Evolving Museum And Visitor Experiences Cultural Studies Essay

Evolving Museum And Visitor Experiences Cultural Studies Essay For over a century the museum has been the most celebrated and respected venue for viewing original works of art, however the design and visitor experience of the museum has evolved extensively throughout history. This chapter investigates how the traditional museum has evolved and how the collaborative approach towards the design and internal arrangement of modern art museums affects the spatial experience of the visitor. Duncan and Wallach in (see Carbonell 2004, p.52) state that, Museums belong to the same architectural and art-historical category as temples, churches, shrines and certain types of palaces. Originally, museum architecture shared characteristics with traditional ceremonial buildings to make visible the idea of state within its context (see Carbonell 2004, p.52). Museums were originally built to house collections of objects which are were of scientific, artistic, or historical importance and make them available for public viewing through exhibits that were permanent. This meant that the spaces and collections were fixed and objects were located deliberately to provide a specific spatial experience for each user. However, according to Bordieu and Darbel in the work of Duncan and Wallach (see Carbonell 2004, p.53), Individuals respond in different ways according to their education, culture and class. It is therefore debateable to say that due to the personal background of each user, they may experience a space differently to how a curator, architect or the artist desires. The journey that a visitor experiences through any museum is usually described in terms of aesthetic contemplation and Duncan and Wallach (see Carbonell 2004, p.51) state that this can be affected by the ensemble of art, the architecture and installations, which are contributing factors to the overall spatial experience of the modern art museum. These factors can be altered regularly to affect a user emotionally, visually or physically and are determined by the curators, the artists and the architects, to provide multiple experiences within one space. Todays society is embracing new museums that provide a wealth of subjects, particularly ones that cater for viewers of the popular trend that is contemporary art. The contemporary art museum is considered a fairly modern  category of museum. Also referred to as an art gallery or centre, art museums provide space(s) for the temporary exhibition of art. It is thought that the content of the contemporary art museum primarily consists of installations, including objects  which are of a sculptural nature, paintings, digital art, fine art, and video art. To design a modern art museum in the present century has become a popular challenge that is sought after by most architects and artists. Collaborative approaches towards museum design and layout have been encouraged as it is believed to enhance the users experience on a great scale, by providing them with a better aesthetic and social experience throughout their visit. The users experience can also provide them with lasting memories about the beliefs and values that museums hope to communicate. Contemporary art museums are essentially temporary exhibition spaces, in comparison with traditional museum buildings that house permanent collections. The actual design of the contemporary museum no longer has the traditional architectural values that a museum had in twentieth century for example. The white cube effect has become a popular idea for museums within the 21st century with some artists and architects believing that the focus of a museum should be the art and not the architecture. However an ironic example of this is the Leytonstone Centre for Contemporary Art, launched in 2001 by British artist Bob Smith. Leytonstone is a London suburb which houses no significant arts venues. This space could be viewed as an artwork or as an art centre, as it primarily a single exhibition space at the end of the artists garden. The artist demonstrates that the white cube can be removed from the gallery or museum and reappear in a totally different context. By doing this he has dissolved the boundary between art and architecture as people may be confused as to what this space is: art or institution. Temporary exhibition spaces raise the question; Does the modern art museum provide multiple spatial experience each time a new exhibition is displayed within it? From the 11th June to the 2nd November 2009, The Architecture Foundation provided a series of dialogues in which artists, architects and critics investigated into how collaborative and artistic approaches can change the practice and products of architecture. This series, called Architecture + Art: Crossover and Collaboration, included a dialogue between Adam Caruso and Thomas Demand, chaired by Alex Farquharson, the Director of Nottingham Contemporary. During the dialogue, Caruso argues that a good exhibition shows artists work in relation to other work and how this creates the spatial experience of the exhibition: A lot of exhibitions nowadays dont sufficiently recognise that the point of an exhibition opposed to a catalogue, is that what physically experiences it, is actually the choice of the work and the configuration of the work in a gallery is a specific and unique event and its there and then its gone. (Tate Channel, 2009 2/11/2009, 7.00pm @ 34.08mins-35.04mins)(NOT SURE HOW TO REFERENCE THIS VIDEO?) By saying this, he is implying that contemporary art exhibitions are intended to provide multiple unique spatial experiences for users and therefore when exhibitions have been and gone, a new spatial experience can be achieved within the same space. Todays contemporary art museums have very few artefacts within them in comparison to the traditional museum. This significantly changes the