智慧博物馆发展的“以道御术”之法——以北京自然博物馆为例

智慧博物馆的发展历程与云计算、物联网、移动通信、大数据和人工智能技术的发展息息相关,信息技术的每一次突飞猛进都裹挟着博物馆一同进阶,似乎已成为一种趋势。身处“日日新”技术大潮中,博物馆如何以自身发展规律——“道”为主体,坚持收藏、研究、传播,展示高雅“圣殿”之气岸,并有意识地参与到新一代信息技术的变革中,自主选择技术的应用程度与应用范围,已成为绕不开的话题。智慧博物馆语境的“道法术器”仍是“以道统术,以术得道”,博物馆唯有适度使用更友好、更成熟的技术,才能更理性、更深入地揭晓人与物关系的基本哲学,体现其推动社会前行的价值所在。     

儿童博物馆核心教育理念

儿童博物馆在过去二十年间由于种种原因,并没有在中国发展起来。一些相关的基本问题:“什么是儿童博物馆？儿童博物馆展示什么？为什么需要儿童博物馆？”在中国并不为大众熟悉,也没有受到太多博物馆专业领域人士的关注。本文将从影响儿童博物馆的理论及研究,儿童博物馆与其它场馆的区别,儿童博物馆的教育内容等几个方面来介绍儿童博物馆的核心教育理念。以期通过本文能够把儿童博物馆的精髓呈现出来,让更多的人了解并关注儿童博物馆,为中国儿童教育方式的发展提供一些参考。     

博物馆儿童专区展览问题初探

随着各类公立博物馆在馆内相继设立儿童专区,其在对外营运中诸多问题也逐步暴露:误读儿童专区就是开展儿童教育项目的场所;缺乏儿童展区策展资金、人员和经验;老博物馆并未预留足够的儿童专区空间。为此文中提出针对性的改善建议:馆方应明确儿童专区需包含展现本馆特色的展览主题;博物馆应大胆涉足并不断积累、交流儿童展览经验;老博物馆或另辟分馆,或撤换展区,满足儿童展览空间需求。以期切实为博物馆儿童专区展览传播效益的提升提供合理的参考。     

博物馆网站“儿童版”的出现及其作用

当前网站获取信息成为现代人获取信息的重要途径之一,博物馆作为向公众传播知识的重要文化教育机构,纷纷触网,使得观众足不出门尽览世界各个角落的博物馆。博物馆网站儿童版的出现作为一个新鲜事物,为儿童观众带来福祉,为其享用博物馆资源提供了入口和平台。本文试图通过分析博物馆网站儿童版出现的原因以及阐释其存在的作用,希望促成此版本建设的成熟和完善,并使其得到文博工作者以及社会大众的广泛认同,并被不断尝试,有助于积累博物馆儿童教育的经验,推动博物馆儿童教育的理论研究,丰富我国博物馆学。     

《文心雕龙》与博物馆陈列

“文心雕龙”为南朝梁刘勰撰,是我国南北朝时期一部文学理论专著。全书十卷,分上下两编,共五十篇。该书发展了前人进步的文学理论,批评、评击当时创作界片面追求形式的风气,形成较为完整的思想体系,是我国古代文学理论及文学批评杰出的巨著。该书乍看与博物馆陈列理论风马牛不相接,但只要仔细研读,深深品味,撮其精华,举一反三,“察人文以成化”(“原道篇”),发现其若干论点对陈列理论的研讨及运用大有裨益,现将作者学习该书粗浅体会,略述于下。 一、风动于上 波震于下 刘勰在“原道篇”中论道:有形体就会有文彩,有声音就会有节奏。他又认为:     

儿童博物馆应具备哪些条件

儿童们往往认为专门为科学家所开设的博物馆与现实生活并无联系。正因为与日常生活联系不甚紧密,各种展览被笼上一层神秘的、难以理解的烟云。除了学校组织或由尽职的父母领着,儿童们是很少主动地参观博物馆的。为什么出现这种现象呢?这是否与博物馆的性质、启蒙思想、展厅环境有关系呢?如何使那些仅仅偶然参观博物馆的儿童自然而然地喜欢上博物馆,并对展览感兴趣呢?在这篇文章里,我们将借助于陈列在法国巴黎科     

近代商务印书馆发展中的“道”与“器”研究

文章对近代商务印书馆发展中的道与器关系从三方面予以了分析.道器一体:商务文化奋斗之理想与目标通达之利器的有机统一;器由道出:商务教科书编辑之法与“扶助教育为己任”之道如出一辙;技以载道:商务印书馆在经营方法、技艺上的不懈追求是“与世界进步相适应”信念的最好诠释.     

博物馆被社会希冀的新职能

看2013年国际博物馆日的这个主题方程式不由联想起数学课里,有时为了简约书写,会把表示“两边相乘”的乘号“X”在括弧前之间省略了。如果这样来看这道方程式,博物馆和括号里“（记忆＋创造力）”是在做乘法。或者说,博物馆是一个社会沿革在当时的放大镜、功放器,人类社会的思想汇集和进步经过“博物馆”的整合,其产生的效果是可以为社会变革提供更加积极有力的支持和佐证。     

建构主义对博物馆儿童教育的构建探讨——《让孩子爱上博物馆》读后感

《让孩子爱上博物馆》一书着重分析了建构主义理论在博物馆儿童教育中的应用,并针对博物馆儿童观众的研究成果分析做了深入阐述,对于全面指导博物馆儿童早期教育项目的设计与执行具有现实意义。受该书启发,本文最后以系统学视角,对教师、家长、博物馆从业者等不同主体促进孩子爱上博物馆提出了相关建议。     

