Development and Museums
Exhibits may lead to presentation formats commonly referred to as "books on the wall."
Beginning with the goal of understanding your audience and learning as much about them as possible - how they categorize information, what is important to them, what they already know about the subject - in a sense, your audience is participating in the process and It is an invitation to contribute. Children are kaleidoscopic, changeable and constantly on the move. We need a variety of environments and mediums to actively explore content.
To create an effective exhibition for them, our interpretation and presentation of the content must be based on a clear understanding of who they are and how best to engage their talents, skills and interests in exploring the theme and message of the exhibition. . If we, as exhibition developers, want to create an exhibition that is accessible and understandable to a wide range of children, it is a legitimate demand that we understand the exhibition.
A useful tool to enhance this understanding and create more powerful and engaging experiences is a development framework. In its most common form, developmental frameworks provide benchmarks or milestones for a child's general growth—social, cognitive, and physical. These tools are familiar to many caregivers, educators, and pediatricians.
If you open a parenting guide about your child's growth from birth to age 5, you're likely to find a structure for their development. Over the course of the exhibition, the development framework is extended to include data from various sources on our intended audience as an easily referable tool. The developmental frameworks mentioned in this chapter abstract the study of children's abilities at different ages as they relate to specific exhibit content and social learning that can be supported through activities in informal learning environments. The active participation of the exhibition team in intensive research of the audience (by creating a developmental framework) early in the exhibition conception can be far more important than the resulting documentation.
The active participation of the exhibition team in intensive research of the audience (by creating a developmental framework) early in the exhibition conception can be far more important than the resulting documentation. The framework itself represents a series of dynamic notes that are valuable and ongoing summaries of the team's growing insights to its audience. Creating a unique development framework that is directly linked to the specific themes, themes and concepts of a single exhibition demonstrates the team's commitment to its audience and discovers the best exhibition solutions for them. Some degree of adaptation and updating of existing data will be required, but research into the development framework should be one of the exhibit team's first tasks in order to effectively own, absorb and apply the results.
A developmental framework ensures that the exhibition is shaped not only by content and perspective, but also by an intensive understanding of children: who they are, their needs and interests, and their readiness to engage with the subject matter proposed. Developmental frameworks do not dictate content. Rather, it helps to identify approaches that are most likely to increase children's access and receptivity to ideas and information in developmentally appropriate topics and exhibits. Additionally, a framework allows exhibit teams to find a way to connect what they know and what children are ready to investigate, and a solid framework can instill confidence in tackling these topics more powerfully.
Shopsis' research shows that children can learn how their past lives have changed, and that museums (objects, images, stories), especially when presented in a developmentally appropriate way with opportunities for adult support for younger visitors, help children connect and connect with their past. It can help build awareness of history and your place in it. The Brooklyn Children's Museum hired Selinda Research Associates of Chicago to conduct a literature review of World Brooklyn and several other projects. Their findings on World Brooklyn reveal that as children grow up, the frame of reference for understanding the world expands from “me and my family” to include “my friends and my school.” Children under the age of 5 recognize physical differences between people, such as skin color, but these differences are not related to stereotypes or evaluations. However, by the age of eight, sexual, racial, and ethnic identities and group affiliations begin to emerge, and children are able to distinguish themselves from others and begin to place themselves within geographical and cultural contexts.
* Note: I was impressed that the exhibition was shown in the form of a book on the wall, or presentation. In other words, understanding the audience watching this presentation, knowing and analyzing their characteristics and what is important to them is an important element of the exhibition. I have participated in many exhibitions, so I know the importance of this. Even the audience, as well as the weather, season, fashion, regional and cultural characteristics of the time must be considered. As I write in this journal, “Over the course of the exhibition, the development framework is extended to include data from a variety of sources about our intended audience as an easily referable tool.”
I noticed the point. And indeed, as an example of the use of these developmental frameworks, Shopsis' research found that children learn how their lives have changed in the past, and that museums (objects, images, stories) are developed in a developmentally appropriate way, with opportunities for adult support, especially for younger visitors. It can help children connect with their past and build awareness of history and their place in it. An age-specific application of the framework from this perspective suggests that by the age of eight, sexual, racial, and ethnic identities and group affiliations begin to emerge, and children are able to distinguish themselves from others and begin to place themselves within geographical and cultural contexts. . (citing a literature review of World Brooklyn and several other projects, hired by Selinda Research Associates) This passage struck a chord with me, primarily interested in the art education of immigrant and third-world children. In other words, in order to create an art education program for multicultural families and students that is effective for my future education, I thought that I should include in the plan to prepare through thorough preliminary research from the initial stage by considering the development framework during the exhibition process.
This can be seen as a beneficial change like a reversal for me, who believed that scientific and analytical techniques were not helpful because the concept of exhibition or painting was abstract. Of course, this work will be very interesting and fun, and sometimes important thesis topics will be created.
Myungja Anna Koh