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Home > Books > Advanced Methods and New Materials for Cultural Heritage Preservation

Excursions and Cultural Heritage in the Contemporary World (Practice and Methodology of Art Criticism Analysis)

Submitted: 12 May 2018 Reviewed: 03 July 2018 Published: 05 November 2018

DOI: 10.5772/intechopen.79912

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Modern society is characterized by the desire for information saturation. The range of cultural and historical material from which art history excursions are drawn is truly boundless. Meanwhile, if we compare the number of excursions with all their well-thought-out structure, excursions of an art criticism will undoubtedly turn out to be a clear minority. In the fields of the excursion scenario, there are sometimes question marks left by the tourists. Art objects have their own criteria, specifics and features. To understand them and to comprehend them at the scientific and theoretical level is an actual task for art critics and critics themselves. This chapter highlights the problems of modern excursion work as a form of communication, which is a special system, the important elements of which are the author’s text, closely associated with the art criticism and the display of works of art in museums and in open spaces.

• visual material
• art criticism analysis
• methods of updating information
• museum collections
• storage units
• demonstration method
• complex display
• diachronic and synchronous approaches

Author Information

Tatiana vasil’evna portnova *.

• Institute of Arts of the Department “Art History”, A.N. Kosygin Russian State University, Moscow, Russia

*Address all correspondence to: [email protected]

1. Introduction

The modern world is dealing with all kinds of information, and its art objects can be no longer presented through a purely empirical, descriptive and documentary approach. This representation hinders observations and often makes them subjective. Thus, today’s guides aim to display visual materials from a creative and well-targeted viewpoint. Art criticism plays a crucial role in fulfilling this objective. Guided tours on art-related topics improve one’s artistic taste through a visual contact with authentic art pieces. They teach the history of culture and society and enrich the knowledge of our reality and its reflection in art, i.e. these forms of aesthetic education are among the most popular and effective. Each piece of art (whether it is a painting, architectural object, drawing, sculpture, handicraft object, etc.) is a kind of magnet that attracts the viewer’s attention and forms their aesthetic beliefs. Having completely opposite perspectives, they intertwine and define the functional orientation of art pieces, their ability to reveal themselves in works of art and be explained by these works and the analysis of their fulfilment of particular tasks. Artists usually have them in mind in order to realize their creative ideas. They are driven by a desire to convey something important to their viewers. If one wants to understand the social direction of some art piece, they should enter through this work the viewer’s mind and reveal methods of visual perception contained in this work.

2. Features of an art-related excursion

From the theoretical and practical viewpoint, there are several types of excursions based on the following classification: art criticism, theatre, literature and music. However, art-related tours are the most popular, widespread and highly demanded. It is an excursion when the audience examines paintings and sculptures in art museums and galleries, as well as architectural, walking and coach tours with a large amount of demonstrated art objects. We should note that architectural monuments are closely connected with their place of origin and historical chronicles of any given territory (country, town or locality).

City sites often comprise architectural objects of various eras, styles and functions. Almost every tour guide has to dwell upon certain issues of architecture and urban development. Handicraft-related tours also demonstrate a wide range of artistic objects. This group of excursions includes open-air ethnographic museum tours that are currently gaining more popularity and acknowledgment. These guided tours reflecting problems of social development are captured in folk art and the handicraft evolution of different nations in the past.

The architectural handicraft heritage comprises objects of architecture, sculptures, frescoes, mosaic and stained glass windows, paintings, stucco, woodwork, lattice, fences, balconies and other pieces of art.

We cannot but mention that objects relating to the art heritage are more attractive and accessible to tourists (people with different backgrounds) in comparison with other forms of art since visual information is easier to perceive. It is better to take into contact with some piece of art, see it with your own eyes and learn facts about it rather than receive this data from books, articles and other literary sources. Besides, an experienced tour guide with vast scientific experience can provide valuable and generalized information that has been gathered from many different sources and synthetized. Each form of art can influence listeners and viewers in the direct ideological or artistic manner. The degree of this impact depends on the tourist’s background knowledge, educational level, artistic taste, age and other factors that should be considered in the conducting of tours.

Art-related excursions can be of the following types: sightseeing, monographic (dedicated to creative works of one or more artists), thematic, organized by genre or some other principle.

3. The role of an art museum in the structure of an art-related excursion

The analysis of the corresponding artworks is the most significant element of these tours. Thus, it comes as no surprise that the profession of a guide is somewhat similar to that of an art critic due to quite understandable and close ties. Guides find art criticism very helpful because any art tour is based on a comprehensive review of paintings, drawings, sculptures and architectural monuments. This review should be conducted on a high level of art criticism so that each tourist properly understands the message of the chosen work and its value in the modern culture, as well as means and methods used by the author to convey the above-mentioned theme.

While conducting an excursion, a guide should decide what approach to use, i.e. themed, genre-specific, stylistic or forming. As a result, the review deals with different exhibits, with one piece of art involved in several themed tours. The artistic value of a museum’s collection or exhibition is the main criterion for selection. Collections of large museums around the globe (including the Hermitage Museum, the Vatican, the British Museum of Art, the Louvre in Paris, New York’s Metropolitan Museum of Art, etc.) have a similar nature and quantity of storage units. However, each museum preserves its unique features despite the changes occurring over the centuries and even decades. It is due to not only the funds renewal but also different interpretations of the same exhibits held in a particular museum. Thus, the main difference between the modern Hermitage and the pre-revolutionary Hermitage is the kind of feeling it creates. Today, its exposition halls are filled with the spirit of history. They present the development of cultures and art forms around the world in their specific historical context and through the clash of various art movements. If painting, sculptures, handicrafts and drawings are displayed in a comprehensive way, it becomes possible to study different artistic phenomena of the chosen period in their interconnections. Special attention is paid to the identification of national artistic features expressed in any given country’s exhibition. For example, the Vatican museums have been enriching their vast collection of paintings and sculptures with outstanding exhibits for over 500 years. Starting as the city-state and residence of popes in the late fourteenth century, Vatican in Rome has been enjoying the reputation of the treasury holding the best art pieces of the Italian Renaissance. Its vast exhibition of ancient arts (the Ancient Greece and Rome) gives a chance to learn more about sources which formed and developed collections of the Italian art, works of the Renaissance masters (Michelangelo, Leonardo da Vinci, Raphael) and creative personalities of other artists belonging to different epochs. The Vatican museums are major research and educational centres that take into account the scientific work conducted by their employees on the study of collections, organization of exhibitions and lecture conducting.

