Museum learning

Museums are designed to engage families with young children with a welcoming, safe and stimulating environment and museum staff are central to achieving this mission. What staff know about and how they interact with young children and their parents, however, is rarely investigated. This article presents research involving staff and families interacting in a large city museum. The research sought to document and compare a sample of family and staff views and experiences, with the findings showing a positive alignment of views in relation to goals, engagement and learning. Perceptions of if, when and how staff should interact with families are varied and contextualized, highlighting how staff have to be aware of and attuned to attuned to the interests and needs of families. Literature review Families come to museums to have an enjoyable, interesting, and social experience (Dierking, 2013; Falk & Dierking, 2013) that involves both children and adults in a shared inquiry in a safe and comfortable environment. A positive indicator that these motivations are being satisfied, noted commmonly in museum evaluations, is family

This book covers key issues regarding the research and design of human-computer interactions (HCI) in museums. Through an on-site focus, the book examines how digital interactive technologies impact and shape galleries, exhibitions, and their visitors.

Museums have been a domain of study and design intervention for (HCI) for several decades. However, while resources providing overviews on the key issues in the scholarship have been produced in the fields of museum and visitor studies, no such resource as yet existed within HCI. This book fills that gap. It consolidates the body of work in HCI conducted in the heritage field and integrates it with insights from related fields and from digital heritage practice. Processes of HCI design and evaluation approaches for museums are also discussed. This book draws from the authors' extensive knowledge of case studies as well as from their own work to provide examples, reflections, and illustrations of relevant concepts and problems.

This book is designed for students and early career researchers in HCI or Interaction Design, for more seasoned investigators who might approach the museum domain for the first time, and for researchers and practitioners in related fields such as heritage and museum studies or visitor studies. Designers who might wish to understand the HCI perspective on visitor-facing interactive technologies may also find this book useful.

Museums are concerned with the care and interpretation of natural and man-made objects from the geological past to the present-day. Many of these objects have a geographical association. In the case of geological, biological and archaeological items it is 'place in which found or collected'; in the case of topographic pictures 'place depicted'; in the case of social history it might be 'place in which manufactured or used'.

Abstract
This chapter examines the performative and embodied nature of the museum visit and in doing so mounts a challenge to the dominance of the idea that the museum visit is, or should be, about learning. Rather, the argument advanced is that visitors use museums in a wide range of ways and that the learning paradigm restricts the ability of researchers and museum professionals to recognize this diversity.  Understanding the visit as an embodied performance reveals the means by which visitors emotionally engage with museum exhibitions and thus identifies the ways in which visitors undertake their own ‘heritage making’ and the production and reinforcement of their own meanings and cultural and political values. Interviews with visitors to museums and other sites of heritage in England, Australia and the USA are used to illustrate and support the argument.

All graffti is low-level dissent but stencils have an extra history. They’ve been used to start revolutions and to stop wars. They look political just through the style. Even a picture of a rabbit playing a piano looks hard as a stencil. It’s like the charge of the light entertainment brigade.” (Banksy)
The action or performance of attaching a work of urban art is analogue to the medium part of the artwork. Even if the motif of the piece of street art is not political itself – a stenciled rabbit for example – the act of attaching signs to an urban surface without official permission is political. This action itself questions authorities – often big brother or big business: “The difference between sender and receiver, between producer and consumer of signs, must remain total, as within it lies the real form of social power” (Beaudrillard). I hence define street art as self-authorized signs in public space whose authors want to communicate with a broader public. My paper for the Art and Urban Creativity conference questions the limits of this street-art-definition in other locations than the “Street”, i.e. galleries and museums. I formulate my critique or discussion on the basis of thoughts about the “Banksy vs. Bristol Museum” Exhibition in 2009. Did British street artist Banksy show in this exhibition street art – according to the mentioned definition or rather street art “favored” art or street art“souvenirs”, as he calls his prints of his street art works early in his career.

The Colonial Williamsburg Foundation, located in Williamsburg, Virginia, was established in 1926. It is the world's largest living history museum and a national center for history and citizenship. The Foundation's Electronic Field Trips (EFTs) are nationally-televised video productions with associated web resources designed for grades 4-8. For the past 20 years, EFTs have portrayed the issues, events, and people of American history from pre-colonization into the twenty-first century, focusing on state and national curriculum standards. In today's American classrooms, meeting educators' needs in history and social studies is challenging, with curricula, technology, and testing varying from school to school and state to state. Drawing on research, interviews, and related literature, this article explores how U.S. educators and students use EFTs, and how this use furthers the Foundation's institutional mission and reflects the museum's adaptive response to national priorities in American education.

Death is a difficult subject to talk and teach about. Nevertheless, social studies and history classes often include subjects such as ancient Egyptian mummies, pyramids, or other kinds of ancient burial practices. In this Teacher’s Lounge, educator and mortuary archaeologist Dr. Pınar Durgun discusses some ways to engage with students about these culturally-sensitive topics in ethical ways while sharing some useful tools and resources.

Starting from the theoretical literature on narratives in archives and exhibitions this article investigates pedagogical approaches to letting museum visitors establish meaningful narratives through digitised archive material. The aspect of activating the audience in a museum exhibition is tightly linked to the curatorial approach and aims with an exhibition, but also to the possibilities that arise from the archival material and its digital form. As a case study, the project has focused on a painting by the Swedish artist Ivar Arosenius (1878–1909), exhibited in the Gothenburg Museum of Art. It has been associated with four different sets of digitised material from the Arosenius Archive, each made available through a distinct Augmented Reality interface. The different types of archival items contribute in different ways to the purposes of contextualisation and activation and have various affect values. An employment of archival material may contribute to creating affect by taking a...

