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1
Ferraro, José Luís Schifino, Adam Goldwater, Caroline McDonald, Melissa Guerra Simões Pires, Janet Stott, Jessica A. Suess, and M. Paul Smith. "Connecting Museums: a case study in leadership, innovation and education in university science museums leading internationalisation projects." Educação 42, no. 1 (May 6, 2019): 77. http://dx.doi.org/10.15448/1981-2582.2019.1.29526.
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This article reports on Connecting Museums: leadership, innovation and education in Science Museums, an international conference involving three university museums: Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), the Great North Museum: Hancock (GNM), at Newcastle University (NU), and the Oxford University Museum of Natural History (OUMNH). The partnership started with a project to develop a joint exhibition on the theme of evolution organised by MCT-PUCRS and GNM, supported by the British Council’s Newton Fund (Institutional Skills 2016). The two museums shared the project at the UK University Museums Group (UMG) conference in 2016, where it came to the attention of colleagues at OUMNH. Following the UMG conference, the leadership and education teams of the three museums opened a dialogue to exchange knowledge and experience on leadership, innovation and education in science museums. This culminated in the first Connecting Museums conference in Porto Alegre, Brazil in October 2017. The conference was attended by 81 professionals, researchers, undergraduate and graduate students with interests in museology, the natural sciences and related areas. *** Connecting Museums: um estudo de caso sobre liderança, inovação e educação em museus de ciências universitários liderando projetos de internacionalização ***Este artigo constitui-se de um relato sobre o Connecting Museums: liderança, inovação e educação em Museus de Ciências, uma conferência internacional envolvendo três museus universitários: o Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), o Great North Museum: Hancock (GNM), da Newcastle University (NU) e o Oxford University Museum of Natural History (OUMNH). A parceria entre as instituições iniciou-se a partir de um projeto para o desenvolvimento de uma exposição conjunta, organizada pelo MCT-PUCRS e pelo GNM financiada pelo Newton Fund por meio do edital Institutional Skills 2016 promovido pelo British Council. Os dois museus apresentaram o projeto na conferência do University Museum Group (UMG) em 2016 no Reino Unido, despertando a atenção de colegas do OUMNH. Após a conferência, as equipes de gestão e de educação dos três museus iniciaram um diálogo que culminou na troca de conhecimentos e experiências nas áreas de liderança, inovação e educação em museus de ciências. Este diálogo resultou na primeira edição da conferência Connecting Museums em Porto Alegre, Brasil, em outubro de 2017. Participaram do evento 81 profissionais, entre pesquisadores e alunos de graduação e pós-graduação, cujo interesse estava relacionado à museologia, ciências naturais e áreas correlatas.Palavras-chave: Museus de ciência. Liderança. Inovação. Educação em ciências. Internacionalização.
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Cury, Marilia Xavier. "Lições indígenas para a descolonização dos museus: processos comunicacionais em discussão / Indigenous people's lessons for decolonizing museums: communication processes under discussion." Cadernos CIMEAC 7, no. 1 (July 11, 2017): 184. http://dx.doi.org/10.18554/cimeac.v7i1.2199.
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Os museus passam por transformações, novas funções se reorganizam e novos desafios são levados a essa instituição. Após anos de crítica da sociedade e academia ao museu, pela forma fechada como operava e interpretava coleções, há um movimento de transformação. Os processos de descolonização do museu etnográfico vêm trazendo grandes avanços, também porque essa categoria de museu passa pelo processo de indigenização. A comunicação museológica tem papel preponderante tanto na descolonização quanto na indigenização, pois promove o diálogo entre profissionais de museus e indígenas. O artigo apresenta situações em que o museu, em fase de transição entre modelos, é analisado pela Comunicação, considerando o deslocamento dos meios para as mediações, ou seja, do museu para a cultura, no caso tratado as culturas Kaingang, Terena e Guarani Nhandeva, tendo como locus o oeste do estado de São Paulo. Os resultados da ação de comunicação museológica revelam dois aspectos a serem aprofundados pelo museu: a política de gestão de acervo e a ressacralização do museu.Palavras-chave: Indígenas no Oeste Paulista; Políticas museais; Descolonização dos museus. ABSTRACT: Museums are undergoing changes, new roles are created for, and new challenges are posed to those institutions. After years of criticism levelled by society and academia at museums for the closed manner in which they ran and interpreted collections, a transformation is now underway. The decolonization of ethnographic museums has made major advances, especially because this type of museum is currently being indigenized. Museal communication plays a key role both in decolonization and indigenization, because it fosters dialogue between museum professionals and indigenous people. The article describes situations where museums, which are undergoing a transition between different models, are analyzed by Communication, considering the move from the means to mediation, in other words, from museums to culture, specifically the cultures of the Kaingang, Terenaand and Guarani Nhandeva indigenous people who live in the west of the state of São Paulo. The results of the museal communication initiative show two aspects to be explored by museums: The collection management policy and the renewed sacralization of museums.Keywords: Indigenous people in the west of the state of São Paulo; Museum policies; Decolonizing Museums.
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Uralman, Hanzade. "The library of Istanbul Museum of Modern Art: a new type of art museum library for Turkey." Art Libraries Journal 35, no. 2 (2010): 30–34. http://dx.doi.org/10.1017/s0307472200016370.
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Libraries can easily be integrated into a museum’s activities, since museums too have functions that require the processing of information, such as preservation, research and communication. However museums in Turkey were not notable for developing efficient art libraries until Istanbul Museum of Modern Art opened. The distinctiveness of this museum’s library results from a change in the museum environment in Turkey, and the introduction of a number of features that are new in art libraries in this country.
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Tołysz, Aldona. "MUSEUM IN THE PROCESS. SELECTED TENDENCIES IN 20TH-CENTURY MUSEOLOGY." Muzealnictwo 61 (June 24, 2020): 96–105. http://dx.doi.org/10.5604/01.3001.0014.2477.
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The debate on the museum definition undertaken at the 2019 Kyoto ICOM General Conference points to the role played contemporarily by museums and the expectations they have to meet. It also results as a consequence of changes happening in museums beginning as of the 19th century until today. Extremely important processes took place in the past century. Initially, the changes covered the museum operating methods, mainly within museum education and display, however, they also had an impact on the status of objects in museum collections in the context of artistic and ethnographic collections. One of the most interesting ideas for museum’s redefinition was that proposed in the 1st half of the 20th c. in the formula of Museums of Artistic Culture. However, the departure from the traditionally conceived museum towards a ‘laboratory of modernity’ proposed by the Russian Avant-garde was still too revolutionary for its times. Beginning as of the 1960s, next to the reflection on museums’ operating modes, there increased the emphasis on the role they played and the one they should play in modern society. It was phenomena of political, social or economic character that had a direct impact on the transformation of the shape of museums, these phenomena appearing under the banners of globalization, liberalization, democratization, glocalization. Criticism of museums and their up-to-then praxes drew attention to the essential character of the relation between the institution and its public. The turn towards society allowed for such formats to appear as an ecomuseum, participatory museum, open museum. The solutions derived from the New Museology not only point to the necessity to move the level of the relationship between museum and society, but first and foremost to reflect on museum’s activity which is assumed to create an institution maximally transparent and ethical. It is for various reasons that not all the solutions proposed by museums meet the criteria. Museums continue to face numerous challenges, yet they boast potential to face them.
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Kazantseva, O. A. "MUSEUMS OF UDMURTIA IN CONDITIONS OF GLOBALIZATION." Вестник Удмуртского университета. Социология. Политология. Международные отношения 4, no. 1 (April 7, 2020): 101–9. http://dx.doi.org/10.35634/2587-9030-2020-4-1-101-109.
