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Constructivism in Museums: How Museums Create Meaningful Learning Environments

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... In museums, constructivist approaches underpin learning programs across ages and contexts [38][39][40][41][42]. Caulton [8] argues that visitors 'draw their conclusions about the meaning of the exhibition' when they construct their own knowledge. ...
... The findings align with constructivist museum learning, which posits that meaning making is both a process and a product [42,[92][93][94][95]. Each group's interpretation of the museum content was equally valued as a creative response, leaving all students with a sense of worth and ownership. ...
Article
The paper explores the use of digital storytelling in the classroom to frame inquiry-based learning with digital museum collections. It presents the final in a series of three interventions that were part of doctoral research that tested the DiStoMusInq framework. The intervention involved a class of 15-16-years-old students at an international school in Greece as part of their English Literature curriculum, and included eight lessons, two of which were virtual visits to the online collection of the Victoria and Albert Museum, UK. The students worked in small groups to agree what questions they want to explore and used their own smartphones and laptops to look for answers in the online collection. They then collected material from the collection and/or took inspiration from the collection to create their own material, and used these to produce video stories that presented their answers. The findings suggest that inquiry-driven digital storytelling offers an effective way to leverage digital technologies in the classroom to engage students in purposeful, self-directed explorations of online museum collections. The processes of developing a digital story and inquiring the collections feed into one another, resulting in cultural heritage-inspired, historically-informed creative student outputs and the development of student research skills.
... Sociocultural theory has been suggested as an appropriate theoretical framework for museum learning research as it accounts for meanings made within a social context, rather than facts learned (Ellenbogen et al., 2004;Falk, 2004;Jeffery-Clay, 1998;Leinhardt, Crowley et al., 2002;Paris, 1997b;Rennie & Johnston, 2004;Schauble et al., 1997). In discussing museum learning Matusov & Rogoff (1995) stated that Museums, as educational institutions, provide opportunities for people to bridge different sociocultural practices and, through this process, to bridge different institutions and communities (p.101). ...
... When discussing his learning Stephen reported that once people became interested in a topic they were more likely to notice related information. Museums have been described as environments where visitors make meaning (Falk & Dierking, 2000;Hein, 1999;Jeffery-Clay, 1998;Silverman, 1995 Meaning making enables an individual to view the world in news ways (Hein, 1999), demonstrated in this study by support for the statement Seeing something in a different way. This was rated as important/very important in learning something new by 82% of questionnaire respondents and 86% of the telephone survey. ...
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Abstract Many museums ,around the world are reviewing the ways they are thinking about visitors and learning. Current theories of learning ,focus on the ,meaning ,individuals make ,based on their experiences—alone, within a socialcontext and as part of a community. A critical aspect in better understanding the process of learning for individuals is to find out how,people view themselves aslearners across the rich array of available formal and informal learning experiences. Research has shown ,that when ,asked why ,they visit museums ,people often say “to learn” but there has
... Ansbacher (1999) discussed the importance of creating a learning environment that facilitates museum visitors' learning by motivating visitors through self-directed instruction and practice. Similarly, Jeffrey-Clay (1998) emphasized the importance of a design that allows visitors to explore objects by creating an organizational framework for an exhibition or museum topic and a collaborative and pleasant environment based on constructivist principles. ...
... Current museum education research, then, stresses the importance of creating participatory learning environments to encourage visitor engagement (Ansbacher, 1999;Burnham & Kai-Kee, 2007;Hein, 1995Hein, , 1998Gottesdiener & Vilatte, 2001;Jeffrey-Clay, 1998;McDermott, 1990;Mayer, 2005Mayer, , 2007Stainton, 2000;Villeneuve & Love, 2007). Hein (1996a) pointed to the need for museum educators to find the right level at which to engage a wide range of visitors in active construction and reflective interpretation (Hein, 1996a). ...
