Dissertations / Theses on the topic 'Museum practice'
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Morse, Nuala Marie. "Museums and community engagement : the politics of practice within museum organisations." Thesis, Durham University, 2014. http://etheses.dur.ac.uk/10846/.
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Community engagement (CE) is a key focus of UK museum policy and practice, increasingly used as a strategy to democratise museums and position them as social agents. However, the practices of CE have not evolved far beyond what I call the ‘contributory museum’, which focuses on how communities can benefit the museum. In this thesis I propose the distributed museum as an alternative contribution to museological theory and practice, and call for a conceptual and practical reconfiguration that focuses on how museums can benefit communities. This concept arises from a deep investigation of the politics of CE practice at Tyne and Wear Archives and Museums. The research takes a unique organisational perspective, focusing on museum professionals’ perspectives to examine how CE is constructed and managed across the museum’s different departments, and highlighting varying practices, competing meanings and discourses, and the operational and cultural barriers to this work. Using a novel collaborative-ethnographic methodology, the research examines how the museum’s Outreach Team negotiates institutional barriers, and how their practices have evolved towards more collaborative ways of working with community organisations and localities. Arising from this close examination of practice, the thesis finds evidence for the distributed museum in some elements of current Outreach practice, but it is yet to be realised across the whole museum institution. It suggests that two distinctive practices make the distributed museum: care and craft. These practices are analysed drawing on the geographies of care literatures, and actor-network and assemblages theories. Critically, this thesis presents a politics of practice that works from within the logics of the museum and therefore attends to the competing demands that are currently placed on museums. I argue that if CE is reconfigured in these ways – as a practice of care and as craft – then community engagement will enable a new basis for collaborative practice with communities. The thesis ends with implications for museum policy and practice, and further research.
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Embola, Oscar Kalu. "Contemporary museum practice in England and its potential applications for Cameroon museums." Thesis, University of Southampton, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.443041.
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Rhee, Nakyung. "An Exploration of New Seniors in Arts Participation literature and practice." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1386775161.
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Flood, S. M. "Canadian craft and museum practice 1900-1950." Thesis, University of Manchester, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.550289.
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Stroh, Stephanie. "Embodiment and theatricality in post-museum practice." Thesis, Kingston University, 2016. http://eprints.kingston.ac.uk/39273/.
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A recent shift to a more performative and relational understanding of the museum and its practices can be witnessed in the field of museum studies. This shift reimagines the museum as experience, process or performance, and is reflected in what has been termed the 'post-museum'. The post-museum challenges the representational practices of the museum, and introduces a potential 'liqud imaginary' which dissolves the traditional boundaries of what constitutes a museum. While these ideas point to relevant changes in the way museums are perceived and practiced, the field has so far failed to explore the implications of this shift for the practice of museum research. This study examines the potential of the post-museum for developing new approaches to research practices. It contributes to the field of museum studies by exploring creative research methods that qualify as site-responsive, experimental means of critically engaing with the museum. These creative methods of research are developed on-site at the National Maritime Museum Greenwich, London. Under-represented in the museological literature, maritime museums provide potent opportunity as sites for experimentation into creative, more-than-representational approaches to museum research. The study examines creative research methodologies through the embodied mode of inhabitation, which it conceptualises through the notions of dwelling and travelling. Drawing on the concept of the 'mariner's craft' from maritime literary criticism and so-called wet or liquid ontologies from human geography, the research explores the potential of post-museum thinking from a cross-disciplinary perspective. Inhabiting the Museum through creative-experimental doings, the thesis-in-motion maps out an uncertain voyage into the uncharted territories of creative maritime museum research, a voyage of exploration, intervention, and creativity.
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Agostino, Cristiano. "Contemporary digital museum in theory and practice." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9483.
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This dissertation investigates the interplay between a selected set of museum practices, such as online strategies, digitisation of artwork reproductions, and crowdsourcing, through a theoretically grounded perspective. Existing discourse and debate on the museum's movement from an exclusively physical, to a digital or hybrid presence display an excessive interest in advocacy, usually focusing on small examples of successful practices which are then argued as somehow empowering or resolutive, usually from a 'social justice' point of view. Conversely, in those same discourses little attention is paid to the macro-context within which these cases take place: current debates lack an articulation of how museum practices reflect ongoing trends and paradigms on a culture-wide level, and also eschew non-advocative, neutral discussion of the politics, discourses and power relations that such practice entail. I suggest that the contemporary constructivist, digital museum can be better contextualised if we frame emergent digital museum praxis within a framework that resorts to well-established, and well-described theoretical paradigms that can be observed in other cultural and social contexts as well. The advantage of such an approach is that museum practice, and the museum as an institution, can then be seen in continuity with current macro-trends, rather than as isolates whose usefulness and sustainability begins and ends within the museum's precinct. This dissertation begins this proposed shift in point of view by addressing emergent museum practices such as the drafting of digital strategies; the creation of digital reproductions of artworks for online display; and crowdsourcing in the context of theoretical frameworks such as the utopian imagination; ontology of digital-beings; and contemporary labour practices. While not comprehensive, and exploratory in nature, this dissertation contributes to the discipline by providing a new, more in-depth point of view on 'hot' practices, encouraging a contextualisation of the museum that goes beyond the museum itself, into a theoretical and interdisciplinary field that takes advantage of ideas developed within digital humanities, labour critique, informatics and cultural studies.
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James, Kirstin Ares. "Gifting culture : comparing display practice at the British Museum and the Pitt Rivers Museum." Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/37196.
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Indigenous Research Methodology (IRM) is an approach to research defined by members of Indigenous Nations for research of topics that directly concern them (their communities, their families). Gifting Culture constitutes the first time that this approach has been applied to museums studies (in the UK). What is meant by this, is that while it could be argued that any Indigenous museum practitioner conducting museums research on the topic of their own culture, is conducting ‘Indigenous research’, they are generally using (or are required to use) Euro-Western, positivistic approaches to research inquiry, rather than Indigenous Research Methodologies. This study challenges that pattern by using a comparison of display practices at the British Museum (geographic approach to display) and the Pitt Rivers Museum (typological approach to display) as passageways into interrogation of the dominance of Euro-Western approaches to interpretation of Indigenous heritage. Conducted primarily from an Algonquian worldview (by a member of the Lumbee Nation) this study also considers relationships between its findings, methodology and whether or not museum display practices enact as ‘pure gift exchange’. In this study, objectstorytellers (museum objects) from each museum are anchoring participants. Audience mapping facilitates understanding the agency of these storytellers in their respective museum ecologies, while interviews with curators Jago Cooper and Laura Peers lend insight into the practical management of these respective collections. 1555 visitors were observed over a period of six observation days at the Pitt Rivers Museum and 4266 visitors were observed during seven days of observations at the British Museum. Gifting Culture includes a conventional Euro-Western discussion of the study, while also offering a non-European translation of the research experience in the form of an Ititamatpamá ( ‘Time Ball’).
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Swinney, Geoffrey Nigel. "Towards an historical geography of a 'National' Museum : the Industrial Museum of Scotland, the Edinburgh Museum of Science and Art and the Royal Scottish Museum, 1854-1939." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8109.
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This thesis adopts a primarily process-based methodology to put a museum in its place as a site of knowledge-making. It examines the practices of space which were productive of a government-funded (‘national’) museum in Edinburgh. Taking a spatial perspective, and recognising that place is both material and metaphorical, the thesis explores how the Museum’s material and intellectual architectures were produced over the period 1854-1939. The thesis is concerned to bring into focus the dynamic processes by which the Museum was in a continual state of becoming; a constellation of tangible and intangible objects constantly being produced and reproduced through mobility of objects, people and ideas. Its concern is to chart the flows through space which produced the Museum. The thesis comprises nine chapters. An introduction and a literature review are followed by chapters concerned, respectively, with the built space of the museum and with the people who worked there. A further three chapters consider the nature of that work and the practices of space which constituted the processes of collecting, displaying, and educating, whilst another focuses on visiting. The final chapter discusses how the analysis has constructed the museum as constituted through a complex diversity of material and metaphorical settings on a variety of geographical scales. This critical scrutiny of the museum has, in turn, brought to the fore the place of the Museum in contributing to civic and national identity. Through a case-study of a particular museum, the concern has been to explore how critical geographies of science may be applied to the examination of a museum. In particular the thesis examines how contextual concepts developed largely in conscribed sites such as laboratories apply to a public site such as a museum. The thesis suggests that the ordering terms ‘space’ and ‘place’, combined with a focus on practice and performance, may have more general application in constructing an historical geography of museums as sites of production and consumption of scientific knowledge.