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The article presents some analytical results of Udmurtia museums’ work in connection with the processes of globalization. A museum, as a sociocultural institution of society, reacts and feels changes in the world that change the museum's space, and finds other forms of interaction with libraries, archives, universities and research institutes. Informatization as an integral part of globalization has changed the accounting, storage and presentation of historical, cultural and natural heritage to a visitor in domestic museums, including in Udmurtia. Public attention is focused not only on material, but also on intangible objects. Museums of the Udmurt Republic are part of the unified electronic museum space of Russia and the world, where there is an opportunity to join the great cultural achievements of all mankind. Globalization opens up new opportunities for visitors to access the museum's collections and research into the material and spiritual culture of mankind. Museums of Udmurtia are closely connected with the phenomenon of globalization. Based on the use of SHOT analyses to evaluate the activities of the state museums of the Udmurt Republic, the prospects for development are outlined. Some aspects of Udmurtia museums activities are analyzed: informatization of museum environment, new forms of communication and the role of philanthropists and patrons. Museums develop modern forms of communication, introduce multimedia resources, use interactive technologies, successfully develop and participate in projects, and provide visitors with disabilities with group and individual classes - master classes. Museum employees develop special programs for working with such visitors. Udmurtia museums strive to be open to all visitors. Museum community presents successful projects in the field of preservation and study of historical and cultural heritage to Russia and the world. In the process of globalization, museums in Russian society remain a traditional institution where you can see authentic exhibits of history and culture, feel the power of their impact on the thoughts and feelings of a person. It is this educational aspect that makes a museum different from other institutions of society.
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Balash, Aleksandra N. "Literary museums: new discussions." Issues of Museology 11, no. 2 (2020): 157–67. http://dx.doi.org/10.21638/11701/spbu27.2020.202.
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The author of the article reviews the proceedings of a scientific conference held in 2018 by the Association of Literary Museums at the Union of Museums of Russia (with the participation of the V. I. Dahl State Museum of History of Russian literature). The conference proceedings are considered as an important step made by Russian Literary museums toward defining the venues for their further development, as well as an attempt to coordinate intellectual contributions by the employees involved in practical museum work and museum researchers. The author stresses the unanimity of the proceeding’s contributors in their approach to the history of literary museums, to the determination of the specific features of their fund’s collections and the principles of their acquisition. Going beyond traditional museographic descriptions is analyzed in the discussion of methods and forms of a museum’s interpretation of the biography and work of the writer, presentation of the author’s texts by means of museum expositions and in museum educational programs. It is important to raise the question of the role of museums in the dynamics of the modern literary process and artistic culture. The author analyzes the concepts of literary heritage, both its material and intangible parts, which the contributors to the proceedings regard as a resource for further development and exploration of new formats for presentation and intercommunication with the museum audience. It is shown that overcoming the local institutional experience is a necessary stage in the development of literary museums. The Association of Literary museums can play a positive role in such development, in particular, by coordinating research.
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Ferraro, José Luís Schifino, Caroline McDonald, and Paul Smith. "Connecting museums." Revista Internacional de Educação Superior 7 (April 11, 2020): e021009. http://dx.doi.org/10.20396/riesup.v7i0.8658203.
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O presente ensaio se constitui em um relato sobre a experiência de internacionalização entre o Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), o Great North Museum: John Hancock (GNM), da Newcastle University, e o Oxford University Museum of Natural History (OUMNH), da University of Oxford. Trata-se da constituição de uma rede entre estas instituições que discute educação, gestão e liderança em museus universitários de ciências. Desde a criação desta rede, denominada Connecting Museums, em 2016, foram realizados encontros internacionais entre pesquisadores, profissionais da área e público interessado. Como ações da rede em ensino, pesquisa e extensão – desde então –, foram organizadas formações para professores de escolas públicas e privadas em ciências, bem como a troca de expertise entre profissionais da área no que tange a gestão de museus universitários de ciências. Publicações como artigos, trabalhos científicos apresentados em conferências nacionais e internacionais e, ainda, um livro são os primeiros frutos do Connecting Museums. Todas as atividades foram fomentadas e tiveram apoio do British Council. A ampliação da rede inicia-se este ano com uma mudança na configuração do tradicional evento que leva seu nome, que pela primeira vez ocorrerá fora do MCT-PUCRS em Porto Alegre, com atividades planejadas e orientadas pelo Museum Leaders’ Report, produzido pela Saïd Business School, da University of Oxford, visando a formação de futuros líderes para os museus brasileiros.
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Sizova, Irina A. "Museum as an Active Participant in Continuing Education." Vestnik Tomskogo gosudarstvennogo universiteta, no. 464 (2021): 225–31. http://dx.doi.org/10.17223/15617793/464/25.
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The article presents a qualitative analysis of museum educational products. These products have been studied in terms of the possibility of their use in formal, non-formal and informal education. Thus, the role of the museum as an actor of continuing education has been determined. The role of continuing education in the educational process is becoming more obvious for most participants, and informal education plays a huge role in this process. It is urgent now to develop high-quality educational environment. Due to museums and their offline and online educational products, it is possible to get success. The author analyzed educational activities of leading Russian and foreign museums. As a result, the possibilities of museums as an educational institution for formal, non-formal and informal education were determined. Formal education is characterized by the network interaction of educational organizations and museums when the museum educational resources are included in the educational process. The largest number of museum educational products in traditional and innovative forms is made for non-formal or supplementary education. The traditional forms of museum educational resources include excursions, game formats for acquaintance with the exposition/exhibition (quests), museum master classes, interactive classes, as well as offline continuing education programs for a professional audience. The innovative forms include intra-museum programs, for example, performances, thematic classes within the museum’s profile, and Internet resources such as pages of official museum sites, online academies of museums, museum groups on social media, official museum channels on YouTube, webinars, virtual museums. Thus, non-formal educations could be in onsite or online training forms. Informal education can apply the museum’s resources both in traditional forms and in an innovative one. The museum online resources such as online museum games, massive open online courses (MOOC), and podcasts have the highest priority in this area. Museums and universities cooperate to get high-quality competitive educational online resources. In conclusion, it is possible to speak about a new stage in the development of museum educational activity. This stage is characterized by increasing attention to professional education by adding formal and non-formal (supplementary) educational programs, and, simultaneously, increasing the role of informal education due to online technology. It should be emphasized that museum staff could develop museum educational products for formal and non-formal education independently, but it is advisable for museums to intensify cooperation with universities to enter the online education market.
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Tulliach, Anna. "Simmons, J.E. (2016) Museums. A History. London: Rowman & Littlefield." Museum and Society 15, no. 3 (January 10, 2018): 343–45. http://dx.doi.org/10.29311/mas.v15i3.2507.
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Museums convincingly achieves the aim of giving a general summary of the key themes of the museum’s history. The author does not fail in missing a point: he offers a comprehensive history of museums from the ancient world to contemporary times, focusing on well-known historical examples of museum collections taken from different parts of the world and on contemporary subjects of debate in the museum world, producing a valuable synthesis of this wide topic. I recommend this book to museum studies students interested in the history of museums, but also to scholars who would like to have a complete and valuable summary of the subject.
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Shehade, Maria, and Theopisti Stylianou-Lambert. "Virtual Reality in Museums: Exploring the Experiences of Museum Professionals." Applied Sciences 10, no. 11 (June 11, 2020): 4031. http://dx.doi.org/10.3390/app10114031.
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The past few years have seen an increase in the use of virtual reality (VR) in museum environments in an attempt for museums to embrace technological innovations and adapt to the challenges of the digital era. While there are studies that examine the advantages of VR in museums and visitors’ experiences with it, there are no studies examining the experiences of museum professionals who are responsible for a museum’s objects and narratives. The aim of this paper is to explore the practices, experiences, and perceptions of museum professionals on the use of VR technology in museums, their perceived advantages and challenges of such technologies, and their vision for the future of technology in museums. The paper provides an in-depth analysis of interviews with museum professionals from a number of countries around the world who worked with particular VR projects in their own institutions. The ultimate aim is to offer a more critical and holistic examination and assessment of the use of VR in museums and provide suggestions for designing and developing VR projects in the future.
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B. Crow, William. "Dime, muéstrame, involúcrame: la importancia de la enseñanza y el aprendizaje participativo en los museos." Illapa Mana Tukukuq, no. 14 (February 18, 2019): 110–17. http://dx.doi.org/10.31381/illapa.v0i14.1884.
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Los museos y las instituciones culturales están buscando maneras para que sus visitantes estén más involucrados y conectados con sus instituciones. En lugar de ver a los visitantes del museo como receptores pasivos de información o experiencias, los museos y los visitantes del museo en sí, desean algo más. Este artículo ofrece ejemplos de la enseñanza y aprendizaje participativos, y por qué es importante para los museos y sus visitantes.
Palabras clave: museos, educación, estrategias para enseñar, Museo Metropolitano de Arte
AbstractMuseums and cultural institutions are looking for ways to make their visitors more involved and connected with their institutions. Instead of viewing museum visitors as passive recipients of information or experiences, museums, and museum visitors themselves, want something more. Thisarticle offers examples of participatory teaching and learning, and why it is important for museums and their visitors.
