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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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Seakins, Amy Jane. "Meeting scientists : impacts on visitors to the Natural History Museum, London." Thesis, King's College London (University of London), 2015. http://kclpure.kcl.ac.uk/portal/en/theses/meeting-scientists(7365644c-734b-4970-a61e-4d3597dd803e).html.
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This thesis focuses on how face-to-face interactions with scientists, during a visit to a natural history museum, can have an impact on how visitors conceptualise and identify with researchers. The study draws together the literature on attitudes to science and perceptions of scientists, whilst also focusing on identity development in individuals, using the concept of interest to study impacts on engagement. The study adopted a qualitative approach primarily involving interviews with 81 adult visitors and 38 A-level students (aged 16-18) meeting scientists in museum-based discussion events. Participants were interviewed before, immediately after, and two months after meeting scientists to explore longer-term impacts. Meeting scientists had an impact on visitors’ and students’ identification of and with scientists. Visitors and students held conceptual ecologies around perceptions of scientists, drawing on multiple ideas about scientists concurrently. Visitors and students identified more closely with scientists following their interaction, recognising common experiences, and visitors also developed a lasting interest in scientists and their career histories. I propose the notion of scientists as ‘everyday experts’: knowledgeable individuals with clear areas of expertise who are also approachable and accessible. A ‘midway’ approach to public engagement is recommended to facilitate the presentation of scientists as ‘everyday experts’; an intermediate approach between a deficit, one-way communication and a two-way dialogue between scientists and the public. Meeting scientists is shown to bring ‘added value’ in terms of increasing scientific literacy: perceptions of scientists became more positive and less stereotypical and participants learned about particular areas of science as a result of the session. Meeting scientists was also shown to provide ‘added value’ in promoting science engagement: visitors reported continued engagement with science in the delayed post-session interviews two months after the visit. I discuss the implications of my findings for research and practice, with the aim of further understanding how to develop scientific literacy and engagement.
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Kioussis, Sokratis I. "'Nature' and 'culture' in Greek contemporary museum practice : a study of the Goulandris Museum (of Natural History)." Thesis, University of East Anglia, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658703.
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In its various manifestations, 'art' could be described as a product of 'nature', on which it often reflects, alongside being a product of 'culture'. In recent and past scholarship 'nature' and 'culture' are often treated as opposed categories. Museums in particular have a role in the creation and maintenance ' of a nature/culture configuration. Representing the world in different ways, they have established boundaries between them in the very act of focusing attention on each and increasing understanding in both domains. Drawing on different museological traditions and responding to contemporary issues, the project of creating The Goulandris Museum has brought 'nature' and 'culture' together in its program, exploiting antiquities and other evocations of the ancient world to explain the natural world, especially in its latest schemes. This thesis· examines !he background to such practices, the ideas it embodies and the challenges it sets itself. However, it is more than a study of the history of one particular museum created in the second half of the twentieth century; this thesis also considers the history of other European museums, whose practices and development over time have contributed to the distinctive schema realised in Athens in recent decades. Chapter I introduces the Goulandris Museum and discusses the different ways in which museums have chosen to represent nature. Touching on the means by which they generate knowledge and awareness of the natural world, it discusses how the representation of nature in itself also reflects mankind's plasmatic relationship with the natural world. Chapter II looks back to 'cabinets of curiosity' and the founding and development of three influential institutions to reflect on the tradition of natural history museums in Europe. Chapter III continues with a conceptual and historical reading of London's Natural History Museum, an institution that greatly contributed to the rationale and public presentation of the Goulandris Museum, setting up its first displays. The detail of this particular institutional relationship is examined in Chapter IV, an analysis based on original archival research conducted at the Natural History Museum. . Chapter V examines the displays and practices of the Goulandris Museum prior to the emergence of its research and education centre ('Gaia Centre'), which we explore separately in Chapter VI in conjunction with the New Acropolis Museum, an institution that was designed by the same.architect, Michalis Photiadis. Interviews conducted with him and with the Director and several staff of the Goulandris Museum inform our analysis. That with Mrs. Goulandris is referenced throughout the thesis. The literature review is also · distributed through the thesis at the points where it is relevant and especially in Chapter V which discusses the literature on the history and conception of natural history museums as points of access to the 'real' world of nature. . This thesis is set in a conceptual but also in a historical conte:r:t, as indeed were the ambitions of the founders of the Goulandris Museum. It was the first natural history museum in Greece, and the Qoulandrises sought to situate their new project within both European traditions of natural history museums ' and the traditions of archaeological and classical collections, which had until then dominated the Greek understanding of the purposes of museums. Drawing on these sources, the Goulandris Museum has arrived at its latest scheme which deploys ideas of nature and of culture to shape a very particular identity within Greece ' and to engage and infOlID its visitors.
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Hughes-Skallos, Jessica M. "Displaying Archaeology: A Look into the Representation of Archaeology in United States Natural History/History Museums." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384850209.
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LeGrand, Providence. "The Central Gallery visitor orientation at the Florida Museum of Natural History /." [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0011764.
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Evans, Colleen R. "Developing a Collection Digitization Workflow for the Elm Fork Natural Heritage Museum." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500042/.
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Natural history collections house immense amounts of data, but the majority of data is only accessible by locating the collection label, which is usually attached to the physical specimen. This method of data retrieval is time consuming and can be very damaging to fragile specimens. Digitizing the collections is the one way to reduce the time and potential damage related to finding the collection objects. The Elm Fork Natural Heritage Museum is a natural history museum located at the University of North Texas and contains collections of both vertebrate and invertebrate taxa, as well as plants. This project designed a collection digitization workflow for Elm Fork by working through digitizing the Benjamin B. Harris Herbarium. The collection was cataloged in Specify 6, a database program designed for natural history collection management. By working through one of the museum’s collections, the project was able to identify and address challenges related to digitizing the museum’s holdings in order to create robust workflows. The project also produced a series of documents explaining common processes in Specify and a data management plan.
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Mifsud, Edward. "The visualization of natural history museum habitat dioramas by Maltese primary school children." Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/10021923/.
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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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Alberti, Samuel John Matthew Mayer. "Field, lab and museum : the practice and place of life science in Yorkshire, 1870-1904." Thesis, University of Sheffield, 2001. http://etheses.whiterose.ac.uk/3512/.
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Later Victorian Yorkshire was home to a vigorous community of life science practitioners. In studying them, I reassess three dichotomies familiar to the contextualist historian of Victorian science: field and laboratory, science and society, and amateur and professional. I outline the refashioning of amateur and professional roles in life science, and I provide a revised historiography for the relationship between amateurs and professionals in this area and era. While exploring these issues, I examine the complex net of cultural and educational institutions where the sites for the practice of life science emerged and existed. Natural history practices shaded imperceptibly into other facets of civic culture. I present natural history as a leisure activity and as a resource utilised by the maturing provincial middle classes, one of a range of cultural activities within a network of voluntary associations. This thesis is arranged by institution: philosophical society, museum, civic college and field club. Each of these corresponds, loosely, to a site for science: respectively, lecture hall, museum, laboratory and field. The traditional `field versus lab' historiography ignores the many and varied sites for life science in this era, and conceals how far field-based natural history endured alongside the laboratory as it emerged as the hegemonic site for life science. I explore these and other issues by using the career of Louis C. Miall (1842-1921) as a narrative thread. Despite his activities as a lecturer, curator, field club president and laboratory biologist, Mall sought to construct a professional identity based solely on the authority of the laboratory, in contrast to that of the amateur naturalist. To take his partisan rhetoric at face value, however, is to ignore the variety and vitality of life science practices in Victorian Yorkshire.
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King, Heather. "Supporting natural history enquiry in an informal setting : a study of museum explainer practice." Thesis, King's College London (University of London), 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.594238.
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Meyer, Morgan B. "Partially connected to science : the Luxembourg Museum of Natural History and its scientific collaborators." Thesis, University of Sheffield, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434528.
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Syperek, P. K. C. "Jewels of the Natural History Museum : gendered aesthetics in South Kensington, c. 1850-1900." Thesis, University College London (University of London), 2015. http://discovery.ucl.ac.uk/1471589/.
