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1
Wade, Amanda E. "Balancing preservation and interaction in the museum setting". Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1509Wade/umi-uncg-1509.pdf.
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Thesis (M.S.)--University of North Carolina at Greensboro, 2007.Title from PDF t.p. (viewed Feb. 28, 2008). Directed by Patrick Lee Lucas; submitted to the School of Human Environmental Sciences. Includes bibliographical references (p. 149-152).
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Edmundson, Jane, e University of Lethbridge Faculty of Fine Arts. "Dr. Soanes' Odditorium of Wonders : the 19th century dime museum in a contemporary context". Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Arts, c2013, 2013. http://hdl.handle.net/10133/3426.
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19th century dime museums were a North American phenomenon that flourished in urban
centres from the mid- to late-1800s. Named thusly due to their low admission cost, dime
museums provided democratic entertainment that was promoted to all classes as
affordable and respectable. The resulting facilities were crammed with art, artifacts,
rarities, living human curiosities, theatre performances, menageries, and technological
marvels. The exhibition Dr. Soanes’ Odditorium of Wonders strives to recapture the spirit
and aesthetic of the dime museum to invoke wonder in the viewer and to combine art,
artifacts, and oddities to provoke questions about the boundary between education and
amusement. Both the academic and curatorial texts utilize a mix of methodological
approaches appropriate to museology, art history and cultural history: theoretical research
into historiographical issues concerning theories of display and spectacle; archival
research and discourse analysis of historical documents, and material culture analysis
(including the semiotics of display).iv, 60 leaves : ill. ; 29 cm
3
Bhusate, Arvind M. "Intelligent Communication Technologies for Interactive Museum Exhibits". Thesis, Imperial College London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.519602.
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Dancu, Toni Nicole. "Designing Exhibits For Gender Equity". PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/339.
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Gender equity has been a national and global aim for over half a century (Ceci & Williams, 2007; National Center for Education Statistics, 2003; National Science Board, 2008). While gains have been made, one area where inequity remains is spatial reasoning ability, where a large gender gap in favor of males has persisted over the years (Else-Quest, Linn, & Shibley Hyde, 2010; National Science Board, 2008; Ruble, Martin, & Berenbaum, 2006). This gender gap in spatial reasoning has had substantial societal impact on the career interests of females in areas of Science, Technology, Engineering, and Math (STEM), contributing to the larger societal need to engage non-dominant groups in these fields to reduce outsourcing (Ceci & Williams, 2007; Jaschik, 2007; Wai, Lubinski, & Benbow, 2009; White, 1992). Both spatial reasoning ability and STEM career interest have been related to science museum visits (Hamilton, Nussbaum, Kupermintz, Kerkhoven, & Snow, 1995; Salmi, 2001, 2002). However, researchers have also found a gender gap in favor of males in regard to science museum attendance and experiences once at the museum (Borun, 1999; Crowley, 2000). There are many suggestions for increasing female engagement at science museums and creating equitable experiences, but few have been systematically studied (Kekelis, Heber, & Countryman, 2005; Koke, 2005; Maher, 2005; Taylor, 2005). This research investigated gender equitable exhibit development by enhancing a geometry exhibit with several female-friendly design features and analyzing video data to determine the effects on girls' engagement and social interactions with their caregivers. The findings suggest that incorporating several female-friendly design features leads to significantly higher engagement for girls (evidenced by greater attraction and time spent). This study also looked for any unanticipated negative effects for boys after incorporating the female-friendly design features. It is encouraging that this study was unable to detect any unintended negative effects for boys; however, such non-significant results are inconclusive and should not dissuade future research and design teams from continuing to check for unanticipated ill effects of female-friendly design features for boys. While the positive effects for girls were significant, it is important to note that they were not significantly more positive for girls than for boys; further research is needed to determine whether the female-friendly design features create a more equitable experience for girls, or a more positive experience for everyone. This study did not identify any significant differences in parent-child verbal social interactions between the two versions of the exhibit; however, the pattern of results suggests that gender discrepant parent explanations, as found by Crowley, 2001 in a children's museum, may be less of a concern for girls in science centers, providing an interesting area for future study. This research presents evidence to support incorporating female-friendly design features in future science exhibit development projects, and indicates areas where future studies are still needed to gain a deeper understanding of their effects.
5
Marsh, Hannah. "Memory in World War I American museum exhibits". Thesis, Kansas State University, 2014. http://hdl.handle.net/2097/18813.
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Master of ArtsDepartment of History
Sue Zschoche
As the world enters the centennial of World War I, interest in this war is reviving. Books, television shows, and movies are bringing the war into popular culture. Now that all the participants of the war have passed away a change is occurring in in American memory. The transition from living to non-living memory is clearly visible in museums, one of the main ways history is communicated to the public. Four museums are studied in this paper. Two exhibits built in the 1990s are in the 1st Infantry Division Museum at Fort Riley, Kansas, and the Chemical Corps Museum in Fort Leonard Wood, Missouri. The other two exhibits are newer and are the National World War I Museum in Kansas City, Missouri and the Cantigny 1st Infantry Division Museum in Wheaton, Illinois. Findings reveal that exhibits become more inclusive over time to civilian bodies, wounded bodies, and the specific image of “Americans killing Germans bodies.” However, even though there is change some things are turning into myths. The icon of the American soldier as a healthy and strong man willing to sacrifice his life for the country is still a major theme throughout all the exhibits. Finally, there are several myths that America has adopted from its allies. The icons of the bandages over the eyes from the chemical attacks and the horrors of the trenches are borrowed, to a certain extent, from America’s allies. The Americans were only in the war for a limited time and borrowed cultural memories to supplement their own. The examination of the four museums is important because this transition will happen again and soon. Museums must be conscious of the changes occurring during this transition in order to confront the challenges.
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Schneider, Amber N. Hafertepe Kenneth. "More than meets the eye the use of exhibitions as agents of propaganda during the inter-war period /". Waco, Tex. : Baylor University, 2009. http://hdl.handle.net/2104/5309.
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Redvale, Jolene Kay. "Interactive exhibits in museums: Definitions, methods and visitor experiences". CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1371.
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Eliason, Clint B. "Evaluating the Effectiveness of Supplemental Labels in Museum Exhibits". DigitalCommons@USU, 2007. https://digitalcommons.usu.edu/etd/6124.
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The present study used an experimental design to investigate the efficacy of using short (12 words or less), prominently placed supplemental labels to increase the effectiveness of select extant labels in museum exhibits. The experimenter-developed supplemental labels were designed to leverage exogenous/bottom-up and endogenous/top-down sources of influence on selective attention. Measures of patron behavior, knowledge retention, and attitude found no significant differences between group means under control and treatment conditions. These outcomes were surprising and inconsistent with findings from similar research conducted by Hirschi and Screven. The supplemental labels in the present study might have failed to capture attention because they were not sufficiently visually stimulating, they did not sufficiently tap internal motivations, or perhaps patrons experienced innattentional blindness in regards to them.
