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Journal articles on the topic 'Site Museum'
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Kasperiuniene, Judita, and Odeta Norkute. "COMMON FACETS OF MUSEUM VIRTUAL SELF-PRESENTATION: EXPERIMENTING WITH INTERACTIVE IMAGE AND TEXT." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 5 (May 25, 2018): 304–14. http://dx.doi.org/10.17770/sie2018vol1.3141.
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In the modern world, all the museums, especially science and technology centers, seek transforming from storages of valuable historical objects to the knowledge exchange and construction places. This study aims to research official sites and social media channels of twenty European science and technology museums in order to understand how the virtual museum self-presentation is done. Using thematic analysis five common facets of the science and technology museum official site were coded: i) site interoperability; ii) home page; iii) first ten news; iv) science and education activities; v) information “about us”. All the data were anonymized. The study showed two contradicted science and technology museum virtual self-presentation behavior styles: orientation “Museum as a storage” and orientation “Visitor as a creator”. Researching how science and technology museums experimented with interactive image and text in their official web pages, museum social media site follower responses and museum ratings in social media, we expanded The Museum Visitor Experience Model with insights how the virtual self-presentation could help attracting museum visitors.
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Walklate, Jen. "Heterotopia or Carnival Site?" Museum Worlds 6, no. 1 (July 1, 2018): 32–47. http://dx.doi.org/10.3167/armw.2018.060104.
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This article seeks to explore the Bakhtinian carnivalesque in relation to museums generally and to ethnographic museums in particular. The Bakhtinian carnivalesque is based on antihierarchicalism, laughter, embodiment, and temporality, and it has the potential to move museums away from a problematic association with heterotopia. Instead, the carnivalesque allows ethnographic museums to be recognized as active agents in the sociopolitical worlds around them, offers a lens through which to examine and move forward some current practices, and forces museums to reconsider their position and necessity. This article also reflects on the value of transdisciplinary approaches in museum studies, positioning literary theory in particular as a valuable analytical resource.
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Ferreira, Ana Maria Jensen Ferreira da Costa, and Silvana Aparecida Borsetti Gregorio Vidotti. "A encontrabilidade da informação em web sites de museus." Informação@Profissões 5, no. 2 (December 23, 2016): 79. http://dx.doi.org/10.5433/2317-4390.2016v5n2p79.
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Introdução:A Ciência da Informação tem como objeto de pesquisa a informação em diferentes estágios e formas, dentre os quais destacam-se a organização, o armazenamento, a representação e a disseminação, com a finalidade de permitir o acesso e uso. As Tecnologias de Informação e Comunicação propiciam uma maior visibilidade aos ambientes informacionais digitais, tais como: Bibliotecas, Arquivos e Museus.Objetivo:Analisar o Web site oficial do American Museum of Natural History considerando os princípios da Museologia Contemporânea e as recomendações de Encontrabilidade da Informação.Metodologia:De natureza qualitativa, exploratória e analítica com o embasamento teórico da Ciência da Informação, Museologia Contemporânea e Encontrabilidade da Informação. A escolha do Web site do American Museum of Natural History se justifica por se tratar de um museu de referência mundial em História Natural. Procurou-se identificar as formas de apresentação das informações com relação aos princípios da Museologia Contemporânea apresentados por Lubinski (2001) e as recomendações de Encontrabilidade da Informação de Vechiato e Vidotti (2014). Resultado: O Web site do American Museum of Natural History está estruturado segundo as características de um museu contemporâneo e contempla as recomendações da Encontrabilidade da Informação.Conclusão: As recomendações de Encontrabilidade de Informação podem ser aplicadas em Web sites de museus e o American Museum of Natural History em sua versão para Web encontra-se adequadamente estruturado, de modo a promover a utilização de seus produtos e serviços, a incentivar a visita ao museu, a propiciar à construção de conhecimento.Palavras chave: Ciência da Informação. Museologia. Ambientes Digitais. Encontrabilidade da Informação.
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Rothman, Hal. "The Official Liberace Museum Web Site: The Atomic Testing Museum Web Site." Curator: The Museum Journal 49, no. 1 (January 2006): 109–14. http://dx.doi.org/10.1111/j.2151-6952.2006.tb00206.x.
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Giral, Angela, and Jeannette Dixon. "The virtual museum comes to campus: two perspectives on the Museum Educational Site Licensing Project." Art Libraries Journal 21, no. 1 (1996): 14–17. http://dx.doi.org/10.1017/s0307472200009706.
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The Getty Art History Information Program has joined with MUSE Educational Media in a project bringing together seven universities and seven art museums for the purpose of making digital images of works of art available for study and teaching via campus networks. Beyond the immediate benefits to its participants, the project is designed to develop methods and guidelines for the academic use of digitized museum-owned materials at colleges and universities. Columbia University and the Houston Museum of Fine Arts are two of the participants in the project, which is remarkable for the level of collaboration which it is achieving between museums and universities.
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Troyak, I. S. "Siberian museums in the regional publishing landscape: traditions and new trends in the early XXI century." Bibliosphere, no. 4 (December 30, 2016): 75–79. http://dx.doi.org/10.20913/1815-3186-2016-4-75-79.
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The basic directions of museum publishing activity in Siberia in 2001-2015 are studied. Publications prepared by government and some private museums in the region are represented. Attention is paid to the introduction of new technologies in traditional forms of museum activity, which is implemented in particular through the production of e-publications or text placement on a museum site. It noted the lack of advertising of publications by Siberian museums that hinders their promotion to readers.
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Soren, Barbara. "The Museum as Curricular Site." Journal of Aesthetic Education 26, no. 3 (1992): 91. http://dx.doi.org/10.2307/3333017.
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Rodionova, D. D., and E. P. Vykhodtsev. "Information image of the art museum: current state and prospects." Vestnik of Saint Petersburg State University of Culture, no. 4 (45) (December 2020): 93–97. http://dx.doi.org/10.30725/2619-0303-2020-4-93-97.
