Relevant bibliographies by topics / Museum of Natural History- exhibitions

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Academic literature on the topic 'Museum of Natural History- exhibitions'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Museum of Natural History- exhibitions"

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Stehlík, Michal. "Exhibition Policy of the National Museum 2017−2020." Muzeum: Muzejní a vlastivedná práce 55, no. 3 (2017): 69–72. http://dx.doi.org/10.1515/mmvp-2017-0039.

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Abstract The National Museum (NM) is preparing several temporary exhibitions in all of its buildings, along with preparing new permanent exhibitions in the New and Historical Buildings. All parts of the National Museum are incorporated in the preparation of new exhibitions, i.e. the Historical Museum, Natural History Museum, Czech Museum of Music, Náprstek Museum and the National Museum Library. In 2017, these exhibition projects are: Light and Life, Masaryk as a Phenomenon, and Indians. In 2018, the National Museum will present the Czech-Slovak / Slovak-Czech exhibition, which will reflect the 100th anniversary of the founding of Czechoslovakia, together with selected moments of Czechoslovakian history and the relationship of these two nations. 2019 could bring the opening of the grand Egyptology exposition Sun Kings and also new Natural history expositions. The remaining permanent expositions should be opened in 2020. The exhibitions in this period will likely recall some important anniversaries (1620, 1920). In future years, the renovation of the Czech Museum of Music and Náprstek Museum will take place.
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Gil, Magdelena. "Exhibiting the Nation: Indigenousness in Chile's National Museums." Museum and Society 14, no. 1 (2017): 82–97. http://dx.doi.org/10.29311/mas.v14i1.627.

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This article describes the history of Chile’s national museums, focusing in particular on their exhibition of indigenous cultures. Three museums are considered: the National Museum of Natural History (originally the National Museum); the National Museum of Fine Arts; and the National Museum of History. Using museum catalogues, visitor’s guides and bulletins as sources, this research traces the role given to indigenousness in the museums’ exhibitions through time. Initially, the ‘Indian’ was presented as either part of the territory conquered by Chileans, or as not part of Chilean culture at all. By the twentieth century, however, a new narrative emerged which recognizes the indigenous people as the ‘pre-historic’ inhabitants of Chile. Most recently, a more complex narrative presents Chile as a blending of races and cultures. Overall, we see that today each museum continues to see nationhood as something that is monolithic, allowing little place for indigenous people beyond mestizaje (blending of ‘races’).Key words: indigenous, exhibitions, Latin America, national identity
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Stehlík, Michal. "Creation of Permanent Exhibitions of the National Museum." Muzeum: Muzejní a vlastivedná práce 55, no. 3 (2017): 6–10. http://dx.doi.org/10.1515/mmvp-2017-0029.

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Abstract At the onset of preparations of new permanent exhibitions of the National Museum (NM) in 2011, it was necessary to define their content. Several expert teams composed of NM staff and other institutions took part in this process. Historical topics were embraced in a novel perspective, their comprehensive presentation was so far absent in the NM. Social science expositions in the History exhibition will map the development of society from the Early Middle Ages until the end of the 20th century. The People exhibition will interlink the topics of anthropology, archaeology and classical archaeology. Natural science topics will be elaborated on three levels – nature around us, stories of evolution, and an experimental area (ExperiMus). They will reveal processes affecting the shape and transformations of Earth. The Social and Natural science parts will be linked through the Treasury exhibition. The Pantheon and the Children’s Museum will form completely independent units. The architecture of exhibitions will be the result of public tenders conducted in compliance with the Act on Public Contracts. New expositions of the NM are to be opened in 2019 (Natural science) and 2020 (Social science) on a total area of 12 000 m2.
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Macek, Ivo. "The Biggest Museum Project in Czech History: The New Permanent Natural History Exhibitions in the National Museum Prague." Biodiversity Information Science and Standards 2 (June 13, 2018): e26375. http://dx.doi.org/10.3897/biss.2.26375.

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In 2018 the National Museum Prague (NMP) is celebrating its 200th anniversary. Today the Museum is facing its most valuable development: brand new permanent exhibitions. Our monumental historic building was constructed in 1891 in the heart of Prague. After more than one hundred years we had to close the building and remove all exhibitions which were older than 40 years. The building has about 8,000m2 and is divided into two parts. One belongs to our Natural History Museum (NHM) collections with Zoology, Palaeontology, Mineralogy, Botany and Mycology exhibitions. Our new natural history galleries will open in autumn 2019. Housed all on one floor, the galleries will be full of animals like invertebrates, fishes, reptiles, birds and mammals. The second floor will focus on palaeontology spanning more than 500 million years of evolution covering the geographical area of the modern Czech Republic. At the beginning we had to ask ourselves a few simple questions. How do we develop permanent exhibitions that will last for decades? Is excluding modern technology the right thing to do? Should we focus on a more informative/education style or should the interpretation be more populist? And what about the display cases? Should we use old repaired ones or modern cases? It would be great to have answers to all these questions but we still have to deal with the vision and constraints of our curators, collections, budget, legislation, technology and construction of the building. The project has no similar equivalent in the history of the Czech Republic so it was an extraordinary challenge to create our own process of developments with ongoing improvements. Through these developments we have formed new cooperation with technological partners and the creative industries. We are defining a new modern approach to the development and preparation of exhibitions in the Czech Republic. Now that we have reached the half way point towards our vision, it is a good time to report on progress.
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Mathiasson, Sven. "Museums of natural history—do we need their collections in the time of molecular biology?" European Review 1, no. 4 (1993): 319–28. http://dx.doi.org/10.1017/s1062798700000727.

