created in the exposition of the open-air museum, from the modern, original one, which is being saved by various ecomuseums. In addition, the article identifies three forms of expression of everyday culture, examines the possibilities of its reconstruction, relationship with each other and with the museum itself in the process of creating a general picture of medieval society’s life. Thus, the reconstruction of everyday culture appears to be a strictly historical phenomenon, which is impossible without theatricalization and other creative elements
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Golikov, Kirill, Ekaterina LAPTEVA, and A. SOCHIVKO. "LIVE PLANTS AS AN ADDITIONAL BOTANICAL COMPONENTOF THE THEMATIC EXPOSITION IN THE EARTH SCIENCE MUSEUM AT MOSCOW STATE UNIVERSITY." LIFE OF THE EARTH 42, no. 4 (November 25, 2020): 478–84. http://dx.doi.org/10.29003/m1777.0514-7468.2020_42_4/478-484.
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The article discusses the use of live plants as the botanical exposition component supplement of the “Natural areas” (hall № 17 “Natural zonality and its components” and № 20 “Desert, subtropical, tropical countries, high-altitude zone”) and “Physico-georaphic regions” (hall № 24 “Continents and parts of the world”) departments in order to visualize information presented in the Earth Science Museum. Demonstration of plants originating from different regions of the world representing different life forms and being structural components of various plant communities allows to visually characterizing thematic aspects of an exposition. That in turn reveal such principles of systematic nature organization as ecobiomorphic and phytocenotic.
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Grinko, Ivan A. "Underground space and contemporary museum." Вестник антропологии (Herald of Anthropology) 47, no. 3 (September 5, 2019): 197–203. http://dx.doi.org/10.33876/2311-0546/2019-47-3/197-203.
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Recently, museum designers engaged in exploring dungeons, following archaeologists and diggers. Such interest in transformation of the underground space into a museum space has not yet been sufficiently analyzed, so the article considers a variety of examples from the modern practice of turning underground spaces into museums. In addition to sociocultural examples related to the special features of the urban space or the preservation of a unique landscape, I would like to draw special attention to the importance of archetypes associated with underground spaces when designing a modern museum exposition.
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Stehlík, Michal. "Exhibition Policy of the National Museum 2017−2020." Muzeum: Muzejní a vlastivedná práce 55, no. 3 (September 1, 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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Amosova, Alisa A., and Tat’iana M. Konysheva. "“The Object ‘Pavilion’”: The re-exposure in the bunker in Smolny in honor of the 75th anniversary of the victory in the Great Patriotic War." Issues of Museology 11, no. 2 (2020): 219–38. http://dx.doi.org/10.21638/11701/spbu27.2020.207.
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The article is devoted to the analysis of the updated museum exposition entitled “The Object ‘Pavilion’”, implemented in a bomb shelter under the building of the St. Petersburg administration for the anniversary of the Victory in the Great Patriotic War, by May 9, 2020. The authors study history of The Smolny Museum, as well as its current expositions and memorial spaces available for visitors within the walls of the government building: the exposition “From the history of women’s education in Russia. Smolny Institute for Noble Maidens” and “December, 1. Shot in Smolny”; V. I. Lenin’s study and the room in which he lived with his wife, N. K. Krupskaya; The white-column assembly hall, where in the fall of 1917 the II All-Russian Congress of Soviets of Workers ‘and Soldiers’ Deputies was held. The period of the war and the siege of Leningrad (1941–1944) occupies an important place in the museum’s theme. One of the most attractive memorial spaces of the museum is the underground bunker located under the territory of the Smolny garden, museumified in 2019. The article describes the technical parameters of the underground structure and considers its history, studies and compares two versions of the bomb shelter exposition (“Bunker A. A. Zhdanov”, 2019 and “The Object ‘Pavilion’”, 2020). The updated exposition is distinguished by a significant expansion of the exposition space, an emphasis on demonstrating the previously hidden functional premises of the bunker (dining room, disinfection room, rest room, etc.), a more detailed display of the historical events of the blockade related to the management of the city and the front, the introduction of multimedia technologies. The article is based on the historical sources of the museum origin.
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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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Fedotova, Olga, Vasilij Zhurakovskij, Pavel Ermakov, Ilia Cherkashin, and Elena Cherkashina. "Virtual museum in the system of informal education (based on sports materials)." E3S Web of Conferences 273 (2021): 12072. http://dx.doi.org/10.1051/e3sconf/202127312072.
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The article raises the problem of using the educational potential of virtual museums. It is noted that virtual museums are a new organizational form of the modern system of informal education. Thanks to the availability and openness of museum funds, it becomes possible to acquaint young people with the artifacts of culture and social life. The exposition fund of the virtual museum of bookmarks created in Germany is analyzed. The thematic field “sport” is chosen as the object of research. Based on content analysis, the frequency of manifestation of this concept is revealed. On the basis of cluster analysis, the belonging of the exhibits to various sections of the virtual museum is established. It is concluded that sport is presented as a subject of three clusters 1) financial savings for sports, 2) advertising lifestyle and sporting goods and 3) world-class sporting events. The assessment of the peculiarities of presentation of the content of bookmarks on the subject of sports creolized texts is given.
