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Color is an essential element in the exhibition space of museums, influencing people's visual experience. To quantitatively study the relationship between color and individual visual perception in museum exhibition spaces, the study used eye-tracking technology combined with a questionnaire, exploring the relationship between color and visual perception in the exhibition environments of history museums in terms of hue, saturation, and brightness of color. Taking the Ruijin Central Revolutionary Base in Jiangxi Province as a historical display space for research, the results show that when the saturation is 69–77%, or the hue is red (0°H), the exhibited. environments have stronger color attractiveness. The study demonstrated that the first fixation duration in eye movement data significantly negatively correlates with the subject's personal preference, comfort, pleasure, and attractiveness. Researchers can use this as an evaluation parameter for visual perception of exhibition space. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "Rubens and Women" at the Dulwich Picture Gallery in London, focusing on Peter Paul Rubens' depiction of women in his works. The exhibition featured over 40 objects, including works by Rubens and loans from other collections. The review highlights the exhibition's visual intelligence but criticizes its conceptual coherence and the quality of the accompanying catalogue. It questions the exhibition's framing of Rubens as a feminist and suggests a more nuanced understanding of his complex portrayal of women. [Extracted from the article]

The article reviews the exhibition "Continuity: Cahuilla Basket Weavers and their Legacies" at the Benton Museum of Art at Pomona College, Claremont, California, from February 14 – June 23, 2024.

The article discusses the ludlockite specimen at the Johannesburg Geological Museum, which is considered significant due to its size and rarity. The specimen was acquired in 1969 and is one of the largest and richest known examples of ludlockite. The Johannesburg Geological Museum has a collection of approximately nineteen thousand specimens, including a significant suite of Tsumeb minerals, and is currently located in the Museum Africa complex in downtown Johannesburg. [Extracted from the article]

This article focuses on the abandoned project for a Museo d'Arte Industriale in Milan, conceived by the Associazione degli Industriali. Although the project was never accomplished, it eventually led to the creation of the Museo Artistico Municipale in 1878. At the time, the Associazione degli Industriali of which Gian Giacomo Poldi Pezzoli was a member, was trying to establish a network of international relationships with museums and cultural institutions such as the South Kensington Museum in London, in order to emulate them in creating a modern museum where their private collections would eventually find a home. This paper sets out the cultural and artistic background in which Poldi Pezzoli and other Milanese noblemen and collectors operated, and in which they tried to transform their private and historical collections into new public museums. [ABSTRACT FROM AUTHOR]

Translation abstract Museum Reinhard Ernst – When concrete floatsThe foundation‐funded Museum Reinhard Ernst (mre) in Wiesbaden houses the collection of entrepreneur and benefactor Reinhard Ernst. It contains nearly 2000 works and sculptures of abstract art, 960 of which are considered museum‐worthy. The building was designed by the recently deceased Japanese Pritzker Prize winner, Fumihiko Maki. This museum is the architect‘s tenth and his only one in Europe. The Frankfurt architecture firm schneider+schumacher were commissioned to realise the project, and Bollinger and Grohmann were in charge of structural engineering. The building has a fully glazed entrance area and an open‐plan atrium, creating a bright and inviting interior. With high ceilings and wide walls, there is plenty of space to display large works of art in the 2500 m2 exhibition area. The museum opened for exhibitions in June 2024. The new building was primarily constructed using in‐situ concrete. The structural design is characterised by several special features, including the high exhibition rooms with a standard span of over 12 m and the building‘s recesses on the south and north‐west sides and towards the atrium. [ABSTRACT FROM AUTHOR]

The article "Sleeping Beauties: Reawakening Fashion" reviews an exhibition at the Costume Institute, Metropolitan Museum of Art, focusing on conservation, embodiment, and preservation in fashion. The exhibition offers a sensorial experience through soundscapes, visual projections, and recreated smells, inviting visitors to engage with the garments in new ways. By showcasing fragile garments in a flat display, the exhibition prompts contemplation on the ephemeral nature of fashion and the role of conservation in preserving its materiality. The exhibition also explores themes of nature and cycles, presenting a complex and immersive journey through the natural world. [Extracted from the article]

