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collections</title> <meta name="description" content="Search results for: museum collections"> <meta name="keywords" content="museum collections"> <meta name="viewport" content="width=device-width, initial-scale=1, minimum-scale=1, maximum-scale=1, user-scalable=no"> <meta charset="utf-8"> <link href="https://cdn.waset.org/favicon.ico" type="image/x-icon" rel="shortcut icon"> <link href="https://cdn.waset.org/static/plugins/bootstrap-4.2.1/css/bootstrap.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/plugins/fontawesome/css/all.min.css" rel="stylesheet"> <link href="https://cdn.waset.org/static/css/site.css?v=150220211555" rel="stylesheet"> </head> <body> <header> <div class="container"> <nav class="navbar navbar-expand-lg navbar-light"> <a class="navbar-brand" href="https://waset.org"> <img src="https://cdn.waset.org/static/images/wasetc.png" alt="Open Science Research Excellence" title="Open Science Research Excellence" /> </a> <button class="d-block d-lg-none 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action="https://publications.waset.org/abstracts/search"> <div id="custom-search-input"> <div class="input-group"> <i class="fas fa-search"></i> <input type="text" class="search-query" name="q" placeholder="Author, Title, Abstract, Keywords" value="museum collections"> <input type="submit" class="btn_search" value="Search"> </div> </div> </form> </div> </div> <div class="row mt-3"> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Commenced</strong> in January 2007</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Frequency:</strong> Monthly</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Edition:</strong> International</div> </div> </div> <div class="col-sm-3"> <div class="card"> <div class="card-body"><strong>Paper Count:</strong> 325</div> </div> </div> </div> <h1 class="mt-3 mb-3 text-center" style="font-size:1.6rem;">Search results for: museum collections</h1> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">325</span> Photographic Documentation of Archaeological Collections in the Grand Egyptian Museum</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Sameh%20El%20Mahdy">Sameh El Mahdy</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Recording and documenting archaeological collections, especially photographic documentation, is considered one of the very important matters that museums care about and give great priority, as photographic documentation is of great importance. We monitor some of them for example, Photographs of collectibles are considered evidence and an archival record that proves the condition of the collectibles at various stages. A photo of the possessions is placed on the paper record of the possessions registration. These photos are used in inventorying archaeological collections. These pictures are viewed by researchers and scholars interested in studying these collections. These images are used in advertising campaigns for museum displays of archaeological collections. The Grand Egyptian Museum is considered one of the museums that is a unique model in terms of establishing a specific system that is used when photographing archaeological collections. The Grand Egyptian Museum sets standards for the photos that are taken inside the Grand Egyptian Museum. We mention some of them for example, Pictures must be of high quality. It is necessary to set a color scale for the drawing in order to clarify the dimensions of the collectibles in the picture and also in order to clarify the natural colors of the collectibles without any additions. Putting the numbers of the collectibles in the pictures, especially the number of the Grand Egyptian Museum. To take a good photo of the artifacts in the Grand Egyptian Museum, there are many steps: (1) Create a good location, (2) How to handle the Artifacts. (3) Choose the best position for the artifact, (4) Make the light to create a good photo without shadows to make the photo represent all the artifact details. (5) Be sure of the camera settings, and their quality. All of these steps and other ones are the best criteria for taking the best photo, which helps us in the database to represent the details of the artifact in our interface. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=grand%20egyptian%20museum" title="grand egyptian museum">grand egyptian museum</a>, <a href="https://publications.waset.org/abstracts/search?q=photographing" title=" photographing"> photographing</a>, <a href="https://publications.waset.org/abstracts/search?q=museum%20collections" title=" museum collections"> museum collections</a>, <a href="https://publications.waset.org/abstracts/search?q=registration%20and%20documentation" title=" registration and documentation"> registration and documentation</a> </p> <a href="https://publications.waset.org/abstracts/185540/photographic-documentation-of-archaeological-collections-in-the-grand-egyptian-museum" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/185540.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">40</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">324</span> The Museum of Museums: A Mobile Augmented Reality Application</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Qian%20Jin">Qian Jin</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Museums have been using interactive technology to spark visitor interest and improve understanding. These technologies can play a crucial role in helping visitors understand more about an exhibition site by using multimedia to provide information. Google Arts and Culture and Smartify are two very successful digital heritage products. They used mobile augmented reality to visualise the museum's 3D models and heritage images but did not include 3D models of the collection and audio information. In this research, service-oriented mobile augmented reality application was developed for users to access collections from multiple museums(including V and A, the British Museum, and British Library). The third-party API (Application Programming Interface) is requested to collect metadata (including images, 3D models, videos, and text) of three museums' collections. The acquired content is then visualized in AR environments. This product will help users who cannot visit the museum offline due to various reasons (inconvenience of transportation, physical disability, time schedule). <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=digital%20heritage" title="digital heritage">digital heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=argument%20reality" title=" argument reality"> argument reality</a>, <a href="https://publications.waset.org/abstracts/search?q=museum" title=" museum"> museum</a>, <a href="https://publications.waset.org/abstracts/search?q=flutter" title=" flutter"> flutter</a>, <a href="https://publications.waset.org/abstracts/search?q=ARcore" title=" ARcore"> ARcore</a> </p> <a href="https://publications.waset.org/abstracts/152855/the-museum-of-museums-a-mobile-augmented-reality-application" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/152855.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">78</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">323</span> The Effect of Gas Pollutants on Museum Environment: Case Study of an Oil Paintings in Ethnographic Museum, Egypt</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hagar%20%20Ezzat">Hagar Ezzat</a>, <a href="https://publications.waset.org/abstracts/search?q=Mostafa%20%20Attia"> Mostafa Attia</a>, <a href="https://publications.waset.org/abstracts/search?q=Ahmed%20%20Bedeir"> Ahmed Bedeir</a>, <a href="https://publications.waset.org/abstracts/search?q=Abdelrazek%20%20Elnagger"> Abdelrazek Elnagger</a>, <a href="https://publications.waset.org/abstracts/search?q=Matija%20%20Strlic"> Matija Strlic</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Ethnographic Museum in Cairo- Egypt is a place of valuable collections (manuscripts, paintings, textiles and other ethnographic materials), the museum experiences serious neglecting with unacceptable display and storage conditions, the museum is located in Tahrir sq., which consider a high traffic area where pollution levels exceed the acceptable levels in museums. The materials used in manufacturing the display cases are expected to be source of many pollutants which affecting the sensitive oil paintings objects in the galleries. 24 diffusion tubes (12 No2, So2 & 12 O3) have been used in "winter 2014 and spring 2014" for monitoring museum environment with three cases "outdoor & indoor and in the gallery display". A series of analytical techniques with scientific tools: Ion Chromatography have been used to assess measurements and effects of gas pollutants on the museum which help us to make good assessment for the damage of oil paintings objects and the condition of the museum and understand the effect of the museum environment on the deterioration of the sensitive oil paintings. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=environment" title="environment">environment</a>, <a href="https://publications.waset.org/abstracts/search?q=museum" title=" museum"> museum</a>, <a href="https://publications.waset.org/abstracts/search?q=paintings" title=" paintings"> paintings</a>, <a href="https://publications.waset.org/abstracts/search?q=ethnographic" title=" ethnographic"> ethnographic</a>, <a href="https://publications.waset.org/abstracts/search?q=conservation" title=" conservation"> conservation</a> </p> <a href="https://publications.waset.org/abstracts/51332/the-effect-of-gas-pollutants-on-museum-environment-case-study-of-an-oil-paintings-in-ethnographic-museum-egypt" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/51332.