Public education in museums has the interdisciplinary nature of STEAM education contemporary learning. In the contemporary learning process of the public, digital museums can rely on mobile terminals to provide people with opportunities for mobile learning. Especially since the global outbreak of COVID-19, many offline museums have been forced to close their doors or impose restrictions. How to use digital museums to better carry out the learning experience of visitors is a problem worthy of attention. Effective dissemination of visual information (...) can help digital museums conduct educational activities more efficiently. The purpose of this study was to explore a research method for visual evaluation of visitors’ learning experiences in digital museums. The visual evaluation of visitors in the digital museum learning experience involves the layout of exhibition content, the form of exhibition space, and the way of display of exhibits. Through eye-tracking engineering experiments, we obtain and analyze the visual data of visitors during the educational experience of the digital museum to form an accurate evaluation. This method can be used to assess the visual satisfaction of visitors with the educational experience of a digital museum in mobile learning. This kind of evaluation research can provide strong data support and design optimization direction guidance for the development of digital museum public education. (shrink)

The main purpose of this study is the scientific practice of Edgard Roquette-Pinto at the National Museum of Rio de Janeiro during the 1910’s and 1920’s in the XXth Century. The article examines the relationship between laboratory science and nation building. Driven by Physicians-Anthropologists like Edgard Roquette-Pinto among others, the investigations performed at the Anthropology Laboratory there reveal the dynamic of the borders between Laboratory and Field Sciences, and the new biological parameters adopted at that time. The investigative (...) agenda involved plants, animals and human bodies, and it was related to the current Anthropology concept aligned with the debate of Nation construction. The physiological studies amplified the scientific exchange with different institutions, emphasizing cultural exchange between Brazil and Paraguay, and the role played by Edgard Roquette-Pinto there as he inaugurated the Physiological course at Faculty of Medicine at University of Asunción. (shrink)

Evidence is limited on how elementary social studies preservice teachers make sense of museum settings and the use of museum artifacts for instruction, especially while consumed with learning how to teach. This study explored 81 elementary preservice teachers’ dispositional thinking toward museum pedagogy in a teacher education program. Objectives were to determine an overall dispositional thinking profile and also investigate possible distinct dimensions. The study employed descriptive and exploratory factor analysis (EFA) to establish systematically reliable (...) factor solutions representing a profile of preservice teachers’ dispositions. Results indicate preservice teachers’ museum pedagogy dispositional thinking can be measured with three dimensions and one overall generic form of dispositional thinking. Representing the dimensions are these factor structures: (a) willingness to use museum settings and their artifacts to support social studies teaching, (b) capacity to interact with museum artifacts for K-6 social studies teaching, and (c) recognizing the prospect of museum pedagogy as an approach to enhance K-6 social studies education. Based on the factor structures, we introduce a conceptual framework to represent elementary social studies preservice teachers’ dispositional thinking about museum pedagogy. Engaging in preliminary work to first understand preservice teachers’ thoughts and dispositions, before creating or adopting curricula, may deepen and strengthen their agentic growth in museum education for social studies teaching. (shrink)

With the worldwide spread of the Internet, human activity has become permeated by digital media, which shapes communication and interaction and speeds up the improvement of the experience and diffusion of museum exhibitions. Contemporary museums must understand their audiences, especially with respect to online preferences and surfing involvement experiences. Museums are changing in an effort to attract young netizens to access and use museum resources. Virtual museums are increasingly using digital exhibitions to preserve and apply their collections and (...) establishing online community platforms to interact with young people. This study investigates the underlying mechanism of online community characteristics that enhance audiences’ emotional resonance and involvement. Results from a questionnaire survey of Taiwan undergraduate students show that perceived relevance and esteem improve their emotional resonance, which can attract new people and maintain existing relationships within their communities. Following flow theory, maintaining community relationship characteristics increases emotional resonance, which, in turn, enhances user involvement, but we found only small significant effects of emotional resonance on involvement. These findings illuminate the mechanism of the attitudinal relationship building and maintenance for online museum communities and advance the practical contributions of online museum community use and effects. (shrink)

Regarding museums as potential sites of formal learning, this article describes an innovative workshop for postgraduate researchers in philosophy and religious studies that was designed to serve as a template for other initiatives. It showcases pathways between research in the arts and humanities and museums’ collections. It is of use to scholars interested in exploring ways to use museum collections for research in arts and humanities disciplines.