Keywords: Museums, education, teaching strategies, Metropolitan Museum of Art
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Jiang, Hao, and Si Jia Jiang. "The Architecture of Daniel Libeskind’s Jewish Museums." Applied Mechanics and Materials 174-177 (May 2012): 1812–19. http://dx.doi.org/10.4028/www.scientific.net/amm.174-177.1812.
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Memorial architecture faces the special challenge of commemorating the absent; Jewish museums deal with an extra problematic history of high sensitivity. This paper examines and compares Daniel Libeskind’s architectural solutions to the cultural and political challenges in each of the three Jewish museums that he designed in Berlin, San Francisco and Copenhagen. The focus is on how the architecture institutionalizes the web of political relationships attached to the particular museum and delivers the museum’s message. It will be concluded that Libeskind has used space to address visitors bodily and affectively, control their behavior and help them see what the museums want them to see; the museums’ spatial existence can never really be independent of their contents. Light will be shed on the future of museum architecture: the trend is for museums designed for an expressive experience, involving movement, rather than the static enjoyment of single works of art.
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Dorfsman, Marcelo I., and Gabriel Horenczyk. "Educational Approaches and Contexts in the Development of a Heritage Museum." Journal of Experiential Education 41, no. 2 (November 22, 2017): 170–86. http://dx.doi.org/10.1177/1053825917740155.
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Background: Educational museums are composed of objects, documents, and narratives that together create a learning experience. Existing models of museum education tend to analyze the visitor experience, but rarely take into consideration the unique characteristics and challenges of multicultural heritage museums. Purpose: This article proposes a conceptual model of experiential multicultural museum education that delineates teaching approaches in multicultural museum education. Methodology/Approach: The article is grounded in the framework of conceptual research aimed at identifying and clarifying key characteristics and educational concepts raised by museum’s designers and educators. The analysis it presents is based on insights learned during the design of the Interactive Jewish Museum of Chile. Findings/Conclusions: The major contribution of this article is the development of a conceptual model that allows for the identification of three approaches in multicultural museum education: the academic-educational approach, the artistic approach, and the identity-cultural approach. Implications: Our model can be applied to other heritage museums, and can be useful for the training and development of formal and informal educators interested in including multicultural heritage museums as experiential learning spaces.
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Andermann, Jens, and Silke Arnold-de Simine. "Museums and the Educational Turn." Journal of Educational Media, Memory, and Society 4, no. 2 (September 1, 2012): 1–7. http://dx.doi.org/10.3167/jemms.2012.040201.
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Responding to feminist, postcolonial, and memorialistic critiques, museums have over the past decades radically revised their protocols of collection and display, aiming to register in their own curatorial and pedagogical practice the open and contested nature of the historical and ethnographic narratives on which their object lessons had traditionally conferred the status of hard evidence. In this new emphasis on the “museum encounter” as a performative and intersubjective “event”—sometimes referred to as the “educational turn” in museum curatorship—a new type of “inclusive museum” has emerged in diverse geographical and political settings. The inclusive museum seeks to recover the museum’s social role as a purveyor of shared, collective meanings precisely in departing from its high-modern predecessor and in forging “open representations” that acknowledge the diversity of the interpretative community thus interpolated. Inclusive museums, in short, aim to offer a new, contemporary stage for negotiating and performing cultural citizenship.
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Bezrukova, Nataliya B. "THE FIFTH PROLETARIAN MUSEUM. HISTORY OF CREATION AND ACTIVITIES OF THE MOSCOW ART MUSEUM IN THE 1920S." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 52–65. http://dx.doi.org/10.28995/2686-7249-2020-8-52-65.
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The article highlights the history of the so-called proletarian museums that opened in Moscow’s working-class suburbs in the 1920s. The study of their activities seems relevant, since it opens up the opportunity for a deeper study of the history of art museums in Moscow in the 1920s. Special attention is given to the Fifth Proletarian museum, which was a part of the State Tretyakov Gallery. More archival documents have survived on this museum than on any other of the proletarian museums. After studying some unpublished documents in Russia’s major archives, the author has discovered some important, previously unknown facts about these museums. This article takes a close look at how the paperwork was handled at the museum, how the items were registered, accounted for and taken care of and how the collections were accumulated and organized. Also thoroughly described in the article is the history of the museum’s closure as the author analyzes why it was eventually shut down. Moscow’s proletarian museums went down in history as an original new form of art institutions targeting “uncultured” visitors. Unfortunately, these museums were short-lived as they fell victim to the lack of funding and shortage of trained staff during the New Economic Policy era (1921–1928).
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Murawska, Agnieszka, Jarosław M. Fraś, Ewa Frąckowiak, and Andrzej Rybicki. "PROFESSION OF A ‘MUSEUM CURATOR’. ON LEGAL CHANGES IN THE CONTEXT OF THE EROSION OF THE ROLE PLAYED BY MUSEUM CURATORS." Muzealnictwo 61 (July 24, 2020): 145–53. http://dx.doi.org/10.5604/01.3001.0014.3323.
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Changes in the legislation related to museum curators and museology, introduced with small steps in harmony with the Overton Window concept, are discussed; they are leading away from the letter and spirit of the Act on Museums of 21 Nov 1996 and the traditions of Polish museology based on creating collections of museum objects and working on them in various manners. Regulations and legal opinions on the museum curator profession are presented, pointing to the fact that the initially cohesive definitions and provisions are becoming blurred, to the extent of losing their initial sense, and threatening the identity of this professional group, as well as the identity of museums as heritage-preserving organizations. Furthermore, attempts to extend the concept of museum curator to encompass also the institution’s executives or the entire museum staff undertaken in order to depreciate this professional group and deprive it of the impact on the institution’s management have been signalled. A tendency has been observed to deprive the employees fulfilling the museum’s basic activity, museum curators included, of the influence on shaping state policies with respect to museology, this clearly illustrated by the composition of the Council for Museums and National Memorial Sites. Provisions of the labour legislation as regards professions of public trust museum curators aspire to join have been quoted. Mention has also been made of certain activities they have undertaken to prevent the process of de-professionalising the profession of a museum curator in the museum-related legislation, and to subsequently reverse it. The 2016 Bill on Museum Collections and on Museums prepared by the National Section for Museums and Institutions for the Preservation of Historical Monuments of the Solidarity Trade Union has been presented. The main demands of the Bill have been pointed to: the consolidation of the status of museum collections as the main purpose of the museum’s raison d’être, the status of a museum curator as a profession of public trust, and the shift in museum management from technocratic (New Public Management) to modern, aiming to serve the national heritage and people in harmony with the principles of the New Public Service.
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Laszlo Klemar, Kosjenka, and Željka Miklošević. "Educational Museum Action – Characteristics and Possibilities of Development." Etnološka istraživanja, no. 25 (December 3, 2020): 51–68. http://dx.doi.org/10.32458/ei.25.10.
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On the occasion of observing International Museum Day, Croatian museums carry out the Educational Museum Action (EMA) by conducting educational activities - most often workshops, guided tours and didactic exhibitions - on a specific topic set by a museum-leader. Ethnographic museums in Croatia have participated in the Action from the very beginning; in 2000 and 2010, Ethnographic Museum in Zagreb was the leader of the Educational Museum Action. This paper presents a research of EMA features as an educational museum action conducted by analysis of printed booklets as the Action program publications and by responses of museum experts who took part in the organization and implementation of the Action, obtained as a result of a survey. The research points out the discrepancy between the name and features of the organized activity, upon which a state and potentials of the Action development, as well as the museum’s educational activities have been questioned. Curators of ethnographic collections and museum educators in Croatian ethnographic museums, having participated in the research, gave their contribution to determination of issues related to museum educational programs and to determination of their development potentials.
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Andermann, Jens. "Showcasing Dictatorship." Journal of Educational Media, Memory, and Society 4, no. 2 (September 1, 2012): 69–93. http://dx.doi.org/10.3167/jemms.2012.040205.
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This article compares two recently inaugurated museums dedicated to the period of dictatorial terror and repression in the Southern Cone: the Museum of Memory and Human Rights at Santiago, Chile (opened in 2009), and the Museum of Memory at Rosario, Argentina (2010). Both museums invoke in their very names the "memorial museum" as a new mode of exhibitionary remembrance of traumatic events from the past. They seek to sidestep the detachment and "objectivity" that has traditionally characterized historical museum displays in favor of soliciting active, performative empathy from visitors. Neither of the two institutions, however, complies entirely with the memorial museum's formal characteristics; rather, they reintroduce modern museographical languages of history and art, thus also challenging the emergent "global canon" of memorial museum aesthetics.