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">241</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">322</span> Cultural Consciousness in an Art Museum: A Case Study of Museum of Modern and Contemporary Art in Nusantara in Indonesia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Pin-Hua%20Chou">Pin-Hua Chou</a> </p> <p class="card-text"><strong>Abstract:</strong></p> MACAN (Museum of Modern and Contemporary Art in Nusantara) is a new private art museum in Jakarta, Indonesia. Facing challenges of rapidly changing social, cultural environments, MACAN is responding by devoting themselves to not only presenting famous international artists but also constructing the context of artists from Indonesia by interdisciplinary education and cultural exchange. This paper discusses the exhibitions, collections and the activities of MACAN. The purpose of this museum is to make people aware of the dialogue between local and international artist, and also Indonesia’s own art history. Yet how they build up the cultural consciousness for their audience inside and outside Indonesia? What strategy or method do they adapt to enhance general understanding of their own history and the relation between Indonesia and the world through their exhibition? MACAN has tried to convey their mission by every action they took since its opening (2017). The discussion begins with the premise that the initiative of MACAN offers us a new vision to better understand how a modern and contemporary art museum can make an effort to connect art with cultural identity and stimulate the awareness of recognition in Indonesia. This paper will adopt a case study, curator interview, and document analysis. Last but not least, the paper seeks to contribute towards the narrative of its first exhibition Art Turns, World Turns, Exploring the collection of the MACAN, as well as the possibility of raising audience’s cultural consciousness by a variety of public programs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=contemporary%20art%20museum" title="contemporary art museum">contemporary art museum</a>, <a href="https://publications.waset.org/abstracts/search?q=challenges%20for%20art%20museum%20curators%20today" title=" challenges for art museum curators today"> challenges for art museum curators today</a>, <a href="https://publications.waset.org/abstracts/search?q=culture%20heritage" title=" culture heritage"> culture heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=museum%20collections%20and%20exhibitions" title=" museum collections and exhibitions"> museum collections and exhibitions</a> </p> <a href="https://publications.waset.org/abstracts/95615/cultural-consciousness-in-an-art-museum-a-case-study-of-museum-of-modern-and-contemporary-art-in-nusantara-in-indonesia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/95615.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">198</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">321</span> The Role of Establishing Zakat-Based Finance in Alleviating Poverty in the Muslim World</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Khan%20Md.%20Abdus%20Subhan">Khan Md. Abdus Subhan</a>, <a href="https://publications.waset.org/abstracts/search?q=Rabeya%20Bushra"> Rabeya Bushra</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The management of Intellectual Property (IP) in museums can be complex and challenging, as it requires balancing access and control. On the one hand, museums must ensure that they have balanced permissions to display works in their collections and make them accessible to the public. On the other hand, they must also protect the rights of creators and owners of works and ensure that they are not infringing on IP rights. Intellectual property has become an increasingly important aspect of museum operations in the digital age. Museums hold a vast array of cultural assets in their collections, many of which have significant value as IP assets. The balanced management of IP in museums can help generate additional revenue and promote cultural heritage while also protecting the rights of the museum and its collections. Digital technologies have greatly impacted the way museums manage IP, providing new opportunities for revenue generation through e-commerce and licensing while also presenting new challenges related to IP protection and management. Museums must take a comprehensive approach to IP management, leveraging digital technologies, protecting IP rights, and engaging in licensing and e-commerce activities to maximize income and the economy of countries through the strong management of cultural institutions. Overall, the balanced management of IP in museums is crucial for ensuring the sustainability of museum operations and for preserving cultural heritage for future generations. By taking a balanced approach to identifying museum IP assets, museums can generate revenues and secure their financial sustainability to ensure the long-term preservation of their cultural heritage. We can divide IP assets in museums into two kinds: collection IP and museum-generated IP. Certain museums become confused and lose sight of their mission when trying to leverage collections-based IP. This was the case at the German State Museum in Berlin when the museum made 100 replicas from the Nefertiti bust and wrote under the replicas all rights reserved to the Berlin Museum and issued a certificate to prevent any person or Institution from reproducing any replica from this bust. The implications of IP in museums are far-reaching and can have significant impacts on the preservation of cultural heritage, the dissemination of information, and the development of educational programs. As such, it is important for museums to have a comprehensive understanding of IP laws and regulations and to properly manage IP to avoid legal liability, damage to reputation, and loss of revenue. The research aims to highlight the importance and role of intellectual property in museums and provide some illustrative examples of this. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=zakat" title="zakat">zakat</a>, <a href="https://publications.waset.org/abstracts/search?q=economic%20development" title=" economic development"> economic development</a>, <a href="https://publications.waset.org/abstracts/search?q=Muslim%20world" title=" Muslim world"> Muslim world</a>, <a href="https://publications.waset.org/abstracts/search?q=poverty%20alleviation." title=" poverty alleviation."> poverty alleviation.</a> </p> <a href="https://publications.waset.org/abstracts/187333/the-role-of-establishing-zakat-based-finance-in-alleviating-poverty-in-the-muslim-world" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/187333.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">41</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">320</span> Intellectual Property Law as a Tool to Enhance and Sustain Museums in Digital Era</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nayira%20Ahmed%20Galal%20Elden%20Hassan">Nayira Ahmed Galal Elden Hassan</a>, <a href="https://publications.waset.org/abstracts/search?q=Amr%20Mostafa%20Awad%20Kassem"> Amr Mostafa Awad Kassem</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The management of Intellectual Property (IP) in museums can be complex and challenging, as it requires balancing access and control. On the one hand, museums must ensure that they have balanced permissions to display works in their collections and make them accessible to the public. On the other hand, they must also protect the rights of creators and owners of works and ensure that they are not infringing on IP rights. Intellectual property has become an increasingly important aspect of museum operations in the digital age. Museums hold a vast array of cultural assets in their collections, many of which have significant value as IP assets. The balanced management of IP in museums can help to generate additional revenue and promote cultural heritage, while also protecting the rights of the museum and its collections. Digital technologies have greatly impacted the way museums manage IP, providing new opportunities for revenue generation through e-commerce and licensing, while also presenting new challenges related to IP protection and management. Museums must take a comprehensive approach to IP management, leveraging digital technologies, protecting IP rights, and engaging in licensing and e-commerce activities to maximize income and the economy of countries through the strong management of cultural institutions. Overall, the balanced management of IP in museums is crucial for ensuring the sustainability of museum operations and for preserving cultural heritage for future generations. By taking a balanced approach to identifying museum IP assets, museums can generate revenues and secure their financial sustainability to ensure the long-term preservation of their cultural heritage. We can divide IP assets in museums to two kinds, collection IP and Museum generated IP. Certain museums become confused and lose sight of their mission when trying to leverage collections-based IP. This was the case at the German state Museum in Berlin when the museum made 100 replicas from Nefertiti bust which is an Egyptian artifacts and wrote under the replicas all rights reserved to the Berlin museum and issued a certificate to prevent any person or Institution from reproducing any replica from this bust. The implications of IP in museums are far-reaching and can have significant impacts on the preservation of cultural heritage, the dissemination of information, and the development of educational programs. As such, it is important for museums to have a comprehensive understanding of IP laws and regulations, and to properly manage IP to avoid legal liability, damage to reputation, and loss of revenue. The research aims to highlight the importance and role of intellectual property in museums and provide some illustrative examples of this. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=intellectual%20property" title="intellectual property">intellectual property</a>, <a href="https://publications.waset.org/abstracts/search?q=museums" title=" museums"> museums</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20assets" title=" cultural assets"> cultural assets</a>, <a href="https://publications.waset.org/abstracts/search?q=IP%20management" title=" IP management"> IP management</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20technologies" title=" digital technologies"> digital technologies</a>, <a href="https://publications.waset.org/abstracts/search?q=revenue%20generation" title=" revenue generation"> revenue generation</a>, <a href="https://publications.waset.org/abstracts/search?q=licensing" title=" licensing"> licensing</a>, <a href="https://publications.waset.org/abstracts/search?q=IP%20protection" title=" IP protection"> IP protection</a>, <a href="https://publications.waset.org/abstracts/search?q=sustainability" title=" sustainability"> sustainability</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20heritage" title=" cultural heritage"> cultural heritage</a> </p> <a href="https://publications.waset.org/abstracts/193120/intellectual-property-law-as-a-tool-to-enhance-and-sustain-museums-in-digital-era" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/193120.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">2</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">319</span> Shaping the Image of Museum Events in the Digital Media Era: A Quantitative Analysis of the Cat-Themed ‘Night at the Museum’ Event</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Shuyu%20Zhao">Shuyu Zhao</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This study uses the cat-themed "Night at the Museum" event of the Shanghai Museum as a case to examine how museum events are portrayed across various digital news platforms. Grounded in communication and cultural creativity theories and employing a three-tier framing approach, this research provides an in-depth analysis of media strategies in cross-platform museum image building. Through a quantitative content analysis, it is investigated that how digital media employ specific narrative strategies to shape the public perception of museum events. The findings reveal a prevalent use of leadership framing, highlighting the museum's unique role in cultural dissemination. By combining elements of museum culture with a pet-friendly theme, the "catty Night at the Museum" event serves as a distinctive example in exploring museum image construction within digital media. This study sheds light on how museum events, as unique cultural arenas, are positioned in the public mind, offering a fresh perspective for the promotion and image-building of museum activities. