Art

Klonk explores the different reasons and purposes behind peoples gallery visits. While some go to galleries and exhibitions for art appreciation, some visit for emotional reasons while a few choose to observe visitors, others search for personal identification. Similarly, across cultures and countries, intentions in visiting museums vary and galleries themselves have diverse uses. For instance, galleries in Africa represent their collective identity they provide a sense of who the individuals are in Europe and the United States and they divulge colonial history for others. Nonetheless, Klonk focuses his study on galleries in Europe and the US, particularly London, Berlin, and New York. According to him, public art galleries and the notion of experience as intellectual categories share similar origins and have drawn strength from each other over time. Wilhelm Dilthey, a German philosopher, made experience the core of human sciences. Hence, galleries in Germany during his time strive to create an experience that was intuitive, intimate, and something that would harmonize the visitors emotions with the displays. Crucial to this experience is the history of displays in the galleries. Klonk claims that science and the marketplace are two significant factors in examining displays. He reveals how psychology, interior design, and aesthetic reform movements influenced Berlin in 1900s how Einsteins Relativity Theory articulated new spatial conceptions how modern capitalist markets influenced museums and set the stage for other international museums in New York in the 1930s how museums evolved to become entertainment spaces in the late 20th century and how the white spaces inside galleries continue to house star artists despite little or drastic changes outside them. By examining this interweaving of gallery spaces layout and the texture of experience, Klonk concludes that galleries not only showcase their fascination and efforts but also give a glimpse of the different ways and forms people interacted in the past.

Summary of Article 2 Witcomb
The specific argument pointed out by this chapter corresponds to the creation of interactive thinking and communication as it relates to the museum experience. Here, it tries to showcase the value of understanding this term linguistically and its pedagogical dimensions as it relates to the seeking to convey meaning and value to each artistic interpretation showcased in the museum grounds. In essence, it is true that museums try to convey meaning and significance towards their specific works. However, proper consideration must also be made if these themes coincide with the facilitation of a responsive experience for many.

Given these, Witcomb points out the relevance of interactivity its definition towards its value in the approach of museum enhancement. Here, modernity has shown too much reliance towards technology that has corresponded new directions towards the facilitation and implementation of stagnant and unresponsive audiences within museums. Here, designers forget the real essence of knowledge acquisition and furthering specific objectives that relates reality towards the aesthetical design.

Such directions then help engage the value of interactivity from the lines of fluidity. Here, it must not be forced or applied mechanistically to the observant but rather correspond to harness specific connections with the humanistic experience and culminate themes related to expansion, commitment, and partnership to the communityaudience it partakes with. Given these situations, the value then of interactivity remains crucial because it seeks to strengthen the aesthetic experience among museum visitors and merge their ability to continuously dialogue and transcend familiar and different meanings. Thus, it is through such facilitation that the common patterns shaping possibilities are made available due to the existence of interactivity and open up the potential of discovery of both familiar and relatively new ideals.

Summary of Article 3 Losche
This particular chapter focused in the creation and development of the argument concerning distance and immersion. Here, it coincides with the process of using the senses in establishing authentic experience within a museum or a specific artwork. Such transcendence equates the usage of the senses to activate this specific outcome. By highlighting all these areas altogether, it seeks to create a better response towards diverging from the senses conventional value to a more naturalistic interpretation. These then becomes the essential instrument in shaping and cultivating effective responses towards achieving lasting experience for the senses to consider.

To point out such arguments, the Losche specifically uses the example of Margaret Mead Hall of Pacific Peoples where the capacity to elaborate and point out the existing themes shaping ethnographic modernity remains to be seen. In here, museum tradition as it relates to the contrasting elements illustrated by ethnography and anthropology. While the former may focus on the real accounts and experiences by the people, the latter exhibits the associated design and architecture. However the main issue here is how to align these issues altogether to create a more favorable value and supplement the senses.

By catering to the visual and sensory perspective embedded with the Margaret Mead Hall of Pacific Peoples, Losche realized the value and significance of establishing wholeness and within the theme it seeks to portray. Seeing this, the design of the PPH transformed into the diorama it created to engulf within the people. However, this became a mistake as it only fostered only a stance of an observer and viewer. Here, the distance is compromised and created limited opportunities for the viewer to utilize their senses and come up with different ways to become immersed.

Summary of Article 4 Kirshenblatt-Gimblett
The analysis made by Kirshenblatt-Gimbletts analysis correspond to the initiatives made by the organizers of the 1990 Los Angeles Festival and how it relates to creating an innovative and outside the mainstream approach in its planning and administrative process. To achieve this, the organizers conceptualized a new approach of how to address the festival  restoring its original purpose and how it can be created accordingly. Such dimensions then infused better means for establishing and creating something new outside of the box and infused better means of immersion and appreciation.

With this, Kirshenblatt-Gimblett sought to discover the features of the 1990 Los Angeles Festival by outlining the defining patterns of uniqueness from its predecessors. Here, it considered the performance aspect as it relates to the capacity of inducing new ideas and inputs in terms of understanding what these different cultures have to offer. Through such ability, the article argued that this confusion created better means to transcend and correlate the purpose of both social and cultural worlds. In essence, aesthetic comprehension was gained due to the immersion to the unfamiliar and unconventional.

Given these, the article then elaborated the relevance of choosing the right venue to induce authenticity and establish unique connections between performers and viewers in the festival. By tapping accordingly to both ethnographic backgrounds and the realm of aesthetics then corresponded to both challenges and opportunities to help participants and observers realize the compounded ideals pertaining to adherence towards norms, structure, and coherence with the overall theme. Thus, the combination of these cultures together with Los Angeles perspective infused greater means for establishing a new purpose in defining the idea of festival and gaining a form and specific structure.

