世界博物馆的新思维、新现象和新趋势

在当代充满流动性与矛盾的状况下,人们不得不重新对博物馆组织与传统遗产管理的理念模式进行思考。新的社会的、行为的与政治的范示必须得到特别关注,同样,遗产与博物馆新的解说也必须得到特别关注。当代社会已经再次对这两个领域里所蕴含的巨大价值,并与文化关口与新科技联系起来。在这样一个新的,行星际社会里,一个最大的挑战就是要保证人类能在地球上持续生存下去,让每一个人都能得到教育、住宿、健康、就业与休闲的机会。博物馆必须意识到这个新的社会—文化现实并调整自身,以成为个体与大众社会翻益之间进行冲突、争论与协商的例证。对于博物馆来说,最大的挑战就是保证所有的社会团体都能在伦理多样性中表达其特别的文亿模式与身份。这些趋势对不同类型的博物馆有着不同的影响：传统的博物馆必须成为信息式机构,提供的展品与服务能够满足以团体利益为基本的公众的要求；领土博物馆必须重新实现新博物馆学昀提议,以新的社会范示为基础,进而强调他们作为社会与政治交接地例证的作用。一种新的组织范示的实现依赖于简洁而分散的结构,呈细胞或网状,以及动态的运行方式。所有这些都根据协商与嗠务和展品的质量来进行。必须注意到虚拟博物馆。它综合了在博物馆、专业人员与公众之间进行调解的新动力。另外,还需要强调与博物馆组织与管理相关的伦理问题,以使博物馆能在全球亿的世界里实现他们的社会作用。     

论“博物馆教育者”的重要作用: 对博物馆领域专业化的迫切要求

随着博物馆在全球范围内承担的教育任务和社会责任愈发重要,博物馆工作人员需要具备相应的技能来完成这些重要任务。因此,越来越凸显出“博物馆教育者”在博物馆职业发展中的重要作用。博物馆领域需要职业的教育者,他们理解当代教育理论和实践,掌握多种技能,使博物馆能够更加有效地完成教育使命。本文认为博物馆教育者的培训和认证是博物馆领域和大学教育新的发展前沿。随着中国博物馆数量的稳步增长,以及博物馆须对公众和社会文化做出贡献的政策要求,中国的博物馆对博物馆领域专业化的要求尤为迫切。     

“互联网+”背景下博物馆公共文化服务的多元路径探析——基于“泛博物馆”观念的若干思考

当代博物馆正在从"以藏品为重心"转变为"以人为重心",基于"互联网+"的时代背景以及新媒体技术的广泛应用,当代博物馆在性能、功能、职能、效能等方面都实现了最大的包容性,这意味着一个"泛博物馆"观念的确立。"互联网+"时代,博物馆呈现出数字化、虚拟性、交互式、可移动的新特点和趋势,作为社会公共文化服务的重要阵地,当代博物馆在数位典藏、虚拟体验、智识教育、娱乐休闲及社交、IP开发及衍生服务等方面借势"互联网+"的东风,大大提升了博物馆公共文化服务的质量和能力。     

浅谈新形势下如何挖掘博物馆自身优势，更好地发挥其社会职能作用

博物馆是社会文明发展的重要标志。近年来，物质文明的迅速发展，带动并促进了精神文明建设，而博物馆作为精神文明建设的重要组成部分，是传播社会科学，对人们进行文化知识教育的阵地。在新的形势下，如何充分发挥博物馆的社会职能，更好地为社会服务，是摆在我们每一个从业人员面前的新课题，下面就此问题谈点自己的浅见和认识。     

论当代“物证”的“藏品”价值——抗疫事件中博物馆对城市的记忆

作为城市博物馆,在记录一座城市历史的同时,也承担着记录这座城市当代社会发展的任务,包括对重大社会变革和突发性重要事件集体记忆物证的征集与收藏,这是城市博物馆的重要责任。当前在征集与抗击新冠肺炎疫情斗争有关的藏品时,博物馆需要用及时而敏锐的判断力和专业能力,将具有代表性、典型性的重要物证征集到博物馆,为明天保存和展示今天的城市记忆。     

从英美经验看博物馆与社会包容

承担社会责任、服务多元群体,促进社会包容与公平正义已经成为当代英美博物馆的重要价值导向。这是英美国家历史文化、社会环境、政策法规、行业发展、学术研究等因素综合推动的结果,并通过当代博物馆定义与伦理探讨,影响着世界博物馆的发展。英美经验证明,当代博物馆需要关注社会议题、明确社会责任、挖掘资源优势、秉持开放态度,并从根本上反思与革新博物馆的价值功能、使命宗旨与运营管理,才能成为推动社会发展的有效力量。     