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=cultural%20communication" title="cultural communication">cultural communication</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20media" title=" digital media"> digital media</a>, <a href="https://publications.waset.org/abstracts/search?q=museum" title=" museum"> museum</a>, <a href="https://publications.waset.org/abstracts/search?q=framing%20theory" title=" framing theory"> framing theory</a> </p> <a href="https://publications.waset.org/abstracts/193541/shaping-the-image-of-museum-events-in-the-digital-media-era-a-quantitative-analysis-of-the-cat-themed-night-at-the-museum-event" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/193541.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">18</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">318</span> Mellowing the Mélange: Ancient Southeast Asian Kingdoms in the Asian Civilizations Museum</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rin%20Li%20Si%20Samantha">Rin Li Si Samantha</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Asian Civilisations Museum in Singapore contains artifacts spanning thousands of years of history and possibly hundreds of communities and nations. Based in Singapore, its collections history and curation are deeply rooted in Singapore’s national and international agendas: to be a cultural center within Southeast Asia and a global hub representing Asia to the world. As such, the position of Southeast Asian histories, particularly Southeast Asian ancient kingdoms, is a carefully negotiated one; its presence contingent on the territorialization and depoliticization of Southeast Asian ancient kingdoms, such that they remain palatable to modern nation-states and governments; its absence noted, strategically overlooked in favour of ‘grander’ cultural and global — oftentimes a misnomer for Western — narratives. This study undertakes a close reading of several key permanent exhibitions at the Asian Civilisations Museum in pursuit of how ancient Southeast Asian kingdoms are framed and forgotten to reveal a conscious mellowing of the mélange such that Singapore may be positioned as inheritor of Asia’s cultural wealth. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=museum" title="museum">museum</a>, <a href="https://publications.waset.org/abstracts/search?q=Southeast%20Asia" title=" Southeast Asia"> Southeast Asia</a>, <a href="https://publications.waset.org/abstracts/search?q=art%20history" title=" art history"> art history</a>, <a href="https://publications.waset.org/abstracts/search?q=pre-colonial" title=" pre-colonial"> pre-colonial</a>, <a href="https://publications.waset.org/abstracts/search?q=national%20narratives" title=" national narratives"> national narratives</a> </p> <a href="https://publications.waset.org/abstracts/170880/mellowing-the-melange-ancient-southeast-asian-kingdoms-in-the-asian-civilizations-museum" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/170880.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">77</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">317</span> Addressing the Biocide Residue Issue in Museum Collections Already in the Planning Phase: An Investigation Into the Decontamination of Biocide Polluted Museum Collections Using the Temperature and Humidity Controlled Integrated Contamination Manageme</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Nikolaus%20Wilke">Nikolaus Wilke</a>, <a href="https://publications.waset.org/abstracts/search?q=Boaz%20Paz"> Boaz Paz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Museum staff, conservators, restorers, curators, registrars, art handlers but potentially also museum visitors are often exposed to the harmful effects of biocides, which have been applied to collections in the past for the protection and preservation of cultural heritage. Due to stable light, moisture, and temperature conditions, the biocidal active ingredients were preserved for much longer than originally assumed by chemists, pest controllers, and museum scientists. Given the requirements to minimize the use and handling of toxic substances and the obligations of employers regarding safe working environments for their employees, but also for visitors, the museum sector worldwide needs adequate decontamination solutions. Today there are millions of contaminated objects in museums. This paper introduces the results of a systematic investigation into the reduction rate of biocide contamination in various organic materials that were treated with the humidity and temperature controlled ICM (Integrated Contamination Management) method. In the past, collections were treated with a wide range, at times even with a combination of toxins, either preventively or to eliminate active insect or fungi infestations. It was only later that most of those toxins were recognized as CMR (cancerogenic mutagen reprotoxic) substances. Among them were numerous chemical substances that are banned today because of their toxicity. While the biocidal effect of inorganic salts such as arsenic (arsenic(III) oxide), sublimate (mercury(II) chloride), copper oxychloride (basic copper chloride) and zinc chloride was known very early on, organic tar distillates such as paradichlorobenzene, carbolineum, creosote and naphthalene were increasingly used from the 19th century onwards, especially as wood preservatives. With the rapid development of organic synthesis chemistry in the 20th century and the development of highly effective warfare agents, pesticides and fungicides, these substances were replaced by chlorogenic compounds (e.g. γ-hexachlorocyclohexane (lindane), dichlorodiphenyltrichloroethane (DDT), pentachlorophenol (PCP), hormone-like derivatives such as synthetic pyrethroids (e.g., permethrin, deltamethrin, cyfluthrin) and phosphoric acid esters (e.g., dichlorvos, chlorpyrifos). Today we know that textile artifacts (costumes, uniforms, carpets, tapestries), wooden objects, herbaria, libraries, archives and historical wall decorations made of fabric, paper and leather were also widely treated with toxic inorganic and organic substances. The migration (emission) of pollutants from the contaminated objects leads to continuous (secondary) contamination and accumulation in the indoor air and dust. It is important to note that many of mentioned toxic substances are also material-damaging; they cause discoloration and corrosion. Some, such as DDT, form crystals, which in turn can cause micro tectonic, destructive shifting, for example, in paint layers. Museums must integrate sustainable solutions to address the residual biocide problems already in the planning phase. Gas and dust phase measurements and analysis must become standard as well as methods of decontamination. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=biocides" title="biocides">biocides</a>, <a href="https://publications.waset.org/abstracts/search?q=decontamination" title=" decontamination"> decontamination</a>, <a href="https://publications.waset.org/abstracts/search?q=museum%20collections" title=" museum collections"> museum collections</a>, <a href="https://publications.waset.org/abstracts/search?q=toxic%20substances%20in%20museums" title=" toxic substances in museums"> toxic substances in museums</a> </p> <a href="https://publications.waset.org/abstracts/129387/addressing-the-biocide-residue-issue-in-museum-collections-already-in-the-planning-phase-an-investigation-into-the-decontamination-of-biocide-polluted-museum-collections-using-the-temperature-and-humidity-controlled-integrated-contamination-manageme" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/129387.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">114</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">316</span> Different Levels of Mixed Reality: Mixed Reality as a Tool to Change the Visitor's Experience in the Museum</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hector%20Valverde%20Mart%C3%ADnez">Hector Valverde Martínez</a> </p> <p class="card-text"><strong>Abstract:</strong></p> In this text, the application possibilities of developments in MR are explored as an element within the museographic space that affects the visitor-museum relationship to satisfy the needs of knowledge and recreation that visitors have to improve the experience. The emphasis points out the way in which it is thinking from the digital to understand the possibilities in the design of museum experiences, and are analyzed the strategies used inside and outside the museum space are exemplified from the use of MR and their impact on the visitors' experience to reach different levels of depth of knowledge in an exhibition; the exploration of limits in the creation of atmospheres that allow visitors to feel immersed in a completely different reality from the one they live to better understand the topics addressed in the exhibition, and strategies that are used to encourage museum audiences to actively participate and extend the experience of the museum beyond its walls. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=mixed%20realities" title="mixed realities">mixed realities</a>, <a href="https://publications.waset.org/abstracts/search?q=experience" title=" experience"> experience</a>, <a href="https://publications.waset.org/abstracts/search?q=visitor" title=" visitor"> visitor</a>, <a href="https://publications.waset.org/abstracts/search?q=museums" title=" museums"> museums</a> </p> <a href="https://publications.waset.org/abstracts/131779/different-levels-of-mixed-reality-mixed-reality-as-a-tool-to-change-the-visitors-experience-in-the-museum" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/131779.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">185</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">315</span> Applying Audience Development Programs in Museums for Raising Community Awareness towards Cultural Heritage Preservation: A Case Study of Alexandria National Museum</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Samar%20F.