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BORONETSKAYA, O. I. "70TH ANNIVERSARY OF E.F.LISKUN ANIMAL SCIENCE MUSEUM." Izvestiâ Timirâzevskoj selʹskohozâjstvennoj akademii, no. 3 (2020): 165–72. http://dx.doi.org/10.26897/0021-342x-2020-3-165-172.
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The E.F. Liskun Animal Science Museum celebrates its 70th anniversary. The paper outlines its history, development and today’s life. The museum houses numerous collections of stuffed animals. The exposition tells about the history of the development of animal science, the domestication of farm animals, breed formation and the formation of modern domestic livestock and poultry population.
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Oreshina, Yulia. "Useful Sites of Memory: Jewish Museums in Belgrade and Sarajevo." Tirosh. Jewish, Slavic & Oriental Studies 18 (2018): 237–49. http://dx.doi.org/10.31168/2658-3380.2018.18.5.2.
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Understanding museum as a tool of mediation, premediation and remediation of cultural memory, I focus in this article on two case studies — the Jewish Museum in Sarajevo and Jewish Historical Museum in Belgrade. While the Jewish Museum in Sarajevo positiones the city of Sarajevo as the first center of Jewish life in Balkans, the Jewish Historical Museum in Belgrade claims to be the only museum in ex-Yugoslavia presenting the history of Jews in the entire region. Both museums, therefore, claim to be the most important museums on this topic in the region, and certainly in a way compete to each other. What are the real stories hidden under these narratives, and which political and historical circumstances influence the fact that these two museums represent such contrasting stories? With the help of content analysis of the museum exhibitions, I detalize the narratives presented in the both case studies. In the focus of my interest is contextualization of Jewish history in the region and juxtaposition of the ways it is presented in the chosen museums. Obviously, Jewish Historical Museum in Belgrade still represents the unifying Yugoslavian narrative, serving as an umbrella museum for the entire region. In case of Sarajevo, close connection between ongoing process of victimization of the recent past of the city and mythologization of preYugoslavian life in Sarajevo, together with idealization of Bosnian-Jewish relations can be observed. Additionally, I look into the way of representation of the topic of the Holocaust. In the both case studies, the way of narration of the Holocaust is closely linked to the dominant historical narrative of the country, and the museum exposition serves as yet another justification of it. In both cases, the narrative of the Holocaust is shadowed by the previously existing historical tradition — in Yugoslavian times, the Holocaust was predominantly connected to the Ustasha regime and was symbolized by Jasenovac. Nevertheless, within current political realities, the Holocaust memory and the memory of Jewish life in Serbia and in Bosnia and Herzegovina undergoes certain changes and becomes instrumentalized in many contexts.
Dissertations / Theses on the topic "Museum with live exposition"
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Gresh, Kristen Ann. "The Family of man : histoire critique d'une exposition américaine." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0132.
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En 1955, Edward Steichen organise l'exposition monumentale «The Family of Man» au Museum of Modem Art (MoMA) à New York, qui a été ensuite exposée dans le monde entier sous les auspices de l’United States Information Agency. L'objectif principal de cette thèse est de retracer les arcanes de cette exposition afin de créer un document de référence dévoilant sa nature concrète. Cette démystification de l'exposition a été conçue à partir de témoignages directs de photographes participants recueillis par l'auteur, complétée par un travail d'analyse de documents d'archives inédits. La première partie s'interroge sur les programmes du Musée lors de la Seconde Guerre mondiale qui ont préparé le terrain pour «The Family of Man», sur le personnage de Steichen et sur son rôle de directeur du département de la photographie du MoMA. La deuxième partie remonte aux prémices du projet, afin d'éclaircir les diverses collaborations de Steichen, comme de nombreuses correspondances, des réunions collectives, et un voyage déterminant en Europe. La troisième partie met en lumière les méthodes et les résultats du travail de Steichen, à la fois comme photographe et comme éditeur. A l'appui d'une discussion des sources, notamment journalistiques, les contours du monde de la photographie de presse à l'époque sont esquissés, suivis d'une synthèse de l'exposition et de sa diffusion à l'étranger en plusieurs versions. Ce travail révèle que «The Family of Man», à la fois véritable prouesse de la photographie et arme de propagande, témoigne de toute une chaîne de contacts et de connaissances au sein du monde de la photographie et de la politique, et des croisements entre ces deux mondesIn 1955, Edward Steichen organized the historic exhibition "The Family of Man" at the Museum of Modem Art (MoMA) in New York. Under the auspices of United States Information Agency, it was exhibited throughout the world and gained a mythic status. This dissertation looks beyond that myth, in order to present a reference document with background information not previously examined. It is based on the author's research involving personal interviews with photographers who contributed to the exhibition as well as the analysis of unpublished archival documents. Part 1 explores the MoMA's World War II programs that paved the way for "The Family of Man", Steichen's career and his role as director of the museum's photography department. Part II traces the origins of the project, showing Steichen's various collaborations through a thorough examination of his correspondence, his individual and group meetings with photographers, and, in particular, his decisive trip across Europe. Part III examines the methods and results of Steichen's work, as both photographer and editor. A discussion of the sources of "The Family of Man", mainly photojournalistic, illustrates the contours of press photography at the time followed by a synopsis of the exhibition and its international circulation, in several versions. This dissertation demonstrates how "The Family of Man" was a tour de force in the history of photography because of Steichen's ability to combine his innovative photographic and editing skills that exploited the medium to communicate a political agenda that is a reflection of a complex network of colleagues, friends and acquaintances from the world of photography and of politics
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鄭遠君 and Yuen-kwan Vicky Cheng. "Sceneric city: 'live' Museum in Old Sheung Wan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986328.