traditional spatial experience, as the focus of the user is on the few items that are displayed within the museum and the often large spaces that have been dedicated to them, unlike a traditional museum where hundreds of items are displayed with no link to context. During the dialogue (2/11/2009, 7.00pm), Farquharson, states that one problem in recent years within art galleries has been that they are too large for art and that the majority or artists are not interested in exhibiting there. Thomas Demand has had many major solo exhibitions at many of the worlds leading modern contemporary art instituti ons and he agrees with this remark by saying that when he looks to exhibit within a building, he inquires into what type of art work architects intend to provide their space for. Demand (Tate Channel 2009 2/11/2009, 7.00pm?) argues, At some point you want to reshuffle things and you want to make more shows downstairsis that possible or not? Some museums only employ selected artists to exhibit within their spaces for various reasons. These could be that they want art work to coincide with the internal spaces and architecture, or that they want to challenge the artwork through architecture, or visa-versa. As an artist, Demand wants art museums to offer flexible opportunities within their spatial layouts for exhibitions of his work. By saying this, he may be implying that he wants his artwork to offer multiple spatial experiences within one building and if the museum architecture does not have this capability, the creative exchange between the art and the architecture is not beneficial for the user as they are not receiving the best out of an art exhibition or the space. Interactive exhibits within contemporary museums have become popular in the 21st century, which give the public the opportunity to make choices and engage in activities which may vary the spatial experience from person to person; particularly content that includes architectural installations as art. With the opening of 21st century building styles, Victoria Newhouse argues: Art as an entertainment is contested by many together with the related trend toward ever more spectacular museum architecture. While the latter suits some art, it does not suit all art, and in todays wide variety of museums there is often a lack of harmony between container and contents. The need to coordinate this relationship is all too often ignored by those commissioning new museums (Newhouse 2005, p.215) Newhouse thinks that the link between museum architecture and its content is fading, indicating that the collection is less significant than the architecture. In previous eras the interiors and architecture of the museum were related to its content. If Newhouse is correct, the lack of connection to architecture can affect the spatial experience and the focus of the museum becomes the architecture or the art. If there is no creative exchange between both disciplines, it could be said that the spatial experience will not benefit the user as the contributing factors to the overall spatial experience will not be linked. Collaboration within previous architectural styles The Renaissance was a time that saw integration between painting, sculpture and architecture. The oldest public museums in the world opened in  Rome  during this period. However, many significant museums in the world were not founded until the 18th century and the  Age of Enlightenment. Walter Gropius initiated a school in 1919 called the Bauhaus when he combined two existing institutions: the Academy of Fine Art and the School of Arts and Crafts. The Bauhaus was an attempt to create a new style appropriate for the machine age, whilst achieving integration between disciplines. The Bauhaus attitude (Toy 1997, p. 26) believed that: The new building of the future, will embrace architecture, sculpture and painting in one unity. The Bauhaus was seen to offer a modern vision towards design and education; this attitude demonstrated an objective language set out to relieve design of subjective ideas from the previous century. Like the Bauhaus, the Modern Movement insisted there would be no more architectural styles and introduced architecture as a problem solving activity. The problem solving process encouraged the architect to find the perfect functional solution, given any set of technical, economic or social conditions. This method became a defensive mechanism within architecture, designed to keep others out of the building process. Late Modernism in the 1960s however, led to a rebellion towards reason; this process involved dishonouring previous rules for design by using curved forms. Frank Lloyd Wrights Guggenheim Museum in New York was seen as an example of this subjective reaction. The Percent for Art scheme which was introduced in 1990, which capitalised on the growing public art movement in this country, had an intention to extend the opportunities within architecture and public sites for artists through collaboration with architects. This implied the general thought that artists should to be more involved within public building projects from the beginning of the building process. Since then, there has been an increase within collaborative projects for buildings, public spaces and gallery installations. During the 20th century architects tended to work closely with engineers on architectural projects, these relationships were formed to solve spatial problems with a functional response towards design. These relationships had the underlying issue that some architects refused to develop a self-directed aesthetic communication. This meant that architects held back on their subjective design approach and therefore created architecture based on functional and technical reasoning. This process consequently affected architects subjective judgment and their creativity. As a result, the idea of working with an artist became appealing to architects..