Article
Works of art have been referred to as a good source of fuel for the engagement of art museum visitors, thus art museum education researchers and practitioners have sought to create opportunities active social interactions between visitors related to the art they view in museums. However, research investigating different ways to encourage active interaction between visitors, particularly adult visitors, has not proliferated, in part due to the lack of baseline data on aspects of experiences of art museum visitors in interaction with each other. The purpose of this study was to explore the nature of conversations between visitors in an art museum gallery. The study examined the experiences of 40 adult individuals in pairs in two rounds of data collection in order to explore the content and verbal interaction of conversation of visitors in an art museum gallery. The conversations of participants in front of particular works of art in the art museum gallery were audio-taped following the participants’ completion of background information questionnaires. Individual and comparative analyses of the conversations were conducted to gain insight into the content and nature of the interactions between each pair, with attention to both verbal and nonverbal characteristics. The analyses elucidated the characteristics and commonalities of these experiences according to type of visitors. The results revealed that 1) adults attempted to make sense of what they saw through talk with the other member by exchanging individual observations in conjunction with a variety of personal resources, 2) adults observed artworks in association with the art museum space and materials, and 3) adults had more involvement in meaning-making through conversation, as continuing steps of reflective and promotive processes between pair members. The study concluded with suggestions for future research and suggested practices for exploring the conversational experiences of various types of visitor groups as a means of facilitating intriguing social interaction in the art museum or of planning art museum education programs.
... We also view learning as both a process and a product that encompasses several dimensions, including sociocultural, cognitive, aesthetic, motivational, and collabo rative. Cognitive perspectives encom pass the belief that knowledge is con structed through interaction with ob jects and people (Hein, 1995;Jacob, 1992;Jeffrey-Clay, 1998). Aesthetic theories focus on the affective, emo tional and pleasurable experiences and activities of learners (Housen, 1992;Kindler, 1998). ...
... We also view learning as both a process and a product that encompasses several dimensions, including sociocultural, cognitive, aesthetic, motivational, and collabo rative. Cognitive perspectives encom pass the belief that knowledge is con structed through interaction with ob jects and people (Hein, 1995;Jacob, 1992;Jeffrey-Clay, 1998). Aesthetic theories focus on the affective, emo tional and pleasurable experiences and activities of learners (Housen, 1992;Kindler, 1998). ...
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museum experience of very young children, and hence In the 1980s, museum and visitor research studies were regarded as being in their infancy (Feher, 1990). The in­ tervening years have seen considerable growth and devel­ opment in this field of research, although it can be re­ garded as having been in a formative stage throughout the past two decades. By the middle of the 1990s, there was widespread acceptance among researchers of the cogni­ tive, affective and social aspects of the learning experi­ ences of visitors in museums and similar institutions (Raphling & Serrell, 1993; Rennie & McClafferty, 1996; Rennie, 1994; Roberts, 1992), and Falk & Dierking (1992) had drawn attention to the physical, social and personal
... History museums collect authentic artifacts of historical value, preserve them, and provide information about them to a wide range of visitors. However, mere access to the museum's rich exhibits does not ensure meaningful learning (Jeffery-Clay, 1998;. ...
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Purpose The authors conducted a study at a history museum with the objective of examining changes in the knowledge of students aged 12 to 14 concerning the use of primary sources. Design/methodology/approach Students utilized self-led guides while exploring two museum spaces presenting different historical events. These guides encouraged students to scrutinize the exhibits, become acquainted with the methods employed in their research, and develop an awareness of the information derived from them. Students' responses to pre- and postquestionnaires were compared and analyzed using mixed methods. Findings The results revealed that students became familiar with various types of primary sources, recognized that only specific sources endure through time and gained an understanding of the research methods employed to study them. Additionally, most students comprehended that the same sources could lead to diverse historical accounts and the potential reasons for such variations. Practical implications Recommendations for practice are discussed. Originality/value This study contributed to the limited knowledge regarding learning during a single, self-led tour in a history museum. The findings illuminate the potential for learning and advancing historical thinking concepts even within such museum-visit contexts.