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Benne, Marcie Rae. "Methods for assessing influences of the visual-spatial environment on museum display attraction". Diss., Georgia Institute of Technology, 2001. http://hdl.handle.net/1853/30341.
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Zheng, Su. "Promoting children's creativity : a design method for interactive museum exhibits". Thesis, Coventry University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.492365.
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This thesis concerns the development ofa design method for interactive museum exhibit with the aim ofpromoting children's creativity. Key to the originality of this research is the development of the Creativity Surprise Model (CSM): a conceptual cognitive framework for the design of interactive museum exhibits. The model is unique in the way it combines areas oftheoretical discourse from a range of perspectives: constructivist learning theory, the philosophy of interactivity and developmental psychology and associated cognitive theories of creativity and motivational drives, into a unified multidisciplinary design approach. This synthesis as a design method to support interactive exhibit design has not been previously explored or attempted. The usability and effectiveness ofthe CSM as a design method to support designers ofinteractive designs that stimulate children's creativity is evaluated by constructing and developing a novel interactive prototype. It . demonstrates how the CSM can be applied as a method in a real life design scenario. The model is further subjected to a practical validation through a process of iterative . design stages and tested in a series ofexperimental trials. Interactive exhibits in museums are providing exciting and dynamic learning experiences with significant potential to stimulate children's creativity. However, many interactive exhibit designs with incorporated new technologies can be distractive or misleading rather than supportive to creative learning. Moreover, sophisticated intuitive interfaces designed to deliver easily accessible information are not teaching children the fundamental skills necessarily to Joster genuine creative outcomes. Certainly, incorporating a diverse range ofcommunication tools is the future of museum interactive exhibit design, including the use ofnew technology. However, these tools should be selectively and appropriately applied for the right purpose to maximise the educational value as well as providing enjoyable interactive learning experiences. The key to communication success lies not merely in the ability to construct an educational experience or make things interactive per se, but in the creativity of designer applying a considered multidisciplinary approach. However, exhibit designers who are skilled in their own design practice are not necessarily experienced in other specialist fields. Therefore, this requires a method which draws on conceptual resources frolll multidisciplinary perspectives to assist these designers in developing and evaluating interactive exhibits to effectively stimulate creativity in the target group. Given these arguments, this research is located in the following interrelated . . theoretic~1 frameworks: constructivist learning theory, the philosophy of interactivity and developmental psychology and associate.d cognitive theories of creativity and motivational drives. Collectively, these perspectives support the developmentand construction of the Creativity Surprise Model (CSM): a cognitive framework that informs a ~esign method for the design of interactive museum exhibits to stimulate creativity in children. Findings reported from the evaluation of the prototype with 118 Primary school children, have validated the effectiveness ofthe CSM guided artefact in producing creative outcomes within a user defined group. The feedback from primary educators was genuinely supportive. Comme~ts from design professional and museum exhibit developer have been variously favourable with theconceptual framework being complimentary to their practice; moreover, it can be seen to formalize their aspirations providing clear insights into multidisciplinary practice. This practical value ofthe CSM model for designers lies in its identification of a motivational link between the emotion of surprise and the generation ofcreative thinking. It targets the user group at the concrete operational stage and directly addresses how to break down the rigid processing associated with this stage of cognitive development, thus it is likely to accelerate their transition to formal -operational thinking in a lasting and positive manner. As a result ofthis research and evaluation, a process ofhow to monitor the design process and assess the effectiveness ofthe artifact was developed from the key finding ofthe conceptual model - the dynamic relationship between creativity and surprise.
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Naujokaitis, Alina. ""Inside outer space exhibitions" : a museum intern's view of multi-sited exhibit performativity in Smithsonian Institution space culture /". Connect to online version, 2009. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2009/.pdf.
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Archibald, Joanna. "Museums and music : an argument in favour of a broader evaluation of the object-based nature of music collections in the United Kingdom". Thesis, University of St Andrews, 1996. http://hdl.handle.net/10023/15131.
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This work seeks to show that the experience gained through music in its practical and aural sense is not represented adequately in music museums because of the necessarily object-based nature of most museum displays. Restricting the analysis to museums - or their equivalent - in the United Kingdom, a representative cross-section of different museums containing music collections is studied. This material is discussed in terms of type, display, interpretation and visitors. Music's problematic standing in museums is subsequently ascribed to its essentially non-visual and transitory nature. A further series of case study museums is then examined - dealing with Film, Theatre, Sport and 'Conceptual Experiences' as subjects - each of which share elements of music's difficulty in presentation. From this, it is shown that many of these difficulties may be overcome; and some of the solutions may be adapted for musical material in both a practical and ideological sense.
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O'Donnell, Molly K. "Application of Darwinian evolutionary theory into the exhibit paradigm : implementing a materialist perspective in museum exhibits about Native Americans /". free to MU campus, to others for purchase, 2002. http://wwwlib.umi.com/cr/mo/fullcit?p3074434.
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O'Mara, Bryanna Leigh-Anne Marie Haferetepe Kenneth. "Museums and controversy you can't have one without the other /". Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5078.
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Grobler, Elda. "Collections management practices at the Transvaal Museum,1913-1964 Anthropological, Archaeological and Historical /". Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-05112006-101101.
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Osborne, Michelle. "The curator's room visceral reflections from within the museum : exegesis [thesis] submitted to Auckland University of Technology in partial fulfillment of the degree of Master of Art and Design, 2004". Full thesis. Abstract, 2004.
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Waite, Julia. "Under construction : national identity and the display of colonial history at the National Museum of Singapore and the Museum of New Zealand Te Papa Tongarewa : a thesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Museum and Heritage Studies /". ResearchArchive@Victoria e-Thesis, 2009. http://hdl.handle.net/10063/1039.
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Neurohr, Theresa. "The seismic vulnerability of art objects /". Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99782.
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Throughout history, objects of art have been damaged and sometimes destroyed in earthquakes. Even though the importance of providing seismically adequate design for nonstructural components has received attention over the past decade, art objects in museums, either on display or in storage, require further research. The research reported in this study was undertaken to investigate the seismic vulnerability of art objects. Data for this research was gathered from three museums in Montreal.The seismic behaviour of three unrestrained display cases, storage shelves, and a 6m long dinosaur skeleton model structure was investigated according to the seismic hazard for Montreal and representative museum floor motions were simulated for that purpose. Particular attention was paid to the support conditions, the effects of modified floor surface conditions, the sliding and rocking response of unrestrained display cases, the location (floor elevation) of the display case and/or storage shelves, art object mass, and the dynamic properties of the display cases/storage shelves. The seismic vulnerability of art objects was evaluated based on the seismic response of the display cases/storage shelves at the level of art object display. The display cases were investigated experimentally using shake table testing. Computer analyses were used to simulate the seismic behaviour of storage shelves, and the seismic sensitivity of the dinosaur structure was determined via free vibration acceleration measurements. The floor contact conditions and floor elevation had a crucial effect on the unrestrained display cases, causing them to slide or rock vigorously. The distribution of content mass had a large impact on the response of the shelving system. As a result of experimental and analytical analyses, recommendations and/or simple mitigation techniques are provided to reduce the seismic vulnerability of objects of art.
