Download Free A Museum Hack For Museum Education Book in PDF and EPUB Free Download. You can read online A Museum Hack For Museum Education and write the review.

The purpose of this study was to investigate the alternative approach to museum education utilized by the Corning Museum of Glass and influenced by the museum tour company, Museum Hack. Through the process of identifying methods and techniques employed by Museum Hack, the goal of this research was to recognize which of those approaches could be applied to other educators and institutions in their efforts to establish and encourage a positive learning environment for visitors. Applying a multiple site case study methodology, this study used a firsthand account of a Museum Hack tour operated at The Metropolitan Museum of Art in New York, New York to establish a sampling of techniques typically used by the company’s tour guides. This study provides a detailed account of the Museum Hack tour, paying attention to the variety of methods employed. The second site of research visited in the study was the Corning Museum of Glass in Corning, New York, to ascertain the influences affected by Museum Hack and their use of alternate methods of tour procedures. Through extensive interviews with members of the Corning Museum of Glass’s education department, the elements of the Museum Hack’s gallery teaching techniques were compared and connected, pertaining to the museum’s programming, while questioning their derivative nature. Four main themes emerged that represented significant features applicable to alternative museum education. These were the importance of the narrative, the focus of the visitor museum experience, the use of interpretation, and the need to establish relationships. Based on the findings of the study, museum educators, teachers, and institutions may gain a new perspective on the possibilities of the museum environment as a place of learning for all visitors.
With this book, museum professionals can learn how to unleash creative potential throughout their institution. Drawing from a wide range of research on creativity as well as insights from today’s most creative museum leaders, the authors present a set of practical principles about how museum workers at any level—not just those in “creative positions”—can make a place for creativity in their daily practice. Replete with creativity exercises and stories from the field, the book guides readers in developing an internal culture of creative learning, as well as delivering increased value to museum audiences.
"Sponsored by the Museum Education Roundtable"--Provided by publisher.
Creativity is no longer the sole territory of the designer and other creative professionals. Amateurs are drawn to websites such as Flickr, Threadless, WordPress, YouTube, Etsy, and Lulu, approaching design with the expectation that they will fill in the content. Never has user-driven design been easier for the public to generate and distribute. How will such a fundamental shift toward bottom-up creation affect the design industry? Designing for Participatory Culture considers historical and contemporary models of making that provide ideas for harnessing user-generated content through participatory design. The authors discuss how designers can lead the new breed of widely distributed amateur creatives rather than be overrun by them. DPC challenges designers to transform audiences into users, and completed layouts into open-ended systems. The book opens with an introductory essay entitled 'Ceding Control,' which explores the general concept of participatory culture and the resulting emergence of systems-oriented models of co-creation. Four chapters Modularity, Flexibility, Community, and Technology explore the various approaches to participatory design through critical essays, case studies, and interviews with leading designers in the field.
Sponsored by the Museum Education Roundtable, this is volume 36, Number 2 of the Journal of Museum Education (JME), published in the summer of 2011. This edition includes articles on protecting objects whilst serving the public, a discussion on touching objects, a look at the Staten Island Historical Society's Model T, interactive learning and younger years learning and moving media and storage issues.
Learning in the Museum examines major issues and shows how research in visitor studies and the philosophy of education can be applied to facilitate a meaningful educational experience in museums. Hein combines a brief history of education in public museums, with a rigorous examination of how the educational theories of Dewey, Piaget, Vygotsky and subsequent theorists relate to learning in the museum. Surveying a wide range of research methods employed in visitor studies is illustrated with examples taken from museums around the world, Hein explores how visitors can best learn from exhibitions which are physically, socially, and intellectually accessible to every single visitor. He shows how museums can adapt to create this kind of environment, to provide what he calls the 'constructivist museum'. Providing essential theoretical analysis for students, this volume also serves as a practical guide for all museum professionals on how to adapt their museums to maximize the educational experience of every visitor.
What does the transformation to a visitor-centered approach do for a museum? How are museums made relevant to a broad range of visitors of varying ages, identities, and social classes? Does appealing to a larger audience force museums to "dumb down" their work? What internal changes are required? Based on a multi-year Kress Foundation-sponsored study of 20 innovative American and European collections-based museums recognized by their peers to be visitor-centered, Peter Samis and Mimi Michaelson answer these key questions for the field. The book describes key institutions that have opened the doors to a wider range of visitors; addresses the internal struggles to reorganize and democratize these institutions; uses case studies, interviews of key personnel, Key Takeaways, and additional resources to help museum professionals implement a visitor-centered approach in collections-based institutions
Emma Nardi, Cinzia Angelini, Introduction; Line Ali Chayder, Travelling with Art. A learning project for refugee children at Louisiana Museum of Modern Art; Sharon Chen, Kopi, Kueh and Culture; AI Ying Chin, Singapore’s Little Treasures: Innovation in museum and classroom practice for and by kindergarten teachers; Mila Milene Chiovatto, Denyse Emerich, Rafaella Fusaro, The Pinafamília Project; Arusyak Ghazaryan, Marine Haroyan, In the World of National Musical Instruments; Helen Lamotte, Alexandre Therwath, Orsay facile. Inclure les personnes déficientes intellectuelles dans l’élaboration de documents adaptés; Tatevik Shakhkulyan, Nairi Khatchadourian, Lullabies Singing Workshop; María Antonieta Sibaja Hidalgo, X72/Punto de reunion.
Thousands of diverse museums, including art galleries and heritage sites, exist around the world today and they draw millions of people, audiences who come to view the exhibitions and artefacts and equally importantly, to learn from them about the world and themselves. This makes museums active public educators who imagine, visualise, represent and story the past and the present with the specific aim of creating knowledge. Problematically, the visuals and narratives used to inform visitors are never neutral. Feminist cultural and adult education studies have shown that all too frequently they include epistemologies of mastery that reify the histories and deeds of 'great men.' Despite pressures from feminist scholars and professionals, normative public museums continue to be rife with patriarchal ideologies that hide behind referential illusions of authority and impartiality to mask the many problematic ways gender is represented and interpreted, the values imbued in those representations and interpretations and their complicity in the cancellation of women's stories in favour of conventional masculine historical accounts that shore up male superiority, entitlement, privilege, and dominance.0Feminist Critique and the Museum: Educating for a Critical Consciousness problematises museums as it illustrates ways they can be become pedagogical spaces of possibility. This edited volume showcases the imaginative social critique that can be found in feminist exhibitions, and the role that women's museums around the world are attempting to play in terms of transforming our understandings of women, gender, and the potential of museums to create inclusive narratives.