探析移动端展览应用的传播实践——以故宫博物院“故宫展览”数字化项目为例

通过移动端推送博物馆展览是博物馆信息化的重要内容,但不少博物馆面临数字化应用无法实现服务质量和用户体验的预期,导致下载量和使用量较低的处境。本文以“故宫展览”数字化项目为例,通过对开发数字产品观念意识、展示设计能力的分析,总结出在设计数字产品中结合博物馆需求与观众需求,结合观众心理习惯与博物馆特色,构建以“物”为核心的展示内容,兼顾知识性与趣味性的展示形式,应用分众化传播策略等方法,探讨借助移动端数字应用对博物馆以教育为目标的传播属性起到的积极作用。     

科技博物馆基于展品的教育活动现状、定位与发展方向

自“科技馆活动进校园”项目开展以来,我国科技博物馆基于展品的教育活动有很大改观并呈现发展提高的态势,但依然普遍存在问题,并对科技博物馆及其展品教育功能的实现有严重影响。本文认为:关键定位模糊、制度机制缺失、优秀人才短缺、学术建设滞后是导致问题的主要原因;其中基于展品教育活动的功能定位、特征定位和展教人员的职业定位是影响最大、最为关键的原因。结合相关理论、实践和国内外发展趋势的研究,本文对其应有的定位进行了论证和阐述,并对近年来涌现的一批优秀案例进行了分析。     

科普场馆运行效率评价

以2008—2013年全国30个省份科普场馆面板数据为基础,利用数据包络分析方法中的BCC模型和 Malmquist指数模型,分别从静态和动态两方面来测度科普场馆的运行效率。结果表明：我国有半数以上省份的科普场 馆属于增长型,1/3以上场馆处于规模报酬不变或递增阶段。各省科普场馆应结合自身特点,从开展特色活动、拓宽资 金来源、完善评估体系三方面提高运行效率。     

The Sweet Spot? Writing for a Reading Age of 12

Writing for a reading age of 12 (or Reading Grade Level of 6 to 7) has long been considered a benchmark for accessible writing, the ‘sweet spot’ we should aim for to ensure our texts are accessible to a broad public audience. But what does a reading age of 12 actually mean and is it still useful as a guiding principle? This paper turns to emerging research in the field of academic literacies to review the concept of a reading age of 12 and consider what accessibility means in terms of language. It shows that while the idea of a 12‐year‐old as a benchmark has value, the basis on which it is typically determined is unhelpful if not misleading, and argues for an alternative approach based on meaning. It uses this approach to propose some practical strategies for understanding the key differences between everyday and academic language so that as authors, curators, educators, editors and publishers we can reach our audiences with greater inclusiveness and effectiveness.     

The Project ‘Art for Learning Art’ in Contemporary Art Museums

Projection‐based augmented reality and virtual reality are used in a visual arts‐based educational project in contemporary art museums from an a/r/tographic perspective. The project ‘Art for Learning Art’ (in Spanish, Arte para aprender arte), at the Museo CajaGRANADA in Granada (Spain) has been developed in collaboration with the University of Granada since 2013. We have employed creative, educational and research methodologies inspired by exhibited works in art museums to encourage visual feedback of visitors participating in collaborative installations. Two such experiences also were produced at the Tate Liverpool Gallery and Museum in March 2018; utilising the methodology of mediation through projection‐based augmented reality and virtual reality, which introduces facets of visual and physical experience that alter the whole experience for the museum's public. By putting on virtual reality headsets, and playing with physical movements, we generate images and change the projections in the museum using projection‐based augmented reality to disrupt the way the public typically moves in the museum. The purpose of the developed interrelations with artworks in the Museo CajaGRANADA and the Tate Liverpool Gallery and Museum was to create collaborative digital images by playing with select artworks exhibited in the museums’ collections. We use this kind of mediation in art museums to develop a visual understanding to provoke learning about art through art creation in a contemporary way. The results are extraordinary as images; they are collaborative artworks, which connect visually with the artworks in the exhibition.     

