DOCSLIB.ORG

Issue No. 97 ILR #97 (Jul-Aug 2009)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

InformalLearning The Informal Learning Review - No. 97. July - August 2009 tables and supplies like easels, foam core COSI'S EXPERIENCE boards, etc. may be used. CONTENTS TESTING STATION While certainly not the first "fishbowl" type of area Risk & Reality Rita Deedrick used by a science center or other informal learn- ing environment to test experiences, the COSI Colloquium Intro What is the COSI Experience Testing Station? ETS is unique in its mobility and flexibility, and it Page 12 represents an important shift in thinking at COSI The COSI Experience Testing Station (ETS) is a vis- about how to develop experiences and what con- ible area within (and sometimes outside) the stitutes a visitor experience. Risk for a Reason COSI science center that makes explicit the "sci- Page 14 ence behind the science" of COSI by testing con- Why is the Experience Testing Station important cepts, language, signs, activities, and other ele- to COSI? ments of visitor experiences directly and visibly Exhibits as with COSI visitors. As much a concept as a phys- Real data/intended audiences. First, the COSI an Environment ical space, the COSI ETS is mobile and can be ETS enables COSI to use data to inform experi- moved anywhere on or off-site and sized to meet ence development in a way that has rarely been for Risk the need of a particular test. The physical materi- done before. COSI has a long history of devel- Page 15 als are simple: two signs; a sign holder; rope oping and presenting programs and exhibits. stanchions to demarcate the space to fit the need However, the use of data gathered directly from of the test; one or two small "cabaret" type tables visitors (or potential visitors) to inform develop- A Perspective to hold supplies; and a 4" x 6" whiteboard on ment has been sporadic and always "behind wheels (this large piece, while easy to move closed doors," detached from the notion of a About Risk around the COSI facility, does not travel for off- COSI visit experience. This prevailing philosophy Page 16 site tests). Depending on the test, additional See “COSI,” continued on page 2 "Museum Fatigue" the Persians in 480 BC. The symbolism is power- Page 18 THE NEW ACROPOLIS ful, as the current Parthenon includes foundation MUSEUM - GREECE blocks of the ruined original temple to Athens' patron goddess, reminding Athenians of the dark Outcome of CELEBRATES events of their past as well as their architectural Expanding and cultural triumphs. Robert Mac West and Jean S. West Informal Science There has been a formal museum atop the After many years of planning, disputes and law- for Latinos Acropolis, adjacent to the Parthenon, the Temple of suits, and unanticipated archeological discoveries, Athena, since 1865. This was a modest facility, Page 22 the new Acropolis Museum opened in Athens, some 15,500 square feet, with approximately 450 Greece, on June 20, 2009. We had the delightful objects on display. The 19th century building lacked opportunity to visit it on August 28, 2009 – ten even elementary environmental controls and was Actual Call weeks and 523,540 visitors after the opening. Center tired when Jean first visited it in 1973. It was even more so when we both toured it in 2000. Conversation This commentary includes a discussion of the his- tory and setting of this extraordinarily important The replacement is a totally different story. It is Page 27 museum, a walk-through with our comments and located at the southern base of the Acropolis, observations, and a series of thoughts about some thousand feet from the Parthenon but the issues within and provoked by the new museum. More on temple remains in full view. It is some ten times larger, displays over 4,000 artifacts, is fully environ- The Acropolis itself, rising to 500 feet above the Responses to the mentally controlled, and the exhibits are bathed in city of Athens, has been the site of significant Recession natural light. While some of the objects are well- public buildings central to the religious and politi- known (such as the pediment of the Archaic Page 28 cal life of Greece since Neolithic times. The cur- Parthenon, various of the Parthenon friezes, the rent array of structures was begun in the 5th cen- tury BC as replacements for those destroyed by See “Acropolis,” continued on page 5 A PUBLICATION OF INFORMAL LEARNING EXPERIENCES, INC. COPYRIGHT 2009 INFORMAL LEARNING EXPERIENCES, INC. THE INFORMAL LEARNING REVIEW, July - Aug., 2009 “COSI,” continued from front cover stantly reminded of the importance of development process. These comments data collection and analysis to inform all came from both members and non- of experience development has been of our work. Indeed, many staff mem- members of COSI, and are a