Timelines in Exhibitions

Timelines serve as the organizing structure for many exhibitions. This essay explores the use of the timeline in museums in an attempt to understand its appeal and its meaning. The article considers the nature of narrative, and of chronology specifically, as well as the history of the timeline and of its use in museum exhibitions. Raising questions about the message sent by chronological ordering, the essay encourages exhibition developers to consider how exhibits might move beyond the timeline to provide visitors with a more nuanced historical understanding and a more active relationship to the past. If we stop taking the timeline for granted, we might find ways to complicate chronology while still taking advantage of its power.     

浅谈流动科技馆小型主题式科普展览的策展方法——以“生态环境”主题展览为例

自2011年诞生以来,中国流动科技馆以流动巡回展出的方式,将展览资源送到尚未建设科技馆的县域地区,有效补齐了基层科普短板,极大地促进了科普资源的公平和普惠。然而随着时代发展,传统的以基础科学为主的资源内容已难以满足基层公众的实际需求。剖析流动馆小型主题式科普展览的主要特点,以“生态环境”主题展览为例,从背景调研、目标聚焦、主题凝练、内容策划、展览布局等方面入手,梳理该类展览的策展方法,可以为今后流动馆小型主题式科普展览的策展提供借鉴和参考。     

Spectacular Design in Museum Exhibitions

Abstract Intrigued by the crowd‐pleasing effects of “the spectacle,” some museums and exhibition designers have begun to enlist the principles used by theaters, theme parks, and public attractions in order to turn museum venues into awe‐inspiring experiences — thereby elevating this inclination into a principle we call Spectacular Design. This article summarizes the results of a year‐long study that compared and contrasted two categories of spectacle: museum and non‐museum. The concept of spectacle is here examined, and a formula is identified, so we can see the commonalities present in Spectacular Design both in public attractions and in museum exhibitions. The hope is to redefine the model for the museum field.     

论临时展览的氛围

临时展览是满足观众需求、增强博物馆活力、发挥博物馆职能、促进对外交流与合作的重要途径。如何进一步提高临时展览的水平、扩大其影响,成为业内人士颇为关注的问题。本文拟就氛围与临时展览的关系做一思考。     

Hypermedia in Archaeological Exhibitions: Different Kinds ofInteractivity and Visualization

This paper describes possibilities of hypermedia inarchaeological exhibitions concerning aspects of visualizationand interactivity. It explains two very different kiosk systems,which supported exhibitions at the Kunst- und Ausstellungshalleder Bundesrepublik Deutschland (Bonn) in 1997 and 1998. The firstprogram deals with a very specific problem in (pre-) historyregarding demographic data of the Scythians (nomadic horse-ridingwarriors who lived in the northern Black Sea region, ca. 7th–4thcentury B.C.). It offers both an adventure-like experimentalsituation (including a simulation) and a small database tocompare the experimental results with real archaeological data.The second program covers general aspects of a wholearchaeological culture (the Iberians, former inhabitants of theMediterranean coast of the Iberian Peninsula, ca. 8th–1st centuryB.C.). The visitors can explore seven themes (``daily life',``environment', ``economy', ``art', ``religion', ``settlements',``foreigners') and a time line with important events. One of themain tasks of this program is the ability to allow the visitorsrealistic impressions of archaeological sites. This is achievedby providing interactive panorama technology – without a ``lost inspace'-feeling.     

只要做得好,一定有创造——河北省博物馆书画艺术厅形式设计

2003年开放的河北省博物馆书画艺术厅引起博物馆界和社会公众的关注,重要原因之一,是该展厅在艺术设计上做了一些有益的探索。本文从平面、展示设备、环境小品的设计以及展览结语的巧妙运用等五个方面进行了总结和分析,并阐述了思想和方法创新在博物馆成功的陈列展览中的极端重要性。     

“跨界”合作：博物馆展示理念的创新

历史文物和自然标本是两类属性各异的博物馆藏品,“跨界”展览在于通过这两类展品寻求人文历史与自然科学之间的结合点,实现相互融合。博物馆作为社会文化教育服务机构,应紧随时代发展步伐,从现代科学发展维度审视博物馆“跨界”展览,从人文历史和自然科学视角诠释人类文明,从“跨界”展览形式探讨博物馆展示手段,不断推出精品陈列,为广大民众奉献高品质的公共文化服务产品,使博物馆在社会发展中发挥更大的作用。     

Fakes on Display: Special Exhibitions of Counterfeit Art

Since the mid‐twentieth century, special exhibitions of art forgeries have appeared in many museums in the United States and Europe. These exhibitions have displayed artworks of many kinds, and have been structured around a variety of objectives and methodologies to engage the public. Fundamentally, they inform that public about an uncomfortable reality: that artistic deception is more common than they may think. The collective phenomenon of these forums displaying faux art has reached a point at which it is a topic worthy of study. This article draws upon representative examples of exhibitions of fake art to present an overview of their “what,” “why,” and “how” in light of commonalities and differences among them. It furthermore traces a loose historical pattern in these exhibitions that shows change over time as well as continuity.     

