Dissertations / Theses on the topic 'Dioramas'

Dépassant l'ambivalence du terme diorama (spectacle à travers), qui recouvre à la fois les dispositifs illusionnistes du XIXe siècle et les environnements miniatures actuels, notre recherche vise à les réconcilier dans un regard stratégique sur le modèle réduit. Nous supposons, à la suite de Lévi-Strauss, que la réduction trouve sa dimension esthétique quand elle supplée a la diminution des qualités sensibles du modelé par l'augmentation de ses qualités intelligibles, ce qui revient aussi à interroger la distance qui sépare l'espace du modèle réduit de celui du spectateur. L'élargissement de ce questionnement a la collection replace le modelé dans une perspective à rebours, puisque la génération d'un modèle second est conçue comme l'épuré du premier. Le déplacement infinitésimal que propose l'exploration du labyrinthe de ce spectacle très rusé (poluplokorama) cache un parcours initiatique du modelé en forme de retournement puisque le spectateur y est invite à se voir voyant. Délaissant la simple inclusion d'un espace miniature dans l'espace grandeur nature, l'utilisation de plusieurs media -maquettes, vidéos, images de synthèse transformé le modèle réduit analyse en un vaste réseau de liens logiques et d'imbrications complexes d'espaces, qui pose le problème de la perception dans les nouveaux modèles des mondes virtuels
Our research which goes beyond the ambivalence of the term diorama (sight through) that covers both the conjuring devices of the 19th century and the present miniature surroundings is aiming at reconciling them into a strategical look on the scale model. Following levi-strauss, we assume that reduction gets its aesthetic dimension when it makes up for the fading perceptible qualities with the increasing intelligible qualities, which also amounts to questioning about the distance that separates the space of the scale model from the spectator's. The enlargement of this questioning up to collection replaces the model into a backward perspective, since the generation of a second model has been conceived as the working drawing of the first one. The infinitesimal shifting involved in the exploration of the maze of this very crafty sight (poluplokorama) conceals an initiatory journey of the model in a reversed shape since the spectator is invited to see himself seeing. Giving up the mere inclusion of a miniature space into life-size space, the use of several media models, videos, virtual images- transrorms the analysed small-scale model into a huge network of logical bonds and complex interweavings of spaces, which poses the problem of perception in the new models of the virtual worlds

This research examines the natural habitat dioramas created by Major P.H.G. Powell-Cotton, in doing so it affects a remembering of a sense of place where a diorama reflects in Mieke Bal's view a three-dimensionality that draws on architectural space; it then considers the three dimensional representation of the landscape within the diorama itself; the two-dimensional illusion of a trompe l'oeil landscape painting; and the exterior space occupied by the viewer. The Powell-Cotton natural habitat dioramas exist behind large glass screens their purpose follows an aesthetic relationship with the emergence of the natural habitat diorama and the ability to transfix perception through the re-interpretation of an idyll. The potential for this practice-based research was to explore the possibility of developing an aesthetic for sculpture and architectural space. However in focussing on the Powell-Cotton dioramas the notion of aesthetic attitude would lose ground due to their idiosyncratic, artificial, and extraordinary nature, it then prepared the basis of interpretation in establishing 'theatres of landscape' as an open concept. With landscape, a sense of place anticipates various positions and numerous delays; it recollects the cognitive knowledge brought to the prospect that involves aspects in, of and about landscape. Regarding the studio-based project, the diorama was placed between the real and the unreal, challenging Bal's rationale of the cognitive relationship of a diorama to the concept of a discursive space. Where both artist and viewer 'activates' this space with their presence, they bring their own recollection of landscape and by assigning landscape with memory the potentiality is where cognition becomes accentuated. Whereas the unknown and uncharted can refute reality, memory is dependent on what is known both formally and informally, it places the natural habitat diorama in a visual system that is both constructive and destructive. Therefore the research methodology examines the historical context of the diorama through a doctoral thesis by Karen Wonders and an analysis of Louis Daguerre's diorama by Richard Altick. Following Bal's analysis of the diorama, this created a dilemma - in what ways are the perceptions of the observer determined, and how are they undermined? Jonathan Crary and Giuliana Bruno considered the diorama's position in relation to film and film archaeology, which ultimately the diorama and natural habitat diorama could not compete with. In asking what has Powell-Cotton's museum to offer in the 21st century, this thesis examines the concept of a diorama, its objectives and correspondingly its failings. As the dioramas in the Powell-Cotton Museum were undocumented, these dioramas and their written, visual and architectural relationship to Louis Daguerre offer a contribution to knowledge concurrent with the relationship of this practice based research project. Whereupon the research diary forms the basis of a contribution to new knowledge in the construction of small and large-scale dioramas, sculpture and installations. By challenging Bal's analysis this research practice would investigate natural and projected light and the visual language of transparency, translucency and opacity in the representation of landscape and landscape as motif, and progressing to the structural implications of 2D and 3D work.