... These museums offer an open setting for children to interact with one another and with a wide variety of learning materials and subjects, which supports hands-on, open-ended, and sensory-rich activities and learning -all of which are relevant to placemaking (intro image). 8 Despite the potential benefits, sensory processing disorder (SPD) considerations such as large crowds, unfamiliar lights, sounds, and smells, along with untrained staff, may prevent children with ASD from visiting such museums. 9 As awareness of the needs of this population grew in the early 2000s, institutions began developing strategies to improve the museum experience, including offering special hours, sensory kits, accessibility events, and staff disability awareness training ( fig. 2). 10 Thanks to popular culture, ASD is more visible now than ever. ...
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As modern temples to the contemplation of the place of art and culture, contemporary exhibition design is for a small percentage of the neurotypical population. The experience of many visitors, especially the 10-15% of the global population who are neurodiverse, find contemporary exhibitions discomforting from how subjects and themes are displayed, to the lack of inclusive design in environments. To ensure the exhibition-development process results in an experience that is safe, comfortable, and relevant for a neurodiverse audience, specific placemaking considerations need to be deliberately incorporated to be visitor-centered. For instance, designs should include clear wayfinding for diverse learning types and aptitudes, as well as the inclusion of regulation spaces, which are quiet with low light, and that are separate from busy crowds. Such design elements, including the physical space, audio guides, lighting and sound, are some of the tenets of placemaking which create meaningful exhibition environments and invite exploration, reflection and interaction as intended by the curatorial staff. This paper will provide an overview of exhibitionary practices for placemaking to address accessibility issues of the neurodiverse community, which in turn leads into discussions of larger issues of the nature and function of exhibitions proper.
... In MAM's programme, education was not something that occurred to the participants by chance. Instead, it was something that students actively took part in (Jeffery-Clay 1998;Hein 1999). Art museum learning was a way to activate interpretations and spark discourse (Hubard 2015). ...
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This intrinsic case study examines art museum learning of elementary school students during a week‐long visit at the Mackenzie Art Museum. Museums are informative institutions that provide opportunities for visitors to engage with self, others, and society. It is a unique place for visitors to learn beyond classroom settings. This project aims to analyse the discourse around art and understand how young learners utilise discourse as tools to make meaning during art museum visits. By examining learners' dialogues, the research investigated a meaning‐making framework that incorporates strategies for negotiating insights in art museums. This study includes approximately 12 hours of video‐recorded data and student artefacts. The data suggests learners engage and form new meanings through building and negotiating discourses with peers and museum educators. Different discourses and knowledge are valued and reinforced by members of the group. This study addresses the gap in children's meaning‐making during art museum visits, illustrating their strategies to construct knowledge and bridge connections.
... When the relevant literature is examined, there are studies on the use of the creative drama method (Altin & Oruç, 2016;Karaosmanoğlu, 2017;Okvuran, 2012;Ulu & Burgul Adıgüzel, 2019) in studies conducted through education with the museum. Additionally, it has been observed that the museum has conducted studies on the importance, benefits and how it should be realized of versatile and effective learning (Buyurgan, 2017;Jeffery-Clay, 1998;Öner et al., 2019;Pekgözlü Karakuş, 2012;Şahan, 2005). There are also studies to raise awareness of cultural heritage in students (Bülbül, 2016;Üztemur et al., 2018). ...
Article
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An educational museum is an active learning environment created for students’ participation (art, music, and drama) to learn by doing and experiencing, and didactic knowledge. This research seeks to determine the effect of the Storyline Method on students' perceptions and interpretations of historical artifacts through museum education. This research applied the phenomenology design as one of the qualitative methods, consisting of first-year students (20) in a public school in Istanbul. The students were trained for a total of 15 hours, 5 hours a week, on museum education with the Storyline Method. The research data consisted of interviews with children, pictures made by children, and diaries written by them. The collected data were analyzed using the descriptive analysis method. The research results found that the method of storyline positively affected the students' perceptions of historical artifacts. Also, as a result of the interviews of the students and their drawings, there was a positive change in students' perceptions of the importance and preservation of historical artifacts. In addition, as a result of the Storyline Method, the students had "happiness, excitement, sightseeing" feelings and thoughts about historical works.