Founded in 1753, the British Museum (holding about 13 million pieces from around the world, including world-famous masterpieces) is well known for a huge collection of paintings of European artists.

The Metropolitan Museum of Art was opened in a single building in New York. Since 1877, it has stored about 3 million exhibits divided into 19 themed sections.

Sotnikova wrote in her book, “…knowledge accumulated in the museum undergoes moral reflection, beginning to be rethought in the value categories, working on human identity. In this sense, a museum is a temple for a person, and museum communication serves as an off-temple mass” ([ 1 ], p. 112).

While demonstrating paintings, sculptures and drawings held in a large museum collection, a guide often has a limited time. On the one hand, a professional usually tries generalizing figurative images and bringing them to a common definition. On the other hand, a guide should somehow deconstruct one-dimensional and homogeneous concepts and reveal their essence through an art review. A special emphasis is laid upon the art context in which a classical piece of art is presented. The system of figurative images necessary for the presentation should also be considered. The search for artistic means to enrich the style and genre is closely connected with the search for imagery that intensifies impressions and impacts. Besides, the art review should cover the best pieces of art and acknowledged masterpieces that are the crown jewel of a museum exposition ([ 2 ], p. 512). The Vatican collection cannot be imagined without major images of the Sistine Chapel by Michelangelo and Raphael’s Stanze and marble sculptures by Phidias and Praxiteles praising the human strength and beauty. The Uffizi Gallery cannot exist without Botticelli’s “Three Graces”, and the Louvre is imaginable without the mysterious smile of the Mona Lisa . If a guide does not take into account these factors, tourists can get different impressions from a tour, not those they were expecting. The analysis of an artwork must meet the highest scientific requirements. However, each piece of art should address the tourist’s feelings and cause an emotional reaction. According to Fedorov, “By educating the mind, the museum educates the feelings as well, but only the ones of a noble and sacred nature” ([ 3 ], p. 391). The depth and authenticity of the reality represented by a painting is a deconstructible, detailed and infinitely diverse continuum. The artistic plane is more abstract than a three-dimensional sculpture and seems to be more coherent. It is a formal model comprising artistic elements associated with the viewer reaching the integrity of their depth. If one takes a look at some painting with certain emotions and lets it stimulate the viewer’s attention to the depicted events, they can be perceived as a slice of a real life in its natural course. This feeling is born not only from the authenticity of graphic textures of any given artwork but also from its peculiar composition, the balance of light and colour and the general style of the chosen period. A guide should comment on these components of the artistic image during an excursion.

Sometimes, it is necessary to focus on some aspects of the biography of artists, especially the most renowned ones. For instance, Leonardo da Vinci and Raphael are not just historical figures associated with the time they were living in but also vivid images that continue to live in their artworks. Interested tourists can see all the intricacies of the human soul depicted by these great masters. It is the exact moment when they get familiar with the artist’s personality.

The classic art review usually comprises diachronic and synchronous approaches to artworks exhibited in chronological order in museums and art galleries. Thus, Sotnikov describes one of the museum communication schemes and defines it as follows: “the visitor/the history and culture of certain time periods”. “Museum exhibits serve as a link that allows for a diachronic (between the cultures of different time periods) and synchronous (between the cultures of regions, ethnic, religious groups, etc.) dialogue of cultures” [ 4 ]. This diachronic dialogue corresponds to the position and role of the chosen artworks in the historical art context. The synchronous dialogue analyses pieces of art in their relation as if they are contemporaries. They are regarded as contemporaries since they exist in one chronological period. Various art cultures relate to one another also as old and new ones in conformity with their historical genesis. They are like social and national artistic forces existing at the same time, whose interactions and contacts occur in the same field and are often characterized by a clash of different trends and styles. Since any exposition is not a frozen set of exhibits, it is characterized by “the variable composition”, i.e. new exhibits are added and the existing ones are replaced or updated. Therefore, the theme of a guided tour should be clearly defined depending on the location of each museum exhibition that provides the audience with an opportunity to demonstrate specific results of the exhibition display at the excursion end ([ 5 ], p. 20).

4. Open-air objects in the structure of an art-related excursion

The analysis of three-dimensional pieces of art (including monumental and decorative sculptures, architectural constructions, ensembles and complexes, palaces and mansions, estates and houses, administrative and public buildings) is characterized by its own specific features. They are usually large objects reflecting major historical events. They do not illustrate certain data and scenes but rather conditions and highlights of the nation’s memory. These figurative images become symbols and remind of the imagery of medieval icons where images of saints are elevated by graphical and compositional means. Initially, they much more intensely perceive the space in its sculptural or architectural transformation, which creates a fictional world open to reality. The idea of development plays the key role in tours devoted to sculptural complexes and architectural ensembles of Russia. The open, proud and happy feeling of love for one’s homeland experienced by sightseers has something primal in its core.

Throughout a walking tour, all the movement thought out and organized by a guide gains exciting randomness of real life where feelings are more important than the mind. Each guide should consider the route around exhibits with fixed vantage points providing a particularly strong impression according to the artist’s idea. The perception of exhibits depends on the viewer’s open or closed perspective, the distance from which a building or sculpture is observed, i.e. a certain change of near and distant planes is also of great importance. As a rule, a city tour comprises a comprehensive presentation of its individual elements, including squares, streets, ensembles, historical buildings and neighbourhoods. While getting familiar with the urban planning, terrain features, city zoning and landmarks, tourists pay much attention to the integration of the latter into the modern city structure as city-forming factors ([ 6 ], p. 247).

Sightseeing tours around ancient cities and cities-reserves usually call for a multi-faceted and complex art review. While demonstrating the synthesis of architectural and plastic arts typical of these cities, guides highlight the leading role of architecture that organizes the space and defines the location and scale of paintings, sculptures and decorative art elements. Special attention is paid to the review of UNESCO World Heritage sites. The art review of three-dimensional objects must include data on archaeology, compositional means and techniques (proportion, scale, contrast and nuance, rhythm, colour, texture, etc.) and the composition nature (front, deep, spatial, etc.).