This paper is based on a study of museum visitors’ experience of paintings: in particular, the experience of adult non-art specialists. Phenomenology, a form of inquiry that seeks to articulate lived experience, provided the philosophical and methodological framework for the study. Descriptions and themes relating to the experience of paintings were generated from interviews conducted with eight participants. These themes were categorized into two major areas: the articulated aspects and the non-articulated aspects. The former refers to aspects (...) that people can articulate when they describe their experience. For example, they talk about the formal qualities of paintings, related textual information, and the museum environment. The latter refers to aspects that people cannot articulate. For example, they have difficulty in expressing their feelings, their relationship with time, and an understanding of the role of the body. This paper focuses on the aspects that museum visitors cannot articulate when they describe their experience. This inarticulateness provides insights into certain overlooked features of the experience: the embodied nature of the experience, the way time is experienced, and the viewer’s feelings about paintings. The paper ends with a discussion of the implications of the study for art educators. It is suggested that teachers should prepare students in ways that will enable them to make use of their various cognitive, social and cultural frameworks in experiencing works of art. (shrink)

이 논문은 상박초간 『주역』 감괘(欽卦)를 중심으로 중국고대 점복문화를 살펴보고 이를 바탕으로 점서였던 『주역』의 경문을 유가가 어떻게 유가 윤리로 만들어갔는가를 밝히고자 하는 것이다. 상박초간 『주역』 감괘는 현행본의 함괘(咸卦)에 해당하며 ‘감(感)’의 뜻으로, 괘 전체의 주제는 남녀 간의 육체적 사랑과 결혼이다. 청화간(淸華簡) 『서법(筮法)』 등 고대의 점술에 남녀 간의 결혼을 점친 예는 상당히 많은데 이런 자료들도 감괘가 단순히 사랑과 결혼에 대한 점술이었다는 것을 증명한다. 상박초간 『주역』과 마왕퇴백서 『주역』의 감괘 효사 및 현행본 함괘 효사를 비교분석해보면 상박초간본 → 마왕퇴본 → 현행본으로 변해가는 모습을 찾아볼 수 있다. (...) 이는 『주역』 텍스트가 많은 변화를 거쳐 현재의 모습으로 이루어졌음을 보여주는 증거다. 한편 『순자』 「대략(大略)」편, 현행본 『주역』 「단전(彖傳)」은 함괘의 주제를 남녀 간의 사랑과 결혼에서 추상화하여 부부의 도, 나아가 음양 ‘이기(二氣)’의 철학으로 확대한다. 이러한 확대는 결국 자연철학 방면으로는 세계, 우주를 구성하는 ‘이기’의 감응에 의한 만물생성론을, 인간사회 방면으로는 성인의 감화를 통한 천하화평을 주장하는 데에까지 나아간다. 「서괘전」도 함괘를 ‘부부의 도리’로 보고 이에 기초하여 부자, 군신, 상하, 예의로까지 확대시킨다. 「서괘전」이 함괘를 서술할 때 ‘남녀’가 아닌 ‘하늘과 땅’으로 시작하고 있는 것은 「단전」의 논의를 바탕에 두고 있기 때문이다. 이처럼 우주적 질서에서 시작하여 인간의 예의로 귀결을 맺는 것은 철저한 유가적 사유로, 따라서 「서괘전」이 만들어진 시점에서 『주역』의 유교경전화는 이미 완성되어 있었다고 생각된다. (shrink)

Museums are key cultural loci of our times. They are symbols and sites for the playing out of social relations of identity and difference, knowledge and power, theory and representation. These are issues at the heart of contemporary anthropology, sociology and cultural studies. This volume brings together original contributions from international scholars to show how social and cultural theory can bring new insight to debate about museums. Analytical perspectives on the museum are drawn from the anthropology and sociology of (...) globalization, time, space and consumption, as well as from feminism, psychoanalysis, experimental ethnography and literary theory. These perspectives are brought to bear on questions of museums' changing role and position in the representation of the nation-state, of community, and of gender, class and ethnicity. The examples in this book are drawn from different kinds of museum around the world, and include significant controversial and experimental exhibitions; the Enola Gay at the Smithsonian; feminist exhibitions in Scandinavia; the National Museum of Sri Lanka; Victorian art at the Tate; the representation of race at Colonial Williamsburg and of colonialism and identity in Canada. (shrink)

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make (...) a significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum. (shrink)

"Time and the Museum: Literature, Phenomenology, and the Production of Radical Temporality, is the first explicit in-depth study of the nature of museum temporality. It argues as its departure point that the way in which museums have hitherto been understood as temporal in the scholarship - as spaces of death, othering, memory and history - is too simplistic, and has resulted in museum temporality being reduced to a strange heterotopia (Foucault) - something peculiar, and thus black (...) boxed. However, to understand the ways in which museum temporalities and timescapes are produced, and the consequences that these have upon display and visitor response, is crucial, because time is itself a political entity, with ethical consequence. Time and the Museum highlights something we all experience in some way - time - as a key ethical and political feature of the museum space. Utilizing the fields of literature and phenomenology, the book examines how time is experienced and performed in the public areas of three museum spaces within Oxford - the Ashmolean, Pitt Rivers, and Oxford University Museum of Natural History. Using concepts such as shape, structure, form, presence, absence, authenticity and aura, the book argues for a reconsideration of museum time as something with radical potential and political weight. It will appeal to academics and post"--. (shrink)

