Gallery Enhancement: Forging a New Partnership with the Public

Worts, Douglas

doi:10.1080/10645579309444692

Cited by 5 publications

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“…Nurturing creative responses of visitors to artworks frequently generated psychic energy that often surprised and delighted viewers. This research suggested that cultural professionals would benefit from developing an appreciation of visitor-based creativity to complement the work they do on artist-based creativity (see Worts 1995Worts , 2005, and had captured the interest of staff at the Te Papa Museum in Wellington, New Zealand. Two Maori elders, both of whom worked at the museum, attended the workshop I gave, and the time I spent with one of the elders, Bessie Walters, would contribute to fundamentally changing my understanding of culture.…”

Section: Cultural Insights From a Maori Eldermentioning

confidence: 99%

Culture and Museums in the Winds of Change: The Need for Cultural Indicators

Worts¹

2011

CLG-CGL

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How individuals live their lives, within the context of personal and collective values, expresses their living culture. Societies may be made up of people with different ethnocultural backgrounds, socio-economic profiles or spiritual orientations, but they share certain common cultural frameworks (e.g., democratic governance, rules of law, conventions of business, principles of equity for all, etc.) of what is increasingly a globalized, pluralized, and urbanized present. Culture is often thought of as either the historical traditions of a group, or else as certain types of activities (e.g., dance, theatre, celebrations, rituals, etc.) and objects (e.g., art, artifacts, clothing, etc.). Meanwhile, cultural organizations are characterized as specialized places of expertise that provide selected kinds of experiences and services to the publicnormally available for consumption during leisure time. This article argues that the heart of living culture is to be found not in specialized types of objects, leisure-time experiences, ethnocultural traditions, or cultural organizations but, rather, in its processes of human adaptation in a changing world. The author uses the lens of culture to examine how humanity understands and attempts to manage change within its sphere of influence. How can we best measure the cultural well-being of our societies, our organizations, and ourselves? The overarching notion of global/local sustainability provides the grounding point for considering how best to foster a ‗culture of sustainability'. organisations culturelles se sont constituées en des espaces sociaux où qui procurent certaines expériences and services au public -normalement disponible sous forme de loisir à consommer. Cet article suggère que la culture ne se réduit pas aux artefacts, aux loisirs, aux traditions ethnoculturelles ou encore aux organisations culturelles, mais plutôt, elle serait reconnaissable dans les processus d'adaptation à un monde changeant. Les auteurs utilisent la notion de culture pout comprendre comment l'Humanité appréhende et tente de changer sa sphère d'influence. Comment pouvons-nous mesurer le bien-être culturel de nos sociétés, de nos organisations et de nos êtres? La question centrale du développement global et du développement local représente le point d'ancrage de cette réflexion sur les stratégies permettant de créer une culture du développement durable.

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Section: Cultural Insights From a Maori Eldermentioning

confidence: 99%

Culture and Museums in the Winds of Change: The Need for Cultural Indicators

Worts¹

2011

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“…Evidence summarized in the next section was gathered from the art museum visitor studies of (2004,2005), Stainton (2002), and Worts (1995). The reader is referred to Smith (2006) for exact citations from these sources.…”

Section: Empirical Evidence and Theoretical Constructs From Art Museumentioning

confidence: 99%

Viewer Tagging in Art Museums: Comparisons to Concepts and Vocabularies of Art Museum Visitors

Smith

2006

Advances in Classification Research Online

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As one important experiment in the social or user-generated classification of online cultural heritage resources collections, art museums are leading the effort to elicit keyword descriptions of artwork images from online museum visitors. The motivations for having online viewerspresumably largely non-art-specialists-describe art images are (a) to generate keywords for image and object records in museum information retrieval systems in a cost-effective way and (b) to engage online visitors with the artworks and with each other by inviting visitors to express themselves and share their descriptions of artworks. This paper explores the question of how effective non-specialist art keyworders can be in capturing ("tagging") potentially useful concepts and terms for use in art information retrieval systems. To do this, the paper compares evidence from art museum visitor studies which describe how non-specialist art viewers react to and describe artworks and use museum-supplied information in their initial encounters with artworks.A theoretical model of artwork interpretation derived from art museum visitor research provides a framework with which to examine both the activity and the products of artwork tagging for image and information retrieval.

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“…U tom nas smislu veći broj autora (Worts, 1994; Paris i Mercer, 2002;Falk, 2009) upućuje na pitanja dimenzija posjetiteljeva identiteta, te u skladu s time, identitetskih odrednica muzejskog iskustva. U navedenoj literaturi razmatra se pitanje osobnog identiteta, a u filozofskom smislu, prilikom opisivanja osobnog identiteta, govore o T. KISOVAR IVANDA, I. BATARELO-KOKIĆ: Povezanost zavičajnog... MAGISTRA IADERTINA, 7(7) 2012.…”

