博物馆认知与传播

编者按：

　　博物馆是一国、一城、一地区公共文化信息的重要传播单位。自博物馆在欧洲诞生之日始，博物馆人就面临着或提出了如何发挥自身传播职能的问题。随着博物馆传播几百年的实践，这个问题虽然已积累了比较充分的答案，但仍然有改进或完善的余地，博物馆信息传播事业还大有文章可作。因为如此，本刊第三期特约了一组相关文章，就博物馆信息传播模式的由来与发展、博物馆展览的文化阐释与公众体验、通过空间条件来构建展览叙事、借助荷兰国家古物博物馆的案例分析博物馆和博物馆学的属性、博物馆与观众是否是简单的信息源与接收者关系等问题进行讨论。文章的作者既有国内博物馆界的同仁，也有长期从事博物馆传播事业的外国学者，他们虽抒发己见，却各具较为广泛的参考价值。

“释展”和“释展人” ——博物馆展览的文化阐释和公众体验
Interpretative Planning and Interpretative Planner: Cultural Interpretations and Visitor Experiences of Museum Exhibitio
沈辰¹ 何鉴菲²
Chen Shen¹ He Jianfei²
（1. 皇家安大略博物馆，加拿大多伦多，M5S 2C5；2. 香港皇家安大略博物馆利荣森纪念学人）
（1. Royal Ontario Museum, Toronto, Canada, M5S 2C5；2. J. S. Lee Memorial Fellow, Hong Kong）

内容提要： “释展”就是怀着对现实生活和社会心理的敏锐，在公众兴趣点和专业学术知识之间找到关联，并阐释展览意欲表达的主题。释展既需要用平实生动的语言传达严谨的研究和思考，也需要对展示空间设计和平面设计进行文化阐释。释展人是策展团队的润滑剂，务必时刻自省以确保展览内容和形式背后的文化阐释符合展览一以贯之的主旨。一个成功的释展人，既能应观众所需沟通学术研究与展陈设计，提升展品的当代意义，又能令观众通过观展体验提升修养，还能帮助博物馆成功履行教育使命，提升博物馆的社会价值。通过展陈设计表达策展人/研究员为展览提供的知识，提炼出学术研究中具有时代感的信息，寻找与观众的共鸣，真正理解观众的意愿、兴趣、文化背景与接受能力，是当代博物馆“释展”的基本工作。“一切为了观众”是“释展”背后的核心理念。加强各专业之间互相理解、灵活沟通、准确表达展品内涵，为提升观众体验而进行文化阐释，则是“释展”的精髓。
关键词：释展 释展人 策展人 观众 文化阐释 展览
Abstract: A successful exhibition enables museum audiences to master ideas and interpretations of collection contents through visual designs and interactive media, and provides visitors with learning experiences roaming between intellectual presentations and popular cultures. In production of such exhibitions, interpretative planning has been a key in building content communications throughout meaningful and engaging presentations. This paper defines the concept of “interpretative planning” through the lens of historic perceptions of cultural interpretations, museum educations, and visitor engagement. It continues to shed insights on the practices and functions of “interpretative planner” using an example from the Royal Ontario Museum, Canada. In particular, this paper argues cultural interpretation in museums should be centered to be contemporary relevant and cater to the emotion and interests of the public at large. After all, interpretive planning in exhibition modeling is all about the audiences.
Key Words: Interpretative planning; interpretative planner; curator; audiences; cultural interpretation; exhibition

试论博物馆传播与观众认知关系的实质及其发展
On the Essence and Development of the Relationship between Museum Communication and Audience Cognition
周丽英
Zhou Liying
（中国闽台缘博物馆，泉州，362000）
( China Museum for Fujian-Taiwan Kinship, Quanzhou, 362000 )