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The paper provides an overview of the state of activity of art museums in the regions of Siberia in different social networks. Also, the authors monitor the presence of the official website of the museum and its presence in social networks. In addition, an attempt to give a definition «informational image of the museum» is made, and a selected list of art museums in the regions of Siberia is provided. Within the framework of the study, the authors developed recommendations for improving the information image of an art museum such as: group design, museum information, a fixed record, museum collection materials and publications. Moreover, the authors give the best examples of using the site and social networks by the museums to increase users’ activity during a pandemic. So, the authors prove that the official website and work with social networks is an integral part of museum activities aimed at improving a modern museum.
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Sultov, Bogdan. "A site museum near Pavlikeni, Bulgaria." Museum International 37, no. 3 (September 1985): 136–39. http://dx.doi.org/10.1111/j.1468-0033.1985.tb00571.x.
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Sultov, Bogdan. "A site museum near Pavlikeni, Bulgaria." Museum International (Edition Francaise) 37, no. 3 (April 24, 2009): 136–40. http://dx.doi.org/10.1111/j.1755-5825.1985.tb00977.x.
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Müller, Mario. "Web Site: The Nobel e-Museum." Angewandte Chemie International Edition 40, no. 3 (February 2, 2001): 631. http://dx.doi.org/10.1002/1521-3773(20010202)40:3<631::aid-anie631>3.0.co;2-k.
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Müller, Mario. "Web Site: Das elektronische Nobel-Museum." Angewandte Chemie 113, no. 3 (February 2, 2001): 651. http://dx.doi.org/10.1002/1521-3757(20010202)113:3<651::aid-ange651>3.0.co;2-r.
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Hsu, Tien-Yu, and Hsin-Yi Liang. "A cyclical learning model to promote children’s online and on-site museum learning." Electronic Library 35, no. 2 (April 3, 2017): 333–47. http://dx.doi.org/10.1108/el-01-2016-0021.
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Purpose This paper aims to propose an online and on-site cyclical learning model (OOCLM). It considers how combining digital applications can promote a museum’s virtuous learning cycle between online and on-site spaces for children. Design/methodology/approach A practical cyclical learning service has been successfully implemented in a science museum in Taiwan. This provides a thematic game-based learning environment, allowing all the children to create their unique museum experiences before, during and after their visit. A questionnaire was developed to examine the children’s perceptions of the OOCLM to ascertain whether they were satisfied with the pre-visit, on-site visit and post-visit services offered. Findings The learning model considered the contextual factors that influence digital applications in museums. The digital and physical resources are well integrated, and the museum’s online and on-site services are linked to effectively promote children’s cyclical learning. Practical implications The results show that most of the children highly appreciated the learning model. The model presents an interactive learning environment for children’s cyclical learning and repeat visits. Originality/value The OOCLM considers the related contextual influences of digital applications in museum learning; it effectively bridges the museum’s online and on-site services to promote the museum’s virtuous learning cycle and long-term museum learning resource management. This study provides a benchmark example to develop sustainable cyclical learning services for target visitor groups and to motivate their long-term interaction with the museum.
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Gale, Alan. "The Museum Educational Site Licensing Project; Art Museum Image Consortium9848The Museum Educational Site Licensing Project; Art Museum Image Consortium. URL: http://www.gii.getty.edu/mesl; http://www.amico.net." Electronic Resources Review 2, no. 5 (May 1998): 54–55. http://dx.doi.org/10.1108/err.1998.2.5.54.48.
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Rozghon, O. "Virtual version of the museum as a means of introducing digital technologies." Law and innovative society, no. 2 (13) (December 26, 2019): 20–26. http://dx.doi.org/10.37772/2309-9275-2019-2(13)-3.
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Problem setting. The issue of legal regulation of the digitization of museums is currently relevant and deserves special attention, since digital transformation at an effective level is necessary for both rare objects (museum cultural values) and modern ones. Creating a modern digital space for museum cultural values will be appropriate for: both visitors, owners and authors of museum cultural values, and outside investors and the museum. The purpose. Analysis of the “virtual version of the museum” category as a means of introducing digital technologies and defining its features, mechanism for realization and protection of digital works rights, which are in the repository of the museum site. Analysis of recent research and publications. At the scientific level, scientists, such as A. G. Vasnev, A. V. Goloviznin, S. G. Dolgov, T. V. Dudenko, V. F. Zverhovskaya, I. E. Martynenko, V. Yu. Stepanov, B. M. Odaynyk, but were considered exclusively within the framework of the legal regulation of the circulation of cultural values. The issues of digitization of museums dealt with such scientists as M. A. Belyaeva, T. A. Ladygina, N. V. Klementyevа, K. D. Savitskaya, but more from the point of view of general issues, without affecting the features of the virtual version of the museums. Article’s main body. Virtual excursion is the result of creative activity, presented in electronic (digital) form, by means of spherical or cylindrical panoramas, based on the interactive interaction of the user (visitor) with the virtual environment through a computer program for visual demonstration of digital works that are to be expressed electronically (digitally) and located on the museum’s website. Digitization of museum cultural values is one of the most promising areas in the field of introduction of high technologies and automation for museum cultural values. “Digitalization” should provide every citizen with equal access to cultural information and knowledge services provided through digital technologies. The implementation of this principle is possible when implementing a virtual version of the museum. The author defines the essence of the category “virtual version of the museum” and reveals its features. The article states that when visiting a virtual tour, the visitor can receive the following electronic services in the field of culture and the arts (paid / free), in particular, 1) view the virtual panorama by going to different halls of the museum, 2) explore museum exhibits that are museum cultural values, 3) get information about museum cultural values and more. Conclusions. According to the results of research, the expediency of positioning the museum in the Web space is established and the necessity of introducing a virtual version of the museum as a means of introduction of digital technologies is substantiated. The author found that if the museum site has a repository of digital photographs, which are viewed through virtual tours, access to such a site or content must be based on the copyright and copyright of the digital author himself.