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Several collections of brilliant objects were put on display following the opening of the British Museum (Natural History) in South Kensington in 1881. These objects resemble jewels both in their exquisite lustre and in their hybrid status between nature and culture, science and art. This thesis asks how these jewel-like hybrids - including shiny preserved beetles, iridescent taxidermised hummingbirds, translucent glass jellyfish as well as crystals and minerals themselves - functioned outside of normative gender expectations of Victorian museums and scientific culture. Such displays' dazzling spectacles refract the linear expectations of earlier natural history taxonomies and confound the narrative of evolutionary habitat dioramas. As such, they challenge the hierarchies underlying both orders and their implications for gender, race and class. Objects on display are compared with relevant cultural phenomena including museum architecture, natural history illustration, literature, commercial display, decorative art and dress, and evaluated in light of issues such as transgressive animal sexualities, the performativity of objects, technologies of visualisation and contemporary aesthetic and evolutionary theory. Feminist theory in the history of science and new materialist philosophy by Donna Haraway, Elizabeth Grosz, Karen Barad and Rosi Braidotti inform analysis into how objects on display complicate nature/culture binaries in the museum of natural history. The aim of this study is to go beyond dichotomised interpretations of the role of gender in science and museology in order to present a more nuanced and at times chaotic picture of sexual relations as reflected in late nineteenth-century scientific and material culture. By considering the spaces in between art and science, natural theology and evolution, taxonomy and naturalism, masculine and feminine, different, sometimes queer, configurations of gender emerge in the displays of the Natural History Museum.
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Kahan, Dena. "An un-natural history : paradox, wonder and The Glass Flowers." Thesis, Federation University Australia, 2015. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/81506.
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This research project concerns itself with the human desire for control, order and perfection through an investigation of our attempts to control nature. The museum case acts as a metaphor for this attempt to organise the natural world in a logical and systematised fashion. In my artwork I aim both to present and to challenge this imposition of order and control through my interpretation of the Glass Flower display at the Harvard Natural History Museum, formally known as the Ware Collection of Blaschka Glass Models of Plants. This examination of the Glass Flowers and their visual representation has been informed and challenged by an understanding of their paradoxical and enigmatic position between science and art, nature and culture. In my artwork this ambivalence about the Flowers as objects of scientific certainty, and about the museum as a site of control, is expressed as an increasing tension between representation and abstraction, the precise rendition of form and the visibility of the medium of oil paint. Together with the exegesis this project explores issues of museology and the nature of collected and displayed objects, particularly these Glass Flowers which were purpose-made for the museum. My visual work responds to the museum environment in ways which both embrace its aesthetic and question its attitudes to nature. In doing so, it reflects the paradoxical nature of the Flowers and the nature of seeing itself, creating a visual world in which ambiguities of scale, location and even subject undermine our certainty of what we see, creating a magical space out of the ordered world of the museum.Master of Arts
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Casaleiro, Pedro Júlio Enrech. "Origins, public perceptions and future directions of the National Museum of Natural History in Portugal." Thesis, University of Leicester, 1996. http://hdl.handle.net/2381/35295.
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This research effort concentrates on science communication through natural history museum exhibitions, analysing the case study of the National Museum of Natural History in Portugal. Its starts by looking at the past of natural history museums in Portugal, established during the Enlightenment, and follows to the current situation of the National Museum. Scientific and cultural policies arising from a social and political context until 1975 have influenced the current condition of crisis, with closure of natural history museums to the public in an extreme circumstance, along with the identity crisis of such institutions in Europe. Museum staff has been reduced, divided and morale is low. Exhibition for non-scientific audiences has often been ignored, reflecting the peripheral situation of Portugal in relation to the industrialised centre of Europe. An approach to the changes in natural history museum exhibition in Western Europe and North America since the 1850s follows, proposing a framework in three periods based on the analysis of form, content and audience, influenced by scientific paradigm shifts. The National Museum opened its doors in 1987 with temporary exhibitions, despite its unrefurbished condition. In order to substantiate the development of a future solid exhibitions policy, this thesis proposes two approaches to studying science communication; audience surveys, identifying different public segments in an exploratory study of visitors to three exhibition cases - a temporary blockbuster exhibition, an interactive science gallery, and a guided tour of the Gardens; and an investigation of science in the media, looking at perception of television and printed media, and an analysis of science in a sample of three daily national newspapers, researching prominence of science subjects and construction of environmental news, regarding the social status of readerships.
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Kirk, Eleanor Sian. "Crystal teeth and skeleton eggs : snapshots of young children's experiences in a natural history museum." Thesis, University of Leicester, 2014. http://hdl.handle.net/2381/29320.
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This thesis has two aims of equal importance: firstly to reveal the fine details of the typical experiences of young children visiting a museum; secondly to find a method of accessing these experiences in such a way as to prioritise the children’s own perspectives, and to do so with a light touch, in order to minimise the impact on the visits. The research focuses on the experiences of 32 children, aged four and five years old, in their family visits to the Oxford University Museum of Natural History. Drawing on the field of Childhood Studies, the project contrasts the effectiveness of several research methods for their potential use with young children in this setting, including children’s drawings and tours. The final method involved using children’s digital photographs of their visit as prompts for photo-elicitation interviews, thus providing both visual and verbal expressions of their experience. The major contribution of this thesis to museum visitor studies is its development and description of a highly effective, minimally-invasive method that richly documents children’s experiences during the time of their museum visit using their own words and images. The research adds to a small but growing field of study about young children’s museum experiences with the addition of a detailed case study from a British natural history museum. Findings reveal children’s navigations of the social and physical setting, their responses to different types of museum object and modes of exhibit display, and the highly varied ways in which they make sense of the things that they encounter in the museum. The thesis thus argues for a move away from a solely learning-focused view of young children in museums to one that sees them as visitors in their own right, who value many different aspects of their museum visits.
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Selvey, Hannah Rachel. "Cranial Responses to Captivity in Lemur catta and Propithecus verreauxi in Natural History Museum Collections." Thesis, University of Colorado at Boulder, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10809391.
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Captive animals demonstrate a number of differences compared to their wild counterparts, with the suite of some of the most common, and arguably deleterious, referred to collectively as domestication syndrome. Scholars have proposed a number of different variables and mechanisms for the changes, with captive diet being one of the prominent explanations. This thesis explores the effects of captivity on the skulls and mandibles of Malagasy lemurs (predominantly ring-tailed lemurs Lemur catta) using relative linear measurements and selected ratios, gathered from natural history museum collections. I predicted that captive and wild individuals would show differences in cranial measurements related to mastication, which would be driven by their different diets and the exploitation of the kily fruit Tamarindus indica (H1 A). I also predicted that wild individuals would show more overall variation due to consumption of broader, less consistent diets (H1B). Finally, I predicted that a multivariate model would be able to properly predict captivity status in Lemur catta using linear variables. Captive Lemur catta showed significantly (p = 0.0126) shorter relative post-palatal lengths than their wild counterparts, supporting H1A, and significantly (p = 0.0374) smaller variance in the inio-orbital (post-facial) region, supporting H1B. However, captive individuals showed significantly (p = 0.0390) greater variance in anterior flexion of the angular process, which refuted H1B. A step-wise discriminant function model was able to properly predict captivity status in a sample of n = 18 Lemur catta using four linear variables (R2 = 0.9336). Descriptive statistics across sex and other lemur species revealed differences that should be noted by scholars, specifically significantly (p = 0.0250) longer alveo-orbital AO (pre-facial) regions in male Lemur catta. The findings of this thesis, including its critique of physical and intellectual conservation of data, should be taken into account by museum professionals, animal husbandry personnel, and morphologists alike, and all measurements and findings shall be published on open access servers.
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Howe, Laura Paulsen. "Navajo Baskets and the American Indian Voice: Searching for the Contemporary Native American in the Trading Post, the Natural History Museum, and the Fine Art Museum." Diss., CLICK HERE for online access, 2007. http://contentdm.lib.byu.edu/ETD/image/etd2015.pdf.
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Witt, Nara Beatriz. "“Uma joia" no sul do Brasil : O Museu de História Natural do Colégio Anchieta, criado em 1908 (Porto Alegre/RS)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/151642.