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Yeshenkulova, G. I., R. Ye Agybetova, Y. E. Galiakbarov, and A. G. Gizzatzhanova. "The impact of modern technology on the activities of museums." Bulletin of "Turan" University, no. 1 (March 31, 2021): 145–51. http://dx.doi.org/10.46914/1562-2959-2021-1-1-145-151.
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The article describes the state of museums in the past, the impact of monotonous activities in the country on the number of visitors, as well as the introduction of new technologies and their impact on museums. The importance of using new technologies in the provision of their services, quickly focused on the modern period of museums that are among the top 10 world-famous museums, is emphasized. Virtual tours in 3D format of several foreign and patronymic museums and exhibitions with the use of modern technologies and augmented virtual reality indicate that the museum's attendance is increasing both online and offline. The situation in our country shows that significant work needs to be done to increase the number of visitors to museums, including the use of new technologies, good advertising, various promotions. This idea can be confirmed by the results of a survey on the use of augmented reality and virtual reality technologies in the museum in our country. The desire of a total of 179 participants to visit the museum confirms the need to develop this area. In the near future, people's visits to museums may change, their situation shows that the industry needs to be developed in the future, there is a great opportunity to deliver art to people previously unavailable, people who do not have the opportunity to travel and visit famous museums have online access to the world's best collections. Strict restrictions due to the pandemic have increased people's interest in listening to virtual tours of museums, which, among other things, is due to the fact that the museums themselves are beginning to quickly direct visitors to online tours.
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Li, Yin. "Museums and Marketing: a Controversy over New Strategies." ESIC MARKET Economic and Business Journal, Volume 51, Issue 1 (April 14, 2020): 183–208. http://dx.doi.org/10.7200/esicm.165.0511.4.
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Objective: This paper aims to review the function of marketing in the field of museum management and offers practical and creative solutions for museums to successfully balance the conflict between the museums’ sustainable operation and their original functions, such as education and preservation. Methodology: The research is mainly based on long-term observations of museum management and marketing in both China and Spain. A review and analysis of previous studies has been conducted to build the context. Results: The implementation of appropriate marketing methods by way of cross-industry cooperation and new technologies can not only assist museums in financial issues but could also result in a win-win outcome which could promote the original mission of museums. Limitations: This article is mainly based on the Chinese and Spanish contexts, however, some relevant features of other countries have also been described. Practical implications: The suggested strategies mentioned in this paper contribute to the development of practical marketing methods for Spanish museums, oriented towards meeting the need for sustainable operation, and ways to communicate to the public at large, in accordance with the museum’s key objectives.
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de Rosset, Tomasz F. "MIECZYSŁAW TRETER, CONTEMPORARY MUSEUMS." Muzealnictwo 60 (July 9, 2019): 103–7. http://dx.doi.org/10.5604/01.3001.0013.2802.
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In 2019, the National Institute for Museums and Public Collections in cooperation with the Państwowy Instytut Wydawniczy published the 1917 book by Mieczysław Treter titled Contemporary Museums as the first volume in the Monuments of Polish Museology Series. The study consists of two parts originally released in ‘Muzeum Polskie’ published by Treter in Kiev; it was an ephemeral periodical associated with the Society for the Protection of Monuments of the Past, active predominantly in the Kingdom of Poland, but also boasting numerous branches in Polish communities throughout Russia. The Author opens the first part of a theoretical format with a synthesized presentation of the genesis of the museum institution (also on the territory of the Polish-Lithuanian Commonwealth), to later follow to its analysis in view of its collecting and displaying character, classification according to the typical factual areas it covers, chronology, and territory (general natural history museums, general history ones, technological ones, ethnographic ones, historical-social ones, historical-artistic ones); moreover, he tackles questions like a museum exhibition, management, a museum building. In Treter’s view the museum’s mission is not to provide simple entertainment, neither is it to create autonomous beauty (realm of art), but it is of a strictly scientific character, meant to serve science and its promotion, though through this museums become elitist: by serving mainly science, they cannot provide entertainment and excitement to every amateur, neither are they, as such, works of art to which purely aesthetical criteria could be applied. The second part of Treter’s study is an extensive outline of the situation of Polish museums on the eve of WWI, in a way overshadowed by the first congress of Polish museologists, and in the perspective of the ‘museum world’ of the Second Polish Republic. It is an outline for the monograph on Polish museums, a kind of a report on their condition as in 1914 with some references to later years. Through this it becomes as if a closure of the first period of their history, which the Author, when involved in writing his study, could obviously only instinctively anticipate.
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Borges, Priscila Lopes d'Avila. "Museu Imperial: narrar entre as reticências da memória e as exclamações da História." Revista Discente Ofícios de Clio 5, no. 8 (October 14, 2020): 187. http://dx.doi.org/10.15210/clio.v5i8.19023.
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O presente trabalho propõe a análise dos discursos produzidos na visita guiada do Museu Imperial (Petrópolis-RJ), bem como o estudo de elementos materiais da exposição permanente da instituição. A composição hegemônica formulada pelo museu, como retrato da sociedade oitocentista, promove silenciamentos ensurdecedores acerca de temas sensíveis da história do Brasil, restringindo a percepção dos visitantes. O artigo indica alguns desafios do uso pedagógico de museus históricos. Em seguida, apresenta dados coletados em visitas observadas em pesquisa de campo, entre os anos de 2017 e 2018, com o objetivo de esclarecer a natureza hegemônica das narrativas do setor educativo e da exposição permanente do museu. Finalmente, aborda dificuldades cognitivas do público escolar, decorrentes da atual relação social com o tempo, no uso do patrimônio material e memória coletiva reforçada por museus históricos, superando as fronteiras expográficas.Palavras-chave: Ensino de história; Museus históricos; Educação museal; Museu Imperial.Abstract The present article proposes an analysis of the speeches produced in the guided tour of the Museu Imperial (Petrópolis-RJ), as well as the study of the material elements of the permanent exhibition of the institution. The hegemonic composition formulated by the museum, as a portrait of 19th century society, promotes deafening silences about sensitive themes in the history of Brazil, restricting the perception of visitors. The article indicates some challenges of the pedagogical use of historical museums. After that, it presents some data collected in visits observed in field research, between the years 2017 and 2018, in order to clarify the hegemonic nature of the narratives of the museum's educational sector and permanent exhibition of the museum. Finally, it approaches cognitive difficulties of the school public arising from the current social relationship with time, in the use of material patrimony and collective memory reinforced by historical museums, overcoming expographic boundaries.Keywords: History teaching; Historical museum; Museum education; Museu Imperial.
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Soraya, Ayu, and Yusup Sigit Martyastiadi. "Aesthetics of Virtual: The Development Opportunities of Virtual Museums in Indonesia." International Journal of Creative and Arts Studies 8, no. 1 (June 28, 2021): 25–33. http://dx.doi.org/10.24821/ijcas.v8i1.5346.
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The Covid-19 pandemic requires us to carry out physical and social distancing. It is undeniable, this also has an impact on government policy to close tourist destinations, including museums. Currently, sophisticated 3D visualization technology provides the potential for the development of virtual museums. The virtual museums were developed for giving the experience of the visiting museum in the digital world as a distance learning. This application can provide immersion through interactivity while exploring virtual museums. Basically, this article explains the aesthetic investigations in some virtual museums. The researchers describe the aesthetic of each sampled virtual museums projects. The literature synthesis of several virtual museums projects is expected to be able to give an idea of the potential development of virtual museums in Indonesia. The aesthetics of virtual elements could be used as a recommendation for museum conservator for the development of prospective Indonesian virtual museums. Furthermore, the aesthetics of virtual in digital museums provide opportunities to present virtual museums exploration experiences. Estetika Virtual: Peluang Perkembangan Museum Virtual di IndonesiaAbstrakPandemi Covid-19 mengharuskan kita melakukan jarak fisik dan sosial. Tak bisa dipungkiri, hal ini juga berdampak pada kebijakan pemerintah untuk menutup destinasi wisata, termasuk museum. Saat ini, teknologi visualisasi 3D yang canggih memberikan potensi untuk pengembangan museum virtual. Museum virtual dikembangkan untuk memberikan pengalaman mengunjungi museum di dunia digital sebagai pembelajaran jarak jauh. Aplikasi ini dapat memberikan immersion melalui interaktivitas sambil menjelajahi museum virtual. Pada dasarnya, artikel ini menjelaskan investigasi estetika di beberapa museum virtual. Para peneliti mendeskripsikan estetika dari setiap proyek museum virtual yang dijadikan contoh. Sintesis literatur dari beberapa proyek museum virtual diharapkan dapat memberikan gambaran tentang potensi perkembangan museum virtual di Indonesia. Estetika unsur virtual dapat dijadikan sebagai rekomendasi bagi konservator museum untuk pengembangan museum virtual Indonesia yang akan datang. Selain itu, estetika virtual dalam museum digital memberikan peluang untuk menghadirkan pengalaman eksplorasi museum virtual.