key to likened to an artist who does not want the bers stop by the ETS during tests to see COSI's continuing quest to deepen rela- piece revealed before it is finished - a so- what's going on. Whenever possible, tionships with people in our community. called "white veil" approach to experience researchers take the time to chat with staff For example, a non-member who partici- development. Certainly many organiza- members and always invite them to stay pates in an ETS may consider becoming tions such as Disney use this approach to and watch. a member of COSI because they now their advantage. But the drama and feel vested in the organization; a COSI excitement that can be generated from A new kind of visitor experience. A third member may upgrade their membership such an approach comes at the cost of reason that the ETS is important to COSI because they feel involved in improving leaving the audience out of the develop- is a shift in attitude about what constitutes experiences. We have no evidence that ment process and the risk of developing a "visitor experience." That is to say, the this has taken place, but it is clear that experiences that may, in fact, not be the ETS itself is now recognized as a legiti- most people feel "involved" in COSI from best they can be for the intended audi- mate visitor experience. This resulted having participated in an ETS test. ences. It can be argued that not-for-profit from initial pushback by the COSI staff organizations have an obligation to on the ETS being disruptive involve their publics in the development to the visitor experience process, and that "artist's privilege" has no and not "attractive" enough place in an organization whose mission is to be on the exhibit floor - to serve its constituents. a distraction rather than an attraction. The team The COSI ETS makes input from the pub- members testing the ETS lic - real data - easily available to COSI took these comments to program and exhibit developers. With heart, knowing that the help of in-house researchers, tests can addressing these satisfac- often be planned, implemented, and torily was the only path to documented within several days. ETS leaving the "white veil" phi- tests are designed to be quick-turn; a losophy behind. To that small amount of data can be a great end, effort is made to pre- help in informing decisions at important sent the ETS as an experi- milestones in a project. ETS is relatively ence in and of itself. For inexpensive, fast, and accessible - though COSI staff instruct visitors on activity to test ideas for global example, COSI had signs warming exhibit. not completely free of costs, a notion (a 22" x 28" that fits into a which will be addressed later. Great standard, stand-alone sign holder, and a Better experiences are created. The pri- effort has been made at COSI to make 1" x 6" permanently attached to the top of mary reason for conducting tests on any the ETS "painless" for experience develop- the whiteboard) professionally designed experience element is to ultimately devel- ers so that they may see visitor studies and produced and these are always pre- op "better" experiences. "Better," of through the ETS as a regular part of the sent to clearly identify this experience. course, is subjective and implies a need development process. These signs and their design are in effect for improvement - how does one really becoming a sub-brand within COSI to know what is "better?" The ETS at COSI Awareness of visitor studies. Another rea- represent this particular experience. provides a platform to systematically son the ETS has become so important to Thought has been given to other staff gather data to inform decisions - "better" COSI is that the COSI staff at all levels of suggestions such as costumes (e.g., a lab becomes clearer through data. the organization have new awareness of coat with our sub-brand graphic) and the role of visitor studies in general - and even a mascot (the latter is somewhat in A case in point was a test of language for data in particular - in experience develop- jest, but has not been completely ruled signs to be placed in COSI restrooms ment and implementation. Because the out). (yes, restrooms can be "experiences"). ETS is highly visible to the staff as well as The primary purpose of these signs was the public, and because COSI invited Participating = relationship development. to explain why COSI no longer provides input into the evaluation of the ETS pilot A fourth reason why the ETS is important paper towels and the secondary mes- from all staff, the staff is fully aware of the to COSI comes from data gathered dur- sages were COSI's sustainability stand ETS and for the most part sees its value to ing the pilot of the ETS.
Recommended publications
  • The 227-Mile Museum, Or, Why We Need a Visitors' Bill of Rights

