scholarly journals Scenting the Anosmic Cube: On the Use of Ambient Scent in the Context of the Art Gallery or Museum

i-Perception ◽  
2020 ◽  
Vol 11 (6) ◽  
pp. 204166952096662
Author(s):  
Charles Spence
Keyword(s):  
Art Museum ◽  
Laboratory Research ◽  
Experience Design ◽  
Art Gallery ◽  
Art Galleries ◽  
Museum Displays ◽  
Subsequent Recall ◽  
Museum Display ◽  
Ambient Scent ◽  
Multisensory Experience

In recent years, there has been growing interest in the possibility of augmenting the visitor’s experience of the exhibits in various art galleries and museums by means of the delivery of a genuinely multisensory experience, one that engages more than just the visual sense. This kind of approach both holds the promise of increasing engagement while, at the same time, also helping to address, in some small way, issues around accessibility for the visually impaired visitor. One of the increasingly popular approaches to enhancing multisensory experience design involves the use of scents that have been chosen to match, or augment, the art or museum display in some way. The various different kinds of congruency between olfaction and vision that have been investigated by researchers and/or incorporated into art/museum displays already are reviewed. However, while the laboratory research does indeed appear to suggest that people’s experience of the paintings (or rather reproductions or photos of the works of art) may well be influenced by the presence of an ambient odour, the results are by no means guaranteed to be positive, either in terms of the emotional response while viewing the display or in terms of the viewer’s subsequent recall of their multisensory experience. As such, caution is advised for those who may be considering whether to augment their multisensory displays/exhibits with ambient scent.

scholarly journals The Inquiry of Storytelling Narrative in the Museum Display Design

2017 ◽  
Vol 4 (2) ◽  
pp. 114
Author(s):  
Yutong Han ◽  
Chuanhong Xu
Keyword(s):  
Social Education ◽  
Experience Design ◽  
Scene Design ◽  
Display Design ◽  
The People ◽  
The World ◽  
Story Construction ◽  
Museum Display

<em>This article starts from space story construction, display scene design and the “people-oriented” </em><em>experience design direction, combines with quality cases that leading the world museum display design, </em><em>discusses how to use the storytelling narrative into museum display design. The paper will help better </em><em>promote the plot development between space and exhibits, exhibits, people and exhibits, optimize the</em><br /><em>social education function of traditional museum, and spread exhibition information more effectively.</em>

scholarly journals Using CCTV to study visitors in The New Art Gallery, Walsall, UK

2002 ◽  
Vol 3 (2/3) ◽  
Author(s):  
Ela Beaumont
Keyword(s):  
Code Of Ethics ◽  
Video Data ◽  
Observational Research ◽  
Video Observation ◽  
Visitor Studies ◽  
Art Gallery ◽  
Art Galleries ◽  
Observation Methods ◽  
Recent Developments ◽  
The Uk

The routine use of CCTV surveillance in new art galleries in the UK presents an opportunity for researchers to harness its potential as a powerful observational tool in visitor studies, and recent developments in video technology have created new possibilities for observational research. Recent studies using video observation methods in the UK, France and the US have demonstrated how powerful film data can be, but have also shown the difficulties in operationalising studies that use these techniques. The analysis of video data is in its infancy in the field of art gallery visitor studies, and this paper contributes to the theoretical, ethical and practical debate by discussing a recent observational visitor study using in-house CCTV cameras in the New Art Gallery, Walsall. The study demonstrates significant advances on previous observational visitor studies that have gathered 'covert observational data'. It show how CCTV footage can be used to gather naturally occurring visitor activities in a highly structured way, without disrupting the gallery with extra cameras or microphones and yielding increasingly detailed, useful information. It opens up the prospect of a wider ideological debate about the use of CCTV in art galleries, and contributes to work in progress on a code of ethics for video observation in visitor studies.