O estudo em questão teve como principal objetivo analisar como o tema biodiversidade, no que diz respeito à forma em como é conceituado e a valores a ele atribuído, aparece nos dioramas de exposições de museus de ciências. Para tal, a pesquisa visou à compreensão dos processos de transformação do discurso científico para o discurso expositivo, tendo como referencial teórico o conceito de transposição didática, aqui entendida como transposição museográfica. O foco em biodiversidade deve-se as proporções que o termo ganhou nas últimas décadas, em que o mesmo sobrepujou os limites científicos, sendo incorporados novos significados a ele, e que por sua vez vem exigindo estratégias educacionais diferenciadas dos locais que objetivam utilizá-lo como instrumento de articulação em educação para ciência. Os motivos que nos conduziram a delinear este trabalho encontram-se nos questionamentos sobre o tema biodiversidade e de como um espaço educativo, em especial os museus, abordam-no fazendo uso de um dos seus objetos expositivos mais tradicionais, os dioramas. Foram selecionados para esta pesquisa dois museus nacionais - Museu de História Natural Capão da Imbuia e Museu de Ciências e Tecnologia da PUC/RS - onde foram analisados dois dioramas de cada um. Por se configurar como uma pesquisa qualitativa a coleta de dados se deu por meio de entrevistas a cientistas que investigam a biodiversidade e a um responsável de cada museu estudado, observação dos dioramas e análise documental. Para a fundamentação da análise foram criadas, a partir do referencial teórico sobre biodiversidade e transposição museográfica, as seguintes categorias divididas em dois grupos: níveis de biodiversidade: genética, de espécies e de ecossistemas; valores de biodiversidade: econômico, ecológico e de conservação. Em termos gerais identificamos que os dioramas e seus textos apresentam similaridades ao abordar a biodiversidade. As categorias de níveis de espécies e de ecossistemas predominam nessas montagens, provavelmente decorrente da histórica relação dos dioramas com a ecologia. Contudo, é importante destacar que os textos centralizam suas informações apenas nos animais, e que nenhuma espécie de planta é mencionada neles. Em um dos dioramas foi identificado elementos referentes as categorias de valores de biodiversidade. A partir da fala dos entrevistados dos museus e do que foi observado nos dioramas, verificamos que os fatores que implicam para que algumas de nossas categorias não tenham sido encontradas esteja relacionado a questões museológicas e museográficas. Dados como esses revelam a existência de diferentes campos de conhecimentos, na noosfera museal, presentes no processo de elaboração dos dioramas. Por fim, entendemos que este trabalho reforça a eficiência dos dioramas em retratar a biodiversidade ao público dos museus de ciências, além de contribuir com um método de descrição desses objetos expositivos para futuras pesquisas.
This study had as main objective to analyze how the theme of biodiversity, as regards the way in which it is worthy and the values assigned to it, appears in dioramas of exhibitions at science museums. To this end, the research aimed to understand the processes of transformation of scientific discourse to the expository speech, and the theoretical concept of didactic transposition, understood here as museographic transposition. The focus on biodiversity due to the proportions that the term has in recent decades, in which it surpassed the limits scientific, and incorporated into new meanings to it, and that in turn has required different educational strategies of the sites that aim to use it as an instrument of coordination in science education. The reasons that led us to delineate this work are the questions on the topic of biodiversity and as an educational area, in particular museums, deal-making in the use of one of its objects more traditional exhibition, the dioramas. Were selected for this research two national museums - Museu de História Natural do Capão da Imbuia and Museu de Ciências e Tecnologia da PUC/RG Museum of Natural History Capon of Imbuia and Museum of Science and Technology of the PUC / RS - where analyzed two dioramas of each. Up becoming configured as a qualitative data collection occurred through interviews with scientists investigating biodiversity and one charge of each museum studied, dioramas of observation and document analysis. For reasons of analysis were created from the theoretical about biodiversity and museographic transposition the following categories divided into two groups: levels of biodiversity: genetic, species and ecosystems, biodiversity values: economic, ecological and conservation. Overall we found that the dioramas and their texts have similarities to address biodiversity. The categories of levels of species and ecosystems dominated these assemblies, probably due to the historical relationship of dioramas with ecology. However, it is important to note that the texts centralize your information only in animals, and that no species of plant is mentioned in them. In one of the dioramas was identified information concerning the categories of biodiversity values. From their statements of interviewed museums and what was observed in the dioramas, we found that the factors that imply that some of our categories have not been found to be related to museum issues and frequently overlap. Such data reveal the existence of different fields of knowledge, the noosphere museum, present in the drafting of dioramas. Finally, we believe that this work reinforces the efficiency of dioramas to portray the diversity of the public science museums, which also provides a method of expository description of these objects for future research.

The thesis addresses a relatively under-explored area in this field of study within the socio-constructivist paradigm. The main aim is to investigate how 9-year-old school children visualize habitat dioramas to build a mental model, how they make sense of the dioramas to understand local flora and fauna, and how previous knowledge influences the way they visualise habitat dioramas. Data collected included a first drawing done in class, a second drawing done at the Natural History Museum before and a third following the viewing of the habitat dioramas. Each pupil was interviewed after the respective task to allow for a comprehensive description of the content of the drawings. The children we also asked to produce a web (mind map) and they were also observed as they interacted with the dioramas. Data was mainly analysed qualitatively through direct examination of the drawings and with the aid of the computer package Atlas.ti. Some general trends emerge in the findings such as animals being more present in drawings than plants. Animal diversity ranks in decreasing order from birds, mammals, arthropods and fish to reptiles, while plants are mainly seeded and ornamental. Generally drawings progress from imaginative in class and before seeing the diorama, to increasingly drawing from observation in the diorama drawings. More significantly, pupils undergo a transformation through their drawings, which may show a change from isolated organisms on a sheet of paper to greater elaboration or better accuracy in placing organisms in habitat. However, others show an opposite transformation or no significant change at all. To a certain extent, children seem to interpret the diorama through the lens of their previously held mental model. What children already know partly influences what they choose to represent, but they also accommodate new knowledge they obtain from the diorama. Dioramas that help recall familiar environments are more likely to capture attention and afford a longer viewing time, thus imparting new knowledge and moulding the child’s mental model. Habitat dioramas have the potential to serve as models for learning in Biology and Environmental Education at primary level. An interpretative model for museum settings is proposed, while its potential applications in other areas of science education and limitations are considered.

