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Becoming a Better ME: Chinese science museum educators' expectations for professional growth 成为更好的 ME:中国科技馆教育工作者对专业成长的期望
IF 1 4区 社会学 Q1 Arts and Humanities Pub Date : 2024-01-03 DOI: 10.1111/cura.12606
Jiao Ji, David Anderson

Museum educators' (MEs) visions and desires for career development represent an idealized and aspirational identity of being better museum educational professionals. As part of a larger project that explored museum educators' self-concept as education professionals in China, this preliminary study explored 23 Chinese science museum educators' thoughts and ideas about their imagined professional identity in terms of describing personal desires for professional development pathways. Informed by a Possible Selves theoretical perspective, museum educators in this study elucidated five hoped-for professional development approaches, including cross-departmental communication, external communication, formal training in an engaging approach, peer support, and self-regulated learning. Their expectations for professional growth, to a large extent, were derived from personal reflection and social comparison on the basis of their past work experiences in museum institutions. Therefore, their imagination about future professional development was deeply influenced by the complicated sociocultural and political contexts in which they lived and worked. As the professionalization of science museum educator work in China is at a relatively early stage of emergence, this study provides insights that may help scaffold and direct professionalization efforts of museum education practices in China, and other countries and regions with similar contextual situations.

博物馆教育工作者(Museum educators)对职业发展的愿景和渴望,代表了他们对成为更好的博物馆教育专业人士的理想化身份认同。作为探索中国博物馆教育工作者作为教育专业人士的自我概念的大型项目的一部分,本初步研究探讨了 23 位中国科学博物馆教育工作者在描述个人对专业发展途径的渴望时,对其想象中的专业身份的想法和观点。在 "可能的自我"(Possible Selves)理论视角的启发下,本研究中的博物馆教育工作者阐明了他们所希望的五种专业发展途径,包括跨部门交流、外部交流、参与式正式培训、同伴支持和自我调节学习。他们对专业发展的期望在很大程度上来自于个人反思和社会比较,以他们过去在博物馆机构的工作经历为基础。因此,他们对未来专业发展的想象深受其生活和工作的复杂社会文化和政治背景的影响。由于中国科学博物馆教育工作者的专业化工作还处于相对初级的阶段,本研究提供的启示可能有助于为中国以及其他具有类似背景的国家和地区的博物馆教育实践专业化工作提供支架和指导。
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引用次数: 0
Introduction: Contributions and reflections on Modern Heritage in the Anthropocene MoHoA 简介:对人类世现代遗产的贡献和思考
IF 1 4区 社会学 Q1 Arts and Humanities Pub Date : 2024-01-01 DOI: 10.1111/cura.12586
Edward Denison, Shahid Vawda

Modern Heritage in the Anthropocene draws from a critical selection of the 54 papers presented at the second International MoHoA conference Modern Heritage in the Anthropocene, (October 26–28, 2022), hosted by The Bartlett School of Architecture, University College London, in partnership with the University of Liverpool's School of Architecture. The conference expanded MoHoA's aim of encouraging equitable approaches to modern heritage as an urgent and essential response to an age of planetary crises whose roots are entangled with centuries-old culture of extraction, exploitation, and domination. Building on the lessons learned from the first MoHoA conference, Modern Heritage of Africa (2021), hosted by the University of Cape Town and the subject of an earlier special edition of Curator (65/July 3, 2022), this second conference emphasized the interconnection between these cultures and the dawn of the Anthropocene. Participants were asked to reflect on reconceptualized formulations of modern heritage and its entangled relationship with the planetary crises experienced, albeit unevenly and unequally, by all living and nonliving things. This paper assembles and reflects on the contributions of 18 peer-reviewed papers that collectively demonstrate the range and depth of topics presented. In the spirit of equity, diversity, and inclusivity and in line with MoHoA's decentering, decolonizing, and reframing agenda, these have also been chosen to reflect the different contributors' experiences, from senior academics to young and early career professionals.

