Relevant bibliographies by topics / Site specific museum

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Site specific museum'

Author: Grafiati
Published: 10 March 2023
Last updated: 11 March 2023

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Journal articles on the topic "Site specific museum"

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Kang, Yiyun. "CASTING: Site-Specific Projection Mapping Installation." Leonardo 51, no. 4 (2018): 399–404. http://dx.doi.org/10.1162/leon_a_01650.

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This paper investigates CASTING, Yiyun Kang’s site-specific projection mapping installation at the Victoria and Albert Museum in London, U.K., and the acquisition of the piece by the V&A in the following year. It identifies how CASTING developed distinctive properties in the field of projected moving-image installation artworks and how these novel characteristics were reflected in the acquisition by the V&A.
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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 (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 exper
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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 (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
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Rudnickaitė, Eugenija. "GEOLOGICAL „MUSEUM“ OF SCHOOL SURROUNDINGS: TO HELP TEACHERS." GAMTAMOKSLINIS UGDYMAS / NATURAL SCIENCE EDUCATION 9, no. 2 (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 recen
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Brida, Juan Gabriel, Marta Meleddu, and Manuela Pulina. "Understanding museum visitors’ experience: a comparative study." Journal of Cultural Heritage Management and Sustainable Development 6, no. 1 (2016): 47–71. http://dx.doi.org/10.1108/jchmsd-07-2015-0025.

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Purpose – The purpose of this paper is to examine museum visitors’ experience. The objective of the research is to explore preferences, behaviour, overall. This study experience and the determinants on repeated visits to two heritage sites. In particular, a more comprehensive regression approach is introduced and employed to compare results at two regional museums. Design/methodology/approach – First, a factor analysis identifies a set of orthogonal factors related to visitors’ perceptions on their positive and negative experiences at two different museums. Second, a two-step cluster analysis
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Henninger, Maureen. "From mud to the museum: Metadata challenges in archaeology." Journal of Information Science 44, no. 5 (2017): 658–70. http://dx.doi.org/10.1177/0165551517741790.

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An archaeological site is a palimpsest in which the evidence of the depositional episodes is destroyed through the excavation processes; all that remains are the artefacts and their documentary evidence manifested in registers, datasets, dig diaries and reports. While the reports may represent the end product of a specific excavation, the archaeological record tells a story; it is interpretative and dynamic, with later excavations adding new knowledge and narratives. Museums preserve the artefacts but unless the documentary evidence is preserved in standard formats, it cannot be easily re-used
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King, Heather, Kate Steiner, Marie Hobson, Amelia Robinson, and Hannah Clipson. "Highlighting the value of evidence-based evaluation: pushing back on demands for ‘impact’." Journal of Science Communication 14, no. 02 (2015): A02. http://dx.doi.org/10.22323/2.14020202.

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This paper discusses the value and place of evaluation amidst increasing demands for impact. We note that most informal learning institutions do not have the funds, staff or expertise to conduct impact assessments requiring, as they do, the implementation of rigorous research methodologies. However, many museums and science centres do have the experience and capacity to design and conduct site-specific evaluation protocols that result in valuable and useful insights to inform ongoing and future practice. To illustrate our argument, we discuss the evaluation findings from a museum-led teacher p
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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 (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 au
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Śmietana, Marta, and Kamil Karski. "Muzeum-archiwum pamięci. Uwagi na temat roli materiałów archeologicznych w muzeach-miejscach pamięci na przykładzie KL Plaszow." Folia Praehistorica Posnaniensia 24 (December 15, 2019): 289–308. http://dx.doi.org/10.14746/fpp.2019.24.17.

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The issues of memory, heritage, and archaeology are strictly connected to the archaeology of the contemporary past and the Nazi period. That connection is a new field of research that lead to the reconceptualization of ideas of a museum, archives, and their relations to memory. In the paper authors discuss the case study of the area of former labor and concentration camp Plaszow in Krakow (1942–1945). Since 2016, numerous archeological research and education programs were conducted by the Museum of Krakow. The main purpose of documentation, surface surveys, and excavations was preservation of
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Esarey, Duane, Ian W. Brown, and Anjaneen Coble. "The Mississippian Site of Origin for the So-Called Moundville Spider." Midcontinental Journal of Archaeology 43, no. 1 (2018): 23–34. http://dx.doi.org/10.2307/26599966.