内容提要：博物馆传播与观众认知的核心议题和逻辑前提是博物馆与观众的关系。二者在不同时期呈现出不同的样态。从认识论角度来看，经历了传统语境中“主体与客体”的疏离关系，当下博物馆转型期“主体与主体”的连接关系，并呈现出向“主体间”内化跃迁的未来发展趋势。对不同时期二者关系及其特征的探讨，有利于博物馆订制相应的传播模式、实现传播效果的最大化。
关键词：博物馆 传播 观众认知
Abstract：Museum is an important place for the cultural communication, the effective communication of culture is the embodiment of the museum function and value. When we discuss the relationship of museum transmission and the audience cognition, the key topic and first logic is the relationship of museum and audience. From the perspective of epistemology, the relationships between them turn from “subject and object” to “subject and subject” and then to “intersubjectivity”. In the context of traditional museum, the museum is the main body and the audience is the object, the museum’s transmission mode has the characteristics of oneness and the audience’s cognitive also refl ects the characteristics of passivity. At the moment of the museum’s transformation period, the audience’s cognitive level and expectations for the museum get promoted, subjectivity has unleashed, from passive acceptance to active exploration, the museum also self-adjusted according to the demand of audience, the relationship of museum and the audience turn to the “subject and subject”. In the future, the museum will further integrate with the audience, forming the “intersubjectivity” relationship. Grasping the change in different periods will be advantageous for the museum to formulate corresponding mode and realize the maximization of transmission effect.
Key Words: Museum; communication; audience cognition

对博物馆学术传播的几点认识
——以陕西历史博物馆为例
Museum Academic Communication: Theory and Practice in Shaanxi History Museum
杨 瑾
Yang Jin
（陕西历史博物馆，西安，710061）
( Shaanxi History Museum, xi’an, 710061 )

内容提要：传播是博物馆五大主要功能之一，也是博物馆服务社会的一种主要方式。除了目前学术界较多关注博物馆展陈、信息、教育、文创等的传播外，学术传播也承载着很重要的基础支撑和补充或延伸作用。首先应该厘清博物馆传播的概念及其与征集、保护、研究、展出之间相辅相成的关系；其次应该通过互联网+方式将实体的学术传播不断延伸；再次是在学术快速发展的当今世界，明晰学术传播的问题，采取多种方法应对挑战，获得好口碑，达到新愿景。
关键词：博物馆 学术 传播
Abstract: As one of the main five functions, communication plays a key role in the service of museums provided for society. Museum communicates with people in multi-means, including exhibition, information, education and creative products. These areas attract many attentions from the academia. However, academic activities laid solid foundation or substitute for other interpretations, such as collecting, protection, research and displays. Museum should apply “Internet+”mode to diversify online and offl ine communication in order to meet the challenges, to gain WOM, and to achieve its vision. Key Words: Museum; academic activities; communication

内容还是容器？作为学科的博物馆学
Content or Container? Museology as a Discipline
里默•R•克努普¹著 许捷²译
Riemer R. Knoop1 Translated by Jie Xu2
（1. 阿姆斯特丹艺术大学瑞华徳学院Reinwardt Academy / Amsterdam University of the Arts；
2. 浙江大学人文学院，杭州，310000 College of Humanities of Zhejiang University, Hangzhou, 310000）