Technology Essay -- essays research papers

Providing Representations in Multiple Modalities Mathematica software enables students to see a graphical representation of any function. By changing equations or using different values for variables, students develop a deeper understanding of mathematics by viewing changes in the graphical representations. A key understanding in pharmacy education is that the action of drugs depends on the "fit" between particular molecules in the body and the molecular structure of drugs, in a kind of "lock and key" relationship. However, students often have difficulty visualizing molecules as three-dimensional objects. A pharmacy professor uses molecular modeling software to create self-paced assignments which require students to manipulate molecules, developing visualizing ability and understanding of drug-receptor relationships. (Contact: Dr. Marc Harrold) Drilling Students on Basic Concepts to Reach Mastery Software tutorials exist for many modern languages, enabling students to learn basic grammar through self-paced learning, exercises, and tests with feedback about their performance. HyperMap provides students with practice in interpreting geological maps. The software presents a series of regional maps with dominantly planar contacts, then asks students a series of interpretive questions on three-dimensional geology and geologic evolution of the region, providing immediate feedback on right and wrong answers. (Contact: Intellimation 1-800-368-6868) Facilitating Collaborative Activity among Students Classrooms of networked computers using software such as Daedalus enable students to spend class time doing group pre-writing exercises, electronically discussing controversial questions, and peer reviewing one another's writing. A computer conference is established among students enrolled in strategic management courses in Korea, Egypt, Finland, and the United States. Students discuss topics specified by the instructors, such as advertising and the environment. They also complete a team project such as finding a solution to a real-world environmental problem, with each team including students from each country. Seeing Interconnections among Concepts Victorian Web presents text and images of Victorian England. Students can explore how the social context, economics, religion, philosophy, visual arts, and literature of the period might be inte... ...ology. Why Use Instructional Technology? Students can be actively engaged in learning, leading to greater time on task and greater depth of knowledge Student learning can emphasize continuous improvement of a piece of work, a concept sometimes called "D.I.A.T." or Doing It Again Thoughtfully (Steven Ehrmann, final report of Project Flashlight) Students can work more collaboratively with one another Students can be given more practice with feedback Students can examine their existing conceptions and update or modify Learning materials can be provided to match the learning style of the learner Self-paced learning may be possible, with study and practice until the student reaches his/her "personal best" Classroom dialogue can extend beyond the time and space constraints of class time Students can learn by working on complex, open-ended, realistic (or real-world) tasks Faculty can restructure their role, using individual and peer-group work or technology for some purposes, thereby freeing time to make their unique contribution to student learning Perhaps most importantly, faculty find rethinking their teaching an energizing and regenerative experience!