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All over the world natural history museums act as storehouses. Billions of creatures are preserved. Most museum visitors never see these collections; they only meet the limited specimens presented in public exhibitions. Most people seem to know little about the value of these collections and how they are used. This article presents some aspects of natural history collections and their value in scientific and other contexts.
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Chervonenko, O., and D. Kepin. "The beginnings of the natural history museology in Europe." History of science and technology 6, no. 8 (2016): 206–14. http://dx.doi.org/10.32703/2415-7422-2016-6-8-206-214.

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The paper deals with the history of development of views on the nature during the ancient era as well as the beginnings of museum studies in the context of creation natural history collections in Europe during classical antiquity. Based on the results of analysis of archeological evidences and historical documents it was revealed that institutions called “mouseion” (lat. thesaurus) common in both Ancient Greece and Rome cannot be equated with museums in the modern sense of the term. The establishment of museums as sociocultural institutions and the creation of natural history exhibitions in European countries were held during the Renaissance and the Age of Enlightenment and were related with major discoveries in the field of biology.
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Allmon, Warren D., Robert M. Ross, Richard A. Kissel, and David C. Kendrick. "Using Museums to Teach Undergraduate Paleontology and Evolution." Paleontological Society Special Publications 12 (2012): 231–46. http://dx.doi.org/10.1017/s2475262200009345.

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Museum exhibitions possess a long history of serving as useful tools for teaching both paleontology and evolutionary biology to college undergraduates. Yet, they are frequently under-appreciated and underutilized. However, they remain potentially outstanding resources because they can be used to meet a spectrum of learning objectives related to nature of science, real-world relevance, and student interest. Specifically, even small museum displays can provide: 1) authentic specimens, which often are more diverse, of higher quality, and historically more significant than those in teaching collections; 2) specimens in context, with other specimens and/or geological or biological background available; 3) examples of how fossils connect to virtually all of Earth and life sciences (explaining why they have so frequently been at the center of traditional “natural history”); 4) cross-disciplinary experiences, connecting science, art, technology, and history within a social context; and 5) opportunities for students to learn about teaching. A survey of instructor-developed activities performed within a host of natural history museums—with particular attention devoted to the Museum of the Earth, an affiliate of Cornell University—suggests that natural history exhibitions, regardless of size and scope, can complement and strengthen formal education in an undergraduate setting.
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Ash, C. "EXHIBITIONS: NATURAL HISTORY ART: Paper Museums." Science 320, no. 5880 (2008): 1163. http://dx.doi.org/10.1126/science.1159434.

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Vieira, Ana Carolina Maciel, Mariana Gonzalez Leandro Novaes, Juliana Da Silva Matos, Ana Carolina Gelmini Faria, Deusana Maria da Costa Machado, and Luiza Corral Martins de Oliveira Ponciano. "A contribuição dos museus para a institucionalização e difusão da paleontologia." Anuário do Instituto de Geociências 30, no. 1 (2007): 158–67. http://dx.doi.org/10.11137/2007_1_158-167.

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Since the calls "cabinets of curiosities", the essence of natural history was consolidating itself with the birth of the museums and the development of the Museums of Natural History. This consolidation was reached through following activities: expeditions, field trips, collection classification works, catalogues of diffusion of scientific knowledge, educativ activities and expositions. The present paper intends to discuss the importance of the museal institutions for the studies of Paleontology; since the museums of Natural History had exerted a pioneering paper in the institutionalization of certain areas of knowledge, as Palaeontology, Anthropology and Experimental Physiology, in Brazil. The Paleontological studies in museums had collaborated in the specialization and modernization of the appearance of "new museum idea". As this new concept the museum is a space of diffusion of scientific knowledge, represented as an object that reflects the identity of the society without an obligator linking with physical constructions. However, the Brazilian museums have been sufficiently obsolete, with problems that involve acquisition and maintenance of collections to production of temporary or permanent exhibitions. When the Brazilian institutions of natural history are analyzed they are not organized on the new museum conception and the digital age as the North American and European ones. Despite the difficulties found by the Museums since its birth as Institution in the 18th century, the contemporary development of Museology and Palaeontology as Science had contributed for the consolidation and institutionalization of both, helping the diffusion of scientific knowledge.
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Anisimova, Margarita Vyacheslavovna. "The section of history and everyday life in the Russian Museum: establishment, development, and liquidation." Исторический журнал: научные исследования, no. 4 (April 2020): 108–17. http://dx.doi.org/10.7256/2454-0609.2020.4.33047.

