Scenographic Museum Exhibitions. History, Prejudices and Judgments, Potential

21世纪的博物馆正面临着一场身份危机：紧缩的预算和高参观人数的压力，以及来自电视、互联网和科学中心和游乐园的多媒体奇观的竞争，促使许多博物馆尝试其他展览方式，以保持社会相关性。问题是，在21世纪，古老的欧洲博物馆文化机构仍能以其传统形式发挥什么作用，以及我们如何设定新的标准，以避免用过时的19世纪观点来评判博物馆。[风景博物馆展览--历史、偏见和判断、潜力]项目“Szenogische Museumsausstellungen-Geschichte，(Vor)Urteile，Potenziale”解决了这些问题。通过多媒体和场景展览，它希望更仔细地研究一种突出的新展览方式，并找出从实物到多媒体体验的转变对博物馆作为一个机构意味着什么。对于这种超越流派界限、更多地基于电影和戏剧的戏剧性的新的多媒体展览文化来说，有什么风险和机会呢？它重建了一个历史舞台布景，和/或通过快速移动的图像、视听媒体或互动产品使曾经静态的展览变得更加动态。这些展厅不再是专为藏品保留的，而是将不同的媒体、事物和设计元素融入到具有高度体验性内容的艺术综合体中。到目前为止，对这种方法的优点和缺点以及我们对它的偏见和判断的历史背景缺乏系统的研究。这个项目应该会弥合这一差距。它希望系统地分析多媒体风景历史展览中参观者的挪用行为，收集支持者和反对者的论点，并审视我们对合法和非法展览形式(取决于年龄、国籍、社会背景和专业背景)的理解的历史根源。这种方法的潜力将在当代(SB1)和历史(SB2)博物馆分析的两个子项目(SB)中进行测量--档案研究、游客观察、展品分析、问卷调查。他们还将审查它在普通公众和专业公众中引发的讨论。基本的论点是，在德国(只有这里？)资产阶级的影响阻碍了博物馆内的多媒体和风景展览，以及文化批评，后者认为大众的娱乐降低了质量。这种焦虑的历史根源可以追溯到19世纪，并可以在资产阶级的文化理想中找到。该项目计划系统地分析德国、瑞典和联合王国的三个风景展览，以区分各国的特点。

The museum of the 21st century is facing an identity crisis: tight budgets and pressure for high visitor counts as well as competition from television, the Internet and multimedia spectacles at science centers and amusement parks have caused many museums to try alternative exhibition approaches to maintain social relevance. The question arises as to what role the old European cultural institution of museums can still play in their traditional form in the 21st century and how we can set new standards to avoid judging museums with out-dated 19th century views. The project "Szenographische Museumsausstellungen - Geschichte, (Vor)Urteile, Potenziale" [Scenographic Museum Exhibitions - History, Prejudices and Judgments, Potential] addresses these issues. With the multimedia and scenographic exhibitions, it wants to take a closer look at a prominent new approach for exhibitions and find out what the shift from real objects to multimedia experiences means for the museum as an institution. What are the risks and opportunities for this new multimedia exhibition culture that transcends the genre boundaries and is based more on the dramaturgy of film and theater. It recreates a historic stage set and/or makes the once static exhibition more dynamic with fast-moving images, audio-visual media or interactive offerings. These exhibition rooms are no longer exclusively reserved for the objects of the collection, but rather blend different media, things and design elements into a synthesis of the arts with a high degree of experiential content. A systematic study on the strengths and weaknesses of this approach has been lacking so far, as well as the historical background of our prejudices and judgments towards it. This project should close this gap. It wants to systematically analyze the appropriation practices of visitors in multimedia scenographic historical exhibitions and collect the arguments from the proponents and opponents, as well as to look at the historical roots of our understanding of legitimate and illegitimate exhibition forms (dependent on age, nationality, social background and the specialized context). The potential of this approach will be gaged in two sub-projects (SB) of contemporary (SB1) and historical (SB2) museum analysis - archive studies, visitor observations, exhibit analysis, questionnaires. They will also examine the discussions that it triggers in the general and professional public. The underlying thesis is that in Germany (only here?) a bourgeois affect holds back multimedia and scenographic exhibitions within museums, as well as the cultural criticism which sees entertainment for the masses as taking away from the quality. The historical roots of this anxiety can be traced back to the 19th century and can be found in the cultural ideals of the bourgeois. This project plans to systematically analyze three scenographic exhibitions in Germany, Sweden and the United Kingdom to distinguish, inter alia, national characteristics.