Aerofilms' exhibition at Raf Museum, Hendon

Mapping of the Collections of History of Medicine in Estonian Museums Leili Kriis, Sirje Sisask University of Tartu Museum The work plan of the University of Tartu Museum for the following years includes creating a new exposition for the university’s Old Anatomical Theatre. This made us wonder, what kinds of collections of history of medicine are there in other Estonian museums. A great opportunity to obtain information opened up with the Ministry of Culture’s support programme for developing museums that we participated in with our project “Mapping of the Collections of History of Medicine in Estonian Museums” from 17 April to 31 December 2013. To obtain data, we designed a questionnaire for the chief treasurers of the museums. Based on the answers we received, the following overview was compiled. At the time we conducted the survey, more than half of the materials of history of medicine in the museum collections had been entered also into the Estonian Museum Information System MuIS. Keywords related to the topic of medicine have been used. Most of the corresponding materials in Estonian museums are connected to pharmacies (material objects as well as photographs and archive materials), and furnishings of dental practices (Parnu Museum, Voru County Museum, etc.). Regional museums also contain objects of veterinary medicine. There are rare items of history of medicine such as an inoculation knife, cupping lancets, bloodletting devices, a bone saw, an irritation instrument, healing stones, a homoeopathic pharmacy, and many more. The most noteworthy archive materials are probably the inoculation materials, mud treatment materials (materials and manuscripts of Dr Hunnius from Haapsalu, mud treatment history of Saaremaa), and manuscripts by medics (historical overviews). Topics like doping (the Estonian Sports Museum), designing medical institutions (hospitals, sanatoriums, etc.) (Museum of Estonian Architecture, Museum of Viljandi), diseases and stress, and how these are reflected in a person’s creative work (Estonian Theatre and Music Museum) have also been documented. Most valuable are the stories found in the collections of county museums that tell of medical institutions (hospitals, pharmacies, sanatoriums, leprosariums, etc.) that have operated or are operating in the region and reflect the specific character of the region, as well as the materials of well-known local medics. Also materials related to alternative and folk medicine. All this enriches the general picture of the Estonian history of medicine. Our working group reached the conclusion that the contents of the MuIS dictionary should be structured in a better manner and supplemented with topics that are reflected in specific museum collections (alternative medicine, nutrition, environment, etc.). Images of museum objects are also important data carriers in the database. Rare historical documents deserve to be digitised as soon as possible since they tend to become fragile with time. Regional museums should also find room for materials related to the history and doctors of local medical institutions.

In the National University of Colombia there are currently 25 museums and collections including art, medicine, natural science, anthropology and history. Taken together, they comprise the largest, most diverse and most important museum in Colombia, and also the least known. The collections are the product of the conservation and research work of the university in the 141 years of its existence. In recent years, the National University of Colombia has not only become more aware of the importance of its cultural and scientific heritage, but also of the marginality of the work in the university museums. For that reason, in 2006 the university began to work on a Museums and Cultural Heritage Project to develop policies for the conservation, acquisition, documentation, research and communication of its own cultural heritage. The National University of Colombia hopes, through the development of a stronger, structured, ethical, responsible, efficient and representative project about Museums and Cultural Heritage to be better prepared for current challenges. In addition, the project hopes to generate a new landscape of accessibility to the museums and collections of the National University of Colombia. In short, the Museums and Cultural Heritage System of the National University of Colombia, through a ‘Museums portal’ located in a colonial building in Bogota known as Claustro de San Agustin (Cloister of St. Augustine) seeks to highlight the cultural heritage of the university, and become, beyond the classrooms and research centers of the campus, an important reference for the meeting of teachers, students, citizens and other cultural and academic institutions. Open door policy Colombia National University has 25 museums and collections, which together give the university the largest and most diverse collections in Columbia. The collections of science, art, medicine, natural science, and anthropology are the result of the research and collecting of the university during its 141 year history. The goal of the Cultural Patrimonio and Museums System (PMS) is to provide more public access to the cultural heritage of the university so that the university becomes meeting place; a place where teachers, students, academic and cultural institutions, social actors, and citizens can come together. In October 2007 the San Agustin Cloister opened its doors as the headquarters of the PMS of the National University. At that time we had 3 to 5 visitors daily and in December 2008, the average was 125 people daily. To date, we have had a total of 27,400 visitors. Yet even more important information can be obtained by looking beyond the numbers. The essential question is: Why is it so important open the doors of university to the citizens? The answer is as simple as it is political: because the audience has to have access in order to contribute to the preservation of National University heritage. Beyond the campus: The other visitors of the university museums The museums that are located on the campus of the university are known to the community because of the importance of the campus, but access to the museums was limited in the past because the activities of the museums were primarily linked to the university’s curriculum. The cloister is located strategically in downtown Bogota, in the main cultural zone. It is able to distribute information about the university museums, resulting in visits from people who work in the