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The subject of this research is activity of the section of history and everyday life of the State Russian Museum established in 1918. The department devised a new theme – history of everyday life and its visualization in museum expositions, which was natural development of the Russian historical science. Intended to preserve and actualize the history of everyday life of different social classes, it shared fate of multiple national museums of everyday life: exhibitions that tool place in the 1920s were cancelled; in the late 1930s, the collections were transferred to museums of different categories, such as the State Museum of Revolution, the State Museum of Ethnography of the Peoples of the USSR. However, the section of history and everyday life did not cease to exist, and in 1941 merged into the State Hermitage Museum as an independent structural department of the history of Russian culture. Leaning on the new archival sources, an attempt was made to elucidate the work of the department of history and everyday life along with its branches in conditions of difficult political situation in the country during the 1920s – 1930s. Initially, the primary task of the department consisted procurement of the funds with the items from nationalized manor houses; later in consisted in exposition of the collection; and then due to the absence of the unified state institution for regulation of questions of preservation of historical and cultural heritage, the activity was focused on preventing scattering of the collections. After the First Museum Congress in 1930, the museums were recognized as the means of political-educational propaganda, which let to countrywide stagnation of expositional and exhibition activity of the museums. The museums of history and everyday life, being the mixed type museums, were incapable of resisting new realities, and thus re-specialized into museums of history and art or liquidated completely.
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Dissertations / Theses on the topic "Museum of Natural History- exhibitions"

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Elias, Felipe Alves. "Iconografia paleontológica em narrativas de exposições de História Natural." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-05012016-145604/.

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Esta investigação propõe caracterizar a incorporação da informação paleontológica nas narrativas expositivas em museus de história natural por meio da utilização de imagens. A iconografia paleontológica, vulgarmente referenciada como \"paleoarte\", é contextualizada na esfera do objeto museal. Objetiva-se aqui a caracterização do estado-de-arte das técnicas e modalidades iconográficas aplicadas às narrativas expositivas. Para tanto, três casos distintos são analisados: o do Museu Americano de História Natural (Estados Unidos), o do Museu da Evolução da Academia Polonesa de Ciências (Polônia) e o do Museu de Zoologia da Universidade de São Paulo (Brasil). Além de aspectos ligados à materialidade, técnicas artísticas, precisão e escala, foram investigadas a proporção de sua inserção na composições das expografias, bem como as expectativas curatoriais em relação a sua contribuição comunicacional para as narrativas expositivas. Apesar de notáveis diferenças entre todas as instituições investigadas, evidenciamos a convergência da iconografia paleontológica - especialmente a paleontografia, uma abordagem sofisticada que combina técnica artística e epistemologia científica - como um recurso estratégico adotado pelos museus na comunicação de conceitos paleontológicos complexos para o grande público. Esta pesquisa também evidenciou que para além das decisões conceituais, a concepção, formulação e aplicação da iconografia paleontológica em exposições de história natural são diretamente influenciadas pelas políticas de comunicação institucional, enfrentam desafios práticos e são suscetíveis a restrições financeiras. Esta análise, que oferece possibilidades a desdobramentos futuros de pesquisa, busca oferecer subsidio para o planejamento de exposições em museus de história natural, de modo a contribuir à consolidação dessas instituições como espaços privilegiados para o diálogo e a prática da educação para a ciência, para a preservação do patrimônio e para a sustentabilidade.<br>This research proposes to characterize the incorporation of paleontological information in natural history museums exhibition narratives through the use of images. The paleontological iconography, commonly referred to as \"paleoart\", is contextualized in the realm of the museum object. The goal is featuring the techniques and iconographic modalities state-of-art applied in exhibition narratives. Three different cases are being analyzed: the American Museum of Natural History (United States), the Museum of Evolution of the Polish Academy of Sciences (Poland) and the Museum of Zoology of the University of São Paulo (Brazil). Besides aspects of iconography\'s materiality, artistic techniques, accuracy and scale, it was investigated the proportion of its insertion in expography compositions, as well as the curatorial goals regarding its communication contribution to exhibition narratives. Despite notable distinctions between all the institutions investigated, we evidenced the convergence of the paleontological iconography - especially the paleontography, a sophisticated approach that combines artistic technique and scientific epistemology - as a strategic resource of museum exhibitions to assist the communication of high complex paleontological concepts to broader audiences. This research also evidenced that in addition to conceptual decisions, the design, making and implementation of paleontological iconography in natural history exhibitions are direct influenced by institutional communication policies, face practical challenges and are susceptible to financial constraints. This analysis, which offers possibilities for future research developments, intends to provide subsidies for exhibitions planning at natural history museums, to contribute to their consolidation as privileged spaces for dialogue and the practice of education for science, for heritage preservation and sustainability.
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Iguchi, Hisao. "Environmental education through museums : a case study of the ecology exhibition in the Natural History Museum, London." Thesis, University College London (University of London), 1995. http://discovery.ucl.ac.uk/10020238/.