    The 227-Mile Museum, Or, Why We Need a Visitors' Bill of Rights

    The 227-Mile Museum, or, Why We Need a Visitors' Bill of Rights Judy Rand Rand and Associates I'd like to begin by saying "Thank you." Oh, I know, that's backwards. You're supposed to say "thank you" at the end of a speech. At the beginning, you say "I'm happy to be here." But you do deserve thanks, and you should take some credit. You've spent your lives, most of you, listening to visitors. Listening outside the museum walls to learn what visitors really do in our exhibits. And because you do, and you share what you learn, our exhibits have been getting better and better. Ever since I discovered you, and what you do, I've been getting better. I' m not an evaluator myself, but I use evaluation as much as I can. As an exhibit developer, it's my job to imagine the exhibit. "What will visitors do, see, hear, experience in this exhibit? What could they learn? What could they feel? What will they take home with them?" I work with museums to uncover the stories they have to tell, the things they want to show. I find the big idea, a storyline, a clever approach to hold it all together. And then, using what I know about media, and what I know about visitors, I weave it into a rich, relevant visitor experience, ready to draw up and build. With lots of help, of course. And you've helped me more than you know. Visitor studies gave me a place to start.
  • An Attention-Value Model of Museum Visitors

    An Attention-Value Model of Museum Visitors

    Visitor Attention 1 AN ATTENTION-VALUE MODEL OF MUSEUM VISITORS Stephen Bitgood Professor Emeritus of Psychology Jacksonville State University INTRODUCTION In their recently published textbook on cognitive psychology, Ashcraft and Radvansky (2010) described attention as “one of cognitive psychology’s most important topics and one of our oldest puzzles.” Whether we examine human attention in the context of driving an automobile, completing a workplace task, or engaging in educational and recreational activities, the importance of attention processes should not be understated. Talking on a cellular phone or texting while driving an automobile can have a disastrous impact on safe driving. Workplace accidents and errors are often attributed to a lack of focused attention on the task. Failing to pay attention to a lecturer in a school classroom may result in a failing grade. And, in museums, distractions that prevent attending to relevant materials leave the visitor unsatisfied and the goals of the museum unfulfilled. With a few exceptions, the topic of visitor attention has rarely been examined in a comprehensive manner. Emphasis is often placed upon an inferred outcome of attention such as “learning,” “flow,” “restoration,” or “satisfaction” rather than on the processes that make these outcomes possible. Despite the general lack of concern regarding attention in museums, a number of individuals have contributed to our current knowledge, the most prominent of whom include Edward Robinson, Arthur Melton, Harris Shettel, Chan Screven, John Koran, John Falk, Giana Moscardo, and Jay Rounds. The attention-value approach described here is relevant to all of informal science education, although the current paper focuses primarily on exhibition environments.
  • The Acropolis Museum: Contextual Contradictions, Conceptual Complexities by Ersi Filippopoulou

    The Acropolis Museum: Contextual Contradictions, Conceptual Complexities by Ersi Filippopoulou

    The Acropolis Museum: Contextual Contradictions, Conceptual Complexities by Ersi Filippopoulou 20 | MUSEUM international rsi Filippopoulou is an architect and a jurist, specialised in archaeological museums planning and programming. She served as Director Eof Museum Studies in the Greek Ministry of Culture, and was also responsible for the new Acropolis museum project over 18 years. She worked as Director of the Greek Managing Authority for the European Union, co-financed cultural projects for six years. She served as an adjunct faculty member at the Departments of Architecture of the Universities of Thessaloniki and Patras, Greece. She was elected chairperson of the ICOM International Committee for Architecture and Museum Techniques (ICAMT) twice on a three-year mandate. Since 2012, she has been working as an advisor on heritage issues to the Peloponnese Regional Governor. She recently published a book entitled Τo neo Mouseio tis Acropolis—dia Pyros kai Sidirou, which retraces the new Acropolis Museum’s tumultuous history from its inception to its inauguration (Papasotiriou Publishers 2011). Her current research project is a comparative approach to the Greek archaeological museum paradigm. MUSEUM international | 21 he visitor to the new Acropolis Museum in Athens, climbing to the up- per floor and passing through the exhibition gallery door to an all-glass space flooded with natural light, is suddenly awestruck by the breathtak- ing view of the Parthenon rising up above the surrounding city (Fig. 1). Enjoying the holistic experience inspired by the natural and cultural landscape, the viewer is unaware of past controversies about the mu- seum’s location, and is certain that is the right place to be for anyone wishing to admire the ancient monument together with its architectur- al sculptures.
  • Designs for Learning: Studying Science Museum Exhibits That Do More Than Entertain

    Designs for Learning: Studying Science Museum Exhibits That Do More Than Entertain

