改工业厂房为现代化博物馆的尝试——明孝陵博物馆新馆的陈列与陈列艺术

明孝陵是目前南京唯一的一处世界文化遗产,它所反映的明代文化是古都南京厚重文化积淀最灿烂辉煌的组成部分。     

Diamond Jenness and the National Museum of Canada: 1930–1947

Diamond Jenness (1886–1969), New Zealand born and Oxford educated, is best known in anthropology for his detailed studies of Canadian Inuit and Indian societies and cultures. He published numerous reports and papers and the ground-breaking The Indians of Canada (1932), a classic of North American ethnology. Less well known is his service (1926–1930, 1937–1947) as chief of the Anthropological Division of the National Museum of Canada (NMC), where he made important contributions to furthering Canadian anthropology before the discipline had gained public acceptance or a secure niche in either academia or government. Two facts help to explain why little attention has been paid to Jenness's administrative work and the Division's accomplishments during his tenure. First, his career was overshadowed by that of Edward Sapir, among the century's brightest anthropological lights and Jenness's predecessor as chief (1910–1925). Sapir has been the subject of considerable attention in disciplinary history, including assessments of his formative influence on professional anthropology in Canada during his sojourn at NMC (Cowan et al., 1986; Koerner, 1984). Second, Jenness and his colleagues struggled to maintain the Division's viability at a time when economic depression, government bureaucracy, and world war threatened to reduce professional anthropology to insignificance. Though we are not without tangible proofs of the Division's scientific endeavors during the period, perhaps its more notable accomplishment was surviving the onslaught at all.     

“Ferry Me O’er”: Musing on the Future of Museum Culture

Abstract Museum professionals face unprecedented challenges in the digital world of the twenty‐first century. How will we meet those challenges and who will lead us to the new shore of our future? We need museum professionals who act as ferrymen, guiding the museum community and its constituents through the troubled waters of our age to cultural reform that leads us to the essential purpose of art: love.     

The Metropolitan Museum of Art as an Adjunct of Factory: Richard F. Bach and the Resolution Between Gilman’s Temple and Dana’s Department Store

Abstract This article examines the metaphors used by museum leaders in the early twentieth century. Richard F. Bach’s metaphor for the Metropolitan Museum of Art as an adjunct of factory is positioned as a philosophical resolution between those of two prominent contemporaries: Benjamin Ives Gilman’s metaphor of the art museum as a temple and John Cotton Dana’s metaphor of the museum as a department store, which are often viewed by historians in a dichotomy of unresolved tension. While examining differences in institutional agendas suggested by these metaphors, this article illuminates the common goal among them: Museums explicitly saw themselves as serving an essential role in American society to refine public taste and the aesthetic sophistication of their audiences. A close analysis of the metaphors reveals three historical models that offered varying visitor experiences for exercising good taste.     

The Museum Visit: It’s an Experience,Not a Lesson

Abstract Museums offer visitors direct experiences—such as visual experiences—that are not available elsewhere in daily life. Learning through verbal information is part of it, yet the aesthetic experience is always outside of the “right‐answer paradigm.” Cognitive development occurs when perceptions inform thinking, thoughts are expressed in language, and expressed thoughts invite reconsideration of the material at hand. Both science and art require the development of these skills. Science and art museum educators can and should advocate the value of looking, thinking, wondering about complexity, and discussing the results.     

The Museum Experience: Mapping the Experience of Fine Art

How do visitors to fine art museums experience exhibitions? Can we classify their experiences? What are the factors that drive different types of visitor experience? We set out to answer these questions by analyzing from sociological, psychological, physiological, and behavioral perspectives the responses of 576 visitors to a special exhibition 11: 1 (+ 3) = Eleven Collections for One Museum mounted at the Kunstmuseum St. Gallen, Switzerland, from June to August 2009. Our five‐year research project, eMotion: Mapping the Museum Experience, interpreted computer‐modeled movement‐tracking and physiological maps of the visitors in complement with entrance and exit surveys. We tested individual aspects of the visitor, such as her or his expectations of the exhibition prior to seeing it; his or her socio‐demographic characteristics; her or his affinity for art, mood just before and receptivity just after the visit; and spatial, individual, and group‐related behavior patterns. Our study breaks down three types of exhibition experience that we call “the contemplative,” “the enthusing,” and “the social experience.” The results yield new information about aesthetic arousal, cognitive reaction, patterns of social behavior, and the diverse elements of the exhibition experience.     

The Evolving State of the Art CD-ROM: The National Museum of American Art and Les Impressionistes

The present paper analyzes two prominent art history-based CD-ROMs published in 1996 and 1997, and suggests trends in the information and interface design of cultural multimedia programs. It reviews first- and second-generation feature sets, and assesses the initial impact of object-oriented programming. Both CD-ROMs are described in detail, and their interfaces and navigational structures appraised. Other questions treated include the virtues and pitfalls of hyperlinking, the audience for such ambitious projects, the impact of market dynamics, and potential transferability to the WorldWide Web.     

The Via Media of American Museum Practice: Henry Watson Kent and the Metropolitan Museum of Art

Speculation about the character and purposes of American art museums has occasioned intense debate since their inception—never more so than today. Whether to be elitist or populist, object‐based or audience‐based forms the crux of many heated arguments. This article asserts that, in the midst of competing philosophies, the successful American art museum has in reality grown from an amalgam of ideas that form a via media or middle path, far more inclusive and pragmatic than is usually noted. This comprehensive philosophy is most effectively demonstrated in the work of Henry Watson Kent at the Metropolitan Museum of Art in New York during the first decades of the twentieth century. The work of Kent and his colleagues at the Metropolitan Museum is here examined as a paradigm for the via media museum practice that speaks to the aspirations of America's current art museum leadership.     

The changed – and changing – landscape of serials publishing: Review of the literature on emerging models

This article presents an up‐to‐date portrayal of the greatly changed landscape of scholarly journal publishing and identifies the emerging trends characterizing it. We consider the attributes, novelty, and disruptive potential of different models, which range from improvements to the extant model to attempts at reconfiguration and transformation. We propose that journal transition can be seen as falling into three categories. The first is enhanced models of the traditional scholarly journal, which typically afford enriched functionality that breaks the bonds of the printed page whilst otherwise remaining wholly traditional in their offerings. The second category is innovative models of the traditional scholarly journal, which aim at supporting the journal in performing its traditional roles through convention‐altering ways. The third category is the possible alternatives to the traditional journal, which represent a move towards alternative modes of knowledge dissemination. This review shows that each of the models identified makes contributions to enriching the reporting and showcasing of scholarly output. They also make it more effective and more efficient. However, we conclude that none of the possible alternatives being discussed can serve as a full‐fledged alternative to the journal.     

The Effect of Visitors ‘ Agendas on Museum Learning

It has been argued that visitors' pre-visit “agendas” directly influence visits. This study attempted to directly test the effects of different museum visit agendas on visitor learning. Two new tools were developed for this purpose: (1) a tool for measuring visitor agendas; and (2) a tool for measuring visitor learning (Personal Meaning Mapping). Visitor agenda was defined as having two dimensions: motivations and strategies. Personal Meaning Mapping is a constructivist approach that measures change in understanding along four semi-independent dimensions: extent, breadth, depth, and mastery. The study looked at 40 randomly-selected adults who were visiting the National Museum of Natural History's Geology, Gems and Minerals exhibition. Visitor agendas did significantly impact how, what, and how much individuals learned. Results are discussed in terms of the current debate about education vs. entertainment.