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Abstract For 60 years, the origin of an iconographically significant example of Southeastern Mississippian symbolic art has been enmeshed in error and ambiguity. A trail of sleuthing over 25 years provides information used to assess museum curation records and published clues from 1887 to the present, contextualizing the mystery and finally allowing identification of a specific Mississippian period cemetery of origin for the so-called Moundville spider.
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Dissertations / Theses on the topic "Site specific museum"

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Mello, Paulo Cezar Barbosa. "Site Specificity na arte contemporânea: Inhotim." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-29062015-151300/.

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O estudo a seguir desdobra as questões de site specificity na arte contemporânea e suas modificações nas três últimas décadas. A compreensão do espaço em arte tomou novas formas não só em função dos espaços e dos discursos artísticos, mas também em função dos novos meios e linguagens. Essas mudanças demandaram alguns acompanhamentos por parte dos espaços expositivos, bem como um novo olhar sobre o que se entende por site specific art. Com base, principalmente nas propostas de Miwon Kwon, o presente material compara as obras de arte contemporânea, tecendo diálogos com as mudanças vistas. Espaço
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Cerri, Giada. "Towards Museum-Like Sites: the Cases of Florence, Rio de Janeiro and New York." Doctoral thesis, IMT Alti Studi Lucca, 2017. http://hdl.handle.net/2158/1183288.

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The thesis aims to initiate a debate around the unexplored field of sites that are not museums but that are used as if they were museums. It addresses a practical issue: whether contemporary museum practices can be used at museum-like sites and yet preserve their original function. There are places that are not officially classified as museums, but present similar dynamics. These sites attract people for several reasons, they might hold special meaning, house artistic heritage, or stand as symbols. Places such as palaces, churches, natural parks, cemeteries, and urban squares both maintain th
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Ginoulhiac, Michèle. "Muséalités de l'espace urbain : l'œuvre comme dispositif de médiation dans l'espace public au tournant du XXIe siècle." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20112.

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« Musée à ciel ouvert » est devenu une formule de communication choisie par quelques métropoles pour valoriser leur patrimoine artistique auprès du public. Nous allons interroger sa validité en regard de la notion de muséalité, puisque les règles du musée sont dûment convoquées pour légitimer l’espace urbain comme un lieu de mémoire. La muséalité, prise dans son sens le plus large, désigne « la valeur culturelle ou la qualité d’une chose muséalisée », c’est-à-dire la valeur de témoignage de la réalité qu’elle informe. Cette valeur, « en rapport avec l’aspect ontologique de la réalité, est cond
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La, Follette Tavia. "Sites of Passage: Art as Action in Egypt and the US-- Creating an Autoethnography Through Performance Writing, Revolution, and Social Practice." Antioch University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1365450771.

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Hawthorne, LE. "The museum as art : site-specific art in Australia's public museums." Thesis, 2013. https://eprints.utas.edu.au/17179/2/whole-hawthorne-thesis-2013.pdf.

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This thesis critically examines site-specific art projects in Australian museums from the late 1960s onwards. Despite the fact that site-specific art practice is relatively widespread, there have been few in-depth or systematic studies published on this subject, particularly in terms of its historical and theoretical foundations. More importantly, there have been no in-depth studies explicitly on Australian site-specific art, and so my research aims to extend the existing knowledge on this art form while applying it to an Australian context. Because the site-specific field is vast, I narro
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Caetano, Sofia Mendes. "Espaço enquanto matéria da arte, espaço enquanto matéria do museu : (re)configurações da experiência site-specific." Master's thesis, 2016. http://hdl.handle.net/10451/24075.

