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  3. How much museumgoers know about art makes little difference in how they engage with exhibits, according to a study by a German c

How much museumgoers know about art makes little difference in how they engage with exhibits, according to a study by a German c

admin2014-01-09  65
问题     How much museumgoers know about art makes little difference in how they engage with exhibits, according to a study by a German cultural scholar who electronically measured which items caught visitors’ attention and how they were emotionally affected. The scholar, Martin Trondle, also found that solitary visitors typically spent more time looking at art and that they experienced more emotions.
    Mr. Trondle and his team outfitted 576 volunteers with a glove equipped with GPS function to track their movement through the galleries of Kunstmuseum St. Gallen in Switzerland for two months beginning in June 2009. Sensors in the gloves measured physical evidence of emotional reactions, like heartbeat rates and sweat on their palms. Afterward, the volunteers were asked questions about where they had spent the most time, and about the feelings that particular works evoked.
    Mr. Trondle found that there appeared to be little difference in engagement between visitors with a proficient knowledge of art and "people who are engineers and dentists. " He said artists, critics and museum directors often focus on perhaps one work in a room, while visitors with moderate curiosity and interest tend to move from work to work and read text panels.
    Mr. Trondle said his study established for the first time that "there is a very strong correlation between aesthetic experience and bodily functions. " He defined the art-affected state as a sense of immersion in a work, or of feeling addressed by it, concluding that museum-going is best done alone. Visitors tended to feel more stimulated by sculptures that impeded their progress through the galleries. "People want to trip over the art," he said.
    Some experts are skeptical. "This technology is so new and so young," said Paul C. Ha, director of the List Visual Arts Center at the Massachusetts Institute of Technology. "We don’t know what we have yet. "
    Bonnie Pitman, distinguished scholar in residence at the School of Arts and Humanities, University of Texas, Dallas, an expert on the subject of visitor responses to art, said: "I’m not sure that just because you have more data, that gives you a better understanding of the very complicated set of issues involved in experiencing works of art. " Referring to Mr. Trondle’s belief that an elevated heart rate signals a more profound art experience, she said: "Those transcendent moments when you’re just completely awash in the color and beauty of a great Pissarro or Sisley or Monet— those moments aren’t necessarily going to raise your heart rate. They’re going to slow you down. "
    Given all of the recent attention on blockbuster exhibitions at vast museums, " you might assume that our future is not very rosy," said Roland Waspe, director of the Kunstmuseum St. Gallen, a smaller museum with a range of paintings and sculptures dating from the Middle Ages to the present. He said the research suggested "we now have an advantage, because we see that, for an optimal art experience, museums have to be small, they have to be more empty, and they have to be, in the most positive sense, a place of contemplation. "
According to the passage, Mr. Trondle’s idea about the elevated heartbeat rates at museums is
选项 A、accepted by professionals and laymen alike
B、confirmed by massive amounts of data
C、dismissed as groundless and useless
D、challenged and questioned by some experts
答案D
解析
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