内容提要：在博物馆学学术地位的讨论之下，还有更为宏观的问题：什么是博物馆？博物馆的目的是什么？荷兰莱登的国家古物博物馆，这个我工作了近10年的地方，为此提供了一个很好的实践案例。有趣的是，这和中国的情况十分相似。大部分工作人员认为，国家古物博物馆本质上是一个考古学机构，呈现特定的学科，展示考古发掘和收藏实践中的发现以及研究成果。因此，博物馆的一切都是服务内容的，其媒介属性几乎不可见。事实上，国家古物博物馆的curator中，有两位拥有莱登大学的博物馆学教授职位，而博物馆学在那里是考古学的下一级学科。另一部分人则使用传播功能来定义国家古物博物馆，或其他任何以考古或物质文化史为主题的博物馆。在这个意义上，博物馆是一种容器，准确地来说可以被认为是一种媒介。这种认识的转变和博物馆自20世纪70年代以来从收藏中心向功能中心转型密切相关。
        作为一种媒介，从“学术方法”的角度看博物馆，其在一个更为宽广的社会和文化情景中聚焦于理解博物馆化和文化遗产化（功能）的过程上；从“内容方法”（收藏）的角度，则更多聚焦在呈现，而不是将物转化成“博物馆维度”。我所工作的瑞华德学院属于阿姆斯特丹艺术大学，更推崇功能方法。我们需要从专业角度对博物馆作为媒介予以定位，并促进这一研究能力得到全面提升。这样，博物馆的基本工作流程可以回归到获取（评定、选择）；物理和智识层面的保护（或者非物质文化遗产保护），以及为此进行的信息管理；提供从传播和教育到呈现和外联的各种形式和方式的访问；在管理和伦理上提供领导和指导。最后一个功能是其他方面都内在固有的，但同时也需要在更高的层次上为机构整体提供重点和方向.
        既然我们相信博物馆和其他文化遗产机构的最终目的是创造意义，而不是发现预设事实，那么博物馆的核心过程应该不是线性的，而是一个反馈循环。这是博物馆与当下不断变化的观众互动过程中所产生的结果（观众成为博物馆的共同拥有者）。所以，传播过程中的影响和输出，将成为下一次评估选择和获取循环的输入。比如，给这一核心过程指明方向的引导性愿景将带来更公正、更包容和更可持续的未来。在与观众的互动中，博物馆就不仅仅只是一个考古学传播机构了。理解这个过程，并在之后出现的困境中批判性反思，才可以使得博物馆学成为一个具有高度跨学科特性的独立学科。
关键词：博物馆学 博物馆化 文化遗产化 职业培训 新博物馆运动
Abstract: Underlying the discussions about the academic status of museology, there is a broader question: what are museums, and what are they for? The National Museum of Antiquities in Leiden (the Netherlands), where I was employed for almost a decade, offers a good practical example, with interesting parallels to Chinese situations. Members of its staff contend that it’s essentially an institution serving archaeology, functioning as a showcase for a particular academic discipline by presenting the results or research and the materials found during archaeological excavations and focused collecting practices. Thus it would all be about serving the content, and making the intermediary nearly invisible. In fact, two of its curators hold Leiden University professorship chairs in museology that are ancillary to archaeology. Others, however, defi ne that very museum, and by implication any museum, fi rst and foremost by its particular communication function, the subject of which is archaeological, or material cultural history. In that sense, the museum is a container that deserves to be understood precisely in terms of its being a medium. In this way, a time-honoured organizational transformation that took place throughout the museum world, during but not confi ned to the seventies, from collections-based to functions-based, is still relevant.
        Academic approaches of museums as media therefore will focus on understanding processes of “musealization” and “heritagization” (functions) within wider societal and cultural contexts, whereas in a “content approach” (collections) focus will be more on presentation, not particularly heeding the quintessential transition of objects to a museum dimension. At my own Reinwardt Academy, the cultural heritage faculty of the Amsterdam University of Arts, the functions approach is privileged. We facilitate the comprehensive development of competencies required to be able to professionally function in museums as a medium. The basic museum processes can be brought back to: acquisition (assessing, selecting); physical and intellectual preservation (or safeguarding when dealing with intangible heritage), implying managing information in order to do so; providing access in all forms and manners, from communication and education to presentation and outreach; and applying leadership and guidance, both managerial and ethical. This last aspect is inherent in all others, but is also needed on a higher level in order to provide focus and direction to the overall course of the institution.
        About these core processes we furthermore contend that they are not linearly aligned but rather form a feedback loop, since we believe the purpose of museums and other heritage institutions, ultimately, to be in the creation of signifi cance, not as the discovery of a predetermined fact but as the result of an ongoing process of interaction with today’s ever-changing audiences (that are morphing from visitors through users to co-owners). The output and impact of the communication process, therefore, are input in the next iteration of assessment, selection and acquisition. A leadership vision giving direction to these processes can be, for instance, to contribute to a more just, more inclusive and more sustainable future. And it is in such interaction with audiences that a museum shows itself to be quintessentially more than just an archaeological communication institution. Understanding these processes and critically refl ecting on the ensuing dilemmas is what make museology into an independent subject, though with a high crossdisciplinary character.
Key Words: Museology; musealisation; heritagisation; vocational training; nouvelle muséologie