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The central theme of this dissertation encompasses the importance of space, particularly the exhibition space, and how it has become part of the subject matter, as well as a medium in art. Some artistic practices of the 20th century, mainly in the 20s and 60s, both in Europe and the United States of America have provided the contextual foundation. The close relation between the architectural and exhibition spaces has become an intrinsic link to establish the existence of the three-dimensional work of art. The overarching importance of space in the contemporary artistic practice is visible thro
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Shen, Tzu-Chen, and 沈慈珍. "An Investigation of Site-specific of Public Art creative development-By the example of Public art creation on HsinChu Museum of history." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/93747899787403428128.

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碩士<br>中原大學<br>室內設計研究所<br>96<br>In this paper, the author exams herself on the development process and motivation in the fine art firstly, then differentiates the essence between the public art creation and the fine art creation, and also investigates the relationship among public art, people and the environment. Additionally, she also derives the relationship between the site-specific characteristics and some masterpieces in public art. Currently, the development of public art in Taiwan is mostly presented in the form of sculpture, and the majority of deployment is located in the North Taiwan
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Fernandes, Catarina Manuel Pinelo. "A arquitectura do museu de arte : de arquivo a site-specific." Master's thesis, 2015. http://hdl.handle.net/10316/28572.

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Dissertação de Mestrado Integrado em Arquitectura, apresentada ao Departamento de Arquitectura da Faculdade de Ciências e Tecnologia da Universidade de Coimbra.<br>A arquitectura do museu de arte sofreu, durante as últimas décadas, uma expansão sem precedentes. Arte e Arquitectura lideram o debate em torno da instituição museológica e o conceito de lugar para a arte tem sido reformulado, assistindo-se a uma consolidação do mesmo enquanto elemento marcante no espaço urbano. Entendidos como espaços de memória e preservação da História, aliam a estas funções primordiais a capacidade de se reinven
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Fabbri, Isabella. "Sounds at an exhibition : uma proposta de intervenção performativa musical para os museus de arte moderna e contemporânea." Doctoral thesis, 2022. http://hdl.handle.net/10451/51712.

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The purpose of this doctorate project is to build a proposal for a performative intervention that can be combined with cultural and educational activities aimed at visitors of modern and contemporary art museums. Having as protomodel the work Pictures at an Exhibition by the composer Modest Mussorgsky, the artistic creation project Sounds at an Exhibition consists of a site-specific performance in the shape of a guided tour with me participating as performer-musician. This performance, based on an interartistic transposition process, calls for a visitors group to be accompanied on a tour throu
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Books on the topic "Site specific museum"

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Piraz, Giacomo. Site specific Museum_ONE: Parthenon, David, Accademia. Gli ori, 2011.

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Icastic (4th : 2016 : Prato, Italy), ed. Icastic: For Pecci Museum : 2016 project : anything to declare? Maretti editore, 2016.

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Scholte, Tatja. The Perpetuation of Site-Specific Installation Artworks in Museums. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723763.

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Site-specific installations are created for specific locations and are usually intended as temporary artworks. The Perpetuation of Site-Specific Installation Artworks in Museums: Staging Contemporary Art shows that these artworks consist of more than a singular manifestation and that their lifespan is often extended. In this book, Tatja Scholte offers an in-depth account of the artistic production of the last forty years. With a wealth of case studies the author illuminates the diversity of site-specific art in both form and content, as well as in the conservation strategies applied. A concept
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Museo nazionale delle arti del XXI secolo (Italy), ed. Open museum open city. Mousse Publishing, 2014.

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Friedmann, Gloria. Gloria Friedmann: Die Stellvertreter : [Ausstellung], Museum Moderner Kunst, Stiftung Ludwig, Wien, [7.2.-15. 3. 92. Das Museum, 1992.

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Leon Tarasewicz: Muzeum Architektury we Wrocławiu = Museum of Architecture in Wroclaw, 10.05 - 26.08.2018. Muzeum Architektury, 2018.

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Graham, Burnett D., and De Guzman René 1964-, eds. The marvelous museum: Orphans, curiosities & treasures : a Mark Dion project. Chronicle Books, 2010.