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Carmany, Karstin Marie. ""The Miami don't have meetings like other people have meetings" : Miami community identity as explored through a collaborative museum exhibition creation process". Virtual Press, 2002. http://liblink.bsu.edu/uhtbin/catkey/1230613.
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Museums have been intimately connected to the discipline of anthropology since the colonial era when curiosity cabinets were created to house "exotic" items from afar that were used to represent "exotic" people and their cultures. However, with the postmodern debates in anthropology, both the discipline and museums have begun to realize that most displays reveal more about those who create them than about those who are on display. This realization combined with the rise in Native American concern for the control of material culture that was taken from them and their involvement in civil rights activism has brought Native objects and their display to the forefront of these debates. This has resulted in a push for true collaboration in the discipline as well as museums, which is forcing museums to work with Native Nations in developing displays that fulfill the museums' needs and that relinquish power to Native Nations in the exhibit development process. This project involved the collaboration between the Miami Indians of Indiana and the researcher to create an exhibit that will be displayed in the Miami community. This thesis follows that intimate connection between museums and anthropology and looks at the exhibit to examine what it reveals about Miami community identity.Department of Anthropology
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Sin, Song-Chiew James. "Arts, culture and museum development in Singapore /". View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030901.095617/index.html.
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Studart, Denise Coelho. "The perceptions and behaviour of children and their families in child-orientated museum exhibitions". Thesis, University College London (University of London), 2000. http://discovery.ucl.ac.uk/1318009/.
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This study explores the part that child-orientated exhibitions play in the child and family museum experience. Such exhibitions are characterised by their distinctive approaches to learning, interpretation, and design, being especially devised for children. The research was carried out in children's galleries from three types of museum (a maritime museum, a science museum, and a children's museum) in order to compare and contrast similarities and differences between them. Since most of the research in this area has been carried out in science centres or science museums, there is a need to explore the situation in child-orientated exhibitions and compare it to studies carried out in other informal learning settings. Understanding the qualities of their experience in a child-orientated exhibition which children and families value and why and how design and interpretation decisions may affect family behaviour, perceptions, and learning, will enable educators, museum designers and other museum professionals to plan more responsive and meaningful child-centred exhibitions. Children from seven to eleven years old and their accompanying adults were considered in this study. The research involves both qualitative and quantitative approaches and the use of different methods of investigation, such as face-to-face interviews with children and an adult relative; unobtrusive observation of family group interactions at three exhibits in each gallery; and collection of children's drawings about their favourite exhibit in the galleries. The sample sizes for each investigation varied: 150 families, totaling 300 individuals, were interviewed (150 adults and 150 children); 450 different family groups were observed at the galleries (150 in each gallery); and 120 children's drawings were collected. The guiding principle was to adopt an holistic approach to the situation under investigation, taking into consideration Falk & Dierking's interactive museum experience model (Falk & Dierking, 1992), which considers the personal, social, and physical contexts of a museum visit. Findings from the observations indicated gender effects in adult splitting behaviour from the family group at exhibits according to family members joint-activity compositions, and that differences in exhibit design/tasks affected adult manipulation of hands-on exhibits and the level of proximity between family members. Nine attributes from attractive child-orientated exhibits were drawn from the observed exhibits: element of fun, challenging situation, element of surprise, child-sized exhibit design, imaginative design, opportunity for experiencing things, opportunity for role play, interactive machine/game, and teamwork. The analysis of the children's drawings revealed that drawings can be a valuable source of information about children's interactions with hands-on exhibits and can be used to assess children's understanding of exhibits through the depiction of the exhibit outcomes. The interview data was analysed qualitatively (inductive content analysis) and statistically (chi-squared tests). The analysis of the open-ended interview questions indicated that adult relatives were enthusiastic about the opportunity for the children to interact with exhibits and perceived the hands-on gallery approach as motivating to the child with regard to learning. Children perceived the exhibitions as exciting places and reported positive feelings. A few children mentioned negative feelings, which were related to problematic exhibit design. The majority of children said that they prefer to visit museums in a family context rather than in a school context. The statistical analysis of the closed questions indicated twenty-two significant associations between the adults' and children's interview variables, related to adults' and/or children's age, gender, education, perceptions, behaviour, preferences, visiting habits, and type of museum, supporting the notion that personal, social, and museum aspects affect the child's and adult's museum experience, perceptions and learning. Children's perceptions of their learning in the galleries were found to be affected by the time spent in the gallery, the type of museum, the accompanying relative, and the child's preference for the social context of the museum visit. This investigation provided new insights into the study of galleries designed for children, and has demonstrated that child-orientated exhibitions have features which positively affect the child and family museum experience, that children do perceive that they are learning in this environment, and that it is a effective catalyst for family social activity. Therefore, child-orientated exhibitions are a valuable museum provision for the child and family audiences.
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Sonter, Sharyn Louise. "The museum and the department store". View thesis, 1997. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030911.113738/index.html.
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Andersen, Evan. "An analysis of the art image interchange cycle within fine art museums /". Online version of thesis, 2010. http://hdl.handle.net/1850/11981.
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Rowlands, Mark Antony. "Using science museums to enrich and enhance primary school children's learning of science : children engaging in dialogue about museum exhibits". Thesis, Manchester Metropolitan University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.568806.
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The research addresses issues identified in an ESRC Case studentship developed in collaboration between Manchester Metropolitan University and the Museum of Science & Industry in Manchester. The original proposal had as its central aim "informing how museums can most effectively contribute to and enhance children's learning in primary school science". A case study is presented of upper primary school groups visiting the Museum, including discussions of the Museum's schools' provision and the practices of visiting school groups. Within that broader context, a main finding is that children can and do engage in dialogue about museum exhibits in ways that are relevant to their science learning. The finding is supported by empirical evidence from a series of discussions held with 8 to lO-year-old primary school pupils who had visited the Museum. The children find the exhibits rich, interesting and comprehensible enough to be engaging topics of conversation while being sufficiently thought provoking to challenge their ideas and their ways of talking. Sociocultural theory is used as a framework for analysing the science-relevant content of what the children talked about, the patterns of discourse they used, and the identities they enacted. The theory provides a fruitful way of understanding the children's engagement in talking as the concerns, sense of purpose, identification and emotion of participation in a social practice. Implications for museum education practice are identified. Talking about exhibits consolidates and strengthens the general educational value of visits by school groups to the Museum. Suggestions are made for how Museum staff and school teachers can build on children's museum experience to enhance their scientific literacy.