环境主义与博物馆

环境问题已成为全人类当代最迫切的问题,它涉及政治、经济、社会、伦理等诸多领域的深刻变化。作为“为社会及其发展服务”的博物馆,必然面临环境的挑战。这种局面也为重新界定博物馆的地位和作用带来新的机遇,因而从本世纪七十年代以来,环环意识在博物馆不断兴起,当前这种环境意识已形成势不可挡的环境主义。究竟环境主义是怎样在博物馆兴起与升华的?在环境主义的冲击下博物馆在环境危机中扮演什么角色?我们中国的博物馆同行应该在哪些方面做出新的努力?本文就是对以上问题的初步探讨。     

传统文化与现代化视野下的中国博物馆发展史

中国博物馆是在中国从被迫走现代化道路到主动走现代化道路的过程中出现,在西方文化和中国传统文化相互冲突、会通融合的过程中形成。新中国成立前,它的发展始终同政治变革、救亡图存相连,教育及科学博物馆在旧中国博物馆占有主导地位。新中国成立后,以历史文物为中心的博物馆逐渐成为中国博物馆事业的主体,改革开放前的新中国博物馆依然遇到了来自传统文化与现代化冲突的困扰,与政治化的叠加使其难以走上专业化的发展道路。改革开放后,我国博物馆事业的生存环境逐步改善,社会对博物馆的认识正在发生积极的变化。推动中华文明创造性转化和创新性发展、为人类提供正确的精神指引和强大的精神动力,让收藏在博物馆里的文物活起来,让其中蕴藏的精神鲜活起来,是当代中国博物馆的使命和责任。     

当代博物馆变迁的全球新视野：挑战与启示

2012年“国际博物馆日”主题是“处于变革世界中的博物馆：新挑战、新启示”（Museumsina Changing World：New Challenges,New Inspirations）。本文紧紧围绕这个主题,立足文化人类学关于社会文化变迁的理论阐述,对世界变革带给博物馆的种种新挑战和新启示,进行比较系统的阐述。博物馆是变迁社会中的一部分,也是记录世界变化的收藏所。变迁已经成为全球博物馆的主题,世界的急剧变化带给博物馆的不仅仅是挑战,还有种种新机遇和新的可能．     

浅析博物馆的档案管理工作

<正>随着当代社会经济的快速发展,我国信息化水平不断提高,博物馆学理论不断得到完善,但是与此同时博物馆的档案工作出现了许多亟待解决和值得重视的新问题、新特点。对于在博物馆发展、前进过程中起到极大作用的档案管理工作,也应得到广大博物     

Building a Community-Based Identity at Anacostia Museum

A historian explores the construction of Anacostia Museum's identity from the 1960s to the present by examining the history of its exhibitions. Direct community accessibility was part of the museum's founding mission, but Smithsonian administration, museum staff, and community residents all seemed to have different ideas about the meaning of the “neighborhood museum” concept. Designated a “Smithsonian outpost,” and intended to draw African-American visitors to the Smithsonian museums on the Mall, the new museum's mission was instead shaped by community advisory groups to focus broadly on African-American history and culture. Staff efforts to “professionalize” and upgrade museum operations later threatened community access to the exhibition-development process, and most community/museum interaction was relegated to the program and outreach activities of the education department. The 1994 Black Mosaic exhibition provided an opportunity to devise new ways of integrating the perspectives of a changed community into the exhibition-development process.     

Using 3D Printing to Enhance Understanding and Engagement with Young Audiences: Lessons from Workshops in a Museum

This paper details findings from a collaborative research project that studied children learning to 3D print in a museum, and provides an overview of the study design to improve related future programs. We assessed young visitors’ capacity to grasp the technical specificities of 3D printing, as well as their engagement with the cultural history of shoemaking through the museum's collection. Combining the museum's existing pedagogical resources with hands‐on technology experiences designed by Semaphore researchers, this study enabled both researchers and museum education staff to evaluate the use of 3D‐driven curriculum and engagement materials designed for children visiting cultural heritage museums. This study raises critical questions regarding the practicality of deploying 3D media to engage young learners in museums, and this paper illuminates the challenges in developing models for children to put historical and contextual information into practice.     

The Museum Maturity Framework: A Path to Purpose,Meaning, and Values

Abstract In this paper we synthesize elements of the modern philosophy and practice of organization management and leadership and illustrate their application to museums. The elements of our synthetic theory are a museum's inventory of processes (system of work), the role of its leader/director, and the social structures of the museum. These theoretical elements are placed in a conceptual context called the museum maturity framework, a five‐level developmental sequence in which are organized the paradigms and behaviors of a museum as it matures. The museum maturity framework can help the internal and external analysis and assessment of museums.     