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Tonner, Philip. "Museums, Ethics and Truth: Why Museums' Collecting Policies Must Face up to the Problem of Testimony." Royal Institute of Philosophy Supplement 79 (October 2016): 159–77. http://dx.doi.org/10.1017/s1358246116000126.
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AbstractThis paper argues that any museum's collecting policy must face up to the problem of vulnerability. Taking as a starting point an item in the collections of the United States Holocaust Memorial Museum, I argue that the basic responsibility of museums to collect ‘things’, and to communicate information about them in a truthful way brings their collecting practice into the epistemological domain of testimony and into the normative domain of ethics. Museums are public spaces of memory, testimony, representation and interpretation that at once enable humanity to hold to account those who transgress while at the same time holding to account those who witness these transgressions. By virtue of this, museums can be considered spaces of ethics wherein testimonial and hermeneutic injustice can be confronted and challenged.
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Charapan, Nadzeya. "Communication Matters: How Do Visitors Interact with Ethnographic Open-Air Museums?" Informacijos mokslai, no. 83 (December 20, 2018): 142–54. http://dx.doi.org/10.15388/im.2018.83.9.
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[full article, abstract in English; abstract in Lithuanian]
Though the concept of an ethnographic open-air museum is not a new one, little is known about the interplay between a visitor and an amalgam museum setting. Ethnographic open-air museums are complex spaces with shared qualities of outdoor sites and indoor museums. Grounded in Gibson’s theory of affordances (1979), the article explores how visitors interact within and in relation to the hybrid space of ethnographic open-air museum and how communication shapes their interactions. The analysis is based on a qualitative study of visitors in the Belarusian State Museum of Folk Architecture and Rural Lifestyle (Aziartso, Belarus) and the Open-Air Museum of Lithuania (Rumšiškės, Lithuania). The data were collected using participatory observation and semistructured interviews with visitors. The article employs a constructivist approach and conceptualizes an ethnographic museum as a free-choice environment, where behavior patterns are linked to the institutional context and the visitors’ ability to perceive the information about the objects and environments that specified the possibilities and constraints for interacting with the museum’s space. The study reveals how cultural communication fosters the diversity of visiting scenarios and the perceptions of ethnographic open-air museums as cultural heritage sites, natural parks and stages for entertainment. The implications of this research could be relevant to cultural policymakers and communication specialists in designing the cultural, recreational and educational policies of museums.
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Kristinsdóttir, AlmaDís, and Sigurjón Baldur Hafsteinsson. "Organizational structures and the museum’s educative function. Empty options at the Reykjavík Art Museum." Nordisk Museologi 26, no. 2 (December 6, 2019): 77–94. http://dx.doi.org/10.5617/nm.7478.
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Museum education is a field in flux that faces continuous theoretical and practical challenges. We argue that formal museum organizational structures, the informal, and experiences of museum workers should be intertwined. We also argue that the influence of museum educators on shaping policies is relevant. Formal organizational structures in museums should be acknowledged and systematically embedded in the shaping and governance of sustainable museum education practices if museums are to succeed as learning institutions. We contend that museum organizational structures disempower the development of museum education as a profession, serving other purposes more rigorously. We interviewed twelve museum staff members for this paper. They all worked at the Reykjavík Art Museum’s (RAM) education department as full-time and/or part-time employees from 1991 to 2018. Multiple meetings with the participants occurred from June 2011 until June 2018, resulting in twenty semi-structured interviews.
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Kliuchko, Yuliia. "COMMUNICATIVE SPACE OF MODERN MUSEUMS DURING THE PANDEMIC." CULTURE AND ARTS IN THE MODERN WORLD, no. 22 (June 30, 2021): 145–55. http://dx.doi.org/10.31866/2410-1915.22.2021.235902.
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The purpose of the article is to explore the communicative space of modern museums in the conditions of the COVID-19 pandemic, to outline the main vectors of its development. The research methodology is based on the general scientific principle of objectivity, structural and functional, analytical methods are used during the analysis of the communicative space of museums in the context of the COVID-19 pandemic. Taking into account the current state of museums in Ukraine, the main theoretical achievements of the issue are systematized and generalized; it is shown that the topic of the research at the present stage has not yet been comprehensively reflected in the domestic scientific literature. The novelty of the article is to determine the main vectors of the development of the communicative space of foreign and domestic museums during the COVID-19 pandemic, to study the most successful projects of Ukrainian museums in the context of the transformation of the communicative space. Conclusions. The study shows that today the establishment of a sustained and constructive dialogue with its audience is an important result of the museum activities as one of the communication centers in the cultural space. This article demonstrates that there is a rather significant transformation of the museum environment and the museum communicative space, which is manifested in a combination of traditional and innovative directions, the development of adaptation strategies following the modern conditions. It is claimed that for museums the time of the pandemic is the time of mastering new communication channels, the time of pooling resources. Information technologies adjust and supplement the content of the main functions of museum’s activities. Without digital technologies and digital communication, the museum is no longer able to achieve its full potential as a sociocultural and educational institution. The article shows that during the COVID-19 pandemic the Internet communication between Ukrainian museums and their audience has actually become the only way to interact. To attract a new audience, Ukrainian museums are implementing inclusion practices, rebranding, interdisciplinary and inter-museum projects, applying creative approaches to adapt educational programmes to the online format, and significantly increasing the amount of content for children and adolescents.
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Teixeira de Vargas, Márcia Isabel, and Andréia Von Hausen Bederode Becker. "POLÍTICA NACIONAL DE EDUCAÇÃO MUSEAL – PNEM: MUSEUS, EDUCAÇÃO E REDES." Revista Docência e Cibercultura 3, no. 2 (September 1, 2019): 176–98. http://dx.doi.org/10.12957/redoc.2019.44362.
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ResumoEste artigo apresenta uma análise do cenário emergido com a efetivação da Política de Educação Museal (PNEM), temática principal, e a participação das Redes de Educadores em Museus, vivenciadas pelos sujeitos da dinâmica educacional em instituições culturais desde a sua concepção. Relata a participação da Rede de Educadores em Museus do Rio Grande do Sul (REM-RS), na elaboração compartilhada do Programa de Educação Museal, no período de 2012 a 2017. Tem o objetivo de evidenciar tensões experimentadas pelo museu, a escola e por seus agentes nas atividades do setor educacional museológico. Sugere que as ações empreendidas para fomentar a incorporação da PNEM às instituições museológicas sejam efetivadas de forma articulada e com indispensável reconfiguração de acordo com os princípios e diretrizes da política pública voltada aos museus brasileiros, enquanto referencial para o setor. Destaca a Carta de Petrópolis, a Carta de Belém e a Carta de Porto Alegre documentos que demonstram a participação e as discussões, presenciais e em rede, geradas pelos profissionais efetivamente envolvidos nos processos de construção que resultaram na referida política. Conclui com relatos de experiências e atividades na formação docente no espaço museológico como forma de adequar o trabalho educacional em museus ao PNEM.Palavras-chave: Educação Museal. Redes. Rede de Educadores em Museus. Formação docente. NATIONAL POLICY OF MUSEAL EDUCATION - PNEM:Museums, Education and Networks Abstract This article presents an analysis of the emerged scenario with the implementation of the Museum Education Policy (PNEM), the main theme, and the participation of the Educator Networks in Museums, experienced by the subjects of the educational dynamics in cultural institutions from their conception. It reports on the participation of the Network of Educators in Museums of Rio Grande do Sul (REM-RS), in the shared elaboration of the Museum Education Program, from 2012 to 2017. Its objective is to tensions experienced by the museum, the school and its agents in the activities of the museum educational sector. It suggests that the actions undertaken to promote the incorporation of PNEM to museological institutions should be carried out in an articulated manner and with an indispensable reconfiguration in accordance with the principles and guidelines of the public policy focused on Brazilian museums, as a reference for the sector. The Petrópolis Charter, the Belém Charter and the Porto Alegre Charter emphasize the documents that demonstrate the participation and the discussions, both in person and in a network, generated by the professionals effectively involved in the construction processes that resulted in this policy. Concludes with reports of experiences and activities in teacher training in the museum space as a way to adapt the educational work in museums to the PNEM. Key words: Museum Education. Networks. Educators Network in Museums. Teacher training.