    Designs for Learning: Studying Science Museum Exhibits That Do More Than Entertain SUE ALLEN Exploratorium, San Francisco, CA 94123, USA Received 2 October 2003; revised 6 April 2004; accepted 7 April 2004 DOI 10.1002/sce.20016 Published online in Wiley InterScience (www.interscience.wiley.com). ABSTRACT: Science museum staff face a constructivist dilemma as they design their public spaces: the exhibits should facilitate science learning, yet they also need to support a diverse visiting public in making their own personal choices about where to attend, what to do, and how to interpret their interactions. To be effective as teaching tools, exhibits need to be highly intrinsically motivating at every step of an interaction in order to sustain involvement by an audience who views their visit primarily as a leisure activity. Given these challenges, it is vital to support the design process with a strong program of research and evaluation. I give a personal perspective on one institution’s research and evaluation work over the last decade, focusing on four areas: immediate apprehendability, physical interactivity, conceptual coherence, and diversity of learners. C 2004 Wiley Periodicals, Inc. Sci Ed 88(Suppl. 1):S17–S33, 2004 INTRODUCTION: A PERSONAL PERSPECTIVE ON A LEARNING DILEMMA In this article I present a personal perspective on a subset of museum learning environ- ments, specifically the exhibition space of hands-on science museums. This choice is based on my own experience of studying and working in such environments over the last decade at the Exploratorium, a well-known museum of “science, art, and human perception” in San Francisco.
  • Az Általános Muzeológia Kézikönyve Metamuzeológia, Történeti Muzeológia, Elméleti Muzeológia

    Az Általános Muzeológia Kézikönyve Metamuzeológia, Történeti Muzeológia, Elméleti Muzeológia

    Friedrich Waidacher Az általános muzeológia kézikönyve Metamuzeológia, történeti muzeológia, elméleti muzeológia ELTE BTK Művészettörténeti Intézet, Budapest, 2011. Friedrich Waidacher: Az általános muzeológia kézikönyve. Metamuzeológia, történeti muzeológia, elméleti muzeológia. ELTE BTK Művészettörténeti Intézet, Budapest, 2011. Oktatási segédanyag: A fordítás készült a „TÁMOP-4.1.2-08/2/A/KMR-2009-0052 – Muzeológiai alprojekt” keretében Fordította: Mélyi József Szerkesztette: Szőke Annamária A fordítás Friedrich Waidacher: Handbuch der Allgemeinen Museologie. 3., unferänderte Auflage. Böhlau Verlag, Wien, Köln, Weimar, 1999. alapján készült. A könyvet részleteiben lásd a Google könyvek között: http://books.google.com/books?id=YqZqUlcP6MIC&lr=&hl=hu © Friedrich Waidacher, a fordító, a szerkesztő Tartalomjegyzék 1. METAMUZEOLÓGIA 1 1.1. Alapgondolatok 2 A muzeológia megismerésének tárgya 3 A muzeológia definíciója 7 1.2. Összefüggések 10 A muzeológia rendszere 10 Szakirodalom 16 Kitérő: Tudománytan 19 A tudomány alapelvei 19 Terminológia 20 Definíció és ítélet 22 A muzeológia fogalmai 23 Hipotézis és elmélet 24 A muzeológia megismerési módszerei 26 2. TÖRTÉNETI MUZEOLÓGIA 30 2.1. A muzeáljelenség története 31 A muzeális viszony 31 Múzeumtörténet és muzeáltörténet 32 A muzeáltörténet forrásai 33 Muzeális és megőrző gyűjtés 34 Kutatástörténet 34 Periodizáció 35 A gyűjtemények nyilvánossága 36 2.1.1. PREMUZEÁLIS KORSZAK 38 Legkorábbi megközelítések 38 Görög antikvitás 38 Római antikvitás 39 Európa az antikvitás után 40 Ázsia 40 2.1.2. PROTOMUZEÁLIS KORSZAK 41 Fejedelmek és pápák mint gyűjtők 41 Naturáliagyűjtemények 42 Kunst- und Wunderkammerek 43 A múzeum mint eszme 45 2.1.3. PALEOMUZEÁLIS KORSZAK 45 Polgári gyűjtemények 45 Udvari reprezentáció 47 2.1.4. MEZOMUZEÁLIS KORSZAK 49 Nyilvános múzeumok 49 Új múzeumfajták 50 Térformák 56 Megvilágítás 57 A múzeum mint önálló épülettípus 58 2.1.5.
  • Title Page Echoes of the Salpinx: the Trumpet in Ancient Greek Culture