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O estudo desenvolvido enfoca o Museu de História Natural do Colégio Anchieta (Porto Alegre, RS), constituído pelo padre jesuíta Pio Buck, no ano de 1908. A investigação objetiva construir a história do Museu, dando ênfase à atuação dos professores e pesquisadores jesuítas, o padre Pio Buck e o padre Balduíno Rambo, cujas práticas científicas foram fundamentais para a criação e existência deste Museu. A sua fundação ocorreu dentro do cenário de criação dos primeiros museus brasileiros, em que se pode inserir os museus de História Natural, e de criação de museus de Educação em todo o mundo, em que se pode inserir os museus escolares. As coleções formadas por objetos produzidos pela indústria e por elementos coletados na natureza formavam as coleções de História Natural do museu escolar. Esses materiais funcionavam como modelos para a compreensão e representação da natureza e da realidade, no âmbito do Método Intuitivo e Lições de Coisas. O museu escolar se configurava como um novo espaço nas escolas, em especial para o ensino de Ciências e História Natural, vinculados ao contexto científico da época. Nos colégios jesuítas, havia a tradição de estudos na área de Ciências Naturais. O Museu de História Natural do Colégio Anchieta, assim, voltava-se para o ensino de História Natural e para a pesquisa, associando a tradição científica dos jesuítas com a modernidade pedagógica do ensino no novo contexto de uma sociedade científica. A abordagem deste estudo envolve a Educação e a Museologia, estabelecendo um encontro entre a história da educação e a história dos museus, estabelecendo relações entre os museus escolares e os Museus de História Natural. O estudo tece relações do Museu voltado para as práticas do ensino, no âmbito de um museu escolar, e para as práticas da pesquisa científica, no âmbito de um museu de História Natural. A investigação verifica que o Museu reunia acervo didático e científico, com caráter voltado para o ensino e para a Ciência. A pesquisa identifica o Museu como um espaço de produção científica dos jesuítas. O estudo constrói a história do Museu através de suas práticas a partir das atuações de seus agentes como professores, pesquisadores e cientistas. Adota os pressupostos teóricos e metodológicos da História Cultural, elegendo o conceito de práticas para a abordagem. Constitui o corpus documental da pesquisa, um conjunto de documentos textuais e visuais, e artefatos. Destaca que o Museu Anchieta de Ciências Naturais, denominação atual, está entre os mais antigos museus escolares e museus de História Natural no país. Constata a importância do trabalho desenvolvido no Museu do Colégio Anchieta para o escopo das Ciências Naturais e dos museus escolares. Conclui que o museu foi associado a uma rede de Museus de História Natural e de comunicação com outros cientistas e instituiçõesThe study developed is focused on the Natural History Museum at Anchieta School (Porto Alegre, RS), by the Jesuit Priest Pio Buck, in 1908. The investigation aims to build the history of the museum, emphasizing the work of teachers and Jesuits researchers, Priest Pio Buck and Priest Balduíno Rambo, whose scientific practices were fundamental to the creation and existence of this museum. Its foundation took place in the scenario of creation of the first Brazilian museums in which you can insert the Natural History Museums and creation of Education museums all over the world, where you can insert the school museums. The collections composed by objects produced by the industry and elements collected in nature formed the collections of the Natural History Museum School. These materials served as models for the understanding and representation of nature and reality, in the framework of the intuitive Method and Thing Lessons. The school museum is configured as a new space in schools, especially in the teaching of Science and Natural History, linked to the scientific context of that time. At the Jesuit schools, there was a tradition of studies in the field of Natural Sciences. The Natural History Museum at Anchieta School, like this, was turned to the teaching of Natural History and research, combining the Jesuit scientific tradition with the pedagogical teaching modernity in the new context of a scientific society. The approach of this study involves Education and Museology, establishing a meeting between the history of Education and the history of museums, establishing relations between the school museums and the Natural History Museums. The study makes relations of the museum related to teaching practices, in a school museum and for the practices of the scientific research as a part of a Natural History Museum. The research finds that the museum brought together educational and scientific collection with character for teaching and science. The investigation identifies the museum as a space of scientific production of the Jesuits. The study builds the history of the museum through its practices from the actions of its agents as teachers, researchers and scientists. It adopts the theoretical and methodological assumptions of Cultural History, choosing the concept of practices to the approach. It constitutes the documental corpus of the research, visual and textual documents and artifacts. It points out that the Anchieta Museum of Natural Sciences, the current name, is among the oldest school museums and Natural History Museums in Brazil. It shows the importance of the work developed in the museum at Anchieta School for the scope of the Natural Sciences and school museums. It concludes that the museum was associated with a network of Museums of Natural History and communication with other scientists and institutions.
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Grunert, Jonathan D. "Strict Fidelity to Nature: Scientific Taxidermy, U.S. Natural History Museums, and Craft Consensus, 1880s to 1930s." Diss., Virginia Tech, 2019. http://hdl.handle.net/10919/95836.
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As taxidermy increased in prominence in American natural history museums in the late nineteenth and early twentieth centuries, the idea of trying to replicate nature through mounts and displays became increasingly central. Crude practices of overstuffing skins gave way to a focus on the artistic modelling of animal skins over a sculpted plaster and papier-mâché form to create scientifically accurate and aesthetically pleasing mounts, a technique largely developed at Ward's Natural Science Establishment in Rochester, New York. Many of Ward's taxidermists utilized their authority in taxidermy practices as they formally organized into the short-lived Society of American Taxidermists (1880-1883) before moving into positions in natural history museums across the United States.
Through examinations of published and archival museum materials, as well as historic mounts, I argue that taxidermists at these museums reached an unspoken consensus concerning how their mounts would balance pleasing aesthetics with scientific accuracy, while adjusting their practices as they considered the priorities of numerous stakeholders. Taxidermists negotiated through administrative priorities, legacies of prominent craftsmen, and a battery of instructive materials, all claiming some authority as to what proper taxidermy could—and should—be. The shifts in taxidermy authority revealed truths about what taxidermy could mean, questions of how taxidermists identified themselves within the profession and to outsiders, practices for presenting taxidermy to museum visitors, and techniques for representing nature.
This project traces the paths of consensus for developing techniques to construct museum taxidermy from the 1883 end of the S.A.T until the founding of the Technical Section of the American Association of Museums (AAM) in 1929. Two critics who book-end this project—Robert Wilson Shufeldt, an army doctor, naturalist, and museum critic, and Lawrence Vail Coleman, director of preparation and exhibition, American Museum of Natural History, and director of the American Association of Museums—identified similar characteristics that suggest a like-minded approach as to what constituted proper museum taxidermy among museum taxidermists. Museum taxidermy carried with it a set of characteristics: accuracy and a pleasing aesthetic for Shufeldt; feeling, unity, action, balance, reality, and size for Coleman. These two sets of criteria complemented each other as they reified consensus. What complicated this finding was that taxidermists themselves did not acknowledge them specifically, only relating to them in passing, if at all. Regardless, taxidermic practice seemed to be consistent across these decades.
This study complicates the nature of scientific representation, in that it focuses a great deal on its artistry. Museum taxidermy is supposed to be an instructional tool, guiding museum visitors in the way they approach nature, and especially how they see animals, and focusing on teaching the science of animal behavior, biodiversity, and habitat, to name a few. It is a scientific object, representing the most up-to-date research in the field, but consensus surrounding it is not scientifically measurable. Instead, taxidermy consensus happened in hallways and back rooms (both literal and metaphorical), with little written down, and the mounts as the most substantial evidence that is had been achieved. Nevertheless, taxidermists negotiated the array of stakeholders present—museum administrators, naturalists, collectors, and the public—as they fashioned mounts that were both accurate and aesthetically pleasing representations of animal lives.Doctor of Philosophy
In this project I look at museum taxidermy in United States natural history museums, from the 1880s to 1930s. In that 50-year span, taxidermy practices coalesced around a primary technique for mounting animal skins, using a wooden form and papier-mâché as the structure for stretching the skin over it. But there was more to this consensus than using the same techniques, as two critics who book-end this project—Robert Wilson Shufeldt, an army doctor, naturalist, museum critic, etc., and Lawrence Vail Coleman, director of preparation and exhibition, American Museum of Natural History, and director of the American Association of Museums—identified similar characteristics that suggest a like-minded approach as to what constituted proper museum taxidermy among museum taxidermists. I argue in this project that taxidermists reached an unspoken consensus around their craft that balanced scientific accuracy with a pleasing aesthetic, to achieve mounts that would be both scientifically meaningful and not off-putting to museum visitors. Museum taxidermy carried with it a set of characteristics: accuracy and a pleasing aesthetic for Shufeldt; feeling, unity, action, balance, reality, and size for Coleman. And these two complement each other as they reify consensus. What complicated this finding was that taxidermists themselves did not acknowledge them specifically, only relating to them in passing, if at all. Regardless, taxidermy seemed to be consistent across these decades. This study complicates the nature of scientific representation, in that it focuses a great deal on its artistic nature. Museum taxidermy is supposed to be an instructional tool, guiding museum visitors in the way they approach nature, and especially how they see animals. Museum taxidermy generally shies away from terrifying visitors with animal size and ferocity, focusing instead on teaching the science of animal behavior, biodiversity, and habitat, to name a few. In this sense, it is a scientific object, representing the most up-to-date research in the field. Consensus in the realm of taxidermy, and in scientific representation more broadly, is not scientific consensus, but more consistent with an artistic approach, like a posteriori recognitions of characteristics unique to artists or artistic movements. Taxidermy consensus happened in hallways and back rooms, with little written down, and the mounts as the most substantial evidence. Nevertheless, taxidermists negotiated the array of stakeholders present—museum administrators, naturalists, collectors, and the public—as they consistently made these mounts both accurate and aesthetically pleasing. And they still make sense when we see them, as they can be repurposed to tell new stories consistent with current understandings of animal lives.