关于公共图书馆展览工作的几点思考

文章探讨了展览在公共图书馆的发展趋势,分析了图书馆展览工作的特点和优势,对公共图书馆如何推进展览工作进行了深入思考.     

Beyond Tomorrow:

Libraries have made progress toward the development of the electronic library as defined by Pat Battin in 1984. As the electronic library presently exists it closely resembles an automated version of traditional library services. Before the development of the electronic library is concluded questions need to be posed and answered regarding the use of this tool. It must be ascertained whether scholars in different disciplines use automated tools in profoundly different ways in order that the electronic library meets the needs of those whom we intend to serve.     

Experiencing Exhibitions: A Review of Studies on Visitor Experiences in Museums

Abstract This article reviews empirically oriented studies from the United States and Europe concerning visitor experiences in museum exhibitions in order to pinpoint similarities and differences among them. In the last 20 years, only a few scholars have tackled this research question in multifaceted empirical ways, although some of them have done so extensively. By comparing theoretical and methodical issues, as well as important results, we are able to outline several analytical building blocks that compose a complex framework of visitor expectations, experiences, and outcomes. Gathering credible data on experiences of visitors in exhibitions or museums, a method dating back to the tracking records of Robinson (1928) , is an ongoing challenge for the empirically inclined science of museum studies. Social scientists at universities and museums have been asking for 20 years: What are the findings regarding factors, structures, and consequences of exhibition experiences? Where are the blind spots? Which questions should be researched?     

民国时期的图书馆展览

民国时期的图书馆展览呈现地域分布不均、展会地点集中、受战争因素影响大等特点。根据展品种类的不同,可以将民国时期的图书馆展览大致分为书籍、图片、文献展览3种。还可以根据主题的不同,划分为人物纪念展览、节日庆祝展览、抗战主题展览。图书馆展览通过自身所具有的特点,在宣传抗战、促进中外文化交流、集资筹款及传播文化知识方面发挥了巨大作用,对今天的图书馆展览仍然具有借鉴意义。     

试论公共图书馆大型展览的发展策略

“读图时代”大背景的推动、公共图书馆拓展延伸服务的需要以及馆藏文献资源的深度开发利用等诸多因素使得公共图书馆展览的深入发展被提上了日程。论文从南京图书馆近年来举办大型展览的实践出发,详细论述了如何从办展形式和办展内容两个方面提高大型公共图书馆展览的层次与水平。     

论革命历史类博物馆展陈的特点

我国革命历史类博物馆及其展陈与其他类型博物馆相比，在其历史、主题、体系、内容、物、形式、环境及参考国外经验等方面，均存在着自身的特点或特殊性。只有全面、深入地探讨和认识这些特点和特殊性，才能从此类馆展陈的实际出发，找出适宜于其生存、发展的展示理念与手法。     

沟通中外:20世纪30年代中国图书馆界举办的两次国际展览会

中国国际图书馆联合世界多国的知名图书馆与文化机构,于1934年10月和1937年4月,先后在中国主办的"世界图书馆展览会"与"世界百科全书展览会",分别是近代中国规模最大的图书馆专题展览会和第一次国际性百科全书展览会。两次展览会以汇通观摩世界先进文化、发扬中国文化、鼓励和发展中国图书馆事业为宗旨,促进中国图书馆事业与学术界的进步,传播中国文化,也给当前我国图书馆建设以更多启示。     

Paying Attention: The Duration and Allocation of Visitors' Time in Museum Exhibitions

The amount of time visitors spend and the number of stops they make in exhibitions are systematic measures that can be indicators of learning. Previous authors have made assumptions about the amount of attention visitors pay to exhibitions based on observations of behavior at single exhibits or other small data samples. This study offers a large database from a comparative investigation of the duration and allocation of visitors' time in 108 exhibitions, and it establishes numerical indexes that reflect patterns of visitor use of the exhibition. These indexes—sweep rate (SRI) and percentage of diligent visitors (%DV)—can be used to compare one exhibition to another, or to compare the same exhibition under two (or more) different circumstances. Patterns of visitor behavior found in many of the study sites included: (1) visitors typically spend less than 20 minutes in exhibitions, regardless of the topic or size; (2) the majority of visitors are not “diligent visitors”—those who stop at more than half of the available elements; (3) on average, visitors use exhibitions at a rate of 200 to 400 square feet per minute; and (4) visitors typically spend less time per unit area in larger exhibitions and diorama halls than in smaller or nondiorama exhibitions. The two indexes (SRI and %DV) may be useful measures for diagnosing and improving the effectiveness of exhibitions, and further study could help identify characteristics of “thoroughly-used” (i.e., successful) exhibitions.