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Abbasov, Iftikhar B., and Christina Lissette Sanchez. "Design features of the Inca museum of culture." International research journal of engineering, IT & scientific research 6, no. 5 (August 19, 2020): 1–12. http://dx.doi.org/10.21744/irjeis.v6n5.970.
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The paper deals with the development of a design concept for a museum of Inca culture in Ecuador. The current trends in the organization of historical museums in Latin America are presented. An overview of the graphic support of the Latin American museums of culture, archeology, and history is made. The historical foundations of the Museum of Inca culture are presented, the iconography of the Inca civilization of various periods is analyzed. The current state of the museum, the history of its foundation, prerequisites for creating a new brand are described. Associative graphic images for creating a new logo for the museum were considered, corporate colors were substantiated, and components of the brand were developed. This will strengthen the museum's brand and increase its social significance for the popularization of the Inca culture.
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Mihalache, Irina. "Art Museum Dining: The History of Eating Out at the Art Gallery of Ontario." Museum and Society 15, no. 3 (January 6, 2018): 287–300. http://dx.doi.org/10.29311/mas.v15i3.2543.
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Using archival materials from the Art Gallery of Ontario (AGO), this article recreates the culinary history of the art museum and advocates for the inclusion of food in the literature on art museum history and practice. The AGO, like many other North American art museums, has a rich culinary history, which started with dining events organized by volunteer women’s committees since the 1940s. These culinary programs generated a culinary culture grounded in gourmet ideologies, which became the grounds for the first official eating spaces in the museum in the mid-1970s. Awareness of the museum’s culinary history offers an opportunity to liberate the museum from prescriptive theoretical models which are not anchored in institutional realities; these hide aspects of gender and class which become visible through food narratives.KeywordsArt museum restaurants, culinary programming, women’s committees, multisensorial museums, Art Gallery of Ontario
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Golat, Rafał. "SUPERVISION OF MUSEUM ACTIVITY." Muzealnictwo 62 (August 25, 2021): 208–13. http://dx.doi.org/10.5604/01.3001.0015.2413.
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Supervision of museums should be perceived taking into account both specific regulations: addressed directly to museums, particularly in the Act on Museums, as well as general regulations assuming supervision mechanisms in different respects, e.g., construction process or HR. This complex perspective: systemic and normative, is essential not only with respect to the supervision in a narrow basic meaning of the term, associated in the first place with an inspection of the supervised entity and application of respective executive actions, e.g., undertaken in the form of administrative decisions, but also the supervision in a broader perspective, understood as a whole range of support provided to a museum, including issuing recommendations, evaluations, and opinions important for its operation. In the context of ‘external’ supervision implemented by appropriate organs and entities, the following are of basic importance: the museum’s organiser (founder) supervision, constituting one of the organiser’s basic statutory responsibilities, as well as the supervision of the minister responsible for culture and preservation of national heritage, with respect to e.g., the preservation and care of historic monuments and museum operations; additionally, it is the matter of conservation supervision performed by Voivodeship Conservators of Historic Monuments as organs specialized in the preservation and care of historic monuments, the latter constituting, e.g., museum collections. As for the ‘internal’ supervision aspects, the role of museum councils, obligatory in public museums (state ones or organised by local governments), needs to be emphasized. Their statutory responsibility is to e.g., supervise how museums fulfil their responsibilities with respect to the collection and the public, in particular how they fulfil the goals as specified in Art.1 of the Act on Museums. The questions of supervision are also important for non-public museums (their founders) which in the event of violating either the Act’s provisions or their own charter have to be prepared that supervisory activities might be applied to them, up to the ban on their further operations.
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Sabloff, J. A. "MUSEUMS: Whither the Museum?" Science 298, no. 5594 (October 25, 2002): 755–56. http://dx.doi.org/10.1126/science.1074068.
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Zubanova, Nadezda A. "Museums of a “manufacturing type” in the USSR: Emergence, experience and liquidation. The history of museum development in the USSR in the 1920s–1930s." Issues of Museology 11, no. 2 (2020): 197–209. http://dx.doi.org/10.21638/11701/spbu27.2020.205.
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The article examines the experience of the museums of a “manufacturing type” that appeared in Soviet Russia in the 1920s. References to the existence of such museums are repeatedly found in official reports, museums’ documentation and periodicals of those years. At the same time, we note that up to now there is no definition of this type of museum in the national historiography of the history of museums. The reference to the experience of their work remains on the periphery of the research interest. The article explores the example of two Moscow’s museums — the Museum of Porcelain and the Museum of Furniture — to describe the history of the creation of museums, to find out the socio-cultural factors that contributed to their formation as a “manufacturing type” museums, and to analyze the reasons that led to the closure (in the case of the Museum of Furniture) or a change of their profile. The emergence and activity of manufacturing museums was associated with a special historical moment — the time of the active creation of the Soviet museum network and experiments in the field of museum business. If earlier museums in their activities were focused on storage and scientific functions, then at the new historical stage the role of museums in society was rethought: the educational functions were placed at the forefront of their activities. At this time, there was still the opportunity to implement certain creative experiments. In the activities of “manufacturing museums”, such types of museum work with a visitor were already successfully practiced and some approaches in expositional activities that were relevant in modern museology and in demand by modern museum institutions were implemented.
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Marselis, Randi. "Digitizing migration heritage: A case study of a minority museum." MedieKultur: Journal of media and communication research 27, no. 50 (June 27, 2011): 16. http://dx.doi.org/10.7146/mediekultur.v27i50.3325.
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Museums are increasingly digitizing their collections and making them available to the public on-line. Creating such digital resources may become means for social inclusion. For museums that acknowledge migration history and cultures of ethnic minority groups as important subjects in multiethnic societies, digitization brings new possibilities for reaching source communities. This article describes Web projects conducted at Museum Maluku in Utrecht, the Netherlands. The article focuses on the museum’s experiences with cross-institutional Web projects, since digitization of the museum’s collection was initiated through collaboration with major national heritage institutions. The article also discusses how source communities through digital participation can become involved in building cultural heritage. Based on the case study of the Museum Maluku, it is argued that in order to design an appropriate mode of user participation as well as a sense of ownership it is crucial to take memory politics of source communities into account.
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Danek, Jan, B. Shaushekova, and E. Ibrayeva. "Advantages of joint work of school with organizations of supplementary education at different historical stages." Bulletin of the Karaganda University. Pedagogy series 101, no. 1 (March 29, 2021): 66–72. http://dx.doi.org/10.31489/2021ped1/66-72.
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Article deals with the problem of interaction of the museum and school from the early ages. Authors give thoroughly full images of joint work of museums and schools in developed countries and analyze their experiences in conducting this way of cooperation. In the article there were listed the problems of interaction between the museum and the school and features of interaction at different historical stages. Authors describe the promising models of cooperation and the answers to question ‘How the problem of “museum and school” is solved abroad?’ Work of museums with students have been discussed in details, i.e. work with preschoolers and younger students, middle and high school students. Authors gave classification of museums of educational institutions: university museums, school museums, pedagogical museums. They have considered pedagogical museums in the period of origin and prosperity, the evolution of pedagogical museums, museums of the history of education and children's museums. Authors have analyzed the prospective of having museumschool partnership.
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Sande, Theodore Anton. "Museums, museums, museums." Museum Management and Curatorship 11, no. 2 (June 1992): 185–92. http://dx.doi.org/10.1080/09647779209515310.
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Franco Caballero, Pablo Daniel, and Francisco José García Aguilera. "Evaluation for QR codes in environmental museums." Global Journal of Information Technology: Emerging Technologies 9, no. 2 (October 31, 2019): 29–32. http://dx.doi.org/10.18844/gjit.v9i2.4268.
