Museum Experience

In trying to understand the museum receive one moldiness(prenominal) be able to compel a holistic approach. This promoter creating an own not based on a certain aspect only when but an encounter with someone or something with the full awareness of the tinge it brings to an individual. This paper seeks to discover the museum experience. It seeks to answer questions that revolve around individuals with regards to how to experience the consentaneous take in on a museum can offer.The get-go subtract of the paper seeks to beg off the concept of museum experience. In appreciating the impact of experience a museum has to offer, one essential first be able to understand its nature and concept. star office of grasping the concept of museum experience is creating a model that go come in be used as a guideline of experience. The model is called Interactive discover sham. We have found this model to be a useful modeling within which to organize and interpret the wealth of r e look and information that suffer up the museum gabbleor literature, as well as relevant research from psychology, anthropology, and sociology.1 The structure of the model are based on three sections personal, companionable and physical. In the personal context, each museum visitors personal context is unique it incorporates a variety of experiences and friendship, including varying degrees of experience in and knowledge of the content and concept of the museum.2 The next context involves the social context. Understanding the social context of the visit allows us to make sense of variations in behavior between, for example, adults in family groups and adults in adult groups, or children on school field trips and children tour with their families.3 Lastly, the museum is a physical setting that visitors, usually freely, choose to enter. The physical context includes the computer architecture and rule of the building, as well as the objects and artifacts contained within.4 The Interactive Experience Model suggests that all three contexts should contribute significantly to the museum experience, though not of necessity in equal proportion in all cases.5 The model clearly attempts to have a holistic approach in determining the value of museum experience felt by an individual. Thus in museum experience, awareness must occur in the process of overall grasping of ideas and experiences felt.The next adjourn of the paper seeks the idea of how museums communicate to an individual or groups. In the unseasoned-made and changing terms, the museums challenge is to be an institution that can showcase an sound way of exhibiting and showcasing ideas that can create a memorable and valuable experience. other challenge for museum educators is that of giving proper scope to ethnical diversity dapple acknowledging the impossibility of presenting a collection that is all-inclusive.6 Creating museum communication means preparing a scenario provide create a lasting e ffect to individuals. Learning is influenced by demand and attitudes, by prior experience, by culture and background, and especially in museums by design and presentation and the physical setting. 7 Museum educators must be aware that individuals and groups get in different ways. Thus, it is important for a dynamic approach that will cater not to certain individuals but majority of the visitors.Each museum must resurrect its protest philosophic commitment, its own pattern of effective education in a specific community.8 Therefore museums communicate by means of its capabilities to nurture effective communication and information needed by individuals or groups. This is concluded by giving emphasis to the way each exhibit is efficaciously arranged to suit the needs of every visitor.The next part seeks to retrace the way museums connect to other people. In this process, the paper will look into the way a museums can create memories based from experiences. The idea of creating experiences in a museum can vary based on the perspectives that a visitor might use. Museums can use different strategies to catch the attention of visitors and create memories of the certain exhibit or object displayed.However, it must be pointed out that these situations vary since people regard an exhibit or displays significance because of previous experience. Thus, the capability of a museum educator to create new ideas and schemes to attract, connect and impart knowledge among individuals and groups.Story-telling in galleries using paintings, drama using characters related to the collections, artmaking and scientific experimental workshops, writing poetry as a response to objects and reviewing classification systems, developing fashion shows based on gussy up collections, measuring and recording buildings inside and outside, mapping sites and grounds, talking and listening to museum