博物馆“非营利”机构性质谈

国际博物馆协会1974年关于博物馆的定义规定博物馆是非营利机构。这一规定使许多中国博物馆工作人员感到困惑。80年代以来,我国博物馆管理体制发生变化,政府对博物馆的投入相对减少,一些博物馆不得不为工作人员的工资和福利而操劳,一些社会人士也依据国际博协的定义批评博物馆的经营活动。如何理解国际博协关于博物馆是非营利机构的规定,不仅影响到对博物馆本质特点的认识,也影响到对博物馆发展方向和发展动力的认识。笔者从“非营利”是机构性质这一认识出发,讨论“非营利”性质对博物馆实践和博物馆发展的影响。“非营利”的英文是ｎｏｎ…     

角色体验在儿童科学乐园设计中的应用初探

本文分析角色体验在儿童展览教育运用的概况,儿童科学乐园引入角色体验的必要性,同时选取中国科学技术馆儿童科学乐园角色体验展区中的典型展品案例,阐述将角色体验运用到儿童科学乐园内容设计中的一些思考。认为角色体验展区应注重展品的科技内涵,启发儿童进行探究式学习;要能提升儿童的自我效能感,进一步激发儿童的创造力和想象力;选取有合作性质的角色,培养儿童交流意识,鼓励儿童通过沟通解决问题;要采用多种方式增加角色体验展品的亲子话题,促进家长与儿童良性互动。希望促进角色体验在儿童科技展览中得到进一步运用。     

Competing Agendas: Young Children's Museum Field Trips

Abstract Visitors to museum settings have agendas that encompass a wide variety of missions. Agendas are known to directly influence visitor behavior and learning. Numerous agendas are at play during a visit to a museum. We suggest that in a museum‐based learning experience, children's agendas are often overlooked, and are at times in competition with the accompanying adult's agendas. This paper describes and qualitatively analyzes three episodes of competing agendas that occurred on young children's field trips to museums in Brisbane, Australia. The aim is to elucidate the kinds of tensions over agendas that can arise in the experience of young museum‐goers. Additionally, we hope to alert museum practitioners to the importance of considering children's agendas, with the aim of improving their museum experience. Suggestions are also made for ways in which educators can address children's agendas during museum visits in order to maximize learning outcomes.     

Russian National Electronic Children's Library

ABSTRACT

The Russian State Children's Library (RGDB) is the largest children's library in the world and has been serving as a cultural and educational center for more than 45 years. Important aspects of RGDB's activities are the development of electronic resources and setting up the library site for distant users. The National Electronic Children's Library in Russia is a specialized digital collection of publications about children and for children. This article focuses on these aspects and the future steps of the project.     

“Let's Go to MY Museum”: Inspiring Confident Learners and Museum Explorers at Children's Museums

Abstract Not a month goes by at the Brooklyn Children's Museum without a call or visit from a group of enthusiastic educators and community leaders on a mission to start their own children's museum or gallery. Recent guests have arrived from as far away as Israel, Ecuador, Japan, and Australia, and as nearby as the Bronx. In the United States, children's museums represent one of the youngest and fastest growing cultural sectors. Our field was founded in 1899 with the opening of the Brooklyn Children's Museum. Anna Billings Gallup, an influential curator and director at the museum from 1902 to 1937, spoke widely about the value of bringing the child into the forefront of museum activities. In the United States, the field grew slowly but steadily to four children's museums in 1925 and to approximately 38 by 1975. In the last three decades, sparked by the groundbreaking work of Michael Spock at the Boston Children's Museum, the field has been energized by an extraordinary boom in new and expanding children's museums. Today there are approximately 350 worldwide.     

Play and Children's Museums: A Path Forward or a Point of Tension?

Play is a central, defining concept for children's museums, yet it's become a hot button issue which is problematic if play is what makes children's museums uniquely valuable. In this article, members of the Children's Museum Research Network share findings from their first research study, focused on elucidating the problem of play in children's museums. Results suggest that children's museums may not have shared definitions and conceptualizations of play.     

Reference Service in the Children's Department:

Reference and information requests received b the Children's Services Department of The Urbana (l~inois! Free Library were analyzed according to the types of ques- tions asked and the distribution of adult and childiyoung adult patrons making the requests. It was found that a sub- stantial pro ortion of the re uests were made by adult pa- trons, and tiat adult and chiljren tend to ask different kinds of questions. Children tended to ask for assistance of an es- sentially mechanical nature, such as help in locating items and assistance with audiovisual materials. Adults tended to ask complex reader's advisory questions, reference questions, and questions concerning library policies and programs. It is sug- gested that children's departments need to make greater ef- forts to deliberately serve their adult patrons, that the analy- sis of reference and informational questions can lead to better collection development decisions, and that thorough commu- nity analysis may be essential to the effective functioning of a children's department.     

Play For All at Chicago Children's Museum: A History and Overview

In 2004, Chicago Children's Museum founded the Play For All initiative, which creates a community where play and learning connect for visitors of all abilities. The Play For All team discovered that families with children with disabilities were looking for an opportunity to explore and enjoy the museum without limitations and the fear of being judged. CCM also learned that being ADA compliant was not enough; being accessible and inclusive meant going above and beyond the ADA. Children's museums are a rare treat where almost everything should be interactive and ready to be played with. The Play For All team has made significant changes to the exhibits, staff training, and programming at Chicago Children's Museum by working with local families with disabilities and partner organizations. A culture shift has taken place within CCM. Play For All is now a top priority when decisions are being made.