人类世中的现代遗产》从第二届人类世现代遗产国际会议(2022 年 10 月 26-28 日)上提交的 54 篇论文中精选了部分内容,会议由伦敦大学学院巴特利特建筑学院与利物浦大学建筑学院联合主办。此次会议扩大了伦敦大学学院建筑学部的目标,即鼓励以公平的方式处理现代遗产,以此作为对地球危机时代的一种紧迫而必要的回应,而地球危机的根源与几个世纪以来的攫取、剥削和统治文化纠缠在一起。开普敦大学主办的第一届非洲现代遗产会议(2021 年)的主题是《策展人》特刊(2022 年 7 月 3 日,第 65 期),在此基础上,第二届会议强调了这些文化与人类世黎明之间的相互联系。与会者被要求对现代遗产的重新概念化表述及其与所有生物和非生物所经历的地球危机之间的纠缠关系进行反思,尽管这种关系是不均衡和不平等的。本文汇集了 18 篇经同行评审的论文,并对其进行了反思,这些论文共同展示了论文主题的广度和深度。本着公平、多样性和包容性的精神,并根据人类遗产部的去中心化、去殖民化和重构议程,这些论文的选择也反映了从资深学者到年轻的早期职业专业人员等不同投稿人的经历。
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引用次数: 0
Problems, causes, and reflections on exhibitions of document collection institutions in China: Triangulation of literature analysis and empirical study 中国文献收藏机构展览的问题、原因与思考:文献分析与实证研究的三角分析
IF 1 4区 社会学 Q1 Arts and Humanities Pub Date : 2023-12-28 DOI: 10.1111/cura.12584
Jingjing Zhou, Ruohan Mao, Tingting Huang

Exhibitions have become a major highlight of information communication and innovative services in Chinese libraries, archives, and local chronicles museums in recent years. However, many of these exhibitions have been hindered in “dialogue” with their audiences, leading to a limited impact. Hence, this study employed a triangulation approach, combining literature analysis and empirical study, to identify the existing problems of libraries, archives, and local chronicles exhibitions. On the one hand, perspectives were refined from previous studies through literature analysis to establish a research foundation for exhibition issues. On the other hand, nine institutions were selected for empirical study through importance-performance analysis (IPA) in east, central, and west China, integrating audience perspectives into problematic space. Based on the triangulation evidence, the problems mainly focus on three aspects: architectural planning, exhibition business, and public services, whereas the causes of the problems include stereotypes, late start points, and so on. The root causes appear to lie in the failure to transform from the document center to the public center, and the imbalance of curatorial theory research as a constraint bottleneck. These findings are expected to be utilized to enhance the specialization of Chinese documentary exhibitions, which attempt to overcome the difficulties of audience understanding and realize the real value of documents and the communication function of the media, thus promoting an effective dialogue between exhibitions and audiences.

近年来,展览已成为中国图书馆、档案馆和地方志馆信息传播和创新服务的一大亮点。然而,许多展览在与观众的 "对话 "中受到阻碍,影响有限。因此,本研究采用文献分析与实证研究相结合的三角分析方法,找出图书馆、档案馆和地方志展览存在的问题。一方面,通过文献分析从以往研究中提炼观点,为展览问题的研究奠定基础。另一方面,通过重要性-绩效分析(IPA)在华东、华中、西部选取九家机构进行实证研究,将观众视角融入问题空间。根据三角分析法的证据,问题主要集中在建筑规划、展览业务和公共服务三个方面,而问题产生的原因则包括陈规陋习、起点较晚等。究其根源,似乎在于未能从文献中心向公共中心转型,策展理论研究失衡成为制约瓶颈。这些研究成果可望用于提升中国纪录片展览的专业化水平,尝试克服观众理解的困难,实现文献的真正价值和媒体的传播功能,从而促进展览与观众的有效对话。
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引用次数: 0
Early concrete bridges in China as (dissonant) modern heritage: A case study of the double-curved bridges in Nanjing MOHOA2 作为(不和谐的)现代遗产的中国早期混凝土桥梁:南京双曲拱桥案例研究
IF 1 4区 社会学 Q1 Arts and Humanities Pub Date : 2023-12-28 DOI: 10.1111/cura.12599
Yichuan Chen

