Museum as Soup Kitchen

In this paper, I suggest that museums have not explored their potential opportunities enough when dealing with their communities under stressful conditions. Each reader, however, should decide when what I am talking about is no longer appropriate for museums in general or your museum in particular. While some museums have moved more in the direction of serving their communities, I am struck by how little philosophical change has actually taken place in most museums after a year into this universal economic downturn. I argue that incorporating a broader palette of social services may make institutions more useful, but at some point these institutions might cease to be traditional museums. My question would be: “Should you care?” I do not suggest that all museums become full‐service community centers, though some might explore that option. Perhaps the question might become: How do we expand our services so that we make museums’ important physical assets of safe civic space and objects useful for tangible three‐dimensional learning into more relevant programs that reach all levels of community, and are rated by many more as essential to their needs and their aspirations for their children?     

从卓越博物馆到卓越科技馆:理论、实践与评估探讨

培育具有卓越特性的科技馆群体是促进科技馆建设质量整体提升的重要手段之一。本研究对国内外博物馆领域追求卓越的理论与实践成果进行整体概述,重点梳理卓越绩效模式在欧洲博物馆的应用,以及美国博物馆联盟卓越认证的进程。结合国外科技馆追求卓越的实践经验,厘清卓越科技馆的内涵外延,有助于在现有的科技馆评估研究的基础上,构建卓越科技馆评估路径,为培育卓越的科技馆群体,促进现代科技馆体系更高层次的创新与发展提供借鉴参考。     

Ten Years of Evaluating Science Theater at the Museum of Science,Boston

This paper is a meta‐analysis of a series of theatre program evaluations carried out at the Museum of Science in Boston, Massachusetts over ten years. The evaluations, conducted independently of each other, had varying goals and used a range of methodologies. Nonetheless, looked at together, the aggregate results of these evaluations reflect a compelling, positive theatre experience for visitors. There is collective evidence of cognitive gain for visitors attending performances. In summary, the overview of ten years of evaluations portrays theater as a successful format for communicating information and ideas on many levels, which visitors enjoy and remember. Much remains to be learned about the effectiveness and impact of theater in museums. It is the intention of this paper to use the collective results of these studies as a foundation, and to move the conversation from basic evaluation to further research examining the learning potential of this medium in greater depth.     

The Mindful Museum

Abstract The convergence of global issues—ranging from climate change to the erosion of cultural diversity—has created a watershed of opportunity or an unprecedented crisis for museums. The contemporary museum business model based on consumption, entertainment and ancillary education is increasingly unsustainable and irrelevant in this context. This article explores the concept of a more responsible museum and the need for a heightened sense of social, environmental and economic stewardship as the foundation for a sustainable future, in a time of profound social and environmental change for society at large. Obstacles to organizational effectiveness are discussed, as are methods for enhancing greater organizational awareness of societal issues. Examples of progressive museum practice are also presented by way of illustration. The possible consequences of inaction suggest the need for museums to transform their culture‐and‐industry business model into one of a locally‐embedded problem‐solver, in tune with the challenges and aspirations of their communities.     

Working at Play: Informal Science Education on Museum Playgrounds

Abstract This article discusses the importance of play in informal science education and the growth of science playgrounds as an international trend among museums to create safe, challenging outdoor environments that use play to explore the foundations of science. Play is characterized by intrinsic motivation, active engagement, attention to means rather than ends, non‐literal behavior, and freedom from external rules, a means for acquiring information about and experiencing the environment. Successful exhibitions for children and families share these qualities and outdoor exhibitions encourage a degree of exploration and full‐body experience often not possible nor appropriate inside a museum. Two case studies are provided as evidence of the importance of play in the interpretation and design of science playgrounds. The first, Science Playground at the New York Hall of Science (opened 1997), uses an interpretive strategy in which evaluation and remediation are continually incorporated into the educational process. Experimental workshops were conducted to observe children's intuitive uses of the physics‐based exhibits, uninhibited by any authoritative explanations. From this evaluation, the institution elected not to produce interpretive signage at each unit, but rather to develop a guide for visitors and one for educators that outline the exhibition's basic physics principles and encourage visitors to experiment and make connection to their own experiences. The second case study, Exploration Park at Prisma, Zona Exploratoria de Puerto Rico in San Juan (opening 2002), outlines ten design criteria used to develop the playground. These include bringing together a diverse team to respond to institutional and audience needs, ages, interests, and cultural backgrounds; creating a specific sense of place, making use of the local environment and taking advantage of natural elements including water, soil, wind, and sun. Practical considerations of safety, materials, and prototyping are also addressed. The article concludes with the idea of play as essential not only in child development, but also in development of successful outdoor science exhibitions.     

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.     