One more aspect of the art review is the interpretation of presentation and description of landmarks seen through the window of a tour bus and perceived in dynamics. In this regard, it is necessary to consider the speed a tour bus is moving with that leads to a quick change of scenes and objects (e.g. on a city square) requiring compressed information. In case of distant objects, a guide can provide more detailed information although the speed is much higher (on highways) ([ 7 ], p. 8). The view available from windows of a bus gets a special meaning. It lets tourists experience the unbreakable integrity of architectural landmarks within the urban environment (for instance, the Hermitage building with the great city). They prove that the Hermitage is the central architectural ensemble associated with significant pages of the Russian history. The scenery outside the bus windows is not just a neutral background as it has its own meaning (e.g. landscape principle in the Russian Orthodox architecture). Both a walking tour presenting three-dimensional objects and calling for a round trip and a sightseeing bus tour dealing with changing consecutive images different from one another eventually form a coherent whole. The dynamics and cinematography of frames-images are the rules that turn sculpture and architecture (static art forms) into “dynamic” ones. The expressive means comprise the physical notions of space and time. To thoroughly comprehend and understand an architectural construction, one needs to walk it around since the composition is based on the perception from many viewpoints within a certain time (a special type of composition can stop the time, i.e. the viewpoint of some building or ensemble remains the same). However, the physical time is inseparable from its artistic manifestation in comparison with the actual time of observation. Evening and night tours using artificial lighting (lanterns, lamps and luminescence) create a special mood.

The impressive look of an object may depend on circumstances. Light distribution and glare tones can completely change the effect of streets, buildings and ensembles. To conduct these tours, guides should think over routes in the context of impressive lighting and play of light and shadow, glares and reflections that create a rather impressionistic mood enriched by other acoustic and olfactory sensations more poignant at night-time. Light patterns of architecture and sculpture fulfil many functions. On the one hand, it ensures the chosen object functions in the visual and expressive context. On the other hand, illumination enhances the impression of authenticity and reality of the perceived object.

Light also plays an iconic role. Using unusual lighting and its expressive functions, guides can express their attitude towards the presented object and reveal the symbolic nature of the most crucial monuments, events, human figures and associated figurative images. Besides, the light atmosphere typical of some city and resembling a theatrical scene is completely visible through large windows of a modern tour bus and often becomes a real highlight of night city tours.

Finally, there is one more significant aspect of thinking over the objects seen and perceived throughout a guided tour, i.e. the ability to concentrate on the matters related to the interaction among artworks, the audience (guided tourists) and a conductor (guide), as well as their direct communication and feedback. An art-related excursion is always the result and the portrait of a guide, and it often addresses some burning issues. Today, these peculiarities are particularly evident since the type of modern guided tours is also changing. Guided tours become not only a form of data presentation but also a place of communication or a theatrical performance where paintings, sculptures, architectural monuments and handicrafts “play” and a guide-interpreter or guide-reviewer acts as a director.

Modern guided tours try going beyond the usual organizational work and the synoptic presentation of trite information. They use various options for structuring the material, analyse numerous objects belonging to the cultural heritage and realize humanistic ideas.

One of these ideas implies humanistic growth throughout a guided tour which is the participant’s worldview and is manifested in the process of understanding the world around him ([ 8 ], p. 126). Each museum communicates the ideas received by the artist of any given painting or other artworks through their beliefs, personal experience and social background. The environment influences most experiences. According to the innovative understanding of environmental structures, they comprise not only environmental conditions of habitat areas but rather functional aspects of the chosen environment.

The understanding of the environment in the course of a guided tour can be expressed through the description of social and economic conditions which accompanied the creation and presentation of the chosen artwork. To focus the tourist’s attention on the environmental object, one should highlight how the object blends with adjacent environmental objects and how its creation and functioning can be useful to overcome functioning errors of the existing cultural and everyday objects. We can conclude that the past of objects in their harmonious development is the key to ensuring the future of a sustainable human lifespan. It is necessary to adopt the basic idea that the object cannot be perceived without its environment. Since a guided tour involves personal influence (e.g. discourse), it would create an inextricable link between the object and habitat in the human mind.

The constant conduct of such activities will create a sustainable development discourse for the formation of an eco-oriented personal paradigm. The art review can stress out the fact that the observation of integrated places in nature reserves and cities separately from the environment cannot focus on the presentation of viewed elements, but their true nature can be truly revealed with the help of the comprehensive presentation approach (synergetic paradigm). In fact, it allows building new tourist routes, offering alternative programmes and increasing the attractiveness of fixed-route tours, as well as their economic viability and the overall profit that will provide opportunities for further development of the analysed area.

The excursion study of art in its development made attempts to elaborate expressive capacities which, to some extent, are analogical and used in the historical excursion programmes. However, live practice of the contemporary art is constantly delivering new unconventional genres and techniques in creation of artistic images, newly synthesizing and interpreting the traits of already established fine and expressive forms habitual for a viewer.

5. Principles of scientificity in art-related excursions

The talk about works of pictorial art, sculpture and architecture is often theoretically limited by their narrative side, which decreases the professional content-related analysis. The excursion deprived of informational origin is just a sightseeing, the effective influence of which on the excursionists’ minds will be minimal. There is a growing contradiction between the need of the guide to acquire a new content, to give it a new form, and the ability of the excursionists to understand it. The imperfection of the culture of aesthetic perception and incomprehension of specifics of new directions in art lead to the loss of criteria to all the fine artworks regardless of their kind, genre and style, while the uniform standard measures are applied to them.

It defines the main goal of the present paper, which is concluded in understanding of the core of problems, which the modern excursion practice faces. The tasks consist in revelation of possible methods of actualization of scientific information in art excursions; they are considered at all the preparatory stages of the excursion from the definition of the excursion theme to its implementation. Perhaps, the term “scientific information” is not proper by itself if it relates to the works of art. It denotes the acquaintance and study of the objects applied to the actual documentary material. “The advantages of a museum excursion over the other educational forms are concluded in the fact that the objects of perception are the originals, and their range is very wide – from natural monument to piece of art. They have a great cognitive capacity being the reflection of the processes of development of nature and civilization, certain epoch, the destiny of author or the whole folk” [ 4 ], Stoljarov noted. Thus, the analytical and exploratory functions of the excursion activities grow. Excursion practice shows that even a small amount of information becomes richer due to the scientific character of the narrative, which organizes the listeners’ attention and helps to make its generalizations and conclusions as well as to estimate the artistic objects in-depth. The scientific worldview is in fact the view of the world where the world is interpreted in a certain way. Tight connection exists between the contemporary art and the science, and surprisingly it is exactly the art innovators among which we most often reveal the correspondence of their art tendencies to the scientific commitments of the modernity. Today, we need such form of scientific knowledge transfer which may make the scientific truth available, explicable and clear without deforming it. And here the guides may come to help, who acquire a special power of imagination and are able to include the scientific model and the scientific notion into the range of the imaginative associations and into the symbolical fabric of an art object.