Theft and Burglary Arrest

Burglary is the unlawful entry of a structure to commit a crime. It is an offense against possession and habitation. Night time used to be an element of burglary, but in todays world, this is no longer a factor as burglary can occur at any time of the day The deflnltlon of burglary comes from state laws and because of this some states may have other definitions of what constitutes burglary. In Washington, DC, the government must prove that the defendant entered the dwelling, building, or room of another used for sleeping and that the defendant intended to commit a crime at the ime of entry.In Virginia, the government must prove the defendant broke and entered the dwelling house of another, the defendant did so at night time, and he did so with the intent to commit larceny or felony offense. According to the FBI, burglary made up 23. 6 percent of all property crimes reported in 2009. The rate of household burglary decreased 56% from 1994 to 2011, from a peak of 63. 4 victimizations pe r 1,000 u. S. households In 1994 to 27. 6 victimizations per 1,000 households in 2011 . From 1994 to 2011, the rate of completed burglary decreased by t least half across households headed by persons of all races and Hispanic origin.Burglary clearance rates seem to below for a number of reasons. At the top of the list Is that burglaries are usually not discovered until hours after It occurs. Burglars can usually quickly dispose of property and there are rarely witnesses to burglary. Most burglars are professional and usually do not leave any physical evidence. So what can be done to improve the clearance rate of burglaries? In my opinion It Is very hard to determine what can be done to Improve the clearance rate f burglaries. I would suggest community policing In the areas where burglaries are known to happen.The police can work with the citizens to create an effective neighborhood watch program which will watch out for burglaries and report suspicious people hanging around. When re sponding to a burglary call, the officer should look for any evidence the perpetrator may leave behind and take notes, and identify all items that were taken. The officer may find that the evidence or notes will led them to a particular burglar based on the MO. If the officer can develop an MO hich leads to related burglaries, upon finding a suspect, he can usually get a conviction. based on that evidence.Many suspects are convicted based on circumstantial evidence. Circumstantial evidence is the form of physical clues and scientific analysis. I believe that circumstantial evidence is better than an eyewitness in cases like burglary. Circumstantial evidence can involve the defendants' motive alone. Say for instance the suspect was there earlier In the day Just walking around and needed money. He had a motive, the means and the opportunity. This ircumstantial evidence is enough to convict, if the defendant can't prove he was elsewhere at the time the burglary happened.Now should ther e be a criteria for making an arrest for burglary. I would have to say yes, there needs to be a criteria to make any arrest. Among the most Important criteria's for making a burglary arrest should be probable cause. The officer needs to have factual circumstances that leads 1 OF2 to tnem Dellevlng tnat tne suspect commlttea a Durglary. It snou10 De noted t probable cause may allow the officer to make an arrest, it does not always lead to a onviction. What constitutes as probable cause to the officer may not constitute to probable cause for a Judge.So now that we have our burglary suspect in custody and we've found some of the property he has stolen, where is the rest of the stolen property? The defendant states that he sold some of the stolen property online. How can we recover the stolen property that the burglar sold online? One would think it would be hard to recover stolen property online. Upon researching, I found a couple of websites where you can list your stolen items. I als o found out that eBay will help ou recover your stolen goods if you can prove they are yours.The other way to recover stolen objects is to check the pawn shops, second hand stores, and flea markets. Theft and Burglary Arrest Burglary is the unlawful entry of a structure to commit a crime. It is an offense against possession and habitation. Night time used to be an element of burglary, but in today’s world, this is no longer a factor as burglary can occur at any time of the day The definition of burglary comes from state laws and because of this some states may have other definitions of what constitutes burglary. In Washington, DC, the government must prove that the defendant entered the dwelling, building, or room of another used for sleeping and that the defendant intended to commit a crime at the time of entry.In Virginia, the government must prove the defendant broke and entered the dwelling house of another, the defendant did so at night time, and he did so with the intent to commit larceny or felony offense. According to the FBI, burglary made up 23. 