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The Museum: Past, Present and Future
... Without increasing the sensitivity and awareness levels of the society, historical cultural heritage works will not be protected (Aktekin, 2010; Dönmez & Yeşilbursa, 2014). Some museums throughout the world were founded as " educational museums " since the mid-19 th century (Hooper-Greenhill, 1994 ). The first educational museum in the world, Haslemere Museum, was opened in 1894- 1895 (San, 1998 ). ...
... The European museums became centers that collect information about the area, protect the nature and conduct social and cultural studies (Atasoy, 1978). Children museums have a long history in America where the first children museum was founded (Hooper-Greenhill, 1994; Şahan, 2005 ). Museums are non-profit living places that deals with archeology , art, science and people, collects, protects and displays any kind of product in people's lives, becomes a bridge between the past and the future, provide entertainment to people with its education, information and research opportunities and supports learning and creativity. ...
This is accumulated on regions where the geography is suitable; cultures are rare heritages that are passed on from generation to generation. People have created and shaped these and preserved them as material and nonmaterial cultural accumulations through generations. Our ancestors have entrusted this heritage to pass on to the future generations. Reflecting the people and their activities vividly, cultural historical heritages are also the cultural changes people establish on earth. These cultural changes prepared by geography form cultural historical heritages over time. Government institutions and civil organizations have been working to pass on these cultural historical heritages to the future generations. However, their work is not sufficient and these heritages are getting destroyed. For the protection of these heritages and passing them on to the future generations, great responsibilities fall to universities and especially to the teacher candidates studying in education faculties. In particular, more responsibility fall to the teacher candidates attending social studies education departments of education faculties because subjects about cultural historical heritage are found in middle school social studies curricula and the social studies standards emphasize this subject. However, there is no course solely about cultural historical heritage in universities’ social studies education departments. The history and archeology courses are taught as compulsory or elective courses in social studies education departments. Turkey, with a very old history and innumerable cultures, should be more aware about the importance of this issue. In this study, all the courses provided in Turkey’s social studies education departments are examined and found that they are insufficient. Therefore, cultural historical heritage courses should be provided as compulsory courses to the teacher candidates and these courses’ content should be organized to include Turkey’s cultural historical because social education teachers play a big role in educating the future generations.
... Our artifact employs a unique interaction design based on the notion that, within museum collections, the meaning of individual objects are determined, in part, by their relationship to other objects (Cairns, 2013; Skov & Ingwersen, 2008). Our design exploits the idea that the digital medium affords the ability to express the multiplicity of these relationships (Hooper-Greenhill, 1994) as compared to physical exhibitions and print publications. It utilizes concepts that are historically grounded in work from the early 1990s when the idea of the " virtual museum " was first mooted (Hoptman, 1992; Schweibenz, 1998). ...
... It utilizes concepts that are historically grounded in work from the early 1990s when the idea of the " virtual museum " was first mooted (Hoptman, 1992; Schweibenz, 1998). In particular, our design makes use of Schweibenz's (1998) notion of " connectedness " as a means of linking objects together; an idea that describes the conception of a virtual museum as one that follows visitors' interests and perspectives on the works, rather than as one that offers fixed, curatorially defined views on the collection (Davis, 1994; Hooper-Greenhill, 1994). ...
In this paper, we apply a concept driven interaction design approach to introduce a design theory for the presentation and navigation of digital art collections. This involves the realization of the design as a working artifact. Our approach aligns with efforts by art galleries and museums that embrace digital media to enhance access and interpretation of their collections. Our research raises the question of how gesture-based interfaces and novel interaction approaches can be used to provide non-linear information seeking experiences as compared to more conventional affordances for online museum collections, such as search and faceted browsing, or more traditional formats, such as print media and catalogues. We employ a unique interaction design based on the notion that, within museum collections, showing the context and relationships that surround individual objects creates a valuable web of meaning. It exploits the idea that the digital medium affords the ability to express the multiplicity of these relationships
... In the age of the Information Technology revolution we witness not only the proliferation of digital assets and online services in daily life, but also profound challenges to the traditional forms of cultural heritage preservation and the institutions dedicated to it [5]. In particular, museums are in transition, from being the "temple" of knowledge and cultural assets to a forum where the tangible and intangible heritage triggers conversations between the past and present, between the museum and its visitors, and also among the individual visitors [3,6,7]. The visitor is no longer considered a consumer, but a participant, on a number of different levels [11,16,19]. ...