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Wonders, Karen. "Habitat dioramas : illusions of wilderness in museums of natural history /." Stockholm : Almqvist och Wiksell, 1993. http://catalogue.bnf.fr/ark:/12148/cb35614492v.
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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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Ekvall, Helen. "Aha! – En evolutionär upplevelse påmuseet museet : En studie för att undersöka vad gymnasielärarebehöver för att underlätta sin evolutionsundervisningpå Göteborgs Naturhistoriska Museum." Thesis, Karlstad University, Faculty of Social and Life Sciences, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-4152.
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Uppsatsens syfte var att undersöka hur gymnasielärare vill använda Göteborgs Naturhistoriska Museum (GNM) i sin undervisning om evolution samt att ta reda på vilka didaktiska inslag som
behövs för att motivera och inspirera fler lärare att använda museet i sin evolutionsundervisning.
Uppsatsen tar sin utgångspunkt i läroplanens styrdokument och fem begrepp som Ann Zetterqvist i sin forskning utpekar som centrala och viktiga för att kunna förstå evolutionsteorin. Forskningen visar att undervisningen om evolutionsteori är en utmaning för lärarna och slår fast att det kan behövas stöd från skolan och även från institutioner utanför. Min utgångspunkt är att GNM kan bidra till och är värdefullt för lärandet i ämnet evolution.
Undersökningens urvalskriterium är gymnasielärare som har använt museet under de senaste två åren i samband med en lektion om evolution. Undersökningen bygger i huvudsak på semistrukturerade intervjuer kompletterade med ett mindre antal enkätsvar. Forskning visar att förekomsten av en väl grundad pedagogisk policy är viktigt för museerna för att det pedagogiska budskapet skall nå fram till besökaren. Forskningen visar vidare att det är mycket viktigt att museibesöket kopplas till läroplanen. Vidare pekar forskningen på att eleverna ofta inte uppnår kunskapsmålen gällande evolutionsteorin Resultaten visar att lärarna inte medvetet planerar sitt museibesök utifrån skolans styrdokument, men deras önskemål om ämnesområden visar på en tydlig koppling till styrdokumenten. Resultaten visar även att lärarna värdesätter GNM för dess undervisning av evolutionsteorin, men för att lärarna skall känna sig motiverade att på egen hand undervisa på museet behöver de vissa didaktiska inslag och handledning. Detta arbete resulterar i ett antal didaktiska förslag baserade på lärarnas och museipedagogens önskemål.
The main objective with this paper was to investigate how college teachers wish to use The Natural History Museum of Gothenburg (GNM) when teaching evolution, and also to determine which didactic elements are required to motivate other teachers to use the museum when teaching evolution. The foundation of this study is built on the school curriculum and five concepts which Ann Zetterqvist identifies in her research as central and necessary for understanding evolution. Research indicates that teaching the theory of evolution is a challenge for teachers and also emphasizes the importance of internal and external support. I propose that GNM is valuable for teaching evolution. The criteria for the selection of candidates are college teachers who have used the museum during the last two years to teach evolution. The study is based on semi-structured interviews completed with questionnaires. Research reveals that without a conscious educational policy the museums pedagogic message may not reach the visitor. Research also shows that it is very important that museums school programme is based on the national curriculum. Results from previous research reveal that students have difficulty in reaching the curricular goals concerning evolution.The results from this study show that teachers had not consciously followed the curriculum when planning their visit, their subject request is however clearly applicable to the curriculum. The teachers interviewed clearly value GNM as a place to teach the theory of evolution, but request certain didactic elements and teacher guides to motivate teaching without the aid of a museum teacher. This study results in a number of didactic elements based upon the teachers and museum teachers' requests.
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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.Mini Dissertation (MInt (Prof))--University of Pretoria, 2010.
Architecture
unrestricted
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Rieppel, Lukas Benjamin. "Dinosaurs: Assembling an Icon of Science." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10557.
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This dissertation examines how the modern dinosaur—fully mounted, freestanding assemblages of vertebrate fossils such as we are accustomed to seeing at the natural history museum—came into being during the late 19th and early 20th century, focusing especially on the United States. But it is not just, or even primarily a history of vertebrate paleontology. Rather, I use dinosaurs as an opportunity to explore how science was embedded in broader changes that were happening at the time. In particular, I am interested in tracing how the culture of modern capitalism—the ideals, norms, and practices that governed matters of value and exchange—manifested itself in the way fossils were collected, studied, and put on display. During the second half of the 19th century, America experienced an extended period of remarkable economic growth. By the eve of WWI, it had emerged as the world’s largest producer of goods and services. At the same time, paleontologists were unearthing the fossil remains of marvelous creatures the likes of which no one had ever dreamed in the American west. The discovery of dinosaurs like Brontosaurus, Stegosaurus, Tyrannosaurus, and Triceratops prompted the nation’s wealthy elite to begin cultivating an intense interest in vertebrate paleontology. In part, this is because dinosaurs meshed well with a conventional narrative that celebrated American exceptionalism. Dinosaurs from the United States were widely heralded as having been larger, fiercer, and more abundant than their European counterparts. Not only that, but their origins in the deep past meant that dinosaurs were associated with evolutionary theory, including the conventional notion that struggle was at the root of progress. Finally, it did not hurt that America’s best fossils hailed from places like Colorado, Wyoming, and Utah. This is precisely where most of the raw materials consumed by factories could also be found. As they coalesced into a coherent social class, American capitalists began to patronize a number of elite cultural institutions. Just as Gilded Age entrepreneurs invested considerable resources in the acquisition of artworks, so too did they invest in natural history. However, whereas the acquisition of artworks functioned as a display of refined aesthetic sensibilities, the collection of natural history specimens primarily represented another form of social distinction, one that combined epistemic virtues like objectivity with older notions of good stewardship and civic munificence. Capitalists who had grown rich off of the exploitation of America’s natural resources turned to dinosaur paleontology as a form of cultural resource extraction.History of Science
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Marsh, Diana Elizabeth. "From "Extinct Monsters" to Deep Time : an ethnography of fossil exhibits production at the Smithsonian's National Museum of Natural History." Thesis, University of British Columbia, 2014. http://hdl.handle.net/2429/50177.