This research aims to explore early concrete bridges in China, especially those from 1950s to 1970s, as a form of modern heritage. It asserts that there are inherent contradictions in how these bridges were perceived over half a century later. Although this may affect their listing as cultural heritage, it also makes them a representative case for a decentered approach to modern heritage not only at an international level, but also within a particular national context. In a country still building concrete bridges of ever-increasing scales, early concrete bridges in China, despite their age, are seldom considered as cultural heritage. However, while historically and technologically these bridges were close to the everyday lived experiences, they are often more difficult to research than older, pre-1949 buildings and structures. This is not only because of the lack of readily available archives, but also that these bridges, especially the iconic “double-curved” bridges, which were politicized during the Great Proletarian Cultural Revolution (1966–1976), represented an important period in modern Chinese history that is still politically sensitive and contested, possessing cultural values that mean vastly different things for different people. This is illustrated by the case study of three bridges in Nanjing: the Yangtze River Bridge of Nanjing, arguably the most famous Chinese bridge in the twentieth century; the Little Egret Bridge (Bailu Bridge), an early double-curved bridge, which is said to be a prototype of the former; and the Xiaolingwei Experimental Bridge, an important landmark in the development of the double-curved bridge but entirely forgotten after the beginning of the Cultural Revolution in 1966. Accounts from before, during, and after the Cultural Revolution provide very different narratives about the process of their design and construction. Their different geographical locations and different associations with this turbulent and contested period of modern Chinese history also affects their conservation status today. All these factors combined make these bridges an exemplar of dissonant modern heritage that, although situated in a Chinese context, has important lessons globally for our understanding of the impact and legacies of modernity.

本研究旨在探索中国早期的混凝土桥梁,尤其是 20 世纪 50 年代至 70 年代的桥梁,将其视为一种现代遗产。研究认为,半个多世纪后,人们对这些桥梁的看法存在内在矛盾。虽然这可能会影响它们被列为文化遗产,但也使它们成为一个具有代表性的案例,不仅在国际层面,而且在特定的国家背景下,以一种去中心化的方式处理现代遗产。在一个仍在建造规模不断扩大的混凝土桥梁的国家,中国早期的混凝土桥梁尽管年代久远,却很少被视为文化遗产。然而,尽管从历史和技术角度来看,这些桥梁与人们的日常生活经验十分贴近,但与 1949 年以前的老建筑和结构相比,它们往往更难研究。这不仅是因为缺乏现成的档案资料,还因为这些桥梁,尤其是在无产阶级文化大革命(1966-1976 年)期间被政治化的标志性 "双曲 "桥,代表了中国现代史上的一个重要时期,而这一时期在政治上仍然是敏感的、有争议的,其文化价值对不同的人来说意义迥异。南京三座桥梁的案例研究就说明了这一点:南京长江大桥,可以说是二十世纪中国最著名的桥梁;小白鹭大桥(白鹿桥),一座早期的双曲拱桥,据说是前者的原型;以及孝陵卫实验桥,双曲拱桥发展过程中的一个重要里程碑,但在 1966 年文化大革命开始后被完全遗忘。文革前、文革中和文革后的记载对它们的设计和建造过程提供了截然不同的叙述。它们所处的不同地理位置以及与这段动荡不安、充满争议的中国现代史的不同关联也影响了它们今天的保护状况。所有这些因素结合在一起,使这些桥梁成为不和谐的现代遗产的典范,尽管是在中国的背景下,但对于我们理解现代性的影响和遗产具有重要的全球借鉴意义。
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引用次数: 0
Understanding the multiple architectural modernities in colonial and postindependence Nigeria 了解殖民时期和独立后尼日利亚的多重现代建筑风格
IF 1 4区 社会学 Q1 Arts and Humanities Pub Date : 2023-12-26 DOI: 10.1111/cura.12587
Adekunle Adeyemo, Bayo Amole