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This thesis analyzes the sign production of bishoujo statues and dioramas, under the perspective of Communication, Consumption and Memory in the current context, and how important is its collecting for the maintenance of the records of the fans memory. This thesisrefers to the hybridization of pop culture and highlights its hybridization with the Japanese pop culture, allowing the conception of a socioeconomic and cultural individual emerged in this context, named as fan-collector. Through the testimonials of fans and collectors and the analysis of images and illustrations, also grounded by the studies of the theories of the concepts of intellectuals and mass culture presented by Edgar Morin (2002); of fans, brought by Cornell Sandvoss (2005); of collectors and collecting, discussed by Walter Benjamin (2009) and Jean Baudrillard (2008); of memory, conceived by Iuri Lotman (1981) and Andreas Huyssen (2000); of shôjo mangá and Japanese pop culture, established by Sônia Luyten (2015), Yuji Gushiken (2013) and Michiko Okano (2015); of cosplay, developed by Mônica Nunes (2014;2015); of communication and consumption, conceived by Grant McCracken (2003); of identity, proposed by Manuel Castells (2000); and hybrid cultures, presented by Néstor García Canclini (2013), and other authors related to the study developed by this thesis, we sought to assess how the consumption of bishoujo statues and dioramas has contributed in fan and collector memories operation, in the cosplay scene recoding and in the identity construction of the fan-collector.
Esta dissertação analisa a produção sígnica das estátuas e dioramas bishoujo, sob a ótica do campo da Comunicação, do Consumo e da Memória no contexto atual, e o quão importante é o seu colecionismo para a manutenção dos registros de memória do fã e do colecionador. O trabalho se refere à hibridização da cultura pop e destaca a ocorrida com a cultura pop japonesa, de modo a permitir conceituar um ator sócio-econômico-social surgido, neste contexto, denominado como fã-colecionador. Por intermédio de depoimentos de fãs e colecionadores e da análise de imagens e ilustrações, e fundamentado teoricamente pelos conceitos de cultura de massa e imaginários apresentados por Edgar Morin (2002); de fãs, trazidos por Cornell Sandvoss (2005); de colecionador e coleção, discutidos por Walter Benjamin (2009) e Jean Baudrillard (2008), de memória, concebidos por Iuri Lotman (1981) e por Andreas Huyssen (2000), de shôjo mangá e cultura pop japonesa, demonstrados por Sônia Luyten (2005), Yuji Gushiken (2013) e Michiko Okano (2015), de cena cosplay, desenvolvido por Mônica Nunes (2014; 2015); de comunicação e consumo, elaborados por Grant McCracken (2003); de identidade, proposto por Manuel Castells (2000); e culturas híbridas, apresentados por Néstor García Canclini (2013), e demais autores ligados ao estudo desenvolvido, buscou-se avaliar como o consumo das estátuas e dioramas bishoujo tem contribuído na operação de memórias do fã e do colecionador, na recodificação da cena cosplay e na construção identitária do fã-colecionador.

Memoria para optar al título de Diseñador Gráfico
La presente investigación reside en un estudio visual, historiográfico y documental sobre el diseño museográfico, abordando específicamente la representación naturalista del animal dentro del contexto del Museo Nacional de Historia Natural de Chile, desde los modelos de exhibición naturalistas decimonónicos hasta los trabajos de diseño contemporáneos. Considerando como antecedente inicial las ilustraciones naturalistas introducidas por el científico francés Claude Gay desde 1828, que guardan relación con la primera formación museal en Chile, se categorizaron y estudiaron tres modelos museográficos desarrollados en el transcurso histórico, que tienen como objeto nuclear al animal taxidermizado: Gabinetes (1850), Dioramas (1980) y Estaciones de Trabajo o Laboratorios (2012). A partir de lo observado, la tesis plantea que las decisiones de diseño museográfico naturalista, que giran en torno a la representación del animal, se enmarcarían contemporáneamente en una derivación post-naturalista, desde la que diseñadores, artistas y otras profesiones afines, han generado importantes giros museográficos sobre el problema de la mirada.

Em Portugal, o conceito de escultura científica é ainda ignorado, e embora a ilustração científica portuguesa seja já uma referência a nível mundial, a escultura científica tem ainda um longo caminho a percorrer. A dificuldade e os custos que a escultura acarreta provocam, nas artes plásticas, uma menor produção nesta área do que nas áreas de expressão bidimensional. Na vertente científica as razões não serão diferentes, sendo ainda acrescidas das dificuldades próprias desta técnica e de aquisição de materiais específicos, que têm muitas vezes que ser importados. Numa lógica de tridimensionalidade, vigente nos museus mais importantes do mundo, urge um despertar para a escultura também nos museus portugueses. Pensar a escultura científica como uma disciplina, será pois, objectivo desta tese. Hoje em dia a escultura científica está muito próxima das técnicas utilizadas no hiperrealismo, no entanto as preocupações são as mesmas da ilustração científica, ao contrário do hiper-realismo que apenas se dedica a fins artísticos. Por seu lado, a escultura científica deverá/poderá ser encontrada em museus de conhecimento científico, sejam de história natural, ciências naturais ou de outra ordem, servindo, tal como a ilustração científica para comunicar ciência, mas mais do que esta, que pretende em primeira instância comunicar a uma comunidade científica (como são exemplo as ilustrações para artigos científicos), a escultura tem em primeiro plano a comunicação com um público mais vasto, menos informado. Continua a estar mais ligada à educação e nesse sentido terá que ser um ponto-chave nas preocupações dos museus científicos. Ao contrário da ilustração científica, por definição bidimensional e por isso feita para livros e publicações científicas, e não obstante a sua vertente expositiva, é na escultura que podemos encontrar o expoente máximo do conceito de exposição. Os museus, espaços tridimensionais, vivem da ocupação do espaço pelos visitantes e, cada vez mais, faz sentido um investimento em dioramas em vez de objectos dispersos, cada vez mais se procura uma relação do espaço com o corpo do visitante, cada vez mais a interactividade é uma preocupação, e a escultura é um veículo com imensas possibilidades para servir este propósito. Arte também é comunicação, e, aliada à área científica, o resultado só pode ser melhorado para os dois lados; ABSTRACT: In Portugal, the concept of scientific sculpture is still mostly ignored, and although Portuguese scientific illustration is already a worldwide reference, scientific sculpture still has a long way to go. The difficulty and high costs sculpture entails result in its lower production, in comparison with two-dimensional art forms. On the scientific side, the reasons for this disregard of sculpture are not so different, being nonetheless enhanced by the specific complexities inherent to this technique and by the difficulty in the acquisition of specific materials, which often have to be imported. Following the logic of three-dimensionality, present in all major museums in the world, there is an urge to finally awake Portuguese museums to sculpture. Therefore, thinking scientific sculpture as a discipline will be the aim of this thesis. Nowadays scientific sculpture is, in terms of its techniques, very close to hyper-realism, however its concerns are the same as scientific illustration’s, in the sense that, unlike hyper-realism, it isn’t solely dedicated to artistic purposes. Scientific sculpture can (or at least, should) be found in museums of scientific knowledge, whether of natural history, natural sciences or others, serving, as does scientific illustration, the purpose of communicating science. However, unlike the latest, which aims, in a first instance to communicate to the scientific community (as exemplified by the illustrations made for scientific papers), sculpture intends mainly to reach a wider and less informed audience. Thus, scientific sculpture is more closely linked to education, and thus this has to be a key-concept into scientific museums' concerns. Furthermore, in opposition to scientific illustration, which is, by definition, bi-dimensional, and thus especially suitable for books and scientific publications, and notwithstanding its expository side, it is in sculpture that we can find the maximum exponent of the concept of exhibition. And because museums, in their quality of tridimensional spaces, live off of the occupation of its space by its visitors, there has been an increased investment in dioramas instead of scattered objects, as well as a desire to deepen the relation between the physical space and the visitor’s body, making interactivity an increasingly significant concern. Thus, sculpture is a means offering enormous possibilities to serve these purposes. Art is also communication and combining it with the scientific field can only improve both áreas.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1992.
Includes bibliographical references (leaves 57-58).
Digital Diorama may be briefly presented as: a historical exploration of the vision devices, performances, and installations of the nineteenth century, and their influences on the project. These histories of the magic lantern, the panorama, and the diorama are investigated in relation to forming a context for creating an interactive environment with digital video on a personal computer. Critical theories of the late twentieth century are used to illustrate the change of vision from classical to modern and present a framework for understanding the potentials of digital technology.
by Daniel Spikol.
M.S.V.S.