In the 19205 a Professor of Psychology at Yale University, Edward Robinson, and several of his graduate students conducted a major research programme in several museums investigating various aspects of visitor behaviour. These psychologists were concerned with both studying human attention and memory and with expanding the role of psychology in the improvement of public life. This programme ended in the 19305 and this applied area was not considered again until the 19705 when several psychologists, as well as researchers from the disciplines of education and museum management, began to publish studies of visitor behaviour. This more recent research focussed specifically on the design of exhibits and paid little attention to the development of psychological theory. The present thesis reports on a series of studies conducted in the earlier tradition of both extending psychological theory and providing knowledge for the better design of museum settings. The thesis is based upon the concepts of mindfulness and mindlessness as used by Ellen Langer in explaining cognition in social situations. Mindfulness refers to the processing of information available in a setting and the use of this information in the creation of new schema and new routines of behaviour. The opposing cognitive state of mindlessness refers to the use of existing routines of behaviour to guide behaviour in settings and involves minimal processing of the information in the setting. Langer argues that much behaviour is enacted mindlessly. Further mindfulness is likely to occur in novel or unfamiliar situations, when a routine is disrupted by something unexpected, or when the situation is of importance to the individual. A model to describe the behaviour and cognition of museum visitors based on mindfulness/mindlessness was set out and a series of predictions with regard to visitor behaviour and cognition were described. These predictions were then used to guide a review of the existing visitor research. The results reported in this research were shown to be consistent with the Mindfulness Model. A study was conducted with a sample of 348 individuals examining the emic descriptions of museum visits in an attempt to understand the scripts that museum visitors hold. This study examined frequency distributions and used crosstabulation analyses and mean difference tests to reveal that few visitors included in their descriptions any discussion of thinking, learning or processing information from exhibits. It was concluded that it was likely that many visitors quickly became mindless in museums and followed a simple routine of briefly glancing at exhibits as they moved through a museum. It was noted that this was consistent with observations of visitors in various museum settings. The predictions of the Mindfulness Model were then tested in two Australian museums using both observation and survey techniques. The two settings were a display of communications technology, the Semaphore to Satellite exhibition at the Museum of Victoria, and the Gallipoli and Sinai and Palestine galleries of me Australian War Memorial. These settings provided a range of exhibits for study. A total of730 visitors were observed and 275 surveyed in the Semaphore to Satellite exhibition and 1460 visitors were observed and 360 surveyed in the Gallipoli and Sinai and Palestine galleries of the Australian War Memorial. The data was analysed using crosstabulation analyses, mean difference tests and discriminant analysis. In both cases the results supported the predictions derived from the Mindfulness Model. The studies conducted at the Australian War Memorial also found that exhibits which invoke an affective response from visitors were more likely than other exhibits to induce mindfulness. The results of both studies indicated that motivation was an important variable for mindfulness. It was concluded that the Mindfulness/Mindlessness Model of Museum Visitor Behaviour and Cognition was supported by evidence collected in several settings. Potential applications of the model both within museums and in other settings were outlined. The study reported in Chapter Three has been published in the Australian Psychologist (Moscardo. 1991a).

Universities and university museums are faced with numerous challenges regarding access to their collections for diverse user communities. In today’s electronic age, a new model has emerged for granting online access to collections. This paper will present some challenges and successes of current solutions in use by Carleton University’s Great Lakes Research Alliance for the Study Aboriginal Arts and Culture (GRASAC), the University of Pennsylvania Museum collaborative virtual exhibition Tipatshimuna and the McCord Museum, formerly administered by McGill University. The research and knowledge dissemination mandate of universities, together with the issues surrounding the repatriation of objects, online collaboration and access to collections, the digital form presents a real opportunity to benefits universities, researchers, students and the general public.