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Armitage, Madeline Grace. "Planning for Inclusion in Museum Education Practice: Preparing Docents and Museum Educators for English Language Learners." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492465579374636.
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Kioussis, Sokratis I. "'Nature' and 'culture' in Greek contemporary museum practice : a study of the Goulandris Museum (of Natural History)." Thesis, University of East Anglia, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658703.
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In its various manifestations, 'art' could be described as a product of 'nature', on which it often reflects, alongside being a product of 'culture'. In recent and past scholarship 'nature' and 'culture' are often treated as opposed categories. Museums in particular have a role in the creation and maintenance ' of a nature/culture configuration. Representing the world in different ways, they have established boundaries between them in the very act of focusing attention on each and increasing understanding in both domains. Drawing on different museological traditions and responding to contemporary issues, the project of creating The Goulandris Museum has brought 'nature' and 'culture' together in its program, exploiting antiquities and other evocations of the ancient world to explain the natural world, especially in its latest schemes. This thesis· examines !he background to such practices, the ideas it embodies and the challenges it sets itself. However, it is more than a study of the history of one particular museum created in the second half of the twentieth century; this thesis also considers the history of other European museums, whose practices and development over time have contributed to the distinctive schema realised in Athens in recent decades. Chapter I introduces the Goulandris Museum and discusses the different ways in which museums have chosen to represent nature. Touching on the means by which they generate knowledge and awareness of the natural world, it discusses how the representation of nature in itself also reflects mankind's plasmatic relationship with the natural world. Chapter II looks back to 'cabinets of curiosity' and the founding and development of three influential institutions to reflect on the tradition of natural history museums in Europe. Chapter III continues with a conceptual and historical reading of London's Natural History Museum, an institution that greatly contributed to the rationale and public presentation of the Goulandris Museum, setting up its first displays. The detail of this particular institutional relationship is examined in Chapter IV, an analysis based on original archival research conducted at the Natural History Museum. . Chapter V examines the displays and practices of the Goulandris Museum prior to the emergence of its research and education centre ('Gaia Centre'), which we explore separately in Chapter VI in conjunction with the New Acropolis Museum, an institution that was designed by the same.architect, Michalis Photiadis. Interviews conducted with him and with the Director and several staff of the Goulandris Museum inform our analysis. That with Mrs. Goulandris is referenced throughout the thesis. The literature review is also · distributed through the thesis at the points where it is relevant and especially in Chapter V which discusses the literature on the history and conception of natural history museums as points of access to the 'real' world of nature. . This thesis is set in a conceptual but also in a historical conte:r:t, as indeed were the ambitions of the founders of the Goulandris Museum. It was the first natural history museum in Greece, and the Qoulandrises sought to situate their new project within both European traditions of natural history museums ' and the traditions of archaeological and classical collections, which had until then dominated the Greek understanding of the purposes of museums. Drawing on these sources, the Goulandris Museum has arrived at its latest scheme which deploys ideas of nature and of culture to shape a very particular identity within Greece ' and to engage and infOlID its visitors.
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Mallory, Trista Elizabeth. "Parsing the practice critique of the institution, or institution as critique? /." Diss., Online access via UMI:, 2009.
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McPherson, Gayle. "Shifting power, policy and practice in a local authority museum service." Thesis, Glasgow Caledonian University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404685.
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The aim of this research is to investigate the extent to which there have been changes in the direction of Glasgow's Museum Service (Glasgow Museums) from one grounded in a curatorial and conservational set of values to one embracing commercial values, attitudes and practices, effected by a move towards a managerialist culture and away from a curatorial culture. In order to pursue this aim, the research attempts to track key decisions (via Council Minutes and personal testimony) over an historical period (1973-1996), identifying and assessing evidence of any such change in policy and practice. In order to explore the genesis and impact of Council decisions taken over this period, a framework utilising concepts of power as fonnulated by Lukes (1974) has been used to explore these decisions within the context of a case study approach. This analysis has uncovered changes in the possession and exercise of power within policies for, and in the practice of, museums and galleries in Glasgow. This framework of power is also set within the context of a body of literature characterised as Leisure Studies in general, and within the museums and galleries sector in particular. Given the close relationship between leisure and the social and political environment throughout pre-industrial and industrial Britain, the historical context of policy and practice is outlined. The first set of conclusions in this study reflect on the usability of Steven Lukes' model of power (1974) within the museums and galleries sector. The second set reflect on changes in policies in Glasgow Museums and within the wider cultural sector. The third set draws attention to the implications of the shifts in policy for practice. The fourth set of conclusions highlight the contribution this study has made to originallmowledge, given no other study of this type in the museums sector has been conducted previously and on this scale, using Lukes' model of power. Finally, the last section offers a critical reflection on the research process, the methodology and the experience of the researcher.
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Preiss, Rebecca B. "If these walls could talk museum interpretation in theory and practice /." Connect to this thesis, 2002. http://hdl.handle.net/10066/661.
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Davison, Patricia. "Material culture, context and meaning : a critical investigation of museum practice, with particular reference to the South African Museum." Doctoral thesis, University of Cape Town, 1991. http://hdl.handle.net/11427/18276.
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Bibliography: p. 207-227.The broad theoretical concern of the thesis is to elucidate the relationship between material culture and social relations, and to counter the analytical separation of cultural form and social practice, which is a pervasive problem in archaeology and material culture studies in general. This problem is addressed with reference to museum practice, focusing in particular on the social role of artefacts in two contextual domains - that of everyday life, as interpreted in ethnographic fieldwork, and that of a museum, which is in itself a complex cultural artefact. These two contexts are linked by the concept of recontextualization, which I suggest is a pivotal process in both museum practice and archaeology. The theory of 'structuration', as formulated by Anthony Giddens, is drawn on to overcome the problematic separation of cultural objects from social subjects. This leads to the conceptualization of meaning in material culture as being socially constituted and context-related, and the relationship of material culture to social relations as being one of mediation rather than objective reflection. Emphasis is thereby given to material culture as a resource that is actively implicated in the construction of social relations and identity. This theoretical approach is applied in two field studies and two museum studies. The former, undertaken in Transkei and the Transvaal Lowveld, investigate material culture in the social matrix of everyday use; the latter, undertaken with reference to the Ethnography section of the South African Museum, illustrate the process of recontextualization, which I regard as operating at both physical and cognitive levels. It is argued that processes of recontextualization, inherent in museum practice, inevitably change both context and the object-subject relationship, and therefore alter the range of meanings that objects evoke once located in a museum. Despite the apparent authenticity of exhibited artefacts, I argue that museum representations are composite artefacts of museum practice, rather than objective reflections of reality. I suggest that reflexive awareness of professional practice as social practice should be built into both archaeological texts and museum representations, through which knowledge of the social past is conveyed to the general public. This is consistent with the argument throughout the dissertation for an integration of object and subject, and a recognition of human agency, past and present. In conclusion, I argue for a more sensitive, reflexive approach to museum practice that would encourage an awareness of social context, and invite a more active participation by viewers in the generation of meaning. The dissertation is a contribution to this end.
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Bryan, Amanda. "New Museum Theory in Practice: A Case Study of the American Visionary Art Museum and the Representation of Disability." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1627.