The Museum Profession: Protecting and Promoting Professional Commitments

Throughout their history, museums have performed diverse public services: from preservation, collection, and exhibition, to interpretation, education, and civic engagement. As Stephen E. Weil ( 2002 ) explains, since the mid‐twentieth century, museums have experienced two major revolutions. First, a revolution in focus from collection‐oriented to visitor‐oriented practices, and second, a revolution in public expectations as museums secured a position within the nonprofit sector (81–82). With competition for public, private, and philanthropic support resting upon measurable results, the evaluation of museums depends upon its ability to “accomplish its purpose” (5). However, the question remains: what is the museum's purpose? Which is the more important: collection and artifact preservation, or public engagement and education? An overview of museum practices reveals a multiplicity of professional tasks distributed among three imperatives: preservation, scholarship, and programming (Weil 2002 , 11). The competition for resources devoted to each of these imperatives can spark controversy—particularly if museum professionals answer the question of the purpose of museums differently. Organizational communication scholar, Janie M. Harden Fritz, developed a theoretical framework that seeks to respond to such controversies in Professional Civility: Communicating Virtue at Work. This essay considers Fritz's “professional civility” in the context of the American museum sector, lending insight to the question of museum purpose and function.     

The Denver Community Museum

Abstract This essay recounts the story of the Denver Community Museum, a pop‐up institution which operated for almost a year in downtown Denver, Colorado. This temporary museum was designed to be short‐lived. It prompted experiments with audience participation and questioned past versus present, fact versus fiction, and the museum “voice.” This article gives an overview of the space and its operations. Using personal accounts, the article explores the value of participation for the museum’s audience, as well as for the institution itself. These narratives are used as a springboard for a larger discussion of museum practice and creating opportunities for personal connection within the museum.     

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。     

Creating a Business Strategy Evaluation Model for National Museums Based on the Views of Curators

The aim of this study is to find the critical factors that influence Taiwan's national museum business performance based on its curators’ views. The study explored the causal relationships among the criteria that emerged in the study and of each sub‐criteria. Since developing a business strategy is a multiple‐criteria decision‐making (MCDM) problem, this study adopted the causal‐effect model of decision‐making trial and evaluation laboratory (DEMATEL) technique. The DEMATEL technique simplifies and visualizes the interrelationships among decision‐making criteria. The study identified four core criteria – benefits, opportunity, costs, and risks, as key influencers in the national museum business performance. Each key criteria was supported by a set of sub‐criteria which, when considered together, produced an influential network relations map. The results of this study provided Taiwan's national museum curators with an idea‐based understanding of how to create business and marketing strategies that could enhance exhibition features, experience activities, and facilities that could be linked to satisfaction of visitors’ desires and offer a potentials strategy for assessing likelihood of return visits.     

Stanley Kubrick in the Museum: Post‐cinematic Conditions,Limitations, and Possibilities

This paper contextualizes the Stanley Kubrick exhibition, a worldwide exhibition tour program dedicated to showcasing the complete oeuvre of the filmmaker Stanley Kubrick, within ‘post‐cinematic’ conditions. Since the mid‐1990s, the formal and experiential components of the cinema in the 20th century have increasingly become displaced from the traditional apparatus and site and ‘relocated’ within new technological and institutional platforms, and museums have become one of those new sites for content consumption. The paper discusses both the limitations and possibilities of the exhibition as it is considered to represent the migration of cinema into the art museum context as one salient phenomenon of post‐cinematic conditions. The Kubrick exhibition is explored to uncover the underlying tensions of the ‘exhibition of cinema’ as a key trend of major international museums, between the movie theater as black box and the art museum's exhibition space as white cube. It considers the difference between these two institutional platforms and their conceptions of objecthood, artifact and the temporal economy of the viewing experience. The author argues that this event succeeds in realizing the possibilities for revivifying three constants of cinema: film auteur, cinematic apparatus, and intermediality. The ambivalence demonstrates that while the museum's exhibition of cinema inevitably removes some of its ontological essences, it also preserves and revivifies others.     

The Topical Museum of Natural History: A Walking Paper

Abstract As museums enter a new century, they are challenged to demonstrate their relevance to society. Increasingly, institutions have recognized that in order to thrive, they must ensure that mission‐related activities—exhibits and programs, collections and research—are meaningful to the public they rely on for support. Numerous deeply‐ingrained habits of practice and of thought have prevented object‐based exhibits from responding effectively to visitor interests. For museums to be truly relevant to their audiences, this paper argues for a fundamental shift in how they think about and organize exhibits. Exhibits need to become more topical and issue‐oriented, rather than generalized and systematic. Furthermore, a successful topical exhibit program needs to operate on two separate, yet integrated, levels: long‐term exhibits providing context on broadly relevant, interdisciplinary themes shorter‐term exhibits on specific, current issues embedded within the longterm exhibits, linking that broad content to visitors' lives Beyond the crucial role of increasing the museum's relevance to its audience, such an exhibits program would have numerous ancillary benefits, including more evenly distributed costs, greater creativity, lessened job burnout, and new funding opportunities. Though specifically addressing natural history museums, aspects of this paper should be relevant to museums of all kinds.     