A distinct feature of the museum culture in Japan is the existence of both open-air museums focused on local or regional exhibits, and focused on exhibits collected from across the nation. With many of them established after the Second Word War, this poses the question if there has been the intent to (re-)construct an either local-regional or national identity through the narrative of the exhibition. This hypothesis has been tested on the Nihon Minka Shūraku Hakubutsukan 日本民家集落博物館 („Open-Air Museum of Old Japansese Farm Houses”) in Toyonaka, an architectural open-air museum in the Osaka prefecture covering farm houses from various regions of Japan as old as from the early Edo period, which has been founded in 1956 and has been largely unchanged since then. Its exhibition was analysed by using recent and past museological concepts to assess both the exhibition’s effectiveness in identity construction as well as the contemporary cultural background during the museum’s establishment. Presentational techniques, texts and educational means were scrutinized for their form and content, and also the general mechanisms of identity construction in museums were applied to the exhibition in Toyonaka. The findings point out that although only few museological concepts seem to have been incorporated in the exhibition, identification with Japan as a homogenous cultural space is being evoked by attributing congruent values and ways of thinking to different parts of Japan and focusing on the invented tradition of a common Edo period culture continuing until today. Additionally, through a variety of exhibits from the Kansai area and the presentation of local aspects in national historic events, an ultimate japaneseness is expressed in a peasantly lifestyle at rural sites. Furthermore, participation of locals in administration and maintenance of the museum as well as regular events for both adults and children makes the museum a platform for local activities and communication between residents, fortifying the potential for identification with the Kansai region. Regardless of the prevalence of either national or regional identification, the museum provides a site for nostalgic immersion and offers to its visitors a refuge of entertaiment and an idyllic world uneffected and incorrupted by the events of WWII and the problems of modern life.

This thesis explores how museums can effectively negotiate the ethical and children’s rights issues involved in the acquisition, interpretation and display of contemporary photographs of children. It does so in consideration of a heightened sensitivity towards child protection that has inspired a struggle for museums in the UK to adopt transparent and confident decision-making processes in their curatorial approaches around such images. This struggle is particularly fraught when photographs of children express a bodily awareness: a marker of the transition from childhood to adulthood.By advancing an ethically-informed discourse around freedom of speech and the sitter’s agency, the research aims to encourage more resilient and responsible decision-making amongst museums and galleries. Significantly, the thesis develops a language and a framework within which such a dialectic can take place.The research is interdisciplinary in nature and, building on the new museum ethics discourse, draws on the experiences of museum practitioners in the US, UK and Europe – including curators, directors and educators. Firmly grounded within everyday museum practice, it identifies innovative curatorial strategies that exchange self-censorship for a more socially relevant way of interpreting and exhibiting photographs of children. The thesis advocates approaches that enable children and young people to express their own perspectives on the ways in which they are represented today.Adopting qualitative research methods, the research relies on interviews and case studies. These include a number of ‘silent’ cases introduced by museum informants that reveal how self-censorship operates through external and internal barriers, and two case studies that embrace curatorial strategies that explore alternative ways forward (at The North Carolina Museum of Art in Raleigh, US and the Fotomuseum in The Hague, The Netherlands).

Today, the facture not only are showed in the museums, but the more are showed in our life. With admeasurement is getting much bigger and bigger, besides, they have had discovered variant purposes thanks to the different organizers, it couldn’t be ignored in period society. The Literatures view came form the museum, discovering development relationship between the museum and art, art’s performances and the museums` trajectory as well as quote case study analyzed about exhibit industrial production situation. By reviewing the art history, we could point that antinomy of mechanism between the artist and the museum, which made the art highway around a theme , that is“ Art and Life”. No matter it’s far away from facility or back to society, all of these are one of the reason to encourage art performances getting popular. If we had went back to find understanding the art and the change of exhibit style, we also could use annals to analyze the art performance except for Taiwan’s museums and generalized two main questions: communicate with environment, partake with audience and quoted people had referred to discuss.Fubon Art Foundation “Very Fun Park”performed for many times, whom developed so well till now, it`s also few industries as the entrepreneur to exhibit the show, which emphasizing variety in the ground, making some linking with art and business affection that in east area. Above-mentioned the two questions analyzed “Very Fun Park”, bring out the difference of exhibition, feature, and affection. Afterward, people discovered Fubon Art Foundation’s way about the ways of activated and involved roles in the exhibits, which totally switched relationship between brew exhibits and create of art, getting to derive the Donate in the exhibit that had engaged Commercialization Art Biology structure, agreeing Jean Baudrillard`s expression, inquiring the way of commercial mechanism brought to art exhibit, and offered related savor review, and offered related savor review, and conformity to compromises as adjustments According to the collusion and conformity whom had found out, and offered related suggestions and introspection, and changing the museums` alteration and situation by showing the museum to improve art mechanism intension.