    Title Page Echoes of the Salpinx: the Trumpet in Ancient Greek Culture

    Title Page Echoes of the salpinx: the trumpet in ancient Greek culture. Carolyn Susan Bowyer. Royal Holloway, University of London. MPhil. 1 Declaration of Authorship I Carolyn Susan Bowyer hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Echoes of the salpinx : the trumpet in ancient Greek culture. Abstract The trumpet from the 5th century BC in ancient Greece, the salpinx, has been largely ignored in modern scholarship. My thesis begins with the origins and physical characteristics of the Greek trumpet, comparing trumpets from other ancient cultures. I then analyse the sounds made by the trumpet, and the emotions caused by these sounds, noting the growing sophistication of the language used by Greek authors. In particular, I highlight its distinctively Greek association with the human voice. I discuss the range of signals and instructions given by the trumpet on the battlefield, demonstrating a developing technical vocabulary in Greek historiography. In my final chapter, I examine the role of the trumpet in peacetime, playing its part in athletic competitions, sacrifice, ceremonies, entertainment and ritual. The thesis re-assesses and illustrates the significant and varied roles played by the trumpet in Greek culture. 3 Echoes of the salpinx : the trumpet in ancient Greek culture Title page page 1 Declaration of Authorship page 2 Abstract page 3 Table of Contents pages
  • Visitor Behavior in Zoos: a Review

    Visitor Behavior in Zoos: a Review

    Visitor behavior in zoos: A review Gareth Davey Psychology and Life Sciences Research Group, University of Bolton, UK, and Psychology Department, University of Chester, Chester, UK. Abstract Visitors are integral components of zoological parks and their importance has led to a research area devoted to understanding the people–zoo relationship. This paper reviews, and provides a point of entry into, the literature relating to visitor research in zoos. The field emerged relatively recently and is diverse and interdis- ciplinary (it shares common ground with sociology, education, psychology, zoolo- gy, and other academic disciplines). Several areas can be identified in the literature (audience analysis, circulation and orientation, exhibit evaluation, and interactions with animals), and these areas have revealed visitors’ demographic and behavioral characteristics, people’s behavioral responses to endogenous and exogenous factors, the impact of exhibit design, and visitors’ movements around zoos. Limitations of existing work include independence between research areas, lack of international studies, limited generalizability of results, and the minority status of the field. Therefore, suggestions for future work include integrating dif- ferent research areas, more research from outside Europe and America, and increased interaction within the visitor research community. Keywords: animal welfare, visitor; visitor effect, zoo People and Zoos ssociations between people and captive animals have developed during thou- sands of years—from the early Egyptian animal collections through to the contemporary zoological park; the modern-day zoo is an important social Aand cultural institution (Hediger 1969; Mullan and Marvin 1987; Davey 2005a). The importance of the people–zoo relationship has led to the emergence of a research area devoted to understanding zoo visitors.
  • Call Internazionale Per Via Dei Fori Imperiali

    Call Internazionale Per Via Dei Fori Imperiali

    ACCADEMIA ADRIANEA di ARCHITETTURA e ARCHEOLOGIA ONLUS PIRANESI PRIX DE ROME ET D’ATHÈNES – 2020 NOTICE FOR SCIENTIFIC PRIZE OF ARCHITECTURE, ARCHAEOLOGY AND LANDSCAPE INTERNATIONAL CALL FOR PROJECTS FOR THE ACROPOLIS OF ATHENS AND ITS SURROUNDINGS INCLUDED IN THE UNESCO BUFFER ZONE DEADLINE FOR COMPETITION APPLICATION: APRIL 27th 2020 th DEADLINE FOR COMPETITION DOCUMENTS PHASE ONE: MAY 15 2020 st DEADLINE FOR COMPETITION DOCUMENTS PHASE TWO: AUGUST 1 2020 ACCADEMIA ADRIANEA di ARCHITETTURA e ARCHEOLOGIA ONLUS HALL OF FAME OF PIRANESI PRIX DE ROME 2010 – João Luís Carrilho Da Graça (Portugal). Archaeological site of Praça Nova, Lisbon, Portugal – Career Award to Rafael Moneo (Spain). Museum of Roman Art in Merida Spain 2011 − NietoSobejano Arquitectos (Spain). Madinat al Zahara Museum in Cordoba, Spaina − Career Award to Guido Canali (Italy). Museo di Santa Maria della Scala in Siena, Italia 2012 − Career Award to David Chipperfield (Great Britain). Neues Museum in Berlin, Germany 2013 − Career Award to Peter Eisenman (United States). Piranesi Variations, the Campus Martius of Ancient Rome 2014 − Gonçalo Byrne Arquitectos (Portugal). Museu Nacional Machado de Castro in Coinbra, Portugal − GTRF Associati (Italy). Musealization of the Mosaics of the Hall of Cromazio in Aquileia, Italy − Career Award to Josè Ignacio Linazasoro (Spain). Centro Cultural Escuelas Pías de Lavapiés in Madrid, Spagna 2015 − Career Award to Bernard Tshumi (Switzerland). Acropolis Museum in Athens, Greece 2016 − Career Award to Yoshio Taniguchi (Japan). Horyuji Treasures Gallery, National Museum of Tokyo, Japan − Alexander Schwarz + David Chipperfield Architects Berlin (Germany), Luigi Franciosini + Riccardo Petrachi (Italy), Franco Purini + Tommaso Valle (Italy). Projects of the New Via dei Fori Imperiali in Rome, Italy.
  • Design Factors in the Museum Visitor Experience Regan Forrest Bsc (Hons) Grad Dip Sci Comm