Split Soundscape est un projet artistique d’installation sonore inspiré par les notions de paysage sonore et de schizophonie introduites par le compositeur R. Murray Schafer. Ce projet artistique propose la reconstitution de l’espace sonore en temps réel par un double dispositif : des microphones disposés dans un territoire captent et transmettent leur environnement sonore par internet en temps réel (technique du streaming). Dans un espace d’exposition dédié à l’écoute, des haut-parleurs diffusent les sons transmis et construisent un espace nouveau.La recherche interroge la notion d’espace dans sa définition géographique, sociale et philosophique. La notion de paysage sonore est définie, remise en question, et mise en perspective par l’archéologie sonore et l’espace sonore dans sa dimension sociale, deux notions qui nous amènent à considérer l’écoute comme centrale dans la réception et la construction du paysage sonore. La notion de schizophonie (la séparation d’un son originel de sa reproduction), est définie et mise en perspective avec celle d’objet sonore et comme avatar de la reproductibilité technique.Le travail artistique est situé dans le champ de la création sonore et contemporaine, et particulièrement dans son rapport aux notions de flux, d’indéterminisme et de composition. Dans le contexte du doctorat « pratique et théorie », l’aspect pratique de la recherche est évoqué, et l’évolution du projet plastique est présentée à travers des expérimentations inspirées de la recherche théorique
Split Soundscape is a practice based research project that revisits the concepts of Soundscape and Schizophonia originally introduced by the composer R. Murray Schafer. The artistic practice consists of a series of sound installations that focus on the reconstitution of sound space in real time. A number of “Open” microphones located in given territories are employed to transmit the local sonic environment via the internet in real time (using audio streaming technologies). A new soundscape is composed from these transmitted soundscapes and played through loudspeakers in a dedicated (exhibition) listening space. The theoretical research investigates geographical, sociological and philosophical definitions of space. The concept of soundscape as defined by Schafer is called into question and reconsidered from the perspective of sound archeology and as a social construct. This in turn, leads to the positioning of listening as being central in the construction of soundscape. The notion of Schizophonia (the separation of an original sound from his technical reproduction) is examined in detail and compared with Pierre Schaeffer’s definition of the sound object or objet sonore as an alternative consequence of mechanical reproduction. The artistic practice is contextualized in relation to the field of contemporary sound art and more specifically the concepts of flux, indeterminism in composition. The tools developed to facilitate the practice are described, and the evolution of the art project is presented as a succession of experiments informed by the academic research

Mudanças na economia, na sociedade e no mundo do trabalho deram grande destaque à educação não formal ao longo da segunda metade do século XX, gerando maior valorização dos processos de aprendizagem que se preocupam em aproximar a ciência, a tecnologia, a sociedade e o ambiente. Nesse cenário, uma das questões e desafios que se revelam está em torno do como realizar a socialização do conhecimento científico. De acordo com Marandino (2004), a transformação do conhecimento científico, com fins de ensino e divulgação, pode ser analisada no intuito de compreender a produção de novos saberes nesses processos. Nesse sentido, encontramos na Teoria Antropológica do Didático (TAD), proposta por Chevallard (1991), o referencial teórico que permitiu identificar quais saberes são produzidos pelo museu, por meio de suas ações educativas, e que podem ou não ser observados pelo visitante, por meio de uma Organização Praxeológica (OP). Atualmente, vários meios museográficos são usados na preparação de exposições de museus de ciências e, entre eles, destacam-se os dioramas. O entendimento dos dioramas como objetos didáticos, produzidos com a finalidade de ensino e aprendizagem, implica estudá-los numa perspectiva praxeológica, pois permite visualizar a articulação entre a dimensão prática e a teórica do objeto que está sendo analisado. O estudo da praxeologia em museus foi recentemente desenvolvido e busca, entre outros aspectos, analisar como revelar determinados conhecimentos e objetivos em um espaço, de forma inteligível para diferentes tipos de público. O objetivo deste trabalho foi verificar como os museus ensinam por meio de exposições, em especial, pelo diorama \"Floresta Amazônica\", presente na exposição do Museu de Zoologia da USP. A metodologia desenvolvida incluiu a elaboração de um quadro praxeológico a partir dos dados obtidos por três instrumentos de coleta: documentos sobre a exposição e sobre o diorama; entrevistas com os designers e/ou os responsáveis pela exposição; e por meio da descrição e da observação do diorama. A análise qualitativa dos dados permitiu identificar a teoria e a tecnologia do diorama no contexto de sua exposição e, também, as tarefas e as técnicas propostas. Os resultados obtidos ajudaram a identificar o potencial educativo do diorama e serviram como proposta para desenvolver processos de produção de exposições em museus de ciências.
Changes in the economy, in the society and in the world of work gave great prominence to non-formal education, during the second half of the twentieth century, generating greater appreciation of learning processes, which are concerned to approach the relationship among science, technology, society and environment. In this scenario, one of the issues and challenges that unfold, is around how to perform the socialization of scientific knowledge. According to Marandino (2004), the transformation of scientific knowledge for purposes of education and dissemination, can be analyzed in order to understand the production of new knowledge in these processes. Accordingly, we find in Anthropological Theory of the Didactic (TAD), proposed by Chevallard (1991), the theoretical framework that will identify which knowledge is produced by the museum, through its educational activities, and that they can or can not be observed by the visitor, through a praxeological Organization (OP). Nowadays, several museographic means are used in the preparation of exhibitions, in science museum, and among these, we highlight the dioramas. The understanding of dioramas as didactic objects produced for the purpose of teaching and learning, involves studying them in a praxeological perspective, because it allows to visualize the relationship between the theoretical and the practical dimension of the object being analyzed. The study of praxeology in Museums has been recently developed and it seeks, among other things, to examine how to expose certain knowledge and objectives in a space, in intelligible form for different types of public.The objective of this work was to investigate how museums teach through exhibitions, especially the diorama \"Amazon Forest\" present at the exhibition of the USP Zoology Museum. The methodology included the development of a praxeological framework from the data obtained by three collection tools: documents about the exhibitions and the diorama; interviews with the designers and/or responsible for the exhibition; description and observation of the diorama.The qualitative analysis identified the theory and technology in the context of his exhibition and also the tasks and technical proposed for the diorama.The results allowed us to identify the educational potential of the diorama and they served as a proposal to the development of processes for producing exhibitions in science museums.