6 percent of all property crimes reported in 2009. The rate of household burglary decreased 56% from 1994 to 2011, from a peak of 63. 4 victimiz ations per 1,000 U. S. households in 1994 to 27. 6 victimizations per 1,000 households in 2011. From 1994 to 2011, the rate of completed burglary decreased by at least half across households headed by persons of all races and Hispanic origin.Burglary clearance rates seem to below for a number of reasons. At the top of the list is that burglaries are usually not discovered until hours after it occurs. Burglars can usually quickly dispose of property and there are rarely witnesses to burglary. Most burglars are professional and usually do not leave any physical evidence. So what can be done to improve the clearance rate of burglaries? In my opinion it is very hard to determine what can be done to improve the clearance rate of burglaries. I would suggest community policing in the areas where burglaries are known to happen.The police can work with the citizens to create an effective neighborhood watch program which will watch out for burglaries and report suspicious people hanging aroun d. When responding to a burglary call, the officer should look for any evidence the perpetrator may leave behind and take notes, and identify all items that were taken. The officer may find that the evidence or notes will led them to a particular burglar based on the MO. If the officer can develop an MO which leads to related burglaries, upon finding a suspect, he can usually get a conviction, based on that evidence.Many suspects are convicted based on circumstantial evidence. Circumstantial evidence is the form of physical clues and scientific analysis. I believe that circumstantial evidence is better than an eyewitness in cases like burglary. Circumstantial evidence can involve the defendants’ motive alone. Say for instance the suspect was there earlier in the day just walking around and needed money. He had a motive, the means and the opportunity. This circumstantial evidence is enough to convict, if the defendant can’t prove he was elsewhere at the time the burglar y happened.Now should there be a criteria for making an arrest for burglary. I would have to say yes, there needs to be a criteria to make any arrest. Among the most important criteria’s for making a burglary arrest should be probable cause. The officer needs to have factual circumstances that leads to them believing that the suspect committed a burglary. It should be noted that probable cause may allow the officer to make an arrest, it does not always lead to a conviction. What constitutes as probable cause to the officer may not constitute to probable cause for a judge.So now that we have our burglary suspect in custody and we’ve found some of the property he has stolen, where is the rest of the stolen property? The defendant states that he sold some of the stolen property online. How can we recover the stolen property that the burglar sold online? One would think it would be hard to recover stolen property online. Upon researching, I found a couple of websites where you can list your stolen items. I also found out that eBay will help you recover your stolen goods if you can prove they are yours. The other way to recover stolen objects is to check the pawn shops, second hand stores, and flea markets.

William Shakespeare s The Merchant Of Venice - 3446 Words

Over four hundred years after The Merchant of Venice was first written, the debate rages on about Shakespeare s intentions regarding the character of Shylock, whether the play is anti-Semitic or a criticism of the Christian anti-Semitism of Shakespeare s time, and even whether the play should be taught in schools. Anti-Semitism, often called ï ¿ ¼ the longest hatred, ï ¿ ¼ is both an age-old problem and a current challenge. For centuries Jews have been accused of treacherous acts, including the murder of Jesus, poisoning wells, the ritual murder of Christian children, the Bubonic plague and controlling the media and the banks. Many of these falsities have roots in historical circumstances, and longstanding fear and misunderstanding. Tragically, these lies continue to be launched against Jews. Recently, Jews have been blamed for everything from the attacks on September 11 and the Iraq War to the tsunami that devastated Southeast Asia. The continual demonizing and scapegoating of the Jew as ï ¿ ¼ other ï ¿ ¼ highlights the need to analyze and discuss the depiction of Jews in literature. Without an examination of both historic and contemporary anti-Semitism, students may be left with stereotypical and negative conceptions of Jews and Judaism. ï ¿ ¼Certainly one of the most characteristic and troubling aspects of The Merchant of Venice is that the depiction of Shylock reinforces the stereotype of Jews as money- hungry and greedy. This stereotype has been around for centuries, and continues to beShow MoreRelatedWilliam Shakespeare s The Merchant Of Venice Essay1624 