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E-grāmata: Museums and Silent Objects: Designing Effective Exhibitions

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  • Formāts: 360 pages
  • Izdošanas datums: 15-Apr-2016
  • Izdevniecība: Routledge
  • ISBN-13: 9781317092834
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Museums and Silent Objects: Designing Effective ExhibitionsPalielināt
  • Formāts: 360 pages
  • Izdošanas datums: 15-Apr-2016
  • Izdevniecība: Routledge
  • ISBN-13: 9781317092834
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In a society where split-second decisions about the value of things are grounded on how they look, museum visitors are often drawn to visually striking or iconic objects. This book investigates the question of the treatment of items on display in museums which are less conspicuous but potentially just as important as the striking objects, arguing that it is important to show that all objects illustrate potentially interesting cultural contexts and content. The authors explore the disciplines of architecture, design, cognitive science and museology and offer a methodology by which the quality of museum exhibitions can be judged from a visitor-centred perspective. They provide new insights into the visitor-object encounter and the relationship between visitors, objects and museums. In addition the book offers a set of useful practical tools for museum professionals - for audience research, evaluating museum displays, and for designing new galleries and striking exhibitions. Richly illustrated with photos and diagrams, and based on studies of famous galleries in world-renowned museums, the book will be essential reading for all those concerned with creating effective exhibitions in museum.

Recenzijas

Why do visitors pay more attention to some objects than others in permanent displays? How can museums engage visitors more effectively with less immediately appealing artefacts? Qualitative research and varied case studies provide the back-bone of this thought-provoking volume which offers illuminating insights into what makes effective object-based displays. Stuart Frost, British Museum, UK 'In Museums and Silent Objects, the authors have broken new ground by focusing not on the spectacular and iconic items on display, but the less significant ones which nevertheless have fascinating stories. Through detailed research using examples from three museum galleries, underpinned by a range of theoretical perspectives, they produce practical advice for museum professionals on how to give these silent objects a new voice.' Nick Merriman, The Manchester Museum, UK This work is highly recommended for both students and practitioners. It will be of equal benefit to information professionals planning to exhibit silent objects like rare books, archival material or other documentary heritage items or similar items from contemporary culture, or for those considering and evaluating the impact of these silent objects in exhibitions designed by themselves or others. Australian Library Journal