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Klimenko, Alexander, and Andrey Fedorov. "Ingal valley as an archaeological site." OOO "Zhurnal "Voprosy Istorii" 2021, no. 01 (January 1, 2021): 190–97. http://dx.doi.org/10.31166/voprosyistorii202101statyi07.
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The article is devoted to the consideration of the historical and cultural potential of the Ingal valley as a unique archaeological site in the south of the Tyumen region. Monuments of the Stone, Bronze and Iron Ages of special scientific interest are highlighted. Key problems of development of this area are identified. In the context of the development of the Ingal valley, methods have been proposed for showing archaeological objects (museification and “living archeology”) and the possibility of creating an archaeological museum in this territory in the form of an archaeological park, museum-reserve or museum of living history. The development of the concept of the project “Ingala valley tourist complex” was proposed”.
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Biszewski, Charlotte Emma. "TYPA, Innovation in a Museum Context." Pós-Limiar 4 (August 16, 2021): 1–11. http://dx.doi.org/10.24220/2595-9557v4e2021a5011.
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How do print museums develop an innovative approach to their collection while providing their visitors with historical context? Using artistic printmaking to keep the heritage of print alive, many ‘working museums’ promote the global knowledge of letterpress, relying on international collaborations to generate innovative and creative approaches. The the International Council of Museums’ guidelines, only refers to a ‘working museum’, but does not offer a clear definition of what this is. How can an operational print museum demonstrate innovative practices and retain the existing knowledge of letterpress? This paper will examine the ‘working print museum’, how it can be not only a site for reimagining the past but provide new forms of research and pioneering adaptations of old technologies. This research is inspired by the concept that as the initial infatuation with certain technologies has passed, we have entered a relationship with them in expanded artistic adventure. The paper promotes the idea that printmaking and letterpress allow for a collaborative approach which not only serves to strengthen communities but can be more than a mere reproduction of a historical process and allow for expanded experimentation. Through an in-depth look of the contemporary practices, ethos, and developments of printing museums in Europe, this paper raises questions surrounding the role of museums in this post-digital world. It will look at the future of the ‘working print museum’ and suggest how letterpress practices can extend through international and European collaborations.
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Sokolova, Yuliya, and Kristina Borgoyakova. "The Fourth Museum Assembly in Crimea. The review." Scientific and Technical Libraries, no. 1 (January 24, 2019): 97–101. http://dx.doi.org/10.33186/1027-3689-2019-1-97-101.
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The Fourth Museum Assembly held within the framework of the Fourth World Professional Forum “The Book. Culture. Education. Innovations” (June 18–22, 2018, Sudak, Republic of Crimea) is reviewed. The 2018 topic was “Regional museums: To preserve traditions, to implement innovations”. The Assembly was organized through the support of the Ministry of Culture of the Russian Federation and the Ministry of Culture of the Republic of Crimea. The reviewers discuss the topics and problems revealed in the plenary presentations and papers delivered at the section “Museums in the modern information and cultural space”. The thematic sessions were supplemented with master classes “Research with the museum collections” and “Exhibitional work”. When concluding the Fourth Museum Assembly, the participant suggested that in future, more attention should be given to museum libraries. The officers of the Ministry of Culture of the Republic of Crimea admitted that the Assembly should be held regularly as it served the site to share experiences and improve professional competences of museum specialists of Crimea and Russia, on the whole.
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Kenderdine, Sarah. "Inside the Meta-Centre: A Wonder Cabinet." Media International Australia 89, no. 1 (November 1998): 63–74. http://dx.doi.org/10.1177/1329878x9808900109.
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This paper is presented in three parts. The first part examines the emerging models of the online museum to demonstrate how traditional museums are seeking to extend and recreate themselves through the Internet. This section also notes the genesis of the information metacentres as one way to encompass museum collections and processes. The second section of the paper will introduce Australian Museums On-Line (AMOL, http://amol.org.au ) as one example of the information meta-centre, an integrated resource pool of digital museum information from distributed Australian museums and galleries communities. This section will examine salient aspects of this on-line community as offering a complimentary meeting place that is both virtual and real. The third section will look to the underlying design and architecture of the AMOL Website and introduce some of the projects that will be implemented at the site as a response to its users' needs.
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Staniszewski, Mary Anne. "Museum as Web Site, Archive as Muse." Convergence: The International Journal of Research into New Media Technologies 6, no. 2 (June 2000): 10–16. http://dx.doi.org/10.1177/135485650000600202.
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Munisa Sabirovna, Mukhamedova, and Mavlonova Dilorom Jurabekovna. "Issues Of Scientific Research And Museum Of The Archaeological Site Of Yunusobod Oktepa." American Journal of Social Science and Education Innovations 03, no. 01 (January 31, 2021): 528–38. http://dx.doi.org/10.37547/tajssei/volume03issue01-94.
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In this article, the issues of scientific research and museumization of the Yunusobod Oktepa archeological site are studied in detail. Also, research on this archeological site, excavations and reconstruction processes were analyzed.
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Kim, Young-Seok, Thenkurussi Kesavadas, and Samuel M. Paley. "The Virtual Site Museum: A Multi-Purpose, Authoritative, and Functional Virtual Heritage Resource." Presence: Teleoperators and Virtual Environments 15, no. 3 (June 1, 2006): 245–61. http://dx.doi.org/10.1162/pres.15.3.245.
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The Virtual Site Museum is an interactive virtual reality interface for various purposes including archaeological research, education, and public demonstration. Its virtual environment contains precise, authoritative, and integrated archaeological and historical files culled from published and unpublished excavation records and the various art museums, which preserve artifacts from the real archaeological site. Running in real-time, it provides full-body immersion, 3D ancient figure animation, and a virtual artifacts interface and corresponding user-oriented interactions in a functional virtual environment. The first of the sites to be documented in the Virtual Site Museum was the Northwest Palace of King Ashurnasirpal II (883–859 bc), located in northeastern Iraq, a famous Assyrian world heritage archaeological site. In this paper we describe how we applied Virtual Reality (VR) to a cultural heritage in peril, and how we are adapting previously generated PC versions to UNIX platforms. We also explain our experiences and achievements in archaeological research and classroom accessibility.