... And they have had fun with, and perhaps learned from, many museum exhibits where no interactive guidance is readily available. Furthermore, there are reasonable concerns about too much guidance in instruction (Chi & Wylie, 2014;Papert & Harel, 1991;Kafai & Resnick, 1996;Resnick, 2014;Jeffery-Clay, 1998) and even evidence that unstructured play may be better for some learning outcomes (Barker et al., 2014). Thus, we performed a random assignment experiment comparing a typical unfacilitated museum exhibit structure with an Intelligent Science Station exhibit and found that students learned much more and were engaged longer with the AI-based exhibit. ...
... In recent years, museums and art spaces are increasingly seen as learning environments (Jeffery-Clay, 1998). Furthermore, the use of new technologies and particularly mobile devices in the modern museum has contributed to the redefinition of museum experience by "creating new experiences and enhancing familiar ones in unprecedented ways" (Bradburne, 2008). ...
Article
Nowadays, the noteworthy growth of digital tools for museums and art spaces enhances and redefines the museum experience. The creation of digital applications that provide meaningful experiences in the art space is a real challenge. Transformative learning theories focus on educational processes that aim for the development of critical thinking while some of them involve the aesthetic experience as a medium that can be exploited. ARtales is an augmented reality mobile application for the National Gallery of Athens visitors which utilizes transformative learning methods through aesthetic experience in an attempt to offer a more substantial and innovating experience in the gallery. More specifically, users asked to discover hidden symbols, uncover hidden objects and live AR experiences related to different subjects/scenarios in the outdoor spaces of the gallery or in their personal place, in order to develop their critical thinking and revisit the artworks in a playful and substantial way. The application also uses a points-based reward system in the direction of gamification. This study refers to the first use and evaluation of the ARtales application by a number of postgraduate students in order to draw conclusions related to the development of the critical thinking and the transformation of the views and perceptions of the participants, the assimilation of the offered information as well as the acquaintance with the artworks. For this purpose, questionnaire-based evaluation and free conversation with the participants was carried out as well. According to the results derived, the first use showed positive acceptance and response. Last but not least, the study gives suggestions for future work and exploitation as well as future pilot implementation which is of major importance in order for the ARtales app to become feasible for a widespread use in the near future.
... These results add value to popular views and theories of learning that are apparent in museums, maker spaces and other learning environments, that have a strong focus on open-ended hands-on exploratory learning (Jeffery-Clay, 1998). That value derives, in part, from articulating and testing more precise and operational scientific descriptions of key elements of active and constructive learning that can be most reliably replicated (cf., Klahr et al., 2009). ...
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Background Museum exhibits encourage exploration with physical materials typically with minimal signage or guidance. Ideally children get interactive support as they explore, but it is not always feasible to have knowledgeable staff regularly present. Technology-based interactive support can provide guidance to help learners achieve scientific understanding for how and why things work and engineering skills for designing and constructing useful artifacts and for solving important problems. We have developed an innovative AI-based technology, Intelligent Science Exhibits that provide interactive guidance to visitors of an inquiry-based science exhibit. Methods We used this technology to investigate alternative views of appropriate levels of guidance in exhibits. We contrasted visitor engagement and learning from interaction with an Intelligent Science Exhibit to a matched conventional exhibit. Findings We found evidence that the Intelligent Science Exhibit produces substantially better learning for both scientific and engineering outcomes, equivalent levels of self-reported enjoyment, and higher levels of engagement as measured by the length of time voluntarily spent at the exhibit. Contribution These findings show potential for transforming hands-on museum exhibits with intelligent science exhibits and more generally indicate how providing children with feedback on their predictions and scientific explanations enhances their learning and engagement.
... Results of the study supported each other. This result demonstrates significance of out of school learning environment in terms of having meaningful learning orientation as supported by Jeffery-Clay (1998). Jeffery-Clay (1998) indicated that out-of-school learning environments such as museums allow students to move freely and explore. ...