Museums are in transformation, along with today’s rapidly changing society. Digital technologies not only attract the young generations as potential visitors, but they also create entirely new ways of interpretation, engagement and outreach. As a case study, we introduce our ColourMirror, a multifunctional digital installation accompanying a museum exhibition in which objects are arranged by colour. In a ‘magical’ mirror, visitors get to see the exhibit that resembles their own colours the most. They may forward and distribute the image in the mirror. The collected data is the basis of animated visualizations. An empirical study of usage and visitor experience reveals that visitors enjoy the interaction, remember well and identify with the object they have been assigned, and feel motivated by digital installations to visit an exhibition. We sum up major lessons and potential further applications.
... European museums became centers that collected information about the local area, protected the environment and conducted all kinds of social and cultural studies (Atasoy, 1978). The first children's museums were founded in the US and they have long history (Hooper-Greenhill, 1994; Şahan, 2005). Museums are non-profit places with universality and continuity that collect, protect and exhibit all kinds of products in human life, builds a bridge between the past and the future, provide enjoyment for people with its informative and research opportunities, support learning and creativity (Mercin, 2002). ...
... I am prepared for the objection that delight may not be the mot juste for the rendering of suffering from the Laocoon to Guernica; the fact that all arts are capable of transfiguring the tragic and the unpleasant has challenged philosophical aesthetics since the days of Aristotle. (Gombrich, 1977, p. 450) Similarly, from a social perspective Bourdieu argues that artworks develop cultural capital (i.e., knowledge that has a social and cultural value to the person who attains it, much in the same way as money has material value to someone who gains it) through the museum, although to him they are deciphered primarily from the perspective of visual aesthetics by all but social and intellectual elites for the purpose of determining class distinctions. These distinctions are based on elements such as the familial upbringing and education of the visitor to the museum, through their learnt habits of viewing artworks. ...
Two case studies of students from California School for the Blind studying artworks in museums and on the Web are discussed. The analysis focuses on the traditional understanding that unreachable artworks in the museum are deciphered by non-intellectual elites primarily from the perspective of visual perception and museums are simple vessels of art, as contended by Ernst Gombrich and Pierre Bourdieu, and that exclusion is either passive or active. It is also argued that there is a bridge between sensing an object and understanding it that is beyond perceptions. The article concludes that the two students featured in the case studies were more likely to be passively rather than actively excluded from unreachable and two-dimensional artworks, and that they could still develop a symbolic intellectual and emotional connection with these artworks and the museum through verbal descriptions and being in their presence.
... Despite a willingness to be integrative, this method was summative and external and so failed to take into account the specific purpose and concept behind the exhibition design. In spite of a similar transformation process during the second half of the twentieth century that led to the so called New Museology (Falk and Dierking 2000; Hooper-Greenhill 1994 Pastor 2004; Valdés 1999), European museums can be classified according to two broad traditions (Gómez Martínez 2006). On the one hand there is the Mediterranean tradition, headed by France, where museums aim to catalogue heritage objects in order to preserve them. ...
This article presents some preliminary conclusions on the use of information soci-ety technologies (IST) as communication tools in Catalan museums, drawn from a research project that was undertaken jointly by the University of Manchester and the Universitat Autònoma de Barcelona. The general aim of the project was to widen the understanding of the specific usefulness of technology for exhibitions. We evaluated an exhibition in the United Kingdom and a second exhibition in Catalonia, by interviewing staff, observing and interviewing visitors and holding a round table discussion with museum experts.
... The second feature, interactivity, has been defined as the nature of a system's capacity to receive and respond to a human input action (Roussou 2004). Although having a slightly different meaning, this concept also exists in museums where it was introduced as part of the museological and pedagogical renovation of the second half of the twentieth century (Hooper-Greenhill 1994a; Pujol 2005). Studies conducted in both formal and informal environments (see Economou and Pujol 2007, for a critical review) have proved that the active, self-controlled and collaborative exploration of digital contents indirectly benefits learning, especially in the case of complex, abstract or non-visible phenomena. ...
The goal of this paper is to examine the issues involved in the idea of integrating information and communication technology applications into exhibitions, in order to develop their use as a communication tool for museums. It considers the conclusions obtained from an evaluative study conducted in the United Kingdom (UK), which is part of a medium-term research project about the usefulness of high-tech exhibits. The text presents the contextual, theoretical, empirical and methodological issues that justify the study. It then describes its development and findings, which confirm or correct previous conclusions and lead to a debate about the concept of integration. This enables guidelines for the design of more effective solutions to be proposed, which are especially aimed at those museums which are traditionally closer to the formal learning environment.