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Adjeleian, J., M. Allen, J. L. Humar, and G. McRostie. "National aviation museum, Ottawa." Canadian Journal of Civil Engineering 13, no. 6 (December 1, 1986): 722–32. http://dx.doi.org/10.1139/l86-107.
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This paper describes various aspects of the design and construction of a new building for the National Aviation Museum, currently nearing completion on a site on the Rockliffe Airport, Ottawa. The museum will house the aeronautical collection now displayed in World War II hangars.The new museum building is shaped like an isosceles right-angled triangle with a short side 161 m long and a clear height of 13.2 m from the floor to the underside of the roof framing. A two-storey wing on the west side contains the public entrances and the administrative offices.The soil at the site consists of a deep layer of preconsolidated sensitive clay underlain by dense glacial till containing boulders, then a layer of dense sand with gravel and boulders. The main columns of the building are supported by 55 m deep piles driven to suitable resistance in the dense sand and boulder layer, while the perimeter columns rest on spread footings, supported on the surface clay layer.The roof structure, which is one of the largest of its kind, consists of a space truss with top and bottom chords staggered with respect to each other and laid on a square grid 3.3 m by 3.3 m. The depth of the roof framing is also 3.3 m.The paper presents details of subsurface exploration and the types of foundations used. The structural framing for the roof as well as the steps involved in the analysis and design of the roof are described. Also presented are details of the fabrication methods, weld testing, and erection procedures. Key words: National Aviation Museum (Ottawa), pile foundations, dynamic testing, structural steel, space truss, welded joint, ultrasonic weld inspection.
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Sadiq, Assadullah. "‘Baba, Take Us to Museum’: An Afghan refugee family’s engagement in language and literacy at the children’s museum." Journal of Early Childhood Literacy 20, no. 4 (May 4, 2018): 583–612. http://dx.doi.org/10.1177/1468798418770718.
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Although there is a growing body of literature which focuses on museums’ role in supporting children’s literacy, there is also a need for studies to show ways in which museums can support refugee families’ literacy practices. In light of this gap, this qualitative study explores the role of a children’s museum in the literacy practices of a recent refugee Afghan-American family. Data consisted of interviews with the parents and children, conducted using Skype, over a period of two months. A media capture functionality method was used to receive photos from the family using a smartphone. In addition, the family sent audio-recorded interactions during activities that took place at the children’s museum. The recordings were sent through Whatsapp, a smartphone application that lets users’ text, send images, audio record and make calls for free. The findings demonstrated that the children’s museum played an important role in the Manzoor family’s literacy practices. The exhibits at the museum offered the family a site of multi-modalities, where images, sounds and words together contributed to meaning-making. Moreover, the museum provided the family with important resources, such as books and pamphlets on registering for schools. Lastly, the children’s museum provided a supportive environment for the Manzoor family to learn English and meaningfully engage with print literacy.
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Parrino, Lucia. "“Words to receive. Words to be received”: reflections on the Intercultural City museum work." Alterstice 5, no. 2 (June 8, 2016): 45–60. http://dx.doi.org/10.7202/1036690ar.
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Although diversity has always been a fundamental characteristic of human societies, now more than ever it has become central to the political and research agenda. The question of how we can live together while enjoying our differences is a fundamental issue of our time, and the city is viewed as the most promising site to negotiate identities. That being so, what is the role of museums? How can local museums develop interventions that address local cultural diversity issues? In the first part of the article, I introduce the idea of “Intercultural City museum work.” I present a metadesign framework that aims to help museums emphasize the impact of diversity work on their local contexts, proposing the Intercultural City approach as a reference point. In the second part of the article, I describe the “Intercultural City museum work” and on using the metadesign framework with reference to MUST-Museo del Territorio Vimercatese, a civic museum on local history and identity in Vimercate, a town in the metropolitan area of Milan. Immigration to the geographical area over the past few decades and the resulting cultural diversity are neither reflected in the museum collections nor the permanent exhibitions. As a result, the museum decided to address these topics through services, events and special projects. In particular, I describe the exhibition Words to Receive. Words to be Received, designed and created by COI-Centro Orientamento Immigrati—a local immigrants’ resource centre—with the museum.
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Huster, Angela C. "Assessing Systematic Bias in Museum Collections." Advances in Archaeological Practice 1, no. 2 (November 2013): 77–90. http://dx.doi.org/10.7183/2326-3768.1.2.77.
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AbstractArchaeologists often overlook museum collections for research purposes due to concerns about the representativeness of the artifacts in the collection. Such concerns can be addressed by comparing non-scientifically produced collections to collections of known standing, such as those from more modern projects, using the same exploratory data analysis and basic statistical methods that archaeologists use to compare sets of artifacts in other situations. As a case study, this article compares spindle whorls recovered during the 2007 excavations at the Aztec site of Calixtlahuaca with two museum collections of whorls attributed to the site. A variety of metric and non-metric traits were recorded for each item in the three collections and were compared using Kolmogrov-Smirnov, Chi-square, and Fisher's exact tests. Both museum collections show a bias toward more elaborately decorated pieces, but with varying side effects on other attributes of analytical interest.
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Del Chiappa, Giacomo, Luisa Andreu, and Martina G. Gallarza. "Emotions and visitors’ satisfaction at a museum." International Journal of Culture, Tourism and Hospitality Research 8, no. 4 (September 30, 2014): 420–31. http://dx.doi.org/10.1108/ijcthr-03-2014-0024.