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This dissertation traces the relationship between changing institutional cultures and the communication of knowledge to the public through exhibits, explored through an ethnographic and historical case study of a single set of halls at one museum—the fossil halls at the Smithsonian National Museum of Natural History (NMNH). Having documented the first six months of planning for the NMNH’s new exhibit project, Deep Time, I show that many of the values and practices in current exhibits production have their roots in major cultural, professional and institutional shifts of the late-1950s. These changes, enacted and dramatized in exhibits production, came to transform the communication of science through exhibits. Indeed, I argue, the production of exhibits offers unique insight into the workings of an institution by describing a microcosm of the museum where what I have called disciplinary “complementarities” and “frictions” are debated and performed by small, increasingly interdisciplinary groups of people. Exhibit development thus emerges as a political and subjective creative act, rooted in particular institutional contexts and histories, that takes place at the intersection of paradoxical institutional missions and divergent disciplinary cultures. In the chapters of this thesis, I will contextualize and trace collaborative complementarities and frictions that emerge at three levels of exhibits production: exhibit content, group dynamics, and institutional mission. I will argue that these three layers of complementarities/frictions (from the micro-level of content specific to the planning of the fossil hall complex, to the experts that develop exhibits, to the broadest institutional mission of the museum) as revealed in the exhibits production process, have at their root foundational dual roles of the Smithsonian that are both paradoxical and necessary in creative exhibits production.Arts, Faculty of
Anthropology, Department of
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Tsai, Binghuan. "A museum of nature and science: the shaping of forms." Thesis, Virginia Polytechnic Institute and State University, 1992. http://hdl.handle.net/10919/52126.
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Structures of perfect symmetry, order, and beauty exist in both discoveries of science and objects found in natures. With careful observation and analysis, creative applications of these interesting forms can be and have been applied in many architectural structures with great success.
In this project the utilization of these forms can not only bring out the purpose of this Museum of Nature and Science, but because these forms are derived from natural studies, they can also give viewers a sense of familiarity and peacefulness.Master of Architecture
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Zhang, Licheng. "Towards conflict resolution and collaborative consensus-making : a participatory approach to architecture design in the Nottingham Natural History Museum, Wollaton Hall." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/38044/.
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Public engagement in museum design has been widely discussed and practiced. Public engagement not only inspires the participants’ interests and creativity, but also significantly increases the communication between the museum and participants. To date, however, most museum engagement projects have only focused on the exhibition design, while very few projects try to discuss public participation in the architecture design of museum. Therefore, this thesis sets out to find the most appropriate way that members of the public can participate in the architecture design of a museum. To answer this question, the thesis firstly reviews the history of museums, which explains that the purposes of museums have been extended from collection and preservation to exhibition, education and communication. What is more important, public participation in museum exhibition has become a new form of communication that remarkably improves the visitors’ experience. However, there is no doubt that the design of the museum building also plays a vital role in communicating with the local residents. The relationship between the museum building and society is intimate. The focus of the thesis then shifts to the theories of participatory architecture design that normally consists of architects, museum staff and members of the public. The professionals and laypeople normally have quite different knowledge and experience of architecture design. Therefore, a typical difficulty in processing the participatory architecture design is judging and structuring the different ideas. More specifically, one of the key issues of this thesis is how to deal with the power dominance and conflicts in participation that exists in this area. Following this issue, the thesis deduces the relationship between control and communication. On the one hand, the participation should minimise the control that exists in order to offer an open atmosphere for communication; on the other hand, communication should take place under a form/type of control that restricts the powerful or talkative participants from dominating any discussion. Furthermore, the conflict-resolving and collaborative consensus-making activities are two further essential aspects in participation. By comparing many different participation methods, Idea Rating Sheets (IRSs) and Consensus Mapping (CM) are considered as the two most appropriate methods in the architecture design of the museum. Idea Rating Sheets (IRSs) were created by Jason Diceman who is an expert on facilitation and public participation. Diceman has been the Senior Public Consultation Coordinator for the City of Toronto since 2010. Consensus Mapping (CM) is created by Stuart L. Hart, professor emeritus in the Johnson School of Management, Cornell University. He is one of the world's top authorities on the implications of environment and poverty for business strategy. Therefore, the main research question of this thesis is; “What is the performance of IRSs (Idea Rating Sheets) and CM (Consensus Mapping) in resolving conflicts and reaching collaborative consensus in the participatory architecture design of the museum?” It is difficult to describe the performance generally, so the thesis divides the main question into eight sub-questions. Regarding the eight sub-questions, a mixed methods research approach has been adopted: questionnaires, interviews and observations. Meanwhile, there are two pilot studies: 1) the testing of IRSs performance in judgment-making; and 2) the testing of questionnaires and interviews. Based on the two pilot studies, the author set up a participation workshop, specifically using the IRSs and CM in the architecture design of Nottingham Natural History Museum, Wollaton Hall. The workshop consists of Phase One (Group A) and Phase Two (Group B). The two phases have slightly different features in order to test the performance of IRSs and CM in different situations. Each group consists of an architect, a member of the museum staff, several local residents, a facilitator and an observer. Although this thesis mainly studies the participatory architecture design, the participants in the workshop actually discussed both architecture and exhibition design. By analysing the large amount of data collected, it can be argued that: 1) IRSs quantitatively and qualitatively support the production of options and judgments; 2) IRSs benefit the equal chance of expression, but the facilitator should also ask the participants individually for their responses; and 3) IRSs encourage the participants to express in-depth ideas and transfer any conflicts that emerge to achieve consensus. In addition to these points, the thesis also discussed the advantages and disadvantages of using the workshop and mixed research methods in the participation study. The conclusion of this thesis not only offers practical suggestions for participatory architecture design, but also informs potential future research topics.
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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.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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Soler, Mariana Galera. "Musealização da zoologia: narrativas evolutivas construídas com animais." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-12112015-152426/.
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Os museus de história natural são instituições multifacetadas. Constituem-se como espaços privilegiados para discussão da teoria evolutiva, uma vez são instituições de pesquisa científica, repositórios de material comparativo e meios de comunicação, especialmente por meio de suas exposições. Neste trabalho, o animal é entendido como interface entre duas áreas: museologia e zoologia. Discute-se, então a musealização da zoologia, ou seja, os processos que tornam um animal objeto de museu (musealia) e o seu uso em narrativas evolutivas de exposições de museus de história natural. Para tanto, foram analisadas exposições de três museus de história natural latino-americanos: \"Las Aves\" - Museo de Ciencias Naturales Bernardino Rivadavia; \"Tiempo y materia. Laberintos de la evolución\" - Museo de La Plata; e \"Conchas, corais e borboletas\" - Museu Nacional do Rio de Janeiro. A heterogeneidade de acervos e recursos expográficos exigiu o desenvolvimento de uma metodologia objetiva e replicável para descrição das exposições, estruturada em: (i) fichas; (ii) matrizes conceituais; e (iii) planta baixa. A partir do detalhamento das exposições realizou-se a análise comparativa, considerando três aspectos: presença de conceitos evolutivas nas narrativas; (ii) abordagem da teoria evolutiva; e (iii) concepção de museologia. Tais análises demonstraram que \"Las Aves\" e \"Conchas, corais e borboletas\" são exposições mais semelhantes, tanto nos conceitos evolutivos presentes na narrativa, como na abordagem sistemática da teoria evolutiva na exposição. \"Tiempo y materia\" mostrou-se como uma exposição diferenciada, pois sua narrativa foi construída a partir do conceito de evolução e não de grupos zoológicos, acumulando o maior número de conceitos evolutivos presentes na narrativa e uma abordagem voltada aos mecanismos evolutivos. Contudo, quanto à concepção de museologia, nas três exposições há o distanciamento entre o visitante e o conteúdo proposto, sendo que a teoria evolutiva é apresentada como fato corroborado pelo acervo, textos e outros recursos expográficos. Quanto a comunicação da teoria evolutiva e o papel comunicacional dos animais em exposições, observou-se que a construção teórica das narrativas está restrita aos textos e que os animais emprestam suas estruturas para ilustração e demonstração de conceitos evolutivos apresentados textualmente, servindo como \"comprovação\" da realidade e materialidade da teoria.Natural history museums are multifaceted institutions. They constituted a privilege venue for discussion of the Theory of Evolution, as they are institucions of scientific research, and also a commucation medium especially due to its exhibitions. For this study, animals are understood as an interface between two fields: museology and zoology. Submitted for discussion is the musealisation of zoology, that is, the processes that make animals a museum object (musealia) and its use on evolutionary narratives on natural historical museums exhibitions. For this purpose, exhibition in three Latin American natural history museums were analyzed: \"Las Aves\" - Museo de Ciencias Naturales Bernardino Rivadavia (Buenos Aires, Argentina); \"Tiempo y materia. Laberintos de la evolución\" - Museo de La Plata (La Plata, Argentina); e \"Conchas, corais e borboletas\" - Museu Nacional do Rio de Janeiro (Rio de Janeiro, Brazil). Heterogeneous collections and exhibitions resources demanded the development of an objective and replicable methodology for describing those exhibits, structured in (i) data sheets; (ii) conceptual matrixes; and (iii) ground plan of the facilities. Detailed description of the exhibitions led to a comparative analysis around three items: (a) the presence of evolutionary concepts in their narratives; (b) their approaches on evolutionay theory; and (c) their museological conceotualisation. Analyses demonstrated that \"Las Aves\" and \"Conchas, corais e borboletas\" were more similar to each other, both in the evolutionary concepsts presents and in their systematics-oriented approach on evolutionary theory. On the other hand, \"Tiempo y material\" had its own narrative built on the notion of evolution itself and not on animal taxonomic work. As for their museological conceptualization, in all three exhibitions there is a gap between the visitor and the proposed content, and evolutionary theory is presented as a corroborated fact by the objects, texts and others exhibitions resources. Upon reflecting on the one communication of the evolutionary theory and the communication role of animals in exhibition, one can notice the the theoretical construction of narratives is restrict to the associated texts, and the animal themselves lend their own structures for the illustration and demonstration of textually presented evolutionay concepts, serving as \"proof\" of the reality and materiality.