%20Elkasrawy">Samar F. Elkasrawy</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Museums play a significant role in their communities with respect to culture, history, environment, and social development. They are considered as important sites for families, tourists, school groups, cultural visitors and individuals, looking to enjoy, learn and expand their horizons. Aim of audience development programs is to support individuals and organizations to work together to deliver messages that will raise museums' profile for both existing and potential visitors. They recognize the particular role that museums play for communities, the audiences they seek to reach, the experience they seek to offer and the extent and nature of their collections. This study aims at using both the qualitative and quantitative approach to explore the important role that audience development programs in museums can play in raising awareness in their communities concerning cultural heritage preservation and tourism. The Alexandria National Museum is considered as a valuable case study. In depth interviews with museum managers and staff was conducted as well as an online questionnaire. The study also includes suggestions and guidelines for applying audience development programs in Egyptian museums. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=Alexandria%20National%20Museum" title="Alexandria National Museum">Alexandria National Museum</a>, <a href="https://publications.waset.org/abstracts/search?q=audience%20development%20programs" title=" audience development programs"> audience development programs</a>, <a href="https://publications.waset.org/abstracts/search?q=cultural%20heritage" title=" cultural heritage"> cultural heritage</a>, <a href="https://publications.waset.org/abstracts/search?q=tourism%20and%20preservation%20awareness" title=" tourism and preservation awareness"> tourism and preservation awareness</a> </p> <a href="https://publications.waset.org/abstracts/49585/applying-audience-development-programs-in-museums-for-raising-community-awareness-towards-cultural-heritage-preservation-a-case-study-of-alexandria-national-museum" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/49585.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">263</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">314</span> Digital Reconstruction of Museum's Statue Using 3D Scanner for Cultural Preservation in Indonesia</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Ahmad%20Zaini">Ahmad Zaini</a>, <a href="https://publications.waset.org/abstracts/search?q=F.%20Muhammad%20Reza%20Hadafi"> F. Muhammad Reza Hadafi</a>, <a href="https://publications.waset.org/abstracts/search?q=Surya%20Sumpeno"> Surya Sumpeno</a>, <a href="https://publications.waset.org/abstracts/search?q=Muhtadin"> Muhtadin</a>, <a href="https://publications.waset.org/abstracts/search?q=Mochamad%20Hariadi"> Mochamad Hariadi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The lack of information about museum’s collection reduces the number of visits of museum. Museum’s revitalization is an urgent activity to increase the number of visits. The research's roadmap is building a web-based application that visualizes museum in the virtual form including museum's statue reconstruction in the form of 3D. This paper describes implementation of three-dimensional model reconstruction method based on light-strip pattern on the museum statue using 3D scanner. Noise removal, alignment, meshing and refinement model's processes is implemented to get a better 3D object reconstruction. Model’s texture derives from surface texture mapping between object's images with reconstructed 3D model. Accuracy test of dimension of the model is measured by calculating relative error of virtual model dimension compared against the original object. The result is realistic three-dimensional model textured with relative error around 4.3% to 5.8%. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=3D%20reconstruction" title="3D reconstruction">3D reconstruction</a>, <a href="https://publications.waset.org/abstracts/search?q=light%20pattern%20structure" title=" light pattern structure"> light pattern structure</a>, <a href="https://publications.waset.org/abstracts/search?q=texture%20mapping" title=" texture mapping"> texture mapping</a>, <a href="https://publications.waset.org/abstracts/search?q=museum" title=" museum"> museum</a> </p> <a href="https://publications.waset.org/abstracts/8469/digital-reconstruction-of-museums-statue-using-3d-scanner-for-cultural-preservation-in-indonesia" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/8469.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">465</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">313</span> Assessment of the Frontline Services of the National Museum of the Philippines: Basis for an Improved Client-Oriented Service Package</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Geneva%20Oaferina">Geneva Oaferina</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Philippines is striving to deliver professional and improved public services. The country is committed to making more effective use of its resources to fulfill its sectoral and development goals. Within the heritage field, the museum needs to have a strong focus on seeking excellence in its services to its many publics. The National Museum of the Philippines is mandated as an educational, scientific, and cultural institution. It is important that the museum is more accessible, understandable, and relevant to the public, and at the same time, it provides a quality experience for an improved client-oriented service package. This study assessed the service delivery of the National Museum using the modified HISTOQUAL model. The HISTOQUAL dimensions (Responsiveness, Tangibles, Communications, Consumables, and Empathy) were adapted that identify the service quality features in the museum sector from the poorest to the most outstanding factor that will be subject to improvement, as well as those factors that represent strong points of the museum’s services and which are important to the museum visitors. This also identified the gaps encountered by the respondents that caused such inconvenience and default on achieving the sectoral and organizational goals of the museum. As an output of the study, the researcher formulated the service package and adapted the HISTOQUAL dimensions and statements from the assessment through documentary analysis and data analysis/interpretation. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=museum" title="museum">museum</a>, <a href="https://publications.waset.org/abstracts/search?q=frontline" title=" frontline"> frontline</a>, <a href="https://publications.waset.org/abstracts/search?q=inclusivity" title=" inclusivity"> inclusivity</a>, <a href="https://publications.waset.org/abstracts/search?q=HISTOQUAL" title=" HISTOQUAL"> HISTOQUAL</a> </p> <a href="https://publications.waset.org/abstracts/157705/assessment-of-the-frontline-services-of-the-national-museum-of-the-philippines-basis-for-an-improved-client-oriented-service-package" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/157705.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">100</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">312</span> Effect of Chemistry Museum Artifacts on Students’ Memory Enhancement and Interest in Radioactivity in Calabar Education Zone, Cross River State, Nigeria</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hope%20Amba%20Neji">Hope Amba Neji</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The study adopted a quasi-experimental design. Two schools were used for the experimental study, while one school was used for the control. The experimental groups were subjected to treatment for four weeks with chemistry museum artifacts and a visit as made to the museum so that learners would have real-life learning experiences with museum resources, while the control group was taught with the conventional method. The instrument for the study was a 20-item Chemistry Memory Test (CMT) and a 10-item Chemistry Interest Questionnaire (CIQ). The reliability was ascertained using (KR-20) and alpha reliability coefficient, which yielded a reliability coefficient of .83 and .81, respectively. Data obtained was analyzed using Analysis of Covariance (ANCOVA) and Analysis of variance (ANOVA) at 0.05 level of significance. Findings revealed that museum artifacts have a significant effect on students’ memory enhancement and interest in chemistry. It was recommended chemistry learning should be enhanced, motivating and real with museum artifacts, which significantly aid memory enhancement and interest in chemistry. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=museum%20artifacts" title="museum artifacts">museum artifacts</a>, <a href="https://publications.waset.org/abstracts/search?q=memory" title=" memory"> memory</a>, <a href="https://publications.waset.org/abstracts/search?q=chemistry" title=" chemistry"> chemistry</a>, <a href="https://publications.waset.org/abstracts/search?q=atitude" title=" atitude"> atitude</a> </p> <a href="https://publications.waset.org/abstracts/177785/effect-of-chemistry-museum-artifacts-on-students-memory-enhancement-and-interest-in-radioactivity-in-calabar-education-zone-cross-river-state-nigeria" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/177785.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">75</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">311</span> Policy for Implementing Decolonial Practices, Equity, Inclusivity, and Diversity into Radical Democratic Informal Art Gallery Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kaida%20Kobylka">Kaida Kobylka</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Museum education policy can be developed through the lens of radical democracy and radically democratic relational aesthetics to provoke a more wholistic, agonistic, and utopian educational experiences that expand a viewer’s experiences and knowledge of artwork in a museum’s permanent collection to encourage a deeper understanding of art and the community of a museum’s connections to equity, diversity, inclusion, and decolonization. Practices used by the museum will create cohesive and engaging informal education that utilizes community-based, alternative knowledge and create dignity-safe spaces for viewers to engage critically with the visual objects. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=museum%20education" title="museum education">museum education</a>, <a href="https://publications.waset.org/abstracts/search?q=radical%20democracy" title=" radical democracy"> radical democracy</a>, <a href="https://publications.waset.org/abstracts/search?q=Canadian%20policy" title=" Canadian policy"> Canadian policy</a>, <a href="https://publications.waset.org/abstracts/search?q=community-based%20knowledge" title=" community-based knowledge"> community-based knowledge</a> </p> <a href="https://publications.waset.org/abstracts/167538/policy-for-implementing-decolonial-practices-equity-inclusivity-and-diversity-into-radical-democratic-informal-art-gallery-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/167538.