The Library of the Barber Institute of Fine Arts at the University of Birmingham

2010 ◽  
Vol 35 (4) ◽  
pp. 24-28 ◽  
Author(s):  
David Pulford
Keyword(s):  
Art History ◽  
Fine Arts ◽  
Art Gallery ◽  
Art Galleries ◽  
University Library ◽  
The University

The Barber Institute of Fine Arts is acknowledged as one of the finest small art galleries in Europe. It has a richly resourced library which functions both as a curatorial library for the Barber’s curators and as part of the University of Birmingham’s network of site libraries. Students of art history thus benefit from the combined resources of a specialist art gallery library and a major university library. The Barber also houses a visual resources library, music library and coin study room.

Contemporary publishing by national museums and art galleries in the UK and its future

2014 ◽  
Vol 39 (3) ◽  
pp. 34-41 ◽  
Author(s):  
Sarah Anne Hughes
Keyword(s):  
Art Gallery ◽  
Art Galleries ◽  
Museum Visitors ◽  
Book Sales ◽  
Contextual Understanding ◽  
National Museums ◽  
Museum Staff ◽  
Academic Register ◽  
The Uk ◽  
Diverse Audience

Changes in the format, design and content of museum and art gallery exhibition catalogues can be traced to the visibility and popularity of these souvenirs for the block-buster exhibitions of the 1970s. The increased museum revenue from these book sales and the need, perceived by the publishers recruited to museum staff from a trade background, to address the interests of a more diverse audience are identified as the two main instigators of these changes. The resulting exhibition catalogues play down the scholarly apparatus, offer more images particularly to enhance the reader’s contextual understanding and, in some cases, ameliorate the academic register of the writing. The uses made of exhibition books by institutions, their associated sponsors and museum visitors is commented on.

Art galleries in the library

2017 ◽  
Vol 118 (9/10) ◽  
pp. 566-568
Author(s):  
Bruce Massis
Keyword(s):  
Literature Review ◽  
Design Methodology ◽  
Art Gallery ◽  
Art Galleries ◽  
Content Type

Purpose The purpose of this study is to report that the library has recognized the benefit to the community of including art gallery space in the library. Design/methodology/approach This paper is a literature review and commentary on this topic that has been addressed by professionals, researchers and practitioners. Findings Exposure to art in the library can open and expand worlds that might never have been available to some and can provide the populace with greater access directly in their own community. Originality/value The value in exploring this topic is to provide libraries that may not have considered including an art gallery in their libraries to consider the possibility of doing so.

scholarly journals Kualanamu Art Gallery & Exhibition Center (Structure as Elements of Aesthetics)

2018 ◽  
Vol 2 (2) ◽  
pp. 115-121
Author(s):  
Samsul Bahri ◽  
Febby Khafilwara
Keyword(s):  
Human Resources ◽  
Ethnic Group ◽  
Art Gallery ◽  
Art Galleries ◽  
Considerable Potential ◽  
The Third ◽  
Works Of Art ◽  
The City

Medan is the third largest city in Indonesia, so it has considerable potential in the field of Art. A lot of potential and human resources that could be developed in the city of Medan. The city characterized by the culture of various Ethnic this hope was able to preserve the culture of each ethnic group. Art galleries and exhibition is expected to become a new tourism venue in the city of Medan and the iconic place of the development of works of art in the city of Medan. With the approach of the structure as elements of aesthetic in architecture

scholarly journals GALERI SENI INTERAKTIF

2020 ◽  
Vol 1 (2) ◽  
pp. 929
Author(s):  
Bianca Marvella ◽  
Andi Surya Kurnia
Keyword(s):  
Social Media ◽  
Digital Technology ◽  
Design Research ◽  
Direct Conversion ◽  
Social Aspect ◽  
Interactive Art ◽  
Art Gallery ◽  
Art Galleries ◽  
Art Objects ◽  
Static Object