staff, visiting the museum stores or laboratories there is much good practice to draw upon. 9 other(a) ideas and strategies might be explored in creating memories for visitors.Other museum educators say they seek to promote conversations with visitors, lot understanding through personal interactions, promote fun and playful practise rather than a catalogue of facts, help visitors become responsible for their own encyclopaedism and stimulate creativity and opportunities to learn through play.10The last part of the paper seeks to view the way museums take part in the learning process of individuals or group. In determining this, one must first look into the way an object in a museum impart knowledge to the visitor thus facilitating the creation of learning.Objects can be particularly stimulate in relation to learning processes when handled and studied closely.11 Another thing that a museum educator can do is to urge on learning by means of letting the object be interpreted by the visitor itself. One important role of the education staff within the museum is to help vis itors feel empowered to see and choose, to relate the works of art to their own search for meaning.12 Thus it is important for the museum educator to arrange the objects in such a way that it will be conducive to learning and at the aforesaid(prenominal) time letting the visitor experience the object independently. educational experience should experiences stimulate curiosity and imagination, while allowing the sheer pleasure and delight in looking.13 In addition, the museum must be an environment conducive for learning.In order to promote learning, not only do the distracting characteristics of unfamiliar settings need to be belabor (both by making the environment friendly and inviting and by recognizing that visitors need time to orient themselves and need as much assistance as feasible in doing so), but exhibitions to a fault need to provide intellectual and cultural hooks that permit visitors to connect with the exhibitions.14To conclude, the paper highlighted the way museum s interact with individuals and groups to facilitate learning and on the other hand create experiences to visitors. The paper also elaborated on the methods and strategies museums use to attract attention among visitors. The ability of a museum as an institution to create avenues for learning among individuals and groups pillow to be seen. However, the amount of experience that a person absorbs still stiff to be subjective. It is still left to the individual to create a holistic understanding and experience in a museum visit.BibliographyFalk, J.H. and L.D. Dierking. The Museum Experience. (Washington, D.C..WhalesbackBooks. 1992)Hein, George. Learning in the Museum (Museum Meanings). ( newfound York Routledge. 2001)Hooper-Greenhill, E. The educational Role of the Museum, modify by E. Hooper-Greenhill,capital of the United Kingdom Routledge, 1994.Walsh-Piper, Kathleen. Museum Education and aesthetical Experience. online journalJournal of artistic Experience, vol. 28 no. 3 (Autumn 1994) accessed family 29,2007 available from http//links.jstor.org/sici?sici=0021-8510%28199423%2928%3A3%3C105%3AMEATAE%3E2.0.CO%3B2-TWittman, Otto. The Museum and its Role in maneuver Eucation. online journal imposture Education,vol.19 no.2 (Feb. 1996) accessed September 29, 2007 available from http//links.jstor.org/sici?sici=0004-3125%28196602%2919%3A2%3C3%3ATMAIRI%3E2.0.CO%3B2-EZeller, Terry. Museum Education and School dodge Different Ends and Different Means.online journal Art Education, vol. 38 no. 3 (May 1985) accessed September 29,2007 available from http//links.jstor.org/sici?sici=0004-3125%28198505%2938%3A3%3C6%3AMEASAD%3E2.0.CO%3B2-U1 Falk, J.H. and L.D. Dierking. The Museum Experience. (Washington, D.C..Whalesback Books. 1992) p. 22 Ibid. 3 Ibid p. 3 4 Ibid. 5 Ibid. p.7 6 Walsh-Piper, Kathleen. Museum Education and esthetic Experience. online journal Journal of Aesthetic Experience, vol. 28 no. 3 (Autumn 1994) p.109 7 Hooper-Greenhill, E. The Educational Role of the Museum, edited by E. Hooper-Greenhill, London Routledge, 1994.) p.21 8 Wittman, Otto. The Museum and its Role in Art Eucation. online journal Art Education, vol.19 no.2 (Feb. 1996) p. 6 9 Hooper-Greenhill, E. The Educational Role of the Museum, edited by E. Hooper-Greenhill, London Routledge, 1994 p. 21 10 Zeller, Terry. Museum Education and School Art Different Ends and Different Means. online journal Art Education, vol. 38 no. 3 (May 1985) p. 8 11 Hooper-Greenhill, E. The Educational Role of the Museum, edited by E. Hooper-Greenhill, London Routledge, 1994.) p.21 12 Walsh-Piper, Kathleen. Museum Education and Aesthetic Experience. online journal Journal of Aesthetic Experience, vol. 28 no. 3 (Autumn 1994) p. 109 13 Ibid. p. 109 14 Hein, George Learning in the Museum. New York Routledge 2001 p.152