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Cheng, Yuen-kwan Vicky. "Sceneric city 'live' Museum in Old Sheung Wan /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25954799.
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Boháč, Ivo. "ZOO stavby - architektektura jako okno do přírody Pavilony ekosystémů." Doctoral thesis, Vysoké učení technické v Brně. Fakulta architektury, 2014. http://www.nusl.cz/ntk/nusl-233269.
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Today’s ZOO is varied mosaic of buildings and elements in the whole typological scale. Czech republic is country with affluent history and proceeded structure today‘s zoological gardens and parcs. But comprehensive draft view of solue problems is missing. This thesis has next basic objectives: Carry out value historical development of coexistence man and animals, constructions of ZOO gardens and today’s condition. a) apply systematical categorization of ZOO buildings with accent for complex expositions of ecosystems pavilions. b) analyse basic today’s principles of design ZOO buildings with a view to pavilions of ecosystems. c) produce comprehensive document like data for architectural practice and for education of new architect – specialist. This paper will serve for education too. That is why presentation of describe principles on the real example from own practice and on the school designs from my classes is attach. The basic task, which follow from objective of the thesis, is definition of principles for design of ecosystems pavilions, like top representative of ZOO exposition buildings. It is definition of basic character, description of general and specific principles above all.
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Greenstein, Steven. "Re-envisioning the 1876 Centennial Exhibition: New Exhibit Solutions for an Old Interpretive Problem." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/145513.
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HistoryM.A.
This paper takes a fresh look at the Centennial Exhibition of 1876 and exhibits that interpret it, and suggests new exhibit strategies to re-interpret this complicated moment in American history.
Temple University--Theses
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Lai, Wing-yee Winnie. "Live museum : redesign Temple street & associate open spaces in Yau Ma Tei /." View the Table of Contents & Abstract, 2005. http://sunzi.lib.hku.hk/hkuto/record/B34612373.
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Lai, Wing-yee Winnie, and 黎穎怡. "Live museum: redesign Temple street & associate open spaces in Yau Ma Tei." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B45009582.
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Ricci, Giada. "L’espace muséographique au Japon : concepts et spécificités de la mise en exposition des œuvres dans les musées d’art." Electronic Thesis or Diss., Université Paris sciences et lettres, 2020. http://www.theses.fr/2020UPSLP003.
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Au croisement de disciplines telles que l’architecture, la muséologie, la muséographie-scénographie, l’histoire des musées et de l’architecture, et avec l’objectif de dépasser l’approche historique et la simple description, cette recherche étudie l’espace muséographique dans les musées d’art au Japon. Depuis la première apparition dans le vocabulaire japonais du mot « musée d’art », bijutsukan, à l’occasion de la participation du Japon à l’Exposition universelle de Vienne en 1873, les musées du XXIe siècle portent des valeurs esthétiques et culturelles spécifiquement japonaises. Cette recherche s’interroge sur l’évolution des musées dans le temps, à travers l’étude des typologies de musées et d’expositions, entre lieux d’expérience esthétique et espaces de sociabilité. L’architecture japonaise prémoderne a développé des modalités particulières de création et de construction, notamment une spatialité ouverte sur le paysage, que l’on retrouve dans les réalisations contemporaines. À cet égard la recherche s’appuie sur les traditions pré-Meiji dans l’architecture, religieuse et domestique, et sur les codes de présentation des œuvres. L’approche du statut de l’œuvre d’art muséifiée et la notion de trésor national, kokuhō, ainsi que l’espace muséographique et le rapport à l’œuvre dans les musées d’art, sont considérés en parallèle à certains aspects de l’habitat traditionnel, comme les placements codifiés des peintures et des objets d’art dans le tokonoma. Les pratiques architecturales et muséographiques actuelles sont étudiées à travers les différents aspects de la conception et de l’aménagement de l’espace : de l’architecture du musée à la mise en exposition, jusqu’à la perception des œuvres. L’exposition est entendue comme communication de sens, l’espace muséographique comme espace culturel et physique, empreint de symboles, depuis l’approche classique de présentation, purement esthétique, à l’évolution contemporaine vers un espace conceptuel d’interprétation. La lecture de l’espace muséographique comme communicateur de sens et du parcours d’exposition comme espace-temps passe par la définition des termes et des notions spatiales, en tant qu’expression d’une forme de pensée de l’espace. Dans le but de cerner le lien entre les œuvres et l’espace muséographique, perçu comme support de contenu, cette recherche considère le dispositif spatial et les modes d’exposer dans leurs spécificités. Le musée est un espace public où une intimité doit pouvoir se créer avec l’œuvre exposée. Ainsi les espaces d’exposition se chargent pour le visiteur d’une émotion et d’une valeur presque affective. La littérature japonaise contribue à éclairer cet aspect de la perception du musée dans la société et dans l’imaginaire japonais. Par un travail de simplification et de synthèse dans la conception des espaces, en reprenant certaines pratiques spatiales de l’architecture prémoderne, les musées au Japon ont développé des modalités propres de création et de construction de l’espace. Construire en revisitant la tradition est la manière spécifiquement japonaise de faire revivre le patrimoine dans l’architecture et l’espace du musée, qui s’exprime notamment par l’attention à la nature, l’emplacement dans le site et le choix des matériaux, l’intimité du rapport intérieur-extérieur, le parcours et l’articulation des espaces. Alliant esthétique et fonctionnalité, qualité architecturale et environnementale, qualité muséographique et conservation des œuvres, les musées et les aménagements muséographiques contemporains, souvent l’œuvre d’architectes japonais reconnus internationalement, se révèlent ainsi des réalisations