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Purpose – This research aims to investigate whether emotions can be considered as a suitable variable to segment visitors at a museum. Furthermore, it seeks to analyse whether emotions influence visitor satisfaction and whether this depends on objective variables (such as age, gender and level of education) or not. Design/methodology/approach – A structured questionnaire was developed and data were collected at the National Museum of Archaeology “G.A. Sanna” in Sardinia (Italy) via 410 face-to-face interviews. Hierarchical and non-hierarchical cluster analyses and a series of chi-squared tests were run for the purpose of the study. Findings – Two segments were identified. The cluster with the higher positive emotions reported perceiving a higher level of attractiveness and uniqueness at the museum, and of being more satisfied than the other group. Furthermore, no significant differences were reported between the two segments based on socio-demographic characteristics. Research limitations/implications – The study is site-specific. The application of the study to other museums would allow for wider generalisations to be made from the results obtained. Practical implications – Managers should market and position museums as an emotionally driven experience consumption site. Furthermore, they should consider both cognitive and emotional aspects of visitor experience when designing and planning their businesses, as well as when assessing the visitor’s satisfaction. Originality/value – This study adds to the growing literature on emotions as a tool for segmentation and positioning, and suggests that cognitive and emotional aspects should be considered simultaneously when measuring visitors’ satisfaction. Further, it suggests that emotions are more significant than cognitive aspects in shaping visitors’ satisfaction.
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Banks, Patricia A. "Ethnicity, Class and Trusteeship at African-American and Mainstream Museums." Cultural Sociology 11, no. 1 (July 7, 2016): 97–112. http://dx.doi.org/10.1177/1749975516651288.
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While Pierre Bourdieu argues that cultural capital is grounded in distinct aesthetic knowledge and tastes among elites, Francie Ostrower emphasizes that cultural capital grows out of the social organization of elite participation in the arts. This article builds on Ostrower’s perspective on cultural capital, as well as Milton Gordon’s concept of the ethclass group and Prudence Carter’s concept of black cultural capital, to elaborate how culture’s importance for class and ethnic cohesion is rooted in the separate spheres of arts philanthropy among black and white elites. The argument is empirically illustrated using the case of arguably the most prominent mainstream and African-American museums in New York City – the Metropolitan Museum of Art (the Met) and the Studio Museum in Harlem (SMH). Findings show that relative to the Met board the SMH board is an important site of unification for elite blacks, and in comparison to the SMH board, the Met board is a notable site of cohesion for elite whites. This article advances theory and research on cultural capital by elaborating how it varies among elite ethclass groups. Moreover, it highlights how the growth of African-American museums not only adds color to the museum field, but also fosters bonds among the black middle and upper class.
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Riggs, Christina. "Colonial Visions." Museum Worlds 1, no. 1 (July 1, 2013): 65–84. http://dx.doi.org/10.3167/armw.2013.010105.
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During the Egyptian revolution in January 2011, the antiquities museum in Tahrir Square became the focus of press attention amid claims of looting and theft, leading Western organizations and media outlets to call for the protection of Egypt’s ‘global cultural heritage’. What passed without remark, however, was the colonial history of the Cairo museum and its collections, which has shaped their postcolonial trajectory. In the late nineteenth and early twentieth centuries, the Cairo museum was a pivotal site for demonstrating control of Egypt on the world stage through its antiquities. More than a century later, these colonial visions of ancient Egypt, and its place in museums, continue to exert their legacy, not only in the challenges faced by the Egyptian Antiquities Museum at a crucial stage of redevelopment, but also in terms of museological practice in the West.
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Kofi Preko, Alexander, and Theophilus Francis Gyepi-Garbrah. "Museum experience and satisfaction: moderating role of visiting frequency in national museum of ghana." PASOS. Revista de Turismo y Patrimonio Cultural 19, no. 2 (2021): 239–53. http://dx.doi.org/10.25145/j.pasos.2021.19.016.
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This research aims to investigate how tourist experience elicits satisfaction and contributes to loyalty and willingness to pay more for a museum destination. More specifically, this study also investigates the significant moderating role of visiting frequency on the relationship between satisfaction and willingness to pay more. Museums offer unique collections for tourists’ education and recreation while providing a better understanding of the cross‑cultural diversity of societies. The research was conducted with 285 tourists visiting the National Museum in Ghana, with questions relating to experience, satisfaction, loyalty and willingness to pay more. Structural equation modelling was used to test the effects of the museum experience, satisfaction and loyalty on willingness to pay more. Responses emanating from the questionnaire on the National Museum of Ghana was analysed and the study findings suggest the significant effects of tourist experience on satisfaction as well as the significant effects of satisfaction on loyalty and willingness to pay more. In addition, the significant moderating effect of visiting frequency was reported on the relationship between satisfaction and tourist willingness to pay more. In this regard managers should develop marketing strategies that promote museum tourism in the travelling experience and that guarantee greater satisgfaction on site
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Mozaffari, Ali. "The Problem of a Site Museum for Pasargadae World Heritage Site (Iran)*." International Journal of the Inclusive Museum 4, no. 1 (2012): 41–56. http://dx.doi.org/10.18848/1835-2014/cgp/v04i01/44361.
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Rudnickaitė, Eugenija. "GEOLOGICAL „MUSEUM“ OF SCHOOL SURROUNDINGS: TO HELP TEACHERS." GAMTAMOKSLINIS UGDYMAS / NATURAL SCIENCE EDUCATION 9, no. 2 (September 1, 2012): 36–42. http://dx.doi.org/10.48127/gu-nse/12.9.36a.