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Eliasson, Pär. "Platsens blick : Vetenskapsakademien och den naturalhistoriska resan 1790-1840." Doctoral thesis, Umeå universitet, Humanistiska fakulteten, 1999. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-61313.
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The purpose of the present dissertation is to study the relationship between travel as a form of knowledge and the natural history pursued at the Royal Academy of Science during the period 1790-1840. Primarily, this dissertation deals with the perception of travel as a form of knowledge which existed at the Royal Swedish Academy of Science, though a number of selected journeys are used to illustrate the era's shifting perceptions on travel. Chapter One compares two variants of scientific travel, Linnean and Humboldtian. While the Linnean saw single objects, the Humboldtian saw "the whole" in the form of places. Places became the new study objects and the conditions reigning there were assumed to explain the special characteristics of the objects. This is what is implied by the "place's glance". Chapter Two provides an historical background to the subsequent debate about the theory and practice of scientific travel by scrutinizing works from the apodemic handbook genre. The purpose of apodemics was to make travel a method for the disciplined, systematic gathering of knowledge, which was achieved by organizing all aspects into categories.. In Chapter Three, the natural history of the day is understood as a multiplicity of research traditions with a common object of study - the specimens found in the three kingdoms of nature. A number of models of scientific collection which were applied by the Academy around 1800 are analyzed. The correspondent model using local amateur collectors is contrasted with the model of the travelling professional scientist. The greatest problem of the travel model was the "route problematic", engendering a haphazardness in the collection of facts and specimens. In Chapter Four, the relationship between travel and the theories of natural history of the age is investigated through a case study of Göran Wahlenberg's travels in 1800-1810. As a result of the insights Wahlenberg achieved during his travels in the mountain regions of the land, the new botanical sub- discipline of plant geography was established. This demanded travel, since it was based on observations of the plants' spatial relationships to one another and measurements of other specific spatial phenomena, such as climate. Wahlenberg saw complex, multifacetted aggregates of plants and vegetation, where the Linnean only discerned separate species. Herein lies the meaning of the "place's glance". Chapter Five analyzes the botanical journeys undertaken by the Academy between 1820 (when a travel grant was instituted) and 1840. Patriotic and utilitarian arguments for domestic travel combined with their results lent scientific travel a new status at the Academy. Chapter Six deals with zoological travel during the same period. The main figures are the curators of the Swedish Museum of Natural History, J. W. Dalman and B. F. Fries, who formulated the zoological travel policy of the Academy. The needs of the museum dictated that the travellers focus on Sweden and Scandinavia, primarily the "Western seaboard", which included Bohuslän and the Norwegian Atlantic coast, and Norrland. The specific needs of marine biology forced Fries to develop new travel practices. Fries' establishment of a provisional research station for year-round zoological research was an important historical breakthrough. His idea of outfitting sea-going vessels as mobile research stations also prefigures the future development of polar travel later in the century.digitalisering@umu
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Harmon, Amanda Lauren Leslie. "Herbarium Collections Management Internship." Miami University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=miami1524744021639645.
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Everest, Sophie. "Film and the production of knowledge at the Manchester Museum : a practice-based study." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/film-and-the-production-of-knowledge-at-the-manchester-museum-a-practicebased-study(cb87e323-151a-4d5f-b98a-278d86eccd36).html.
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Non-fiction film shares a long and relatively uncharted history with the museum. Today, filmmaking is a widespread yet critically neglected area of modern museological practice. This practice-based PhD situates itself within these critical gaps to examine the knowledge producing potential of film archives and film practice at the Manchester Museum. Its primary historical sources are a group of taxidermy objects at the Manchester Museum, an archive of 16mm acetate films at the North West Film Archive and a collection of travel journals at Cheshire Archives and Local Studies. These diverse collections were generated by Maurice Egerton, the 4th Baron of Tatton in Cheshire during his travels in Africa in the first decades of the twentieth century. This thesis brings all three together for the first time since their moment of production. These collections recur throughout the thesis as I ask how film archives can complicate and enrich our understanding of collections and how filmmaking practice might continue to bring new types of knowledge into the museum and archive. Two research films are submitted with and discussed within the thesis. The first, 'Living Worlds at the Manchester Museum', adapts observational methods from visual anthropology to record objects and staff during the re-display of the mammal gallery at the Manchester Museum in 2011. The second, 'Articulating Archives' is the result of a creative collaboration in 2014 with Year 8 secondary school students and the institutions and archives named above. Within the production and analyses of these films I draw on diverse critical sources to suggest that film can illuminate properties of materiality, embodied knowledge and performed engagement that textual accounts fall short of capturing.
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Hansson, Elisabeth. "Meningsskapande i utställningen : En komparativ etnografisk fallstudie av förskolegruppers multimodala kommunikation vid ett Naturhistoriskt museum och ett Science center." Thesis, Stockholms universitet, Institutionen för pedagogik och didaktik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-132979.
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Som övergripande syfte vill denna studie undersöka hur två förskolegrupper kan meningsskapa i två olika utställningar genom att beskriva, analysera och jämföra dessa två förskolegruppers multimodala kommunikation vid utställningsbesök. Genom syftet vill denna studie ge ökad kunskap om multimodal kommunikation hos två förskolegrupper i två olika utställningar. I syftet ingår att studien önskar öka kunskapen om hur semiotiska resurser kan användas och vad som fokuseras genom språkbruk, som kommunikativa villkor för lärande i utställningar. Studien har en design av en komparativ etnografisk fallstudie. Videoinspelningar, MP-3 ljudinspelningar, deltagande observation och fältanteckningar har använts som instrument för datainsamling. Genom strategiska urval valdes 11 stycken treåriga förskolebarn och tre pedagoger för att besöka en utställning vid Naturhistoriska Museet och nio femåriga förskolebarn med två pedagoger for att besöka en utställning vid Tom Tits Experiment (science center). Det insamlade materialet transkriberades multimodalt och kunde därefter analyseras som text. Multimodal interaktionsanalys (Norris 2004, 2014) och ett språkbruksraster (Rostvall & West 2001) användes för analys. Resultatet visade markanta skillnader mellan utställningarna. Av den multimodala interaktionsanalysen visade utställningen vid ett science center en bredare användning av semiotiska resurser, då alla artefakters meningserbjudanden var både visuella och taktila, en del artefakter erbjöd även auditiva meningserbjudanden. Språkbruket i samma utställning var mycket varierat och barnen anmodade varandra. Slutsatsen blir av detta att förskolegruppernas a) meningsskapande villkoras av språkbruk och att b) om meningsskapandet ska ske i samarbete ökas den möjligheten dess mer symmetriska de sociala relationerna är.
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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.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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Udriot, Johansson Selma. "Pressured Negotiations : An investigation of the Whole through its individual Parts." Thesis, KTH, Arkitektur, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-122708.
