Muuseumid ja nende mõju praktilises muuseumitöös

Runnel, Pille; Aljas, Agnes

doi:10.33302/ermar-2019-008

Cited by 2 publications

(3 citation statements)

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“…Püsinäituse "Kohtumised" üks alateemadest "Linnad linnas" uurib noorte mediatiseeritud linnakogemusi (Runnel 2015). Koostöös laste ja noortega loodud (Pruulmann-Vengerfeldt ja Runnel 2019) näituseosa hõlmab puutelauaeksponaati "Kuidas säutsud, Eesti", mis eksponeerib Twitteri kasutamist geograafilises ruumis.…”

Section: "Kuidas Säutsud Eesti"unclassified

“…Geosildistamine aitas tuua puutelauale parasjagu Twitteris levivad sõnumid, mis olid märgitud säutsu konkreetse asukohaga. See eksponaat valmis algselt laste ja noorte linnaruumi käsitleva näituse jaoks ERMi näituselaboris (Runnel 2015). Olles tihedalt seotud ennekõike nooremate külastajate igapäevaste meediakogemustega, on eksponaadiga suhestumine olnud nende jaoks lihtne ja see on omakorda muutnud viisi, kuidas lapsed ja noored muuseumiga suhestuvad.…”

Section: "Kuidas Säutsud Eesti"unclassified

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Miks on see eksponaat digitaalne? – Digitaalsete eksponaatide dimensioonid muuseumiruumis

Runnel¹,

Pruulmann-Vengerfeldt²,

Lepik³

2023

ERMAR

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Digital objects are used in the exhibition space in different ways. They can be indeterminate, so to speak, mandatory elements which have been created without a clear concept or a needs analysis and their function is to highlight the modernity of the exhibition. But they can also be the most important element of the exhibition – a strategic exhibition layer shaping the entire experience of the visit. Drawing from research on museum communication, this article aims to propose an analytical framework for digital exhibits in exhibitions. This framework should be regarded as preliminary. Our empirical examples draw upon one case study – we look at and analyze the exhibits of the Estonian National Museum's permanent display "Encounters", by placing them in a dialogue with other examples and analyzes from the literature of the field. We discuss the potential function of digital exhibits by examining it through the analytical dimensions that were applied in the development of the exhibitions, although this was done not consciously for the most part, since the exhibition relied on a different, primarily content-based organization. We propose seven distinct dimensions in this paper, starting with 1) spatiality, which encompasses the possibilities and limitations of digital elements related to space, and 2) temporality, which relates to the permanence and changeability of the digital exhibit content. Next, we look at 3) digital exhibits considering the dimension of private and public spheres, and 4) the aspect of the exhibit’s single or multiple users, which allows for a better understanding of the previously explored dimension of participation. 5) The creation of a narrative presenting the past relies more and more on combining fictional and documentary formats. Finally, from a critical perspective, we also discuss the questions of 6) authoritative and collaborative interpretation and 7) the openness and limitedness of interpretation possibilities. By highlighting some theoretical starting points with the help of specific examples, we attempt to show the heuristic value of the discussed dimensions in understanding visitor engagement.

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Section: "Kuidas Säutsud Eesti"unclassified

Miks on see eksponaat digitaalne? – Digitaalsete eksponaatide dimensioonid muuseumiruumis

Runnel¹,

Pruulmann-Vengerfeldt²,

Lepik³

2023

ERMAR

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“…Muuseumi ühiskondlik-poliitilisest rollist on ERMi aastaraamatutes mitmel pool juttu olnud (Lotina 2014;Runnel 2019;Runnel ja Pruulmann-Vengerfeldt 2010;2012). Selle rolli täitmisel on oluline, et muuseumi tegevus kõnetaks ja kaasaks külastajat viisil, mis jätaks ka tema arvamusele ja positsioonile ruumi.…”

Section: Asjast Lähtumise Meetod Ning Avatud Ja Dialoogiline Muuseumunclassified

Tingens metod – asjast lähtumise meetod auditooriumide kaasamiseks

Pruulmann-Vengerfeldt¹,

Addo²,

Engberg³

et al. 2023

ERMAR

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As scholarly institutions, museums are expected to produce research similar to academic institutions, i.e. journal articles, book chapters and monographs. At the same time, there are ongoing discussions in the academic sector about the status of artistic research, and it is possible to approach exhibition making from the perspective of artistic research. In order to bolster the contribution of museums towards spreading democracy and participatory culture, it becomes necessary to devise methods for bringing together audience engagement and possibilities for artistic research in the creation of new knowledge. The article presents the Tingens Metod or the thing-based method as an opportunity to involve audiences in exploring museum objects. Based on the actor network theory, the object method capitalizes on the possibility of allowing objects to be at the center of gatherings in the museum. In order to ensure that work with the audiences does not remain only sporadic or, for example, limited to the domain of pedagogues, it is necessary to find different methods that would allow other departments and activities of the museum to cooperate with a wider audience. Four workshops using the object-based method were held in cooperation between Malmö Museums and Malmö University. The workshops brought together teenagers, media technology and graphic design students, as well as young adults who discussed different objects found in the museum. We selected twelve items that had also been on display at the exhibition of sailors' memorabilia of the Malmö museums. The workshops took place on the Zoom platform using the Google Jamboard application, which set low technological barriers and encouraged participants to focus on the museum's objects in a way that a single thing rarely receives in the context of an entire exhibition. The participants talked about history, culture, migration, economic and trade relations, art, war and much more. Focus on things makes it possible to lower the participation barrier, and with their questions and curiosity, participants can make their contribution towards work with museum collections. Linking the object-based method with artistic research allows us to examine the items by combining methods such as reading and discussion with, for example, drawing and the search for information on the Internet. In this way the self-confidence of the participants is boosted and their interest sparked. The object-based method can be part of the preparation of the exhibition, where participants can ask questions that the exhibition will later answer, or be part of the work with collections or discovery learning. Integrating the object -based method into the museum's activities through a range of different activities invites audiences to participate in a museum that will never be finished. Questions asked by visitors can reveal gaps in the museum's knowledge and create unexpected and miscellaneous connections. They can likewise help find new and interesting applications for collections that have a narrow field of meaning. To draw a comparison from the world of technology, the museum can also be seen as operating in a beta version where audiences have been engaged in the development process and visitors can contribute to the continuous improvement of the exhibition by virtue of inclusive creative research.

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Muuseumid ja nende mõju praktilises muuseumitöös

Abstract: Introduction

Cited by 2 publications

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Miks on see eksponaat digitaalne? – Digitaalsete eksponaatide dimensioonid muuseumiruumis

Miks on see eksponaat digitaalne? – Digitaalsete eksponaatide dimensioonid muuseumiruumis

Tingens metod – asjast lähtumise meetod auditooriumide kaasamiseks

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