AbstractVirtual Museums present a novel approach for audiences to experience cultural content. This paper proposes two new concepts of virtual museums: Human-Centric Virtual Museum, which emphasizes audience interaction experiences, and Content-Centric Virtual Museum, which focuses more on the digitized display of real museum collections and content. With the widespread application of extended reality (XR) technology in this field, people are increasingly inclined towards experiencing highly interactive Human-Centric Virtual Museums. However, evaluating these from a user cognition perspective warrants further investigation. To address this, we design and implement three fundamental forms: Mobile Application (MA), Virtual Reality (VR), and Mixed Reality (MR), and evaluate comprehensive user experiences, including satisfaction, cognitive load, emotional involvement, presence, interactivity, degree of participation and potential negative impact. The experimental results show that in terms of satisfaction and cognitive load, users generally find the MR mode easier to understand and operate. Regarding emotional involvement, audiences in the VR and MR modes are more likely to focus on the current content. Concerning presence, the MR mode enables audiences to perceive the real spatial location, thereby increasing their immersion. Furthermore, compared to the MA mode, both MR and VR modes exhibit stronger interactivity, providing audiences with a more immersive exhibition experience. However, the VR mode may also cause users to feel discomfort during use. [ABSTRACT FROM AUTHOR]

Hundreds of minerals are chiral, that is, they appear in nature in two forms—left-handed and right-handed. Yet except for quartz, this key structural property has remained, by and large, in shadow in the world of minerals in research, in museum displays and for collectors. This review is devoted to providing a full picture of chiral minerals in nature. It starts with a general outline of the crystallographic background needed for the characterization of chiral minerals, continues with a detailed description of the many chemical and physical processes leading to their formation and follows with their chemical reactivities and transformations, with their physical properties and with the ways to analyze and identify them. Many tables with listings of various types of chiral minerals are provided. The "missing-glove" situation, in which the recognition that a chiral mineral appears in nature in two distinctly forms is, by and large, missing, is described, and it is hoped that this review will spark interest in this aspect of nature's crystals. [ABSTRACT FROM AUTHOR]

The article discusses the need for museums to reframe fashion and textiles in order to create culturally engaging and socially relevant experiences for visitors. It emphasizes the importance of inclusivity, diversity, and equity in museum practices, including the collection, curation, and display of fashion and textiles. The article explores themes such as inclusive curation, decolonization, cultural appropriation, and community-centered approaches to exhibition and conservation. It also highlights the significance of challenging traditional standards and practices in fashion museology to foster a more inclusive and representative understanding of global fashion histories. [Extracted from the article]

For too long, museums have used thin, white mannequins as the standard for body surrogates in dress and textile exhibitions. This article explores some of the issues surrounding this practice and the message these objects may convey. As an actionable step towards social equity, it offers an alternative called the "Forest People" that aims to address issues of diversity and inclusion in curatorial and display practices. Inspired by tree diversity, the Forest People is a solution that draws from the past to create a new version of artists' wooden lay figures. It replicates different wood colors and grains and can lend itself to presenting a variety of different races while still fading in the background and conveying an aesthetically pleasing and visually coherent ensemble. The article reflects on the development of a prototype for the exhibition Woven Identities: Ghanaian and Guatemalan Textiles in the Face of Globalization (2023) at the University of Alberta, and its effectiveness and potential developments. [ABSTRACT FROM AUTHOR]

As augmented reality (AR) gains prevalence, various AR exhibits are being installed in science museums. However, few research has thus far examined the extent to which these exhibits can improve visitors' learning. This study qualitatively evaluates the effectiveness of an AR dinosaur exhibit at the Gwacheon National Science Museum in Korea and examines the implications for its improvement. Eight elementary school students experienced the AR dinosaur exhibit, and their reactions were captured by audio and video recordings. Science museum experts were also interviewed to understand the intended affordances of the exhibit. The students' responses to the intended affordances were examined by analyzing their tour of the AR dinosaur exhibit. We found that the exhibit attracted the visitors by catching their attention. However, they did not pay attention to the exhibition's primary purpose of improving scientific understanding or reasoning. Some unintended interactions, unrelated to the intended affordances, also emerged. The limitations of the examined AR dinosaur exhibit suggest implications for improving AR exhibits in the future. [ABSTRACT FROM AUTHOR]

