多感官体验在博物馆展览营造中的理论与运用——以浙江台州博物馆“海滨之民”展项为例  

The Application of Multisensory Experiences in Museum Exhibitions Making:Theories and Practices with Taizhou Museum's People of the Sea Exhibition as an Example

作　　者：王思怡[1] WANG Si-yi(Institute of Cultural Heritage and Museology, Zhejiang University, Hangzhou, Zhejiang, 310028)

机构地区：[1]浙江大学文化遗产与博物馆学研究所,浙江杭州310028

出　　处：《东南文化》2017年第4期121-126,共6页Southeast Culture

摘　　要：如今的博物馆功能已并非局限于保存、展示文物,它可以是学习中心、社区活动中心,同时是人们思考和交流的场所。博物馆的参观过程已经不再是观众被动地吸收策展人精心设计的知识架构,而是更加注重涉及感官、知识、美学及社会等方面的多层次体验。"多感知"的观念逐渐影响作为非正式教育场所的博物馆界。被"视觉中心主义"长期占据的现代博物馆开始重新思考多种感官的运用,博物馆开始更多地考虑超越视觉外的触觉、听觉、嗅觉及本体感觉等感官体验的认知与情感属性,并探索与之相对应的应用方式与技术支持。在此背景下,浙江台州博物馆民俗展厅"海滨之民"多感官展项,将多种感官运用至展览中,从而激发观众的直接经验,形成良好的认知与体验。The museum today is not only a place for preserving and exhibiting cultural relics, but also a center for learning and community activities oraspace for contemplation and communication. Museum visit- ing is no longer a process in which the visitors passively receive knowledges that carefully prepared by cura- tors, but a multi-layered experience involving sensation, knowledge, aesthetics, and the society. The concept of muhisensorylearning has been increasingly accepted by museums, which are regarded as supplementary educational institutions. Modern museums, where ocularcentrismhas been long prevailing,started to rethink multisensory applications by putting attention to the cognition and emotional attribution of other senses of touch, hearing, smell, and feel rather than solo sight and seeking practical methods and supporting technolo- gies. The People of the Sea at Taizhou Museum＇ s folk art gallery is an example of such that uses multisenso- ry learning to stimulate the direct experience of the audience so as to form a better cognitive process.

关 键 词：博物馆体验 多感官 认知 直接经验 

分 类 号：G265[历史地理—考古学及博物馆学]