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Amorepacific Museum of Art Project (2013 Osan, Kyŏnggi-do, Korea). Amorepacific Museum of Art Project 2013 Osan: APMAP 2013 : Reverscape. Amore P'ŏsip'ik Misulgwan, 2013.

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Sandro Veronesi, Andrea M. N. Mati: La Serra dei poeti. Gli ori, 2018.

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Tree, Museum (Gravenhurst Ont ). The Tree Museum: 2005, the 8th annual exhibition, Locating, September 25 to October 30, 2005 : site-specific installations. Tree Museum, 2006.

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Book chapters on the topic "Site specific museum"

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Trigona, Simon Luca. "Archeologia subacquea in Liguria: un progetto integrato per la tutela e la valorizzazione." In Proceedings e report. Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-147-1.15.

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The Soprintendenza of Liguria has always given a particular attention to underwater archaeology and still today it pursues clear and specific aims: design, build, manage and increase competences and technologies that can be able to contribute to the regional and cultural development. The experience reached in Liguria by many years, leaded our activities of protection, research and valorization in order to develop a network of integrated archaeological sites and naval museums. On land this project provides two new museums in the cities of Albenga and Imperia that will be connected with a series of exhibitions and conferences
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"“Someone (A Woman) Watching”: Site-Specific Ekphrasis by Three Feminist Innovators." In Museum Mediations. Routledge, 2006. http://dx.doi.org/10.4324/9780203959244-11.

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Scholte, Tatja. "Ernesto Neto’s Célula Nave." In The Perpetuation of Site-Specific Installation Artworks in Museums. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723763_ch04.

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Célula Nave. It happens in the body of time, where truth dances (2004) by the Brazilian artist Ernesto Neto is an interactive installation artwork, commissioned by the Museum Boijmans Van Beuningen in Rotterdam. The artwork consists of a spacious construction of turquoise fabric – the “nave” – hanging on a series of aluminium poles. Visitors are allowed to enter the nave and touch the fabric with their hands and feet. The spatial design of Célula Nave is intertwined with the museum’s Bodon Gallery, for which the artwork was created. The size of the installation has been adapted to its large-scale dimensions; the colour of the fabric matches the greenish floor of the gallery, and the daylight falling into the room enhances the fabric’s translucency.
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Scholte, Tatja. "Site-Specific Installation Art in Historical Perspective." In The Perpetuation of Site-Specific Installation Artworks in Museums. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723763_ch02.

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The argument in this chapter starts with a discussion of the art historical discourse on site-specific installation art. Artists as well as critics have explored various notions of site specificity, usually in concordance with successive art historical periods: the first “wave” of site-specific installations created during the late 1960s and early 1970s, and a second period, from the 1980s and early 1990s until today. The chapter elucidates several art historical perspectives on both periods and the shifts occurring in the relationship between artists and museum institutions, between the artwork and the site. Furthermore, it is important to realize that site-specific installation artworks are highly diverse in form, content, and meaning. For the current purpose of developing a model with an eye to the artworks’ perpetuation, a chronological approach is only partly effective. A further abstraction in categorization is needed, focusing on the network of site-specific functions and their changes over time. To this end, a selection of relevant notions elucidate the extended lives of site-specific installations, which I derive from case studies and observations made by artists and art historians in this respect. The discussion is a prelude to chapter 3, in which I take the vocabulary for site-specific installation artworks one step further by employing a triadic set of spatial functions, which I derive from Henri Lefebvre’s theory on space.
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Scholte, Tatja. "Conclusion and Further Discussion." In The Perpetuation of Site-Specific Installation Artworks in Museums. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723763_ch07.

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The readers of this book have taken note of the history of site-specific installation art and were offered an analytical model for examining the perpetuation of the artworks in a museum context. As the term suggests, site-specific installations are physically tied to the surrounding space and would, strictly speaking, have no afterlives after their initial manifestation. However, as demonstrated with many examples, site-specific installations can have extended lives and are frequently relocated to different contexts and times. Hence, rather than defining site specificity as a “fixed” characteristic, this study took a broader perspective by looking into the biographies of the artworks in relation to the exhibition site, ongoing institutional engagement, the locations of production, and the visitors’ interaction in the here and now.
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Scholte, Tatja. "Jason Rhoades’s SLOTO." In The Perpetuation of Site-Specific Installation Artworks in Museums. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723763_ch05.