Esta tesis trata sobre la importancia de la luz en el conjunto de la civilización, especialmente en el campo de las bellas artes. Estudia la luz en la antigüedad descubriendo las ideas y los mitos; el simbolismo de la luz y los mitos de la sombra. Sigue la evolución de las artes y de los espectáculos de la luz hasta su desarrollo en el cine.
En este viaje, he comprobado que el concepto de luz está presente en todas las civilizaciones y culturas como uno de los símbolos más importantes. Desde los primeros indicios en la antigüedad hasta los espectáculos contemporáneos el dominio de la luz y la sombra ha catalizado mucho saber y magia. El simbolismo y el dominio, tanto de la luz natural como de la luz artificial, ha sido una cuestión central de las artes.
La tesis estudia la luz en las bellas artes, arquitectura, pintura y escultura. En la arquitectura, desde el fuego, primer hogar, hasta el muro de cristal haciendo mención especial en el simbolismo de la luz en la arquitectura religiosa. La luz o su ausencia ha sido utilizada en los rituales litúrgicos de la mayoría de las religiones. La luz en la pintura donde su representación ha sido la preocupación constante de los artistas para conseguir crear sensación de realidad. Repasa pintores como Giotto y Masaccio, los flamencos Jan Van Eyck y Jan Vermeer, los holandeses Frans Hals y Rembrandt, De la Tour; Caravaggio y otros más cercanos como Velázquez y Goya que han sido motivo de inspiración para los directores de fotografía. La mayoría de los directores de fotografía que he entrevistado me han comentado que ellos "pintan con la luz", se sienten pintores y han tomado como referente a algunos artistas pintores.
La tesis examina los espectáculos de la luz y de la sombra a lo largo de la historia: el teatro de sombras, la cámara oscura, la linterna mágica, el panorama, el diorama, el cinematógrafo. Sigue la pista de la luz en el teatro indagando en las aportaciones de Adolphe Appia y Marià Fortuny. la relación entre música y luz en los trabajos de L. B. Castell y la magia que aporta Carles Buigas en sus fuentes y proyectos cuando combina agua y luz.
Explica la evolución del espejo y la fabricación del vidrio con sus diferentes aplicaciones, en un recorrido desde el faro de Alejandría o el espejo de Arquímedes hasta las modernas tecnologías como el horno solar de Font Romeo.
En el cine, profundiza en la historia de la iluminación descubriendo la utilización de la Black Maria para la grabación de sonido. Se estudian los cambios más importantes que se dieron con la llegada de la electricidad, que ha permitido el control de la luz y el sonido. El cine sonoro supone una gran evolución para los iluminadores, como luego también lo sería la película de color o la introducción de la lente fresnel. La historia de la iluminación en el cine esta contada en función de los avances tecnológicos que han facilitado el trabajo a los iluminadores en su lucha para pintar con la luz.
Vemos como en muchas ocasiones los avances técnicos y tecnológicos no parten directamente de la ingeniería, sino que son fruto de las intuiciones, impulsos o imaginación de los iluminadores, creadores y artistas en busca de recursos expresivos y creativos.
Todo este camino sirve para entender "El Sentido de la Luz" en todo su recorrido hasta la iluminación en el cine y comprobar, entre otras cosas, cómo los iluminadores, y directores de fotografía, pintan con la luz inspirándose en sus antepasados los pintores.
This thesis deals with notions and ideas of light throughout history, especially in the plastic arts. It begins with a study of ideas and myths about light in Antiquity, especially the symbolism of light and myths about shadows, and then proceeds to see the role of art in both the plastic and the performing arts culminating in the development of film and cinema.
Ideas about light exist in all civilizations and cultures and are expressed in important symbols. Human control of both natural and artificial light are a key part of any artistic expression.
This thesis studies the meaning of light in bellas artes. First, we analyze the symbolism of light in religious architecture, and then proceed to prove that painters have always been the source of inspiration of cinema's directors of photography, who tend to see themselves as painters for they "paint" light.
The thesis surveys the spectacles of light and shadows throughout history, such as the theater of shadows, the camera obscura (dark chamber), the magic lantern, the panorama, the diorama and cinema. Two particular case studies of artistic use of light are the evolution of light technique in theater by Appia and Fortuny, and the interplay of light and water by the Catalan engineer Buigas.
Concerning cinema, we make a historical analysis of the most relevant changes brought up by electricity, which allowed to control both sound and light. Sonoro cinema allowed major innovations for light experts, who also benefited by inventions such as the color film or the Fresnel lens. We survey the most important technological advances that have contributed to new ways to paint light.
Our historical survey thus illuminates the long and cumbersome process of innovation to express and control the "Sense of light".