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Andrews, Erin Leigh. "Old Stories, New Narratives: Public Archaeology and the Politics of Display at Georgia's Official Southeastern Indian Interpretive Center". Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/anthro_theses/30.
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Presenting a case study of an American Indian exhibit at the Funk Heritage Center, I critically examine how this museum’s ideologies and preferred pedagogies shape public discourse about Southeastern Indians in the past and present. Using the methodology of Visitor Studies, this public archaeology project illustrates the benefits of incorporating applied anthropology into museological practice through collaboration with museum staff, volunteers, visitors, and American Indians. Operating within the theoretical frameworks of Charles R. Garoian (2001) and Barbara Kirshenblatt-Gimblett (1991), my results imply that inserting archaeological narratives into institutional pedagogy alters a museum’s traditional “performance” of the past by challenging its own authority; ultimately, I show how this process can increase viewer awareness about the politics of display.
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Hillman, Thomas. "The physical context of hands-on interactive museum exhibits: Identification and categorization of pedagogically relevant concepts". Thesis, University of Ottawa (Canada), 2006. http://hdl.handle.net/10393/27371.
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Many options are available to designers when creating museum exhibitions. One particular option that can be chosen is the inclusion of exhibits that can be touched and manipulated, a style of exhibit often referred to as hands-on or interactive (Adams and Moussouri, 2002). Within this subset of exhibits, designers also have a multitude of choices to make that can affect the experiences visitors will have. The goal of this study is to help the transfer of research findings about learning and hands-on interactive exhibits to designers so that more-informed choices may be made. With this goal in mind, the exhibits within three exhibitions at the Montreal Science Centre are examined from a pedagogical perspective. Falk and Dierking's Contextual Model of Learning (2000) is employed as a conceptual framework, and one of its contexts is specifically addressed. Since exhibition designers act upon the objects that form exhibits, and only have direct influence on their physical nature, the physical context of Falk and Dierking's model is chosen as a lens through which to investigate the exhibits. Emergent concepts from the physical context of those exhibits are collected and then categorized. To relate the emergent concepts to a pedagogical perspective, the categories are then associated to the pedagogical triangle (Houssaye, 1988; Moore, 1989), which allows them to be organised following the roles and interactions present in that model. This study, therefore, presents a structure and common language through which the physical context of hands-on interactive museum exhibits can be understood from a pedagogical perspective.
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Sippel, Elizabeth. "The role of memory, museums and memorials in reconciling the past : the Apartheid Museum and Red Location Museum as case studies". Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1005773.
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When South Africa became a democracy, many of its cultural institutions were tainted by the stigma of having been tools for the production and propagation of apartheid ideology. This thesis examines two key facets of post-apartheid museums and memorials. Firstly, how they have repositioned themselves as institutions of cultural and social standing. Secondly, their role as tools of nation building, social change, and creators of national collective memory within the new democratic South Africa. Through an analysis of cultural memory theory pertaining to museology, this study elaborates on the methods employed by museums to incorporate memory into their narratives and in turn, transfer collective memory to their viewers. This thesis provides a comparative study of the architectural, memorial and museological strategies of two post-apartheid museums; the Red Location Museum and the Apartbeid Museum. It examines the contributions of both museums to the introduction of new museological strategies for the successful creation and transmission of South African collective memory. Through this analysis, both the invaluable contributions and the drawbacks of post-apartheid museums as tools for the promotion of new democratic ideologies and philosophies are considered. This thesis does not resolve the arguments and questions which have surfaced regarding cultural institutions as tools for the promotion of reconciliation and the construction of national collective memory within South Africa. As the current climate of memorialisation is one of change and paradox, it is presently impossible to fully quantify post-apartheid museums' roles within South Africa's move toward reconciliation and social change. However, the examination of both the Red Location Museum and the Apartheid Museum reveals the extraordinary change that South African cultural institutions have undergone in addition to their potential to become institutions which facilitate active reconciliation as well as social and cultural growth.
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Walton, James Andrew. "Like Jacob with Esau: The 3D Printed Replica and the Future of the Museum". Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/83543.
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The importance of the aura, the metaphysical element that gives art, artifacts, and other objects of cultural heritage their authenticity, has been heavily contemplated ever since the publication of Walter Benjamin's "The Work of Art in the Age of Mechanical Reproduction." This thesis strives to add to this conversation and expand upon it by delving into the emergence of additive manufacturing, or what is more commonly known as 3D printing, and its relation to museums and other institutions that comprise the public humanities. This technology challenges the auratic properties of an exhibit by first digitizing it onto a computer by scanning it and then uploading this data to a 3D printer, which then proceeds to replicate the scanned exhibit down to incredibly fine details. For museums the possibility that 3D printed replicas, increasingly able to be indistinguishable from the original and capable of being produced in great numbers at ease, replacing their auratic exhibits is a very real possibility to consider. This thesis argues that some museums are responding by despatializing their exhibitions in order to uphold their auratic exhibits, while others are offsetting the potential loss by turning their exhibitions into tactile, multisensory experiences. Either option, which are not mutually exclusive, transforms the traditional museum. This thesis ultimately concludes that it's possible to reconcile the auratic exhibit with the 3D printed replica should these institutions properly adapt. Doing so will allow them to continue fulfilling their mission statements to preserve and promote the auratic exhibits well into the future.Master of Arts
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Asgari, Hamid, e Kayvan Seyed Nejadian. "Important Parameters in Designing and Presenting Exhibits and Planetarium Programs in Science Centers : A Visitor-Based Framework". Thesis, Högskolan Dalarna, Vetenskapskommunikation, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:du-1173.
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This dissertation proposes an initial framework for designing and presenting exhibits in science centers and to recommend methods for improving the educational role of planetariums in science centers.
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Fradette, Rina. "Perception de la culture amérindienne à partir des pièces archéologiques et ethnologiques exposées dans un musée /". Thèse, Chicoutimi : Université du Québec à Chicoutimi, 1998. http://theses.uqac.ca.
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Andersson, Emma. "Kvinnogestaltning i utställningar : Hur det berättas om kvinnor i antika kulturer". Thesis, Uppsala universitet, Institutionen för ABM, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-370030.
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This study examines how women are represented in exhibitions about the ancient cultures of Greece, Rome and Egypt. The two museums which have been studied are the Museum of Mediterranean and Near Eastern Antiquities in Stockholm and the British Museum in London. Observations of the exhibitions, notes and interviews with museum personnel are the methods used in this study. The theory used is gender theory, focussing on Yvonne Hirdman’s gender system. The purpose of the study is to examine how the museums are working with representing women in ancient cultures, what objects are exhibited that relates to women and how museum teachers include women in tours. The study shows that women are represented in different degrees in the exhibitions and are much less included in texts. The Museum of Mediterranean and Near Eastern Antiquities have the ambition and interest from the personnel to review their exhibits to include a broader perspective where women are better represented.