... The role of museums and art galleries have changed and expanded their services beyond the traditional boundaries. A frequent response by art galleries to the situation of changing roles and audiences has been mounting of special events to bring in increased visitors and to modernize their appeal and therefore competitiveness, Greenhill 1994; Frey & Busenhart (1996). In the past, museums and art galleries have defended for the entertainment of visitors and now they have become establishment for learning and enjoyment. ...
Human value seemed to be an effective way of understanding our personal knowledge, activity, and skills, and how these elements shape our personality, memory, and character traits. The observation that human skills and knowledge had value was first understood in the eighteenth century, and became a driving force of the Enlightenment and the British industrial revolution. Karl Marx argued that a consequence of the industrial revolution was that it changed the nature of human labor value psychologically. Pierre Bourdieu’s idea of social and cultural capital values were not just useful to the sociologists and social philosophers that subsequently used it to discuss social divisions by like groups. French people do not need to be resident in their homeland to be members of their imagined institution, members of other nationalities often live easily in France. Cultural institutions can be state of mind or theoretical space, with a physical though not geographical “center” or “centers,” and cultural objects scattered throughout other spaces.
"Cultural Heritage, Ageing, Disability, and Identity examines the effects of disability and ageing on engagement with cultural heritage and associated cultural identity formation processes. Combining theory with detailed case study research, it unpicks both the current state of play and future directions.
The book is based upon detailed case example research on both the self-reported individual experiences of people with disabilities engaging with cultural heritage, and the accessibility approaches of cultural heritage institutions themselves. Hayhoe grounds the analysis in a theoretical and historical overview of disability and inclusion. He interrogates the various ways in which identity is formed through interaction with cultural heritage, and considers the differences in engagement with cultural heritage amongst those who develop disabilities early in life compared to those who acquire disabilities later in life. His conclusions offer insights that can help improve the provision of cultural heritage engagement to all people, but particularly those with disabilities.
Cultural Heritage, Ageing, Disability, and Identity is key reading for students and scholars of cultural heritage, visitor studies, and disability studies, and will also be of interest to other subject areas engaging with issues of accessibility.It should also be read by institutions looking to improve their accessibility strategy to engage broader audiences."
Museums, as enduring institutions, are continually transforming due to their practices of acquisition, curatorship, conservation, research, exhibition, and digitalization, and joint projects involving their shared heritage with a range of stakeholders. These dynamic and varied activities ensure that museums are the focus of intense scholarly and cross‐disciplinary interest. Since the 1980s, museums' expanding and varied activities have become increasingly visible, globalized, and diverse. Parallel with these developments, there has been a proliferation of scholarly analysis of and theories concerning their history, politics, aesthetics, networks, and civic engagement. As places for the placeless, museums today allow people to learn the civic skills required to deal with difference.
As the Internet and information and communications technology have deeply penetrated our daily lives and entered mainstream culture in our societies, the domain and roles of virtual exhibitions have expanded, making them the centre of museum activities. Such exhibitions are used as a communication medium in various areas, particularly for communication with diverse visitors. Therefore, this study was conducted to understand factors affecting visitor communication and their influences on virtual exhibitions, an interdisciplinary and integrated design field, from a macroscopic perspective through literature review. Factors affecting communication were broadly divided into personal, social, content, and environmental factors, which are individually reviewed in detail. This article develops design guidelines for systematic and theoretically grounded research on virtual exhibitions. The guidelines can also help ensure effective communication between visitors and virtual exhibitions.
Blind Visitor Experiences at Art Museums answers three questions: Why does a blind person want to view paintings in a museum or on its website? Why would a blind person want to learn about an artifact they could not see as the artist intended it to be seen? Why does a blind person go to the trouble of being in the presence of an art work that was being described to them? It does this using nine in-depth case studies of visitors to the education department at the Metropolitan Museum of Art. In addition, the book includes findings from participant observations in classes and touch tours for blind and visually impaired people at the Met. After reading the book, readers will understand both passive and active social exclusion from the museum’s facilities – in this book, active exclusion is defined as a deliberate act of exclusion based on the belief that blind people are incapable of understanding visual art, and passive exclusion is defined as exclusion resulting from an aspect of miseducation, such as inappropriate building design or learning materials, or a lack of training, knowledge, resources, access materials or buildings
This paper develops an empirical analysis of the determinants of the length of temporary art and cultural exhibitions. Using a sample of 659 exhibitions that took place in Italy in the period 2001–2010, a generalized linear model with a logit link and the binomial family was estimated. We also focus on the subsample of prolonged exhibitions, using a logistic accelerated failure time model. The empirical evidence supports the relevance of the subject, location and timing of the exhibition on duration; however, differences in the estimated impact of explanatory variables seem to suggest alternative marketing strategies for prolonged exhibitions.