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Year 2012 in Lithuania is announced as the Year of Museums, nevertheless the num-ber of museums and educational programs dedicated to Natural Sciences did not increase. Geosciences are very significant part of the whole complex of Natural Sciences. How-ever, geological disciplines are not included in Education Programm of Secondary Schools, therefore Museums of Geology became very important. Lithuania can not brag about a big number of geological museums, and most of them are not close enough for a class trip. Such luxury is only available mainly for schools in Vilni-us. Although, during recent years more and more geological knowledge is available at regional parks new information centers (Gražutės, Sartų, Nemuno kilpų, Ventos, etc.). It is convenient to nearby schools. But what about the rest? The idea of this article is to show, that a geological „museum“ can be found in schools surrounding environment: school yard, close by river slope, dug out quarry, by a water spring or a hill. Specific examples are presented how an unregistered user, visiting Lithuanian Geologi-cal Survey internet site (www.lgt.lt), can find enough information about his schools’ surround-ings geological structure (on the surface and underground), protected geological object (ge-otops), interesting outcrops, probable pollution sources, mineral resources, etc. Key words: museum of geology, Vilnius University, nonformal natural science educa-tion, geology, education, museum, teacher.
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Glicenstein, Jérôme. "Adhérer ou résister : la relation ambivalente des artistes aux musées." Muséologies 9, no. 2 (October 19, 2018): 53–67. http://dx.doi.org/10.7202/1052660ar.
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Increasingly, contemporary artists are receiving invitations from museums; and not simply to present works produced elsewhere, but to carry out projects on site designed specifically for the museum. In addition to commissions for conventional in situ installation projects, of the type Daniel Buren has conducted for nearly fifty years, numerous invitations call on artists to introduce a fresh perspective on collections, through presentations that diverge distinctly from typical museum practices. Different approaches can be observed—often revealing a very critical perspective on the museum institution—their common feature being that they are presented as an alternative to the practices of museum professionals, while resulting from a negotiation with them. The carte blanche thus represents a new form of conjoint practice— a duel expressivity—directly linking contemporary creation to its institutionalization, where the relationship between the parties concerned is neither completely visible nor completely equitable.
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Błotnicka-Mazur, Elżbieta. "MEMORIAL SITE AS COMMITMENT SPACE. IDEOLOGICAL AND ARTISTIC CONCEPT OF THE MUSEUM AND MEMORIAL SITE IN SOBIBÓR." Muzealnictwo 62 (May 24, 2021): 73–83. http://dx.doi.org/10.5604/01.3001.0014.8978.
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The implementation of the new ideological and artistic concept of the Museum and Memorial Site in Sobibór on the site of the former Nazi German death camp selected in the 2013 competition is discussed. The winning design is analysed; apart from the arranging of the area of the former camp, it also envisaged raising of a museum, the latter stage already completed with the building opened to the public in 2020. The concept of ‘commitment space’ is proposed by the Author as best characterising a memorial site created on the premises of the former Nazi concentration camps and death camps for the people of Jewish descent. As a departure point, earlier examples of commemorating similar sites are recalled, beginning with the early monuments from the 1940s, through the 1957 competition for the International Monument to the Victims of the Auschwitz-Birkenau Camp, the latter of major impact on the process of the redefinition of monuments. The then awarded design of the The Road Monument by Oskar Hansen and his team, however unimplemented owing to the protest of former Auschwitz prisoners, became from that time onwards a benchmark for subsequent concepts. Also the mentioned memorial design on the area of the former Belzec extermination camp from 2004 is related to James E. Young’s concept of a counter-monument. The main subject of the paper’s analysis is, however, the reflection on means thanks to which the currently mounted Museum and Memorial Site in Sobibór, including the permanent display at the newly-raised Museum, become ‘commitment space’ for contemporary public on different perception levels of their multi-sensual activity essential in the process of remembrance.
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van Loenen, Clare. "The many lives of the messy museum: Site, memory and voice." Art & the Public Sphere 9, no. 1-2 (December 1, 2020): 195–209. http://dx.doi.org/10.1386/aps_00041_1.
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A number of North American artist project spaces established in 2003 activated alternatives to display and programming practices found in mainstream museums, giving voice to artists who did not fit existing durational, disciplinary and authorial parameters. One such site was Elsewhere in Greensboro, North Carolina, an artist residency and living museum set within a 1930s Depression-era thrift store. Here, an archival approach emerged from the mess of thrift store Americana that considered what an artist project space could be if nothing was sold, altered beyond repair or thrown away. Central to the artist organizing practices that emerged on-site are archival principles that enable empathetic connections to form in relation to object meanings, lost subjectivities and neighbourhood relationships. Elsewhere, as a site, offered a means for hidden voices to be heard and alternative archiving practices to be tested as a form of community memory, with their museological presentation indebted to the implications of mess and its endless reordering. This article builds on the idea of empathy as a capacity to be engendered in museum audiences by seeing it also as a structuring principle to invoke organizational difference at every turn. Such structural empathy became tellingly significant in 2020 as racial justice protests and the COVID-19 pandemic underscored the inequities of American life. For Elsewhere, the principles of practice that enabled them to become a platform for imagining and securing hyper-local change are bound to successive reformulations of both the site since 2003 and the resulting archive.
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Donohue, A. A., and Stephen G. Miller. "Nemea: A Guide to the Site and Museum." Classical World 84, no. 6 (1991): 496. http://dx.doi.org/10.2307/4350949.
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Wang, Yiwen, Natalia Stash, Rody Sambeek, Yuri Schuurmans, Lora Aroyo, Guus Schreiber, and Peter Gorgels. "Cultivating Personalized Museum Tours Online and On-Site." Interdisciplinary Science Reviews 34, no. 2-3 (September 2009): 139–53. http://dx.doi.org/10.1179/174327909x441072.
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Reddy, David P., Angela V. Klaus, Renée Recker, and William K. Barnett. "Web Site Development at a Museum Microscopy Laboratory." Microscopy Today 7, no. 3 (April 1999): 12–15. http://dx.doi.org/10.1017/s1551929500064051.