Construite sur une analyse approfondie des archives de Robert Smithson, cette thèse réévalue la série des Nonsites (1967-1969) dans sa relation d'inspiration avec les Géosciences. Elle rappelle le contexte culturel des années soixante comme toile de fond pour l’inspiration de l’artiste et détermine l’envergure de son expertise dans le domaine des sciences. Des documents préparatoires inédits viennent éclairer son processus de création et la manière dont il formule ses œuvres complexes, à partir des sources géologiques, de l'information scientifique et de la muséographie. La relation entre arts et sciences apparaît centrale dans l’élaboration des Nonsites. Chaque œuvre de la série est ainsi rattachée à ses sources artistiques et scientifiques et révèle le moment historique de l’émergence de la sculpture post-minimale. Le jeu de l’espace muséal avec la tridimensionnalité est alors enrichi par le déploiement de strates d’informations contextuelles et crée les prémices d’une interaction nouvelle entre œuvre et spectateur.De plus, deux perspectives ouvertes sur un choix d'œuvres de Giuseppe Penone et Olafur Eliasson démontrent comment leurs démarches artistiques sont en résonance avec les préoccupations créatives de Smithson. Il est ainsi possible de problématiser l’expédition scientifique de terrain (et la manière de penser le territoire qui lui préexiste), ainsi que les agencements muséographiques en art comme en sciences comme sources déterminantes dans la confluence de l’art et des sciences
Based on a thorough analysis of Robert Smithson's archives, this dissertation re-evaluates the Nonsites series (1967-1969) in its inspirational relationship with the Geosciences. It recalls the cultural context of the sixties as a backdrop for the artist's inspiration and determines the scope of his expertise in the field of science. Unpublished preparatory documents enlighten his creative process and the way he formulates his complex works from geological sources, scientific information and museography. The relationship between arts and sciences is central to the development of the Nonsites. Each work in the series is thus linked to its artistic and scientific sources and reveals the spectacular historical moment of the emergence of post-minimalist sculpture. The play between the museum space and three-dimensionality is then enriched by the deployment of layers of contextual information and provides the basis for a new interaction between viewer and artwork.In addition, two perspectives are drawn towards the work of Giuseppe Penone and Olafur Eliasson and demonstrate how their artistic approaches resonate with Smithson's creative concerns. It is thus possible to problematize the scientific field expedition (and the analysis of the territory, its prerequisite), as well as the museographic arrangements, as determining sources in the confluence of art and science

Over eighty polar-themed exhibitions were held in Britain between 1819 and the 1930s, a time of intense exploration of both the Arctic and Antarctic. These varied from panoramas and human exhibits to displays of ‘relics', equipment, photographs and artwork, waxworks and displays shown as part of a Great Exhibition. This period also saw the creation of the first dedicated polar museums. These displays were visited by thousands of people throughout the country, helping to mediate the subject of exploration for a public audience. Despite this, the role exhibitions played in forming popular views of the polar regions has not been fully assessed. This thesis addresses this gap. It is the first to consider all the polar exhibitions held during this period as a collective body, making it possible to study how they developed over time and in response to changing circumstances. The thesis uses a variety of archival sources to both reconstruct the displays and place them in their historical and museological contexts. The study shows that exhibitions evolved in response to changes both in the museum sector and in exploration culture. It demonstrates that, while they were originally identified with the shows of the entertainment industry, polar exhibitions began to take on more of the characteristics of museum displays. At the same time their dominant themes changed; the natural world was relegated in favour of ideas relating to the human experience of the regions such as heroism, adventure and everyday life in an exotic environment. While other media may have been more effective in disseminating ideas about exploration, visitors could find the experience of visiting an exhibition more compelling. This thesis contributes to our understanding of this distinct role that exhibitions played in presenting the polar regions to the British public.

Nilsson, S. 2007: Skogsgeografi II. Om odlingslämningar i skogsbygd (Forest Geography II. On Remains of Agriculture in Forest Settlement Districts) In this thesis issues on remains of agriculture in the county of Värmland, Sweden are discussed. The aim is to use a holistic approach when examining such remains, which goes beyond their mere morphology. Instead focus is put on their inner and outer geographies: the internal relations between different elements of a single remain, and the external relations between the remain and its local context. Also, it is argued that it’s necessary to approach this kind of remains with an open perspective regarding time. The diorama principle as expressed by Torsten Hägerstrand is used. It focuses more on closeness than on similarity. Four separate studies are enclosed to the thesis as appendix’s I–IV. The thesis ends with an outlook to a concept of relational landscape, derived from this work, with outlines future studies. In Appendix I registered remains of agriculture are examined. In Appendix’s II and III the role of agricultural remains for settlement geography studies are analysed. The role of agricultural remains as bearers of meaning in both history and present, and views and values of antiquarians and researchers as well as the public, is examined in Appendix IV. Hopefully a holistic view will illuminate agricultural remains as research source material and bearers of meaning, including both expert and lay knowledge, history as well as present time and the future. This is desired in order to handle such remains in a fair manner. Stefan Nilsson, Department of Geography and Tourism, Karlstad Uni-versity, SE 651 88 Karlstad, Sweden.

碩士
東方設計大學
流行商品設計系
107
Often I reminisce about living in my childhood home again, recalling the memories of more than a decade ago, and the scenarios flood back: “the smells of the rusty iron chair and of meals prepared in the kitchen, or the sight of the blotchy ceramic wall tiles in the bathroom filled with water vapor. But what always aroused my strongest sentiment was the moment when dusk was falling, and sunlight shimmered on the tatami mats in one of the rooms....” People tend to hanker after trivial things such as a wall brick or a roof tile, as long as they belong to the good old days, because these everyday objects that surround us are invested with our emotions for life. Therefore, even when time drifts by, the impressions these things left on us still remain indelible. To commemorate the nostalgia we feel for our early homes, I decided to produce a series of dioramas as a representation of those bygone days, and the models will connect to and speak for what is on the mind of their maker. This project aims to manifest, by means of art works, how we perceive life. Thus, I plan to use diorama, here specifically referring to five pieces of metalwork made with mixed media, as an illustration of our imagination of the past. The theme of these artifacts is nostalgia for one’s hometown, and the main argument will center on how to use different materials to reify the conception of a childhood home. Gazing at the objects that incarnate a certain living space in one’s memories helps the person indulge in the mental process of imagining and conceptualizing, thus immersing the observer in the stories told through the scenes these dioramas create.