In recent years, the contribution of various disciplines and professionals (i.e. from marketing, computer science, psychology and pedagogy) to museum management has encouraged the development of a new conception of museology. Specifically, psychology has affected the overall conception of museum and the visitors towards a more holistic vision of the museum experience as a complexity of memory, personal drives, group identity, meaning-making process, as well as leisure preferences. In this regard, psychological research contributes to advance the scientific (...) knowledge about psychological and social phenomena related to the visitor experience, as well as to design innovative technologies and future tourism services. The present contribution discusses the Socio-Cultural Activity Theory as a theoretical framework to conceptualize the museum visit as an activity mediated by the technology, and to better identify the factors shaping the interaction between the visitors and the technologies. To do so, a case study is presented: a qualitative research performed at the Ara Pacis Museum in Rome (Italy) to analyze the visitor experience of a tour that integrates augmented and virtual reality. Information derived from applying Activity Theory on visitors’ experience highlight the value of technology as mediating tool between the museum mission and the visitor experience, considering the interaction between visitors’ characteristics, museum environmental dimensions and technology’s features. (shrink)

The European bison is one of the last remnants of the megafauna that once roamed through Europe. By the early modern period, it had already disappeared from most of its former range and had become a coveted natural curiosity as well as been designated as royal game. In the 18th century, the last population of lowland European bison surviving in the Białowieża Forest became an object of study for naturalists. When the forest became a part of the Russian Empire (...) during the 19th and early 20th centuries, it was the Russian Imperial family's attention to the species that ensured its survival. In the same period, the European bison was of the utmost importance to the scientific community—as a research subject (on the taxonomic position of the species, its relation to extinct Bovidae, etc.) and as a museum exhibit (to attract audiences interested in seeing the largest European mammal). Obtaining such a specimen demanded the scientific community's adept maneuvering through diplomatic and bureaucratic channels and depended on the Russian monarch's goodwill.The tsar's permission was only a start, as naturalists themselves had to organize hunts, process the pelt and bones, and deliver them to museums. Despite the considerable organizational and logistical difficulties, by the late 19th and early 20th centuries, many museums were displaying the European bison, which succeeded in making the species well known to the wider public. In 1919, the last wild Białowieża bison was killed, but the popularity of this species helped the reintroduction of the animal a decade later. Today, the historical specimens are a source of samples for both genetic and molecular research. (shrink)

The aesthetic experience may be defined as people's interactions with, and reactions to, objects, places, but also to the environment. Most psychological perspectives on the aesthetic experience argue that it results from the coordination of different mental processes such as perception, attention, memory, imagination, thought, and emotion. Physiological and neurological responses are also involved. Aesthetic experiences can take place while we observe works of art in museums and galleries as well as in other contexts such as natural and built environments. (...) Looking at a landscape, walking in a park, meeting people in a square, and walking into a building that is architecturally appealing are examples of natural and built environments where we can experience beauty, pleasure, attraction, and interest, among other aesthetic reactions.Research on aesthetic experiences has a long history, and in recent decades, the field has experienced tremendous growth in the number of empirical studies conducted. One of the areas that researchers have yet to fully address is the influence of the context (natural and built environments) on aesthetic experiences. We refer to context according to three broad categories: Context as natural environments, context as built environments, and environments for aesthetic experiences.Context as natural environments: People show a basic tendency to associate the natural environment with positive evaluations. According to an evolutionary explanation know... (shrink)

The purpose of this study was to examine how elementary preservice teachers ( n = 35) experienced museums as potential sites for K-5 students to read museums using two lenses: to learn the history of the place in which they live and examine how museum authors craft texts to tell those stories. Along with exploring historical content, preservice teachers studied the museum as an informational text. Through this experience, preservice teachers discovered: 1) the five informational text structures (...) museum authors used to present information and 2) how museum authors conveyed contemporary and social issues using various forms of writing. Additionally, the museum experience provided a context in which the preservice teachers could engage in critical literacy practices. (shrink)

This paper explores the process from museumization to decolonization through an examination of a Haida eagle mask currently on display in the Exploring Medicine gallery at the Science Museum in London. While elements of this discussion are well developed in some disciplines, such as Indigenous studies, anthropology and museum and heritage studies, this paper approaches the topic through the history of science, where decolonization and global perspectives are still gaining momentum. The aim therefore is to offer some opening (...) perspectives and methods on how historians of science can use the ideas and approaches relating to decolonization in other fields, and apply them constructively to the history of science, particularly in museum settings. Decolonization is a complicated process and the focus of this paper is squarely on the preliminary steps of its implementation. To understand this process fully, the paper will recontextualize the Indigenous history of the Haida eagle mask at the Science Museum through a careful reconstruction of its provenance record. Through this process it will expose the politics of erasure and hidden voices in museum collections. (shrink)