空间形态下叙事展览的构建
Construction of Spatial Narrative Exhibition
许 捷
Jie Xu
（浙江大学人文学院，杭州，310000）
（College of Humanities of Zhejiang University, Hangzhou, 310000）

内容提要：实体空间形态是展览区别于其他叙事媒介的重要特征。当电影和小说通过限制观众观看模式来达成一种强制状态下的连续叙事，博物馆观众却在展览的叙事空间中享受着相对“民主”的自由。驱动观众在展览中行动的往往是个人兴趣而不是策展人和设计师在展厅空间设定的“情节”。这种参观模式极易打破并肢解参观叙事展览的完形过程。叙事展览的构建过程是对时间轴的塑造，同时也是将时间轴空间形态化的过程。本文从结构主义叙事理论的视角出发，探讨了展览空间状态下观众的认知特点，并以此出发构建叙事展览，让博物馆展览用空间为观众讲述故事。
关键词：叙事展览 叙事空间 观众认知 博物馆传播
Abstract: Museum exhibition is a spatial narrative medium. The curatorial process of narrative exhibition making can be seen as editing of discourse time. Meanwhile, the discourse time in exhibition is spatial timeline. The cognition pattern of museum visitor is different from classic narrative forms like fi ction or fi lm. When authors and directors tell their story by giving restriction of viewing mode to narratee, museum visitors enjoy the freedom of exhibition visiting. Instead of plotting or visiting routine set by curators and exhibition designers, most of the time, what really drive visitors’ movement in exhibition hall is their curiosity. Freedom or logic? It’s a dilemma for curators as well as visitors. From the perspective of structuralism narratology, this paper explored principle and method of constructing narrative exhibition based on the feature of visitors’ cognition. The effi ciency of museum communication could be enhanced by telling a spatial story in exhibition.
Key Words: Narrative exhibition; narrative space; visitor cognition; museum communication

博物馆信息传播模式述评
The Review on Information Communication Model of Museums
黄 洋
Huang Yang
（南京师范大学文物与博物馆学系，南京，210023）
（Department of Cultural Heritage and Museology of Nanjing Normal University, Nanjing, 210023）

内容提要：博物馆是向观众传播信息的公共文化服务机构。西方博物馆学界借鉴信息论与大众传播的信息传播模型，创造了不同的博物馆信息传播模式，代表性的有卡梅隆、克内兹和莱特、迈尔斯、胡珀-格林希尔等建构的模式。从这几个传播模式可以看出西方学界对于博物馆传播的认识逐渐深入，由单向线性传播，到引入反馈注重传播效果，再到后来认识到观众的主观能动性，认为观众不是被动接收者，而应是积极的意义创造者。我国的博物馆学者也借鉴大众传播、符号学等方法原理，从20世纪90年代就开始探讨构建博物馆信息传播模式。
关键词：博物馆 信息传播模式 观众 诠释 再创造
Abstract: Museum is a public cultural service organization that communicates information to the audience. Western museums learn from the information communication model including information communication and mass communication to create information communication models of different museums, represented by Cameron, Knez and Wright, Miles, Hooper-Greenhill models. These communication models indicate that the western scholars’ understanding of the spread of the museum is deep-going profundity, from the one-way linear transmission to the introduction of feedback focus on the communication effect, and later to recognize the audience’s subjective initiative, which views the audience is not passive reception but positive meaning creator. China’s museum scholars also draw on the principles of mass communication, semiotics and other methods, began to explore the building of museum information communication models from the 1990s.
Key Words: Museum; information communication model; audience; interpretation; re-creation