The rapidly evolving nature of emerging technologies renders artworks made using such technologies a challenging category of objects to be handled by institutions. This paper presents real scenarios of how art made with Virtual Reality (VR) and Augmented Reality (AR) is acquired, exhibited and finally preserved by museums and art institutions, presenting a clear picture of a particular period. Though an extensive body of literature and studies deal with the preservation of 'New Media', very few focus on the challenges faced by museums and private institutions when it comes to artworks that use VR/AR. We used in-depth interviews with eight museum professionals working in six key institutions that engage with VR/AR artworks, and four artists, who create such works, in order to define current institutional practices, understand the challenges museum professionals face when dealing with VR/AR artworks, and identify the preservation-related concerns of artists working with these technologies. [ABSTRACT FROM AUTHOR]

Development and popularisation of creative technologies have resulted in changes to creative processes in the art and museum sector, and have redefined consumer and producer roles. The design practises that emerge when exhibition designers integrate new technologies to promote visitor engagement and co-creation are investigated in this article. This study delves into a novel design strategy for exhibition co-creation that acknowledges each interaction as a potential data point and involves connections between exhibition space, narrative, technology, interaction, and visitor, as well as a distinction between aware and unaware co-creation. [ABSTRACT FROM AUTHOR]

Artists have long been interested in the archival process. Their work examining and critiquing archives and archival concepts has attracted considerable scholarly attention; however, little attention has been paid to the perspectives of archivists, focusing instead on those of artists themselves, as well as critical theorists. This article focuses on how archivists consider and harness archives in their practice, examining their use of archives in exhibitions within museum and gallery settings (and, briefly, within libraries). Drawing on interviews with archivists and designers, this paper explores the display of archives through four key themes: contextualising (and, in turn, shaping) the exhibition of artworks; providing insights into the creative processes of artists and writers; enabling institutions to reflect on their collecting and curating practices; and using archives as objects for display in themselves. The discussion demonstrates a range of different perspectives that reveals the transformative possibilities of archives and their exhibition. [ABSTRACT FROM AUTHOR]

When we make museum exhibitions, we always do this in a particular architectural space. The question of how we deal with the aesthetic interrelations between museum architecture and exhibition design is, however, a contested one. Whereas some museums completely integrate architectural interiors and (permanent) display design, other museum interiors function as more 'neutral' containers, taking the shape of 'white cubes' and 'black boxes'. This article will investigate how the interfaces between museum architecture and exhibition design can be traced in current museum space conceptualisations. By focusing on three approaches to museum space that have been highly influential during the last decades, space syntax analysis, narrative approaches and the concept of atmosphere, this article will explore how museum space conceptualisations have integrated versus separated architectural and exhibition spaces, and how they have managed to capture the material interfaces between them. [ABSTRACT FROM AUTHOR]

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study seeks to identify which factors of an artist’s background and demographic characteristics (age, race, gender, education, location as a child, and family SES) correlate with successful career outcomes (quality of gallery representation, representation in museum exhibitions and collections). Using a sample of 930 artists, created by random sampling from a catalog of represented artists merged with public data on demographic, SES, and educational backgrounds, we conducted a multivariate analysis on differences in artist outcome. Findings suggest a substantial female penalty in gallery representation and museum exhibitions. While an education premium exists, measured by attending top-tier BFA/MFA programs, it does not affect all artists similarly – female artists do not receive gains in the same way that male artists do, while artists from lower SES backgrounds are less likely to attend such programs. We also find that previous cohorts of artists are more established in the modern art world. [ABSTRACT FROM AUTHOR]