Cross-Language Evaluation Forum: Objectives, Results, Achievements

The Cross-Language Evaluation Forum (CLEF) is now in its fourth year of activity. We summarize the main lessons learned during this period, outline the state-of-the-art of the research reported in the CLEF experiments and discuss the contribution that this initiative has made to research and development in the multilingual information access domain. We also make proposals for future directions in system evaluation aimed at meeting emerging needs.     

Visitor Meaning‐Making at Grand Canyon's Tusayan Museum and Ruin

Abstract Meaning‐making describes a process by which visitors transform museum experiences into new knowledge and memories. Meaning‐making is influenced by visitors' leisure motivations, prior knowledge, socio‐cultural context brought to the experience, personally‐guided interpretation, and events since the visit. In this study, visitors' long‐term recollections included contextual references to how and why they remembered what they experienced. Forty visitors were interviewed by telephone six months after attending a Native American interpretive program at Grand Canyon National Park's Tusayan Museum. Two patterns associated with a constructivist view of meaning‐making were discerned: a) visitors' integration of indoor and outdoor exhibits and b) visitors' comparisons of modern family and community with a more ancient culture. The presence of contextual indicators within visitor recall suggests that new knowledge may be constructed from factors carried forth from the meaning‐making process. Evidence within the data suggests that exhibits made more relevant to visitors' socio‐cultural identity may enhance on‐site experiences.     

关于我国高等教育专业评估的思考

专业评估是高等学校教学评估的重要组成部分,欧美等发达国家非常重视对专业的评估与认证工作,很早就建立了相应的评估与认证制度。我国专业评估工作起步较晚,目前尚处在摸索阶段,开展并不广泛,影响也比较小,发挥的作用十分有限。本文认为应吸收和借鉴发达国家专业评估与认证的经验,大力推进专业评估与认证工作,不断完善我国高等教育评估体系。     

Recognizing the Relationships between Interactivity,Story, and Message: Lessons Learned from the Summative Evaluation of the Human Plus Exhibition

Interactivity, message, and story are critical, interrelated components of most educational exhibition designs. In this article, we introduce an Interactivity Design Framework for guiding exhibition designers’ intentional inclusion of interactivity, story, and message in exhibition components. This framework emerges from selected findings from summative evaluation of the Human Plus exhibition, which took place at the New York Hall of Science in late 2013. The exhibition was designed to generate interest in engineering among pre‐adolescent girls. Recognizing the target group's interest in human relationships and narrative, the exhibition was designed to be engaging and interactive, driven by compelling narratives of how engineering had enhanced the lives of people with disabilities. Exhibits interwove interactivity and story to convey messages related to both engineering itself and how engineering can meet the needs of people with disabilities. Because of this dual focus, the exhibition evaluation revealed important findings about how, and under what conditions, story and interactivity function to convey message: they can work together or compete.     

Rethinking Museum Visitors: Using K‐means Cluster Analysis to Explore a Museum's Audience

Abstract Understanding visitors is a necessary and complex undertaking. In this article, we present K‐means cluster analysis as one strategy that is particularly useful in unpacking the complex nature of museum visitors. Three questions organize the article and are as follows: 1) What is K‐means cluster analysis? 2) How is K‐means cluster analysis conducted? 3) Most importantly: What are the applications of K‐means cluster analysis for museum practitioners? To answer these questions, we present five steps that are vital to conducting a K‐means cluster analysis. We also present three cases studies to demonstrate differences among the results of three K‐means cluster analyses and provide practical applications of the findings.     

Strategies for the Curiosity‐Driven Museum Visitor

Tracking studies show that museum visitors typically view only 20 to 40 percent of an exhibition. Current literature states that this partial use sub‐optimizes the educational benefit gained by the visitor, and that skilled visitors view an exhibition comprehensively and systematically. Contrary to that viewpoint, this paper argues that partial use of exhibitions is an intelligent and effective strategy for the visitor whose goal is to have curiosity piqued and satisfied. By using analytical approaches derived from “optimal foraging theory” in ecology, this paper demonstrates that the curiosity‐driven visitor seeks to maximize the Total Interest Value of his or her museum visit. Such visitors use a set of simple heuristics to find and focus attention only on exhibit elements with high interest value and low search costs. Their selective use of exhibit elements results in greater achievement of their own goals than would be gained by using the exhibition comprehensively.