We got used, speaking about the scientific principles in the study of art, to the special terminology, the reference apparatus, new discoveries and researches in the sphere of the content of museum and private collections, activities on revelation of artistic values in the regions of different countries and on nationalization of large private collections and creation of the museum funds, expositional and restoration works, deep scientific analysis of the masters’ creative work, cataloguing the pieces of art, etc. forming the infinity of interlocks, the aggregate picture of art studies which denotes the direction of its development to the growing interpenetration of the science and art [ 9 ].

In the excursion work, the cognitive theory may be considered not only from the perspective of acquisition by the excursionists of the pieces of art included into the excursion but also from the perspective of the cognitive forms themselves, used by the guide regardless of the conception content of the pieces of art; such consideration suggests a certain procedure between the categories as a certain standard. The cognitive ability of the listeners depends on the professionalism and the narrative skills of the guide. First, imaginative impression from excursion is formed at a certain level of information. Its deficiency does not give the entire image of the object, while the overload may destroy the image. Combination of scientific and imaginative origins is important here not only because every piece of art comes laden with a “solid sense” but also due to the fact that “solid artistic work” should have a certain extent of “lightness” in order to maximally influence the audience. Romanov, speaking about the mission of the guide at demonstration and narrative of the artistic objects, noted that he or she should “introduce the viewers into the aesthetical experience and provide them with the in-depth analysis of the famous piece of art” [ 10 ]. It seems that the audience success is the indicator of accuracy of this combination, organically connected with the personality of the guide. The motions of the guide’s thought include unexpected associations, bold comparisons and the skill of understanding the inner contradictions peculiar to the information material about the objects. Besides, the motion of thought is the ability to get a view of the dynamics of the programme material in historical perspective and in time. The amazing combination of seemingly incompatible traits contains not less aesthetic advantages than any piece of art, sculpture or architecture. Then, the contact between the guide and the excursionists is based on the feeling of their community where moral and spiritual affinity is expressed.

6. Methods of actualization of the scientific material in preparing for and implementing art-related excursions

The methods of actualization of the scientific material may begin with the preparation of the excursion. It is known that general excursion methods consist of two parts—the methods of excursion preparation and the methods of its conduction.

The preparation to excursion may also be considered in two directions: development of new theme for the excursion and preparation of the guide for a new theme. The preparation of excursion is implemented gradually by the stages. It begins from the choice of the theme and the aim of the excursion. Correct statement of the aims and tasks is very important, because everything which will be shown and said in the course of the excursion is subordinated to them. So, in the chosen theme “Mansions of Moscow”, architecturally diverse buildings of the Art Nouveau period are one of the integral peculiarities of the historic development of the old Moscow. Having formulated the aims and tasks, the guide should be very well aware that the principle of the material selection and its conceptual organization are a challenge. Then, there is the selection of the object for the excursion. They are selected according to their cognitive value, significance and location. The preferable focus only on the popularity of the piece of art may make the excursion material lighter and more entertaining. The number of the selected objects is also a significant criterion (if it is small, the excursion will be deficient, while if it is too big, then it will turn into amateurism). Any excursion programme should not be a static set of showpieces and objects; it should be characterized by variability of the composition, i.e. addition, removal and renewal of the suggested materials. Any group of excursions has its own classification of the objects. So, in the sightseeing excursions, it is accepted to distinguish the architectural monuments and ensembles, modern buildings, etc. In the excursions of the gardens, parks and country estates, the viewers will see pavilions, statues, grottos and pieces of water. The museum excursion will be devoted to the acquaintance and analysis of the pieces of art.

After the selection of the excursion objects, they are attentively studied, which include live inspection and the literature searches. The work on selection and study of the excursion object is completed by the composition of the excursion route, which can be built on the chronological, thematic or complex principle. After development of the route, the guide goes the round of it, elaborating the route, location of the objects, their accessibility and the parking points and developing the main and additional (reserve) showing points. In the process of the going the round, the timing (of the route) from one object to another is considered for precise calculation of the excursion time. Only after the route is completed, the work on the composition of the excursion text begins. “Excursion text includes introduction and conclusion, consists of the characteristics of the objects and certain material connected with this object, conclusions and generalizations, and logical transfers to the next sub-themes. The control text contains all the precise quotations, facts, numbers, examples and moreover the obligatory references. Individual text of the guide is built in accordance with the methodical development and exactly reflects the real structure of the excursion with the consideration of the time factor. It has the introduction, body and conclusion” [ 11 ], as noted by Sichinaeva in the “Excursion Work” publication.

Finally, the preparation of a thematic excursion is completed with the composition of a guidance paper with the excursion route, the places of interest, stops, duration, procedure of the demonstration and the narrative. The excursion text and the guidance paper can be peer reviewed. There is a direct analogy with the methods of scientific work. However, the above said is just the initial stage of the scientific formation of the principles, which are not composed as a finished system which might serve as the indicator of scientificity in general. The methods of preparation to the new excursion themes or the reconstruction of the old by themselves (which is quite natural if to mind the thoroughness, with which the excursion is being prepared) are not scientific discovery or research.

The approach to the material and the interpretation of it is another significant problem which should be primarily solved by the author of the forthcoming excursion. The method for actualization of the scientific information suggests first of all total correspondence of the excursion content to the categories of originality. Scientific knowledge is characterized by the objective truthfulness; it is based on the theoretically or experimentally proven facts and information. Scientific knowledge is also characterized by generality when chaotic and, from the first sight, accidental facts and phenomena hide general and significant regularities of objective world. Notably, the practice of the world art provides us with numerous examples of rapprochement of science and art, which last for centuries. They have numerous guises. Today, they are perceived by far not at the forgotten semantic background. From the mighty force of the abstraction of the Ancient Egyptian pyramids, elaborated structure of the Greek temple’s “golden section”, beautiful proportions of the “Doryphoros” by sculptor Polykleitos, perfect shapes of the dome of Pantheon, to the rise of the engineering thought in the structure of the Gothic cathedral, Renaissance acquisition of anatomy and linear perspective, optical techniques in the Western Europe painting in the seventeenth century and to the rational substantiation of functionalism in the architecture by Le Corbusier—these are the stages of scientific and creative achievements.

The requirement of the scientificity principle covers not only the content of the material. It should be strictly observed also in the process of its narrative: scientific interpretation of the excursion facts, phenomena and concepts is an integral part of every excursion, not to describe but to explore the pieces of architecture, painting and sculpture on the basis of a certain artistic and historical or contemporary material. The conceptual and artistic potential of the guide’s narrative will be sharply reduced if the audience perceives it only at the level of the plot of a book, not comprehending the content of the second, third and fourth layers. However, in the archive of the excursion study, there is a series of the qualities peculiar only to it.