This article proposes a model for integrating computer role-playing games with museum experiences to enhance cultural heritage learning with a particular focus on design. Centered at the Izmir Archaeology Museum, the study delves into the design of a serious game aimed at enriching both the educational and experiential facets of museum visits. The model highlights the use of gameplay components and design patterns to manifest tangible and intangible heritage content, thereby promoting visitor awareness and understanding of cultural heritage. Through a provisional game scenario based on the museum's prehistoric artifact exhibition, the study illustrates how a gameplay design approach that is informed by heritage content displayed in the museum can be prototyped. The proposed model not only aims to make museum visits more engaging, but also seeks to contribute to the broader discourse on game design, game-based learning, and museum experience. [ABSTRACT FROM AUTHOR]

The Natural History Museum of the University of Pisa hosts the most important osteological collection of extant cetaceans in Italy as well as one of the most relevant all over Europe. Furthermore, it also preserves a significant palaeontological collection that includes several holotypes and otherwise unique specimens of Archaeoceti (archaic cetaceans), Mysticeti (baleen whales) and Odontoceti (toothed whales). Here, we provide a historical overview of these collections and the corresponding displays, with special attention paid to the origin, development and design of the 'Archaeocete Hall' and 'Cetacean Gallery'. These comprise what may be the largest exhibition worldwide among those dedicated exclusively to cetaceans—one that includes 28 complete skeletons and one skull belonging to 27 extant species as well as fossils of nine extinct species. Our review also reveals that the museum exhibitions feature the oldest known specimen of Mesoplodon bowdoini and the type specimen of Ziphius savi, the latter being a validly described species that is currently regarded as a junior synonym of Ziphius cavirostris. Also significant is the display of several holotype specimens of fossil species such as the protocetid archaeocete Aegyptocetus tarfa, the balaenid baleen whales Balaena montalionis and Balaenula astensis, and the monodontid Casatia thermophila. The Archaeocete Hall and Cetacean Gallery are highly appreciated by visitors as well as perused by the museum's educational team. The online archiving of 3D models of many of the MSNUP specimens on the open-access digital repository Sketchfab and their subsequent dissemination through the Wikimedia platforms has led to the creation of a major osteological resource—one that is broadly accessible to internet users worldwide. [ABSTRACT FROM AUTHOR]

The Ethnographic Museum in Dubrovnik holds an extensive textile collection which includes a number of dresses and costumes from Croatia and neighbouring countries. Until recently, the costumes were displayed on mannequins created by the academic artist Zvonimir Lončarić (1927–2004). His sculptures are expressive forms made of terracotta, fibreglass, wood, metal, acrylic paint and other materials chosen for their visual appeal. Due to their importance, the museum considered the mannequins to be protected works of art in the permanent exhibition; however, they had a harmful effect on the costumes displayed. In 2018, after completing a series of conservation–restoration projects within the collection, it was decided to replace the existing mounts with new, museum-quality mannequins. Two project-based learning workshops were organised, led by a team of textile conservators from the University of Dubrovnik and the Croatian Conservation Institute, in collaboration with the curator of the Ethnographic Museum. This case study highlights the challenges of exhibiting ethnographic costumes by discussing past presentation methods and how new solutions have been implemented in line with the modern conservation–restoration profession. The new solutions take into consideration ethics, decision-making processes, and an understanding of contemporary materials and methodology. [ABSTRACT FROM AUTHOR]

• Image inpainting techniques enhance artefact digital reconstruction. • AI-based image inpainting reconstructs broken artefacts in 3D. • Versatile manipulation of 3D artefacts can be made for varied views. • The influence of input image quantity on 3D model fidelity is explored. • Visualizing point cloud differences showcases model quality changes. [Display omitted] Artificial intelligence can lend a helpful digital "hand" in the restoration process of deteriorated cultural heritage items as well as towards an increased visitor interest in the museum exhibits. To this purpose, the present paper proposes a deep learning approach to repair the missing content and to recreate a visual counterpart of a degraded artefact by a 3D rendering of the semantic inpainted version. The new approach is constructed by means of some of the most recent and successful deep learning models for image inpainting and 3D reconstruction, namely stable diffusion and neural radiance fields. The method is tested in the scenario of ceramic artefacts, where the end visual result has a bigger impact. The ability of the novel technique to creatively reproduce a realistic and plausible 3D surrogate of broken archaeological objects shows the potential that AI has in supporting specialists with preserving the cultural heritage and bringing the museums into the public spotlight. [ABSTRACT FROM AUTHOR]