The design and development of interactlve multimedia applications is a complex and challenging process which is still evolving as the hardware, software, creative talent, production services, publishers, and target markets all evolve at the same time. Compared with other media, such as print, film, radio, or N, interactive Copyright by Archives & Museum Informatics, 1991 3. To offer easy access to a rich multimedia information base of images, films, and text so that users would come away with an increased understanding of selected Impressionist and Post-Impressionist artists and their work. Although the final product will most likely explore several artists, their work, and their life and times, the prototype focuses, for the sake of example, on one artist and, in fact, on one painting: Claude Monet and his "Waterlilies" painting (1926), which is currently at the Museum of Modern Art in NewYork. The discovery-based design of the prototype allows for access to information about a variety of paintings, sketches, details, artists, and documentary images and films, particularly as they relate to Monet and his work. The three frameworks for exploration in the prototype include:

In the interest of guest, staff, and volunteer safety and with guidance from local health officials, CMC closed to the public on March 14, 2020, due to concerns about the spread of COVID-19. Union Terminal remained closed for four months. CMC staff pivoted to delivering programs remotely while continuing to plan for a future when we would return to in-person visits. As we prepared to reopen, medical advisors
recommended eliminating all physical touch throughout the museums. After spending years thinking about how to make exhibits more interactive through physical design (such as bronze models, flipbooks, and button-operated sensory stations) and technology (including touchscreens), our new challenge was to offer the kinds of inquiry and engagement that are at the core of our reenvisioned experiences without relying on touch.

The charge to reopen without touch-based experiences quickly focused our priorities. We believed that we could deliver many of our touch-based exhibits through personal devices. The Pew Research Center reports that smartphone ownership is rising rapidly, with 81 percent of American
adults owning smartphones in 2019.1 This gave us confidence that most guests would be able to access content we converted to a mobile experience. In just a few months, we went from thinking about having an app someday to a robust “CMC In Hand” mobile experience that recreates more than 35 of our guests’ favorite gallery experiences. And we realized the project for $50,000, roughly a quarter of what we had previously estimated for building an app.

Concerns about COVID-19 threatened to eliminate many of the exhibits that have been most popular since we reopened postrestoration. A new touch-free reality pushed us to be creative in imagining new ways of connecting with our guests, both on- and off-site. CMC’s agile and affordable approach to developing an app allowed us to have a robust experience ready to go as we reopened to the public. We are planning for its longterm integration into the museum’s offerings.


This article first appeared in the journal  Exhibition (Spring 2021) Vol. 40 No. 1 and is reproduced with permission. www.name-aam.org.

Patterson, Monica Eileen. “Teaching Tolerance Through Objects of Hatred: The Jim Crow Museum of Racist Memorabilia as “Counter Museum”.” In Curating Difficult Knowledge: Violent Pasts in Public Places, edited by Erica Lehrer, Cynthia Milton, and Monica Eileen Patterson, 55-70. New York: Palgrave Macmillan, 2011.

Interpreting the history of American slavery presents challenges to museum workers who work to engage visitors in grappling with the difficult history. This paper presents an overview of Commemorative Museum Pedagogy, a sensitive methodology to engage resistant learners in learning about an oppressive history and finding ways to express historical empathy for the oppressed populations.

It is a presentation on Museum Exhibition Management : In the context of Barisal Divisional Museum. It is presented in a training session at the seminar room of regional directorate, Department of Archaeology, Khulna division in Bangladesh. This presentation is focused on exhibition management of Barisal Divisional Museum and its trend in the light of modern museum exhibition management.

This publication is the Project Planning Manual to best serve the development of a synergetic action framework for the implementation of quality cultural experiences of SCRIPTORAMA, the Project’s Open Street Museum. This publication consists of two volumes that deal with ENPI and IPA PILOT PROJECTS. The concept behind is to become a platform for augmented engagement strategies to cater to different types of customers differently not only based on behavior, but also based on their expectations, needs, affecting the way make decisions on the destinations’ offers. The ability to recognize the disruptive technology and the capacity to develop new solutions and new responses and systems, as a matter of process and collaboration leads inevitably to assist connected consumers to the self-designing their journey steps at place level. By assisting consumers in deciding ENPI and IPA PILOT PROJECTS builds the cultural consumption motive and advances customized cultural consumption connecting different services at selling points at place level.

This paper aims to examine the museum evolution in Thailand, with a focus on interactive museum and exhibition development in Bangkok from the year 2000 to 2019. In the past two decades, Thailand has become one of the key players of creative and cultural industries and economy in the Southeast Asian region. Strategically, attention to the steady development of the nation’s cultural economy has been build on the stable growth of cultural heritage tourism. Museum as an art and cultural institution that falls under the category of tangible cultural resources is therefore seen as an important cultural asset that able to boost the cultural economy. Meanwhile, with the arrival of digital media and technology, interactive museum and exhibition have become a trend of museum development in Thailand. For instance, museums that opened after year 2000s, such as Thailand Creative and Design Center (2004), Museum Siam (2007), Bangkok Art and Culture Centre (2008), Rattanakosin Exhibition Hall (2010), National Science Museum’s Science Square (2010), ASEAN Cultural Centre (2015), and King Rama IX Museum (expected 2019) and etc, are new museums that employed interactive exhibitions as a way to communicate and engage audiences.

As interaction design of interactive installations is now seen as an important factor and global trend in museum practices around the world. It is hoped that this paper will provide insights into An understanding of the expansion of interactive museum exhibitions in Southeast Asia, particularly on interactive museums and exhibitions development in Thailand since the YEAR 2000.