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Since the inception of new museum theory, and the emphasis it places on the social purpose of museums within society, museum professionals and museum studies theorists have struggled to define what role museums must take in combating prejudices and fostering better understating of difference. Richard Sandell is one such theorist who writes about the importance of, and need for, greater inclusion of disabled artists and works of art containing themes of disability into exhibitions and display. This thesis examines Sandell’s scholarship, noting its foundation in new museum theory and disability studies, and then, employing a case study of the American Visionary Art Museum, illustrates the issues illuminated in Sandell’s writing. Finally, utilizing the case study, this thesis will offer aims for further research within museum studies not yet considered by Sandell, especially within educational goals and activities of the museum.
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Gohman, Stacy Chieko Lonjers. "A mixed methods study describing the link between reflective practice and work engagement among museum exhibit developers." Thesis, Capella University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3730571.
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This study examined reflective practices and work engagement among museum exhibit developers in the United States. The primary goal of this sequential explanatory study was to determine if there is a link between reflective practice and work engagement, and to understand the nature of any link. Secondarily, the study sought to identify the extent of reflective practice use among exhibit developers, the extent to which exhibit developers are engaged in their work, exhibit developers’ perceptions of reflective practice, and exhibit developers’ perceptions about the benefits and challenges of engaging in reflective practice. Using Spearman’s coefficient, this study found that reflective practice and work engagement are significantly correlated (p = .002). This study also found that exhibit developers are highly reflective concerning their work and are very highly engaged in their work. According to this study, exhibit developers have higher than average vigor, dedication, and absorption. Participants in this study suggested that reflective practice influences vigor and dedication in exhibit developers. Reflective practice helps exhibit developers persist through challenges in their work and helps them feel they made the correct career choice. Engaging in reflective practice also helps exhibit developers feel like they are engaged in significant work, feel more inspired, and feel challenged by their work. Exhibit developers have many different perceptions of reflective practice, including the following: thinking of reflective practice as mindfulness; engaging in reflective practice by looking at past experiences; using reflective practice to ensure the pieces fit together as a cohesive whole; using prototyping and evaluation as part of reflective practice; using reflection as critique; reflecting while looking at other people’s exhibits; and having reflective discussions. Benefits of engaging in reflective practice included focus on audience needs, incorporation of diverse perspectives, ongoing engagement with projects, meeting personal needs, gaining assistance and confidence in making decisions, and promoting adaptability. Challenges to engaging in reflective practice included time, money, the attitudes of museum or team leadership, other colleagues, the institutional culture, and the field in general.
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Breen, L. "Re-modelling clay : ceramic practice and the museum in Britain (1970-2014)." Thesis, University of Westminster, 2016. https://westminsterresearch.westminster.ac.uk/item/9x230/re-modelling-clay-ceramic-practice-and-the-museum-in-britain-1970-2014.
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This thesis analyses how the dialogue between ceramic practice and museum practice has contributed to the discourse on ceramics. Taking Mieke Bal’s theory of exposition as a starting point, it explores how ‘gestures of showing’ have been used to frame art‑oriented ceramic practice. Examining the gaps between the statements these gestures have made about and through ceramics, and the objects they seek to expose, it challenges the idea that ceramics as a category of artistic practice has ‘expanded.’ Instead, it forwards the idea that ceramics is an integrative practice, through which practitioners produce works that can be read within a range of artistic (and non-artistic) frameworks. Focusing on activity in British museums between 1970 and 2014, it takes a thematic and broadly chronological approach, interrogating the interrelationship of ceramic practice, museum practice and political and critical shifts at different points in time. Revealing an ambiguity at the core of the category ‘ceramics,’ it outlines numerous instances in which ‘gestures of showing’ have brought the logic of this categorisation into question, only to be returned to the discourse on ‘ceramics’ as a distinct category through acts of institutional recuperation. Suggesting that ceramics practitioners who wish to move beyond this category need to make their vitae as dialogic as their works, it indicates that many of those trying to raise the profile of ‘ceramics’ have also been complicit in separating it from broader artistic practice. Acknowledging that those working within institutions that sustain this distinction are likely to re-make, rather than reconsider ceramics, it leaves the ball in their court.
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Richardson, Anne E. "Explainers' development of science-learner identities through participation in a community of practice." Antioch University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1327711877.
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Kim, Sujin. "A Case Study of Pages at the Wexner Center for the Arts and Its Implications for Collaborative Art Museum-School Programs." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1530882425478519.
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Parry, Caroline. "The Abramović Method: The Performance Art of Marina Abramović, 2010 to Present." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19296.
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This thesis examines the performance art of Serbian artist Marina Abramović from 2010 to today following her emergence into mainstream media with the success of her performance The Artist Is Present (2010). This thesis investigates Abramović’s approach to performance and how the roles of artist and viewer change in face of increased fame, documentation, and age. The thesis argues that as Abramović ages, she is becoming increasingly preoccupied with her fame and with securing her legacy and that this concern is reflected by her increased documentation and self-promotion, as well as her interest in transitioning into the role of teacher rather than artist. This thesis ends with an optimistic look at the opening of The Marina Abramović Institute in late 2015 as a new type of institute in which Abramović's presence and legacy will be mediated not through the static and limited representation of photographs and relics but by the experiences and actions of the visitors themselves.
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Stewart, Nancy L. "Preparing Young Children to Respond to Art in the Museum." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3098.
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This thesis describes a research study which the Investigator prepared and documented. It involved two groups of five kindergarten children who were prepared by the Investigator to view one artwork in a museum. Children were prepared to view the artwork by exploring and solving open-ended design problems with large shapes, one-third the size of those in the artwork. The Investigator guided children to respond to the artwork through inquiry and discovery activities related to the artwork's specific characteristics. Findings revealed that kindergarten children enjoyed exploring large shapes and were capable of solving collaborative design problems with the shapes, which prepared them to respond to an artwork with similar shapes.
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Norton-Westbrook, Halona. "Between the 'collection museum' and the university : the rise of the connoisseur-scholar and the evolution of art museum curatorial practice 1900-1940." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/between-the-collection-museum-and-the-universitythe-rise-of-the-connoisseurscholar-and-the-evolution-of-art-museum-curatorial-practice-19001940(b1c01103-496f-44f6-a1a1-24c556c8a04c).html.
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This thesis investigates the evolution of curatorial practice in Britain and the United States in the first four decades of the twentieth century through an analysis of the formative years of two museums, the Wallace and Frick Collections, and of two academic programmes, the Fogg Art Museum Course at Harvard University and the Courtauld Institute of Art at the University of London. Through these case studies, this study charts the emergence and development of a specialised curatorial knowledge base that was influenced by traditions of connoisseurship and criticism and shaped by discussions surrounding art history’s disciplinary parameters taking place in the museum, the press, the art market and the university. This investigation makes visible the processes through which art museum curators, keepers and directors collaborated in the creation and standardisation of their own expertise and contends that this quest was fundamentally intertwined with struggles for authority, agency and professional recognition. The manifestation of this expertise resulted in a renegotiation of institutional power dynamics and gave rise to a new type of art museum leader: the connoisseur-scholar, who performed an important function in the art museum’s transition from a space dominated by gentlemanly amateurs to one in which academically trained art historians increasingly assumed positions of authority. Asserting that the formation of this knowledge base cannot be separated from the academic institutionalisation of art history and curatorial training, this study demonstrates that individuals operating in the spheres of the art museum and the university were engaged in a dialogue through which the core values of these respective endeavours were realised. Detailing these processes and relationships and locating them within the context of a shift towards aesthetic idealism, this thesis provides insight into the historical origins of modern-day curatorial practice in Britain and the United States.
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King, Heather. "Supporting natural history enquiry in an informal setting : a study of museum explainer practice." Thesis, King's College London (University of London), 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594238.
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Everest, Sophie. "Film and the production of knowledge at the Manchester Museum : a practice-based study." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/film-and-the-production-of-knowledge-at-the-manchester-museum-a-practicebased-study(cb87e323-151a-4d5f-b98a-278d86eccd36).html.