Stalin's era in Soviet history is one of the darkest. Nevertheless, despite numerous historical research, nonfiction and fiction, movies, and museum exhibitions exposing and discussing Stalin's atrocities, a sizable portion of the Russian population is neutral at best and respectful at worst of Stalin's leadership and personality. This article examines the "dark side" of Russian memories of Stalinism. According to our analysis of pro-Stalin content on TikTok, there are five major themes that users discuss in their pro-Stalin tiktoks: (1) Stalin as a leader in the victory of the Great Patriotic War, (2) a critique of contemporary culture's commemoration of victims of Stalinist repression, (3) a critique of the present, (4) the Stalin regime's achievements in economics and politics, and (5) admiration of Stalin's personality, focusing on his appearance and aesthetics. Furthermore, we hypothesize that social media's design and technological infrastructure can significantly influence which and how memory narratives are broadcast. In particular, "Stalin as a celebrity" is a framework largely overlooked by the researchers due to their focus on different media. [ABSTRACT FROM AUTHOR]

In modern Russia, the memory of the Cossacks is perpetuated in monuments and museum exhibitions; their culture and history are described in school textbooks, including specialized ones; some regions open special Cossack classes; and hundreds of social media groups discuss the history of the Cossacks. Central and regional authorities as well as Cossack organizations, both official and unofficial, take an active part in the politics of remembering the Cossacks. However, there are practically no specialized studies exploring memory politics regarding the Cossacks. Nevertheless, this topic deserves attention and careful analysis not only because a variety of intensive processes are taking place in this area, but also because this case has a number of specific features and allows one to take a fresh look at some dichotomies widely used in memory studies such as victim and heroic narratives, official and unofficial memory, and local and national memory politics. [ABSTRACT FROM AUTHOR]

Copyright of Art & Interpretation / Sanat ve Yorum is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article delves into the world of collecting, collections, and collectors during the nineteenth century. It focuses on the English inclination to amass objects and the intricate networks that arose from this practice. The article explores how collecting encompassed a wide range of objects and served as both a material and intellectual pursuit, reflecting a desire for organization and display. It also delves into the connections between collecting and empire, material culture, natural history, and the origins of museums. The essays in the special issue cover various topics, including gender dynamics in collecting, the role of travel writing in understanding Japanese culture, and the intellectual practice of music collecting. The text further examines different aspects of collecting and curating in the nineteenth century, such as the aesthetic value of tobacco in gardens, the legacy of botanical illustrator Anna Atkins, the literary function of museums, the Ottoman Imperial Museum, the material and emotional aspects of collecting, and the curation of texts in a digital archive. The essays shed light on the complexities and contradictions inherent in collecting and curating, emphasizing the importance of critically examining these practices. [Extracted from the article]

We exploit a rich dataset on Italian museums to investigate whether corporate museums' service provision is quantitatively different from the provision by the rest of private museums and by the three different types of Italian publicly owned museums (whose classification is by organisational mode: traditional, autonomous, and outsourced). We consider service provision in the dimensions of core museum functions (research, collection management, dissemination) and visitor friendliness, and we also focus on digital services. We use count data models estimation methods and include controls referring to museums' characteristics and contextual factors to account for possible confounding effects. Our analysis reveals that corporate museums do not provide more core services than other museums, as expected given the public good component of this category of services. Contrary to expectations, we find that corporate museums are not among the museums providing the largest number of services enhancing visitor friendliness. Finally, corporate museums provide more digital services than traditional public museums and private museums owned by churches, and not less than other museum types. We argue that this latter evidence may come from their interaction with the parent firm. Corporate museums' higher levels of digitalisation may be seen as the effect of a knowledge spillover between the more profit-oriented business world and the non-profit cultural sector. [ABSTRACT FROM AUTHOR]

