Educational tools in art exhibitions seem crucial to improve the cultural and aesthetic experience, particularly of non-expert visitors, thus becoming a strategic goal for museums. However, there has ...not been much research regarding the impact of labels on the quality of visitors' aesthetic experience. Therefore, here we compared the impact on the cognitive and emotional experience of naïve visitors between essential and descriptive labels, through multiple objective and subjective measurements, focusing on the controversial modern art museum context. We found that, after detailed descriptions, observers spend more time inspecting artworks, their eyes wander more looking for the described elements, their skin conductance and pupil size increase, and overall, they find the content less complex and more arousing. Our findings show that people do receive important benefits from reading detailed information about artworks. This suggests that elaborating effective labels should be a primary goal for museums interested in attracting a non-expert public.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
After World War II, the diffusion of Phenomenology was pivotal in inspiring a different consideration of the relationship between visitors and artworks, fostering Italian museological experimentation ...and the evolution of aesthetic thought. In this sense, the contributions of some art historians interested in promoting awareness and participation in museum experience were fundamental. By adopting a new perspective, the contribution analyzes some aspects of this cultural context, focusing in particular on the experience of Cesare Brandi and Carlo Ludovico Ragghianti.
Il contributo illustra la situazione dell’insegnamento della storia dell’arte nel contesto della scuola del XXI secolo, mettendo a fuoco le principali riforme e i fenomeni – nazionali e globali - che ...hanno contribuito a modificarne il posizionamento nel quadro del più ampio scenario educativo, orientandone gli obiettivi e le strategie didattiche. La comprensione degli scenari attuali e delle trasformazioni in atto risulta decisiva per cogliere l’adattamento di questa disciplina ad un paesaggio educativo che sempre più tende a coniugare le questioni formative alle mutazioni socio-economiche, con un’attenzione crescente verso il rapporto tra comunità e territori, verso un concetto di sostenibilità dinamica e variegata, oltre ad una riformulazione della vis civica, tesa a raccordare i poli dell’identità e della globalizzazione. La storia dell’arte assume in tale visione una centralità pedagogica e culturale che si raccorda ai principi che videro la sua introduzione nella scuola agli inizi del ‘900, ma al tempo stesso ne rilancia la potenzialità in favore di una politica educativa realmente protesa a ricucire il rapporto tra società, cultura e progresso. The contribution considers art history teaching at school in the context of XXI century, focusing on the main reforms and local/global transformations which have improved its repositioning in the wider educational scenario, guiding its goals and didactic strategies. A deep understanding of the present situation and changes results to be crucial in order to catch the adaptation of this discipline to an educational landscape which appears positive towards a match of pedagogical issues and socio-economic development looking positively to the connections between communities and territories, to a dynamic concept of sustainability, to an idea of citizenship held on identity and on globalization as well. As such, art history gets an educational and cultural relevance which is rooted on the principles of its very origins, back to the beginning of XXth century, and which at the same time is able to strengthen its potential to bind society, culture and global advancement.
The idea that the history of art is also embodied through a constellation of stories made available to all presupposes envisaging the anchoring in the public space of practices for the transmission ...of knowledge about art and, in doing so, to attribute interest to their iterative nature. It also implies recognizing the legitimacy of many devices (among which editorial, museological, television, digital and more broadly media devices) that one might believe to be far removed from the imperatives of research given their mediating function. In wanting to consider these practices and these devices, one is led to conceive the history of art no longer only from the angle of the construction of historical discourse but also from the angle of the manufacture of stories in the forms of multiple statements.
L’idée que l’histoire de l’art s’incarne aussi au travers d’une constellation de récits mis à la portée de tous suppose d’envisager l’ancrage dans l’espace public de pratiques de transmission des ...savoirs sur l’art et, ce faisant, d’attribuer de l’intérêt à leur nature itérative. Elle implique par ailleurs de reconnaître la légitimité de nombreux dispositifs (parmi lesquels les dispositifs éditoriaux, muséologiques, télévisuels, numériques et plus largement médiatiques) qu’on pourrait croire é...
La statue de Giordano Bruno dressée sur le Campo de Fiori, le procès de Galilée dont la mémoire est toujours présente à travers le théâtre ou les débats de l’Académie pontificale des sciences disent ...assez combien le destin de la Rome des XVIIe et XVIIIe siècles a été négativement associé à celui de la science moderne et de son avènement conflictuel. Les études réunies dans ce volume, résultat d’un programme collectif de recherche sur la genèse de la culture scientifique européenne, entendent apporter une nouvelle contribution non seulement au dossier de la révolution scientifique en milieu catholique, mais plus largement à celui des relations que chaque société entretient avec les acteurs et la production du savoir et de la science. La focale mise sur Rome, comme milieu social spécifique, comme capitale de la catholicité et comme centre d’une monarchie pontificale en profond renouvellement entre XVIe et XVIIIe siècle, permet de discuter les paradigmes classiques d’une historiographie qui a trop hâtivement relégué le milieu romain à la marge de toute forme d’innovation savante. Il s’agit aussi d’ouvrir de nouvelles pistes de réflexions et de nouveaux chantiers sur les diverses configurations socio-intellectuelles au sein desquelles le travail savant a continué à faire de Rome un centre actif de travail et de production de savoirs.
A book by Mason about exotic animals and plants in the early modern world is reviewed (Reaktion Books, 2009). Through a number of well-documented episodes and a rich variety of references, Mason ...leads the reader by the hand into the world of natural history, visiting famous exotic collections and facing the perils of Dutch voyages to the East Indies and to South America. In this way, he is able to demonstrate how difficult the purchase of well preserved natural specimens for use in empirical descriptions could be, forcing sometimes even the most motivated scholar to rely on second-hand verbal or visual information.
Là où apparaît une image, qu’elle soit fixe ou animée, figurative, aniconique, matérielle ou mentale, surgissent une histoire et une manière d’en agencer le récit. L’image et l’objet d’art racontent, ...et ces récits ne cessent de générer des récits : fictions ou légendes, articles scientifiques ou divagations rêveuses, dialogues des œuvres entre elles ou soliloques de spectateurs. Enracinée depuis l’Antiquité dans l’exercice narratif de l’ekphrasis, l’histoire de l’art explore, depuis les travaux de Giorgio Vasari et de Karel Van Mander, les formes de la narration, de l’anecdote à la légende biographique, des grands récits de l’autonomie moderniste ne cessant de dire la fin de la peinture qui raconte aux fictions d’objectivité. Qu’il s’agisse des récits sur lesquels se fondent les œuvres d’art, de ceux que constituent leurs regardeurs ou des mises en récits opérées par les historiens de l’art, ce numéro entend s’emparer de l’acte de raconter comme d’un outil heuristique fécond. Ainsi les spécialistes ici rassemblés interrogent-ils, du Moyen Âge au présent, les rapports de différents médias – image, texte imprimé, exposition ou vidéo – et médiums artistiques – décors, manuscrits, peinture, architecture, performance, bande dessinée, arts séquentiels, cinéma… – à l’histoire et aux histoires de l’art. Ce numéro est en vente sur le site du Comptoir des presses d’universités. Coordination scientifique de ce volume Anne-Orange Poilpré