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This chapter is dedicated to Jason Rhoades’s SLOTO. The Secret Life of the Onion (2003), a complex, multilayered, site-specific installation artwork in the collection of the Van Abbemuseum. [Figure 20] It introduces the problem of perpetuating a site-specific installation that includes processes of growth and transformation, not only in content but also in form. Museum professionals are often confronted with profound questions in order to keep processual artworks alive and sometimes need to make radical decisions when reinstalling the work in different contexts than foreseen by the artist. Comparative examples are Dieter Roth’s Garden Sculpture (1968–1996) and Jason Rhoades’s P.I.G. (Piece in Ghent) (1994).
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Scholte, Tatja. "The Problem of the Perpetuation of Site-Specific Installation Art." In The Perpetuation of Site-Specific Installation Artworks in Museums. Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463723763_ch01.

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In the summer of 1961, Allan Kaprow (1927–2006) installed dozens of used car tyres in the courtyard of the Martha Jackson Townhouse Gallery in New York City. The artist had collected these tyres from a nearby garage and invited his friends and fellow artists to participate in the Happening called Yard.2 There was no audience except for the participants who jumped over the heaps of tyres and moved them around. Photographs of Yard show Kaprow arranging the tyres within the small space of the courtyard, which was officially the sculpture garden of the gallery. Apart from the photographs, accounts of the event are scarce, and the press hardly paid any attention to it. And yet, Yard became one of Kaprow’s seminal Happenings. The work has been acquired for many museum collections and was re-executed on numerous occasions, both by Kaprow and others, at different places and with other participants.
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Noriega, Chon A. "VI.1.7 Barricades of Ideas: Latino Culture, Site Specific Installation and the U.S. Art Museum." In Resisting Categories: Latin American and/or Latino? Yale University Press, 2017. http://dx.doi.org/10.12987/9780300187151-182.

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C.A. Thomopoulos, Stelios. "SYNTHESIS: A Platform of Platforms for Integrated Management, Curation, and Visualization of Digital Cultural Experiences through VR and AR Technologies." In Heritage - New Paradigm [Working Title]. IntechOpen, 2021. http://dx.doi.org/10.5772/intechopen.98213.

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SYNTHESIS is a platform of platforms (PoP) for the management, curation, and creation of digital cultural experiences related to cultural heritage material (artifacts), and their visualization through mobile applications and virtual and augmented reality (VR/AR) technologies. The digital cultural experiences may relate to specific cultural heritage monuments or exhibits of museum collections and may reside either on site or remotely. The platform provides a comprehensive supervisory tool that allows curators to select digital artifacts from different databases around the topic of interest, associate them through narratives that translate them into a sequence of semantic correlations that can be visualized using VR/AR technologies. The SYNTHESIS of platforms contributes to the creation of a new condition for the promotion of cultural heritage sites, museums, and exhibits, and facilitates the management and interaction of the user-visitor with them. The platform contributes to the creation of an innovative system for the management and curation of large volume of digital material related to an exhibit and consequently its promotion by unifying the stages of: (a) production of digital content; (b) connection of additional digital multimedia material related to the digital content; (c) curation of the digital content and transformation to a digital experience in accordance to a desired narrative; and (d) visualization of the digital experience in-situ or remotely with the use of mobile apps and VR/AR technologies.
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Sharples, Niall. "The Landscape Context." In Social Relations in Later Prehistory. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780199577712.003.0006.