This paper investigates the multiple architectural modernities in colonial and postindependence Nigeria. After examining the theoretical basis for multiple modernities and the use of architecture as a vehicle to study modernity, it identifies the colonial, tropical, and postcolonial modern as multiple architectural modernities that existed in colonial and postcolonial Nigeria. The criteria with which the multiple modernities were delineated were historical settings, key participants, distinguishing features, and meanings. This provides a plausible framework to understand modernities in other contexts beyond architecture and opens the possibility of elucidating various modernities and enriching the repository of modern heritage. Devising such broad definitions of modern heritage responds to the call of the Cape Town Document on Modern Heritage for expanded definitions of what constitutes the modern, while enabling the accounting for and stratification of multiple memories and narratives, and the inclusion of many types of modern architecture in conservation conversations.

本文研究了殖民时期和独立后尼日利亚的多重建筑现代性。在研究了多重现代性的理论基础以及将建筑作为研究现代性的载体之后,本文将殖民地现代性、热带现代性和后殖民现代性确定为存在于殖民地时期和后殖民时期尼日利亚的多重建筑现代性。划分多重现代性的标准是历史背景、主要参与者、显著特征和意义。这为理解建筑以外其他背景下的现代性提供了一个合理的框架,并为阐明各种现代性和丰富现代遗产库提供了可能性。开普敦现代遗产文件》呼吁扩大现代遗产的定义范围,为现代遗产下这样宽泛的定义是对这一呼吁的回应,同时也能对多种记忆和叙事进行说明和分层,并将多种类型的现代建筑纳入保护对话。
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引用次数: 0
Decolonizing African (hi)stories through visual arts: African contemporary art as a way of looking back and moving ahead MOHOA2 通过视觉艺术使非洲(喜)故事非殖民化:非洲当代艺术作为一种回顾过去和展望未来的方式
IF 1 4区 社会学 Q1 Arts and Humanities Pub Date : 2023-12-26 DOI: 10.1111/cura.12594
Alyssa K. Barry

Considered for a long time by the art world as “primitive,” African art has always been used by Africans as a way of telling the story of their time, of establishing a connection between the visible and the invisible, the here and the hereafter. With colonization and then Independence, the notion and forms of African art have evolved through complex and diverse encounters with modernity to a contemporary art form that reflects the multiple identities of the continent and its diasporas. While the notion of modern art was initially strongly influenced by the West, as evidenced by the first schools of arts established on the continent, it gradually asserted its place and identity as both universal and specific to the continent and its history. This (r)evolution is taking place through two parallel movements, both within and outside Africa, supported by the organization of major international and regional events and the establishment of dedicated art spaces in Africa and globally.

长期以来,非洲艺术一直被艺术界视为 "原始艺术",非洲人一直将其作为讲述自己时代故事的一种方式,在可见与不可见、此在与来世之间建立联系的一种方式。随着殖民化和独立,非洲艺术的概念和形式经历了与现代性复杂多样的交锋,演变成一种反映非洲大陆及其散居地多重身份的当代艺术形式。虽然现代艺术的概念最初受到西方的强烈影响,非洲大陆最早建立的艺术院校就证明了这一点,但它逐渐确立了自己的地位和身份,既具有普遍性,又具有非洲大陆及其历史的特殊性。这种(再)演变是通过非洲内部和外部的两个平行运动进行的,得到了组织重大国际和地区活动以及在非洲和全球建立专门艺术空间的支持。
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引用次数: 0
Questioning modernity and heritage: The case of the River Club development in Cape Town, South Africa MOHOA 质疑现代性与遗产:南非开普敦河流俱乐部开发项目案例
IF 1 4区 社会学 Q1 Arts and Humanities Pub Date : 2023-12-26 DOI: 10.1111/cura.12603
Tauriq Jenkins, Shahid Vawda