List of Figures
ix
List of Tables
xvii
Preface xix
1 Introduction
1(22)
1.1 New Research
4(2)
1.2 Attractive versus Silent Objects
6(3)
1.3 The Basis for Research: Ancient Egypt
9(1)
1.4 The Visitor-Object Encounter
10(3)
1.5 Research Strategy: Who Did What
13(1)
1.6 Theory Domains
13(3)
1.7 The Key Concepts
16(1)
1.8 Research Methods
16(2)
1.9 Ethical Considerations
18(2)
1.10 Structure of the Book
20(3)
PART 1 EXHIBITING OBJECTS - THEORIES AND CONCEPTS
23(64)
2 Architecture and Space Syntax
25(10)
2.1 Architecture and the Visitor Experience
25(1)
2.2 Museum Buildings as Exhibits
26(1)
2.3 Architecture and Social Policies
26(1)
2.4 Space Syntax
27(5)
2.5 Space Syntax: A Key Concept from Architecture
32(3)
3 Design and Design Idioms
35(20)
3.1 Exhibition Design
35(9)
3.2 Design Idioms: A Key Concept from Design
44(11)
4 Cognitive Science, Flow and Beauty
55(16)
4.1 Visual Perception
55(3)
4.2 Affect and Cognition
58(1)
4.3 Visual and Aesthetic Values
58(3)
4.4 Drawing on Multiple Senses
61(1)
4.5 Beauty and Usability
61(2)
4.6 Beauty and Usability: Key Concepts from Cognitive Science
63(2)
4.7 Flow: A Key Concept from Cognitive Science
65(6)
5 Museum Studies: Object Biographies, Learning Styles, Levels of Interpretation
71(16)
5.1 The Museum and the Object
71(4)
5.2 The Biography of Things: A Key Concept from Museology
75(1)
5.3 Museums as Places for Education and Learning
76(6)
5.4 Personal Learning Styles: A Key Concept from Museology
82(2)
5.5 Levels of Interpretation
84(3)
PART 2 FROM CONCEPTS TO PRACTICE
87(64)
6 Testing the Concepts in Three London Museums
89(22)
6.1 Research Programme
90(1)
6.2 Research Method
91(1)
6.3 The Enlightenment Gallery in the British Museum
91(8)
6.4 Understanding Objects in the British Galleries at the V&A
99(6)
6.5 The Music Room in the Horniman Museum
105(5)
6.6 Applying the Concepts: What We Learned
110(1)
7 Concepts and Comparisons: The Three Galleries
111(18)
7.1 From Architecture: Space Syntax
111(3)
7.2 From Design: Design Idioms
114(2)
7.3 From Cognitive Science: Beauty and Usability
116(2)
7.4 From Cognitive Science: Flow
118(2)
7.5 Learning Styles
120(2)
7.6 The Key Concepts: A Critical Look
122(2)
7.7 Evaluation Methods: Visitor Interviews
124(1)
7.8 The Concepts as Tools: The Visitor-Object Interaction
125(2)
7.9 Significant Factors in Displaying Objects
127(2)
8 Mummies, Objects, Visitors and Stories at the British Museum
129(22)
8.1 Egyptian Death and Afterlife: Mummies (Room 63)
129(1)
8.2 The Evaluation Programme
130(1)
8.3 Observation of Visitor Interaction
131(1)
8.4 Visitors and the Use of Space
132(3)
8.5 Interviews with Visitors
135(9)
8.6 Assessment of Egyptian Death and Afterlife: Mummies (Room 63) Against Key Concepts
144(4)
8.7 Personal Learning Styles and Object Biographies
148(1)
8.8 Conclusions
149(2)
PART 3 BEYOND THE VISUAL
151(68)
9 Hands on the Past at the British Museum
153(22)
9.1 Aims and Objectives
154(1)
9.2 The Hands On Desks: About the Installations
154(3)
9.3 Research Methods
157(2)
9.4 The Hands On Desks: What We Observed
159(3)
9.5 Analysing the Experience Using the Key Concepts
162(3)
9.6 The Visitor-Object Interaction
165(5)
9.7 Conclusions
170(3)
9.8 Key Recommendations
173(1)
9.9 Comparison with Other Findings
173(2)
10 Experiments with Sound, Colour and Interaction
175(28)
10.1 Research Objectives
175(1)
10.2 The Settings for the Experiments
176(2)
10.3 The Research
178(1)
10.4 Booklet for the Hieratic Ostracon
178(6)
10.5 Geology Display in the Petrie Museum
184(5)
10.6 Whispering Headrests at the Petrie Museum and the Horniman Museum
189(13)
10.7 Summary
202(1)
11 Sound, Colour and Interaction: What We Learned
203(16)
11.1 Important Display Factors
204(1)
11.2 The Three Interpretations at the Petrie Museum Compared
205(3)
11.3 Findings on Display Techniques
208(4)
11.4 Conclusions: The Visitor-Object Relationship
212(3)
11.5 Summary
215(4)
PART 4 EFFECTIVE EXHIBITIONS
219(54)
12 Harmony in Ancient Egypt
221(20)
12.1 The Gallery
221(1)
12.2 Research Objectives and Questions
222(5)
12.3 Assessment Against Concepts
227(5)
12.4 Assessment: The Video
232(4)
12.5 The Visitors and the Video
236(2)
12.6 Conclusions
238(3)
13 Reviewing the Findings
241(18)
13.1 The Framework of Theory and Concepts
241(1)
13.2 Evaluation and Experimentation
241(1)
13.3 Findings
242(1)
13.4 Models for Interactions
243(1)
13.5 Stage 1: The Visitor Stops to Look
244(3)
13.6 Stage 2: The Visitor Becomes Aware of the Interest of the Object
247(4)
13.7 Stage 3: The Visitor Investigates the Object
251(3)
13.8 Stage 4: The Visitor Has Had a Rewarding Experience
254(4)
13.9 Summary
258(1)
14 Conclusions: Effective Exhibitions
259(14)
14.1 The Results of the Research Programme
259(1)
14.2 Wider Implications
260(1)
14.3 Practical Solutions
261(1)
14.4 Methodology for a Deeper Understanding of Visitor Experiences
262(1)
14.5 Guiding Principles to Improve Visitor-Object Encounters
262(8)
14.6 Future Directions
270(3)
Acknowledgements 273(2)
Bibliography 275(14)
Appendices 289(42)
Index 331
Francesca Monti is an independent researcher and museum consultant. She completed her PhD in Museum Studies at University College London, UK. Suzanne Keene is Emeritus Reader in Museum and Heritage Studies at University College London. She chairs the Organising Committee of the London conference series Electronic Visualisation and the Arts (EVA). She is also a trustee of the Collections Trust and a member of the Editorial Board for the journal Museum Management and Curatorship.
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