Section: Uvodunclassified

“…Priroda i opseg naučenog u muzeju pod snažnim je utjecajem identitetski-uvjetovanih potreba koje se najčešće iščitavaju u razlozima zbog kojih netko posjećuje muzej. Worts (1994) je ponudio konceptualni model muzejskog iskustva u kojemu individualno muzejsko iskustvo promatra interakcijom u okviru društvene situacije. Integrirano iskustvo, sa svim identitetskim sastavnicama, dovodi do stvaranja značenja, koje je promatrano kao posljedica doživljavanja nečijih stavova i koncepcija, usvajanja novih znanja i odrednica prostora.…”

Section: Identitetski Modeli Muzejskog Iskustvaunclassified

“…Izvor: Prilagođeno prema Wortsu (1994) Worts (1994) naglašava osobni identitet posjetitelja, mnoge procese i posljedice iskustva koje se događaju u interakciji s ljudima, predmetima i mjestima. U svome modelu autor usko povezuje iskustvo muzejskog posjetitelja s reafirmacijom ili evolucijom njegova identiteta.…”

Section: Prikaz 1 Wortsov Konceptualni Model Osobnog Muzejskog Iskustvaunclassified

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Povezanost zavičajnog identiteta i muzejskog iskustva učenika

Ivanda

Batarelo-Kokić

2012

magistra

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SAŽETAK U radu je predstavljena ideja o osobnom identitetu muzejskog posjetitelja, u našem slučaju učenika, kao temelju doživljaja muzeja i njegovih sadržaja. Ideja je promišljana u istraživanju zavičajnih dimenzija učeničkoga muzejskog iskustva. Međusobni odnos zavičajnog identiteta učenika i njegove percepcije muzejskih sadržaja, promatran je na primjeru proučavanja dimenzija učeničkih percepcija u skupini učenika drugih i četvrtih razreda Osnovne škole iz Benkovca. Iako u Benkovcu djeluje Zavičajni muzej grada UVODPosjetitelji, tijekom svojih muzejskih posjeta, stvaraju čitav niz složenih značenja te se postavlja pitanje mehanizma osobnog odabira sadržaja i stvaranja značenja u tom procesu. U tom nas smislu veći broj autora (Worts, 1994; Paris i Mercer, 2002;Falk, 2009) upućuje na pitanja dimenzija posjetiteljeva identiteta, te u skladu s time, identitetskih odrednica muzejskog iskustva. U navedenoj literaturi razmatra se pitanje osobnog identiteta, a u filozofskom smislu, prilikom opisivanja osobnog identiteta, govore o T. KISOVAR IVANDA, I. BATARELO-KOKIĆ: Povezanost zavičajnog... MAGISTRA IADERTINA, 7(7) 2012. 8 pojedinačnim promijenjivim identitetskim odrednicama osobe kao i njezinim nepromijenjenim odrednicama kroz vrijeme (Audi, 1999, str. 660).Prema kritičkoj pedagogiji, način na koji učenici nižih razreda osnovne škole istražuju i doživljavaju sebe, rezultat je društvene memorije, povijesti i tradicija, koje pomažu u oblikovanju osobnih pogleda i formiranju identiteta (Christensen, Aldridge, 2012). Promišljanje identiteta držimo značajnim u kontekstu bavljenja posjetiteljevim doživljajem muzeja. U težnji za poboljšanjem kvalitete razumijevanja i poticanja intenziteta muzejskog doživljaja učenika kao muzejskog posjetitelja, uz pitanja učenja u muzejskom kontekstu, zanima nas i uloga njegova osobnog identiteta u doživljaju muzeja i njegovih sadržaja. Možemo se pitati u kojoj je mjeri njegov doživljaj povezan identitetskim koncepcijama u muzejskoj praksi.U muzeološkom se kontekstu Maroević bavi ponajprije kulturnim identitetom, odredivši ga kao potpuno podudaranje materijalnog i duhovnog na više društvenih razina, sa svrhom da se materijalnim odredi duhovna dimenzija neke od tih razina koja time postaje određujuća za raspon identiteta, sa svim međuutjecajima triju temeljnih kategorija: vremena, prostora i društva (Maroević, 1993, str. 98). Nadalje, autor ističe da identitet kao dio muzeološke poruke postaje element spoznaje o korijenima koji sežu do različitih dubina prošlosti i prostora onih struktura koje su u nama, kao što su pripadnost susjedstvu, mjestu, gradu, području, zemlji ili kontinentu, pripadnost obitelji, rodu, zavičaju, regiji, narodu, klasi, rasi, civilizaciji, religiji, kulturi ili nekom drugom obliku formulirane svijesti (Maroević, 1993., str. 99). Potreba muzejske ustanove da svoje identitetsko poslanje prilagodi stvarnim potrebama posjetitelja, upozorava Šola, upućuje ga na put nastojanja izbjegavanja institucionalne rigidnosti.Institucija je, da nabrojim neke njezine druge grijehe, n...

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Gallery Enhancement: Forging a New Partnership with the Public

Cited by 5 publications

References 0 publications

Culture and Museums in the Winds of Change: The Need for Cultural Indicators

Culture and Museums in the Winds of Change: The Need for Cultural Indicators

Viewer Tagging in Art Museums: Comparisons to Concepts and Vocabularies of Art Museum Visitors

Povezanost zavičajnog identiteta i muzejskog iskustva učenika

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