The first and the most simple is visual expression which is not equal to demonstrativeness; it may rise to some complete vision unavailable without natural overlook. The visual basis of any excursion is the excursion objects, serving mostly the centre of the guide’s narrative. The excursion objects are the monuments of architecture and sculpture, memorial sites, natural sites, expositions of museums, art galleries and exhibitions. Memorial sites can be squares, streets and whole cities. The visible image of the demonstrated objects and phenomena is transferred through fine and graphical arts, which have an opportunity to imprint the reality in an especially spectacular and convincing manner.

The acutest problem for the guides is the achievement of audial and visual image. In the conducted excursions, visual images often illustrate the guide’s text. The result is the illustrating lectures. However, on the way of eliminating this disadvantage, we more often face another extreme—isolation of the text from the narrative. The text does not only comment but even does not supplement the seen. It just indirectly relates to the images passing over the listener’s eyes. Here, it is important to achieve the principle of connection of visual and observed with the information and audible origins.

Scientific excursion is not only logics but also the source of complicated emotions. In the conscience of a scientist and any other person having rather a high level of emotional culture, scientific concepts and philosophical truths are coloured with emotions which are hard to describe. Often, not only the information contained in the scientific or philosophical truth but also the feelings that we experience in connection with this information allow us to appreciate the thoughts and to comprehend their depth and significance. That is why a miraculous ability of creative transformation is important, which provides the author-guide with the opportunity not only to “depict” and describe the object but also to think in it figuratively. The engine of the sensuous process can drive the viewer-excursionist to his or her own discovery of the fundamental philosophical concepts.

Another quality of scientific excursion is spiritual community. Any excursion unites audience and provokes the necessity of communication and discussion of the heard and seen. Preparation of a new excursion now requires complex and systematic approach to studying the audience and conduction of certain sociological researches. The deeper the material is comprehended, the acuter the necessity in its discussion is. The guide applying in his or her analysis to the history recalls the past, where not only the historical fact is interesting by itself but also its correlation with the present, which allows achieving more level of generalization.

The pieces of art are perceived not just as a date with the past but as the dialogue with the present and future, whether they are connected with acquisition of new structures and technologies in architecture, new painting methods or sculptural forms. It seems that such scheme has nothing in common with the number of traditionally built pale narratives penetrating in the bulk of the usual excursions. The scientific way of thinking is generally characterized by a unique ability of mediating time with a great degree of credibility, because the science usually outruns the reality be several years. And if our excursion practice is attentive to the spiritual illumination of the scientific world, then it may manage to foresee the intellectual and moral appearance of the future humanity before the other spheres of activities. Penetration into the scientific and creative thought of architectural and other artistic masterpieces may play an important role in it.

The category of wholeness in the structure of excursion is a not-less-important fact and by its nature is close to the reflection and cognition of the world in its completeness. Even if the excursion has a narrow focus on a certain theme, it nevertheless cannot do without touching the issues of interrelation of an artwork and a human, the memorial of art and nature. The guide telling about and showing the memorials of art should illuminate the listeners by the touch with philosophical continuity of the world and the feeling of its penetration in all things existent. Then, the excursionists will transfer into the thinkers themselves; into the discoverers, who become aware of their involvement into the dynamical unity of the world; and into the organics of nature and the stream of the history. Excursions can help in establishing the modern way of thinking which is concluded in the ability to simultaneously see and consider the spiritual, psychological, moral, ecological and economic aspects.

At last, heuristicity is the quality peculiar to the best scientifically built solid excursions. They tune to creative perception of the scientific information concluded in them, develop imagination and suggest not only the ready conclusions but also the questions, stimulating the audience’s own search.

It is not simple to organize a good excursion. It requires a perfect skill of the art study speaking, wide associative way of thinking and smart and skilful combination of sober mind with bright emotionality, i.e. requires high professionalism. It is obvious that the “Conclusions of the excursionists are based on not only the seen, but also on the heard” [ 12 ]. In-depth analysis of the demonstrated object concept and art core will manifold increase the scientific level of excursion. According to B. Emel’janov, “Professionalism of the guide is a special kind of art, which is built on the active interpretation and smart combination of show and narrative, participation in the perception process of interaction of such components as the guide, the excursionists, and the excursion objects …” [ 13 ]. The skill to add his or her own role by the guide to the harmonic correspondence with the system of the emerging unity is also necessary. The guide is at the same time both the actor and the director of his or her own play and role—he should be equally the analysing and reporting organizer of the entire concept and the programme as a whole.

7. Conclusion

So, the correct solution of the problems connected with the methods for actualization of scientific information in the art excursions has not only a great cognitive but also great methodological value. It is like a focus where such key issues and categories for excursion and art study gather as objective and subjective, emotional and intellectual and reality and imagination.

Thus, the methods for actualization of scientific material in the structure of excursion and art study programme, their key components and the mechanisms of interaction with aesthetic, social and cultural and ideological context are the necessary conditions not only for studying the history of cultural monuments and artworks but also for solution of practical tasks of efficient application of it in the excursion process as a whole. Integration of science and art is provoked by the persistent live necessity of creating the united and entire scientific picture of the world, correspondent to the modern level of the accumulated knowledge.

• 1. Sotnikova SI. Museology. Moscow: Aspect; 2004. 190 p
• 2. Shlyakhova OV. The balance between environment and art. In: Modern Trends in Regional Development: Economic and Environmental Balance; Materials of the Research and Practice Conference; Institute for Socio-Economic Studies of the Dagestan Scientific Centre of the Russian Academy of Sciences. 2014. pp. 511-513
• 3. Fedorov NF. Museum, Its Meaning and Purpose: A Monograph. Saint-Petersburg: Lan; 2014. 56 p
• 4. Stoljarov BA. Muzejnaja pedagogika. Istorija, teorija, praktika: Ucheb. posobie [Museum Pedagogics. History, Theory, Practice]. Vysshaja Shkola; 2004. p. 127
• 5. Guseva AY. Ecological beauty: The issue of the possibility of a typology. International Journal of Cultural Studies. 2015; 1 (18):13-23
• 6. Eglit LV. Environment and landscape art. Training landscape architecture. Bulletin of Pushkin Leningrad State University. 2016; 1 :241-248
• 7. Romm VV. Culture responsibility. Bulletin of the East-Siberian State Academy of Culture and Arts. 2014; 1 (6):6-9
• 8. Reimers NF. Ecology. Moscow: Young Russia; 1994. 384 p
• 9. Portnova TV. Nauchnye aspekty v iskusstvovedcheskih jekskursijah Fundamental’naja nauka i tehnologii-perspektivnye razrabotki [Scientific Aspects in Art Excursions. Fundamental Science and Technologies—Perspective Developments]. Mezhdunarodnaja nauchno-prakticheskaja konferencija. Fundamental Science and Technology—Promising Developments. Vol. 2. Spc. Academic. 2013. p. 33
• 10. Romanov NI. O zadachah i metodah jekskursij po iskusstvu [On the tasks and methods of art excursions]. Jekskursionnyj Vestnik. 1916; 1 :530
• 11. Sichinaeva VA. ekskursionnaja rabota [Excursion Work]. Moscow: Prosveschenie; 1981. p. 31
• 12. Emel’janov BV. Jekskursovedenie [Study of Excursion]. Moscow: Sovetskij Sport; 2007. p. 19
• 13. Emel’janov BV. Professional’noe masterstvo jekskursovoda [Professional Skills of Guide]. Moscow: CRIB “Turist”; 1986. p. 53