Summary of Article 5 Fraser
This paper corresponds to the value of museum experience. Here, it highlights the capacity of its structure, design, and architectural space provides and complements the museum experience. These then complements the ability to enrich appreciation and experience by outlining how these elements create a totality of what comprises the meaning and intention of artists in different genre. Such analysis then brings about the capacity to induce new directions towards inducing patterns of connections among museums.

However, through time, Fraser points out that the conditions of museums have gradually changed. It is not anymore an enclosed space where it embodies a new dimension of experiencing art as it relates to the conditions of harnessing different feelings and opinions. Rather, it became an instrument for markets to showcase their individual perspective about artistic relevance and aesthetical standards. This then alienates and creates a new feeling of limiting connection towards cultural networks and harnessing limitations in terms of appreciation and value to the structure of museums.

Now, due to globalization and continued market pursuit brought about by museums, these experiences then highlights a new perspective and value. Contrary to before that the place brings about welcoming warmth and feel due to the different attractions available, it now becomes a mere shelter of memoirs, artifacts, and artworks that are considered valuable and significant to the eyes of its benefactors. Such cause then brought about the shift from a valuable piece of shaping experiences to a more competitive tone  seeking survival and sustenance from benefactors who only appreciate their taste. In essence, the museum experience that Fraser argues here becomes constricted towards a selective few and showcased limited avenues for all to appreciate and value.

Summary of Article 6 Price
The theme explored by Price in this article reflects in the idea and conceptualization of todays communities and society pertaining to Museum and museum. Here, it coincides with the symbolisms and perspectives relating to these two ideas. Here, it argues that amidst their connections, each idea showcases different applications. On one hand, the Museum remains to be a social construct that seeks to house important remnants that are relevant to history and man. On the other hand, museums transcends more than these. It showcases the elaboration of ideas, values, and perspectives among cultures that became manifested in different forms. It collaborates with structure, architecture, and design in order to create transcendence towards individuals and connect common and diverse patterns that makes each one unique in a special way.

Given these, there is the need to apply these differentiations between Museums and museum. Not only can this shed the light on the appropriate perspective for application but also induce the appropriate responses among viewers. Such dimension also opens up patterns that can establish appropriate standards that address confusion and inability to understand the symbolisms that interaction of these two ideas with common ideas such as culture, politics, and history accordingly. Similarly, by expanding the study of these also bring up common roles in facilitating objectives and conveying meaning among viewers. By arguing towards audience empowerment and the associated need to educate individuals about this differences, Price feels the commitment towards both recognizing the existent trends of todays modern culture and preserving what the idea of museums seek to convey and provide. It is through such purpose that there is indeed a need to create such associations and create a lasting value in the way people derive meanings from museum visits.

Article Summary 7 Wallach
The main argument highlighted by Wallach in this article corresponds to the relationship and establishing connections between high art and popular art in the light of an American modern museum. By outlining the contributions and work of Rockwell at the Gugenheim Museum, Wallach showcases the ability of providing the value of high art and establishes an association with popular culture.

To first highlight his argument, Wallach points out the historical development of works by high culture during the start of modern museums. It portrays common themes of exclusivity and adherence to aristocratic means and standards. Such dimensions then provided these distinctions accordingly and justified its continuity through time among artists and contributors. In here, specific themes and elements of taste became the necessary boundaries that define these works from popular culture. However, the works of Norman Rockwell established the capacity to use these elements to bridge these themes altogether with the idea of popular culture.

The shift towards these ideals became evident because of the increasing democratization of museums. The exclusivity among high culture works continuously becomes overcome by artists who sought to establish the connection between these two together. It became a resonation of reality viewed by both high and popular culture altogether. These shared experiences and perspective brought about the capacity to transcend over modern ideals and perspectives. It became a culminating process to both transform these differences altogether and provided new opportunities to appreciate these works on a different basis. Such contributions in the Guggenheim set the balance in the convergence of meaning, immersion to reality, and the convergence of new trends relating to appreciation and projection of what artists seek to convey and provide.

Summary of Reading 8 Falk, Dierking, and Adams
The main idea explored by Falk, Dierking and Adams seeks to promote the value of how museums seek to establish free-learning among visitors. It takes into account the capacity to induce new direction that can harness fruitful experiences among participants. In here, specific themes were highlighted to address these objectives. One essential output elaborated by the authors corresponds to the facilitation of broad range of learning outcomes. Given the limited capacity and space of museums to address this, the challenge then pertains to the how viewers can expand their knowledge, skills, and appreciation amidst these limitations.

Other elements were also considered so as to address the changing nature of museums today. Here, specific analyses were made on how time, validity, situations, and specific agendas are pointed out to correspond to the ability to nurture free learning. At the same time, given the numerous opportunities for individuals to acquire information, there is then the capacity to incorporate these as consideration in the formulation of new free-choice learning among members and letting it emanate among museums. In essence, the ability to foster this initiative remains to be a good investment to museums. By outlining new directions towards shaping these ideals accordingly, it can help espouse new interests and ideas. Here, museum serve as an institution for inducing unique experience not just a specific place for amusement.

In the end, there is the continuing challenge among museums to cater towards free learning. As society continues to modernize, Falk, Dierking and Adams argue that these institutions must also respond to the needs of the public by offering something new and innovative. Such approach can then establish their significance and worth in the continuously changing society in their response to new information and learning.