一个称职的博物馆工作者——朱家溍先生在故宫

故宫博物院名专家朱家溍先生因病于2003年9月29日辞世，本刊特约朱先生的女公子朱传荣撰写此，以志纪念。     

浅议科技博物馆中的创客活动

近几年,创客成为世界范围内教育发展的热点。创客之所以能够进入中国的各类教育系统是源自多方的影响因素。然而,当前被大谈特谈的“创客教育”实际上是一个伪概念,根本就不存在有实质意义的“创客教育”,其本质只是一种遵循了建构主义思想的学习方式而已。开展创客活动的关键是构建良好的创客空间,而科技博物馆天然具有这方面的优势。美国旧金山探索馆的巧匠工作室的成功案例,是中国科技博物馆学习的楷模。科技博物馆开展创客活动需要从三个方面着手:(1)构建良好的创客空间环境;(2)走出高技术创客项目开发的误区;(3)汇聚全社会的能工巧匠,开发适合本馆特点的创客活动。     

Collecting participatory art at the Denver Art Museum

Participatory art is a contemporary movement requiring viewers to take an active part in the artwork, by means ranging from interaction with materials to creative contribution. Artistic developments in the twentieth and twenty-first centuries, such as political and social engagement, led to the rise of participatory practices. Concurrently, museums have reacted to falling attendance and cultural shifts by seeking to create more engaging experiences for visitors. At the Denver Art Museum, this has led to an increased interest in displaying and collecting participatory art. Through case studies of works in the collection of the Denver Art Museum, Walking in Venus Blue Cave (2001) by Ernesto Neto and ¿Being Home? (2009) by Rupprecht Matthies, this paper explores the conservation of participatory artworks in museum collections, including their maintenance on display, long-term preservation of their interactive nature, and the possibility of involving communities in conservation actions and decision-making.     

Gallery One at the Cleveland Museum of Art

How can art museums use interpretive technology to engage visitors actively in new kinds of experiences with works of art? What are the best strategies for integrating technology into the visitor experience? In 2012, the Cleveland Museum of Art responded with Gallery One, an interactive art gallery that opened to stakeholders on December 12, and went through a six‐week testing period before its public opening on January 21, 2013. Gallery One drew from extensive audience research and was part of a major building and renovation project in which CMA reinstalled and reinterpreted the entire permanent collection in new and renovated gallery spaces. The end result was an innovative and robust blend of art, technology, design, and a unique user experience that emerged through the collaboration of staff across the museum and with outside consultants.     

市场环境下的博物馆经营管理

我国社会主义市场经济的确立 ,激发了许多部门改革传统管理体制的热情 ,体制改革的浪潮正席卷各个行业。引人瞩目的是 ,历来号称象牙之塔的中国科学院接连将其所属研究所改制成科技企业 ,相应地 ,一直孤芳自赏的文博行业也被纳入了转换经营机制的轨道。于是乎 ,一只脚已经迈进市场的博物馆门庭若市 ,一改过去门前冷落车马稀的状况 ,而大多数博物馆还逗留在市场的门外徘徊。这里有各地博物馆客观条件的不同、馆长们观念的差异等原因 ,没有必要强求一律 ,让全国的博物馆一夜之间都迈进市场。但是 ,放眼看看世界就会明白 ,博物馆介入市场的问题…     

谈馆藏古陶瓷的保管

古陶器的保管是一件十分棘手的事，素有陶瓷古国之称的中国陶瓷遗留物相当丰富，作通过长期实践，对国内各级博物馆占有较大比重的陶瓷藏品，提出一套完整的保管方法，包括，陶瓷的清洗、陶瓷的编目和如何入库上架等。     

故宫博物院数字化广播

故宫博物院数字化广播从2002年“十一”正式开播，至今已运行八个月，工作状态良好，系统运行稳定可靠，全天实现无人值守，自动化播出，远程计算机实时监控，可根据游客数量自动调节广播音量，真正体现了现代化高新科技在博物馆中的运用。     

Building a Community-Based Identity at Anacostia Museum

A historian explores the construction of Anacostia Museum's identity from the 1960s to the present by examining the history of its exhibitions. Direct community accessibility was part of the museum's founding mission, but Smithsonian administration, museum staff, and community residents all seemed to have different ideas about the meaning of the “neighborhood museum” concept. Designated a “Smithsonian outpost,” and intended to draw African-American visitors to the Smithsonian museums on the Mall, the new museum's mission was instead shaped by community advisory groups to focus broadly on African-American history and culture. Staff efforts to “professionalize” and upgrade museum operations later threatened community access to the exhibition-development process, and most community/museum interaction was relegated to the program and outreach activities of the education department. The 1994 Black Mosaic exhibition provided an opportunity to devise new ways of integrating the perspectives of a changed community into the exhibition-development process.     

科学文化的博物馆表达——黑龙江工程学院工程文化博物馆的策展思考与实践

展示技术的发展为博物馆展示科学技术提供了各种可能性,然而提炼和表达科学技术背后的科学文化,即科学精神、科学思想、科学方法、科学的价值观等核心内涵,并不是单纯的技术问题。工程文化是科学文化的一种类型,在黑龙江工程学院工程文化博物馆的策展实践中,通过情节化、重构展品语境和不同层次的参与等多方式,探索了在展示工程技术发展的同时,深入发掘背后的工程文化,让展览不仅传播科学知识,同时也兼具科学文化。     

生态博物馆理论在贵州的实践

生态博物馆对于我们来说是一张白纸,只是到了1995年初经中国博物馆学会常务理事苏东海先生的引见,才使得国际著名的生态博物馆学家约翰·杰斯特龙先生不远万里来到贵州。在以苏东海先生和杰斯特龙先生为首的中挪博物馆学家组成的课题组,经过实地的考察,制定了在中国贵州建立生态博物馆的可行性报告,国家文物局和贵州省政府决定,在贵州六枝梭戛苗族社区建立中国第一座生态博物馆。在筹划六枝梭戛生态博物馆的第一阶段中,对在苗族地区建生态博物馆的问题在贵州也有争论,甚至有持否定意见者,对于一种新的理论和概念的引进,有争论、有否定的意见…