    Design Factors in the Museum Visitor Experience Regan Forrest Bsc (Hons) Grad Dip Sci Comm

    Design Factors in the Museum Visitor Experience Regan Forrest BSc (Hons) Grad Dip Sci Comm A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2014 Business School (Tourism Cluster) Abstract Over the past half-century, museums have evolved from being predominantly cultural repositories to playing an important social role as venues for educational leisure experiences. Accompanying this development has been an increased emphasis on optimising the visitor experience. The physical context of the museum has long been recognised as an important facet of the visitor experience (Falk & Dierking, 2000). However, the way that visitors perceive and respond to different types of exhibition environments on a holistic level has received relatively little research attention until recently. A key limitation in advancing research in this area has been a paucity of methods for quantifying and analysing visitor perceptions of the exhibition environment beyond simple measures of satisfaction. In order to address this gap, this thesis describes the development of a model for characterising how visitors perceive different exhibition environments – Perceived Atmosphere – and relates it to different facets of the visitor experience. As part of this study, a quantitative instrument known as the Perceived Atmosphere Instrument was piloted and refined. This allows the relationship between exhibition environment and visitor experience to be explored in greater depth. Development of Perceived Atmosphere was informed by environmental psychology, in particular environmental cognition, theories of spatial perception and the research field known as atmospherics (Kotler, 1974). Atmospherics is the study of the influence of retail environments and other service settings on customer attitudes and behaviour, and this study applied similar methods to a museum context.

  • The Acropolis of Athens

    The Erechtheion OPERATING RULES Please be informed that the following is strictly prohibited: The Ionic building on the north side of the Acropolis plateau (Law 3028/2002 and Official was named Erechtheion after the mythical king of Athens Erech- Government Gazette 88/B/23.1.2004) theus. Construction began either before 431 BC or after 421 • to collect, remove or damage any kind of object, including ancient THE ACROPOLIS BC and was completed in 406 BC following an interruption and contemporary works of art as well as any natural item, caused by the Peloponnesian War. • to consume food or beverages, Its peculiar shape is the result of the uneven terrain and the • to smoke, OF ATHENS need to house the age-old Sacred Tokens. It was dedicated • to produce litter of any kind, to the cults of Athena Polias as well as Poseidon Erechtheus, • to behave, dress or act in a way not compatible with the nature Hephaestus and the hero Boutes. On the north side of the edifice of the archaeological site/museum, a magnificent propylon is formed, whereas the south side is • entrance to people under the influence of substances (intoxicants, dominated by the famous Prostasis (porch) of the Maidens narcotics etc.), ( Korai) or Caryatids which constitutes the overground part of the • entrance to pets, except for dogs accompanying people with tomb of the mythical king of Athens Cecrops. disabilities, On the west side the Erechtheion was connected to the Pan droseion, • entrance to all vehicles, except for emergency vehicles and those a sanctuary dedicated to the daughter of Cecrops, Pandrosos.
  • Differential Concerns: Perceived Benefits and Barriers to Visitation from the Mental Models of Museum

    Differential Concerns: Perceived Benefits and Barriers to Visitation from the Mental Models of Museum

