Museums and silent objects: designing effective exhibitions
Gespeichert in:
| Hauptverfasser: | , |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Farnham [u.a.]
Ashgate
2013
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Includes bibliographical references and index |
| Beschreibung: | XVIII, 333 S. Ill., graph. Darst. |
| ISBN: | 1409407039 9781409407034 |
Internformat
MARC
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|---|---|---|---|
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| 008 | 130123s2013 ad|| |||| 00||| eng d | ||
| 010 | |a 2012015709 | ||
| 020 | |a 1409407039 |c hardback : alk. paper |9 1-4094-0703-9 | ||
| 020 | |a 9781409407034 |c hardback : alk. paper |9 978-1-4094-0703-4 | ||
| 024 | 3 | |a 9781409407034 | |
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| 100 | 1 | |a Monti, Francesca |e Verfasser |4 aut | |
| 245 | 1 | 0 | |a Museums and silent objects |b designing effective exhibitions |c Francesca Monti and Suzanne Keene |
| 264 | 1 | |a Farnham [u.a.] |b Ashgate |c 2013 | |
| 300 | |a XVIII, 333 S. |b Ill., graph. Darst. | ||
| 336 | |b txt |2 rdacontent | ||
| 337 | |b n |2 rdamedia | ||
| 338 | |b nc |2 rdacarrier | ||
| 500 | |a Includes bibliographical references and index | ||
| 650 | 4 | |a Museum exhibits / Handbooks, manuals, etc | |
| 650 | 0 | 7 | |a Museum |0 (DE-588)4040795-0 |2 gnd |9 rswk-swf |
| 650 | 0 | 7 | |a Ausstellung |0 (DE-588)4129601-1 |2 gnd |9 rswk-swf |
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| 689 | 0 | |5 DE-604 | |
| 700 | 1 | |a Keene, Suzanne |e Verfasser |4 aut | |
| 776 | 0 | 8 | |i Erscheint auch als |n Online-Ausgabe |z 1-4094-0704-7 |
| 776 | 0 | 8 | |i Erscheint auch als |n Online-Ausgabe |z 978-1-4094-0704-1 |
| 856 | 4 | 2 | |m Digitalisierung BSB Muenchen |q application/pdf |u http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=025674186&sequence=000002&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |3 Inhaltsverzeichnis |
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Datensatz im Suchindex
| _version_ | 1804149992620818432 |
|---|---|
| adam_text | CONTENTS
■■■■■■■■¡■■■■■¡■■■■i
List of Figures
ix
List of Tables
xvii
Preface
xix
1
Introduction
1
1.1
New Research
4
1.2
Attractive versus Silent Objects
6
1.3
The Basis for Research: Ancient Egypt
9
1.4
The Visitor-Object Encounter
10
1.5
Research Strategy: Who Did What
13
1.6
Theory Domains
13
1.7
The Key Concepts
16
1.8
Research Methods
16
1.9
Ethical Considerations
18
1.10
Structure of the Book
20
PART
1
EXHIBITING OBJECTS
-
THEORIES AND CONCEPTS
23
2
Architecture and Space Syntax
25
2.1
Architecture and the Visitor Experience
25
2.2
Museum Buildings as Exhibits
26
2.3
Architecture and Social Policies
26
2.4
Space Syntax
27
2.5
Space Syntax: A Key Concept from Architecture
32
3
Design and Design Idioms
35
3.1
Exhibition Design
35
3.2
Design Idioms: A Key Concept from Design
44
4
Cognitive Science, Flow and Beauty
55
4.1
Visual Perception
55
4.2
Affect and Cognition
58
4.3
Visual and Aesthetic Values
58
4.4
Drawing on Multiple Senses
61
Vi
MUSEUMS
AND SILENT OBJECTS: DESIGNING EFFECTIVE EXHIBITIONS
4.5
Beauty and Usability
61
4.6
Beauty and Usability: Key Concepts from Cognitive Science
63
4.7
Flow: A Key Concept from Cognitive Science
65
Museum Studies: Object Biographies, Learning Styles, Levels of
Interpretation
71
5.1
The Museum and the Obj ect
71
5.2
The Biography of Things: A Key Concept from Museology
75
5.3
Museums as Places for Education and Learning
76
5.4
Personal Learning Styles: A Key Concept from Museology
82
5.5
Levels of Interpretation
84
PART
2
FROM CONCEPTS TO PRACTICE
87
6
Testing the Concepts in Three London Museums
89
6.1
Research Programme
90
6.2
Research Method
91
6.3
The Enlightenment Gallery in the British Museum
91
6.4
Understanding Objects in the British Galleries at the V&A
99
6.5
The Music Room in the Horniman Museum
105
6.6