Millennials are the generation that lives among advance technology. The use of digital technology is inseparable from the millennial generation. This claim are proven by how technology sink in a lot aspects of life, social aspect as one of them. Today, with digital technology, social media becomes a tool to communicate that can connect people without the limitation of time and place. Millennials, as a generation who use digital technology the most today, open themselves up by showing moments, experiences, and pleasures through art. As a form of expressing oneself, art is no longer limited to a collection of sculptures, or painting, but rather to an aesthetic moments that they can share on social media in the form of photos or videos. In Indonesia, most museums and art galleries only accommodate exhibition spaces that are limited to static object (immovable), even though they are supposedly accommodate dynamic art objects that can be used interactively with visitor galleries. Therefore, a space that can accommodate interactive art objects in the digital age is needed. By using design research methods, carried out on space through observation and exploration, the Interactive Art Gallery not only provides relevant expression space for millennial generations, but also supports direct conversion between communities through art. AbstrakGenerasi milenial merupakan generasi yang tumbuh di tengah perkembangan teknologi yang menjadikan mereka tech savvy (gemar teknologi). Pemakaian teknologi digital sudah sangat lekat dengan generasi milenial. Hal ini dibuktikannya dengan masuknya teknologi dalam aspek-aspek kehidupan, salah satunya adalah aspek sosial. Hari ini, dengan kecanggihan teknologi digital, sosial media menjadi sebuah perangkat interaksi yang dapat mengkoneksikan orang-orang tanpa batasan waktu dan tempat. Milenial, sebagai generasi pengguna teknologi digital terbanyak saat ini, mengekspresikan diri mereka dengan cara menunjukan momen, pengalaman, dan kesukaan, salah satunya lewat seni. Sebagai wujud ekspresi diri, seni tidak lagi terbatas pada koleksi patung, atau lukisan, tetapi lebih kepada momen-momen estetik yang dapat mereka bagikan di sosial media dalam bentuk foto maupun video. Di Indonesia sendiri, kebanyakan museum dan galeri seni hanya mewadahi ruang pamer yang terbatas pada objek-objek seni statis (tidak bergerak) padahal seharusnya mulai berkembang untuk mewadahi objek seni dinamis yang dapat berinteraksi langsung dengan pengunjung galeri. Oleh karena itu, dibutuhkannya sebuah ruang yang dapat mewadahi objek seni interaktif di era digital. Dengan menggunakan metode design research yang melakukan pendekatan terhadap ruang lewat observasi dan eksplorasi perilaku, Galeri Seni Interaktif dirancang dengan tujuan tidak hanya memberikan ruang ekspresi yang relevan untuk generasi milenial, tapi juga mendukung terjadinya interaksi langsung antar masyarakat sekitar melalui seni. 

scholarly journals Aratoi: Our Journeys to Aotearoa

Museum Worlds ◽  
2021 ◽  
Vol 9 (1) ◽  
pp. 92-109
Author(s):  
Esther Helen McNaughton
Keyword(s):  
Teacher Development ◽  
Art Gallery ◽  
Art Galleries ◽  
Collaborative Project ◽  
Whole School ◽  
Local Schools ◽  
Special Character ◽  
Public Recognition ◽  
School Learning ◽  
Pre Service Teacher

How can regional art galleries support the development of cultural understanding in their communities? The 2019 collaborative project Aratoi: Our Journeys to Aotearoa between Nelson, New Zealand’s Suter Art Gallery te Aratoi o Whakatū and eight local schools explored this question. Students’ artworks were hung alongside the gallery’s collection, enriching dialogue within the exhibition through the provision of voices otherwise absent. Building on the gallery’s collection and history, this project demonstrated the evolution of the gallery’s colonial roots into a broader discussion of culture. Participating teachers believed the project allowed public recognition of students’ abilities and ideas; expression of a school community’s special character; cross-curricular learning; cohesive whole school learning; bicultural learning; and pre-service teacher development. It also enabled meaningful exploration of Aotearoa New Zealand’s histories.

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