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The continued use of digital devices, such as smartphones and tablets, has substantially changed the way we communicate and acquire knowledge. Museums are a key element in our society and a source of culture. Updating the method of transmission of museum culture is needed, so technologies related to the Internet have been integrated into the exposed elements. One of the most widespread methods among innovation trends in museums is the use of Quick Response (QR) codes for the transmission of additional information to the exposed elements. The case of the Alborania Museum, being a museum of environmental education, has live animals in veterinary treatment, so the information on the available animals is constantly changing. Establishing posters would have an environmental impact that is against the museum's ethics, so QRs are the best way to present dynamic content with low environmental impact. This article proposes an evaluation of an educational innovation project in the Alborania Museum of Malaga through the Contribution Analysis, in order to verify the value of QR codes as an improvement in the transmission of environmental education. The results show a very good acceptance and usability in this museistic context. The conclusions of this study are relevant to the optimisation of environmental museum information.
Keywords: QR code, museum, evaluation, contribution analysis, ICT, environmental education.
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Kosiewski, Piotr. "MUSEUMS – VIEW FROM THE INSIDE." Muzealnictwo 58, no. 1 (August 7, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.2669.
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The publication Museums, exhibits, museum professionals complements our knowledge of how museums functioned in the Communist period and their situation after 1989. The book includes discussions or memoirs by eleven people vital to Polish museology, who were connected with National Museums (in Cracow, Poznań and Wrocław), museum-residences (the Wawel Museum, the Royal Castle in Warsaw), specialised museums (the National Maritime Museum in Gdańsk, the Museum of Literature in Warsaw, the Jagiellonian University Museum), ethnographic museums (in Cracow and Toruń) and the Tatra Museum, which is an example of an important regional museum in Poland. Among the people are Zofia Gołubiew, Mariusz Hermansdofer, Jerzy Litwin, Janusz Odrowąż-Pieniążek, Jan Ostrowski, Andrzej Rottermund and Stanisław Waltoś. The book presents the image of Polish museology in a scattershot but interesting way. It also mentions more detailed aspects, such as how particular museums were founded or developed in the Communist period, and the individual role of museum professionals in founding and developing the establishments they managed. However, the most attention is paid to issues regarding the state of museums after 1989. The most important of these include the contemporary functions and tasks of those establishments and the challenges they will face in the future, and the role of a musealium and its place in a contemporary museum. The observations regarding internal changes in museum institutions, in the “master-disciple” relation in the past and today, the appearance of new specialities, and the change of their status and role in institutions (for example, of people responsible for education) are also noteworthy. Another significant thread is the discussion on the definition of a “museum professional” and which museum employees may use this title.
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Wallace, Paulette. "Book Review Essay." Museum Worlds 8, no. 1 (July 1, 2020): 229–34. http://dx.doi.org/10.3167/armw.2020.080117.
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Paul Ashton and Alex Trapeznik, eds. What Is Public History Globally? Working with the Past in the Present. London: Bloomsbury, 2019.Kylie Message. The Disobedient Museum: Writing at the Edge. Museums in Focus series. London: Routledge, 2018.Susan L. T. Ashley. A Museum in Public: Revisioning Canada’s Royal Ontario Museum. Museums in Focus series. London: Routledge, 2020.Adrian Franklin. Anti-Museum. Museums in Focus series. London: Routledge, 2020.Kylie Message. Collecting Activism, Archiving Occupy Wall Street. Museums in Focus series. London: Routledge, 2019.
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Ferres, Kay. "Cities and Museums: Introduction." Queensland Review 12, no. 1 (January 2005): 1–4. http://dx.doi.org/10.1017/s1321816600003846.
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In September 2004, the Museum of Brisbane, Museums Australia and the Centre for Public Culture and Ideas at Griffith University hosted a symposium, ‘Cities and Museums’, at the university's Southbank campus. This event initiated a conversation among museum professionals and academics from across Australia. Nick Winterbotham, from Leeds City Museum, and Morag Macpherson, from Glasgow's Open Museum, and were keynote speakers. Their papers provided perspectives on museum policy and practice in the United Kingdom and Europe, and demonstrated how museums can contribute to urban and cultural regeneration. Those papers are available on the Museum of Brisbane website (www.brisbane.qld.gov.au/MoB). The Cities and Musuems section in this issue of Queensland Review brings together papers that explore the relationship of cities and museums across global, national and local Brisbane contexts, and from diverse disciplinary perspectives. The disciplines represented in this selection of papers from the symposium include social history, urban studies, literary fiction, and heritage and cultural policy.
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Ono, Yuichi, Marlene Murray, Makoto Sakamoto, Hiroshi Sato, Pornthum Thumwimol, Vipakorn Thumwimol, and Ratchaneekorn Thongthip. "The Role of Museums in Telling Live Lessons." Journal of Disaster Research 16, no. 2 (February 1, 2021): 135–40. http://dx.doi.org/10.20965/jdr.2021.p0135.
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This paper summarizes a discussion of the role of disaster-related museums in passing down memories and lessons-learned to future generations through storytelling. The 135-minute discussion was held as a breakout session entitled “The Role of Museums in Telling Live Lessons” during the 2020 International Forum on Telling Live Lessons from Disasters in Kobe, Japan. On 25 January 2020, representatives of five museums (one still under construction) engaged in disaster storytelling activities. They discussed various issues, including how to engage local communities and improve the relationship between storytelling and sustainable museum management. The participating museums were the Pacific Tsunami Museum in Hawaii, U.S.A., the Disaster Reduction and Human Renovation Institution (DRI) in Kobe, Japan, the Museum of the Mount Bandai Eruption in Fukushima, Japan, the International Tsunami Museum in Khaolak, Thailand, and the Ban Namkhem Memorial and Museum in Thailand (under construction). Museums are important venues that develop and continue disaster storytelling. All the participating museums digitally archive images, which creates the permanent inheritance of collective memory. All the museums focus on children. On the other hand, human and economic resources are required for museums to carry out their activities. The need for a museum network engaged in disaster storytelling is also discussed.
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Suciu, Silvia. "De la muzeul-templlu la muzeul forum - evoluția muzeului în spațiul public." Anuarul Muzeului Etnograif al Transilvaniei 31 (December 20, 2017): 224–44. http://dx.doi.org/10.47802/amet.2017.31.12.
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A nu arăta o operă de artă înseamnă a nu-i permite să fiinţeze. (Boris Groys) Museums and their public haven’t always been as we know them today. In 17th century, curiosity cabinets (mirabilia) have been realized by nobles and aristocrats; the only public of these cabinets was the collector and his fellows, belonging to the same social class. The first museums as public institutions appear in 18th century, continuing to develop during 19th century, but their image and accessibility is very different from nowadays. The situation changes after the World War II, when appear a lot of theoretical studies about museums and their public. The Museum-Temple is transforming into Museum-Forum, where every member of the community must feel represented. In the second part of the article we realized a classification of the museums and a description of each specific class which form this cultural diversity: art museums, history museums, anthropology museum, natural history museums, technical museums, monetary museums. Historical and contemporary examples of museums can be found through this study.
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Corder, Gwen. "The Deaccessioning and Disposal Practices of Small Museums in Kentucky and Indiana." Collections: A Journal for Museum and Archives Professionals 8, no. 2 (June 2012): 151–68. http://dx.doi.org/10.1177/155019061200800205.
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A survey conducted in 2008 for a graduate degree examined the methods that small museums use to deaccession and dispose of permanent collection items and compared findings against AAM and ICOM standards. An instrument was mailed to 200 large, medium, and small museums. Fifty-seven museums agreed to participate, 33 of which were small museums. Follow-up telephone interviews were conducted with six small museums. Some findings indicate that: small museums use untrained volunteers; small museum administrators do not have in-depth professional museum-training or education themselves; and small museums use money from the sale of collection items to finance operating and facilities’ costs. From these findings and fourteen years of personal experiences, it appears that small museums staff, board members, and volunteers need in-depth education and training in museum and collections management so that they can make better decisions about their collections.
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Jagodzińska, Katarzyna. "Museums as Landscape Activists." Muzeológia a kultúrne dedičstvo 9, no. 2 (2021): 5–26. http://dx.doi.org/10.46284/mkd.2021.9.2.1.