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This diploma project intends to investigate the Whole through its individual Parts by two polar logics, plan and mass. Through the museum typology, the idea of singular rooms generate a compound of opposite sensibilities, circulation and program that will offer new exhibition halls for the Botanical Department of the National Museum of Natural History in Stockholm. Museum as typology has throughout history dealt with the architectural issues such as spatial sequence, hierarchy and organizing space. Thereby have dealt the question of a Part-to-Whole relationship. The immediate relation between the individual rooms has been the starting point in my thesis. Rather than beginning with an envelope as a bounding box for a plan, the plan and the individual rooms sets the conditions for the envelope. In my project the spatial logic derives from a process based upon two polar opposites. On the one hand line-work and patterns, and on the other volumetric mass studies. The orthogonal structures in contrast to the swollen and spherical shapes. The relationship of the contrasting formal logics generates opposite meetings and sensibilities such as pressed/ pressured, heavy/light, imprinted/ implanted structures. The awkward relationship does not consider any smooth transitions, but instead a pressed and nesting sensation of which also the programmatic organization and circulation is closely tied to.Examensarbetet ämnar att undersöka Helheten genom dess individuella Enheter genom två motsatta designförhållanden, plan och massa, 2-dimensionalitet kontra 3-dimensionalitet. Genom museumtypologin genererar sammansättningen av singulära rum en enhetlig struktur av motsatta sensibiliteter, rörelsemönster och program som erbjuder nya utställningsrum åt den Botaniska Enheten för Naturhistoriska Museet i Stockholm. Museum som typologi har genom tiderna handskats med arkitektoniska frågor så som spatiala rörelsemönster, hierarki och organisation. Därigeom även det så kallade Del-till-Helhets-problematiken. Den direkta relationen mellan individuella rum har varit utgångspunkten i mitt arbete. Istället för att tillsätta en ram för helheten genom dess yttre fasad, har jag varit intresserad av att låta planen och de inre rummen avgöra hur det exteriöra ter sig. Därav har planen varit en viktig utgånspunkt i processen. I mitt projekt utgår den spatiala logiken från en process som är baserad på två motsatta designstudier. Det 2 dimensionella, planmönstret kontra det 3dimensionella volymstudierna. Det ortogonala i kontrast till det svullna och sfäriska kropparna. Relationen mellan de kontrasterande logikerna genererar motsatta möten, relationer och sensibiliteter så som tryckt/tryckande, tungt/lätt, intryck/implanterat etc. Det påtvingade och obekväma mötet mellan de olika kropparna erbjuder inte några mjuka övergångar, utan snarare en påtryckt och intensiv relation, som även den programatiska organisationen och rörelssemönstret är anknutet till.
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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.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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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.avhandlingen framlägges för disputation i ämnet museologi
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Mecke, Sven [Verfasser], and Lothar [Akademischer Betreuer] Beck. "Taxonomy, Natural History, and Ecology of Selected Herpetofaunal Species from the Sunda Islands and Adjacent Regions – Synergistic Effects of Fieldwork and Museum Collections for Biodiversity Research / Sven Mecke ; Betreuer: Lothar Beck." Marburg : Philipps-Universität Marburg, 2018. http://d-nb.info/1170321313/34.
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Corral, Guillé Gustavo. "El nuevo esquema expositivo del museo de historia natural de Londres, 1968-1981. Una perspectiva histórica." Doctoral thesis, Universitat Autònoma de Barcelona, 2015. http://hdl.handle.net/10803/290847.
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El presente trabajo ofrece una mirada al Natural History Museum de Londres entre finales de
la década de 1960 y principios de la de 1980 y al modo en que cambió la identidad y la política
expositiva del museo en esa época. La caracterización del público al que debían dirigirse las
nuevas exposiciones también cambió pasando de un público con conocimientos y un interés
manifiesto en la historia natural a uno mayormente infantil y con pocos o nulos conocimientos.
La tesis sigue el proceso de planificación y producción del nuevo modelo expositivo que
comenzó a perfilarse en 1968 con el nombramiento del nuevo director Frank Claringbull al que
el Board of Trustees del museo le encomendó la misión de ‘renovar’ las galerías. En un
momento en el que la nación atravesaba serias dificultades económicas y comenzaba a
instaurarse un control financiero sobre las instituciones públicas, debían justificar una mayor
financiación del gobierno. Con la idea de modificar la imagen del museo, el discurso
museográfico del nuevo modelo dejó de centrarse en los especímenes y se consagró a los
visitantes.
Las nuevas exposiciones sustituyeron de forma significativa los objetos por modelos y
dispositivos interactivos y las etiquetas se volvieron un elemento secundario de una historia con
un argumento sencillo sobre algún tema contemporáneo y que era ilustrado por algunos
especímenes. Además, el entorno de aprendizaje se estructuraba con el uso de tecnologías
educativas, tal y como lo sugerían las teorías pedagógicas del momento: aprendizaje
programado y aprendizaje por descubrimiento.
Este trabajo muestra la complejidad de la producción expositiva e ilustra la relación que existe
entre los intereses particulares de los creadores de una exposición y el resultado final en la
galería. Con el ingreso de nuevos profesionales de los museos, se puso a discusión quiénes
debían ser los responsables de la comunicación de la ciencia y cuál era la mejor forma de llevar
a cabo esa tarea. La tesis presenta cinco exposiciones y sostiene que cada una de ellas
representaba un espacio en el que se producía y legitimaba una perspectiva particular de la
ciencia muy cercana a la que practicaban los asesores externos, aunque se tratara de
aproximaciones que aún no contaran con la aprobación de toda la comunidad científica.This paper offers a look at the Natural History Museum in London in late 1960 and early 1980 and the way the identity and museum exhibition policy changed at that time. The characterization of the audience the new exhibitions were addressed also changed from an audience with a solid knowledge and a clear interest in natural history to mostly children. The thesis follows the planning and production of the new exhibition model that began to take shape in 1968 with the appointment of new director Frank Claringbull, to which the Board of Trustees of the Museum entrusted the mission of 'renew' the galleries. At a time when the nation was going through serious economic difficulties and a financial control over public institutions was started, they should justify more government funding. With the idea of changing the image of the museum, the new model shifted its focus from the specimens and to the visitors. The new exhibits significantly replaced objects by models and interactive devices and labels became a minor component of a story with a simple plot about a contemporary issue and it was illustrated by some specimens. In addition, the learning environment was structured with the use of educational technologies, as suggested by pedagogical theories of the moment: programmed learning and discovery learning. This work shows the complexity of the production of exhibitions and illustrates the relationship between the private interests of the creators and the final result in the gallery. With the emergence of new museum professionals, it was discussed who should be responsible for the communication of science and what was the best way to perform this task. The thesis presents five exhibitions and argues that each of them represented a space in which a particular perspective of the science was produced and legitimated, even if these approaches did not have the approval of the entire scientific community.
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Albright, Gavan McBride. "A reinterpretation of the small Captorhinid Reptile Captorhinikos Parvus Olson as a new genus, reanalysis of its cranial anatomy, and a phylogenetic analysis of the basal reptilian family Captorhinidae." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2178.
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The cranial anatomy of the basal captorhinid reptile Captorhinikos parvus (Reptilia, Captorhinidae), is reinterpreted here based on analysis of a group of new specimens recovered subsequent to its original diagnosis as well as further analysis of the original specimens utilized in E.C. Olson's original characterization of the species. Structural features inconsistent with the generic description suggest the redefinition of C. parvus as a new genus, Rhodotheratus parvus. Analyses of basal members and selected derived members support the characterization of Rhodotheratus as a distinct taxon.
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Nielsen, Sigurd Solhaug. "Negotiating nature on display– Discourse and ideology in naturalhistory museums." Thesis, Norges teknisk-naturvitenskapelige universitet, Geografisk institutt, 2006. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-25472.