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Soler, Mariana Galera. "Musealização da zoologia: narrativas evolutivas construídas com animais". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-12112015-152426/.
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Os museus de história natural são instituições multifacetadas. Constituem-se como espaços privilegiados para discussão da teoria evolutiva, uma vez são instituições de pesquisa científica, repositórios de material comparativo e meios de comunicação, especialmente por meio de suas exposições. Neste trabalho, o animal é entendido como interface entre duas áreas: museologia e zoologia. Discute-se, então a musealização da zoologia, ou seja, os processos que tornam um animal objeto de museu (musealia) e o seu uso em narrativas evolutivas de exposições de museus de história natural. Para tanto, foram analisadas exposições de três museus de história natural latino-americanos: \"Las Aves\" - Museo de Ciencias Naturales Bernardino Rivadavia; \"Tiempo y materia. Laberintos de la evolución\" - Museo de La Plata; e \"Conchas, corais e borboletas\" - Museu Nacional do Rio de Janeiro. A heterogeneidade de acervos e recursos expográficos exigiu o desenvolvimento de uma metodologia objetiva e replicável para descrição das exposições, estruturada em: (i) fichas; (ii) matrizes conceituais; e (iii) planta baixa. A partir do detalhamento das exposições realizou-se a análise comparativa, considerando três aspectos: presença de conceitos evolutivas nas narrativas; (ii) abordagem da teoria evolutiva; e (iii) concepção de museologia. Tais análises demonstraram que \"Las Aves\" e \"Conchas, corais e borboletas\" são exposições mais semelhantes, tanto nos conceitos evolutivos presentes na narrativa, como na abordagem sistemática da teoria evolutiva na exposição. \"Tiempo y materia\" mostrou-se como uma exposição diferenciada, pois sua narrativa foi construída a partir do conceito de evolução e não de grupos zoológicos, acumulando o maior número de conceitos evolutivos presentes na narrativa e uma abordagem voltada aos mecanismos evolutivos. Contudo, quanto à concepção de museologia, nas três exposições há o distanciamento entre o visitante e o conteúdo proposto, sendo que a teoria evolutiva é apresentada como fato corroborado pelo acervo, textos e outros recursos expográficos. Quanto a comunicação da teoria evolutiva e o papel comunicacional dos animais em exposições, observou-se que a construção teórica das narrativas está restrita aos textos e que os animais emprestam suas estruturas para ilustração e demonstração de conceitos evolutivos apresentados textualmente, servindo como \"comprovação\" da realidade e materialidade da teoria.Natural history museums are multifaceted institutions. They constituted a privilege venue for discussion of the Theory of Evolution, as they are institucions of scientific research, and also a commucation medium especially due to its exhibitions. For this study, animals are understood as an interface between two fields: museology and zoology. Submitted for discussion is the musealisation of zoology, that is, the processes that make animals a museum object (musealia) and its use on evolutionary narratives on natural historical museums exhibitions. For this purpose, exhibition in three Latin American natural history museums were analyzed: \"Las Aves\" - Museo de Ciencias Naturales Bernardino Rivadavia (Buenos Aires, Argentina); \"Tiempo y materia. Laberintos de la evolución\" - Museo de La Plata (La Plata, Argentina); e \"Conchas, corais e borboletas\" - Museu Nacional do Rio de Janeiro (Rio de Janeiro, Brazil). Heterogeneous collections and exhibitions resources demanded the development of an objective and replicable methodology for describing those exhibits, structured in (i) data sheets; (ii) conceptual matrixes; and (iii) ground plan of the facilities. Detailed description of the exhibitions led to a comparative analysis around three items: (a) the presence of evolutionary concepts in their narratives; (b) their approaches on evolutionay theory; and (c) their museological conceotualisation. Analyses demonstrated that \"Las Aves\" and \"Conchas, corais e borboletas\" were more similar to each other, both in the evolutionary concepsts presents and in their systematics-oriented approach on evolutionary theory. On the other hand, \"Tiempo y material\" had its own narrative built on the notion of evolution itself and not on animal taxonomic work. As for their museological conceptualization, in all three exhibitions there is a gap between the visitor and the proposed content, and evolutionary theory is presented as a corroborated fact by the objects, texts and others exhibitions resources. Upon reflecting on the one communication of the evolutionary theory and the communication role of animals in exhibition, one can notice the the theoretical construction of narratives is restrict to the associated texts, and the animal themselves lend their own structures for the illustration and demonstration of textually presented evolutionay concepts, serving as \"proof\" of the reality and materiality.
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Sonter, Sharyn Louise. "The museum and the department store". Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/553.
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This research aims to show the relationships between the museum and the department store and the visitor who engages with both institutions. The visitor to these spaces is the focus for the development of meaning, and reaction, to the objects on display in both spaces. The methods of interior and exterior design, planning and circulation, and object display, are discussed in relation to the vital context of the viewer, and the consequent construction of meaning and value. Value itself, becomes a recurring theme in these discussions since design and display within both institutions can perpetuate value, desire, and fetishism for the object. These concepts are further related to the appropriation of Minimalist aesthetics in boutiques. This analysis is applied to the critique of two exhibitions: 'Islands: Contemporay Installations' at the National Gallery of Australia, and, 'The Second Asia-Pacific Triennial of Contemporary Art' at the Queensland Art Gallery. These exhibitions which predominantly involve installation art are discussed as examples relating to the phenomena of viewing, and the impact of design and display
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Marsh, Diana Elizabeth. "From "Extinct Monsters" to Deep Time : an ethnography of fossil exhibits production at the Smithsonian's National Museum of Natural History". Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/50177.
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This dissertation traces the relationship between changing institutional cultures and the communication of knowledge to the public through exhibits, explored through an ethnographic and historical case study of a single set of halls at one museum—the fossil halls at the Smithsonian National Museum of Natural History (NMNH). Having documented the first six months of planning for the NMNH’s new exhibit project, Deep Time, I show that many of the values and practices in current exhibits production have their roots in major cultural, professional and institutional shifts of the late-1950s. These changes, enacted and dramatized in exhibits production, came to transform the communication of science through exhibits. Indeed, I argue, the production of exhibits offers unique insight into the workings of an institution by describing a microcosm of the museum where what I have called disciplinary “complementarities” and “frictions” are debated and performed by small, increasingly interdisciplinary groups of people. Exhibit development thus emerges as a political and subjective creative act, rooted in particular institutional contexts and histories, that takes place at the intersection of paradoxical institutional missions and divergent disciplinary cultures. In the chapters of this thesis, I will contextualize and trace collaborative complementarities and frictions that emerge at three levels of exhibits production: exhibit content, group dynamics, and institutional mission. I will argue that these three layers of complementarities/frictions (from the micro-level of content specific to the planning of the fossil hall complex, to the experts that develop exhibits, to the broadest institutional mission of the museum) as revealed in the exhibits production process, have at their root foundational dual roles of the Smithsonian that are both paradoxical and necessary in creative exhibits production.Arts, Faculty of
Anthropology, Department of
Graduate
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Sin, Song-Chiew James. "Arts, culture and museum development in Singapore". Thesis, View thesis, 1997. http://handle.uws.edu.au:8081/1959.7/240.