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The Interdepartmental Laboratories (IDL) is the core microscopy and scientific visualization research facility for the American Museum of Natural History (AMNH), Its purpose is to operate and maintain facilities that have broad application within the Museum and would be either too costly for the individual research departments to maintain or which would be underused in a typical department setting, The IDL currently maintains two state-of-the-art analytical/imaging microscopes, as well as resources for visualization, webaccessible databases, and networked image scanning, archiving, and printing. The IDL is overseen by Bill Barnett, the IDL Director, and staffed by Angela Klaus, the Laboratory Manager, and David Reddy, the Scientific Visualization and Informatics Manager.
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Meltzer, David J. "Renewed investigations at the Folsom Palaeoindian type site." Antiquity 74, no. 283 (March 2000): 35–36. http://dx.doi.org/10.1017/s0003598x00066096.
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The Folsom site (New Mexico, USA) is justly famous as the place where in 1927 four decades of sometimes bitter controversy came to an end, when it was finally demonstrated humans had been in the New World since the Pleistocene (Meltzer 1993). Folsom became the type site for the Palaeoindian period and distinctive fluted projectile point that bears its name (see Hofman 1999). Yet, as the excavations done in the 1920s by the Colorado (now Denver) and American Museums of Natural History focused initially on the recovery of Bison antiquus skeletons suitable for museum display, and latterly on documenting the association of projectile points with those bison remains, many fundamental questions of interest about the site’s stratigraphic, environmental and archaeological context were left unanswered (and often not asked).
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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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Stamatopoulou, Maria. "New museums, exhibitions and site presentations." Archaeological Reports 62 (November 2016): 45–62. http://dx.doi.org/10.1017/s0570608416000053.
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Since 2009 Greece has faced one of its most challenging phases in modern history; the financial and social crisis has affected all sectors of society and spending for cultural activities has been significantly cut. Although there have been museum closures and funds for research or even day-to-day needs are in short supply, nevertheless, very serious and creative work is being produced quietly, often with the aid of European Union co-funded projects, through the so-called Εθνικό Στρατηλικό Πλαίσιο Aναϕοράς (EΣΠA), or National Strategic Reference Framework. The schedule and deadlines for such projects are very tight and working conditions challenging, but the results have often been exceptional in quality, revealing hard work, effective management of people of various specialisms and scholarly expertise. The period 2015–2016 has seen the opening of many new major museums, the result of many years of planning and hard work, and the organization of temporary exhibitions, through which the finds of the last decade have become accessible to the wider public. In this feature I concentrate on a brief presentation of the new museums that have opened this past year, news that will interest not only students and academics, but also other visitors to Greece. Colleagues in the various relevant ephorates of antiquities have been very generous in providing information, and so I have decided to leave their texts largely unchanged. I begin with a brief presentation of new museums, before moving on to discuss temporary exhibitions and a few key archaeological sites.
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Henrich, Gretchen, Felice Q. Cleveland, and Emily Wolverton. "Case Studies from Three Museums in Art Beyond Sight's Multi-site Museum Accessibility Study." Museums & Social Issues 9, no. 2 (September 4, 2014): 124–43. http://dx.doi.org/10.1179/1559689314z.00000000023.
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Trant, Jennifer. "Enabling Educational Use of Museum Digital Materials: The Museum Educational Site Licensing (MESL) Project." Art Documentation: Journal of the Art Libraries Society of North America 15, no. 2 (October 1996): 25–28. http://dx.doi.org/10.1086/adx.15.2.27948843.
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Mikhailenko, D. V., and L. M. Reznitskaya. "The concept of ecological and archeological site "Donskaya Troya"." Vestnik Tomskogo gosudarstvennogo arkhitekturno-stroitel'nogo universiteta. JOURNAL of Construction and Architecture 23, no. 2 (April 30, 2021): 46–55. http://dx.doi.org/10.31675/1607-1859-2021-23-2-46-55.
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The aim of the work is to form conceptual solutions of the ecological and archaeological site "Donskaya Troya’. The unique archaeological site founded in the 17th century, BC by the tribes of the North Caucasian catacomb culture locates westward Rostov-on-Don, on the right bank of the Mertvy Donets River, between Karataevo and Liventsovka villages in the Soviet region. The stone fortresses discovered by archaeologists in the 1960s, are the oldest in Eastern Europe. The preservation of the Liventsovka archaeological ensemble is very relevant, since today it is in a deplorable state, namely excavations with bushes, dacha garbage dumps, dilapidated walls and ditches filled with stones. The media quite keenly discuss the sad fate of this territory. The paper proposes to create a museum to show the unique historical and cultural potential of the Karataevo and Liventsovka fortresses, which will be and open-air museum, a festival space with a research center and other educational and entertainment areas. Urban planning, scenario-functional and artistic-figurative concepts of the museum relate to the existing historical and cultural artifacts, the ideas of a "living ethnic landscape", the life of people from re-created times and modern trends in the design of museum complexes.
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Varenov, Andrey V., and Maria A. Kudinova. "A Journey to the North-West in Search of Rock Art." Oriental Studies 18, no. 10 (2019): 106–13. http://dx.doi.org/10.25205/1818-7919-2019-18-10-106-113.
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A report on the scientific journey to Gansu province of the PRC in July 2019 is presented. During the journey the authors had consultations with the Chinese rock art specialists, visited the Historical museum of Gansu province, the Museum of North-Western University and the Wujiachuan rock art site in Jingyuan county of Gansu province. Brief descriptions of the rock art site and museum collections are given.
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Voronina, A. I. "The Role of the Museum Space Narrative in Constructing Historical Memory." Concept: philosophy, religion, culture 5, no. 1 (April 1, 2021): 146–56. http://dx.doi.org/10.24833/2541-8831-2021-1-17-146-156.