Critical Practice: Artists, Museums, Ethics is an ambitious work that blurs the boundaries among art history, museum studies, political science and applied ethics. It takes an interdisciplinary approach to represent key developments in institutional critique as they impact museums. The book elucidates the museological and ethical implications of institutional critique, providing a much needed resource for museum studies scholars, artists, museum professionals, art historians and graduate students worldwide who are interested in mapping and unpacking the intricate relationships (...) among artists, museums and communities. It argues that institutional critique is, at heart, a museological enterprise committed to creating reconciliations between museums and their publics. The volume will show how artists are uniquely positioned as both museum insiders and outsiders to encourage reconciliation. Critical Practice demonstrates how and why museums are drawn to institutional critique as reconciliation at pivotal moments in institutional and social history. By analyzing an international group of case studies, charting their attempts at reconciling museums and communities, it identifies key issues that institutional critique interrogates. In so doing, the book illuminates both the collaborative and contentious possibilities of these projects. Critical Practice is the first book on institutional critique informed by current debates in museum ethics and brings together a diverse range of literature to make it an invaluable resource for students of Museum Studies and Art and Gallery Studies. (shrink)

In 1967 Garfinkel and Bittner were investigating good organizational reasons for bad clinic records, demonstrating how the reading of such records as sociological data should be reported to the understanding of their production’s practical contingencies and to the situated circumstances of their use. This seminal paper opened new avenues of research related to the study of records in various professional contexts and of their transformation, to the development of praxiological approaches to practical and professional texts, or to the (...) class='Hi'>study of historical documents and archives. To contribute to this ethnomethodological strand of research, I propose a case-study of artworks’ records management at the museum, investigated as a perspicuous site to reflect upon how artworks are experienced, apprehended and defined in the institutional ordinary business. Drawing on observations and materials collected at the French National Museum of Modern Art, I study records’ careers and describe their material and organizational properties, by giving a close look at some elements. More particularly, I focus on one distinctive property of some records: their thickness, investigated as a scheme of interpretation of the situated features of documentation work. By reading artworks’ records as local collective practices of assemblage, disruption and reconfiguration of pieces of documentation, I demonstrate that what is documented in this process is not only the artwork: it is also the collective work of working with artworks, dealt with as ongoing achievements of institutional practices. (shrink)

ABSTRACT Recent reflection on the role of museums and galleries has focused on their socially situated nature; and that as a social construct, co-produced with its audiences, heritage is in part discursively constituted. This has included acknowledgement that the inherited discourse is hegemonic and exclusive of divergent narratives, leading to moves to create alternatives to contest it, which include temporary exhibitions. These provide a potentially democratic space for discursive incursions freed from the constraints of the permanent museum. But they (...) are also spatially and temporally peripheral, occupying a discursive space outside the standard visit. This raises questions as to whether, once the exhibition is over, the alternative will be subsumed once more. This article explores this issue using a dataset of TripAdvisor reviews to analyse the discursive responses of visitors to temporary and permanent collections, using the Musée d’Orsay's 2019 exhibition Le Modèle Noir as a case study. Analysis shows that Le Modèle Noir reviews exhibit greater discursive fragmentation, reveal a relative lack of appeals to collective identity, and do not connect the exhibition with the permanent collection. Potential implications of this for initiatives that seek to counter the hegemonic narrative are discussed. (shrink)

This paper aims to demonstrate how museum collection sustainability is grounded in a range of concrete care practices that are social and material. It explores the unstable nature of heritage materials, drawing on the ecological approach of infrastructure and maintenance studies in the field of art and museums. To do this, I analyse the role of mundane operations in the daily functioning of an exhibition area, presenting data from fieldwork I conducted from 2015–2016 at the Musée du quai Branly (...) in Paris, which preserves collections of art and ethnology from outside Europe. I observed the museum's preventive conservation practices, which work to minimise the risks of material deterioration of heritage objects, focusing attention on stabilising the relationship between objects and their environments. These practices contribute to the construction of the temporalities of museum objects. In exploring the means and devices of preserving these heritage objects, the very assumption of perpetuation is destabilised. Environments continually unfold with the silent material metamorphosis of objects. The exhibition becomes a place of flows, where a multitude of entities circulate and cohabit at different scales, such as insects, dust, and powdery fragments. The daily human work of vacuuming, cleaning, trapping, and measuring provide a set of actions united with other entities engaged in the material life of the exhibited object. As we zoom in on the exhibition space, different timelines emerge that are inextricably linked to the different lives of the museum. (shrink)

Proceedings of an International Conference held in Trondheim, Norway, 10th-12th October 2008, arranged by the Institute of Archaeology and Religious Studies, and the SAK department of the Museum of Natural History and Archaeology of the Norwegian University of Science and Technology (NTNU) A volume dedicated to the achievements of Norwegian archaeologist Gutorm Gjessing (1906-1979).