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">70</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">310</span> The Digital Library and Its Influential Role in Developing the Establishment of the Grand Egyptian Museum</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Gourg%20Ebrahim%20Shafik%20Eskandar">Gourg Ebrahim Shafik Eskandar</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The essential role of the digital library in developing museum display methods, recording ancient Egyptian antiquities, facilitating scientific research and storing antiquities in the Grand Egyptian Museum, which helped and saved a lot of time and money spent to equip the Grand Egyptian Museum. The technology of digital library, linking it to ancient Egyptian antiquities and the latest results, which scientific research has reached in the field of libraries and its impact on many areas of tourism and antiquities. The research also aims to show the main role of the digital library and the Arab countries emulating European countries in digitizing libraries and recent developments in Egyptian libraries and their role in many areas of life and linking them to Egyptology. The research will also explain how the museum display methods will be developed in the Grand Egyptian Museum, and the recording of ancient Egyptian antiquities in order to facilitate the process of scientific research and methods of storing antiquities, and it will also work to save time and effort for researchers. The research will also deal with lighting, and its prominent role in the display in the interior design and coordination of the Grand Egyptian Museum, through which the unique artifacts and artifacts displayed can be displayed, and they can be used in a strong or simple form. Depending on the condition of the piece to be displayed. The research will also go to show the role of the digital library in how the Grand Egyptian Museum contains gathering areas and how to distribute spaces, guidance, information, reception, libraries, lecture halls, restaurants, cafeterias, shops, permanent and temporary galleries, and bathrooms. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=grand%20egyptian%20museum" title="grand egyptian museum">grand egyptian museum</a>, <a href="https://publications.waset.org/abstracts/search?q=egyptian" title=" egyptian"> egyptian</a>, <a href="https://publications.waset.org/abstracts/search?q=museum" title=" museum"> museum</a>, <a href="https://publications.waset.org/abstracts/search?q=egyptian%20museum" title=" egyptian museum"> egyptian museum</a> </p> <a href="https://publications.waset.org/abstracts/189884/the-digital-library-and-its-influential-role-in-developing-the-establishment-of-the-grand-egyptian-museum" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/189884.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">20</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">309</span> RE:SOUNDING a 2000-Year-Old Vietnamese Dong Son Bronze Drum; Artist-Led Collaborations outside the Museum to Challenge the Impasse of Repatriating and Rematriating Cultural Instruments</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=H.%20A.%20J.%20Nguyen">H. A. J. Nguyen</a>, <a href="https://publications.waset.org/abstracts/search?q=V.%20A.%20Pham"> V. A. Pham</a> </p> <p class="card-text"><strong>Abstract:</strong></p> RE:SOUNDING is an ongoing research project and artwork seeking to return the sound and knowledge of Dong Son bronze drums back to contemporary musicians. Colonial collections of ethnographic instruments are problematic in how they commit acts of conceptual, cultural, and acoustic silencing. The collection (or more honestly), the plagiarism, and pillaging of these instruments have systemically separated them from living and breathing cultures. This includes diasporic communities, who have come to resettle in close proximity - but still have little access - to the museums and galleries that display their cultural objects. Despite recent attempts to 'open up' and 'recognise' the tensions and violence of these ethnographic collections, many museums continue to structurally organize and reproduce knowledge with the same procedural distance and limitations of imperial condescension. Impatient with the slowness of these museums, our diaspora led collaborations participated in the opaque economy of the auction market to gain access and begin the process of digitally recording and archiving the actual sounds of the ancient Dong Son drum. This self-directed, self-initiated artwork not only acoustically reinvigorated an ancient instrument but redistributed these sonic materials back to contemporary musicians, composers, and their diasporic communities throughout Vietnam, South East Asia, and Australia. Our methodologies not only highlight the persistent inflexibility of museum infrastructures but demand that museums refrain from their paternalistic practice of risk-averse ownership, to seriously engage with new technologies and political formations that require all public institutions to be held accountable for the ethical and intellectual viability of their colonial collections. The integrated and practical resolve of diasporic artists and their communities are more than capable of working with new technologies to reclaim and reinvigorate what is culturally and spiritually theirs. The motivation to rematriate – as opposed to merely repatriate – the acoustic legacies of these instruments to contemporary musicians and artists is a new model for decolonial and restorative practices. Exposing the inadequacies of western scholarship that continues to treat these instruments as discreet, disembodied, and detached artifacts, these collaborative strategies have thus far produced a wealth of new knowledge – new to the west perhaps – but not that new to these, our own communities. This includes the little-acknowledged fact that the Dong Son drum were political instruments of war and technology, rather than their simplistic description in the museum and western academia as agrarian instruments of fertility and harvest. Through the collective and continued sharing of knowledge and sound materials produced from this research, these drums are gaining a contemporary relevance beyond the cultural silencing of the museum display cabinet. Acknowledgement: We acknowledge the Wurundjeri and Boon Wurrung of the Kulin Nation and the Gadigal of the Eora Nation where we began this project. We pay our respects to the Peoples, Lands, Traditional Custodians, Practices, and Creator Ancestors of these Great Nations, as well as those First Nations peoples throughout Australia, Vietnam, and Indonesia, where this research continues, and upon whose stolen lands and waterways were never ceded. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=acoustic%20archaeology" title="acoustic archaeology">acoustic archaeology</a>, <a href="https://publications.waset.org/abstracts/search?q=decolonisation" title=" decolonisation"> decolonisation</a>, <a href="https://publications.waset.org/abstracts/search?q=museum%20collections" title=" museum collections"> museum collections</a>, <a href="https://publications.waset.org/abstracts/search?q=rematriation" title=" rematriation"> rematriation</a>, <a href="https://publications.waset.org/abstracts/search?q=repatriation" title=" repatriation"> repatriation</a>, <a href="https://publications.waset.org/abstracts/search?q=Dong%20Son" title=" Dong Son"> Dong Son</a>, <a href="https://publications.waset.org/abstracts/search?q=experimental%20music" title=" experimental music"> experimental music</a>, <a href="https://publications.waset.org/abstracts/search?q=digital%20recording" title=" digital recording"> digital recording</a> </p> <a href="https://publications.waset.org/abstracts/130988/resounding-a-2000-year-old-vietnamese-dong-son-bronze-drum-artist-led-collaborations-outside-the-museum-to-challenge-the-impasse-of-repatriating-and-rematriating-cultural-instruments" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/130988.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">151</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">308</span> Developing Open-Air Museum: The Heritage Conservation Effort, Oriented to Geotourism Concept and Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Rinaldi%20Ikhram">Rinaldi Ikhram</a>, <a href="https://publications.waset.org/abstracts/search?q=R.%20A.%20Julia%20Satriani"> R. A. Julia Satriani</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The discovery of historical objects in Indonesia, especially in the area around Bandung and Priangan zone in general, have been inventorized and recorded by Dutch geologists during the colonial time. Among artefacts such as axes made of chalcedony and quartzite; arrowheads, knives, shrivel, and drill bit all made from obsidian; grindstones, even bracelet from stones. Ceramic mold for smelting bronze or iron were also found. The abundance of artefacts inspired DR. W. Docters van Leeuwen and his colleagues to initiate the establishment of Sunda Open-air Museum "Soenda Openlucht Museum" in 1917, located in the hills of North Bandung area, the site of pre-historic settlements that needs conservation. Unfortunately, this plan was not implemented because shortly after, World War II occurred. The efforts of heritage conservation is one of our responsibilities as a geologist today. Open-air Museum may be one of the solutions of heritage conservation for historic sites around the world. In this paper, the study of the development of Open-air Museum will be focused on the area of Dago, North Bandung. Method used is data analysis of field surveys, and data analysis of the remaining artefacts stored at both the National Museum in Jakarta, and the Bandung Museum of Geology. The museum is based on Geotourism and further research on pre-historic culture, while its purpose is to give people a common interest and to motivate them to participate in the research and conservation of pre-historic relics. This paper will describe more details about the concept, form, and management of the geopark and the Open-air Museum within. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=geoparks" title="geoparks">geoparks</a>, <a href="https://publications.waset.org/abstracts/search?q=heritage%20conservation" title=" heritage conservation"> heritage conservation</a>, <a href="https://publications.waset.org/abstracts/search?q=open-air%20museum" title=" open-air museum"> open-air museum</a>, <a href="https://publications.waset.org/abstracts/search?q=sustainable%20tourism" title=" sustainable tourism "> sustainable tourism </a> </p> <a href="https://publications.waset.org/abstracts/18418/developing-open-air-museum-the-heritage-conservation-effort-oriented-to-geotourism-concept-and-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/18418.