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This thesis discusses some aspects of the exhibition designer's role in state museums and galleries. It draws on the author's experiences in Singapore and his observations as a student living in Sydney. Museum exhibition designers are servants of the state. They help create public culture and promote a version of history. But if one is to understand the ways in which designers create meaning (and serve their employer's interests) we need to identify the 'vocabulary' and 'grammar' that they have at their disposal. To this end, the thesis outlines the variables that they work with and argues that they need to understand their employer's ideologies and history. The design vocabulary and grammar that the exhibition designer works with to create meaning in bridging understanding needs to be commensurate with the knowledge of history and the primary ideologies of the state which he/she serves. Singapore's recent interest in arts and heritage museums as part of a larger desire for regional economic and cultural survival and pre-eminence needs to be identified with the evolution, interconnectedness and ambitions of Singapore's arts and cultural organisations. In conjunction, some of the implications of Singapore's Arts and Heritage Policy need to be unpacked. A brief but concise comparative history of Sydney, Australia is made for the arts, cultural and museum comparison between Australia and Singapore. The exhibition designer's vocabulary and grammar can then be used to evaluate four exhibitions in Sydney and Singapore. This dissertation addresses the issues of 'Asian-ness' , modernisation without westernisation and the state's desire to meet the challenges which global communication systems place upon Singapore citizen's welfare. The dissertation is very art focused. It discusses all display objects as though they were paintings and works of fine art
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Liu, Ariel. "The relationship between engagement and learning in school students' interactions with technology-driven multimodal exhibits in museums". Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:5c8405d5-a834-4b0f-b160-56c988f452f8.
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This thesis reports a qualitative study of the use of multimodal technologies in museums— specifically, it examines the relationship between visitor engagement and learning, focusing on the use of multimodal technologies during school trips. The study was conducted in the Natural History Museum and the Churchill Museum, both in London, with participants from several secondary schools. These sites were chosen due to their concern for the added value of learning and public engagement, including their education-orientated investments in technology, museum activities, and architecture. In the course of data collection, visits were made to six schools and both museum sites; the participants included 117 students, 18 teachers, three museum educators, and eight museum curators and media designers. The study used a combination of video data analysis, stimulated recall interviews, document analysis, and engaging students in talk and reflection about their visit both at the museum and afterwards. The qualitative approach and multimodal analysis identify how the students’ social interactions help them construct learning through decontextualised bodily movements, which trigger contextualised discussion. The study demonstrates how multimodal analysis can be used in research to capture a wide scope of information, while maintaining a micro-level of analysis and understanding—here, capturing the detail of students’ interactions and perceptions. The findings suggest that the learning experience in museums is produced through multiple layers of interaction and through the exchange of physical and psychological behaviour among people, resources, and space. Here, the multimodal technologies with which the students engaged essentially acted as initial platforms for sensory stimuli and social interaction, supporting their peer communication and motivating them to further explore both the given topic and their own understanding of their learning methods. It was the students’ further conversation, observation, and participation, however, that created a more meaningful and entertaining learning experience in the museums.
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Fournier, Anik Micheline. "Building nation and self through the other : two exhibitions of Chinese painting in Paris, 19331977". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82704.
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This thesis investigates Western exhibition practices and the problems that arise when they involve cross-cultural encounters. Two exhibitions of Chinese painting in Paris that were co-planned by French curators and Chinese artists will serve as case studies in this regard. The first exhibition is Exposition de la peinture chinoise held at the Musee du Jeu de Paume in 1933. The second show is Quatre artistes chinoises contemporaines held at the Musee Cernuschi in 1977. Using archival material, I will reconstruct the planning of the exhibitions and reveal diverging French and Chinese agendas. An examination of the press reviews of the two shows will demonstrate that location is key in the public reception of an exhibition. The analysis of the encounter of self and other underlying the two exhibitions will lead to a probing of Western exhibition practices and bring issues of power, authenticity and identity-making to the fore.
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Styles, Catherine Anne, e castyles@ozemail com au. "An other place: the Australian War Memorial in a Freirean framework". The Australian National University. Centre for Women's Studies, 2001. http://thesis.anu.edu.au./public/adt-ANU20010904.111335.
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My thesis is that museum exhibitions developed according to Freirean praxis would constitute a better learning opportunity for visitors, facilitate the process of evaluation, and enact the favoured museum principles of dialogic communication and community-building.
¶This project constitutes a cross-fertilisation of adult education, cultural studies and museum practice. In the last few decades, museum professional practice has become increasingly well informed by cultural critique. Many museum institutions have been moved to commit to building communities, but the question of how to do so via exhibition spaces is yet to be squarely addressed by the museum field. In this thesis I produce a detailed evaluation of a museum's informal learning program; and demonstrate the potential value of adult education theory and practice for enacting museums' commitment to dialogic communication and community-building.
¶To investigate the value of adult education praxis for museums, I consider the Australian War Memorial's signifying practice - the site and its exhibitions - as a program for informal learning. I conduct my analysis according to Ira Shor's (Freirean) method for engaging students in an extraordinary re-experience of an ordinary object. Shor's program calls for students to investigate the object through three stages of description, diagnosis and reconstruction. Respectively, I testify to my initial experience of the Memorial's program as a visitor, analyse its signification in national, international and historical contexts, and imagine an alternative means of signifying Australia's war memory. The resulting account constitutes a record of my learning process and a critical and constructive evaluation of the Memorial as a site for informal learning. It provides a single vision of what the Memorial is, what it means and how it could be reconstructed. But more importantly, my account demonstrates a program for simultaneously learning from the museum and learning about its signifying practice. This dual educational and evaluative method would mutually advantage a museum and its visiting public. In a museum that hosted a dialogic program, the exhibitions would invite evaluative responses that staff are otherwise at pains to generate. Concurrently, visitors would benefit because they would be engaging in a more critical and constructive learning process. In addition, the museum would be enacting the principle of dialogic communication that underpins the project of community-building.
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Utz, Laura Lee. "Museum Educator as Advocate for the Visitor: Organizing the Texas Fashion Collection's 25th Anniversary Exhibition Suiting the Modern Woman". Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277589/.
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Suiting the Modern Woman documented the evolution of women's power dressing in the 20th century by featuring four major components: thirteen period suit silhouettes, the power suits of twenty-eight influential and successful high profile Texas women, a look at the career and creations of Dallas designer, Richard Brooks, who created the professional wardrobe for former Texas Governor Ann Richards, and a media room which showcased images of working women in television and movie clips, advertisements, cartoons, and fashion guidebooks. The exhibition served as an application for contemporary museum education theory. Acting as both the exhibition coordinator and educator provided an opportunity to develop interpretative strategies and create a meaningful visitor experience.