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The archaeological landscape of Wessex is one of the best known in Europe. There are very few students of archaeology who have not been taken to see sites such as Stonehenge, Avebury, Maiden Castle, and Danebury. Most archaeology departments insist that an in-depth knowledge of the region is essential for the training of an archaeologist, and as a student at Glasgow in the 1970s, one of the most distant departments from the region, it was considered a prerequisite for me to visit Wessex. I was loaded on to a coach and after a long journey I arrived at Devizes, where we stayed for a week of site and museum visits. I remember very little of what we saw, certainly the sites named above, but I do remember that I was tremendously excited by certain road signs. As we drove across the landscape I was confronted by names that were exotically familiar: All Cannings Cross, Gussage All Saints, Tollard Royal, and Overton Down. These names were exotic, particularly for a northerner brought up on names like Milngavie and Auchenshuggle, but very familiar since they cropped up frequently in the lectures and text books that were a feature of my course. It should be stressed that this course was untouched by the new ideas of statistical and behavioural studies that were so popular in other universities. My lectures were dominated by site and sequence and at this time, the late seventies, the sites that were available to us were the sites of Wessex that had been excavated and published by the great excavators of the previous generation. Today I am regularly involved in two trips to the region for the undergraduates studying archaeology at Cardff University. The first trip involves a visit to the hillforts of Maiden Castle and South Cadbury and the chalk figure at Cerne Abbas. These visits are very site focused and involve standing around listening to me giving a lecture on the context of hillforts—when they were built, what they were for, their distribution and the specific sequence of the particular site we are visiting.
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Conference papers on the topic "Site specific museum"

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Nitu, Florentina. "UNIVERSITY MUSEUMS AND DIGITAL DATA. CASE STUDY: UNIVERSITY OF BUCHAREST MUSEUM." In eLSE 2020. University Publishing House, 2020. http://dx.doi.org/10.12753/2066-026x-20-238.

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Museum of the University of Bucharest represents the cultural memory and the institutional identity in the specific field of higher education in Romania. But this mission needs to be adapted to the public nowadays, in cultural contexts that are different from those of the last century, when the museum was founded. The impact of an university museum in society is increasingly based on the diversification of communication paths, with the use of the new media, on the development of new audiences for whom the museum's message is relevant. Also, the university museum must investigate future develop
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Benente, Michela, Valeria Minucciani, and Gianluca D'Agostino. "Contents accessibility in archaeological museums and sites: a proposal for a neuropsychological approach." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001881.

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With specific reference to the issue of accessibility to cultural content and the inclusion of different audiences, the Authors point out an overview where museums usually tend to create educational activities and support assistive devices dedicated to specific audiences, rather than integrated solutions, that can “be usable by all people, to the greatest extent possible", as stated in the United Nations Convention on the Rights of Persons with Disabilities (2006).On the basis of previous studies on cultural accessibility and emotional appropriation, the Authors have recently carried out a sur
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Malinina, Elena. "Contemporary Art Culture as a Creator of Publicity New Forms: Experience of Perm Theatrical Community." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-13.

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This article covers some new forms of publicness in the field of art culture of the Russian city of Perm, e.g. dramatics as a performance in a street environment, and synthetic museum-theatrical form under the conditions of a stage box. The study was accomplished mainly via culturological method. At one time theatre left the urban environment, but in the 21st century theatrical forms have begun to permeate urban space again, the statement primarily concerns site-specific theatre. This is equivalent to the birth of new theatrical-city publicity, a new modality of the interpenetration of the pub
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Drossinou-Korea, Maria. "Targeted, individually structured special education and training intervention programs and pedagogical applications in museum." In 7th International e-Conference on Studies in Humanities and Social Sciences. Center for Open Access in Science, Belgrade, 2021. http://dx.doi.org/10.32591/coas.e-conf.07.11107d.

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Anthropocentric museums are “an important place in public debate, creation and questioning ideas” because they can have a positive impact on the lives of underprivileged or marginalized people. They can also strengthen specific communities and contribute to the creation of fairer societies. The science of Museology together with the science of Special Education and Training (SET) support with the Targeted Individual Structured and Integrated Program for Students with Special Educational needs (TISIPfSEN), in children and young people with special educational needs and disabilities (SENDs). The
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Munteanu, Angela. "Times and the interior and exterior architectural stylistic character of the Romanian-Moldovan traditional dwelling, incontestable museum decoration." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.09.