Article
Investigating on what school- and student-level factors are related to pupils’ learning orientations was the main purpose of this study. The study used a sample of 2917 middle school pupils across Turkey. The Test of Science Related Attitude, Learning Approach Questionnaire and the Achievement Motivation Questionnaire were utilised as data collection tools. Analysis revealed that there were significant differences in pupils’ learning orientations with respect to both meaningful learning orientation and rote learning orientation. When learning and motivational factors were examined it was found that performance goal orientation and learning goal orientation positively contributed to both meaningful learning and rote learning orientations. Upon examination of sub-dimensions of attitudes toward science, it was determined that the adaptation of scientific attitudes and leisure interest in science made positive and significant contributions to meaningful learning orientation while enjoyment of science lessons contributed to students’ meaningful learning orientation negatively. With respect to rote learning orientation, both adaptation of scientific attitudes and enjoyment of science lessons negatively contributed.
... Consequently, these institutions are increasingly advocating immersive, first-hand experiences where people are given the chance to look, touch or even experiment with exhibited objects [9,10]. This method of increasing visitor engagement encourages the use of different technologies and approaches. ...
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Museums play a crucial role in preserving cultural heritage. However, the forms in which they display cultural heritage might not be the most effective at piquing visitors’ interest. Therefore, museums tend to integrate different technologies that aim to create engaging and memorable experiences. In this context, the emerging Internet of Things (IoT) technology results particularly promising due to the possibility of implementing smart objects in museums, granting exhibits advanced interaction capabilities. Gamification techniques are also a powerful technique to draw visitors’ attention. These often rely on interactive question-based games. A drawback of such games is that questions must be periodically regenerated, and this is a time-consuming task. To confront these challenges, this paper proposes a low-maintenance gamified smart object platform that automates the creation of questions by exploiting semantic web technologies. The platform has been implemented in a real-life scenario. The results obtained encourage the use of the platform in the museum considered. Therefore, it appears to be a promising work that could be extrapolated and adapted to other kinds of museums or cultural heritage institutions.
... When they know where to play and who to play with, they are much more likely to interact with peers with enthusiasm (Booren, Downer, & Vitiello, 2012;Bullard, 2010). Also, when the environment is designed in such a way that images of children are reflected in the display, children are much more likely to initiate conversations with peers and talk more about their ideas, feelings and plans (Eckhoff, 2019;Hein, 1995;Jeffery-Clay, 1998;Twigg, 2011). Moreover, an effectively designed environment maximizes children's movement; it is convenient to use and comfortable to be in. ...
Article
In this study, the complex association between developmentally appropriate activities and teacher-child interaction quality is explored among 122 teachers from 59 rural preschools in northern China. Specifically, the researchers examined the association between three dimensions of Provisions for Learning (i.e., Space and Furnishing (SF), Curriculum Planning and Implementation (CPI), and Activities) and three domains of teacher-child interaction quality (Emotional Support, Classroom Organization, and Instructional Support). The results confirmed activities fully mediated the influence from SF to Emotional Support and Instructional Support. Also, Activities fully mediated the association between CPI and Emotional and Instructional Support. Moreover, SF and CPI moderated the association between Activities and Instructional Support. Implications are discussed, particularly in light of the rural preschool context.
... In turn, such understanding can better cater for the learning needs of visitors (Elwick, 2015). Museums have therefore seen a shift from exhibiting and interpreting objects toward encouraging visitor interpretation, providing visitors with opportunities to observe, handle, interact and experiment with various objects (Jeffery-Clay, 1998), an approach strongly aligned with constructivist learning theory. ...
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This paper provides valuable insights into the use of disaster video games in museums. It contributes not only towards a better understanding of disasters within popular culture but also in fostering greater museum visitor participation in learning about disaster and disaster risk reduction (DRR). The theoretical background of this study draws on various scholarships from video game research, constructivist learning theory, and the museum learning environment. This research was undertaken in two New Zealand museums (Te Papa in Wellington and Quake City in Christchurch) which housed the disaster video game Quake Safe House (QSH). The research findings and associated discussion considers the potential of QSH to build disaster awareness based upon participants' gameplay. Ultimately, it is demonstrated that the use of ‘serious’ disaster video games, such as QSH, cannot be a stand-alone item for the purpose of learning within a museum space. Instead, such video games require better integration within the museum's environment and educational disaster displays to encourage and foster the participation of museum visitors in learning about disaster and DRR through multiple mediums.