The proposed construction of the controversial Amazon African headquarters at the River Club site in Cape Town encompasses several issues related to modern heritage, colonial practices, sustainable development, the nature-culture divide, and the Anthropocene. Although approved by the City of Cape Town and the provincial government of the Western Cape, with plans for residential and business units, activists, researchers, environmental organizations, workers' unions, and social justice coalitions associated with indigenous Khoe and San groups oppose the development on the grounds of the symbolic and historical importance of the site earmarked for development. The paper aims to explore the significance of the site, analyze the ensuing confrontations and contestations and examine how the site represents spaces of public history, urban spatial construction, and memory. The focus of the paper will be the complex interplay between social, cultural, ethical, and political forces, and their intersection with legal and institutional policy processes at different levels of the state and the local. Ultimately, the paper challenges the claim of the City of Cape Town, the provincial government, and the developers that their version of historical progress is equitable and fair, and raises a broader question about Eurocentric ideas of emancipation, aesthetics and notions of history, heritage and development.

亚马逊非洲总部拟建在开普敦河畔俱乐部(River Club),该项目备受争议,涉及现代遗产、殖民实践、可持续发展、自然-文化鸿沟和人类世等多个问题。尽管开普敦市政府和西开普省政府批准了住宅和商业单位的计划,但活动家、研究人员、环保组织、工会以及与原住民 Khoe 和 San 族群相关的社会正义联盟以指定开发地块的象征意义和历史重要性为由反对开发。本文旨在探讨该遗址的意义,分析随之而来的对抗和争论,并研究该遗址如何代表公共历史、城市空间建设和记忆的空间。本文的重点是社会、文化、伦理和政治力量之间复杂的相互作用,以及它们与国家和地方不同层面的法律和制度政策过程之间的交叉。最终,本文将对开普敦市政府、省政府和开发商声称其历史进步版本是公平和公正的说法提出质疑,并对欧洲中心主义的解放思想、美学以及历史、遗产和发展概念提出更广泛的问题。
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引用次数: 0
Creative arts in the national museum of computing 国家计算机博物馆的创意艺术
IF 1 4区 社会学 Q1 Arts and Humanities Pub Date : 2023-12-21 DOI: 10.1111/cura.12600
Ivana Lessner Lištiaková

Families of children with autism and other special educational needs may often feel excluded from social activities and/or report on lack of quality family time. Some museums offer individual booking times for families outside their regular public opening hours. Such relaxed openings in museums present opportunities for families to participate in leisure activities that suit their sensory and social needs. However, further exploration of the meaning of such programs to families is needed to enhance the inclusive offer of museums. This research study evaluated the feedback and reflection of creative workshops conducted in The National Museum of Computing during its relaxed openings for families with children with autism and other special educational needs. The findings of the project highlight the benefits of the creative workshops with sensory-friendly aspects, evidenced by the observed engagement of children and families in the activities and interpreted through data from child and parental questionnaires and facilitator reflective log.

有自闭症和其他特殊教育需求的儿童的家庭可能经常感到被排除在社交活动之外,和/或报告缺乏高质量的家庭时间。一些博物馆在正常公众开放时间之外为家庭提供单独预约时间。博物馆的这种宽松开放为家庭提供了参与适合其感官和社交需求的休闲活动的机会。然而,需要进一步探讨此类活动对家庭的意义,以增强博物馆的包容性。本研究评估了国家计算机博物馆在为有自闭症和其他特殊教育需求儿童的家庭提供轻松开放活动期间举办的创意工作坊的反馈和反思。项目的研究结果强调了感官友好型创意工作坊的益处,这些益处可以通过观察到的儿童和家庭参与活动的情况得到证明,也可以通过儿童和家长问卷调查的数据以及主持人的反思日志得到解释。
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引用次数: 0
Harnessing Instagram's “platform vernacular” during the COVID-19 pandemic: A case study of Philbrook Museum of Art 在 COVID-19 大流行期间利用 Instagram 的 "平台方言":菲尔布鲁克艺术博物馆案例研究
IF 1 4区 社会学 Q1 Arts and Humanities Pub Date : 2023-12-19 DOI: 10.1111/cura.12581
Nan Hu, Jenny Kidd