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Non-fiction film shares a long and relatively uncharted history with the museum. Today, filmmaking is a widespread yet critically neglected area of modern museological practice. This practice-based PhD situates itself within these critical gaps to examine the knowledge producing potential of film archives and film practice at the Manchester Museum. Its primary historical sources are a group of taxidermy objects at the Manchester Museum, an archive of 16mm acetate films at the North West Film Archive and a collection of travel journals at Cheshire Archives and Local Studies. These diverse collections were generated by Maurice Egerton, the 4th Baron of Tatton in Cheshire during his travels in Africa in the first decades of the twentieth century. This thesis brings all three together for the first time since their moment of production. These collections recur throughout the thesis as I ask how film archives can complicate and enrich our understanding of collections and how filmmaking practice might continue to bring new types of knowledge into the museum and archive. Two research films are submitted with and discussed within the thesis. The first, 'Living Worlds at the Manchester Museum', adapts observational methods from visual anthropology to record objects and staff during the re-display of the mammal gallery at the Manchester Museum in 2011. The second, 'Articulating Archives' is the result of a creative collaboration in 2014 with Year 8 secondary school students and the institutions and archives named above. Within the production and analyses of these films I draw on diverse critical sources to suggest that film can illuminate properties of materiality, embodied knowledge and performed engagement that textual accounts fall short of capturing.
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Thorne, Jessica Louise. "The choreography of display : experiential exhibitions in the context of museum practice and theory." Master's thesis, University of Cape Town, 2003. http://hdl.handle.net/11427/22063.
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Bibliography: pages 118-123.In this project I examine curatorial processes and the experience of constructing and viewing museum exhibitions. Specifically I have been interested in the way in which certain exhibits facilitate powerful emotional responses from their viewers. I suggest that the curators of these kinds of exhibitions employ strategies which not only choreograph the displays but the viewers' bodies themselves as they move through them. As a case study of an experiential exhibition I focus on the District Six Museum where I have been part of its curatorial team since 1999. The work of curatorship that I have done at the Museum during the period of my registration for this degree constitutes part of this submission.
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Howe, Laura Paulsen. "Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2015.pdf.
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Pryde-Jarman, D. "Curating the artist-run space : exploring strategies for a critical curatorial practice." Thesis, Coventry University, 2013. http://curve.coventry.ac.uk/open/items/ec4c19c4-55de-475d-a95f-0a310c037ced/1.
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The once distinct roles of artist and curator have blurred dramatically in recent decades owing to a blending process in both directions, which has led to a turn towards the concept of the curator as producer and author, and the development of the hybridised figure of the ‘artist-curator’. Within my practice-based curatorial research at Meter Room and Grey Area, the 'artist-run space', as both form and content of space, is used as a critical framework for artist-curatorship. Artist-run spaces play a significant role in the cultural ecology of the UK, and this project explores the power relations involved in the production, distribution, and consumption of work within the field, in terms of both a cause and effect of a contested relationship with institutions and commercial galleries. Artist-run spaces are initiated for a number of reasons, but this project specifically focuses upon those spaces that identify with terms such as ‘independent’, 'alternative', ‘not-for-profit’, ‘DIY’, ‘self-organised’, and ‘critically engaged’. Using strategies for the development of a critical practice, such as Chantal Mouffe’s theories on ‘counter-hegemony’ and ‘agonistic space’ (2007), and Gerald Raunig's concept of 'instituent practice' (2009), this project explores how curatorial practices within artist-curator-run spaces might offer different ways of working, and be used to contest hegemonic structures within the field. I explore the role of critique within curatorial practice, specifically in relation to the struggle for autonomy, the production of subjectivity, and strategies for negating or resisting cooption by the New Institutions of post-Fordist neoliberalism. Three curatorial strategies were developed from experimental projects at both spaces, and then explored at Meter Room over a 2-year period. These strategies sought to occupy institutional structures in new ways: through the re-functioning of 'void' space, blending studio and gallery functions within a Curatorial Studio, developing a paracuratorial practice referred to as Caretaking, and re-approaching the concept of a collection-based institution through processes of layering works and their vestiges within an Artist-run Collection. The practice-based research culminated in a 5-month durational project in collaboration with five other artist-run spaces based in the West Midlands region, which explored a strategy for the creation of a new speculative artist-run institution as a dialogical process of instituting values through a critical curatorial practice.
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Pyle, David N. "Frameworks for engaging creative practice in bureaucratised project environments." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/87268/15/David%20Pyle%20-%20Guide%20to%20Materials.pdf.
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This project examines procurement of creative services in a bureaucratic setting and proposes alternative procedures that better negotiate the tensions between creative and bureaucratised ways of working. The outcome is a project procurement strategy called 'Creative Practice Enabled Procurement' and a prototype industry toolkit 'It's Not Shopping! A Guide to Purchasing Innovation and Creativity'. The research is of benefit to managers and creative practitioners, especially those working in interpretive settings. The goal is to propagate better forms of creative procurement across government and private sectors by providing an evidence-based case for improved, practical alternatives.
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Walters, Diana. "Attracting zealots : responses to disability in museum collections and practice in the early 21st century." Thesis, University of Newcastle Upon Tyne, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445550.
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Keith, Kimberley Frances. "From civilization to participation : the convergence of policy, practice and difference in the art museum." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/4888/.
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This research examines how practitioners in the art museum engage with difference, particularly with the black subject, and the influence that policy, which is intended to promote access and inclusion, has on the process. How difference is imagined and addressed is explored through an investigation of the lived experience of museum professionals in both the United States and the United Kingdom. The research is an ethnographic study that utilizes a multidisciplinary theoretical framework, drawing from sociology, cultural studies, social and cultural history, art history, and museum studies, and its methodological approach includes in-depth interviews in Seattle, New York and London, and long-term participant observation in London. An examination of race, diversity and representation, an overview of historical accounts substantiating the development of support for the arts and culture, and an indication of arts policy in the US and UK provide a context from which to view the empirical data. The data makes visible how specific communities are imagined, how projects are developed for ‘targeted’ audiences, and it reveals how conventions in practice continue to perpetuate an air of exclusivity in institutions purportedly open to all. Contrasting and comparing the stated motivations and intentions of practitioners with observed practice illuminates the challenges inherent in transforming words into action. These challenges expose the mechanisms of essentialism, instrumentalism and exclusion that can be exerted in practice; analysis of the process illustrates the complexity of shifting the narrative and culture of the museum, a shift which denotes the evolution in learning and audience development from a civilizing, transmission approach towards a participatory, individual meaning-making approach. This research intends to enhance the understanding of the agency of museum practitioners, particularly during their engagement with difference and external policy mandates, whilst they are concurrently situated in the evolving material and discursive space of the art museum.
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Alberti, Samuel John Matthew Mayer. "Field, lab and museum : the practice and place of life science in Yorkshire, 1870-1904." Thesis, University of Sheffield, 2001. http://etheses.whiterose.ac.uk/3512/.
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Later Victorian Yorkshire was home to a vigorous community of life science practitioners. In studying them, I reassess three dichotomies familiar to the contextualist historian of Victorian science: field and laboratory, science and society, and amateur and professional. I outline the refashioning of amateur and professional roles in life science, and I provide a revised historiography for the relationship between amateurs and professionals in this area and era. While exploring these issues, I examine the complex net of cultural and educational institutions where the sites for the practice of life science emerged and existed. Natural history practices shaded imperceptibly into other facets of civic culture. I present natural history as a leisure activity and as a resource utilised by the maturing provincial middle classes, one of a range of cultural activities within a network of voluntary associations. This thesis is arranged by institution: philosophical society, museum, civic college and field club. Each of these corresponds, loosely, to a site for science: respectively, lecture hall, museum, laboratory and field. The traditional `field versus lab' historiography ignores the many and varied sites for life science in this era, and conceals how far field-based natural history endured alongside the laboratory as it emerged as the hegemonic site for life science. I explore these and other issues by using the career of Louis C. Miall (1842-1921) as a narrative thread. Despite his activities as a lecturer, curator, field club president and laboratory biologist, Mall sought to construct a professional identity based solely on the authority of the laboratory, in contrast to that of the amateur naturalist. To take his partisan rhetoric at face value, however, is to ignore the variety and vitality of life science practices in Victorian Yorkshire.