Museum professionalism remains an unexplored area in museum studies, particularly with regard to what is arguably the core generic question of a sui generis professional knowledge base, and its necessary and sufficient conditions. The need to examine this question becomes all the more important with the increasing expansion of the museum’s roles and functions. This paper starts by mapping out the policy and organizational context within which the roles of museums have expanded in the UK. It then (...) situates the discussion of museum professional knowledge within a cross-disciplinary matrix bearing on the question of what is professional about occupations classified—or classifiable—as professions. Against the backdrop of the current organizational context of the museum as well as theories of professional knowledge, it highlights the ways in which museum work, more specifically museography, poses a distinctive set of questions compared to other ‘professional’ fields; the paper thus homes in on the question of what it is that constitutes the uniqueness of museum professional knowledge in relation to museographic practice and the type of professional knowledge and expertise that can sustain it and enact its creative and educational potentials and affordances. (shrink)

추모 박물관을 방문한 경험이 있다면, 전시 속 희생자들의 고통에 공감하며 그들과 일종의 유대감을 느끼고, 방문을 마친 후에는 이들의 이야기에 감동을 느낀 경험이 한번쯤 있을 것이다. 이 연구는 방문객들의 감정에 집중하여, 방문객들이 전시에 공감하는 현상과 모순되는 감정, 즉 어째서 고통의 공간인 추모 박물관에서 감동이라는 긍정적인 감정이 촉발되는지에 대해 탐색한다. 따라서 본 연구는 추모 박물관에서 경험되는 감정현상을 두 가지 측면에서 접근한다. 첫째, 다양한 개인의 감정들이 어떻게 “공감된 느낌들(feelings-in-common)”을 통해 한 집단과 유대감을 형성하며 감동을 느끼도록 하는지 살펴보고, 둘째, 어떻게 상반되는 감정들, 즉 슬픈 (...) 감정이 감동으로 바뀌는지와 같은 감정의 움직임에 대해 논의한다. 이를 위한 분석은 문화이론가인 사라 아메드(Sara Ahmed)의 집단적인 감정(collective feeling)에 대한 이론과 감정이론가인 브라이언 마쑤미(Brian Massumi)의 “생리학적 분열(physiologically split)”을 통해 진행한다. 지금까지의 박물관 경험에 대한 논의가 방문객들을 전시가 의도하는 감정의 흐름에 따르는 수동적인 존재로 해석했던 것과는 달리, 본 연구는 지금까지 간과되어왔던 박물관에서 경험되는 모순되는 감정들을 토론에 포함시킴으로써 박물관 경험 뿐 만 아니라 추모 박물관에 대한 이해를 확장시킨다. 따라서 문화이론과 감정이론을 추모 박물관 연구에 접목시킴으로서 본 연구는 박물관 경험을 이해하는 새로운 접근법을 제시하고, 이를 통해 박물관 경험을 재해석함으로써 추모 박물관에 대한 새로운 이해를 도모한다. (shrink)

The protection of cultural relics has always been an important issue in the field of museums and archaeology. With the development of Internet of Things technology, the security system of the museum is more intelligent and integrated. In order for the museum display system to keep up with the intelligent age, this article mainly studies the research and realization of the museum showcase system based on the Internet of Things technology in a smart environment. Before the start (...) of the experiment, we developed the overall design of the system, including three functional modules: temperature module, illumination module, and monitoring module. The experiment is done mainly for system testing. The performance test of the sensor module needs to sample the temperature and humidity sensor to verify the accuracy of the temperature and humidity signal collected in the instrument circuit. The light information collection test uses the ADC sampling inside the CC2530 to obtain the required data and judges whether these temperature, humidity, and light intensity values exceed the preset values. The serial port needs to be initialized to carry out data communication and transmission normally. After the receiving end finishes receiving, the sending end will clear the data buffer to prepare for the next data transmission. The experimental data show that the error between the predicted value and measured value of the temperature system is about 3°C, which is within the allowable error range of the experiment. The results show that the system has perfect functions, is safe and reliable, meets the expected requirements, and has good practicability. (shrink)

Traditional accounts of the emergence of professional biology have privileged not only metropolis over province, but research over teaching and laboratory over museum. This paper seeks to supplement earlier studies of the 'transformation of biology' in the late nineteenth century by exploring in detail the developments within three biology departments in Northern English civic colleges. By outlining changes in the teaching practices, research topics and the accommodation of the departments, the authors demonstrate both locally contingent factors in their development (...) and continuities with existing traditions in natural history. The appointment of Arthur Milnes Marshall in preference to Louis Miall to the new zoology chair in Manchester in 1879 casts light on contemporary views of the laboratory and museum as 'equal though different'. The transformation in biology, in Northern England at least, was shaped more by such local institutional changes than by a phoenix-like rise of the laboratory from the ashes of the museum-more by the rhetorical construction of a professional academic community than any dramatic shift in sites. In this period the biology laboratory supplemented, rather than eclipsed, the museum, and the dichotomy between the 'naturalist' and the 'experimentalist' was far from clear-cut. (shrink)