Nowadays, a website is considered primarily as a means of communication and categorized as one of many publications. Majority of prospective tourism visitors start their research on the internet. Therefore, having a website on the internet is a very important tool for any tourism business, including museums that would obviously give benefit for both the visitors and the museum itself. A well designed and maintained website will represent and evolve to being a museum’s image worth as one of tourism attractions. The purpose of this paper is to analyze a museum’s website and to examine its characteristics. This paper used a qualitative-explorative research. The Jakarta Tourism Board website was used as main reference to obtain which museum that was selected. Secondary data were from 10 official museums’ website observations in Jakarta. The results provide detail analysis about museum’s website through in-depth description referring to each particular characteristic; history, visitor information, collection, media press release, education, exhibition, research and social media. Each provides adequate information for visitors. This study contributes to the understanding of museum management to better acknowledge their website. The result of this study also provides strategic directions to enhance museum’s website performance expected to be in line with visitors’ experience.

Every design collection inevitably has its own particular take on design history, whether this is due to conscious decisions, subconscious leanings, or the institutional context in which the collection is created. From its beginnings, the Vitra Design Museum has not considered itself a corporate museum, because it selects all its exhibition themes and acquisitions for the collection according to independent criteria, just like any major public institution. Founded in 1989, the Vitra Design Museum is today regarded as one of the leading design museums worldwide. Since its establishment, the museum has been responsible for conserving, studying, publicizing, and developing its collection, leading to the construction of the Vitra Schaudepot in 2016, and its main research and publishing project of the past decades, the Atlas of Furniture Design, which will be published in 2019. Today, the complete collection of the museum numbers some 20,000 objects, such as furniture, lamps, textiles, electrical appliances, cutlery, and architectural models. The origins of the Museum's collection date back to the late 1970s, when Rolf Fehlbaum, the oldest son of Vitra founder Willi Fehlbaum, began to collect pieces of furniture that he personally regarded as pioneering, such as works by Charles and Ray Eames, Alvar Aalto, Gerrit Rietveld, and Jean Prouve.

We can distinguish different levels, several targets and many tools in museums institutional communication. Like many other organisations, museums have a precise informative responsibility towards their different stakeholders. The first communication level is the one directed to people attending museums rooms (i.e. visitors); the second level is the one referred to scientific community; moreover, there are other stakeholders such as the staff, local and national authorities, media system, opinion leaders, goods and services suppliers, sponsors, etc. At international level, one of the most frequently used communication tools in museums is the Annual Report (AR), a document summarising, in a structured form, past and future information about museum life and activities. The analysis of international ARs allows designing their general structure, made up of a descriptive section and a quantitative one, besides, quite rarely, some space devoted to the analysis of the external scenario (PEST and SWOT analyses). In the «narrative» section, we can find such elements as: a) communication from the Director; b) notes on the history of the museum and its collections; c) mission and strategic goals; d) programs and activities; e) organisational structure and data about museum staff and volunteers; f) list of donors. As for the «quantitative» section, it cab be made up of the following items: g) data on visitors attendance; h) financial report; i) performance indicators.The making of an AR needs a careful and deep reflection on some strategic and operational management choices, moving from the mission formulation; on another side, an AR gives a 360 degrees vision of museum activities and has moreover very important implications in terms of evaluation, both diachronic and synchronic.