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Hedqvist, Eric. "Varats och utvecklingens kedja : en naturhistorisk museiutställning i Göteborg 1923-1968." Doctoral thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-18922.

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This dissertation is a museological study of the coming into being of a natural history museum, its building and its adherent zoological exhibition during the years around the First World War. The main problem of the dissertation is the opposition between the curator´s program 1903 for the exhibit and its realization twenty years later. The theoretical perspective is that in its synchronic aspect science, in accordance with the views of swedish sociologist, Thomas Brante, is divided into three levels interdependent upon one another in varying degrees – theoretical, sociological and psychological level. In the present study, the main issue is the weighing of the relative significance of each of these levels. The exhibit was structured as along a scale, or chain, from lesser to greater animals. In this and in other respects it belonged to the legacy of Swedish naturalist Carolus Linnæus. Interest in maintaining this tradition was powerful in the Swedish society during the years before the First World War. Not until around 1950 was the modern theory of evolution explicitly announced to the visitor of the exhibit, still however without the representation of the forces behind it By an investigation of the milieu to which the museum belonged is shed light upon the scientific and other ideals which are represented in its exhibit. The result of an assess of the significance of the theoretical, the sociological ant the psychological level is that contemporay theory does not stand out as a driving force behind the creation of the exhibit in 1923. Nor does the curator of the exhibition emerge as an innovator. Most dominant is however the sociological level.<br>avhandlingen framlägges för disputation i ämnet museologi
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Bombonato, Rebeca Ribeiro. "O tempo geológico nas narrativas de museus de história natural: uma análise comparativa." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-09092016-143212/.

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Esta pesquisa visa analisar a utilização do tema \"Tempo Geológico\" nas narrativas de museus de História Natural através da análise de exposições em museus em quatro países: Alemanha, o Museum für Naturkunde de Berlim; Inglaterra, o Natural History Museum, em Londres; França, o Muséum National d\'Histoire Naturelle de Paris; Brasil, o Museu de Ciências Naturais e Museu de Ciência e Tecnologia, ambos em Porto Alegre. Foram analisadas três exposições no museu em Berlim: \"Mundo dos Dinossauros\" (Saurierwelt), \"Cosmos e o Sistema Solar\" (Kosmos und Sonnesystem) e \"Evolução em Ação\" (Evoluion in Aktion). No museu de Londres, foi estudada uma exposição na zona vermelha, \"Desde o Início\" (From the beginning). No museu francês, duas galerias foram estudadas, a Grande Galerie d\'Evolution and a Galerie d\'Anatomie comparée et Paléontologie. A primeira Galeria, a exposição \"Evolução da vida\" (L\'evolução de la vie) foi estudada, enquanto na Galeria de Paleontologia, foram analisadas as exposições \"Os Vertebrados\" (Les Vertèbres) e \"Os Invertebrados\" (Les Invertébrès). No Museu de Ciências Naturais em Porto Alegre, a exposição permanente foi explorada, em que a evolução da vida na Terra é o foco. Quanto ao Museu de Ciência e Tecnologia, foram analisadas as exposições \"Planeta Terra\" e \"Milhões de Anos\". É proposta uma análise qualitativa utilizando os dados da documentação literatura e disponíveis, bem como registos das exposições. Museus de História Natural tem um papel importante como instituições de extensão, apresentando os processos naturais da Terra. O Tempo Geológico é uma ferramenta chave para esse entendimento. O objetivo da presente pesquisa é comparar diferentes exposições (sua forma, organização e narrativas) para avaliar a abordagem de Tempo Geológico e também o seu potencial de integração normalmente tratados como áreas separadas em instituições de História Natural: Ciências da Terra e ciências da vida.<br>This research seeks to examine how the theme \"Geological Time\" is addressed in the narratives of Natural History Museums through the analysis of exhibits in museums in four countries: Germany, the Museum für Naturkunde in Berlin; England, the Natural History Museum in London; France, the Muséum National d\'Histoire naturelle in Paris; Brazil, the Museu de Ciências Naturais and the Museu de Ciência e Tecnologia, both in Porto Alegre. The authors analysed three exhibits in the museum in Berlin: Saurierwelt (World of Dinosaurs), Kosmos und Sonnesystem (Cosmos and the Solar System) and Evolution in Aktion (Evolution in Action). In the museum in London, the authors studied one exhibit in the red zone, From the beginning. In the French museum, two galleries were studied, the Grand Galerie d\'Evolution and the Galerie d\'Anatomie comparée et Paléontologie. From the first Gallery, the exhibit L\'evolution de la vie (Evolution of life) was studied, while in the Paleontology Gallery the exhibits Les vertébrès (The vertebrates) and Les invertébrès (The invertebrates) were analysed. In the Museu de Ciencias Naturais in Porto Alegre, the permanent exhibit was explored, in which the evolution of life on Earth is the focus. As for the Museu de Ciência e Tecnologia, the Paleontology exhibit was analysed. We propose a qualitative analysis using data from the literature and available documentation as well as records of the exhibitions. Natural History Museums have an important role as outreach institutions presenting the natural processes on Earth. The Geological Time is a key tool for this understanding. The goal of the present research is to compare the exhibits (its form, organization and narratives) in three of the most traditional European Natural History Museums with two Brazilian ones. We aim to evaluate the approach of geological time and also its potential for integrating usually treated as separate areas in natural history institutions: Earth sciences and life sciences.
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De, Villiers Olga-Marie. "The object of experience : a phenomenological approach to exhibition space in the Ditsong : National Museum of Natural History." Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/30100.