exemplaires et cohérentes, qui expérimentent avec succès une architecture d’interrelations complexes dans une vision du musée ouvert aux visiteurs, aux sensations et au mondeAt the crossroads of disciplines such as architecture, museology, museum-scenography, history of museums and architecture, aiming to go beyond the historical approach and the simple description, this research studies the museum space in art museums in Japan. Since the appearance in the Japanese vocabulary of the word "art museum", bijutsukan, on the occasion of Japan’s first participation in the World Exposition in Vienna, 1873, the 21st century museums have evolved towards the expression of Japan’s very own aesthetic and cultural values. This research examines the museums evolution over time, between aesthetic experience and sociability, through the study of museums, exhibitions typologies, and models of spatial distribution. The premodern Japanese architecture developed particular forms of creation and construction, including a spatiality open to the landscape, which can also be found in contemporary achievements. In this respect, research is based on pre-Meiji traditions in religious and domestic architecture, as well as the display of artworks and objects. The approach to the status of museum exhibit and the notion of national treasure, kokuhō, as well as the museum space and its relation to the art museum collections, are considered in parallel with certain aspects of traditional housing, such as the codified placement of paintings and art objects in the tokonoma. Current architectural and museum practices are studied through different aspects of the museums layout and exhibition design: from the museum’s architecture to the exhibition space, up to the perception of the artworks. The exhibition is understood as a communication of meaning, the museum space as a cultural and physical space, imbued with symbols, from the classical approach to display, purely aesthetic, to contemporary evolution towards a conceptual space of interpretation. The reading of the museum space as a communicator of meaning and of the exhibition route as space-time passes by the definition of terms and spatial notions, as an expression of a way of thinking the space. In order to understand the link between the artworks and the museographic space, perceived as a medium of content, this research considers the spatial device and the modes of display in their specificities. The museum is a public space where intimacy must be created with the work on display. Thus the exhibition spaces are charged to the visitor with an almost emotional value. Japanese literature helps to shed light on this aspect of museum perception in Japanese society and imagination. Through a work of simplification and synthesis in the design of spaces, by resuming certain spatial practices of premodern architecture, museums in Japan have developed specific modalities for the creation and construction of space. Building by revisiting tradition is the Japanese way to revive heritage in the architecture and space of the museum, which is expressed in particular by the attention to nature, the location in the site and the choice of materials, the intimacy of the inner-outer relationship, the path and the articulation of spaces. Combining aesthetics and functionality, architectural and environmental quality, museographic quality and conservation of works, museums and contemporary museum installations, often the work of internationally renowned Japanese architects, are thus exemplary and coherent achievements, successfully experimenting an architecture of complex interrelations, in a museum vision open to visitors, sensations and the world
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Nascimento, Rosana Andrade Dias do. "O “Brasil Colonial” e a exposição do mundo português de 1940." Programa de Pós- Graduação em História da UFBA, 2008. http://www.repositorio.ufba.br/ri/handle/ri/11231.
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A Exposição do Mundo Português em 1940 foi um evento idealizado pelo Estado Novo portugues para marcar oito séculos de história dos portugueses no mundo. Diferentemente das Exposições Internacionais realizadas até então, o Estado Novo realizou uma exposição de caráter nacional para contar uma história de glórias do passado aos portugueses do presente. O nosso estudo tratou da participação do Brasil, nessas Comemorações Centenárias, na exposição denominada “Brasil Colonial”. Seu objetivo foi investigar o papel do Museu Histórico Nacional (MHN), por meio de seu acervo, na reconstrução histórica do Brasil Colonial na Exposição do Mundo Português (EMP). Foram definidos os seguintes objetivos específicos: investigar a EMP como um evento marcante das Comemorações Centenárias que contavam oito séculos de história dos portugueses no mundo; identificar o acervo do MHN selecionado para compor o Pavilhão do Brasil Colonial na Exposição do Mundo Português; analisar os fatos históricos do Brasil Colonial considerados representativos para a definição do circuito da exposição a partir do acervo do MHN; e estudar a influência de Gustavo Dott Barroso nas decisões para a exposição do Brasil Colonial. A metodologia empregada foi a análise histórica e historiográfica, realizada com base na documentação iconográfica, documental e fotográfica existentes nos arquivos, museus e bibliotecas de instituições públicas e privadas brasileiras e portuguesas. A análise dos dados coletados permitiu desmistificar alguns pontos, tais como: a periodização da história do Brasil Colonial definida para a Exposição; o acervo do MHN, escolhido para narrar a História do Brasil Colonial; conhecer os caminhos percorridos por um acervo museológico, no caso, o do MHN, usado para a construção de um discurso expositivo que objetivava a representação da herança portuguesa na construção do Brasil Colonial. Os resultados permitiram concluir-se que, em 1940, a Exposição do Mundo Português foi um momento de afirmação da nacionalidade portuguesa usando o passado de glórias e de expansão no mundo. Sobre o Brasil e a sua participação, houve uma condução por intelectuais brasileiros e portugueses, por meio de cartas codificadas, cifradas, com registros de confidenciais que atravessaram o Atlântico em conchavos e conluios para possibilitar a representação brasileira. Com relação à montagem da exposição do Pavilhão Brasil Colonial com o acervo do MHN, foram marcantes as atitudes de Gustavo Barroso à frente da construção dessa narrativa, realizando uma exposição para enaltecer, através dos objetos, a epopéia do paraíso - o Brasil Colônia. Assim, em 1940, o Brasil é Português.
