A description of the catalog division project at the College of Physicians of Philadelphia Library.

This paper describes the procedures used at the Library of the College of Physicians of Philadelphia to divide its ninety-year-old dictionary card catalog. The division was necessitated by overcrowding, obsolete subject headings, and lack of a complete authority list which resulted in like materials being scattered throughout the catalog under several headings. Two catalogs were created: the historical-biographical catalog, representing all works published before 1950 and all works of historical or biographical nature; and the current catalog, containing all works published from 1950 on, excepting historical or biographical materials. The 1950- catalog was further divided into name and subject catalogs, and the subject section was revised according to MeSH. The project was completed in about two years. As a result, searching time has been much reduced, and the library is able to take advantage of the annual revisions of MeSH to update the subject catalog.     

Museums at the crossroad: Contributing to dialogue, curiosity and wonder in natural history museums

The first natural history collections opened to the public were inspired by a sense of curiosity and wonder about the products of nature. They were ‘cabinets of curiosities’ that offered a first-hand interaction between owner and visitors. Nowadays, these two facets of the museum experience—dialogue and wonder—have been lost, in part, due to the information overload coming via the media and the impersonal nature of the museum visit. This paper offers some reflections on the evolution of the museum visit, suggests some ways to rediscover this ‘sense of wonder’ and provides ideas on how to promote two-way communication with museum visitors. Two examples of exhibitions are offered as illustrations of the points discussed.     

‘The feeling of exclusion’: Young peoples' perceptions of art galleries

This article first looks at the relationship between museums and art galleries and their potential audiences and, in particular, the under-represented sector of young visitors. It examines the main findings from the limited research available on young visitors, and goes on to discuss theories delineating the differences between the cultures, identities and values of culture consumers and culture providers. The second part of the article looks at what specific museums have done towards being more inclusive in their appeal, and then reports the findings of a survey of young people in relation to New Zealand's Auckland Art Gallery. The survey found that young people's ideas of what constitutes modern, relevant art do not match standard art criteria, and that most exhibitions and marketing methods do not mesh with their worldview. The article concludes by using data from the survey to suggest ways of engaging more young people with public art galleries.     

Counterfeit museology

Museums are not usually seen to be agents of change. If they are to serve as important mechanisms for empowering local communities to define, recognize, and develop their own indigenous heritages, they should first consider a potential contradiction contained within this initiative: museums specialize in the representation of other peoples, while people have the sovereign right to represent themselves. Left unresolved, this contradiction could produce counterfeits of good intentions. The introduction of professionalized cultural management may mitigate the responsibilities of the citizenry to actively participate in the production and preservation of their own heritage.