The University of California Museum of Paleontology (UCMP) maintains the largest university museum fossil collection in the world and promotes research and education at its home, University of California, Berkeley, and far beyond. The museum supplies crucial materials and intellectual resources to a wide variety of university courses, where graduate and undergraduate students gain first-hand experiences in studying fossil specimens in laboratory exercises and class projects. Our specimen-based approach generates greater interest in the subjects and uniquely enhances students’ understanding of biological diversity and evolution. Discovery-oriented class projects often pave the way for scientific publications in professional journals, which contribute to the research mission of the museum. For grades K-12, the museum offers hands-on learning experiences to the public through museum tours and outreach programs at local schools. Further, the highly successful UCMP website relies on the fossil collection to make educational resources in paleontology and evolutionary biology accessible to students of all ages around the world. The museum’s fossil collection is vital to educational programs that disseminate paleontological knowledge and cultivate scientific literacy.

Folklore and museums have had a long and intertwined history. Among those responsible for the founding of the American Folklore Society (AFS) in 1888 were museum-based anthropologists, curators, and collection managers. Since that time, folklorists have worked in and with museums in a variety of ways -- work that has reflected intellectual and political shifts in folklore studies as well as changes in museum practice. As cultural heritage work in the twenty-first century seeks simultaneously to document, interpret, present, preserve, and protect tangible and intangible heritage while at the same time address the needs of civil society, the logical interfaces between folklore and museum work have increased. The first development was the emergence and growth of open-air museums and living history programming. In 1872, Swedish teacher, scholar, and folklorist Artur Hazelius established a museum in Stockholm for Swedish ethnography, now called Nordiska museet, to house the peasant life materials he bought or managed to get donated from all over Sweden and the other Nordic countries.

The mammal collections at The Field Museum were founded in 1893, in the wake of the World Columbian Exposition in Chicago, and have grown into one of the world's premier resources for the study of mammalian evolution. Over its history the collection has had the names Field Columbian Museum, Field Museum of Natural History, Chicago Natural History Museum, and again Field Museum of Natural History. Collections of Recent mammals number more than 212,000 specimens (plus ca. 1500 being processed) and 550 primary types. Each category ranks it among the largest mammal collections in the world. Although the collections are unique, encyclopedic, and worldwide in scope, those from the Philippines, Peru, Chile, Madagascar, Tanzania, Egypt, and Iran are among the world's very best.

Most museums nowadays tend to provide high quality service to promote customer satisfaction and sense of commitment so as to build up a good relationship with visitors and increase their willingness to revisit. Therefore, to measure customer loyalty has become an important task. This study was to investigate the relationship among service quality, relationship quality, and customer royalty who had visited the CHIMEI Museum. There were 250 visitors visiting the CHIMEI Museum in Taiwan were selected as the sample for the research. Questionnaire survey was adopted in this study to analyze by means of statistical methods such as descriptive statistics, correlation analysis, as well as multiple regression analysis. The result shows that the service quality, the relationship quality and the customer relationship are evidently related to one another; the service quality is significantly predictive to the customer royalty; the relationship quality is significantly predictive to the customer royalty; the service quality is significantly predictive to the relationship quality; and the relationship quality is predictive to the customer royalty. This study reveals the royalty of visitors can be predicted by the service quality and relationship quality of the Museum. Finally, according to the empirical results, we gave CHIME museum suggestions for reference.

1930年，日本殖民政府於台北縣新莊設立了樂生療養院，上千名痲瘋病患被迫在此隔離。2002年因捷運工程而要拆除樂生療養院，引發了一連串的守護家園運動。2007年底，樂生博物故事館開館，弱勢族群獲得了挑戰權威與歧視的發聲空間。本文旨在探討樂生博物故事館的展示建構，並藉由兩個相關展覽之分析，討論博物館再現身心障礙之意義、策略與相關的倫理議題。首先，北美館的「停格的歲月—痲瘋村紀事」展覽中，攝影作品聚焦在院民異於常人的肢體，雖然成功地吸引觀眾目光，但也使院民成為美學欣賞與觀看的客體。相較而言，樂生博物故事館以院民及保存運動為敘事主體，在歷史脈絡中展示各種物件與影像，部分院民也參與規劃及導覽，使觀眾較能貼近其生活與詮釋脈絡。本文強調，作為批判性社會教育的場域，樂生博物故事館展示應擴大院民之參與和詮釋，以積極挑戰社會的偏見與歧視。