Words   |  7 PagesWilliam Shakespeare s comedy The Merchant of Venice uses contrasting religions to draw out major themes through the ethnic divides that are exemplified. The play expresses the extreme cultural divide between the Jews and Christians through a legal contract between two men. The rivalry between the two men, Shylock and Antonio is clear from the beginning of the play and only intensifies as it continues on. Modern day readers most likely take away a slightly different message from the play than whatRead MoreWilliam Shakespeare s The Merchant Of Venice1320 Words   |  6 Pagesghetto, and were treated as inferior to the rest of the city. Will iam Shakespeare’s play The Merchant of Venice exhibits the prejudicial attitudes of his era. Antonio, a Christian merchant, makes a deal with Shylock, a Jewish moneylender. Shylock uses it as an opportunity to exact revenge by demanding a pound of Antonio’s flesh if he does not meet his end of the bargain. By pitting the majority of his characters against Shylock, Shakespeare portrays Shylock in a way that discriminates against all JewsRead MoreWilliam Shakespeare s The Merchant Of Venice2269 Words   |  10 PagesSamantha Hansen ENG 314 Brother Brugger 12.15.14 The Question of Shylock It is hard to read The Merchant of Venice without finding at least one character to sympathize with. The unforgettable villain Shylock as well as Portia, Shakespeare’s first and one of his most famous heroines are arguably some of this plays most beloved characters. But, is Shylock really the villain? Or is he a victim of circumstance? Shylock’s insistence for a pound of flesh has made him one of literatures most memorableRead MoreWilliam Shakespeare s The Merchant Of Venice1970 Words   |  8 Pagesthe titles are reflective of the protagonists featured within. For example, the famous titles of Julius Caesar and Hamlet tell the tragedies of those respective characters. 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Therefore, he comes close to death because he signed a bond with Shylock stating that Shylock would get a pound of his flesh if the bond was not repaidRead MoreWilliam Shakespeare s The Merchant Of Venice1532 Words   |  7 Pagesuseless dialogue can make readers skip over what seems like a false beginning to a good story. But think about this: what if those seemingly lengthy, extra, useless words were actually important? For example, the opening 115 lines of William Shakespeare’s The Merchant of Venice are provide minimal support to the story at first glance. In these lines, Antonio and his friends are discussing the dynamics of happiness and sadness in order to find the root of Antonio’s sad mood. This portion of the play givesRead MoreWilliam Shakespeare s Merchant Of Venice988 Words   |  4 PagesAs I finished reading Merchant of Venice by Shakespeare, I realized that the struggle of the play gyrates around whether justice is truly served and is morality advocated or manipulated by those in authority. The struggle between the principles of justice have caused many readers to question the interaction between the definition of morality and justice. The bond that causes readers to take a closer look throughout the play originates from Shylock’s desire for vengeance and Antonio’s desireRead MoreWilliam Shakespeare s The Merchant Of Venice1532 Words   |  7 Pagesfundamentalist Americans. The ills of money-lending from the Eastern perspective have been fodder for Western literature for centuries, replete with illustrations that mirror the differences and similarities in East-West cultural norms. In William Shakespeare’s The Merchant of Venice, money-lending has gone awry. In Act I, Scene iii, the Italian Antonio seeks to borrow 3,000 ducats from the Jewish Shylock, and Shylock intends to charge him interest, which is against Jewish economic-religious principles (BateRead MoreWilliam Shakespeare s The Merchant Of Venice Essay1275 Words   |  6 PagesShakespeare’s The Merchant of Venice is so alike to our financially afflicted world. The rules of law and commerce are subject to deceptive manipulation, fear of the other overwhelms respect for a common humanity, duplicity is the norm, sexuality is a vehicle for ambition, and money drives and wraps almost every action. It is a classic tale that includes important details of the financial crisis in the Unit ed States during 2007-2009. Shakespeare’s Venice, like the New York of his time - and theRead MoreWilliam Shakespeare s The Merchant Of Venice2059 Words   |  9 Pagesin The Merchant of Venice resembles a folktale known as â€Å"A Pound of Flesh† (325). Artese supports his supposition with background context and parallels between the two story lines. Literary versions of the pound of flesh story circulated during the sixteenth century and were collected since the nineteenth century because of the plot’s longevity and populairity Shakespeare would have been familiar with pound of flesh stories (326). Human commodification is a central issue in both The Merchant of Venice