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Sim, Grace. "Learning about biodiversity : investigating children’s learning at a museum, environment centre and a live animal show." Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/10021761/.
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School trips in environment centres, in museums and at live animal shows can cover the same curriculum objectives, relating to habitats and adaptations, at age-appropriate levels. However, each of these three settings has traditions and goals which influence the subtexts conveyed by educators, and therefore the messages pupils gather from learning experiences. This research investigated children’s experiences in these three different informal learning settings in London, UK. The aim was to identify and understand the learning that took place. The main evidence was collected with 180 year 4 pupil participants from local state primary schools. Their learning is visualised in a conceptual framework ‘SPEAK’ that represents learning in the domains of Skills, Place, Emotion, Attitudes and Knowledge (SPEAK). Analysis was based on an existing socioecological literacy framework. There is evidence that the environment exploration was the source of considerable motivation for children. Live animal shows led to children describing species, and subsequently recalling aspects of individual animals’ personalities. Natural history specimen collections developed skills of observation, identification, discovery and reading. A representation of the SPEAK domains is proposed as a tool for reflection for educators, to review the learning intentions of informal teaching experiences. A case study at the Royal Veterinary College shows how it has been used to understand learning, using iPads. A salience theory of informal learning is proposed through considering memorable and transformative aspects of informal learning, from a learning psychology perspective. Aspects of this theory are suggested as areas for future research.
Books on the topic "Museum with live exposition"
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illustrator, Collier-Morales Roberta, ed. I live at the museum. New York: Macmillan/McGraw-Hill, 2002.
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Jean-Jacques, Ezrati, ed. L' exposition, théorie et pratique. Paris: Harmattan, 2005.
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1951-, Bleiberg Edward, and Cooney Kathlyn M, eds. To live forever: Egyptian treasures from the Brooklyn Museum. Brooklyn, NY: Brooklyn Museum, 2008.
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Girardet, Sylvie. Une expo de A à Z: Concevoir et réaliser une exposition. Paris: Musée en herbe, 1994.
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Vaillancourt, Armand. Armand Vaillancourt: [exposition. [Saint-Jérôme, Québec]: Le Centre, 1987.
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Canadian Museum of Civilization. Audit and Evaluation Division. Evaluation assessment of the live interpretation program. [Hull, Quebec]: The Division, 1992.
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L'aventure d'une exposition: Sur les traces du serpent--. Lyon: ENS éditions, 2008.
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Reidenbaugh, Lowell. Baseball's Hall of Fame: Cooperstown, where the legends live forever. Edited by Hoppel Joe. New York: Arlington House, 1988.
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Clot, André. Les mammifères fossiles du Quaternaire dans les Pyrénées: [exposition] Museum d'histoire naturelle de Toulouse. [Toulouse]: Accord édition, 1990.
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Reidenbaugh, Lowell. Baseball's Hall of Fame: Cooperstown, where the legends live forever. Edited by Hoppel Joe and Reidenbaugh Lowell. New York: Arlington House, 1986.
Find full textBook chapters on the topic "Museum with live exposition"
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Phillips, James E. "“To make the dry bones live”." In A Museum Studies Approach to Heritage, 838–49. Abingdon, Oxon ; New York, NY : Routledge, 2018. | Series: Leicester readers in museum studies: Routledge, 2018. http://dx.doi.org/10.4324/9781315668505-63.
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Zucchi, Valentina, Antonella Guidazzoli, Giovanni Bellavia, Daniele De Luca, Maria Chiara Liguori, Francesca Delli Ponti, Federica Farroni, and Beatrice Chiavarini. "Il Piccolo Masaccio e le Terre Nuove. Creativity and Computer Graphics for Museum Edutainment." In Proceedings e report, 166–72. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-707-8.40.
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Since its opening, the Museum of the New Towns, housed in the Palazzo di Arnolfo in San Giovanni Valdarno, has dedicated a particular attention to the relationship with its audiences. In this context, the video “Il piccolo Masaccio e le Terre Nuove” has the purpose of bringing children and young people, in particular, closer to the museum main themes. The video presents a series of very different techniques, such as live shots, taken also by drone, Computer Graphics, 2D drawings executed with a tablet, drawings sketched with traditional techniques, such as India ink and watercolours, and digital videos taken from Google Earth.