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Haidet, Roza. "Socially Engaged Art: Managing Nontraditional Curatorial Practice." University of Akron / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=akron1374491330.
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Monaco, Luciana M. "O setor educativo de um museu de ciências: um diálogo com as comunidades de prática." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-14102013-131236/.
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Entender a constituição das equipes educativas de um museu de história natural a partir de sua prática é o objetivo principal dessa tese. Tomando como ideia central a formação de comunidades de práticas (educativas), descrevemos como os educadores se relacionam entre si e nesse processo, constroem suas identidades. Para tanto, nós utilizamos da metodologia de pesquisa qualitativa em educação, a qual se focou na análise dos elementos que compõe as práticas educativas do museu estudado e nas dimensões constituintes de uma comunidade de prática (engajamento mútuo, empreendimento conjunto e repertório partilhado) confrontando-as aos dados coletados. A instituição elencada para esse estudo foi o Museu Paraense Emílio Goeldi, localizado em Belém, Pará o qual conta com um setor educativo estabelecido e diversos programas educativos em curso. A abordagem teórica das comunidades de prática de Etienne Wenger foi adotada nesse estudo por incorporar o princípio de que a prática desenvolvida por um grupo é parte de um processo coletivo de aprendizagem social que irá definir as suas identidades e, que poderia, portanto ser aplicada à compreensão de como funcionam os setores educativos dos museus. Foi também intenção deste estudo levantar a discussão sobre a especificidade educativa dos museus a partir do olhar sobre a composição de um setor educativo. Preliminarmente, identificamos que o setor educativo do Museu Goeldi se divide em três equipes com funções diferentes e que detêm aproximações e distinções em relação à prática educativa. Do ponto de vista do repertório associado à prática (educativa), os resultados apontam que os educadores partilham inúmeros elementos presentes nas ações conduzidas na instituição, sem, porém negociar seus significados. Partilham ainda de uma identidade comum em relação ao museu com o qual mantêm um forte vínculo que transparece no intenso envolvimento ao trabalho que executam. A missão institucional e os temas de pesquisa do Goeldi são uma forte influência no fazer educativo das equipes. Outra característica marcante entre os educadores é a percepção do público visitante, usada por eles como premissa ao desenvolvimento de todas as ações educativas. No entanto, não foi evidenciado o compartilhamento de um objetivo comum a todos, uma condição para se constituírem como comunidade de prática. Numa perspectiva ampliada essa pesquisa indica que as equipes educativas de museus podem lançar mão de fatores que favoreçam a interação entre os indivíduos com vistas à aprendizagem social e ao reconhecimento de uma identidade comum, como o estabelecimento de um espaço comum aberto à discussão e a negociação, abertura à participação de novatos e manutenção de canais de comunicação e a documentação e o registro das ideias, ações e projetos de maneira sistematizada e acessível a todos. Esse conjunto de indicativos poderia contribuir positivamente não somente à criação e à recriação de práticas e, consequentemente á aprendizagem coletiva, mas também reafirmaria a função educativa do museu e sua importância como área do conhecimento.An understanding of the constitution of educational groups in a natural history museum from its practice is the main object of this thesis. Taking as a central idea the formation of communities of (educational) practices, we describe how educators relate to each other and build their identities in this process. Therefore, we applied the qualitative research methodology in education, focusing on the analysis of the elements that compose the educational practices of the studied museum and on the constituent dimensions of a community of practice (mutual engagement, joint enterprise and shared repertoire) comparing to the collected data. The chosen institution to this study was the Museum Paraense Emílio Goeldi, located in the city of Belém Pará State, which has an established educational sector and several educational programs in progress. The theoretical approach of the communities practice focused on Etienne Wenger ideias was adopted in this study, by embodying the principle of that the practice developed by a group is part of a collective process of the social learning that will define its identity so, it could be applied to the understanding of how the educational sectors of the museums work. This study was also intended to encourage the discussion about the educational specificity of the museums from the perspective of the constitution of an educational sector. Initially, we identified that the educational sector of Goeldi Museum is divided in three groups with different functions, times holding a close relation to educational practice, times being distinct from this. From the perspective of the associate repertoire to the (educational) practice, the outcomes show that the educators share diverse elements in the institutions driven actions, although, without trading its meanings. The educators also share a common identity to the museum they maintain a strong connection with, which transpires in an intense feeling to the job they perform. The institutional mission and the research themes from Goeldi are a strong influence in the groups educational practice. Another strong characteristic among the educators is the perception of the visitors, taking by them as a premise to the development of all educational actions. However, it was not evident the sharing of a common goal, a condition to them to constitute themselves as a community of practice. In a large perspective this study show that educational groups of museums may betake factors that favor the interaction among people facing social learning and the recognition of a common identity. Such as the establishment of a common open space to discussion and negotiation, opening to the participation of new entrants, maintenance of communication channels, and to the documentation and register of ideas, actions and projects in a systematic and accessible manner to all. This set of suggestions could contribute positively not only to the creation and recreation of practices and consequently to the collective learning, but also to the reassurance of the educational function of the museum and its importance as a knowledge field.
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Ballard, Tammara L. "A Case Study of the Springville Museum of Art Pre-Exhibition Workshop." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6283.
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The author designs a traveling professional development opportunity, Pre-Exhibition Workshop, for the Springville Museum of Art (SMA) Educational Outreach Program. All Utah high school art teachers and their students are invited to attend one of twenty-five presentations throughout the state's school districts. This thesis examines the challenges and benefits of including students in the process of preparing their own entries for the 2014 42nd Annual Utah All-State High School Art Show. The curriculum for the workshop follows a new lesson plan model of including enduring understandings and essential questions as outlined by the 2014 National Core Art Standards. The question driving this research project is: Will the schools that participate in a pre-exhibition workshop be better prepared to submit quality entries into the 2014 42nd Annual Utah All-State High School Art Show and be more likely to schedule a field trip to experience the exhibition? To develop the SMA Pre-Exhibition Workshop, the researcher applies a case study methodology that includes some aspects of action research including planning, acting, reviewing, and revising. The collected data measures the effectiveness of this workshop by analyzing observation notes collected during the workshop, reviewing surveys completed by participating teachers, and comparing the SMA 2014 42nd Annual Utah All-State High School Art Show entry data with the data collected from the attendees of the SMA Pre-Exhibition Workshop. It was concluded that most schools participating stated that the workshop did benefit their students by helping them prepare to submit their own art entries. Of the students attending the workshop, none were disqualified from the 2014 42nd Annual Utah All-State High School Art Show due to rule infringements, and several of the participating schools went on a field trip to view the exhibition. In conclusion, the author recommends that the SMA Pre-Exhibition Workshop continue and suggests ways of improving the program's promotions, presentation, and data collection.
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Diffey, Linda L. "Museum exhibit planning, an exploration of theory and practice among electronic mailing list and newsgroup subscribers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ32094.pdf.
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Cundy, Alys. "A century of reinvention : display policy and practice at the Imperial War Museum, London 1917-2017." Thesis, University of Bristol, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.682715.
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War museums face the challenge of representing the violence and trauma of conflict through its material remains. This thesis analyses the ways in which the Imperial War Museum (IWM) in London has used its extensive and varied collections to represent warfare, from its foundation up to and including its latest redevelopment. It identifies four phases in the museum's display history. In its first decades the IWM authorities presented the museum's objects as commemorative 'relics'; tangible markers of the First World War and all those who had participated in it. Following the Second World War, the institution revised its remit to include the new conflict and in doing so placed greater value on the informative capacity of its collections. The 1960s saw another fundamental change of purpose as a new Director made historical scholarship central to the institution's displays. In more recent decades a variety of interpretive values have been applied to the museums' collections; with exhibits being represented as sculptural pieces, historical evidence, symbolic markers and 'witnesses to war'. By following the developments in the public exhibitions at the IWM this thesis reveals that, whilst the IWM has reinterpreted its collections multiple times since 1917, these 'reinventions' have been frequently contested. Furthermore, the history of the IWM is marked by notable absences and silences; fissures in an interpretive strategy considered incapable of containing some of the most traumatic associations of the collections. This provides insight into the nature of the material culture of conflict. The history of the IWM shows the meanings of the physical remains of war to be fluid; capable of repeated change according to the priorities and practices of this responsible for them. However, such remains are also powerful signifiers of conflict, and as such are subject to the divisions and controversies associated with war itself.