博物馆如何提高公共服务水平---以辽沈战役纪念馆为例

博物馆是一个代表公众利益并致力于为公众服务的文化机构,公众不仅是当代博物馆的服务对象,更是博物馆的生命所系。为公众服务,成为博物馆一切工作的出发点和落脚点。那么,如何充分发挥博物馆的服务功能,不断提高博物馆的公共服务水平,使博物馆离群众更近些,让更多的群众喜欢博物馆,是目前各博物馆亟待解决的问题。辽沈战役纪念馆于2004年10月,经过二次改陈改造之后重新对外开放,它以崭新的设计、优质的服务及优美的环境再次受到外界的瞩目。     

The role of medical museums in contemporary medical education

From the early 19th century until the most recent two decades, open‐space and satellite museums featuring anatomy and pathology collections (collectively referred to as “medical museums”) had leading roles in medical education. However, many factors have caused these roles to diminish dramatically in recent years. Chief among these are the great advances in information technology and web‐based learning that are currently at play in every level of medical training. Some medical schools have abandoned their museums while others have gradually given away their museums' contents to devote former museum space to new classrooms, lecture halls, and laboratories. These trends have accelerated as medical school enrollment has increased and as increasing interest in biological and biomedical research activities have caused medical schools to convert museum space into research facilities. A few medical schools, however, have considered the contents of their museums as irreplaceable resources for modern medicine and medical education and the space these occupy as great environments for independent and self‐directed learning. Consequently, some medical schools have updated their medical museums and equipped them with new technologies. The Anatomical Museum of Leiden University Medical Center in The Netherlands and the Medical Museum of Kawasaki Medical School in Kurashiki, Okayama, Japan, are two examples of such upgraded museums. Student surveys at Leiden University have indicated that all students (100%) found audio‐guided museum tours to be useful for learning and majorities of them found guided tours to be clinically relevant (87%). However, 69% of students felt that museum visits should be optional rather than compulsory within the medical training curriculum. Anat Sci Educ 3:249–253, 2010. © 2010 American Association of Anatomists.     

A conceptual guide to natural history museum visitors' understanding of evolution

Museum visitors are an ideal population for assessing the persistence of the conceptual barriers that make it difficult to grasp Darwinian evolutionary theory. In comparison with other members of the public, they are more likely to be interested in natural history, have higher education levels, and be exposed to the relevant content. If museum visitors do not grasp evolutionary principles, it seems unlikely that other members of the general public would do so. In the current study, 32 systematically selected visitors to three Midwest museums of natural history provided detailed open‐ended explanations of biological change in seven diverse organisms. They were not told that these were evolutionary problems. Responses were coded as: informed naturalistic reasoning, featuring some understanding of key evolutionary concepts, novice naturalistic reasoning, featuring intuitive explanations that are also present in childhood, and creationist reasoning, featuring supernatural explanations. All visitors were mixed reasoners, using one or more of these patterns in different permutations across the seven organisms: 72% used a combination of informed naturalistic reasoning and novice naturalistic reasoning, while a further 28% added creationist reasoning to this mix. Correlational analyses indicated that for many visitors these reasoning patterns were coherent rather than fragmented. The theoretical model presented in this article contributes to an analysis of the developmental and cultural factors associated with these patterns. This could help educators working in diverse educational settings understand how to move visitors and students toward more informed reasoning patterns. © 2009 Wiley Periodicals, Inc. J Res Sci Teach 47:326–353, 2010     

Communication Productivity: A Major Cause for the Changing Output of Art Museums

Art museum output changes away from collection maintenance to display events and to the sale of add-on goods. What is the driving force? A series of theoretical explanations are tested: technological changes which favor new input combinations and thus arrive at a changed output; changes in the relative price structure; income flows and their relation to the productivity of the different museum output segments. It will be claimed that changes in the ability of art museums to become productive as part of a communication network are the major driving force of the output change.     

Sailing on the Silicon Sea – The Design of a Virtual Maritime Museum

Following the development of a virtual museum this paper theorises the implications this has had for the Western Australian Maritime Museum (http://www.mm.wa.gov.au/). It is an opportunity to explore the relationship between both theory and praxis. The context for the analysis is the Diving into Shipwrecks internet project (http://www.mm.wa.gov.au/Museum/excavate/intro/intro_frame.html) developed as a constellation of shipwreck excavations. The success of the project is highlighted through an assessment of statistical data and more qualitative forms of feedback. Having established one model in a virtual museum this paper then reflects upon other forms of the web museums that are appearing on the internet. The discussion has implications for cultural organisations that seek to create on-line environments.