... This instructional approach is derived from Piaget's psychological explanation of constructivism where people acquire knowledge through interacting with the environment and others (Scott, 2014). Knowledge is accumulated from the synthetization between prior knowledge and newly acquired information (Jeffery-Clay, 1998;Bada, 2015). The constructivist-based learning approach focuses on the subjective nature of knowledge. ...
Conference Paper
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Alongside with their traditional roles in collecting, preserving and showcasing tangible and intangible cultures, heritage sites play a crucial role in both formal and informal education. Learning in heritage sites is often described as free-choice, informal and lifelong. Social media has significantly impacted cultural education due to its popularity and ability in engaging learners. It supports constructivist learning by promoting reciprocal learning by bringing together different people regardless of their background and their social skills. Also, the representation of the destination on the social media can potentially shape visitors’ perceptions before visiting and influence their on site experience. This paper aims to investigate the current roles of social media in supporting constructivist-based museum learning by focusing on the pre-trip perception. Samchuk Community and Old Market District in Suphanburi, a historic Sino-Thai community that has been transformed into a nostalgia-themed attraction is used as a case study. In so doing, user-generated content (UGC) on the major social platforms were reviewed to investigate how social media can construct pre-trip knowledge by analysing the presentation style and the content. The contributions of the research are as follows. The paper marks an early attempt to understand social media as a tool for promoting constructivist learning experience in Thai cultural tourism. This is an understudied issue, despite Thailand being among the world’s largest internet user community and the most visited destinations. Also, the suggestions provided in the paper can be insightful for practitioners to use social media as a tool to enhance museum learning experience.
... Learning is not only situated within the walls of the classroom or early learning setting, it is distributed across many elements that make up the learning environment which include children, teachers, and the materials for learning. When a student or adult interacts with classroom displays, objects of learning, and other people within the setting, she is engaging in a process of learning, whereby knowledge is constructed through her interactions with objects and people (Hein 1995;Jeffery-Clay 1998). Within the school setting, student work displays provide numerous opportunities for children and adults to develop new ideas about learning, content, student achievements, cultural norms, and the complexity of schooling. ...
Article
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This paper reports findings from a qualitative investigation that documented the exhibition of children’s work in public spaces within early learning centers and elementary schools. An iterative, photo-documentation methodology was used to document the student work on display using photographs taken in 20 public elementary schools and four early learning child care centers in the Southeastern United States on four occasions over the course of an academic year. Five overarching themes in the public documentation and display of children’s work were identified in the data: Holidays; Audience Engagement; Preschool Children as Media; Integrated Content and Creative Understandings; and Thinking in Action. In PreKindergarten and Kindergarten classrooms, it seemed that children often created works based upon teacher-provided models, but the displays of children’s work conveyed little information about children’s learning in these classrooms. Overall, the data indicated that teachers especially in the early years of schooling could provide greater opportunities to promote observability of children’s learning and individuality in displayed works and opportunities to intentionally engage viewers to interaction with these displays.
... Moreover, children with learning difficulties were more confident and focused in museums compared to classrooms ( HooperGreenhill, 2004). Jeffery-Clay (1998) noticed that a museum is an ideal environment that allows pupils to move and explore freely and work at their own pace. This environment encourages group interaction and sharing. ...
Article
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There is wide research about the Philosophy for/with Children program. However, there is not any known attempt to investigate how a philosophical discussion can be implemented through a museum workshop. The present research aims to discuss aesthetic and epistemological issues with primary school children through a temporary art exhibition in a museum in Cyprus. Certainly, paintings have been used successfully to connect philosophical topics with the experiences of the children. We suggest, though, that this is not as innovative as the conduction of a dialogue in a museum. Results were mostly positive. Pupils participated in the discussion and they gave intensive definitions of beautiful paintings and counterexamples for given definitions. The structure of inductive arguments and the difference between belief and knowledge were discussed. Progress in the analysis of inductive arguments was slightly noticeable, but it is likely that this was due to limited time spent on analysing those arguments. Furthermore, more sessions are needed to make generalisations for the effectiveness of the Philosophy for Children program in a museum instead of a traditional classroom. Even though there is discussion about the different stimuli of the discussion, it might be worth considering the effectiveness of different contexts where the discussion can take place.