Researchers have been documenting how museums used social networks during the COVID-19 global health emergency, however, to date there has been limited assessment of museums' uses of Instagram at that time. This article begins to address that gap with a case study of Philbrook Museum of Art's approach to that platform during the early months of the pandemic. We use a mixed-method inquiry featuring social media analysis and a series of interviews with staff at the museum to analyze the museum's use of Instagram to maintain a presence within followers' lives during this intensely challenging period. To frame our analysis we introduce Gibbs et al.'s (Information, Communication & Society, 2015, 18, 255) concept of “platform vernacular” to digital heritage studies, trialing its use to critically analyze the combination of affordances, practices, and communicative conventions that Instagram convenes for the museum. We find this approach to be both theoretically and practically insightful, with the potential to inform more meaningful, authentic, and transparent interactions between institutions and users within social networks.

研究人员一直在记录博物馆在 COVID-19 全球卫生紧急事件期间是如何使用社交网络的,但迄今为止,对博物馆当时使用 Instagram 的评估还很有限。本文通过对菲尔布鲁克艺术博物馆(Philbrook Museum of Art)在大流行病早期几个月中使用 Instagram 平台的案例研究,开始填补这一空白。我们采用了一种混合方法,包括社交媒体分析和对博物馆工作人员的一系列访谈,来分析博物馆在这一极具挑战性的时期如何使用 Instagram 来维持其在追随者生活中的存在感。为了构建我们的分析框架,我们将吉布斯等人(Information, Communication & Society, 2015, 18, 255)的 "平台方言 "概念引入数字遗产研究,尝试使用这一概念来批判性地分析Instagram为博物馆带来的能力、实践和交流惯例的组合。我们发现这种方法在理论和实践上都很有见地,有可能为机构和用户在社交网络中进行更有意义、更真实、更透明的互动提供信息。
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引用次数: 0
Heritage and waste in the Anthropocene: A museum perspective on environmental and social complexities 人类世的遗产与废物:从博物馆角度看环境和社会的复杂性
IF 1 4区 社会学 Q1 Arts and Humanities Pub Date : 2023-12-19 DOI: 10.1111/cura.12590
Francisca Elizabeth Pimentel Fuentes

The relationship between heritage and waste in the context of the Anthropocene has always been intricate. Historically, heritage and waste were viewed as opposing concepts, but in the Anthropocene, they are inextricably linked and interwoven, resulting in the creation of in situ and ex situ productions that leave deep imprints on their territories. How we deal with these landscapes of waste, or wastescapes, as a form of modern heritage is increasingly a concern for museums, which have a potentially pivotal role in addressing the phenomenon of global waste and educating the public about responsible consumption. The review of diverse exhibitions and artworks explores the cultural and social dimensions of waste, considering it as a form of modern heritage derived from and shaped by human activities that have become a planetary phenomenon in the twenty-first century. It also unveils the connections between economic power, waste management, and environmental impact. In conclusion, current museum practice responds to a reevaluation of what is considered material culture, understanding it as testimonies of the present, with the aim of highlighting the role of museums as platforms for critically examining complex issues related to waste, enabling diverse ways of addressing the environmental and social injustices associated with waste management.

人类世背景下遗产与废物之间的关系一直错综复杂。从历史上看,遗产和废弃物被视为对立的概念,但在人类世,它们之间有着千丝万缕的联系,相互交织在一起,形成了在其领土上留下深刻烙印的原地和非原地产品。作为一种现代遗产形式,我们如何处理这些废弃物景观或废弃物景观,日益成为博物馆关注的问题,因为博物馆在应对全球废弃物现象和教育公众负责任消费方面具有潜在的关键作用。对各种展览和艺术作品的回顾探讨了废弃物的文化和社会层面,认为废弃物是一种现代遗产形式,源于人类活动并由人类活动塑造,在二十一世纪已成为一种地球现象。展览还揭示了经济实力、废物管理和环境影响之间的联系。总之,当前的博物馆实践回应了对物质文化的重新评估,将其理解为当下的见证,目的是强调博物馆作为批判性研究与废弃物有关的复杂问题的平台的作用,使解决与废弃物管理相关的环境和社会不公正问题的方式多样化。
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引用次数: 0
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