© 2018 The Author(s). Licensee IntechOpen. This chapter is distributed under the terms of the Creative Commons Attribution 3.0 License , which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

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excursion noun

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What does the noun excursion mean?

There are 12 meanings listed in OED's entry for the noun excursion , six of which are labelled obsolete. See ‘Meaning & use’ for definitions, usage, and quotation evidence.

excursion has developed meanings and uses in subjects including

Entry status

OED is undergoing a continuous programme of revision to modernize and improve definitions. This entry has not yet been fully revised.

How common is the noun excursion ?

How is the noun excursion pronounced, british english, where does the noun excursion come from.

Earliest known use

The earliest known use of the noun excursion is in the late 1500s.

OED's earliest evidence for excursion is from 1574, in the writing of John Whitgift, archbishop of Canterbury.

excursion is a borrowing from Latin.

It is derived from Latin excursiōn-em .

Nearby entries

• exculpation, n. a1715–
• exculpative, adj. a1832–
• exculpatory, adj. 1781–
• excur, v. 1656–
• excuriate, v. 1656–76
• excuriation, n. 1658
• excurrency, n. 1650–
• excurrent, adj. 1605–
• excurse, n. 1587
• excurse, v. 1748–
• excursion, n. 1574–
• excursion, v. 1792–
• excursional, adj. 1848–
• excursionary, adj. 1769–
• excursioner, n. 1786
• excursionism, n. 1886–
• excursionist, n. 1829–
• excursionize, v. 1827–
• excursive, adj. 1673–
• excursively, adv. 1791–
• excursiveness, n. 1753–

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Meaning & use

Pronunciation, compounds & derived words, entry history for excursion, n..

excursion, n. was first published in 1894; not yet revised.

excursion, n. was last modified in September 2023.

Revision of the OED is a long-term project. Entries in oed.com which have not been revised may include:

• corrections and revisions to definitions, pronunciation, etymology, headwords, variant spellings, quotations, and dates;
• new senses, phrases, and quotations which have been added in subsequent print and online updates.

Revisions and additions of this kind were last incorporated into excursion, n. in September 2023.

Earlier versions of this entry were published in:

OED First Edition (1894)

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Factsheet for excursion, n., browse entry.

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Definition of excursion noun from the Oxford Advanced American Dictionary

• trip an act of traveling from one place to another, and usually back again: a business trip a five-minute trip by taxi
• journey an act of traveling from one place to another, especially when they are far apart: a long and difficult journey across the mountains
• A trip usually involves you going to a place and back again; a journey is usually one-way. A trip is often shorter than a journey , although it does not have to be: a trip to New York a round-the-world trip. It is often short in time, even if it is long in distance. Journey is more often used when the traveling takes a long time and is difficult.
• tour a journey made for pleasure during which several different places are visited: a tour of California
• commute the regular trip that a person makes when they travel to work and back home again: a two-hour commute into downtown Washington
• expedition an organized journey with a particular purpose, especially to find out about a place that is not well known: the first expedition to the South Pole
• excursion a short trip made for pleasure, especially one that has been organized for a group of people: We went on an all-day excursion to the island.
• outing a short trip made for pleasure or education, usually with a group of people and lasting no more than a day: My project team organized an afternoon outing to celebrate.
• an overseas trip/journey/tour/expedition
• a bus/train trip/journey/tour
• to go on a(n) trip/journey/tour/expedition/excursion/outing
• to set out/off on a(n) trip/journey/tour/expedition/excursion
• to take a(n) trip/journey/expedition/excursion

Questions about grammar and vocabulary?

Find the answers with Practical English Usage online, your indispensable guide to problems in English.

• 2 excursion into something ( formal ) a short period of trying a new or different activity After a brief excursion into drama, he concentrated on his main interest, which was poetry.

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Architecture Excursions

About project: Architecture Excursions is a research project on the system of Vietnamese architectural heritage, with 09 members of various backgrounds including architecture, anthropology, art, history, communications and tourism. Established in 2019, Architecture Excursions has been archiving data on disappearing structures and collecting stories from the communities living on these heritage sites, while also interacting with young people to radiate the passion for Vietnamese art and culture. In 2022, the project published the book “Tản mạn kiến trúc Nam Bộ” (Architecture Excursions in the Southern Region – published by Nhã Nam and Thế Giới Publishers), which presents a multi-dimensional survey of civil architecture in the south of Vietnam from the late 19th to late 20th century.

In 2023, the project introduced the platform Năm Năm Tháng Tháng, where they conducted a variety of community activities including seminars, fieldwork and creative practices, connecting with hubs, scholars and local artist groups for collaboration, aiming to connect the general public with the multi-dimensional discussions on Vietnamese architectural heritage. The project included “Bách bộ” – a series of architectural walking tours, “Trà đàm” – a series of thematic talks, “Tập sự kiến trúc” – a series of diverse practices, “Khóa học mùa xuân” – An architecture course for tour guides.