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Boyle, Amy L. "Marcel Broodthaers and Fred Wilson : contemporary strategies for institutional criticism". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98914.
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This thesis compares two contemporary artists who practice institutional criticism, Marcel Broodthaers and Fred Wilson. Looking specifically at Broodthaers's fictional museum project the Musee d Art Moderne, Departement des Aigles from 1968-1972 and Wilson's 1992 installation Mining the Museum at the Maryland Historical Society, this thesis will critically analyze each artist's similar application of deconstruction as a method. Both artists employ allegory and history as aesthetic strategies of deconstruction; using allegorical structure, the artists mobilize objects that have been arrested in history, disrupting a historical continuum that would otherwise remain foreclosed. The focus of this study will be to explore the critical approaches of Broodthaers and Wilson individually as well as the similar theoretical tendencies of the artists jointly; this investigation will assess the effect of institutional criticism on the museum's present condition, unfolding both what has changed and what is still at play within this practice.
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Seitei, Gloria Tiny. "Front End Evaluation of 'Tester' Exhibition to be Developed into a Travelling Sports Exhibition". Thesis, Högskolan Dalarna, Vetenskapskommunikation, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:du-1165.
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The purpose of this evaluation is to develop a framework that will help in planning and implementing the mobile sport exhibition, increase visitor satisfaction and aid At Bristol in building successful exhibits. The evaluation mainly focuses on visitor interaction with exhibits. It is believed that learning does occur in science centres and museums. The evaluation will therefore find out if learning occurs in the Sports exhibition and if so, the nature of the learning outcomes. The evaluation also discusses advantages and disadvantages of travelling exhibitions and identifies the characteristics of good exhibits that form the basis of the framework.From the results, an indication is that children make the larger proportion of visitors to Sportastic. Their age ranges, under 10 and 10 to 15 years constituted 21% and 30% respectively. The three most enjoyed exhibits are the Sprint Challenge (running), BATAK (test your reaction and Hot Shots (football). Visitors say these exhibits are enjoyed because they are fun, competitive, entertaining, interactive and hands-on. Skateboard Challenge and Skeleton Bob are among the exhibits least enjoyed since they are reported to be boring and uncomfortable to use. The learning outcomes from the exhibits are; increased knowledge about balancing, reaction, pulse and strength.
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Frede, David. "A tale of two zoos : a study in watching people watching animals". Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/3762.
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Zoological gardens, or zoos, keep and display wild animals, mainly for the purposes of education, conservation and biological research. However, it is evident that a significant component of zoos is the vast number of people who visit them, since without the support of visitors, zoos would not be financially viable and would cease to exist. This research investigates the behaviours of these visitors and develops an understanding of their awareness relating to what they see and do while they are in the zoo, along with their motivations for visiting. The study focuses on two major metropolitan zoos in Australia: Adelaide (in South Australia) and Taronga (in Sydney, New South Wales). A brief historical account contextualises changes, raising awareness of the significance of visitors to the livelihood of zoos. More and more zoos are integrating into their management routines different programmes that relate to the care and welfare of the animals. Despite recent growth in scientific attention, which has focused on human-animal relationships, little research has been conducted relating to the human visitor in the zoo. To date, decisions made by administrators have been based upon assumptions of the visitors’ understanding of the work of zoos rather than on actual quantitative findings. This empirical research is significant in that it uses both quantitative and qualitative methods to appraise factual data and information. The data from unobtrusive tracking observations at different exhibits, combined with the results of questionnaire surveys, are used to explore and assess the perceptions of visitors. In developing a demographic profile of the people who visit zoos, this work considers the motivations and the frequency of visitors. Various factors that influence the viewing patterns of visitors are explored to assess the popularity of exhibits, and the perceptions of visitors relating to animals and enclosures are investigated, to assess the diverse levels of satisfaction. Case studies explore the perceptions and understandings of visitors towards the use of enrichment items, the use of signs and labels, and a hypothetical approach to the feeding of carnivores in zoos. The results are important in that they contribute essential knowledge that describes the perceptions of a wide range of people who visit zoos, along with their expectations, since it is crucial for these institutions to maintain their popularity with the public.
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Frede, David. "A tale of two zoos : a study in watching people watching animals". University of Sydney, 2007. http://hdl.handle.net/2123/3762.
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Doctor of PhilosophyZoological gardens, or zoos, keep and display wild animals, mainly for the purposes of education, conservation and biological research. However, it is evident that a significant component of zoos is the vast number of people who visit them, since without the support of visitors, zoos would not be financially viable and would cease to exist. This research investigates the behaviours of these visitors and develops an understanding of their awareness relating to what they see and do while they are in the zoo, along with their motivations for visiting. The study focuses on two major metropolitan zoos in Australia: Adelaide (in South Australia) and Taronga (in Sydney, New South Wales). A brief historical account contextualises changes, raising awareness of the significance of visitors to the livelihood of zoos. More and more zoos are integrating into their management routines different programmes that relate to the care and welfare of the animals. Despite recent growth in scientific attention, which has focused on human-animal relationships, little research has been conducted relating to the human visitor in the zoo. To date, decisions made by administrators have been based upon assumptions of the visitors’ understanding of the work of zoos rather than on actual quantitative findings. This empirical research is significant in that it uses both quantitative and qualitative methods to appraise factual data and information. The data from unobtrusive tracking observations at different exhibits, combined with the results of questionnaire surveys, are used to explore and assess the perceptions of visitors. In developing a demographic profile of the people who visit zoos, this work considers the motivations and the frequency of visitors. Various factors that influence the viewing patterns of visitors are explored to assess the popularity of exhibits, and the perceptions of visitors relating to animals and enclosures are investigated, to assess the diverse levels of satisfaction. Case studies explore the perceptions and understandings of visitors towards the use of enrichment items, the use of signs and labels, and a hypothetical approach to the feeding of carnivores in zoos. The results are important in that they contribute essential knowledge that describes the perceptions of a wide range of people who visit zoos, along with their expectations, since it is crucial for these institutions to maintain their popularity with the public.
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Pinto, Agda Araujo Sardinha. "O discurso identitário nos museus de Rio Branco, Acre: uma análise de narrativas expositivas". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-12012015-105744/.