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">345</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">307</span> Potential and Problems That Lead to Best Solutions for Establishment of Wat Sai Musuem of Local Boats, Bang Kradang-Nga, Bang Khontee District, Samut Songkram Province</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Threera%20Intarareaung">Threera Intarareaung</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This research aims to study guidelines of organizing the Wat Sai Museum of Local Boats, of Ruam Sai Pattana Community 789, Kradangnga sub-district, Bang Khon Tee district, Samut Songkram province. The procedures are to seek for potentials and problems within the community to properly organize the said museum. The research contains methodology of qualitative by studying from the population from Ruam Sai Pattana 789, a community that located within the area of the museum. The sample contains 40 persons. The procedures are in-depth interview, observation, focus group by discussing ideas, problems and the importance of the museum. After that, the information received is synthesized and analyzed. The result finds that the local temple requires setting up the boat museum. However, there are several factors that limit the possibility which are the museum manager, resources, exhibition and service and knowledge management. These factors reflect mutual potentials and problems that lead us to seek the best solutions to set up the local boat museum. In conclusion, there are 4 issues regarding the management. First, the knowledge management should be conducted to indicate the purposes of the museum. Second, exhibition and service should be categorized. In addition, the serviced should be assisted by local guides. Third, the museum should employ staffs to correspond to other entities such as related authorities. Fourth is regarding location and condition of the building. This is considered as a major factor that needs discussion from different parties. However, the condition of the existing resource is proper. All the information is collected by field trip and interview the locals and person of interest. Therefore, the idea is inconsistent with the community’s requirement that can proceed to real practice. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=museum" title="museum">museum</a>, <a href="https://publications.waset.org/abstracts/search?q=boat%20museum" title=" boat museum"> boat museum</a>, <a href="https://publications.waset.org/abstracts/search?q=heritage%20tourism" title=" heritage tourism"> heritage tourism</a>, <a href="https://publications.waset.org/abstracts/search?q=conservation%20lifestyle" title=" conservation lifestyle"> conservation lifestyle</a> </p> <a href="https://publications.waset.org/abstracts/12746/potential-and-problems-that-lead-to-best-solutions-for-establishment-of-wat-sai-musuem-of-local-boats-bang-kradang-nga-bang-khontee-district-samut-songkram-province" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/12746.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">332</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">306</span> Managing and Marketing a Modern Art Museum in a Small Town: A Case Study on Odunpazarı Modern Museum</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Mehmet%20Sinan%20Erguven">Mehmet Sinan Erguven</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Modern art is relatively new but a popular area in Turkish art society. Modern art museums are mainly located in big cities like Istanbul and Ankara where cultural life is more dynamic. Odunpazarı Modern Museum (OMM) will open its doors on September 2019 and be the only modern art museum located in a small town in Turkey. OMM executives declare the mission of the museum as; art must go beyond the metropolises of the world, give a new lease of life to cities that make a difference with their cultural texture, and reach a greater audience through that expansion. So OMM will not only serve as a museum but a landmark for regenerating the city brand of Eskişehir like the Guggenheim in Bilbao. OMM is located in the Odunpazarı area, the heart of Eskişehir. Named after the historical timber market it once hosted, Odunpazarı is a nominated site for the UNESCO Intangible Cultural Heritage List, and is Eskişehir’s first area of settlement. This study focuses on the complex nature of opening a modern art museum in a small town. The management and marketing dynamics of OMM are discussed in the study. Content analysis technique is used on local and national news to display the perception differences before and after the opening of OMM. In depth interviews with the executives of the museum are conducted in order to enlighten the insights of opening a modern art museum in a small town. Early findings of the content analysis point out that, the comments on the national press are mostly positive. On the other hand, different views occur on the local press. The location OMM is constructed and grandness of the museum building are criticized by some of the local newspapers. OMM’s potential as a tourist attraction is agreed by most of the media. OMM executives stated the most challenging task as reaching the different target audiences on international, national and local levels. These early findings will be improved and compared shortly before and after the opening of the museum. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=management" title="management">management</a>, <a href="https://publications.waset.org/abstracts/search?q=marketing" title=" marketing"> marketing</a>, <a href="https://publications.waset.org/abstracts/search?q=Odunpazar%C4%B1%20modern%20museum" title=" Odunpazarı modern museum"> Odunpazarı modern museum</a>, <a href="https://publications.waset.org/abstracts/search?q=small%20town" title=" small town"> small town</a> </p> <a href="https://publications.waset.org/abstracts/109133/managing-and-marketing-a-modern-art-museum-in-a-small-town-a-case-study-on-odunpazari-modern-museum" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/109133.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">231</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">305</span> Documentation Project on Decorated Wooden Coffins From Luxor, in the Cairo Museum</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Hassan%20Mohmed">Hassan Mohmed</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohamed%20Ismail"> Mohamed Ismail</a>, <a href="https://publications.waset.org/abstracts/search?q=Aiman%20Rezk"> Aiman Rezk</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Introduction: This project aims to document and preserve decorated wooden coffins which were discovered in Luxor by Egyptian mission at Luxor, (SR Numbers:2514,2519,2520,2521,5469).These decorated wooden coffins dates back to Egyptian New Kingdom period and has been transferred to the Cairo Museum, to be displayed at the museum. These decorated wooden coffins discovered in the cache-tomb of Bab el-gasus at Deir el-Bahari, Luxor. This site has been dictated for the burials of priests of Amun through 18th Dynasty the coffins owners held these titles, which are as follows: "the embalmer of the beautiful-house (the place of embalming)" and "the servant in the place of truth". Methodology: Methodology: The project objectives making such decorated wooden coffins more visible to visitors through the use of 3D reconstructed coffins and high resolution photos which describe the history of using the wooden coffins during the Ancient Egyptian history Especially, The Cairo Museum is going to exhibit decorated wooden coffins in New kingdom. The project goals is to document decorated wooden coffins and arrange an exhibition, where such decorated wooden coffins going to be displayed next to the Ramses 2nd coffin, This research focuses on the text analyses and the technology. Paleographic information found on these objects. Conclusion: The project shows the importance of using coffins in Ancient Egypt, and connecting their usage through Ancient Egyptian periods; the coffins had a unique Symbolized in ancient Egypt and connect the public with their kings. The Egyptian put coffins in their tombs that they hope to save their bodies’ afterlife. This research will be beneficial and useful for the heritage and ancient civilizations, Indeed this study will open a destination in order to know how to identify these collections and how to exhibit them commensurate with the natural of the ancient Egyptian history and heritage. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=archaeology" title="archaeology">archaeology</a>, <a href="https://publications.waset.org/abstracts/search?q=decorated%20wooden%20coffins" title=" decorated wooden coffins"> decorated wooden coffins</a>, <a href="https://publications.waset.org/abstracts/search?q=3D%20digital%20tools%20for%20heritage%20management" title=" 3D digital tools for heritage management"> 3D digital tools for heritage management</a>, <a href="https://publications.waset.org/abstracts/search?q=museums" title=" museums"> museums</a> </p> <a href="https://publications.waset.org/abstracts/163691/documentation-project-on-decorated-wooden-coffins-from-luxor-in-the-cairo-museum" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/163691.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">77</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">304</span> Dynamics of Museum Visitors’ Experiences Studies: A Bibliometric Analysis</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Tesfaye%20Fentaw%20Nigatu">Tesfaye Fentaw Nigatu</a>, <a href="https://publications.waset.org/abstracts/search?q=Alexander%20Trupp"> Alexander Trupp</a>, <a href="https://publications.waset.org/abstracts/search?q=Teh%20Pek%20Yen"> Teh Pek Yen</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Research on museums and the experiences of visitors has flourished in recent years, especially after museums became centers of edutainment beyond preserving heritage resources. This paper aims to comprehensively understand the changes, continuities, and future research development directions of museum visitors’ experiences. To identify current research trends, the paper summarizes and analyses research article publications from 1986 to 2023 on museum visitors' experiences. Bibliometric analysis software VOSviewer and Harzing POP (Publish or Perish) were used to analyze 407 academic articles. The articles were generated from the Scopus database. The study attempted to map new insights for future scholars and academics to expand the scope of museum visitors’ experience studies by analyzing keywords, citation patterns, influential articles in the field, publication trends, collaborations between authors, institutions, and clusters of highly cited articles. Accessibility to museums, social media usage within museums, aesthetics in museum settings, mixed reality experiences, sustainability issues, and emotions have emerged as key research areas in the study of museum visitors' experiences. The results benefit stakeholders and researchers in advancing the collective progress of considering recent research trends to stay informed about the latest developments and breakthroughs in the global academic landscape and visitors’ experiences development in the museum. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=bibliometric%20analysis" title="bibliometric analysis">bibliometric analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=museum" title=" museum"> museum</a>, <a href="https://publications.waset.org/abstracts/search?q=network%20analysis" title=" network analysis"> network analysis</a>, <a href="https://publications.waset.org/abstracts/search?q=visitors%E2%80%99%20experiences" title=" visitors’ experiences"> visitors’ experiences</a>, <a href="https://publications.waset.org/abstracts/search?q=visual%20analysis" title=" visual analysis"> visual analysis</a> </p> <a href="https://publications.waset.org/abstracts/172553/dynamics-of-museum-visitors-experiences-studies-a-bibliometric-analysis" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/172553.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">68</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">303</span> Merging of Results in Distributed Information Retrieval Systems</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Larbi%20Guezouli">Larbi Guezouli</a>, <a href="https://publications.waset.org/abstracts/search?q=Imane%20Azzouz"> Imane Azzouz</a> </p> <p class="card-text"><strong>Abstract:</strong></p> This work is located in the domain of distributed information retrieval ‘DIR’. A simplified view of the DIR requires a multi-search in a set of collections, which forces the system to analyze results found in these collections, and merge results back before sending them to the user in a single list. Our work is to find a fusion method based on the relevance score of each result received from collections and the relevance of the local search engine of each collection. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=information%20retrieval" title="information retrieval">information retrieval</a>, <a href="https://publications.waset.org/abstracts/search?q=distributed%20IR%20systems" title=" distributed IR systems"> distributed IR systems</a>, <a href="https://publications.waset.org/abstracts/search?q=merging%20results" title=" merging results"> merging results</a>, <a href="https://publications.waset.org/abstracts/search?q=datamining" title=" datamining"> datamining</a> </p> <a href="https://publications.waset.org/abstracts/37130/merging-of-results-in-distributed-information-retrieval-systems" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/37130.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">336</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">302</span> Haptic Cycle: Designing Enhanced Museum Learning Activities</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Menelaos%20N.%20Katsantonis">Menelaos N. Katsantonis</a>, <a href="https://publications.waset.org/abstracts/search?q=Athanasios%20Manikas"> Athanasios Manikas</a>, <a href="https://publications.waset.org/abstracts/search?q=Alexandros%20Chatzis"> Alexandros Chatzis</a>, <a href="https://publications.waset.org/abstracts/search?q=Stavros%20Doropoulos"> Stavros Doropoulos</a>, <a href="https://publications.waset.org/abstracts/search?q=Anastasios%20Avramis"> Anastasios Avramis</a>, <a href="https://publications.waset.org/abstracts/search?q=Ioannis%20Mavridis"> Ioannis Mavridis</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Museums enhance their potential by adopting new technologies and techniques to appeal to more visitors and engage them in creative and joyful activities. In this study, the Haptic Cycle is presented, a cycle of museum activities proposed for the development of museum learning approaches with optimized effectiveness and engagement. Haptic Cycle envisages the improvement of the museum’s services by offering a wide range of activities. Haptic Cycle activities make the museum’s exhibitions more approachable by bringing them closer to the visitors. Visitors can interact with the museum’s artifacts and explore them haptically and sonically. Haptic Cycle proposes constructivist learning activities in which visitors actively construct their knowledge by exploring the artifacts, experimenting with them and realizing their importance. Based on the Haptic Cycle, we developed the HapticSOUND system, an innovative virtual reality system that includes an advanced user interface that employs gesture-based technology. HapticSOUND’s interface utilizes the leap motion gesture recognition controller and a 3D-printed traditional Cretan lute, utilized by visitors to perform various activities such as exploring the lute and playing notes and songs. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=haptic%20cycle" title="haptic cycle">haptic cycle</a>, <a href="https://publications.waset.org/abstracts/search?q=HapticSOUND" title=" HapticSOUND"> HapticSOUND</a>, <a href="https://publications.waset.org/abstracts/search?q=museum%20learning" title=" museum learning"> museum learning</a>, <a href="https://publications.waset.org/abstracts/search?q=gesture-based" title=" gesture-based"> gesture-based</a>, <a href="https://publications.waset.org/abstracts/search?q=leap%20motion" title=" leap motion"> leap motion</a> </p> <a href="https://publications.waset.org/abstracts/165300/haptic-cycle-designing-enhanced-museum-learning-activities" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/165300.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">91</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">301</span> Towards the Effectiveness/ Performance of Spatial Communication within the Composite Interior Spaces: Wayfinding System in the Saudi National Museum as a Case Study</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Afnan%20T.%20Bagasi">Afnan T. Bagasi</a>, <a href="https://publications.waset.org/abstracts/search?q=Donia%20M.%20Bettaieb"> Donia M. Bettaieb</a>, <a href="https://publications.waset.org/abstracts/search?q=Abeer%20Alsobahi"> Abeer Alsobahi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The wayfinding system is related to the course of the museum journey for visitors directly and indirectly. The design aspects of this system play an important role, making it an effective and communication system within the museum space. However, translating the concepts that pertain to its design, such as Intelligibility that is based on integration and connectivity in museum space design, needs more customization in the form of specific design considerations with reference to the most important approaches. Those approaches link the organizational and practical aspects to the semiotic and semantic aspects related to the space syntax by targeting the visual and perceived consistency of visitors. In this context, the study aims to identify how to apply the concept of intelligibility and clarity by employing integration and connectivity to design a wayfinding system in museums as a kind of composite interior space. Using the available plans and images to extrapolate the design considerations used to design the wayfinding system in the Saudi National Museum as a case study, a descriptive-analytical method was used to understand the basic organizational and morphological principles of the museum space through four main aspects in space design: morphological, semantic, semiotic, and pragmatic. The study's findings will assist designers, professionals, and researchers in the field of museum design in understanding the significance of the wayfinding system by delving into it through museum spaces by highlighting the essential aspects using a clear analytical method. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=wayfinding%20system" title="wayfinding system">wayfinding system</a>, <a href="https://publications.waset.org/abstracts/search?q=museum%20journey" title=" museum journey"> museum journey</a>, <a href="https://publications.waset.org/abstracts/search?q=intelligibility" title=" intelligibility"> intelligibility</a>, <a href="https://publications.waset.org/abstracts/search?q=integration" title=" integration"> integration</a>, <a href="https://publications.waset.org/abstracts/search?q=connectivity" title=" connectivity"> connectivity</a> </p> <a href="https://publications.waset.org/abstracts/142730/towards-the-effectiveness-performance-of-spatial-communication-within-the-composite-interior-spaces-wayfinding-system-in-the-saudi-national-museum-as-a-case-study" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/142730.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">171</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">300</span> Museum-Based Education: Its Role in Formal/School Education</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Kinga%20Anna%20Gajda">Kinga Anna Gajda</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The aim of the paper is presented the results of the research project titled: Regional or trans-regional cultural education using the example of museums. In the frame of the project there were prepared: Qualitative and quantitative analysis of the level of schools’ use of museum programs in the period 2010-2015; Qualitative and quantitative analysis of interprovincial co-operation between schools and cultural institutions; intevied and questionnaries. That was a research materials. Informal education may include classes that use visual culture - museum lessons. The paper will examine what range of programs is offered schools by the museums. On the basis of the conducted analysis, the paper will verify what programs addressing the schools are directly coincided with the material taught in schools or as a supplement to existing curriculum. The paper will answer the question is the museum-based education the part of school education, the teaching parallel or a separate category of teaching. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=museum-based%20education" title="museum-based education">museum-based education</a>, <a href="https://publications.waset.org/abstracts/search?q=school" title=" school"> school</a>, <a href="https://publications.waset.org/abstracts/search?q=parallel%20teaching" title=" parallel teaching"> parallel teaching</a>, <a href="https://publications.waset.org/abstracts/search?q=curriculum" title=" curriculum"> curriculum</a> </p> <a href="https://publications.waset.org/abstracts/64847/museum-based-education-its-role-in-formalschool-education" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/64847.