This article shares a descriptive case study of a popular education project entitled Alternative Tours UIC (ALTourUIC) that took place during a graduate course in the Museum and Exhibition Studies Programme at University of Illinois at Chicago. The educational activities created by the students included a map locating historically rich areas of campus, guided and self-guided tours, and social media spaces inviting participants to contribute stories of campus-based activism. The aims were to make visible marginalised and suppressed histories of activism and organising by members of the campus community at University of Illinois at Chicago. Importantly, this article offers a model of popular education that we recommend be taken up by museums to create greater awareness of frequently unknown and ignored histories and actively engage students in critical learning and investigation.
In the spirit of renewed interest in moral philosophy, Renaissance humanists revived ancient debates as to the importance of philosophy, rhetoric, and poetry. Inasmuch as these disciplines shared the task of representing nature fairly and accurately, their relative ability to do so was much disputed. Unlike its sister arts, however, philosophy had no other claims on public attention. Since it depended on the medium of logical discourse, and on words, which were at best symbols standing for mere ideas of nature (and which were also shared by rhetoric and poetry), it struggled to represent its understandings of nature naturally. Fictional constructions, which might serve as models of nature or put it into conceptual relief, had the advantage of not being limited to actual representations of nature. Plato’s dialogues, for example, depicted nature through the imitation of intellectual argument and discourse. They represented philosophy at one remove from itself through the medium of fiction. Similarly, poetry, which from the time of Plato was thought to be deceptive and riddling, operated through mystification, allegoresis, and occult association and might be said to excite sympathy with nature. Among certain ancients, it was thought to have transcendent properties.
Complementary Metal Oxide Semiconductor (CMOS) Image Sensors (CISs) emerged in the past decade due to the advantages of lower power consumption and easier integration with CMOS integrated circuits (ICs) in comparison to the traditional Charged Coupled Devices (CCD). The CIS has further become the major optical component of embedded camera modules of notebook computers in the internet era. Albeit important, embedded camera module vendors usually have difficulties for selecting a suitable CIS to fulfill both goals, time to market and profitability. Thus, this research intends to develop a fuzzy multiple criteria decision making (FMCDM) method based framework which can assist the embedded camera module vendors make timely and correct decisions. At first, criteria for evaluating the CIS will first be summarized by literature review and then evaluated by using the brain storming method. Weights versus each criterion will be derived by using the Analytic Hierarchical Process (AHP). For each criterion, the linguistic variable based performance scores versus each alternative will be evaluated and transferred to crisp numbers by using the triangular function. Finally, evaluation results toward each alternative will be derived by using the Simple Added Weighting (SAW) method. An empirical study will demonstrate the feasibility of this proposed FMCDM by a real world notebook (NB) computer built-in camera module sensor selection in a Taiwan based optical device manufacturer. Further, the result can serve as a basis for built-in camera module vendors' selections of CISs.
The contemporary directions of art galleries worldwide are changing as social patterns and demands, and visitor expectations of their experiences at art galleries change. New programs and strategies are being developed in galleries to make these institutions more appealing to people who would not normally visit them. One such strategy is the staging of special events, which in galleries take a variety of forms. As special events are increasingly being employed by galleries to inspire new audiences, it is important that these institutions develop an awareness of how their visitors understand and respond to such events. Festivals are one type of special event that visitors identify as having a distinct role and nature. This paper explores visitors’ perceptions of festivals in art galleries and identifies several characteristics that distinguish festivals from other special events. These characteristics include the focus of the event, the audience attending, the degree of interactivity offered, the timing, and the place at which the event is staged. Understanding visitors’ perceptions and expectations of festivals will enable galleries to develop and further enhance their programs and special events to meet visitors’ needs.
The importance of the dendritic cell for the capture of antigens and initiating an immune response is now well recognized. Whereas much is known about their structure and function, their lineage is still not clear. Studies in vitro have demonstrated that the regulated maturation of function that occurs in culture explains many of the in vivo events relating to antigen capture and presentation. The control over maturation and migration of these cells to the immune system is decisive as to whether an immune response is mounted or not. 'Danger' signals provided by conserved bacterial products or by microenvironmental cytokines are important regulators. Dendritic cells have been clearly involved in the development of respiratory disease and our understanding of their involvement will have an impact on our future therapeutic strategies.
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