... El museo como divulgador y dinamizador de la ciencia y la tecnología, promueve nuevas experiencias que tengan como objetivo hacer la ciencia más cercana a la realidad del individuo: un saber accesible, útil e interesante, es decir, hacer que la ciudadanía lo vea con otros ojos (Armesto, Martínez y García, 2005) y pueden ser los entornos perfectos para poner en práctica estrategias de enseñanza basadas en la teoría constructivista y facilitar un aprendizaje significativo (Jeffery-Clay, 1999). ...
... Partners used a constructivist approach (e.g. Hooper-Greenhill, 2000;Jeffery-Clay, 1998;Soren, 2004a) to ensure that this exhibit would be the expression of youth. Constructivism is a theory about learning as an active, learner-centred process. ...
Article
The Canadian Heritage Information Network commissioned a research study on quality in online experiences in order to ensure that the Virtual Museum of Canada (VMC), launched in 2001 to provide a strong online presence for Canadian museums, retains some consistency through its content and interface. The research goals were to determine what factors define 'quality' in online museum projects and how to measure this quality through a thorough analysis of existing online museum products in the VMC portal. This article focuses on how development teams attempted to engage users of eight VMC products. The 2002 statistics for these products indicated higher user engagement. Interviews with project managers and multimedia developers explored successes and challenges in developing products, and potential best practices for producing quality in online experiences for VMC users. Five factors frame the discussion of findings. Expectations for user engagement, as well as objectives, outcomes, and success indicators were important factors at the outset of the project. Critical factors during and after Web site development included the needs of intended and other interested audiences, and opportunities for reflection and evaluation following the launch of the product. Finally, building an exhibit that meets partners' interests and changing needs contributes to a project's lasting impact.
... Kodi Jeffery-Clay believes that museums are ideal constructivist environments because they allow visitors to explore freely, move at their own pace, interact and share experiences with groups, and examine and expand their own understanding. 21 Echoing the theories of Dewey and Gardner, Jeffery-Clay asserts that learners have a complex yet organized knowledge structure. New information is connected and linked onto pre-existing knowledge. ...
... Understanding the motivations and characteristics of adult learners helps to set the current issue into context but more research is needed to understand the learning process of adults. It is pointed out that it is more difficult to assess the outcomes of cognitive learning than affective learning in the museum (Jeffery-Clay 1998 The message is to juxtapose the Taiwanese glass works with glass works in the world. We can look and compare them at the same time. ...
Article
Abs t r act Post-1987 Taiwanese society has been undergoing a radical transformation. During the process of democratisation, political taboos were released, diverse discourses have been emerging and people in Taiwan are experiencing a period of identity confusion. Along with the social and political transformation Taiwan has seen a rapid growth of local museums in 1990s and many of them are housed in renovated historical buildings. This thesis aims to examine the social and political background that has contributed to the rapid development of local museums in Taiwan to investigate the role of local museums in the construction of people's cultural identities in contemporary Taiwanese society. A qualitative research was employed; five museums were chosen as five case studies and twenty-five local frequent visitors were interviewed. Through systematic analysis of interview data a model explaining participants' construction of cultural identities in local museums has emerged. Learning, recollection and connection are identified as three major modes of visitors' experiences that influence the shaping of participants' cultural identities in local museums. Based on historical review, observation and interview data, this thesis argues that the establishment of local museums within the renovation and preservation of historical building provides a space which people can visit, where they can recollect and with which they can identify. It is on the one hand a setting for informal learning, enabling participants to acquire information, compare it with their prior knowledge and construct their own historical views. On the other hand, it is a 'dream space' where visitors recollect and interweave their personal memories with the historical framework presented in the museum. Through this process, the museum enables visitors to reconnect with their locality, build a sense of belonging and construct their cultural identities based on locality and history.