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McElhinny, Bonnie. "10. Meet Me in Toronto: The Re-exhibition of Artifacts from the 1904 Louisiana Purchase Exposition at the Royal Ontario Museum." In Filipinos in Canada, 223–42. Toronto: University of Toronto Press, 2012. http://dx.doi.org/10.3138/9781442662728-016.
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Herruzo, Ana, and Nikita Pashenkov. "Collection to Creation: Playfully Interpreting the Classics with Contemporary Tools." In Proceedings of the 2020 DigitalFUTURES, 199–207. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4400-6_19.
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AbstractThis paper details an experimental project developed in an academic and pedagogical environment, aiming to bring together visual arts and computer science coursework in the creation of an interactive installation for a live event at The J. Paul Getty Museum. The result incorporates interactive visuals based on the user’s movements and facial expressions, accompanied by synthetic texts generated using machine learning algorithms trained on the museum’s art collection. Special focus is paid to how advances in computing such as Deep Learning and Natural Language Processing can contribute to deeper engagement with users and add new layers of interactivity.
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Vere, Bernard. "The stadium has carried the day against the art museum." In Sport and modernism in the visual arts in Europe, c.1909-39. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781784992507.003.0006.
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This chapter takes its title from a quote by Hannes Meyer, the second Director of the Bauhaus and others as an example for the arts and architecture. The final chapter concerns the sports stadium, a building type with its roots in the antique, but thoroughly reimagined for the twentieth century. Amid a slew of projects two stand out. The first is the International Red Stadium in the Soviet Union, a project led by the Russian Constructivists at the VKhUTEMAS (Higher State Artistic and Technical Workshops). Although never realised, with its constructivist impulse it drew attention in Western Europe, partly as result of being featured in the famous Parisian Exposition Internationale des Arts Décoratifs et Industriels Modernes in 1925 and partly by virtue of the contacts that El Lissitzky, who worked on the project, had established there. The second is Pier Luigi Nervi’s remarkable stadium in Florence. Named for a fascist martyr, the Giovanni Berta epitomised Italian rationalist ideals. It, like Raffaello Fagnoni’s closely related Mussolini stadium in Turin, was aggressively promoted as an example of the modernity of Mussolini’s Italy.
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DEFRANTZ, THOMAS F. "Dancing the Museum." In Curating Live Arts, 89–100. Berghahn Books, 2018. http://dx.doi.org/10.2307/j.ctvw04b29.15.
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Boursiquot, Fabienne. "Ethnographic Museums: From Colonial Exposition to Intercultural Dialogue." In The Postcolonial Museum, 63–71. Routledge, 2016. http://dx.doi.org/10.4324/9781315554105-5.
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Yalovitsyna, Svetlana E., Valentina V. Volokhova, and Dmitry G. Korzun. "Smart Museum." In Tools and Technologies for the Development of Cyber-Physical Systems, 236–55. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-1974-5.ch009.
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The chapter presents the authors' study on the smart museum concept. Semantic Web technology and ontology modeling methods are applied to construct advanced digital services, supporting the study and evolution of museum collections. The concept aims at significant increase of the information impact of museum exhibits by providing augmented annotations, identifying semantic relations, assisting the visitors to follow individual trajectories in exposition study, finding relevant information, opening the collection to knowledge from visitors. A museum collection is advanced to a knowledge base where new information is created and evolved by museum visitors and personnel. The chapter discusses reference information assistance services, which are oriented for use as mobile applications on users' smartphones. The proof-of-the-concept case study is the History Museum of Petrozavodsk State University. The pilot implementation demonstrates the feasibility of the smart museum concept in respect to the user mobility, service personalization, and collaborative work opportunity.
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Breton, Hervé. "2. From Experience to Language in Narrative Practices in Therapeutic Education in France." In Discourses We Live By, 53–72. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0203.02.
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Hervé Breton presents a clear exposition of a process that can make patients’ lived experiences of illness visible to both themselves and the medical community. He reveals the stages of selecting, verbalizing and storying and – focusing on a patient account – enables the reader to grasp the theoretical approach, how to put this into practice, and what the stages might look like.
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Zientek, Marta. "16. Adult Education as a Means to Enable Polish Citizens to Question Media Coverage of Political Messages." In Discourses We Live By, 353–77. Open Book Publishers, 2020. http://dx.doi.org/10.11647/obp.0203.16.
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Marta Zientek offers a rhetorical exposition of the political system in Poland, and shows how an adult education course provided a space to analyse and reflect on the veracity of the messages put out by the dominant governing party. Course members critically examined the speeches of a political leader to see how linguistic devices were employed to attract public support.
Conference papers on the topic "Museum with live exposition"
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Dumont d'Ayot, Catherine. "Machines à exposer." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1025.