The connection is made between the Royal Museum of Scotland and encyclopaedia, one of MacIntyre's three rival versions of moral enquiry. It is then asked how MacIntyre's other two methods, genealogy and tradition‐constituted enquiry, would function within a museum. It is proposed that the museum fulfils Haldane's criterion for tradition‐constituted enquiry in that it combines the immanence and open‐endedness of the methods of enquiry with transcendence in the objects of enquiry. The ethical judgments of the visitors constitute (...) transcendent truth in morality; hence one can see the museum as a site of Aristotelian enquiry. -/- To pursue this, the museum is explored as a site of Aristotelian study or theoria, and of MacIntyre's updated Aristotelianism. Therein we study the narratives written by historians and by individuals in a version of Aristotelian epagogê, or the sifting of the opinions of the many and the wise. This process may also enhance civic friendship and our exercise of practical wisdom towards disadvantaged groups. -/- Finally, MacIntyre's three rival versions of moral enquiry are returned to, and a museum characterised for each. All three are found to involve seriousness in the purposes of enquiry. Attention is drawn to MacIntyre's criticism of the interaction of bureaucracy and social science. It is proposed that such interaction may, in the case of the museum, dilute its seriousness as a site of enquiry. (shrink)

Museums are essential for improving cultural understanding and instruction. Exhibitions showcasing ethnic cultures provide insightful perspectives on many cultures and civilizations. These educational opportunities can be made as effective as possible by assessing their influence on visitor satisfaction.Investigation into the impact of ethnic culture exhibitions on audience pleasure, participation, and comprehension is lacking, despite their significance. By investigating how these displays affect visitors' knowledge acquisition and participation, the study seeks to close this disparity.Utilizing a combined methods technique that integrated (...) quantitative surveys with qualitative comments, the study polled 62 museum visitors who had attended ethnic cultural exhibitions. The questionnaire evaluated knowledge of culture, instructional impact, involvement, and tourist pleasure. Data analysis using the SPSS software was utilized to analyze how different factors affect results and find significant indicators by doing logistic and multinomial logistic regression. This study discovered a substantial correlation between improved knowledge of culture and exhibition participation, as well as a significant improvement in visitor satisfaction and educational results when interactive components and cultural content are included. Through the use of interactive material, ethnic culture exhibitions improve the educational experience and increase visitor happiness. Museums ought to take demographic factors into account while planning different exhibitions for the future. (shrink)