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The paper concerns the issue of representation of historical memory. The museum is analyzed as the particular site of emergement of such a representation. The circulation of specific narratives belonging to a museum is viewed as the research object that is able to provide insights into the construction of historical memory. Therefore, the purpose of the undertaken study is to identify the role of the museum narrative in the formation of memory. This article focuses on the ways of exposing and assessing the effect that museum exhibitions and the concepts and the meaning they translate to the audience have on memory creation. The approach of the interdisciplinary scholar field of memory studies provides a framework for such an analysis. In particular, since the spatial dimension of memory is concerned, the contributions of Hayden White and of the theory of realms of memory of Pierre Nora are crucial. The text deconstructs the memory formation processes taking place in the space of museums using these theoretical and methodological ideas. The paper meets methodological challenges and research questions with conducting a case study. The exhibition of the Museum of the Mologa District that is a part of the Rybinsk State Historical, Architectural and Art Museum Preserve at the Russian Yaroslavl Region serve as the source of oral, textual and visual narratives. This museum offers a view on local history that is in a way unusual for Russian museums — it provides a less formal perspective, and, in addition, the museum was founded by an initiative group of the displaced people from the submerged town of Mologa. The museum displays are dedicated to this town that disappeared because of the construction of the Rybinsk hydroelectric power plant. With limited material evidence to illustrate the Mologa life, this role is passed to oral histories and memory narratives. Thus, based on the historical memory literature, the paper considers that the museum described could be characterized as a memory museum, different from traditional historical museums because of emotional links in the presentation of past events. The author concludes that the image of the flooded city presented in the museum is directly related to the traumatic nature of the social memory of the settlers. Thus, the meanings and the significance of the museum overflow to the realms of memory.
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Han, Chong-suk, and Edward Echtle. "From Merging Histories to Emerging Identities: An “Asian” Museum as a Site of Pan-ethnic Identity Promotion." AAPI Nexus Journal: Policy, Practice, and Community 5, no. 2 (2007): 33–54. http://dx.doi.org/10.36650/nexus5.2_33-54_hanetal.
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In this paper, we explore the significance of the Wing Luke Asian Museum (WLAM) in Seattle, Washington as a site where pan-ethnic Asian American identity can be promoted by analyzing the strategies employed by the staff and artists of the WLAM to promote, foster and disseminate a larger Asian Pacific Islander American pan-ethnic identity. We argue that museums are a significant site that can “provide a setting for persons of diverse Asian backgrounds to establish social ties and to discuss their common problems and experiences.”
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Prokhorova, T. A., and N. V. Rubanenko. "The role of Karl K. Koststyushko-Valyuzhinich in developing scientific library of Tauric Chersonese State Museum and Heritage Site." Scientific and Technical Libraries 1, no. 7 (August 7, 2021): 113–26. http://dx.doi.org/10.33186/1027-3689-2021-7-113-126.
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On July 15 – September 5, 2020, the exhibition “Non-archeological values of the archeological museum” took place at Tauric Chersonese State Museum and Heritage Site. The exhibition revealed the history of the book collection of Karl Kazimirovich Koststyushko-Valyuzhinich (1847−1907), museum founder and first head of excavations. Museum researchers investigate into the origins of the museum scientific library, both the books purchased by the founder and individual publications in the museum book collection. The authors conclude that the museum library was formed, in large part, on the basis Koststyushko Valyuzhinich’s book collection and down to his book preferences. In fact, the unique museum book collection was formed during the lifetime of the outstanding figure. That is the reason for the museum library, and precisely, its part acquired by Koststyushko-Valyuzhinich, to be included into the register of Russian book monuments.
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Giri, Risang Dahana. "Visitor's Characteristic and Motivation at Museum Prasasti as Dark Tourism Site in Jakarta." Tourisma: Jurnal Pariwisata 2, no. 1 (June 12, 2020): 1. http://dx.doi.org/10.22146/gamajts.v2i1.56843.
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Tourists are pushed to travel to different destinations, either pleasant or macabre destinations, for various motives. Tourist motivation which determines one’s behaviour can be used to understand the tourists’ needs, destination, and choice of activities. This research aimed to investigate local tourists’ characteristics and motivation for visiting Museum Prasasti, which formerly served as a Dutch cemetery. It was conducted due to the limited number of researches on tourists’ visitation to cemetery sites in Indonesia. The research was conducted at Museum Prasasti, Jakarta. The data collection gained from the paper-based questionnaires using the Likert scale. This quantitative method was used to measure tourists’ tendency during their stay at Museum Prasasti. The measurement of motivation was divided into four major motivations: engaging entertainment, dark experience, unique learning experience, and casual interest. By collecting the data from101 responses, this research shows that local tourists at Museum Prasasti are mostly female, under the age of 30, students, and come from lower-middle-class society. The unique learning experience is the most favourable motivation that drives local tourists to visit Museum Prasasti. They visit the museum for educational purposes (to increase their knowledge, understand well-known places regarding their historical heritage, and learn their history). The dark experience motivation least likely motivates them (to see well-known locations for their paranormal activity, experience paranormal activity firsthand, and witness the aftermath of deaths).
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Bonnes, Stephanie, and Janet Jacobs. "Gendered Representations of Apartheid: The Women’s Jail Museum at Constitution Hill." Museum and Society 15, no. 2 (July 12, 2017): 153–70. http://dx.doi.org/10.29311/mas.v15i2.830.
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This article examines the ways in which women are represented and remembered at The Women’s Jail at Constitution Hill museum, a former women’s jail that was used to incarcerate women during apartheid in Johannesburg, South Africa. Based on fieldwork at the museum, this study examines how the memory of the former prisoners and of the apartheid regime is shaped and narrated at this site. Situating our analysis within the context of the collective memory of apartheid, we examine how the museum uses artifacts and objects to depict both the specific forms of gendered dehumanization that women experienced at the jail, as well as their journeys to incarceration as a result of discriminatory apartheid laws. We also examine the absence of torture memory and references to hierarchical structures and interactions within the jail itself, noting that these were important dynamics of prison life that are not represented in the museum. This research presents a content and visual analysis of how the use of images and artifacts may illuminate and/or silence specific memories of degradation and humiliation in a museum space.Key Words: Collective Memory, Museums, Representation, South Africa, ApartheidMemorialization, Gender and Memorialization