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Résumé: Ateliers d’artistes, appartements et villas de collectionneurs, pavillons, scénographies et musées : l’exposition est un fil rouge de l’œuvre de Le Corbusier. Le rapport que l’homme entretient à l’œuvre d’art et les modalités de ce rapport sont des éléments fondateurs de son architecture et occupent une position primordiale dans sa vision de la ville. De la ziggourat du Musée mondial en 1929, jusqu’aux projets des années 1960 comme le Centre d’Art international à Erlenbach ou le Musée du XXe siècle pour Nanterre, les musées sont des pièces incontournables des ses grands plans d’urbanisme. Les projets de musées et de pavillons d’exposition entre 1929 et 1965 et les concepts des différentes expositions qu’il organise évoluent en parallèle de sa manière d’envisager le rapport à l’œuvre, que ce soit celui de l’artiste, du spectateur initié ou du novice. Les esquisses préparatoires des différents projets de musées et de pavillons retracent cette évolution. La critique du projet du Mundaneum par Karel Teige assume un rôle clé dans la transformation décisive du concept du musée qui a lieu entre le Musée Mondial en 1929 et le projet de Le Corbusier pour le Musée à croissance illimitée en 1930. C’est un changement séminal qui est décisif pour les projets futurs. L’architecture et la relation à l’œuvre d’art ne sont plus déterminées par le recours à une forme, mais par un mécanisme fonctionnel et organique: la croissance, à la fois image et symbole de l’évolution positiviste de l’humanité. Abstract: Exhibitions, museums, pavilions, artist ateliers, apartments and collectors’ villas: exposition runs like a red thread through Le Corbusier’s work. Man’s relationship to art is a fundamental element of architectural dispositifs. Art influences his vision of society as a whole, and museums are central to his major urban plans, from the ziggurat of the Musée Mondial in Geneva, to the museums in Ahmadabad, Tokyo or Chandigarh, to projects he realized in the late 1960s, such as the Museum of the 20th Century in Nanterre. The evolution of museum design between 1929 and 1965 and of the concepts Le Corbusier developed for the different exhibitions of his own œuvre are in keeping with his way of understanding the relationship to works of art, whether by the artist, a knowledgeable public or those encountering art for the first time. The sketches for the different museums and pavilions retrace this evolution. Karel Teige’s critique of the Mundaneum project assumes a key role in the transformation of the museum concept that occurred between the Musée Mondial of 1929 and Le Corbusier’s first designs for a Museum with Unlimited Growth in 1930. The architecture and the place for art in society are no longer determined by the use of a form but through a functional mechanism. Growth is understood as an image of the positive evolution of mankind. This seminal change is a key to the later projects.Mots clés: musée, exposition, fonctionnalisme. Keywords: museum, exhibition, functionalism. DOI: http://dx.doi.org/10.4995/LC2015.2015.1025
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Muñoz Garcia, Adolfo, and Ana Martí Testón. "Estudio de experiencias inmersivas en museos. Las nuevas narrativas de la realidad aumentada." In INNODOCT 2018. València: Editorial Universitat Politècnica de València, 2018. http://dx.doi.org/10.4995/inn2018.2018.8845.
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En los últimos diez años hemos vivido una revolución en el ámbito de los museos y los sistemas de información. Desde 2015 nuestro grupo de investigación del Instituto de Diseño y Fabricación de la Universitat Politècnica de València investiga sobre la creación de experiencias inmersivas con gafas de realidad aumentada para la industria productiva y la cultural, investigando nuevas fórmulas que cambien radicalmente la manera en que nos relacionamos con los datos digitales en contextos inmersivos. En este artículo presentamos Holomuseum, una aplicación especialmente diseñada para crear exhibiciones de realidad aumentada para las gafas Hololens, y comparamos brevemente sus resultados con otras cuatro propuestas punteras en la aplicación de las tecnologías digitales en el ámbito expositivo: Back to Life del Natural History Museum de Londres; Survivors' Stories del Museo del Holocausto de Illinois; The Lost Palace del Whitehall Palace de Londres o la reconstrucción proyectada de la iglesia Románica de Sant Climent de Taüll de Lleida.
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Li, Zhiye, and Michael Lepech. "Development of a Model of Synergistic Effects Between Deterioration Mechanisms and Damage in Woven Glass Fiber Reinforced Polymeric Composite Structure." In ASME 2020 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/imece2020-23295.
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Abstract The adoption of fossil-based hydrocarbon polymer composites has been successful in both the automotive and aircraft industries, and is rapidly expanding into buildings and civil infrastructure. One challenge to broader adoption of polymer composites in buildings and civil infrastructure is a limited ability to model the synergistic effects of the combined physical/chemical processes of environmental exposure and mechanical loading. Unlike other building materials, long-term experience and field performance data of polymer composites in buildings and civil infrastructure applications does not exist. The first and largest composite building system used in a high-rise exterior in the US is the facade of the San Francisco Museum of Modern Art (SFMOMA) completed in 2015. Since historical, experience-based service life models for composite building applications are not available, it is crucial to build multiphysical-based models in order to predict composite service life performance on a semi-centennial or centennial time scale. This paper uses a parametrically homogenized deterioration model to hierarchical model the thermo-chemical-mechanical degradation at the structural length scale and proposes this computational model as a component to complete a new multi-physics-based service life prediction framework. This effort consists of three steps: (i) use the theory of synergistic effects between ultraviolet exposure and moisture exposure degradation processes developed by the authors to generate a residual, deterioration-induced damage variable field, (ii) implement the residual damage field as the initiation of a continuum damage model (CDM) at structure length scale, and (iii) recreate one 3D façade plate of the SFMOMA and perform parametric damage analysis.