Centered on the collection of pre-conquest antiquities formed by Miguel Garcés, a Puno landowner and antiquary, this article studies the creole antiquarian landscape of the Southern Andes over the late 1800s and early 1900s. Historians have commonly taken the fact that many of the area's private collections were later sold to museums abroad as a testament to this antiquarian landscape's fragility and precariousness. This article argues that the collections' very volatility, dissolution, and mobility also, somewhat paradoxically, contributed to their centrality. (...) Indeed, many of these collections from “provincial” Peruvian and Bolivian localities would leave a decisive mark on the period's most visible museums of Americana in metropolitan centers—by their sheer scale and number, but also through their composition, prestige, and aesthetic appeal. The article thus contributes to an ongoing rethinking of the histories of anthropology and archaeology more broadly—by making visible Hispanic American contributions and the ways in which they were subsumed by, and constitutive of, the very “core” of these fields. The Southern Andes, the article holds, ought to be seen in many ways as a center, not a periphery, of Americanist learning, collecting, and display. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 107-119 [Access article in PDF] Museum as Process Carol S. Jeffers Introduction Today's art museums are committed to completing major expansion and renovation projects, and vigorously carrying out their stated missions. 1 These missions typically are concerned with processes of acquisition, preservation, exhibition, and education. The National Gallery of Art, for example, is dedicated to "preserving, collecting, exhibiting, and fostering the (...) understanding of works of art." 2 Similarly, the Getty Museum at the J. Paul Getty Center seeks to "delight, inspire, and educate the public by acquiring, conserving, studying, exhibiting, and interpreting works of art." 3 Such processes are strategic, of course, and give direction and purpose to the range of programs and services offered by these institutions. Ensuring that visitors are surrounded by works of art, "at the highest quality," these processes also give rise to a particular view of the museum as an "object of reflection, contemplation, and discussion." 4Although unstated, I shall argue that art museums typically have other missions that are actively, if insidiously implemented through processes of representation (re-presentation), socialization, institutionalization, and commodification.The museum functions as a "socializing institution," that both represents and presents cultural assumptions, as well as social and aesthetic values to young and old alike. 5 These processes succeed in establishing an "ideology of aesthetic autonomy — the compartmental conception of fine art that segregates it to the separate realm of the museum." 6 Simultaneously, they present "ideology in material form." 7 The museum itself is a representation that tends to take on an independent and ultimately self-reflecting existence. In a Debordian view, "it is a spectacle, which, in its generality, is a concrete inversion of life, and as such, the autonomous movement of 8 [End Page 107] non-life." Through processes of representation and commodification, the spectacular museum is constructed as a frame that influences the public perception of art and society. Moreover, this ideological frame influences how the public experiences constructs of time and place, and how it comes to know about art in relation to the real world.Today's thriving art museums — and the various processes that deliver both their overt and covert missions — are likely to have a greater impact on society than ever before. With such potential, it seems especially important at this juncture to examine critically the art museum as process; to deconstruct that which has been "constructed as a symbol in Western society since the Renaissance." 9 In undertaking such an examination, then, the first task is to describe current museum impact on the public. Of special concern are questions about what the museum represents to its visitors, particularly to young students and teachers, and how these representations shape constructions of knowledge, conceptions of art, and roles for visitors and artists. Contemporary representations themselves raise questions about the historical context in which they originated, developed, and were carried forward. As a second task, then, this essay will present a historical-critical analysis that integrates several theoretical perspectives on the origins, development, and implications of the Western museum and its various processes. Next, I will consider the possibility and implications of visitor impact on museum processes. This last section includes examples of alternative museum approaches whose mission is implemented through active visitor participation in processes of conversation and community. Collecting and Exhibiting: The Museum as Sacred Grove The museum as a symbol in Western society is apparently recognized and understood as such, even by its youngest members. Children in the United States, Canada, and France, for example, can offer definitions of an art or other museum, and know how to "act and react" within one, even though they may have had extremely limited ornoprior museum experiences. 10 To these children, a museum is a venerable, quiet place, "like the library." 11 When asked, "what is a museum?" children typically respond with: "a place to collect things," or "a big place where lots of people go" to see "old stuff" and "lots of pictures." 12 In general, children seem to view museums as sites for exposition, and as repositories for... (shrink)

Using as case studies the initiatives developed by two museum curators, the Belgian bibliographer Paul Otlet (1868–1944) and the Austrian social scientist Otto Neurath (1882–1945), and their subsequent collaboration with an extended network of scientists, philanthropists, artists, and social activists, this article provides a portrait of the general movement toward the creation of a new form of museum: the “museum of the future,” as Neurath labeled it. This museum would be able to enlighten the people by (...) showing the nature of modern industrial civilization. The promoters of the “museum of the future” intended to reform museum practices by organizing exhibitions of social facts, but also by integrating several dimensions – architecture, commerce, entertainment, pedagogy, and science and technology – to create a holistic frame to address their audience. However, the effortlessly circulating museum Neurath and Otlet envisioned stood in sharp contrast to the many, often immaterial, boundaries they encountered in their attempt to implement their vision. Ever-growing nationalism, the professionalization of social science, and the increasing commercialization of scientific vulgarization are some of the factors that help explain their failure. (shrink)

Beginning in 1868, the United States Army Medical Museum issued a request to Army medical personnel situated in ‘Indian country’ for specimens of skulls from Native Americans. The purpose of this collection was to promote the study of craniometry, a branch of racial science commonly used to delineate the different varieties of mankind and to rank them according to their perceived intellectual attributes. Yet, as this paper argues, the efforts of Army surgeons in amassing hundreds of crania for (...) the Army Medical Museum were not matched by a similar level of commitment on the part of racial researchers. In examining why this seemingly impressive collection fell rapidly into disuse, this paper explores the creation and abandonment of one of the largest craniological collections formed in the United States in relation to the trajectory of craniometrical studies during this period. It also questions the link between the interests of racial researchers in the late nineteenth century and those of government policy makers, arguing that the two might not have been particularly closely aligned in the case of craniological research in Washington. (shrink)

This survey outlines a history of museums written through biographies of objects in their collections. First, the mechanics of the movement of things and the accompanying shifts in status are considered, from manufacture or growth through collecting and exchange to the museum. Objects gathered meanings through associations with people they encountered on their way to the collection, thus linking the history of museums to broader scientific and civic cultures. Next, the essay addresses the use of items once they joined (...) a collection, whether classificatory, analytical, or in display. By thus embedding the study of scientific practice in material culture, this approach contributes to constructivist histories of science. The final section addresses the role of objects in the experience of the visitors, emphasizing how fruitful the history of museum objects can be in the study of the public engagement with science. (shrink)

The only institution of culture in Ukraine, in which, based on the collected unique materials, the ideological principles and peculiarities of the doctrine and cult of world religions, traditional for the Ukrainian territories of the Christian denominations, and the activities of various religious organizations in our time are reproduced. Since the foundation of the Museum in 1973, its places of worship occupy cult objects, artistic works and religious subjects.