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">327</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">299</span> The Digital Library and Its Influential Role in Developing the Establishment of the Grand Egyptian Museum</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Haitham%20Magdy%20Hamad">Haitham Magdy Hamad</a>, <a href="https://publications.waset.org/abstracts/search?q=Mohamed%20Ahmed%20Madkour"> Mohamed Ahmed Madkour</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The essential role of the digital library in developing museum display methods, recording ancient Egyptian antiquities, facilitating scientific research, and storing antiquities in the Grand Egyptian Museum, which helped and saved a lot of time and money spent to equip the Grand Egyptian Museum. The technology of digital libraries, linking it to ancient Egyptian antiquities and the latest results, which scientific research has reached in the field of libraries and its impact on many areas of tourism and antiquities. The research also aims to show the main role of the digital library and the Arab countries emulating European countries in digitizing libraries and recent developments in Egyptian libraries and their role in many areas of life and linking them to Egyptology. The research will also explain how the museum display methods will be developed in the Grand Egyptian Museum, and the recording of ancient Egyptian antiquities in order to facilitate the process of scientific research and methods of storing antiquities will also work to save time and effort for researchers. The research will also deal with lighting and its prominent role in the display in the interior design and coordination of the Grand Egyptian Museum, through which the unique artifacts and artifacts displayed can be displayed, and they can be used in a strong or simple form. Depending on the condition of the piece to be displayed. The research will also go to show the role of the digital library in how the Grand Egyptian Museum contains gathering areas and how to distribute spaces, guidance, information, reception, libraries, lecture halls, restaurants, cafeterias, shops, permanent and temporary galleries, and bathrooms. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=knowledge" title="knowledge">knowledge</a>, <a href="https://publications.waset.org/abstracts/search?q=library" title=" library"> library</a>, <a href="https://publications.waset.org/abstracts/search?q=culture" title=" culture"> culture</a>, <a href="https://publications.waset.org/abstracts/search?q=archaeology" title=" archaeology"> archaeology</a>, <a href="https://publications.waset.org/abstracts/search?q=grand%20Egyptian%20museum" title=" grand Egyptian museum"> grand Egyptian museum</a>, <a href="https://publications.waset.org/abstracts/search?q=numbering" title=" numbering"> numbering</a> </p> <a href="https://publications.waset.org/abstracts/163761/the-digital-library-and-its-influential-role-in-developing-the-establishment-of-the-grand-egyptian-museum" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/163761.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">73</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">298</span> The Humanistic Buddhist Ideas of Venerable Master Hsing Yun: A Case Study of the Eighteen Arhats at the Buddha Museum</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=You%20Lu%20Shi">You Lu Shi</a> </p> <p class="card-text"><strong>Abstract:</strong></p> The Sixteen Arhats evolved around the third and fourth centuries based on a discourse expounded by the great Arhat Nandimitra, the text of which was translated into Chinese by Xuanzang in the mid-seventh century. The iconographical form emerged soon after, in the ninth century. Subsequently, two more Arhats were introduced, which gave rise to the Eighteen Arhats. Today, the Eighteen Arhats at the Fo Guang Shan Buddha Museum is not simply a recollection of the traditionally listed Eighteen Arhats; the roster includes three female Arhats as well. This paper aims to study the ideas that Venerable Master Hsing Yun envisioned when referring to these Eighteen Arhats, and what they represent in the modern world, in the context of Humanistic Buddhism. The differences between the traditional Eighteen Arhats and the new line-up erected at the Buddha Museum will be carefully examined. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=eighteen%20Arhats" title="eighteen Arhats">eighteen Arhats</a>, <a href="https://publications.waset.org/abstracts/search?q=humanistic%20Buddhism" title=" humanistic Buddhism"> humanistic Buddhism</a>, <a href="https://publications.waset.org/abstracts/search?q=Hsing%20Yun" title=" Hsing Yun"> Hsing Yun</a>, <a href="https://publications.waset.org/abstracts/search?q=Buddha%20Museum" title=" Buddha Museum"> Buddha Museum</a> </p> <a href="https://publications.waset.org/abstracts/118367/the-humanistic-buddhist-ideas-of-venerable-master-hsing-yun-a-case-study-of-the-eighteen-arhats-at-the-buddha-museum" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/118367.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">131</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">297</span> Adequacy of Museums' Internet Resources to Infantile and Young Public</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Myriam%20Ferreira">Myriam Ferreira</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Websites and social networks allow museums to divulge their works by new and attractive means. Besides, these technologies provide tools to generate a new history of art’s contents and promote visits to their installations. At the same time, museums are proposing more and more activities to families, children and young people. However, these activities usually take place in the museum’s physical installations, while websites and social networks seem to be mainly targeted to adults. The problem is that being children and young people digital natives, they feel apart from museums, so they need a presence of museums in digital means to feel attracted to them. Some institutions are making efforts to fill this vacuum. In this paper, resources designed specifically for children and teenagers have been selected from websites and social networks of five Spanish Museums: Prado Museum, Thyssen Museum, Guggenheim Museum, America Museum and Cerralbo Museum. After that, we have carried out an investigation in a school with children and teenagers between 11 and 15 years old. Those young people have been asked about their valuation of those web pages and social networks, with quantitative-qualitative questions. The results show that the least rated resources were videos and social networks because they were considered ‘too serious’, while the most rated were games and augmented reality. These ratings confirm theoretical papers that affirm that the future of technologies applied to museums is edutainment and interaction. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=children" title="children">children</a>, <a href="https://publications.waset.org/abstracts/search?q=museums" title=" museums"> museums</a>, <a href="https://publications.waset.org/abstracts/search?q=social%20networks" title=" social networks"> social networks</a>, <a href="https://publications.waset.org/abstracts/search?q=teenagers" title=" teenagers"> teenagers</a>, <a href="https://publications.waset.org/abstracts/search?q=websites" title=" websites"> websites</a> </p> <a href="https://publications.waset.org/abstracts/98231/adequacy-of-museums-internet-resources-to-infantile-and-young-public" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/98231.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">149</span> </span> </div> </div> <div class="card paper-listing mb-3 mt-3"> <h5 class="card-header" style="font-size:.9rem"><span class="badge badge-info">296</span> Cataloguing Beetle Fauna (Insecta: Coleoptera) of India: Estimating Diversity, Distribution, and Taxonomic Challenges</h5> <div class="card-body"> <p class="card-text"><strong>Authors:</strong> <a href="https://publications.waset.org/abstracts/search?q=Devanshu%20Gupta">Devanshu Gupta</a>, <a href="https://publications.waset.org/abstracts/search?q=Kailash%20Chandra"> Kailash Chandra</a>, <a href="https://publications.waset.org/abstracts/search?q=Priyanka%20Das"> Priyanka Das</a>, <a href="https://publications.waset.org/abstracts/search?q=Joyjit%20Ghosh"> Joyjit Ghosh</a> </p> <p class="card-text"><strong>Abstract:</strong></p> Beetles, in the insect order Coleoptera are the most species-rich group on this planet today. They represent about 40% of the total insect diversity of the world. With a considerable range of landform types including significant mountain ranges, deserts, fertile irrigational plains, and hilly forested areas, India is one of the mega-diverse countries and includes more than 0.1 million faunal species. Despite having rich biodiversity, the efforts to catalogue the beetle diversity of the extant species/taxa reported from India have been less. Therefore, in this paper, the information on the beetle fauna of India is provided based on the data available with the museum collections of Zoological Survey of India and taxa extracted from zoological records and published literature. The species were listed with their valid names, synonyms, type localities, type depositories, and their distribution in states and biogeographic zones of India. The catalogue also incorporates the bibliography on Indian Coleoptera. The exhaustive species inventory, prepared by us include distributional records from Himalaya, Trans Himalaya, Desert, Semi-Arid, Western Ghats, Deccan Peninsula, Gangetic Plains, Northeast, Islands, and Coastal areas of the country. Our study concludes that many of the species are still known from their type localities only, so there is need to revisit and resurvey those collection localities for the taxonomic evaluation of those species. There are species which exhibit single locality records, and taxa-specific biodiversity assessments are required to be undertaken to understand the distributional range of such species. The primary challenge is taxonomic identifications of the species which were described before independence, and the type materials are present in overseas museums. For such species, taxonomic revisions of the different group of beetles are required to solve the problems of identification and classification. <p class="card-text"><strong>Keywords:</strong> <a href="https://publications.waset.org/abstracts/search?q=checklist" title="checklist">checklist</a>, <a href="https://publications.waset.org/abstracts/search?q=taxonomy" title=" taxonomy"> taxonomy</a>, <a href="https://publications.waset.org/abstracts/search?q=museum%20collections" title=" museum collections"> museum collections</a>, <a href="https://publications.waset.org/abstracts/search?q=biogeographic%20zones" title=" biogeographic zones"> biogeographic zones</a> </p> <a href="https://publications.waset.org/abstracts/94206/cataloguing-beetle-fauna-insecta-coleoptera-of-india-estimating-diversity-distribution-and-taxonomic-challenges" class="btn btn-primary btn-sm">Procedia</a> <a href="https://publications.waset.org/abstracts/94206.pdf" target="_blank" class="btn btn-primary btn-sm">PDF</a> <span class="bg-info text-light px-1 py-1 float-right rounded"> Downloads <span class="badge badge-light">274</span> </span> </div> </div> <ul class="pagination"> <li class="page-item disabled"><span class="page-link">&lsaquo;</span></li> <li class="page-item active"><span class="page-link">1</span></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=museum%20collections&page=2">2</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=museum%20collections&page=3">3</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=museum%20collections&page=4">4</a></li> <li class="page-item"><a class="page-link" href="https://publications.waset.org/abstracts/search?q=museum%20collections&page=5">5</a></li> <li class="page-item"><a class="page-link" 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