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Jin, Rendong. "How Does Live Streaming Improve Educational Efficiency in Museum Education?" In 2020 6th International Conference on Social Science and Higher Education (ICSSHE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201214.163.
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Lauzze, Ralph W. "Joint Live Fire and Live Fire Programs." In Aerospace Technology Conference and Exposition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 1990. http://dx.doi.org/10.4271/901952.
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Marlowe, Joseph, John Smith, Dravin Thomas, and Subha Kumpaty. "A Minimalistic and Historically-Based STEM Learning Approach." In ASME 2019 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/imece2019-10465.
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Abstract As part of Milwaukee School of Engineering’s (MSOE) 2019 Senior Design program, a design team has worked with Old World Wisconsin (OWW) — a museum in Waukesha County — to incorporate STEM education into their historical platform. This involved introducing methods to teach STEM concepts to visitors, most of which are school children in the K-12 system. Background research on current Science, Technology, Engineering and Mathematics (STEM) methods for K-12 audiences show that there is an overall lack of STEM introduction for students in the United States, and as such, students in the U.S. fail to meet averages for international testing standards for STEM concepts. Research shows that young students require hands on programs in which they can form hypotheses, test hypotheses, and question how these concepts can be applied to real life scenarios. The physical designs in this project consist of stations which relate to OWW’s current exhibits, and introduce statics and dynamics concepts, such as the concepts of mechanical advantage. These concepts are introduced through physical mechanisms that visitors to OWW can interact with in a safe manner, without the need of close supervision. With the guidance of facilitators, school children on field trips will learn mechanics concepts in a tactile and visual manner while being taught key points by the facilitator. The physical designs in this project exist in OWW’s Bicycle Shop, Peterson Wagon Shop, and Loomer Barn. The bicycle shop station consists of a sprocket and chain setup in which visitors can drive a sprocket using a handle, to discover how gear ratios can affect output speeds and torque for a given input speed and torque. The station in the wagon shop has a table with multiple tracks on which a scale wheel can be rolled, to show the relationships between translational and rotational dynamics. In the Loomer Barn, there is a lever station which shows the concepts of moments and moment arms, as well as mechanical advantage, which visitors can solve problems with to understand the relationship between moment arms, and the applied forces required to balance a lever. Also in the barn, a pulley station explores the use of multiple pulleys to make lifting require less force, while increasing the required pulling distances. Each station is accompanied by worksheets that can be distributed to teachers and other visitors via e-mail, which will serve as further supplementary learning tools to enhance visitors’ understanding of the subject material. Design specifications are defined for the size, weight, and types of components to be allowed in the wagon and sprocket modules. These design specifications are met by the finalized designs. The separate stations have undergone some revision over time through different design prototype phases. In the prototype phases, 3D printing was the main means of design, but since these devices are meant to be large and sturdy to offer permanent visual cues to young students, these prototypes were not only temporary solutions, but impossible to 3D print or manufacture within a reasonable cost and time frame. Because of this, the use of externally sourced parts from McMaster-Carr and Menards was decided upon to fulfill the goals of this project. This project was feasible in that it was accomplished by meeting standards related to the background research on STEM education, as well as falling within the realm of historical relevance to OWW’s exhibits. The project was assembled and distributed to OWW within the desired time-frame of both MSOE, and OWW.
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Pyatina, E. V., and M. А. Bulgakova. "THE USE OF LIVE INVERTEBRATES IN THE COLLECTIONS OF NATURAL SCIENCE MUSEUM." In V International Scientific Conference CONCEPTUAL AND APPLIED ASPECTS OF INVERTEBRATE SCIENTIFIC RESEARCH AND BIOLOGICAL EDUCATION. Tomsk State University Press, 2020. http://dx.doi.org/10.17223/978-5-94621-931-0-2020-52.
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Marston, Claire, and James Wolfer. "Projecting computing history: A hybrid live-virtual visit to the national museum of computing." In 2017 IEEE Global Engineering Education Conference (EDUCON). IEEE, 2017. http://dx.doi.org/10.1109/educon.2017.7943037.
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Guo, Jenhwa. "Design of underwater robots for live exhibition in a museum of marine science and technology." In the Eighth ACM International Conference. New York, New York, USA: ACM Press, 2013. http://dx.doi.org/10.1145/2532378.2541580.
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Friedman, Donald, S. Forrest, F. Gott, and G. D. Dyne. "Live Subject Safety Research - Side Impact." In SAE International Congress and Exposition. 400 Commonwealth Drive, Warrendale, PA, United States: SAE International, 1989. http://dx.doi.org/10.4271/890382.
Full textReports on the topic "Museum with live exposition"
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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.
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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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Hamilton, P. Wind power live! An interactive exhibit and related programs about wind generated energy at the Science Museum of Minnesota. Final performance report, February 1, 1995--September 30, 1996. Office of Scientific and Technical Information (OSTI), January 1997. http://dx.doi.org/10.2172/510607.
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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.
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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.