The Space In–Between: Mediating Museum and Gallery

2019

An exhibition is more than just objects placed in space; the visit to a museum is more than just looking at objects. Before an actual exhibition can be placed, a space must be found or created, the interior defined. Then the potential visitors must be addressed. Which image of the museum should be created, which story-if there is one-is going to be told to the visitor and how?

Museum Management and Curatorship, 2013

Routledge eBooks, 2018

Museums today find themselves within a mediatised society, where everyday life is conducted in a data-full and technology-rich context. In fact, museums are themselves mediatised: they present a uniquely media-centred environment, in which communicative media is a constitutive property of their organisation and of the visitor experience. The Routledge Handbook of Museums, Media and Communication explores what it means to take mediated communication as a key concept for museum studies and as a sensitising lens for media-related museum practice on the ground. Including contributions from experts around the world, this original and innovative Handbook shares a nuanced and precise understanding of media, media concepts and media terminology, rehearsing new locations for writing on museum media and giving voice to new subject alignments. As a whole, the volume breaks new ground by reframing mediated museum communication as a resource for an inclusive understanding of current museum developments. The Routledge Handbook of Museums, Media and Communication will appeal to students and scholars, as well as to practitioners involved in the visioning, design and delivery of mediated communication in the museum. It teaches us not just how to study museums, but how to go about being a museum in today's world. Drotner is Professor of Media Studies in the Department for the Study of Culture at the University of Southern Denmark and founding director of the research programmes Our Museum and DREAM. Author or editor of 30 books, her research interests include media history, media and information literacies, digital creativities, and museum communication. Her most recent book is Museum Communication and Social Media: The Connected Museum (co-edited, Routledge, 2013).

Parallax, 2005

Et Kunstmuseum i endring?: Nye formidlingspraksiser i norden., 2022

Museums are sites of cultural mediation and I have been fortunate enough to implement and research their practices for over 20 years. As a practitioner in the relatively young museum field in Iceland I have employed critical inquiry and a research-led reflective practice to examine the professional conduct of museum educators in hope to help establish its professional grounding. The case study presented in this paper is an initial look at the somewhat chaotic, yet potentially creative, Icelandic Museum field and its mediation practices. Strong leadership to firmly establish the overall educational mandate of museums has been lacking in Iceland. Specialized knowledge and shared standards of practice are some of the defining characteristics of a profession yet there remains silence regarding the domains at play in museum mediation and a broader view is needed. The impetus for this study is therefore my unwavering confidence that museums affect people, including the people who work in them, and how they frame their practice.

Journal of Craft Research, 2015

Education Sciences Society, 2015

In this paper, the role of the museum and gallery as an educational space is considered with an emphasis on social and emotional engagement in learning. h ree separate case studies are considered; all instances of using museums with either Higher Education students or children and these are discussed with reference to impact of the museum/gallery as an educational space. Despite the three instances having dif erent purposes, disparate groups of participants and varied overall objectives, similarities are seen when considering the impact of the museum or gallery space on the dynamic of the group and the individual experiences of the learners. Social engagement and open discussion is stimulated both by the space and the collections and is facilitated through the entrances, spaces and journeys through the buildings. All of these, in turn, impact on pedagogy and on the propensity for rel ective responses to tasks and experiences. It is shown that in these instances, the intensity of the teaching and learning sessions in these spaces and contexts is fundamentally dif erent to classroom activities and af ords a dif erent kind of learning opportunity for participants, often enriching or invigorating their learning and, in many cases, encouraging a more positive approach to learning in general. [Please note that 'museums' and 'galleries' are generally used interchangeably. Where a specii c location is the focus, this is made clear]. Riassunto: L'articolo af ronta il ruolo del museo/galleria quale spazio educativo, ponendo particolare enfasi sul signii cato dell'impegno sociale ed emotivo nell'apprendimento, a partire dall'analisi di tre specii ci casi di studio; e ribadendo come, nel complesso, musei e gallerie sono in grado di of rire "con-testi" unici ed emozionanti, tali da avere un impatto eccezionale sulle esperienze di apprendimento dei loro visitatori, arricchendone i processi di istruzione, e, in molti casi, incoraggiando un approccio positivo verso l'apprendimento in generale.

teacher.org.cn

Abstract: The “Museum of Childhood” is a project connected to the Post-Graduate Program in Education at Unesc (Brazil) and since 2005 has been developing interfaces with research, teaching and extension. In this paper, the authors would like to show how the museological ...

Nordisk Museologi

This article explores how we may study physical museum foyers as multilayered spaces of communication. Based on a critical examination of ways in which the museum foyer is conceptualised in the research literature, we define the foyer as a transformative space of communication for visitors which has four transformative functions, and we ask the following question: How do people entering the museum practise these transformative functions so as to become visitors – and become non-visitors again on leaving? Answers are provided through an empirical analysis of the foyer as a transformative communicative space. Based on qualitative studies of four divergent Danish museums and a science centre, we demonstrate that the foyer’s communicative space supports transformative functions consisting of multiple phases before and after the visit itself, namely arrival–orientation–service–preparation (before the visit) and preparation– service–evaluation–departure (after the visit). We discuss the i...