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No estado do Acre, sobretudo nas duas últimas décadas, foram implementadas obras, construções e reformas que modificaram profundamente as paisagens urbanas. Tais processos são mais visíveis principalmente na capital Rio Branco, onde diversos espaços foram criados e recriados para reafirmar o discurso identitário criado e veiculado na gestão do Partido dos Trabalhadores (1999 até o presente) inicialmente pelo \"governo da floresta\" (slogan do governo do Acre entre 1999 e 2006), e que ainda persiste nos governos subsequentes (2007-2013). Nesse contexto, os espaços de memória são utilizados como aparatos fundamentais para a divulgação de aspectos dessa identidade acreana. Partindo disso, esta pesquisa apresenta um estudo acerca das narrativas museológicas presentes em duas instituições localizadas em Rio Branco (o Museu da Borracha e o Palácio Rio Branco) por intermédio de uma análise crítica do discurso expositivo nos museus supracitados com o objetivo de identificar, avaliar e compreender as relações entre identidade, memória e as instituições museais no estado acreano.Construction and renewal projects have fundamentally transformed urban landscapes in the state of Acre, Brazil, mostly in the last twenty years. This is most conspicuous in the capital Rio Branco where new urban spaces have been created and existing ones renovated in order to promote the discourse of public identity espoused by the Partido dos Trabalhadores in power since 1999. \"Governo da Floresta\" - the Party slogan from 1999 to 2006 - initially figured prominently in this discourse and has persisted during subsequent administrations (2007-2013). Museum spaces are among the most important means of disseminating this Acrean public identity. In light of this, the present study investigates museological narratives focused on two institutions located in Rio Branco: the Museu da Borracha and the Museu Palácio Rio Branco. We analyze these institutions\" expository discourse in order to identify, evaluate, and understand the relationships among public identity, collective memory, and acrean museums.
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Paloranta, Jimmie. "Interaction with a large sized augmented string instrument intended for a public setting". Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-187740.
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Interactive installations in public settings have increased in popularity over the past decade, as well as the construction of digital musical instruments. In this paper I present a study of the interaction with a large sized augmented string instrument intended for a large installation in a museum, with focus on encouraging creativity, learning, and providing engaging user experiences. In the study, 9 participants were video recorded while playing with the string on their own, followed by an interview focusing on their experiences, creativity, and the functionality of the string. I then used McCarthy and Wright’s framework for analysing technology as experience and Frank E Williams creativity taxonomy model to analyse the results. In line with previous research, results highlight the importance of designing for different levels of engagement (exploration, experimentation, challenge). However, results additionally show that these levels need to consider the users’ age and musical background as these profoundly affect the way the user plays with and experiences the string.Interaktiva installationer i offentliga miljöer har ökat i popularitet under det senaste decenniet, liksom även skapandet av digitala musikinstrument. I denna uppsats presenterar jag en studie av interaktionen med ett stort augmenterat stränginstrument avsedd för en stor installation i ett museum, med fokus på att uppmuntra kreativitet, lärande, och att ge engagerande användarupplevelser. I studien blev 9 deltagare videoinspelade samtidigt som de spelade med strängen på egen hand, följt av en intervju med fokus på deras upplevelse, kreativitet, och strängens funktionalitet Jag använde sedan McCarthy och Wrights ramverk för att analysera teknik som upplevelse och Frank E Williams kreativitets taxonomi för att analysera resultaten. I linje med tidigare forskning så betonar resultaten vikten av att designa för olika nivåer av engagemang (undersökande, experimenterande, utmaning). Dock så visar resultaten dessutom på att dessa nivåer måste ta hänsyn till användarnas ålder och musikaliska bakgrund då dessa starkt påverkar hur användaren spelar med och upplever strängen.
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Kourková, Martina. "Studie řízení exponátů v Národním technickém muzeu". Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2009. http://www.nusl.cz/ntk/nusl-222122.
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The Master’s thesis deals with achievement of high-quality logistic activities concerning work with exhibits which should lead to the increase of cultural value of the National Technical Museum. As for the content of the work, it includes theoretical knowledge from the branch of museums, the description of the current premises for storing of the exhibits and the analysis of the curators’ activities. After the analysis some embarrassments are discovered and possible solutions are designed afterwards. The construction of a new depositary hall and the creation of a new division are the results.
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Cipora, John. "Using action research protocols to structure the development of a complex exhibit at a regional children's museum". Amherst, Mass. : University of Massachusetts Amherst, 2008. http://scholarworks.umass.edu/dissertations/AAI3303432/.
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Woods, Heather. "Exhibit design using advertising strategies". Thesis, The George Washington University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10006498.
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This thesis proposal demonstrates the idea of using advertising strategies to engage the visitor, optimizing the short time the visitor spends in an exhibit. The art, object, and experience is treated as the product and the visitor, although they are not purchasing the product, is the consumer. Each topic is presented using a statement and corresponding image using advertising principles of keeping it short; delivering a clear narrative; and show, don’t tell. Art, contemporary photography and video documentaries, combined with corresponding stories, are used to expand upon the exhibit theme, Gender, once the advertising element for each section has engaged the visitor.
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Dickenson, Rachelle. "The stories told : indigenous art collections, museums, and national identities". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98919.
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The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permanent Canadian historical art galleries at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are significant in their illustration of contemporary colonial collection practices. The effectiveness of each installation is discussed in relation to the demands and resistances raised by Indigenous and non-Native artists and cultural professionals over the last 40 years, against racist treatment of Indigenous arts.
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Meisner, Robin Stephanie. "Encounters with exhibits : a study of children’s activity at interactive exhibits in three museums". Thesis, King's College London (University of London), 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.606395.
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This thesis develops arguments relevant to learning in informal environments about the nature of the activity, interaction and collaboration that emerge in young children (ages 4-12) at specific interactive exhibits in informal learning institutions. Using video recordings of children's activity at ten different interactive exhibits as principal data, this thesis seeks to unpack the notion that children are merely 'just playing' with, at and around the exhibits - or, put differently, it aims to specify the activity behind 'interactivity'. In so doing, it explores the ways in which the diverse forms of social interaction occurring at the exhibit face contribute to and might enable the emergence of specific forms of activity. A case is made for the use of two distinct analytic methods in order to address, firstly, what behaviours are displayed by young children at the exhibits studied, and then, how and why aspects of those behaviours emerge in the particular manner in which they do. Sources from education, cognitive development and developmental psychology are used in the development of a theoretically and empirically driven coding schema that is applied systematically to the video data to begin to address 'what' behaviours are displayed - the first question. Subsequently, building on an interactional perspective that gives primacy to the pervasive nature of the contributions of others - to social interaction - the 'how' and 'why', or second questions are addressed. To this end, an analysis that draws on ethnomethodology and conversation analysis is used to explore the role of observation and imitation in the children's activity at the exhibit face. The final chapter reflects upon the observations and findings of the whole study to consider their implications for potential learning at and the design of interactive exhibits. It explores the extent to which the design of exhibits might enable particular forms of activity and co-participation, and puts forth design sensitivities for exhibit designers to consider. It offers a critique of the two analytic methods and their potential utility for future research. And, finally, it seeks to show that when children's activity at exhibits is analysed in detail, children who are seen to be 'just playing' are indeed engaged in a range of productive actions and interactions.