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Buffington, Melanie L. "Using the Internet to develop students' critical thinking skills and build online communities of teachers: A review of research with implications for museum education." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1092187119.
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Anderson-Milhausen, Jess. "Frozen organic artifacts, museum practice, and community archeology: An example from Alaska's Wrangell St. Elias National Park." Connect to online resource, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1453570.
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Carpi, Laura. "Social inclusion on display : a cross-cultural study of museological practices in Sweden and Italy." Thesis, Uppsala universitet, Institutionen för ABM, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-426329.
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This study investigates the practices of four museums in two countries in relation to the notion of social inclusion and how their museum professionals reflect about the topic. The aim is to provide an empirical grounding of Sandell’s theory about the three levels of impact within which museums can address social exclusion: with individuals, specific communities and wider society. The practices of four museums will be analysed and discussed: Västmanlands läns museum and Västerås Konstmuseum in Västerås, Sweden and Musei Civici and Fondazione Palazzo Magnani in Reggio Emilia, Italy. To answer the research questions, nine qualitative semi-structured interviews were performed. The informants selected are museum professionals responsible for different public practices at their institutions. The interviews were taped and at a later stage transcribed. Additionally, documentation from different sources completes the empirical data. A qualitative analysis has been employed to analyse the data. Text analysis and thematic analysis were selected to scrutinize the data. I employed the deductive method to trace Sandell’s theory on the data. The findings show that the notion of social inclusion is a subjective concept. Nonetheless, all the informants’ ideas of social inclusion are consistent with Sandell’s definition. The practices enhanced by the museums to address social inclusion are different in nature but mirror the understanding of the concept expressed by the museum professionals and it is in line with Sandell's model. Therefore, his theory about the three levels of impact that museums can achieve implementing inclusive practices is verified by the empirical data. Moreover, my hypothesis about the link between the social inclusion enact by museums and the socio-cultural context is proved too. This is a two years master's thesis in Museum and Cultural Heritage Studies.Denna uppsats undersöker på vilket sätt fyra museer i två länder arbetar med social inkludering samt hur deras medarbetare resonerar kring detta. Syftet var att se huruvida det går att empiriskt belägga Sandells teori, som handlar om att museer kan bekämpa social exkludering på tre nivåer: med fokus på individer, särskilda grupper eller samhället i stort. Den publika verksamheten i fyra museer har analyserats och diskuterats: Västmanlands läns museum samt Västerås Konstmuseum i Västerås, Sverige; Musei Civici samt Fondazione Palazzo Magnani i Reggio Emilia, Italien. För att besvara uppsatsens frågeställningar gjordes nio semi-strukturerade kvalitativa intervjuer med musei-arbetare. Informanterna arbetar i olika publika verksamheter inom dessa museer. Intervjuerna spelades in och transkriberades sedan. Utöver dessa har olika dokument från andra källor använts som komplettering. Analysen gjordes med hjälp av textanalys samt tematisk analys utifrån en deduktiv ansats, för att undersöka Sandells teori. Resultatet av denna studie visar att begreppet social inkludering har olika subjektiva innebörder. Icke desto mindre överensstämmer alla informanters idéer med Sandells definition av social inkludering. Museers publika aktiviteter kopplade till social inkludering är olika till sin natur men speglar museiarbetares förståelse av konceptet och är i linje med Sandells modell. Därför stödjer forskningsresultaten hans teori om att museer kan bekämpa social exkludering på tre nivåer. Dessutom styrks även uppsatsens hypotes om sambandet mellan museernas sociala inkludering och det sociokulturella sammanhanget. Detta är en masteruppsats i musei- och kulturarvsvetenskap.
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Carroll, Rowan Amber. "The acquisition of the Partington Collection by Whanganui Regional Museum : valuing relationships in museum policy & practice : a thesis presented in partial fulfilment of requirements for the degree of Master of Arts in Museum Studies at Massey University, Palmerston North, Aotearoa." Massey University, 2008. http://hdl.handle.net/10179/881.
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The purpose of this thesis is to underline the importance of developing useful and mutually beneficial relationships between local iwi and museums, and to consider the subsequent implications for museum practice. The thesis assembles a variety of contemporary sources in order to document and construct a chronological narrative of events: minutes and communications; interviews with staff and key participants in the process of acquiring the Partington Collection by the Whanganui Regional Museum; media reports; and a survey of recent literature. The Partington Collection of Whanganui Maori photographs is integral to this examination because of its importance to both Whanganui iwi and the Whanganui Regional Museum. The situation of colonial photography in museums has changed over the century from being viewed as a factual reflection of the cultural imperatives of indigenous peoples, to being viewed as a colonial construct consigning indigenous peoples to their past. Because this Collection is the most comprehensive photographic documentary of Whanganui Maori from the turn of last century it adds immense value to the Museum’s existing collections. However to Whanganui iwi the photographs of their ancestors are taonga tuku iho: far more than just photographic images they are demonstrably and undeniably imbued with the mana of their tupuna. The public auction in 2001 of the Partington Collection created a catalyst for action and an opportunity for Whanganui iwi and the Museum to work together to ensure the return of the photographs to Whanganui, an outcome that was finally achieved in 2002. The thesis concludes that the successful return of the Partington Collection to Whanganui could not have been possible without the long term evolving relationship between iwi and the Museum and in particular the more recent emergence of a bi-cameral governance structure. Furthermore the maintenance of relationships and communication is crucial to the evolution of museum practice. This would suggest a reversal of the traditional perspective that museum practice and procedure is pre-eminent. Instead, this case study demonstrates that relationships are at the heart of museum practice.
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Horsley, Jeffrey. "Embedding the personal : the construction of a 'fashion autobiography' as a museum exhibition, informed by innovative practice at ModeMuseum, Antwerp." Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5688/.
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My intention is to contribute to the field of exhibition-making a repertoire of presentation modes, previously not analysed or documented, that can be applied to the display of fashion in the museum and which will extend those techniques currently available to the exhibition-maker to create meaningful and stimulating exhibition environments. Part 1 contextualises my investigation, through discussion of the exhibition as source material, the methods employed to execute the research and analysis of relevant literature. Part 1 concludes with an introduction to ModeMuseum, Antwerp, which is the primary location for my research. Part 2 details the identification, description and definition of a repertoire of presentation modes, classified and distinguished as innovative through comparative analysis of over 100 exhibitions visited for this research, alongside investigation of the exhibition formats and structures that support deployment of the modes. Part 3 relates the application of the presentation modes to the construction of a 'fashion autobiography‘ in the form of a proposal for a hypothetical exhibition, through examination of the processes utilised to develop the exhibition narrative and detailed account of the proposal in its final realisation. In conclusion, I will critically reflect on the research executed, underlining the interrelationship of the theoretical and practice-based activities. Finally, I will detail opportunities taken to disseminate this research, and indicate possible directions for continued investigation.
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Bizerra, Alessandra Fernandes. "Atividade de aprendizagem em museus de ciências." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-15092009-132843/.