碩士
國立臺北藝術大學
博物館研究所碩士班
99
The purpose of this study is to examine the effects of exhibit caption content organizations on the learning outcomes of museum visitors. The study was conducted at the East African Savannah exhibit at the National Museum of Natural Science in Taichung from October 2010 to January 2011. Two types of caption content organization were used. The in-situ exhibit caption showing only factual species taxonomic and climatic information was used as control (Control group) while the experimental caption contained additional ecological concepts such as adaptation, food web and wildlife conservation concepts (Experimental group). 280 visitors were invited to participate in this pre- and post-test study. A twenty-question questionnaire consisted of four ecological themes was administered. A scale of measuring visitors’ conservation attitude was also included in the questionnaire. After completing the pre-test, visitors were randomly assigned to one of these two caption types. Post-tests were then conducted after reviewing the captions and the change in scores of pre- and post-test were used as measurement of learning outcomes. Data analysis revealed that there was an overall improvement in post-test scores for both groups, and the scale of improvement for the experimental group was higher than the control group. Additional analysis showed that in the experimental group, significant post-test score improvement was found across all four ecological themes. A subsequent two-factor ANOVA analysis revealed that visitors’ educational levels did not affect their learning outcomes. However, more prominent post-test score improvement was found in visitors with pre-college education level. Similar ANOVA analysis also showed that learning outcomes did not change for the four ecological themes. Correlation analysis indicated that there was no significant relationship between visitor’s conservation attitude and learning outcomes. Interestingly, visitors with low conservation attitude showed a higher post-test score improvement. It’s generally advised that Novak’s Concept Maps should be used as a guide to include relevant information at the early phrase of the exhibit caption writing process. This practice should be valuable in developing captions that enhance the understanding of scientific concepts rather than the mere memorization of scientific facts.

Text in Afrikaans
In hierdie navorsingsverslag word die omgewingsgerigte poësie van Johann Lodewyk Marais ondersoek. Marais se verskuns word onder meer as “groen”, “omgewingsgerig”, “ekopoëties”, “bioregionaal” en “biogeografies” beskryf en kritici is dit eens dat sy oeuvre ‘n sterk bewaringsingesteldheid vertoon. Marais se eiesoortige bydrae tot die bewaringsdiskoers (deur sowel sy verse as kritiese uitsprake) word hier geëvalueer aan die hand van sekere sleutelkonsepte uit die museum- en bewaringswetenskap wat telkens as metafore in sy poësie figureer: taksonomie, taksidermie en diorama. Saamgelees met Halloran se idee van die teks as argivale ruimte of museum, word hierdie konsepte (naamlik taksonomie, taksidermie en diorama) voorgehou as ‘n leesstrategie waarmee die bewaringsgesinde poësie van Marais gedekodeer kan word.
This research report focuses on the environmental poetry of Johann Lodewyk Marais. His poetry has been described as “green”, “environmental”, “ecopoetical”, “bioregional” and “biogeographical” and critics agree that the oeuvre displays a strong element of conservation and even preservation. Marais’s unique contribution towards this discourse of conservation is assessed by utilising certain key concepts from museology, which frequently manifests in his poetry as metaphors: taxonomy, taxidermy and diorama. Halloran’s notion of the text as archival space or museum, read in tandem with these concepts of taxonomy, taxidermy and diorama, is then presented as a reading strategy for decoding Marais’s poetry.
Afrikaans & Theory of Literature
M.A. (Afrikaans)

Relatório de projeto de mestrado em Comunicação, Arte e Cultura
O presente relatório apresenta o processo de conceção, implementação e investigação do Projeto de Intervenção o qual traduziu-se por uma exposição de dioramas musicais realizada em fevereiro de 2019 no átrio do Conservatório de Música de Calouste Gulbenkian. Este trabalho apresenta igualmente uma reflexão sobre a evolução e aplicabilidade do diorama no contexto educativo e museológico bem como sob a ótica do colecionador e do curador. São referidos autores e pensadores da Arte como Walter Benjamin, Gaston Bachelard, François Mairesse e Eduardo Lourenço. É realizada uma narrativa dos principais “quadros” da exposição e do seu impacto na comunidade educativa. Para tal, é descrito o enquadramento que esta atividade representou no contexto da Autonomia e flexibilidade curricular e do seu desenvolvimento e planificação como um Domínio de Autonomia Curricular, num contexto de promoção cultural e interação dentro da Comunidade Educativa. A metodologia empregue neste estudo recaiu sobre um questionário entregue a todos os visitantes, alunos, professores e funcionários e demais público. Foram recolhidos dados que apontam no sentido de vários níveis de perceção e impacto cultural no contexto da autonomia e flexibilidade curricular, em alunos e público em geral. A análise aos resultados identificou vários fatores condicionantes, entre eles o nível de escolaridade dos alunos, o qual surge como o fator determinante, a par da idade e das habilitações dos respondentes. De igual importância aparece o facto de os alunos do Ensino Especializado da Música terem revelado um maior interesse para as temáticas da exposição.
This report presents the conception, implementation and research of the Intervention Project, which took place at the Conservatório de Música de Calouste Gulbenkian in Braga, Portugal as an exposition of dioramas. It also presents a reflection about the evolution and applicability of the diorama in the educational and museological context and into the collector and the curator perspectives as well. Authors and theorists on Art such as Walter Benjamin, Gaston Bachelard, François Mairesse and Eduardo Lourenço were cited throughout the work. A narrative of the main elements of the exposition and its impact in the community was also undertaken. Therefore, an impact framework of this Project, in the context of autonomy and curricular flexibility, is presented and its development and plan of action as a shape of Curricular Autonomy Dominion, in a context of cultural and interaction among the school community. The methodology used in this study was based in a survey delivered to all visitors, pupils, teachers and other staff. The results pointed to several conditional factors, among them the pupils’ grade, which is one of the most relevant, the age and the qualification of the respondents. Also, important seems the fact that students of the specialized music curriculum showed a bigger interest in the thematic presented.

碩士
大葉大學
設計暨藝術學院碩士班
105
Taking public transports has become part of my living since I was a college student. I watched the driver, and other passengers on the trip. Gradually, I found the fun in observing them on their looks, their moves, their belongings, etc. And saw every passengers has their own story, and compile their stories with strong affection, keep walking on their journey. Maybe have some mistakes on the way, but we always hope a happy ending. Integrated the above experiences with my Illustrator story on web side, to plan this creation of wood carving diorama – “Air Beans and the Fantasy Travellers”, that has fifty wooden dolls in a big airplane. From the process of creation of wood carving, I learned some mechanical work related to wood carving, and how to adjust my rest. By day and day, I complete many wooden dolls, my mood also has become clam and practical because of the wood carving, and will keep working on my journey of creations.