This essay explores the work of women who shaped the collection of the Smithsonian's Anacostia Community Museum: Historian and Director of Research Louise Daniel Hutchinson (1928–2014), Curator Portia James (1953–2015), and Historian Gail S. Lowe (1950–2015) whose exhibitions and projects built a rich community-based collection. Hutchinson's work during the formative years of 1974 to 1986 elevated local voices in the research process and brought educator, Anna J. Cooper (1858–1964) out of obscurity. Portia James' including community voices and perspectives in the exhibition process, resulting in her most celebrated exhibitions: Black Mosaic: Community, Race, and Ethnicity Among Black Immigrants in Washington, D.C. (1994). Her project amassed a large amount of oral history interviews, photographic documentation, and research files. Gail S. Lowe's projects expanded the museum collection to include national and international voices on issues that resonated with the local community. Her exhibition exploring contemporary African American religious traditions, generated primary research materials on diverse faiths and spiritual traditions espoused by African Americans in Washington, D.C., and selected cities across the country. The collective work of all these women generated a wealth of resources and invaluable information that continues to be consulted by scholars and the public. [ABSTRACT FROM AUTHOR]

Museums are multimodal environments where semiotic resources including objects, space, sound, light, movement, language and the body converge. Our case study of a Taiwanese ceramics exhibition draws on the concept of 'affective affordances', meaning the socially and contextually informed ways that semiotic resources invite felt and embodied responses. We use this concept to investigate the ways in which texts and space co-construct affective meanings. We discuss texts and space as physical entities within the affective exhibition, each possessing intrinsic properties which can potentially stimulate certain embodied responses from visitors. Specifically, the case study addresses two questions: (1) how written texts within an exhibition interact with space to afford affective meaning potential; and (2) how museum visitors as active participants respond to space and text as affective stimuli. The study adopts a novel composite theoretical framework that combines spatial discourse analysis using the Binding framework, linguistic analysis using the Appraisal framework, and walking interviews. Our analysis provides rich empirical evidence of how space and written texts interact to create a felt sense of place for visitors. [ABSTRACT FROM AUTHOR]

While museums have always been multimodal in and of themselves, and while museum studies have long engaged with different modalities in the museum (exhibition design, visitor movement, etc.), a comprehensive understanding of museums as 'multimodal constellations' has been missing. This was certainly the case in the 1990s, particularly for linguistics as a discipline, in which language was likely to be viewed as an isolated, and primary, form of communication. Yet in a museum, every label is connected to an exhibit, an exhibition, and the museum itself, and communication needs to be understood as a holistic, multimodal enterprise. For me as a linguist involved with the Australian Museum, Australia's foremost museum of natural history, the multimodal environment of language was critical in our project to improve communication with visitors through better label writing. This article explains the personal and disciplinary developments resulting in the centering of multimodality as a research agenda. An important feature of this approach is the metafunctional theory of Michael Halliday as a core tenet. I explain how this theory of meaning operates across different levels of the institution, in relation to different modes, and in relation to subsequent developments in multimodal research. [ABSTRACT FROM AUTHOR]

Increasing demands on museums for visitor insights, theoretical shifts in the learning sciences, the embeddedness of multimodal media in museums and society, and advancements in data visualisation tools and web-based applications are all clear calls for innovating visitor research in museums. In this article, I describe how concepts from multimodal and sociocultural research help shift the analytical lens for understanding and studying connections between visitor behaviours, social interactions and engagement in exhibitions. The following question is explored: In which ways can multimodal theory and the learning sciences inform the design and use of new visitor research tools and methods that are relevant for museum practice? A case study from a university-museum research partnership illustrates how multimodal and sociocultural perspectives from the humanities and learning sciences, respectively, merged in the development of a new tool to enhance and innovate visitor research within museums. [ABSTRACT FROM AUTHOR]