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Os museus, independentemente de sua tipologia e contexto de origem, mantêm em comum seu caráter de conservação e preservação do patrimônio cultural, bem como sua disponibilidade em ressignificá-lo. Embora historicamente o papel social dessas instituições tenha se alternado em força e motivos, uma dimensão torna-se evidente: os museus, nos modelos conhecidos hoje, apresentam-se como espaços educativos, organizados, com conhecimento humano historicamente construído, compartilhado e reproduzido por sujeitos ativos. Mas como os museus conduzem desse processo, considerando seu público como composto por sujeitos que atribuem valores e significados a esse patrimônio? Buscando uma reflexão sobre o entendimento do papel social dos museus no que tange à apropriação e re-produção da cultura, foi utilizado o referencial histórico-cultural, baseado nas ideias de Vigotski, Leontiev e Davidov e focado o processo de aprendizagem de conceitos e práticas. Com essa escolha, procurou-se compreender como está estruturada uma atividade de aprendizagem, de ressignificação do patrimônio, em museus de ciências. Assumiu-se, a priori, que essas instituições são locais em que o processo de aprendizagem está presente, mas não necessariamente a atividade de aprendizagem. Diferenciou-se, portanto, aprendizagem de atividade de aprendizagem, considerando-se que, a última, deveria ser investigada. Foi escolhida uma instituição para análise, o Museu Biológico do Instituto Butantan, e procurou-se compreender o atual uso de sua exposição de longa duração, por meio de uma perspectiva histórica. Para isso, foram analisados documentos oficiais e acervos institucionais e pessoais relacionados às práticas de educação em ciências e divulgação científica realizadas pelo Instituto Butantan desde sua criação, em 1901. Os macrociclos de atividade de aprendizagem expansiva encontrados permitiram compreender a atual exposição não somente como produto dos anseios e pressupostos da equipe de profissionais envolvidos, mas como fruto de atividades desenvolvidas por todo um século, que influenciam atualmente as interações estabelecidas entre público e instituição. Em um nível maior de escala, foi realizada a análise de ciclos e microciclos de aprendizagem por meio do olhar de visitantes e monitores. Para isso, foram realizadas entrevistas semi-estruturadas, registradas em áudio e vídeo, com mediadores do museu e famílias de visitantes. Os referenciais utilizados nessa investigação, incluindo o conceito de comunidades de prática, ofereceram dicas importantes de organização da atividade educativa em museus de ciências, especialmente relacionadas ao posicionamento do objeto museal como artefato mediador. Elementos como o uso de modelos germinais e de situações-problema, a seleção de conceitos e práticas nucleares, a promoção da ascensão do abstrato ao concreto, o movimento entre ações e operações, a zona de desenvolvimento imediato como propulsora do desenvolvimento, a mediação semiótica e social apresentaram-se como elementos importantes para a práxis profissional dos educadores de museus. Com as relações estabelecidas entre a Teoria da Atividade e a Aprendizagem em Museus, espera-se que esta investigação tenha contribuído para o entendimento dos museus como estruturas mediadoras, facilitadoras das múltiplas possibilidades de interação entre o sujeito e a cultura.The museums have in common the character of cultural heritage conservation and extroversion regardless of their kind and origin context. Although historically the social role of these institutions have been changing in power and reasons, a dimension becomes clear: the museums, the model known today, are educational spaces, organized with human knowledge historically constructed, shared and re-produced by active subjects. How do the museums lead this process, considering their audience as composed of individuals that give values and meanings to this heritage? Intending a discussion on understanding the social role of museums in terms of appropriation and re-production of culture, we used the historical-cultural approach, based on the ideas of Vygotsky, Leontiev and Davydov and we focused on the process of learning concepts and practices. With this choice, we aimed to understand how the learning activity is structured in science museums. We have assumed a priori that these institutions are places where the learning process is present but not necessarily the activity of learning. We distinguished, therefore, \"learning\" from \"learning activity\", considering that the latter should be investigated. An institution was chosen for analysis, the Biological Museum of Butantan Institute, and we tried to understand its long-term exhibition through a historical perspective. For this, we analyzed documents and institutional and personal collections related to science education and science communiation practices held by the Butantan Institute since its creation (1901). The macrocycles of expansive learning founded helped us to understand the current exhibition not only as a product of the anxieties and assumptions of the team of professionals involved, but as a result of activities developed in a whole century, which currently affect the interactions between audience and institution. On a higher level of scale, the analysis of cycles and microcycles of learning activity was developed by the point of view of visitors and monitors. For that, semi-structured interviews with museum explainers and visitor families were recorded on audio and video. The theoretical approaches used in this research, including the concept of \"communities of practice\", offered important tips for organizing the educational activities in science museums, especially related to the positioning of the museum object as mediator artifact. Elements such as the use of germ-cell models and inquiry situations, the selection of nuclear concepts and practices, the promoting of the ascending from abstract to concrete, the movement between actions and operations, the use of the proximal development zone, the social and semiotic mediation, were described as important for the professional praxis of museum educators. With the relationship between activity theory and learning in museums, it is expected that this research may contribute to the understanding of museums as \"mediators\" structures which facilitate the many possibilities of interaction between the individuals and culture.
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Erskine-Loftus, Pamela F. "What is the relationship western museological practice and philosophy and display in the Sharjah art museum, United Arab Emirates?" Thesis, University of Newcastle Upon Tyne, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531734.
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Warpas, Katarzyna Bogusława. "Designing for dream spaces : exploring digitally enhanced space for children's engagement with museum objects." Thesis, University of Wolverhampton, 2013. http://hdl.handle.net/2436/304817.
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This thesis presents an investigation into the potential of digitally enhanced exhibition spaces to foster the engagement of children within family groups with museum objects on display, i.e. where physical contact is prohibited. The main focus is on the influence of digital enhancement on visitors’ engagement with artefacts and not on the digital elements themselves. This study has taken the mixed methods approach. It combines ethnographicallyinformed field studies with a design intervention within an overarching methodology of action research. In the review of literature, research from multiple fields including museum studies, interaction design and play research was brought together and examined from the perspective of exhibition design. This led to the development of the Social Dream Spaces Model. This model, which describes how visitors engage with museum objects, was used as the basis for a design intervention aimed at enhancing children’s engagement with exhibited artefacts. In-gallery participant observations were carried out in Bantock House Museum, Wolverhampton. Insights, based on data analysed from the perspective of the Social Dream Spaces Model, were used to develop a prototype of a digitally enhanced space, which was implemented into the existing exhibition. Data gathered in observations before and after the design intervention were compared in order to determine any changes in visitors’ responses to the exhibition. This study demonstrates the benefit of using the Social Dream Spaces Model for designing digitally enhanced exhibition spaces that promote children’s engagement with artefacts and social contact around them. The findings also confirm that designing subtle and nonintrusive digital enhancement can facilitate intergenerational interaction in exhibition spaces.
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Cushway, David. "A model for the interpretation of the ceramic object located in the museum developed through post-disciplinary, post-studio practice." Thesis, University of Sunderland, 2015. http://sure.sunderland.ac.uk/5824/.
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This research is initiated through an examination and mapping of the contemporary ceramics discourse within the United Kingdom and is situated from 1994 until the completion of my PhD study in 2014. This analysis of the practical and theoretical fields of ceramics practice provides a framework within which my own education and development as a practising artist can be measured and authenticated whilst providing a critical overview of the changing critical landscape of ceramics discourse over the last twenty years. Ceramics as an expanded field is evidenced through case studies of artist peers; and interviews with key critics, writers and curators. It introduces the positions of the post-studio and post-disciplinary practitioner as paradigms of practice that acknowledge an artists’ capacity to operate within the field of ceramics, utilising a multitude of approaches, media and mediums. The practical element of the research is developed outside of the studio within the context of the museum and its collection. This is embodied by employing a bricolage methodology that identifies the artist as an individual who ‘works between and within competing and overlapping perspectives and paradigms’ (Denzin and Lincoln, 1994). The resulting practical outputs of Last Supper at the Glynn Vivian, 12 People 12 Objects and Teatime at the Museum created through the mediums of film and photography are presented as both completed works and constituent elements of contemporary ceramics practice. They offer an original contribution to knowledge by presenting an adjustable model of engagement with the ceramic object and collection implemented by the post-disciplinary, post-studio practitioner in collaboration with the institution and curator.
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West, Angela Ames. "The Narrative Inquiry Museum:An Exploration of the Relationship between Narrative and Art Museum Education." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/3331.