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Every nation has a history of multiple cultural, ethnic, linguistic interferences, which complement each other from one century to another. The Romanian people have a tumultuous past, with periods of Ottoman occupation, the liberation and unification of Greater Romania, but also the separation from the mother country after the Second World War. Currently, the political and national development path of the Republic of Moldova is struggling between the East and the West. Romanian traditional stylistics represents us through culture, tradition, and customs. We have a valuable cultural heritage in
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Saeedi, Azin. "Community Participation in Conservation Proposals of Islamic Pilgrimage Sites." In The 38th Annual Conference of the Society of Architectural Historians Australia and New Zealand. SAHANZ, 2022. http://dx.doi.org/10.55939/a4025pfdgv.

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There is increasing pressure on urban landscapes surrounding Islamic pilgrimage sites to accommodate growing numbers of pilgrims. Recent developments have responded to this issue with comprehensive clearance of historic urban landscapes, constructing grand open spaces and dislocating local residents. The traditional expansion of Islamic pilgrimage sites was characterised by a layering of interconnected structures with continuous functions that merged gradually over time into the surrounding landscape. The rift between the traditional urban growth and the recent expansion approach across the Mu
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Katkeviča, Santa, and Aina Strode. "Projection Mapping Method in Advertising Design." In 80th International Scientific Conference of the University of Latvia. University of Latvia Press, 2022. http://dx.doi.org/10.22364/htqe.2022.71.

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Projection mapping is a projection technique used in video or interactive installations to project on irregularly shaped objects, adapting to their unique structure. The projection mapping technique dates back to the late 1960s, where it was mostly used for special film effects and film studio amusement parks. This technique was academically recognized in 1990 by the Office of the Future research experiment. Since then, projection mapping techniques have gained popularity and thus available programs have been created. Over the last decade, it has become extremely widespread around the world, e
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Alcino, Valeria Fabiana. "Voces de la ausencia/poética de la memoria en la obra Evidencias (2010) de Norberto Puzzolo, Museo de la Memoria, Rosario, Argentina. Sonido, silencio e imagen durante la dictadura argentina (1976-1983)." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9164.

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Este trabajo se propone analizar los diversos planos puestos en relación a partir del sonido y la visualidad con las poéticas de la memoria a partir de la instalación Evidencias (2010) del artista argentino Norberto Puzzolo (Rosario,1943).La obra trata una doble problemática.Por una parte, expone los trágicos hechos de apropiación de niños, hijos de detenidos desaparecidos por el terrorismo de Estado argentino entre 1976 y 1983. Por otro lado, muestra la ardua búsqueda de las Abuelas de Plaza de Mayo y la restitución de la identidad a sus nietos.En la instalación de Puzzolo, el sonido se ubica
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Gheorghiu, Dragos, and Livia Stefan. "E-LEARNING PORTALS AND MOBILE PERSONAL LEARNING ENVIRONMENTS AS NEW LEARNING ECOSYSTEMS." In eLSE 2015. Carol I National Defence University Publishing House, 2015. http://dx.doi.org/10.12753/2066-026x-15-178.

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The current paper presents a case study describing a learning ecosystem which comprises a specialized web portal called Time Maps, designed to collect and distribute information on ancient technologies, as well as a mobile personal learning environment (MPLE), designed with the purpose of gathering resources from the portal's pool of educational information, based on user's personal learning needs and interests. The portal is an educational web tool structured as a set of web pages presenting different archaeological sites and offering different educational resources (mainly video films) descr
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Reports on the topic "Site specific museum"

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Hall, Mark, and Neil Price. Medieval Scotland: A Future for its Past. Society of Antiquaries of Scotland, 2012. http://dx.doi.org/10.9750/scarf.09.2012.165.

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The main recommendations of the panel report can be summarised under five key headings. Underpinning all five areas is the recognition that human narratives remain crucial for ensuring the widest access to our shared past. There is no wish to see political and economic narratives abandoned but the need is recognised for there to be an expansion to more social narratives to fully explore the potential of the diverse evidence base. The questions that can be asked are here framed in a national context but they need to be supported and improved a) by the development of regional research frameworks
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