In recent years there has been an increasing interest in museum studies in exhibitions on what is termed Difficult Matters —such as rape and mass murder—and how such exhibitions may evoke ethical change. This raises the question about the conditions on which such exhibitions can lead to an ethical change. By developing a conceptual framework this article contributes to museum studies on Difficult Matters demonstrating how vulnerability can work as a key concept in a relational pedagogical understanding of (...) the conditions for ethical change. Inspired by feminist ethics the article suggests that there is an “ambivalent potentiality” of the concept of vulnerability and forwards a double perspective on vulnerability as condition: vulnerability is inherent to the human condition and always situational. From this point of departure vulnerability is fleshed out as a key concept in museum pedagogy via pedagogical thinkers inspired by the philosopher Emmanuel Lévinas’ ethics. Concepts like heteronomy, incarnation, Face and Saying/Said are introduced to define vulnerability and the relation between exhibition and visitor is defined as a teaching–learning relation conditioned by vulnerability. Vulnerability is defined as openness to an encounter with the Other as being different, which is conditional of an ethical transformation of existing perceptions of self, others and the world. Finally, inspired by feminist philosophy a norm critical is introduced. It is argued that displaying Difficult Matters in order to evoke an ethical transformation museum professionals need consider critically the norms of vulnerability at play in particular situations. On this basis, the concept of vulnerability can serve as a lever for discussions on the pedagogy of exhibitions on Difficult Matters and the ethical responsibility of museum professionals in public museums in this regard. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Looking to Learn: Museum Educators and Aesthetic EducationNancy Blume (bio), Jean Henning (bio), Amy Herman (bio), and Nancy Richner (bio)IntroductionMuseum education. Aesthetic education. How are they similar? How do they differ? How do they relate to each other? What are their goals? As museum educators working with classroom and art teachers, we are often asked these questions, and we ask them ourselves. “What do you DO?” is (...) probably the most frequently asked question of all, and the answer is complex. Even more complex is how these questions relate to the Rembrandt Project. Given that looking at original works of art is such a priority for museums and museum educators, how do we address the project’s reliance on technology? And how do these questions relate to the social studies and visual arts standards, [End Page 83] another major component of the project? How does the project relate to the work we do in our own museums? Writing collaboratively implies that we have certain areas of commonality; but we also have differences, which will be apparent in individual sections of this article: Jean Henning and Nancy Richner discuss the Nassau County Museum of Art, Nancy Blume writes about Asia Society, and Amy Herman explores the Frick Collection. Our focus will be the domain of museum education as that is what we know best, but there are inevitably areas where it overlaps and complements the domains of art education, aesthetic education, and social studies.Art Museum Education HistoryThe history of art museum education begins with the founding of museums in the United States during the commercial and industrial expansion that took place after the Civil War, between 1870 and 1929. The principles guiding American museums have always mirrored the values of American society. From the beginning of this country’s history, the fine arts have been viewed as elitist and thus of no value to the larger society. “To America,” Ben Franklin wrote in the late 1700s, “one school master is worth a dozen poets, and the invention of a machine or the improvement of an implement is of more importance than a masterpiece of Raphael.”1 Given such longstanding and deep-seated suspicion of art among Americans, it is not surprising that both the champions and the staff of art museums insisted on the practical educational benefits museums provided to the public.By the late nineteenth century, at the height of immigration and the emergence of a strong working class and labor movement, a social dimension was added to the mission of museum education. Art museums, like public libraries, were seen as venues for achieving social balance. By the early twentieth century an aesthetic agenda was finally joined to these social and pragmatic ones.2While museums have responded to the needs created by cyclical changes in social, economic, political, and intellectual life, today’s art museum educators still deal with the tension among the museum’s aesthetic, educational, and social missions; only the context and delivery modes of museum education have changed. Yet despite the shifting directions and priorities in museum education, there are certain basic and commonly accepted premises that museum educators have shared since the late nineteenth century. The 1984 Museums Commission on Museums for a New Century stated what has been the continuing premise of museum education since the late nineteenth century: learning in museums is based on objects and involves not only developing the ability to synthesize ideas and form opinions but also shaping an aesthetic and cultural sensibility.3 Another fundamental [End Page 84] assumption is that museums are institutions of visual instruction. Although each of the museum educators writing here represents a unique institution with unique approaches to looking at and finding meaning in art, we all agree on the importance of the original work of art as the basis for our work. It is the complexity of original artworks that enables them to play a dual role. One role is pragmatic, which requires meeting standards set by state and national governments for teaching critical thinking skills and improving literacy. The second role is aesthetic—namely, ways of helping students develop habits for aesthetic encounters that are an integral part... (shrink)