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The study will investigate the creation and manipulation of experience in interior space. With phenomenology as the premise, the object becomes secondary to the experience. The site will be an unutilized vault structure on the Ditsong: National Museum of Natural History grounds in Pretoria. To give expression to experience, the program chosen is an experience based exhibition that adds onto the current exhibition at the museum. The exhibition will change annually to ensure variation for yearly visitors. To facilitate changing the exhibition, the spaces will be designed with the senses as base layers. Each space will be experienced primarily through one of the senses, so that the user becomes more aware of the specific sense in that space. The exhibition that layers onto the sense layer can focus on that sense to convey facts about the subject. The chosen subject for the exhibition detailed in the project is the insect collection. The purpose of the exhibition will be to show how insects use their senses. The senses of the insect will layer onto the basis layer of human senses. Because everything we experience is through our own senses, we can only get an idea of what the insect would experience. There will always be the interlayer of our own senses. Hierdie studie ondersoek die skep en manipulasie van ervaring in die binneruim. Met fenomenologie as uitgangspunt word die objek sekondêr tot die ervaring. Die perseel sal ‘n ongebruikte gewelf struktuur op die Ditsong: Nationale Museum van Natuurlike Geskiedenis se gronde in Pretoria wees. Om uitdrukking te gee aan ervaring is die gekose program ‘n ervaring gebaseerde uitstalling wat toevoeg tot die huidige uit-stalling by die museum. Die uitstalling sal jaarliks verander word om variasie te verseker vir gereelde besoekers. Om die verandering van die uitstalling te vergemaklik, word die ruimtes ontwerp met die sintuie as basis laag. Elke ruimte sal primêr ervaar word deur een van die sintuie sodat die gebruiker bewus word van die spesifieke sintuig in daardie ruimte. Die uitstalling wat gebaseer is op die sintuigbasis kan fokus op daardie sintuig om feite oor die onderwerp oor te dra. Die gekose onderwerp vir die uitstalling uiteengesit in die projek is die insekversameling. Die doel van die uitstalling sal wees om te wys hoe insekte gebruik maak van hulle sintuie. Die sintuie van die insek sal bo op die basis laag van menslike sintuie gevoeg word. Omdat alles wat ons ervaar deur ons eie sintuie geskied, kan ons slegs ‘n idee kry van wat die insek sal ervaar. Daar sal altyd die tussenlaag van ons eie sintuie wees.<br>Mini Dissertation (MInt (Prof))--University of Pretoria, 2010.<br>Architecture<br>unrestricted
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Machado, Luciana Roberta Victor. "Uso de dados de comportamento em análise comparativa de narrativas de Museus de História Natural: uma abordagem filogenética." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/38/38131/tde-18102016-134912/.