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The article discusses the issue of the “extended museum”, raising questions about how museums become active actors in current topical discussions on the shape of cities, what their role is in the processes of city management and how this engagement in external spaces affects the overall mission of museums. The point of reference is the ICOM Resolution on the responsibility of museums towards landscape adopted in 2016, which offered museums legitimacy in taking actions with regard to their environment, beyond museum walls. On the grounds of four case studies of Polish museums I present strategies whereby relations between the museum, authorities and communities are negotiated (regarding the protection of post-industrial and Second World War heritage, the contextualisation of socialist heritage and the struggle for greenery).
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Li, Zhao, Shujin Shu, Jun Shao, Elizabeth Booth, and Alastair M. Morrison. "Innovative or Not? The Effects of Consumer Perceived Value on Purchase Intentions for the Palace Museum’s Cultural and Creative Products." Sustainability 13, no. 4 (February 23, 2021): 2412. http://dx.doi.org/10.3390/su13042412.
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A museum’s core activities traditionally focus on such areas as collections’ care, exhibitions and scholarship. Income generation, including retail activities, is considered secondary. Academic research into museums’ merchandise, especially into the perceived value and purchase intentions, is limited. Drawing on literature embracing both core museum functions and marketing, this research, based on the Palace Museum in Beijing, China, explores the impact of the perceived value of a museum’s cultural and creative products on purchase intentions. Combining the results of in-depth interviews with museum visitors and experts, this study defines a construct composed of six perceived value dimensions, namely quality, social, price, innovation, educational, and experience values. A relationship model of perceived value and purchase intentions is proposed. Some 346 valid survey responses were obtained by distributing a questionnaire online and on-site at the Palace Museum, and hypotheses were tested by structural equation modelling. Results showed that innovation and experience values have a significant positive effect on purchase intentions, while quality, social, price, and educational values had no significant influence on purchase intentions. This research outlines feasible strategies and actions for the development of cultural and creative products at museums that have a strong tourism role.
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Gibson, Lisanne. "Piazzas or Stadiums." Museum Worlds 1, no. 1 (July 1, 2013): 101–12. http://dx.doi.org/10.3167/armw.2013.010107.
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Over the last twenty-five years or so there has been a ‘cultural turn’ in urban development strategies. An analysis of the academic literature over this period reveals that the role of new museums in such developments has oft en been viewed reductively as brands of cultural distinction with economic pump priming objectives. Over the same twenty-five year period there has also been what is termed here a ‘libertarian turn’ in museum studies and museology. Counterposing discussions of the museum’s role within urban development with discussions from within the museum studies literature on the ‘post-museum’ reveals the dichotomous nature of these approaches to the museum. This article proposes instead a consideration of the phenomenotechnics of new museum developments. This approach presents a way of taking account of both technical and symbolic conditions and characteristics and in doing so, it is hoped, provides a way of analyzing the ‘realpolitik’ of the role of museums in urban development.
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Klapchuk, O. "Description of museums and museum displays of the Lviv region and their estimation for the aims of tourism." Visnyk of the Lviv University. Series Geography, no. 38 (December 15, 2010): 149–57. http://dx.doi.org/10.30970/vgg.2010.38.2242.
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Description of museums of the Lviv region is pointed, the problems of research, maintenance and fill up the museums are described. Coefficient of cognitive value of museums and museum displays in every district and the city of Lviv is determined, that enabled to divide museum establishments with a purpose to use them in tourist industry. Key words: museum, skansen, museum display, museum collection, coefficient of cognitive value.
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Nodelman, Perry. "Touching Art: The Art Museum as a Picture Book, and the Picture Book as Art." Journal of Literary Education, no. 1 (December 8, 2018): 6. http://dx.doi.org/10.7203/jle.1.12085.
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Based on a keynote address delivered at the 2017 Child and the Book conference in Valencia on interdisciplinary links between children’s literature and the arts, this essay draws on its author’s experience first as a children’s literature scholar focused on picture books and then as a volunteer guide and docent for school tours in art museums. It explores how visits to art museums might be enriched by thinking about the art in them in the ways in which we think about the art in children’s picture books- as images illuminated by a context of nearby images and the verbal language they appear in connection with. After an exploration of common assumptions about how to look at art in museums and a consideration of the ways in which our knowledge of picture books might influence our interactions with that art, the essay also briefly considers how museum art might influence our understanding and appreciation of picture books.Key words: art, picture books, museums, galleries, context
ResumenBasado en la conferencia plenaria pronunciada en 2017 en el congreso en Valencia The Child and the Book sobre vínculos interdisciplinares entre la literatura infantil y las artes, este artículo utiliza la experiencia del autor como guía voluntario y docente para visitas escolares a museos artísticos. Explora cómo las visitas a museos de arte pueden ser enriquecidas pensando acerca del arte que contienen de la manera en la que pensamos sobre el arte en los álbumes para niños y niñas – como imágenes iluminadas por un contexto de imágenes cercanas y por el lenguaje verbal que aparece en conexión con ellas. Tras una exploración de las asunciones habituales sobre cómo mirar el arte en los museos y una consideración sobre las maneras en las que nuestro conocimiento de los álbumes puede influir nuestras interacciones sobre este arte, el ensayo considera también brevemente cómo el arte de los museos puede influir nuestra comprensión y apreciación de los álbumes.Palabras clave: arte, álbumes, museos, galerías, contexto.
ResumBasat en la conferencia plenària pronunciada el 2017 al congrés a València The Child and the Book sobre vincles interdisciplinaris entre la literatura infantil i les arts, aquest article utilitza l’experiència de l’autor com a guia voluntari i com a docent per a visites escolars a museus artístics. Explora com les visites a museus d’art poden ser enriquides tot pensant sobre l’art que hi contenen de la manera en la que pensem sobre l’art en els àlbums per a infants – com a imatges il·luminades per un context d’imatges properes i pel llenguatge verbal que apareix en connexió amb elles. Després d’una exploració de les assumpcions habituals sobre com mirar l’art als museus i una consideració sobre les maneres en les quals el nostre coneixement dels àlbums pot influir les nostres interaccions sobre aquest art, l’assaig considera també breument com l’art dels museus pot influir la nostra comprensió i apreciació dels àlbums.Paraules clau: art, àlbums, museus, galeries, context.
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Wang, Zhisheng, Yukari Nagai, Jiahui Liu, Nianyu Zou, and Jing Liang. "Artificial Lighting Environment Evaluation of the Japan Museum of Art Based on the Emotional Response of Observers." Applied Sciences 10, no. 3 (February 7, 2020): 1121. http://dx.doi.org/10.3390/app10031121.
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This paper mainly studies the effect of artificial lighting environmental factors on the psychological emotions of observers in the large and practical space of the museums. The purpose is to reveal the relationship between the observers’ response and the artificial lighting condition in the actual art museum space. Field research regarding three art museums in Japan was carried out and the optical environment parameters applied in those museums were quantified. The innovation method is to define the artificial lighting environment space in the way of classified lighting design. Thirty one observers were invited to evaluate the three art museum’s lighting environment. In addition, this paper analyzes and discusses the influence of the actual spatial lighting parameters of museum buildings on observers’ psychological emotions (comfort, clarity, preference and warmth), under three modes of illuminance and correlated colour temperature (CCT) combination. Using one-way analysis of variance and correlation analysis, through analysis get the correlation of the four evaluation and three lighting environments indexes are less than 0.05, the observer in an environment with high illuminance and a high CCT had higher psychological evaluation of the art museum.
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Kaya, Sevkiye M., and Yasemin Afacan. "Effects of daylight design features on visitors’ satisfaction of museums." Indoor and Built Environment 27, no. 10 (April 12, 2017): 1341–56. http://dx.doi.org/10.1177/1420326x17704028.
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This study evaluates daylight performance in an art museum in İstanbul, Turkey to analyse the effects of daylight design features on visitors’ satisfaction in art museums. The study is based on users’ data obtained through a survey and daylight simulation achieved by Autodesk 3D’s Max 2014. A three-part questionnaire was conducted with 100 participants in overcast- and clear-sky conditions to rate visitors’ satisfaction with the museum and their importance level of daylight design issues in museums. The museum’s daylight illuminance data were measured on a scaled model by a computer simulation program. The statistical results and simulation renderings show that daylight design is a multi-parameter task. There are statistically significant correlations between visual comfort and visitor satisfaction. The study finds two essential daylight considerations for a practical guide to promote healthy and effective daylight use in museums: (i) that certain design aspects in a museum, such as location, window size and window distance from partitions or displays, are important regardless of weather conditions and that (ii) glare prevention from openings such as windows and skylights is also a crucial aspect in visual comfort.