从科技藏品的收藏、研究与传播，看自然历史博物馆的传承与转变——以美国自然历史博物馆为例

2019年是美国自然历史博物馆建立150周年。在150年的发展历程中,随着博物馆功能逐渐明确为教育、研究与收藏,藏品在该博物馆中的作用也逐渐发生转变。藏品在收藏、研究与传播中所发挥的作用,是自然历史博物馆历史传承与新时代转变的体现。美国自然历史博物馆正在经历一系列的创新与转型,对于自然历史博物馆的未来发展有很大的启示意义,也有助于我们在当代背景下去理解自然历史博物馆的本质与价值。     

儿童博物馆核心教育理念

儿童博物馆在过去二十年间由于种种原因,并没有在中国发展起来。一些相关的基本问题:“什么是儿童博物馆？儿童博物馆展示什么？为什么需要儿童博物馆？”在中国并不为大众熟悉,也没有受到太多博物馆专业领域人士的关注。本文将从影响儿童博物馆的理论及研究,儿童博物馆与其它场馆的区别,儿童博物馆的教育内容等几个方面来介绍儿童博物馆的核心教育理念。以期通过本文能够把儿童博物馆的精髓呈现出来,让更多的人了解并关注儿童博物馆,为中国儿童教育方式的发展提供一些参考。     

新媒体时代博物馆传播的多元化需求与对策

新媒体时代,传统的博物馆传播模式受到了极大挑战。根据受众对于传播媒介、传播方式日益多样化需求的分析,本文提出:多元化传播是当代博物馆自身功能变革与发展的内涵要求,更是博物馆应对外部新媒体时代的发展要求。在此基础上,通过对于博物馆传播特征、受众需求和博物馆多元化传播案例的分析,探讨了新媒体时代的博物馆传播的多元化需求与对策。     

Measuring Infinity: José de Rivera's Smithsonian Sculpture on the National Mall

Abstract Large works of public sculpture outside our museum doors reveal aspects of a museum's self‐image. They beckon, reassure, or confront visitors with new ideas about what might lurk inside. Whether off‐the‐shelf or commissions by well‐known sculptors, these pieces matter. They are the noses on our museum faces. In this essay, one museum curator reflects on the layered meanings of his museum's entry art — meanings that, he argues, have the potential to evolve over time.     

观众究竟在博物馆里参观到了什么？

在当今社会,博物馆为提升全民素质起到越来越重要的作用。为了更好地发挥博物馆的社会教育功能,博物馆馆员在教育活动设计或者展览设计的过程中有必要了解观众的参观需求以及参观偏好。因此,为了体现“以观众为中心”的工作理念,作者从“观众”的视角,对一次博物馆的参观体验进行观察和反思。本次探索发现,由于观众自身所处的社会文化背景的差异,他们面对同一件展品有着不同的关注点和兴趣点。这种差异性提醒博物馆馆员在与观众进行互动的过程中,需要了解观众的不同需求和不同偏好。并且,这种参观视角的多样性也为博物馆的教育工作提供了创意的源泉。     

From Period Rooms to Public Trust: The Authority Debate and Art Museum Leadership in America

A recent lecture series at the Harvard University Art Museums titled “Art Museums and the Public Trust” marked the eightieth anniversary of the founding of Harvard's famed Museum Course. A graduate seminar begun in 1921 by the Fogg Art Museum's associate director, Paul J. Sachs, the Museum Course became the primary training ground for art museum leadership in the first half of the twentieth century. The 2001 commemorative lecture series was intended to foster a healthy debate on the place of the art museum in Anglo‐American culture. Instead, the speakers, veteran directors of America's and England's most prestigious art museums, invariably returned to one concern: authority—theirs and that of the art museum itself in contemporary society. Authority was at the heart of the Museum Course decades earlier, tellingly explored in annual debates around two significant topics. The first debate involved the pros and cons of including period rooms in American museums. In the second, students argued about whether America's established art institutions should collect the work of living artists. Questions of how museums should respond to the interests of audiences and communities, their responsibility to contemporary artists, and the meaning of a public trust trouble America's museum leadership now as then. This article explores the common ground between the Museum Course debates of the 1930s and Harvard's recent commemorative “debates” by America's contemporary museum leaders and comments on its significance for today's museums.     

The Museum Profession: Protecting and Promoting Professional Commitments

Throughout their history, museums have performed diverse public services: from preservation, collection, and exhibition, to interpretation, education, and civic engagement. As Stephen E. Weil ( 2002 ) explains, since the mid‐twentieth century, museums have experienced two major revolutions. First, a revolution in focus from collection‐oriented to visitor‐oriented practices, and second, a revolution in public expectations as museums secured a position within the nonprofit sector (81–82). With competition for public, private, and philanthropic support resting upon measurable results, the evaluation of museums depends upon its ability to “accomplish its purpose” (5). However, the question remains: what is the museum's purpose? Which is the more important: collection and artifact preservation, or public engagement and education? An overview of museum practices reveals a multiplicity of professional tasks distributed among three imperatives: preservation, scholarship, and programming (Weil 2002 , 11). The competition for resources devoted to each of these imperatives can spark controversy—particularly if museum professionals answer the question of the purpose of museums differently. Organizational communication scholar, Janie M. Harden Fritz, developed a theoretical framework that seeks to respond to such controversies in Professional Civility: Communicating Virtue at Work. This essay considers Fritz's “professional civility” in the context of the American museum sector, lending insight to the question of museum purpose and function.