Some of the project’s notable activities in 2023 were the Trà đàm series with topics such as “Modernity and modernism in architecture”, “Di sản Hán Nôm ở đình chùa Nam Bộ từ những ghi chép thực địa” (Sino-Vietnamese heritage in Southern pagodas and temples from field observations), “Vài nét về kiến trúc dân dụng miền Nam” (Notes on Southern civil architecture); creative practice sessions in the series “Tập sự kiến trúc” such as “Cảm thức Đông Dương” (Senses of Indochina), “Khu vườn phương Nam” (Southern gardens), “Đi tìm hiện đại” (Finding modernity); seminars “Sơ lược về lịch sử xã hội kiến trúc dân dụng miền Nam thế kỷ 19 và 20” (Overview on the social history of southern civil architecture in the southern region in the 19th and 20th century), “Nhân văn số: Khoa học nhân văn và kỹ thuật số vì cộng đồng” (Digital humanities: Human sciences and digital technology for the community”.

Art form: Architecture

Duration: 2019 – current

Organizer: Architecture Excursions team

Activities: Talks, research, archiving, book publishing, seminars, fieldwork, courses, workshops

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Meaning of excursion in English

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• break-journey
• circumnavigation

excursion | American Dictionary

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Excursion Views & Architecture

On the road with hiking guide Daniela Gerber

Village excursion on the Lenk with hiking guide Daniela Gerber. The architect and Feng Shui consultant has exciting background knowledge about the Simmental building culture of yesterday - today - tomorrow in store for you.

The following topics will be discussed: "How are our daily needs changing architecture and our landscape?" and "What built forms of living can meet the challenges of our time?

Date Friday, 27 September 2024 Friday, 18 October 2024

Meeting point 09.00 a.m., Tourist Centre Lenk. 2.5-hour excursion, including 1.5 hours of hiking.

Experience price CHF 25 per person, accompanied children up to 16 years free of charge.

Information and registration two days in advance, Daniela Gerber, Jaunpass, Boltigen, +41 33 773 66 53 [email protected]

Lectures and individual programs on request.

Jaunpass 3766 Boltigen

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Learn the history of this Northwest Side classic Chicago neighborhood listed on the National Register of Historic Places. Developed by numerous immigrant communities beginning in the 1870s, today it is a diverse mix of economic levels and architectural…

Grant Park’s landscape is both front yard and recreation spot for Chicago. But did you know that the area was once under water? Or that at one time it housed an airfield, a major league sports team and the tomb of a Civil War hero? Join us as we unlock…

Understand how the unique Chicago-style bascule bridges work. View the underpinnings of the bridges, as the tour follows the bridge lifts of three of the Chicago River’s most famous bridges, including Michigan Avenue’s DuSable Bridge, Columbus Drive’s…

Hear the stories behind the people buried at the beautiful and tranquil Oak Woods Cemetery on Chicago’s South Side, from important local African Americans who fought for Civil Rights to Confederate prisoners of war.

Civil War and Chicago's Role: Rosehill Cemetery

Hear the stories of the heroes, villains and ordinary citizens on this visit to Rosehill Cemetery. Learn about the people who were instrumental in the nomination of Lincoln, discover the role of newspaper editors in this struggle and those who were involved…

Explore Chicago’s amazing architecture from the unique perspective of elevated trains and station platforms. Learn the history behind the famous "L" system and hear how it has shaped the development of buildings within the Loop.

875 N. Michigan Ave (John Hancock Center)

Completed in 1970, 875 N. Michigan Ave (John Hancock Center) dominates the northern end of Chicago’s skyline. On this tour, you'll learn how the building forever changed the character of North Michigan Avenue.

Architectural Highlights by Bus

Discover the exciting diversity of Chicago’s world famous architecture as we trace its development from the early days up to the present.

Tour the lobbies of five opulent Art Deco skyscrapers built near the banks of the Chicago River during the business boom of the Roaring '20s. Learn how Art Deco reflected the era’s fun-loving optimism with lavish materials and geometric ornament.

Beverly (South): A Castle, Mansions and More

Tour one of Chicago’s most fascinating neighborhoods, Beverly. Explore two houses built just after the Great Fire of 1871, a Frank Lloyd Wright home and a true Chicago castle. This tour showcases part of Chicago’s Longwood Drive Landmark District…

Bohemian National Cemetery

Discover a wealth of stories told in stone and bronze at Bohemian National Cemetery. Since 1877, Bohemian National has remained the cemetery of choice for Chicago’s Bohemian and Czech immigrant communities. In this beautiful space, immigrants have vividly…

Chicago Board of Trade Building

The Chicago Board of Trade is a Loop icon and City of Chicago and US National Historic Landmark that anchors La Salle Street, described in the building's opening brochure as the 'monarch' of the street, still standing tall and proud. We’ll see newly…

Devil in the White City

History buffs and true crime lovers, rejoice! This bus tour delves into the compelling true story told in Erik Larson’s best-selling novel, “Devil in the White City.” The story traverses two simultaneous events in Chicago’s history: the World’s…

Fine Arts Building

Discover this treasure trove on Michigan Avenue and learn how it went from a carriage showroom to a high-profile artists’ colony that housed tenants like Frank Lloyd Wright, Lorado Taft and Harriet Monroe.

Fort Sheridan

Discover the history and architecture of Fort Sheridan, a former military base listed on the National Registry of Historic Places.

Frank Lloyd Wright by Bus

Discover the neighborhood where Wright's famed Prairie Style of architecture evolved. The tour includes bus transportation to and from Oak Park with commentary, a one-hour interior tour of Wright’s Home and Studio and a walking tour of the Frank Lloyd…

French Language (Langue Française): Les Incontournables

Cette visite vous propose un aperçu complet de l’architecture de Chicago, de ses bâtiments les plus connus et admirés, ainsi que la collection de nombreuses œuvres d’art dans le centre de la ville.

GRACELAND CEMETERY

Beautiful and serene, Graceland Cemetery is a treasured oasis in the center of our bustling city. Notables interred here are Chicago's movers and shakers of the late 19th and early 20th centuries: Daniel Burnham, Potter Palmer, Charles Wacker, George…

Graceland Cemetery: Symbols in Stone

As we explore a venerable section of Graceland Cemetery, we’ll discuss the meanings of and changes to gravestone symbols and shapes, from Victorian times to the present day.

Graceland Cemetery: Women of Influence

During Chicago’s period of growth in the late 19th and early 20th centuries, women played a hugely influential role by participating in the Underground Railroad, exhibiting the first Modern Art paintings, creating the juvenile justice system and even…

Highland Park

This tour traces Highland Park’s history from pioneer settlement to summer retreat for Chicago’s wealthy to year-round suburb. Encounter a beautiful variety of residential styles and see homes by architects like Frank Lloyd Wright and W. W. Boyington…

Hotel Boom: Making Old New Again

Chicago’s growth as a favorite travel destination has fueled a surge in the creative repurposing of historic skyscrapers into chic new hotels. Learn how and why a former motor club, insurance company and bank have undergone this change

Inland Steel Building

As the first skyscraper built within the Loop after World War II, the Inland Steel Building became an instant symbol of Chicago’s prominence as a modern American city in the 20th century.