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O presente estudo propôs uma análise comparativa de narrativas em museus de história natural com o intuito de identificar e quantificar o uso de informações sobre comportamento animal em contexto evolutivo. Uma etapa inicial foi de levantamento de caracteres para a elaboração de uma matriz de dados onde eles foram codificados. As informações textuais foram obtidas por meio de imagens (fotografias e vídeos) dos painéis e demais elementos narrativos ou de arquivos de texto cedidos pelas instituições estudadas. As fotos foram montadas de acordo com o trajeto da exposição e organizadas em arquivo word. Os textos foram transcritos e organizados em arquivo word para serem analisados. O presente estudo contribui com uma nova área de pesquisa fornecendo novo conjunto de caracteres (etológicos, expográficos e temáticos) para estabelecer os padrões de abordagem dos caracteres em suas diferentes formas. A metodologia cladística filogenética foi utilizada para estabelecer relações entre as narrativas das exposições estudadas usando caracteres comportamentais. A metodologia foi escolhida por apresentar resultados relevantes para sistemas não organísmicos. Para que esta se torne aplicável é necessário apenas que o sistema esteja sujeito ao algorítimo darwiniano onde um sistema de informação (genética ou simbólica) que apresente variabilidade hereditária (transmissível), dado tempo suficiente, estará sujeito ao processo de seleção que resulta em adaptação do sistema (narrativas) às novas pressões ambientais (culturais). Os resultados encontrados a partir da análise filogenética mostraram baixa frequência de informação quanto à abordagem do tema comportamento em exposições de museus de história natural. Por outro lado, observamos um aumento na complexidade dos recursos utilizados para a abordagem dos temas comportamentais ao longo da árvore encontrada. Esta complexidade, deve-se tanto ao escopo e tema das exposições quanto aos recursos empregados em suas execuções. Desta forma, não surpreende que as exposições Darwin do AMNH (com sua riqueza de recursos) e Etologia do SDM (com sua riqueza de informação comportamental) apareçam neste estudo como grupo-irmão dentro do clado mais derivado da árvore.<br>The present study was a comparative analysis of narratives in natural history museums in order to identify and quantify the use of information on animal behavior in evolutionary context. An initial step was to gather character to prepare a data matrix where they were coded. The textual information was obtained through images (photos and videos) of the panels and other narrative elements or text files transferred by the researched institutions. The photos were assembled according to the order suggested in the exhibition and organized in word file. The texts were transcribed and organized into word file to be analyzed. The current study contributes to a new area of research providing new set of characters (ethological, expographic and thematic) to establish standards of approach for the characters in their different forms. Phylogenetic cladistic methodology was used to establish relations between the narratives of exhibition using behavioral characters. The methodology was chosen to present relevant results for non-organismic systems. In order to become applicable, the system only needs to be subject to the Darwinian algorithm where an information system (genetic or symbolic) which shows hereditary variability (transmitted), given enough time, will be subject to the selection process that results in the adaptation of the system (narratives) to new environmental pressures (cultural). The results from the phylogenetic analysis showed low frequency of information in the approach to the subject of behavior in exhibitions in the natural history museums. On the other hand, an increase in the complexity of the resourses used in the approach to behavioral issues was observed along the branches of the tree found. This complexity is due both to the scope and theme of the exhibition about the resources applied in their executions. Thus, not surprisingly, the AMNH Darwin exhibition (with its wealth of resources) and Ethology of SDM (with its wealth of behavioral information) appear in this study as sister group within the more derived branch of the tree.
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Soler, Mariana Galera. "Biodiversidade musealizada: formas que comunicam." Doctoral thesis, Universidade de Évora, 2020. http://hdl.handle.net/10174/27868.