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For art to become personally meaningful to visitors, museums need to view art interpretation as a narrative inquiry process. General museum visitors without art expertise naturally make meaning of art by constructing stories around a work to relate to it. Narrative inquiry, a story based exploration of experience, fits into contemporary museum education theory because it is a constructive and participatory meaning making process. This thesis examines how art museums can build upon visitors' natural interpretive behaviors, by employing art-based narrative inquiry practices and using the work of art as a narrative story text. Individuals learn when their personal narrative comes into conflict with the narrative of the museum and they negotiate new meaning. This kind of narrative learning is a process of inquiry that visitors must engage in themselves. The art museum interpretive experience can foster in visitors the ability to engage in an art-based narrative inquiry process by suspending disbelief,recalling personal memories, comparing different narrative versions, imagining possible meanings, and re-storying experiences into new understandings. This research text explores these topics through a narrative based method of inquiry comprised of a series of autobiographical stories describing the researcher's experiences in coming to understand the relationship between narrative inquiry and art museum education.
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Moncunill, Piñas Mariona. "Amateur museum practices: leisure, myth, and ritual. Seven case studies from Catalonia and a contrast case from Colombia." Doctoral thesis, Universitat Oberta de Catalunya, 2017. http://hdl.handle.net/10803/460808.
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Els museus amateur són museus practicats com a lleure pels seus fundadors. Malgrat que la museologia no ha prestat gaire atenció a aquesta tipologia de museus, ens ofereixen l'oportunitat de qüestionar temes importants sobre el museu com a institució, els objectius de les seves pràctiques, la manera amb què els individus s'hi poden relacionar i el paper que poden tenir en les nostres societats. M’aproximo a les pràctiques de museus amateur mitjançant una recerca qualitativa basada en la teoria fonamentada (grounded theory). Set casos d’estudi de Catalunya i un cas de contrast de Medellín (Colòmbia) conformen el corpus d’aquesta recerca. Han estat aproximats per mitjà d’observació participant, entrevistes en profunditat i revisió de documentació. El marc teòric i la construcció teòrica que resulta d’aquesta recerca es basen especialment en la teoria de la pràctica de Bourdieu i en la concepció de consum cultural de de Certeau, així com en els estudis de lleure i les teories sobre mite i ritual.Los museos amateur son museos practicados como ocio por sus fundadores. A pesar de que la museología no ha prestado mucha atención a esta tipología de museos, nos dan la oportunidad de cuestionar temas importantes sobre el museo como institución, los objetivos de sus prácticas, la forma en la que los individuos pueden relacionarse con ellos y el papel que pueden tener en nuestras sociedades. Me aproximo a las prácticas de museos amateur mediante una investigación cualitativa basada en la teoría fundamentada (grounded theory). Siete casos de estudio de Cataluña y un caso de contraste de Medellín (Colombia) conforman el corpus de esta investigación. Han sido aproximados por medio de observación participante, entrevistas en profundidad y revisión de documentación. El marco teórico y la construcción teórica que resulta de esta investigación se basan especialmente en la teoría de la práctica de Bourdieu y en la concepción de consumo cultural de De Certeau, así como en los estudios de ocio y las teorías sobre mito y ritual.
Amateur museums are museums that are run as leisure pursuits by their makers. These museums have generally been omitted from current museology research. However, because of their specificities, they give us the opportunity to question relevant issues about the museum as an institution, the aim of its practices, the way in which individuals can relate to museums and the role that they might have in our societies. I approach amateur museum practices through a qualitative methodology based on the grounded theory. Seven case studies from Catalonia and a contrast case from Medellin (Colombia) comprise the corpus of this research. All cases have been approached through participant observation, in-depth interviews and documental analysis.
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Heider, Cynthia. "Sympathy and Science: Social Settlements and Museums Forging the Future through a Usable Past." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/512948.
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HistoryM.A.
Affiliates of the United States settlement house movement provided a historical precedent for engaged, community-centered museum practice. Their innovations upon the social survey, a key sociological data collection and data visualization tool, as well as their efforts to interpret results via innovative, culturally democratic exhibition techniques, had a contemporary impact on both museum practice and the history of social work. This impact resonates in the socially-responsive work of community museums of the recent past. The ethics of settlement methodology- including flexibility, experimentalism, empathetic practice, local community focus, and social justice activism- foreshadow the precepts and practices of what is now known as public history.
Temple University--Theses
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Duhamel, Marc. "The problem of the sacred in postmodern museum practice : some thoughts on the Rideau Street Convent Chapel in the National Gallery of Canada." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ39993.pdf.
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Santos, Débora Pereira dos. "Prática(s) de ensino na Escola Normal Padre Anchieta na década de 1930: o museu didático nas proposições da professora Leontina Silva Busch." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-09122014-112249/.
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Esta dissertação discute as principais contribuições de Leontina Silva Busch como professora de Prática de Ensino do Curso de Formação Profissional de Professor na Escola Normal Padre Anchieta, no ano de 1936. O aspecto importante de seu programa de ensino foi a experiência de construção do Museu Didático, cuja característica principal era a de ser um museu composto por materiais didáticos confeccionados pelas próprias normalistas para serem utilizados nas aulas práticas. Para compreender de maneira mais eficaz as práticas dessa professora, foram realizadas investigações complementares em documentação relacionada à escola, no período de 1934 a 1939. Durante esse período, a professora ocupou o cargo de assistente da 1ª Seção de Educação. Neste trabalho, há uma breve retomada do histórico pessoal, acadêmico e profissional dessa professora, com o intuito de compreender os principais aspectos de sua trajetória e dar a conhecer o lugar de onde ela fala. Consta ainda desta dissertação uma apresentação detalhada do livro Organização de museus escolares, considerado como a produção intelectual mais densa de Leontina. O texto também apresenta as principais práticas efetivadas na Escola Primária anexa à Escola Normal Padre Anchieta, em colaboração com a 1ª Seção de Educação, da qual participaram ativamente a professora Leontina e suas alunas. Dentro do recorte temporal em estudo, destaca-se o ano de 1936, por ser considerado um dos momentos de maior projeção das práticas executadas pela professora nesse educandário, as quais eram justificadas pelas aulas de Prática de Ensino e pelo modo de organização das atividades pedagógicas do curso primário anexo à Escola Normal. Registros históricos indicam que, nesse período, ocorreu um envolvimento mais intenso das alunas mestras com as problemáticas do curso Primário e, principalmente, debates a respeito dos programas escolares, promovidos entre os professores da rede pública do Estado de São Paulo, pela Diretoria do Ensino do Estado de São Paulo, visando à reorganização e à padronização do currículo das Escolas Normais. Tanto a professora Leontina quanto a Escola Normal Padre Anchieta tiveram papel fundamental neste processo, contribuindo para a configuração de um programa único para a Prática de Ensino, em 1938.This thesis discuss the main contributions from Leontina Silva Busch, as a teacher at Escola Normal Padre Anchieta for Teaching Practice for the Professional Teacher Formation Course, in the year of 1936. The important aspect of her teaching program was the experience of building the Museu Didatico, which main aspect was to be a museum compound by didactic materials, made by the normalists themselves to be used in the practical classes. In order to understand better this teacher\'s practices, extra investigations were made in school related documents, in the period of 1934 to 1939. During this period, the teacher held the position of assistant on the 1st. Seção da Educação. In this work, appears a brief retake of her personnal, academic and professional historic, aiming to understand the main aspects of her path and to make known the place where she speaks from. This essay also shows a detailed introduction of her book Organização de Museus escolares, considered as her most intelectual production. The text also shows the main practices used at Escola Primária aside to Escola Normal Padre Anchieta, colaborating with the 1st Seção da Educação, which took part actively the professor Leontina and her students. During the time analysed, the year of 1936 is high-lighted, for been considered one of the moments of bigger projection for the practices applied in this school, which were justified by the Pratica de Ensino classes and for the way was organized the pedagogical activities of the primary course aside to Escola Normal. Historic records indicate this period shows a more intense engagement of the master students with the problematics of primary course and, specially, by the discussion on the school programs, promoted among the teachers of the public system in São Paulo State, by Departamento de Educação de São Paulo, aiming the reorganizing and standardization of the curriculum of the Normal Schools. Both, professor Leontina and Escola Normal Padre Anchieta had a very important role in this process, contributing to a configuration of a unique program for Pratica de Ensino in 1938.