    Differential Concerns: Perceived Benefits and Barriers to Visitation from the Mental Models of Museum Visitors and Non-Visitors. Garrett Kevin Mercier A thesis Submitted in partial fulfillment of the Requirements for the degree of Master of Arts University of Washington 2017 Committee: Kristine Morrissey Chris Barnes Duncan Huffman Program Authorized to Offer Degree Museology © Copyright 2017 Garrett K. Mercier University of Washington Abstract Differential Concerns: Perceived Benefits and Barriers to Visitation from the Mental Models of Museum Visitors and Non-Visitors. Garrett Kevin Mercier Chair of the Supervisory Committee: Dr. Kristine Morrissey Some people don’t like going to museums. Other people love going to museums but rarely go. Understanding what keeps these Non- Visitors and Occasional Visitors from being Frequent Visitors is a complicated issue. Any single museum visit is the product of the perceived benefits of the visit outweighing the perceived barriers standing in the way of that visitation. In order to understand the perceived benefits of, and barriers to museum visitation for various museum visitor groups this study looks at how the mental models of museum held by these visitor groups differ. The mental models were elicited through three modified Twenty Statement Tests and analyzed according emergent coding. Barriers and motivations were found within the mental model of each visitor group which differentiated them from the other groups. It was found that Frequent Visitors emphasize the benefits a museum provides their community, as well as using strong spiritual language to describe musums. Occasional Visitors show a complex mental model which associates many of the same benefits to visitorship as expressed by Frequent Visitors while at the same time expressing a large variety of barriers.
  • Constructing Monuments, Perceiving Monumentality and the Economics of Building : Theoretical and Methodological Approaches to Th

    Constructing Monuments, Perceiving Monumentality and the Economics of Building : Theoretical and Methodological Approaches to Th

    CONSTRUCTING MONUMENTS, PERCEIVING MONUMENTALITY & THE ECONOMICS OF BUILDING THEORETICAL AND METHODOLOGICAL APPROACHES TO THE BUILT ENVIRONMENT edited by Ann Brysbaert, Victor Klinkenberg, Anna Gutiérrez Garcia-M. & Irene Vikatou CONSTRUCTING MONUMENTS, PERCEIVING MONUMENTALITY & THE ECONOMICS OF BUILDING Sidestone Press CONSTRUCTING MONUMENTS, PERCEIVING MONUMENTALITY & THE ECONOMICS OF BUILDING THEORETICAL AND METHODOLOGICAL APPROACHES TO THE BUILT ENVIRONMENT edited by Ann Brysbaert, Victor Klinkenberg, Anna Gutiérrez Garcia-M. & Irene Vikatou © 2018 The individual authors Published by Sidestone Press, Leiden www.sidestone.com Lay-out & cover design: Sidestone Press Photograph cover: Mural from the tomb of Rekhmire, Thebes necropolis, 18th Dynasty ISBN 978-90-8890-696-1 (softcover) ISBN 978-90-8890-697-8 (hardcover) ISBN 978-90-8890-698-5 (PDF e-book) Contents Editors’ biographies 9 List of contributors 11 Editors’ acknowledgements 15 List of abbreviations 17 PART ONE: THEORETICAL AND PRACTICAL 19 CONSIDERATIONS ON MONUMENTALITY 1. Constructing monuments, perceiving monumentality: 21 introduction Ann Brysbaert 2. Mounds and monumentality in Neolithic Europe 49 Chris Scarre 3. Architectural conspicuous consumption and design as 65 social strategy in the Argolid during the Mycenaean period Kalliopi Efkleidou 4. Outer worlds inside 87 Lesley McFadyen PART TWO: METHODOLOGICAL APPROACHES TO 103 STUDYING ARCHITECTURE 5. Interpreting architecture from a survey context: 105 recognising monumental structures Yannick Boswinkel 6. Three-dimensional documentation of architecture and 117 archaeology in the field. Combining intensive total station drawing and photogrammetry Jari Pakkanen 7. Set in stone at the Mycenaean Acropolis of Athens. 141 Documentation with 3D integrated methodologies Elisavet P. Sioumpara 8. Labour mobilization and architectural energetics in the 169 North Cemetery at Ayios Vasilios, Laconia, Greece Sofia Voutsaki, Youp van den Beld, Yannick de Raaff PART THREE: ARCHITECTURAL ENERGETICS METHODS 193 AND APPLICATIONS 9.