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Nesta tese discutimos a museografia de museus de história natural como meio de registo de práticas científicas e museológicas. A partir de ampla revisão na literatura, fontes documentais e visitas técnicas, foi construído um modelo teórico de padrões museográficos, formas de expor acervos científicos associadas ao design, tipo de acervo, textos, iluminação, recursos audiovisuais e multimédia e o posicionamento do acervo e do visitante perante o discurso museológico, desde o século XIX até a atualidade. Embora os padrões tenham sido desenvolvidos em contextos específicos, estes podem ser contemporâneos, sendo possível diferentes modos de expor numa mesma instituição e/ou exposição. Encontramos ainda padrões semelhantes em diferentes museus, evidenciando o contacto entre instituições e a circulação de conhecimentos, ideias e objetos. Os padrões propostos foram aplicado a cinco exposições de museus de história natural, contemporâneas, lusófonas (Brasil e Portugal) e que abordaram biodiversidade “Conchas Corais e Borboletas”; “Biodiversidade: conhecer para preservar”; “Galeria da Biodiversidade”; “Reis da Europa Selvagem” e “Specere”. Utilizamos o conceito “biodiversidade”, como marcador temporal e garantia de um ponto de articulação entre os discursos das exposições analisadas. Partimos de uma Matriz que sumarizou em indicadores os padrões e a características das exposições. Entre as questões que identificamos como determinantes (objetivo, tipo de instituição, tema e acervo), a constituição da equipa curatorial foi crucial. A ausência de algumas práticas científicas e museológicas, a invisibilidades de determinados profissionais e conhecimentos reafirmam a autoridade das ciências naturais e dos museus, por conseguinte, dos investigadores perante a assistência. Constatamos que ainda mais recente que a conceção de biodiversidade são modos de expor que permitam experienciá-la, uma vez que viabilizar exposições sobre tal conceito implica em também interagir com as múltiplas perspetivas de sua crise e permitir o posicionamento crítico do visitante; Musealized Biodiversity: Forms and Ways that Comunicate ABSTRACT: In this thesis we discuss a natural history museum as a means of recording scientific and museum practices. Based on broad literature review, archives and technical visits, we propose a theoretical model of museographic pattern: forms of exportation of scientific objects related to design, type of collection, texts, lighting, audiovisual and multimedia resources and the role of the collection and the visitor in museological discourse, from the nineteenth century to the present. Although patterns have been developed in specific contexts, they may be contemporary, with different ways of exhibition being possible within the same institution and / or exhibition. It also found similar patterns in different museums, evidence or contact between institutions and circulation of knowledge, ideas and objects. Our theorical model were applied to five exhibitions of museums of natural history, contemporary, Lusophone (Brazil and Portugal) that addressed the biodiversity: “Conchas Corais e Borboletas”; “Biodiversidade: conhecer para preservar”; “Galeria da Biodiversidade”; “Reis da Europa Selvagem” e “Specere”. We use the concept “biodiversity” as a temporal marker and a point of articulation among the exhibitions analyzed. We started the analysis from a Matrix that summarized in indicators the patterns and characteristics of the exhibitions. The curatorial team constitution was crucial among the issues that identify as determinants to the way and forms in exhibition (other issue identified: objective, type of institution, theme and collection). The lack of some scientific and museological practices, the invisibility of professionals and knowledge reaffirm the authority of the natural sciences and museums, that is researchers authority on visitors. We have found that even more recent than the conception of biodiversity are ways of exposing that allow to experience it. Since enabling biodiversity exhibitions also means interacting with the multiple perspectives of its crisis and allowing critical visitor positioning
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Chan, Fat-tim, and 陳發添. "Hong Kong natural history museum." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31982761.

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Chan, Fat-tim. "Hong Kong natural history museum." Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948398.

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Floe, Hilary Tyndall. "The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.

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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the museum as 'garden'; chapter two considers the erstwhile 'permanent' collection and its connection to corporate patronage; chapter three investigates the parallel forces of institutional critique and institutionalization; and chapter four addresses didactic strains in the museum's representation of an emergent multiculturalism. Although dedicated to the history of a single regional gallery, the thematic structure of the thesis provides entry points into historical and theoretical issues of broader relevance. It is based on primary research in the previously neglected archive of what is now known as Modern Art Oxford, supplemented by interviews with artists and former staff members, and by close attention to British art periodicals and exhibition catalogues of the period. It is also informed by critical writings on museums and displays, and by artistic, social and museological histories, allowing the museum's activities to be situated within the cultural politics of these turbulent decades. The thesis suggests that institutional identity - as exemplified by the history of MOMA from 1965-1982 - is porous and discontinuous: the development of the museum over this period is animated by multiple and often contradictory ideals, continuously shaped by pragmatic considerations, and subject to a rich variety of subjective responses.
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Books on the topic "Museum of Natural History- exhibitions"

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Museum, Sarawak. Sarawak in the museum. Sarawak Museum, 1988.

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Geller-Grimm, Fritz. Ästhetik der Natur: Aesthetics of Nature. Museum, 2015.

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Backmeister-Collacott, Ilka. Schauinsland!: Ansichten aus Übersee : Hugo Schauinsland zum 150. Geburtstag. Überseemuseum Bremen, 2007.

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Museum für Naturkunde in Berlin, ed. Klasse, Ordnung, Art: 200 Jahre Museum für Naturkunde. Basilisken-Presse, 2010.

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Bezold, Angelika. 150 Jahre naturwissenschaftliche Sammlungen der Diözese Eichstätt, 1844-1994: Katalog und Dokumentation. H. Schneider, 1994.

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Dingus, Lowell. Next of kin: Great fossils at the American Museum of Natural History. Rizzoli, 1996.

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ill, Alred Jean Lynn, ed. Making your own nature museum. F. Watts, 1989.

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History, Denver Museum of Natural. Life zone displays in the Walter C. Mead Ecological Hall, Denver Museum of Natural History. The Museum, 1986.

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Museum, American Philosophical Society. Of elephants & roses: Encounters with French natural history, 1790-1830 : an exhibition guide. American Philosophical Society Museum, 2011.

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Couch, N. C. Christopher. Pre-Columbian art from the Ernest Erickson Collection at the American Museum of Natural History. The Museum, 1988.

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Book chapters on the topic "Museum of Natural History- exhibitions"

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Livingstone, Phaedra. "Imaginary Places: Museum Visitor Perceptions of Habitat Dioramas." In Natural History Dioramas. Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9496-1_15.