In this thesis we introduces the user interface design and forensic analysis tool for DIORAMA system. With an Android device, DIORAMA provides emergency personnel the ability to collect information in real time, track the resources and manage them. It allows the responders and commanders to mange multiple incidents simultaneously. This thesis also describes the implementations of commander app and responder app, as well as two different communication strategies used in DIORAMA. Several trials and simulated mass casualty incidents were conducted to test the functionalities and performance of DIORAMA system. All responders that participated in all trials were very satisfied with it. As a result, DIORAMA system significantly reduced the evacuation time by up to 43% when compared to paper based triage systems.

碩士
國立臺北科技大學
互動設計系碩士班（碩士在職專班）
103
Virtual and reality have been applied in Head Mounted Display due to the advances in technology. The study created a model of Cardboard Diorama Storybook Games (CDSG) with Mixed Reality and Immersion Experience. The purpose of such an innovation is to explore the relationship between immersion experience and interactive mechanism. The researcher reviewed the underlying theories including immersion experience, embodied interactive, mixed reality, and cardboard diorama storybook. The methodology of the study included experiment and questionnaire survey. The researcher wrote program of CDSG with Mixed Reality and Immersion Experience. Four series of CDSG were developed. The researcher developed CDSG System Assessment Scale and Immersion Scale by factor analysis, reliability test and validity test. The study found that CDSG reached significantly differences of immersion experience. Visual confusion is found due to simulator sickness that is the limitation of the study. The follow up study will figure out the visual confusion to prevent from simulator sickness. It is worthy to apply the underlying theory of user experiences, immersion experience, and mixed reality in CDSG for further innovation.

Key points: 71 institutions visited. 860 hominin representations assessed. Earlier hominins are treated differently from H. sapiens and often convey inaccurate scientific information. Hominin representations in museums and other displays have been used for well over a century to illustrate the people of the past. The popularity of archaeological and forensic facial reconstructions in the media ensures that they will be popular for some time to come. The aim of this work is to ascertain how hominin representations displayed in museums convey to the public interpretations of human evolution, variation and behaviour. These representations are a unique form of museum material culture as they are used as both part of the display and as an artefact that displays scientific knowledge from its era of manufacture. Various institutions (71) in 10 European countries and Australia were visited. Out of those, 55 hold altogether 860 life–sized and three–dimensional hominin representations. Ten representation types were identified: facial reconstructions (n=100), facial reconstructions on a body (n=92), casts (n=158), educational sculptures (n=104), museum mannequins (n=99), standard mannequins (n=87), portrait figures (n=147), medical models (n=27), costume dummies (n=31) and miscellaneous representations (n=15). These representations were found to be displayed in four different contexts: complete contexts (e.g., dioramas and tableaux), partial contexts (e.g., life–groups), in a series or as a solo figure. The terminology used to classify representations and their context was found to be inconsistent in both the museums and in the literature. The various taxa found included Kenyanthropus, Australopithecus and Homo species. The facial realism of these representations ranged from blank faces to highly detailed faces, which were also extremely realistic. The earlier hominin representations were more highly detailed than the H. sapiens representations, even though many of these details are unknown. Particular facial features (such as eyes, oral cavity and individual eyelashes and brows) were also found to increase the perceived realism of the representation. The body proportions of the earlier hominin taxa were found to be inconsistent within the various taxa and with scientific knowledge. Faces of the earlier hominins were found to be genus specific (i.e., Australopithecus and Homo) rather than species specific: essentially the representations looked either human or pre–human. There was also a range of biases in the sample, for example 66% of the representations were male and 70% were adults (approximately 20–40 years). These findings may enable museums to use hominin representations in the most effective way possible in terms of the intended purpose of the exhibition in which they feature, their expected audience and the museum's economic constraints.
Thesis (Ph.D.) -- University of Adelaide, School of Medical Sciences, 2012

Disaster management and emergency response mechanisms are coming of age post 9/11. Paper based triaging and evacuation is slowly being replaced with much advanced mechanisms using remote clients (Laptops, Thin clients, PDAs), RFiDs etc. This reflects a modern trend to deploy Information Technology (IT) in disaster management. IT elements provide a great a deal of flexibility and seamlessness in the communication of information. The information flowing is so critical that, loss of data is not at all acceptable. Loss of data would mean loss of critical medical information portraying the disaster scenario. This would amount to a wrong picture being painted of the disaster incident. This basic idea led to the motivation of DiNAR (Diagnosis of Network and Application Resource). The aim of DiNAR was to remotely monitor all the components of the deployed system infrastructure (Remote clients, Servers) and if there is a fault in the infrastructure (Hardware, Software or Communication) DiNAR captures the fault alarm and do an event correlation to find the source of the problem. The biggest challenge that lies here is the fact that the entities we are trying to monitor are scattered around in the Internet. Traditional network management techniques always assume that the network is within administrative control and every device we monitor is easily reachable on demand. But the ad-hoc scenario of deployment of disaster management systems makes this task non trivial. DiNAR has been designed with an aim to work with any application which has its infrastructure elements scattered in the Internet space. DIORAMA (A real time disaster management system) represents a new series of applications (especially in medical field) where the deployment of network infrastructure is scattered around with Internet being the backbone connector. Another such example is the Intel® Health Guide PHS6000 [1], which is used in patient monitoring in homes. This thesis work uses DIORAMA as a case study application used to prove the concept of DiNAR.

The subject of the thesis Live images of VJing is an aesthetic activity, based on visual projections and on work with new media in real-time, known as VJing, or more generally "live audiovisual performance". As these performances usually complement auditory events or are supplemented by music. The first part follows the origins of VJing out of three angles: First the historical development of projected image, electronic music and the discourse of synaesthesia principle as an principle joining different sensory perceptions into one. Second part of this thesis is introducing an philosophical perspective and it's defining terms, through which can be glimpsed the tendencies in the development of contemporary art of new media, particularly following the example of the German new-media philosophy with terms like homöotechnik, performativity, mediality and gesture. The outcome of this thesis is the finding, that it's not the media-philosophy bringing the textures and shapes to VJing, but the opposite - VJing as an art form is a valuable contribution to defining of the media-philosophy, which seem to be forming along with the new media itself and with the experimental arts exploring it's radical possibilities.