Applying the Concepts: What We Learned
110
7
Concepts and Comparisons: The Three Galleries 111
7.1
From Architecture: Space Syntax 111
7.2
From Design: Design Idioms
114
7.3
From Cognitive Science: Beauty and Usability
116
7.4
From Cognitive Science: Flow
118
7.5
Learning Styles
120
7.6
The Key Concepts: A Critical Look
122
7.7
Evaluation Methods: Visitor Interviews
124
7.8
The Concepts as Tools: The Visitor-Object Interaction
125
7.9
Significant Factors in Displaying Objects
127
8
Mummies, Objects, Visitors and Stories at the British Museum
129
8.1
Egyptian Death and Afterlife: Mummies (Room
63) 129
8.2
The Evaluation Programme
130
8.3
Observation of Visitor Interaction
131
8.4
Visitors and the Use of Space
132
8.5
Interviews with Visitors
135
8.6
Assessment ofEgyptian Death and Afterlife: Mummies
(Room
63)
Against Key Concepts
144
8.7
Personal Learning Styles and Object Biographies
148
8.8
Conclusions
149
CONTENTS
vii
PART
3
BEYOND THE VISUAL
151
9
Hands on the Past at the British Museum
153
9.1
Aims and Objectives
154
9.2
The Hands On Desks: About the Installations
154
9.3
Research Methods
157
9.4
The Hands On Desks: What We Observed
159
9.5
Analysing the Experience Using the Key Concepts
162
9.6
The Visitor-Object Interaction
165
9.7
Conclusions
170
9.8
Key Recommendations
173
9.9
Comparison with Other Findings
173
10
Experiments with Sound, Colour and Interaction
175
10.1
Research Objectives
175
10.2
The Settings for the Experiments
176
10.3
The Research
178
10.4
Booklet for the Hieratic Ostracon
178
10.5
Geology Display in the
Pétrie
Museum
184
10.6
Whispering Headrests at the
Pétrie
Museum and the
Horniman Museum
189
10.7
Summary
202
11
Sound, Colour and Interaction: What We Learned
203
11.1
Important Display Factors
204
11.2
The Three Interpretations at the
Pétrie
Museum Compared
205
11.3
Findings on Display Techniques
208
11.4
Conclusions: The Visitor-Object Relationship
212
11.5
Summary
215
PART
4
EFFECTIVE EXHIBITIONS
219
12
Harmony in Ancient Egypt
221
12.1
The Gallery
221
12.2
Research Objectives and Questions
222
12.3
Assessment Against Concepts
227
12.4
Assessment: The Video
232
12.5
The Visitors and the Video
236
12.6
Conclusions
238
13
Reviewing the Findings
241
13.1
The Framework of Theory and Concepts
241
13.2
Evaluation and Experimentation
241
Viii
MUSEUMS
AND SILENT OBJECTS: DESIGNING EFFECTIVE EXHIBITIONS
13.3
Findings
242
13.4
Models for Interactions
243
13.5
Stage
1 :
The Visitor Stops to Look
244
13.6
Stage
2:
The Visitor Becomes Aware of the Interest of
the Object
247
13.7
Stage
3 :
The Visitor Investigates the Object
251
13.8
Stage
4:
The Visitor Has Had a Rewarding Experience
254
13.9
Summary
258
14
Conclusions: Effective Exhibitions
259
14.1
The Results of the Research Programme
259
14.2
Wider Implications
260
14.3
Practical Solutions
261
14.4
Methodology for a Deeper Understanding of Visitor
Experiences
262
14.5
Guiding Principles to Improve Visitor-Object Encounters
262
14.6
Future Directions
270
A cknowledgements
2 73
Bibliography
275
Appendices
289
Index
|
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| author | Monti, Francesca Keene, Suzanne |
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| callnumber-label | AM151 |
| callnumber-raw | AM151 |
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| callnumber-subject | AM - Museums and Collecting |
| ctrlnum | (OCoLC)835286387 (DE-599)BSZ366341138 |
| dewey-full | 069/.5 069.5 |
| dewey-hundreds | 000 - Computer science, information, general works |
| dewey-ones | 069 - Museology (Museum science) |
| dewey-raw | 069/.5 069.5 |
| dewey-search | 069/.5 069.5 |
| dewey-sort | 269 15 |
| dewey-tens | 060 - General organizations and museology |
| discipline | Allgemeines |
| format | Book |
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| title | Museums and silent objects designing effective exhibitions |
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