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Barkemeyer, Werner. "FLENSBURG: Naturwissenschaftliches Museum Flensburg: Natural History Museum Flensburg." In Zoological Collections of Germany. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-44321-8_27.

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Borg, John J. "Dioramas in Natural History Museum—Tools for Nature Conservation." In Natural History Dioramas. Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9496-1_7.

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Geller-Grimm, Fritz. "WIESBADEN: Museum Wiesbaden, Natural History Collections." In Paleontological Collections of Germany, Austria and Switzerland. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77401-5_54.

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Prinz, Martin. "The American Museum of Natural History." In Geology and Engineering Geology of the New York Metropolitan Area. American Geophysical Union, 1989. http://dx.doi.org/10.1029/ft361p0049.

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Etter, Walter, Michael Knappertsbusch, and Loïc Costeur. "BASEL: The Natural History Museum Basel (NMB)." In Paleontological Collections of Germany, Austria and Switzerland. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77401-5_4.

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Geller-Grimm, Fritz. "WIESBADEN: Museum Wiesbaden: Natural History Collections [MWNH]." In Zoological Collections of Germany. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-44321-8_56.

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Tinworth, Kate. "Relics of the Past + People of the Past = Innovation for the Future: Denver Museum of Nature & Science’s Enactor Program." In Natural History Dioramas. Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9496-1_17.

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Darga, Robert. "SIEGSDORF: The Siegsdorf Natural History and Mammoth Museum." In Paleontological Collections of Germany, Austria and Switzerland. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77401-5_48.

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Thomas, R. H. "Analysis of DNA from natural history museum collections." In Experientia Supplementum. Birkhäuser Basel, 1994. http://dx.doi.org/10.1007/978-3-0348-7527-1_19.

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Conference papers on the topic "Museum of Natural History- exhibitions"

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Lipps, Jere H. "THE ORANGE COUNTY DISPERSED NATURAL HISTORY MUSEUM." In 112th Annual GSA Cordilleran Section Meeting. Geological Society of America, 2016. http://dx.doi.org/10.1130/abs/2016cd-274568.

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Debenham, Paul, Graham Thomas, and Jonathan Trout. "Evolutionary augmented reality at the Natural History Museum." In 2011 IEEE International Symposium on Mixed and Augmented Reality. IEEE, 2011. http://dx.doi.org/10.1109/ismar.2011.6092400.

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Debenham, Paul, Graham Thomas, and Jonathan Trout. "Evolutionary augmented reality at the Natural History Museum." In 2011 IEEE International Symposium on Mixed and Augmented Reality. IEEE, 2011. http://dx.doi.org/10.1109/ismar.2011.6162901.

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Gardner, Eleanor E., and Jennifer Humphrey. "COLLECTIONS DELIVERED: THE MOBILE KU NATURAL HISTORY MUSEUM." In GSA Annual Meeting in Indianapolis, Indiana, USA - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018am-322153.

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Marshall, David, Laura Hobbs, Hannah Bird, and Charlotte Bird. "THE VIRTUAL NATURAL HISTORY MUSEUM: PLACING DIGITIZED COLLECTIONS BACK WITHIN A MUSEUM CONTEXT." In GSA 2020 Connects Online. Geological Society of America, 2020. http://dx.doi.org/10.1130/abs/2020am-351284.

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Barclay, Maxwell V. L. "Fabrician types of Scarabaeoidea in the Natural History Museum, London." In 2016 International Congress of Entomology. Entomological Society of America, 2016. http://dx.doi.org/10.1603/ice.2016.108127.

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Smith, Vincent S. "Entomological outputs from the Natural History Museum (NHM) digitization programme." In 2016 International Congress of Entomology. Entomological Society of America, 2016. http://dx.doi.org/10.1603/ice.2016.94839.

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Nesbitt, Elizabeth A., and Ruth A. Martin. "TESTING THE INSIDE-OUT MODEL OF A NATURAL HISTORY MUSEUM." In GSA Annual Meeting in Seattle, Washington, USA - 2017. Geological Society of America, 2017. http://dx.doi.org/10.1130/abs/2017am-303295.

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Johnson, Kirk. "DIGITIZATION OF MUSEUM COLLECTIONS AND THE FUTURE OF NATURAL HISTORY SCIENCE." In GSA Annual Meeting in Seattle, Washington, USA - 2017. Geological Society of America, 2017. http://dx.doi.org/10.1130/abs/2017am-305484.

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Estes-Smargiassi, Kathryn, Austin J. W. Hendy, Margarete Villalobos, Elizabeth Ellwood, Emily Lindsey, and Agnes Novie. "PROJECT PALEO: CITIZEN CURATION AT THE NATURAL HISTORY MUSEUM OF LOS ANGELES COUNTY." In GSA Annual Meeting in Seattle, Washington, USA - 2017. Geological Society of America, 2017. http://dx.doi.org/10.1130/abs/2017am-307493.

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