... 52 The specific research of Korpan et al. (1997) showed that 66% of the participant children had visited a science center or museum two or three times a year; additionally, it revealed that teachers expected that children had already participated in a learning experience in a museum, science or technology related to environment before they began in school. Falk and Dierking (1992; Jeffery-Clay 1998) have introduced the Interactive Experience Model 53 (see Figure 2.1) as a framework for museum education. As this model illustrates, people interact with the museum according to their personal, social and physical context. ...
... Partners used a constructivist approach (e.g. Hooper-Greenhill, 2000;Jeffery-Clay, 1998;Soren, 2004a) to ensure that this exhibit would be the expression of youth. Constructivism is a theory about learning as an active, learner-centred process. ...
Article
The Canadian Heritage Information Network commissioned a research study on quality in online experiences in order to ensure that the Virtual Museum of Canada (VMC), launched in 2001 to provide a strong online presence for Canadian museums, retains some consistency through its content and interface. The research goals were to determine what factors define ‘quality’ in online museum projects and how to measure this quality through a thorough analysis of existing online museum products in the VMC portal. This article focuses on how development teams attempted to engage users of eight VMC products. The 2002 statistics for these products indicated higher user engagement. Interviews with project managers and multimedia developers explored successes and challenges in developing products, and potential best practices for producing quality in online experiences for VMC users. Five factors frame the discussion of findings. Expectations for user engagement, as well as objectives, outcomes, and success indicators were important factors at the outset of the project. Critical factors during and after Web site development included the needs of intended and other interested audiences, and opportunities for reflection and evaluation following the launch of the product. Finally, building an exhibit that meets partners' interests and changing needs contributes to a project's lasting impact.
... In the latter instance, theorists have suggested that knowledge is constructed through interaction with objects and people, and the importance of learners' prior experiences, knowledge, interests and motivation in the ongoing development of a personal context. (e.g., Hein, 1998;Jeffrey-Clay, 1998;Adams, Falk, & Dierking, 2003) These views are corroborated by Hohmann & Weikart's (2002) theory of creative representation that refers to the significance of young children's contact with real objects in enhancing their thinking in and about art. ...
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This study explores pre-primary children's responses to contemporary art exhibits in a museum setting, the role of previous artistic experiences, and the impact of the art museum visit on children's responses to artworks and making art during classroom practice. The sample included 32 children (16 boys and 16 girls) randomly selected from two classrooms in two nursery public schools in Nicosia, Cyprus. In addition to open-ended interviews, classroom observation notes, and videotape analysis procedures, the artworks of children were used to find out the influences of the visit to the art museum. The findings suggest that children's contact with a range of art forms including contemporary art exhibits in a museum setting is an important part of their educational experiences if appropriate approaches and methods are used. (Contains 4 tables and 4 footnotes.)
Chapter
The intersection of cultural heritage, neurodiversity, and inclusivity in museum settings are crucial considerations to engage the public at large. The increasing use of emerging technologies like extended reality (XR) and virtual museums (VM) to engage neurodiverse populations and promote inclusivity also benefits a general audience. Therefore, the need to address the unique needs of neurodiverse visitors by combining existing approaches like social stories and sensory maps with XR experiences results in greater impact in museums overall. The impact of the COVID-19 pandemic on museums, leading to a shift towards digital experiences and the potential of XR and digital twin technologies in creating immersive virtual experiences, has opened up new pathways for engagement with the public. The importance of considering sensory sensitivities and providing staff training programs to support neurodiverse individuals can optimize these new pathways.
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For almost a century, educational theory and practice have been influenced by the view of behavioural psychologists that learning is synonymous with behaviour change. In this book, the authors argue for the practical importance of an alternate view, that learning is synonymous with a change in the meaning of experience. They develop their theory of the conceptual nature of knowledge and describe classroom-tested strategies for helping students to construct new and more powerful meanings and to integrate thinking, feeling, and acting. In their research, they have found consistently that standard educational practices that do not lead learners to grasp the meaning of tasks usually fail to give them confidence in their abilities. It is necessary to understand why and how new information is related to what one already knows. All those concerned with the improvement of education will find something of interest in Learning How to Learn.
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