Explore the fascinating history reflected in the unique designs of the North Shore suburb of Lake Bluff. Trace the history from the formation of the Lake Bluff Camp Meeting Association, and their plans for a resort similar to the Chautauqua movement,…

Lake Forest Cemetery

Experience the Lake Forest Cemetery's park-like setting overlooking Lake Michigan in one of Chicago's most beautiful premier suburbs. Hear stories of Lake Forest's founding and those who made their mark from Civil War to modern times.

Lincoln Park: From Cemetery to Sculpture Garden

Take a pleasant walk through Chicago’s beautiful Lincoln Park—a former lakeside cemetery turned recreation destination. Hear about the park’s history, learn the stories behind famous sculptures and enjoy a stroll through the park’s beloved zoo…

Macy's on State: The Legacy of Marshall Field's

Explore the construction, development and renovation of this State Street landmark by Daniel Burnham.

Marquette Building

Completed in 1895, the Marquette Building brings Chicago’s early history to life in an artistic and elegant setting. Examine the innovative exterior and get an up-close view of the beautiful interior.

Merchandise Mart

Once the largest building in the world, the Merchandise Mart remains a center for commercial and residential design. This massive structure has kept up with the times and is now recognized as a key Chicago hub for technological innovation.

Monadnock Building

Tour the world’s tallest commercial building with load-bearing masonry walls and learn how the transition from masonry to steel frame skyscrapers transformed the workplace.

Old Town Triangle

No other Chicago neighborhood is like Old Town. Tucked behind high-rises and moments from the vast green space of Lincoln Park, this landmark district has a unique history and diversity. Today diversity adds richness to Old Town from St. Michael's Church—considered…

Palmer House Hotel

Experience the glamour, intrigue and excitement of the bygone "Grand Hotel" era at the Palmer House. See recently restored public spaces and renovated guest rooms while learning about the history of Chicago’s oldest continually operating hotel.

Pub Tour: Andersonville

Experience the Swedish influences of Andersonville a historically landmarked neighborhood settled in the 1850's. Join us in seeing architecture taken to new uses and now operate as churches, restaurants and schools with Scandinavian inspiration. Get…

Pub Tour: Near North

Explore the variety of living spaces in the Near North neighborhood, part of River North. High rise living among micro-unit apartments interspersed with various hotels broaden the idea of working from home. Historically a destination for Italian immigrants…

Pub Tour: West Loop

Combining post-Chicago fire buildings with the recent influx of residents and company headquarters locations, see how buildings in the West Loop have adapted to spaces for families to live, work and play. Stroll by an abundance of cutting-edge dining…

Reliance Building

Marvel at the original marble, mahogany doors and decorative wrought iron found throughout the two lobbies and uppermost floors of this 1895 building, designed by John Wellborn Root and Charles Atwood.

River North: Transformation of a Neighborhood

See historic gems in this former center of manufacturing and explore its boom-and-bust transformation into a vibrant neighborhood buzzing with residential buildings, entertainment venues and office towers. Steeped in history and character, River North…

This tour helps you discover the western portion of the Riverwalk, starting at the Vietnam Memorial near State Street. As we walk to Lake Street, hear how this linear park—called Chicago’s new coastline by some—has become a magnet for outdoor recreation…

Rookery Building

Explore the interior and exterior of one of Chicago’s most famous and beloved historic buildings: The Rookery by Daniel Burnham and John Wellborn Root.

Sacred Spaces in Downtown Chicago

Chicago's downtown is home to a number of striking and architecturally significant houses of worship. Visit several of these sites, including "the tallest church in the world"—a skyscraper with offices, designed for worship and work.

Sheffield Historic District

Historic Sheffield is long considered a gem of late 19th century architecture, its streets lined with gorgeous homes from that era and beyond. Also noteworthy are the three Row House Districts from the 1870s and ’80s, each of them landmarked by the…

The Old Post Office

Explore the new Old Post Office Building, whose early 20th-century design has been adaptively reused into a beautiful, modern Class A Office building.

University of Chicago

Come explore the early Collegiate Gothic roots of the university campus in the original quadrangles, the “march of mid-century modernism” along the Midway and the recent, breath-taking architectural additions such as the Helmut Jahn’s Mansueto Library…

Union Station: Icon of a Great Age

Union Station is one of the last grand train stations still operating in the U.S. and the only one in Chicago, serving both Amtrak and Metra commuter rail. Take in the elaborate details of this historic landmark, including the stunning Great Hall, which…

Columbia College Student Center

This Gold LEED certified building, with myriad sustainable features throughout, includes recyclable materials, glass that protects against birds flying into the building, noise cancelling walls for music practitioners and low-carbon concrete.

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Definition   Excursion - Semiconductor, Definition for

• Thread starter qualityboi
• Start date Jul 30, 2008
• Jul 30, 2008

In general an excursion in the semi conductor industry is any deviation in process or product...however I have yet to come across any specific definition from any semiconductor organization. Does any one know of an official or industry recognized definition for excursion, as it relates to the semiconductor industry? (oops this should be moved to: Definitions, Acronyms, Abbreviations and Interpretations forum)  

Coury Ferguson

Moderator here to help.

• Aug 4, 2008

qualityboi said: (oops this should be moved to: Definitions, Acronyms, Abbreviations and Interpretations forum) Click to expand...

Quality and Auditing Expert

I did not find a clear-cut definition either, but after reviewing several sites I will describe the term as: a deviation from parameters. It's important to note that the term isn't necessarily a synonym of defect . In Non Destructive Testing, a discontinuity is a noted condition that may or may not be determined to be a defect - that depends on its size, shape, type, and so on according to the requirements. Same principle goes with excursion in semiconductor language. Somebody please correct me if I'm wrong...  

• Aug 5, 2008

qualityboi said: In general an excursion in the semi conductor industry is any deviation in process or product...however I have yet to come across any specific definition from any semiconductor organization. Does any one know of an official or industry recognized definition for excursion, as it relates to the semiconductor industry? (oops this should be moved to: Definitions, Acronyms, Abbreviations and Interpretations forum) Click to expand...

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excursional

Definition of excursional

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“Excursional.” Merriam-Webster.com Dictionary , Merriam-Webster, https://www.merriam-webster.com/dictionary/excursional. Accessed 7 May. 2024.

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