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This thesis considers exhibitions in natural history museums as a process of negotiation between three parties: the museum as an institution, the museum staff, and the visitors. These represent different interests that shape exhibitions relating to nature. The thesis asks the following main question: In what way do discourses play a role in the staff’s work within natural history museums? The empirical sources are based on interviews conducted with staffmembers from eight different natural history museums: six in Austria and two in Norway. The interviews are analysed based on the principles of discourse psychology and critical discourse analysis. The theoretical framework is based on postmodernism as a reaction and countermovement to modernism. Kant’s theory of knowledge, the concept of representation and discourse theory are considered in relation to one another and form an ontological departure for the epistemology. The methodology combines critical discourse analysis and discourse psychology as applied to conversational text. The discourse analysis reveals different discourses concerning the museum as institution, professional museum staff, and the visitors. The thesis concludes that the museum as institution is characterised by a knowledge culture/tradition that was particularly substantiated during the Enlightenment. In turn, the knowledge tradition is characterised by discourse that places expectations regarding the procedures of the employee, but also through the visitors’ expectations as to what a museumis and what the exhibitions provide them with. The employees meet the museum understood as discourse through mainly three different strategies for how exhibitions should function. I call these strategies ‘action promotion’, ‘communication focus’ and ‘political context’. In this way, the identities and actions of the employees depend considerably on their personal relationship to the museum as a concept and discourse, as well as to the visitors’ presumptions, expectations and experiences concerning museums.Diese Master-Arbeit betrachtet die Ausstellung eines naturgeschichtlichen Museums als Ergebnis eines Verhandlungsprozesses zwischen drei Parteien mit unterschiedlichen Interessen: dem Museumspersonal, dem Museum als Institution sowie dem Publikum. Die Hauptfragestellung der Arbeit lautet: In welcher Weise spielen Diskurse in der Arbeit derwissenschaftlichen Angestellten naturgeschichtlicher Museen eine Rolle? Der theoretische Rahmen der Arbeit basiert auf dem Postmodernismus als einer Reaktion auf und Gegenbewegung zum Modernismus. Kants Erkenntnistheorie, das Konzept der Repräsentation sowie die Diskurstheorie bilden zusammen die ontologische Grundlage der Epistemologie. Die Methodologie kombiniert gesprächsbezogene kritische Diskursanalyse und Diskurspsychologie. Das empirische Material besteht aus Interviews mit wissenschaftlichen Angestellten acht naturgeschichtlicher Museen, davon sechs in Österreich und zwei in Norwegen. Die Diskursanalyse deckt unterschiedliche Diskurse hinsichtlich des Museums als Institution, der wissenschaftlichen Angestellten sowie des Publikums auf. Die Arbeit schlussfolgert, dass das Museum als Institution von einer Wissenskultur gekennzeichnet ist, die insbesondere in der Zeit der Aufklärung begründet ist. Diese Kultur ist insofern diskursgeprägt, als dass sie bestimmte Erwartungen an die Arbeit des Museumspersonals beinhaltet, aber auch durch die Erwartungen des Publikums an ein Museum und seine Ausstellungen. Die Angestellten nähern sich dem Museum als Diskurs, in dem sie hauptsächlich drei verschiedene Strategien im Hinblick auf die Funktion von Ausstellungen verfolgen: Inspiration zu eigenständigem Handeln (”Handlungspromotion”),auf das Publikum zugeschnittene Kommunikation (”Kommunikationsfokus”) sowie Einbeziehung politischen Kontexts. Insofern hängen Identität und Handeln der Angestellten stark von ihrer persönlichen Beziehung zum Museum als Konzept und Diskurs ab, ebenso wie von ihren Annahmen bezüglich der Erwartungen des Publikums und dessen Erfahrungen mit Museen.
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Beckham, Jessica L. "The Influence of Urban Green Spaces on Declining Bumble Bees (Hymenoptera: Apidae)." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849737/.
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Bumble bees (Bombus spp.) are adept pollinators of countless cultivated and wild flowering plants, but many species have experienced declines in recent decades. Though urban sprawl has been implicated as a driving force of such losses, urban green spaces hold the potential to serve as habitat islands for bumble bees. As human populations continue to grow and metropolitan areas become larger, the survival of many bumble bee species will hinge on the identification and implementation of appropriate conservation measures at regional and finer scales. North Texas is home to some the fastest-growing urban areas in the country, including Denton County, as well as at least two declining bumble bee species (B. pensylvanicus and B. fraternus). Using a combination of field , molevular DNA and GIS methods I evaluated the persistence of historic bumble bee species in Denton County, and investigated the genetic structure and connectivity of the populations in these spaces. Field sampling resulted in the discovery of both B. pensylvanicus and B. fraternus in Denton County's urban green spaces. While the relative abundance of B. fraternus in these spaces was significantly lower than historic levels gleaned from museum recors, that of B. pensylvanicus was significantly higher. Statistical analyses found that both bare ground and tree cover surrounding sample sites were negatively associated with numbers of bumble bee individuals and hives detected in these green spaces. Additionally, limited genetic structuring of bumble bee populations was detected, leading to the conclusion that extensive gene flow is occurring across populations in Denton County.
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Yocco, Victor Samuel. "Exploring the Effects of Communication Framed by Environmental Concern in Informal Science Education Contexts." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1284688743.
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Ross, Jeremy D. "The Evolutionary History, Demographic Independence and Conservation Status of Two North American Prairie Bird Species: The Greater Prairie Chicken and the Lark Sparrow." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1303855437.
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Marcinkowski, Michal. "Contextualization of Autonomous Spaceflight Operations for deep space planetary encounters." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-146273.
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This work concerns the research and application of data visualization techniques to depict ongoing activities in mankinds investigation of space as part of a larger open-source visualization- and science-outreach software known as OpenSpace. It involves the construction of a physically accurate virtual environment of our local star group and solar system so as to facilitate development of a robust and generalized solution capable of articulating mission-science to its viewers. The research part is focused on deploying data visualization methods suitable for contextualizing scientific findings towards the general public in a pedagogical manner, with the end goal to provide a fully operational New Horizons visualization on the day of encounter with Pluto for the first public broadcast of OpenSpace across the globe.
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Södergren, Gabriella, and Isabelle Lundin. "UTRYMNINGSSÄKERHET I STATLIGA BYGGNADSMINNEN : För personer med funktionsnedsättning." Thesis, Mälardalens högskola, Akademin för ekonomi, samhälle och teknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-33161.
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Background: Historical buildings in Sweden with the highest value of cultural heritage are administrated by the state and are protected by the directive SFS 2013:588. Also there are laws which demands that all public buildings which are administrated by the government should be accessible for everyone, with or without disabilities. This law also demands that in case of fire all visitors should be able to evacuate safely, including people with disabilities. This may be problematic to achieve without damaging the cultural value. Aim: The aim of this work is therefore to investigate a safe way for people with disabilities to evacuate in case of fire in buildings with high cultural value in Sweden, which are administrated by the state, with focus on the technical solutions. The aim is also to investigate improvement measures for the studied buildings and the laws in Sweden regarding the subject. Method: This work in bases on a literature study and a case study. The purpose of the literature study was to identify the previous studies and background information which was needed to find solutions to the problem. The case study were constructed to see how technical solutions are incorporated in actual buildings, but also to see how the evacuation can improve. Results: The work shows that all buildings in the case study has a sufficient evacuation plan for people with disabilities, but could be improved especially for people with visual disabilities without destroying the cultural heritage. Conclusion: One conclusion is that the focus often lies on technical solutions to make it possible for people with mobility impairments to evacuate, but the needs of people with visual disabilities are often overlooked. Therefore the laws regarding the subject should clarified that all people with disabilities also should have the same possibility to evacuate safety. Another conclusion is that it is possible to implement technical solutions in historical buildings without significantly destroying the cultural value. However, more research is required to develop new and improved solutions for these type of buildings.
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Schlickmann, Karina Santos Vieira. "Museu Irmão Luiz Gartner: um percurso de investigação no acervo taxidermizado de aves e de mamíferos (Corupá/SC - 1932-1953)." Universidade do Estado de Santa Catarina, 2011. http://tede.udesc.br/handle/handle/970.
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The main purpose of this paper was to draw a map of the objects which make up the Escola Apostólica Sagrado Coração de Jesus - EASCJ, elementary school´s cultural groundwork, stressing the collection of Museu Irmão Luiz Gartner MILG located Seminário Sagrado Coração de Jesus em Corupá/SC Brazil. The 1932 to 1953 period has been analyzed, since the school´s foundation, which holds the museum, to its transferring. This paper highlights two zoological collections, which make up part of it. The taxidermy of birds and mammals. The data have been collected from the congregation´s documentation, identification tags from the animals, from the images Arquivo Provincial Apdre Lux - Appal and the seminary, interviews with priests and former pupils of EASCJ. The natural sciense museums were inaugurated in Brazil form XIX century and have rerformed an important role in the propagation of science. We specifically consider Museu Irmão Luiz Gartner, the information shows a significant number os birds and mammals, some of them are endangered. Nowadays the collection is made up of 539 samples. Regarding the mammals collection which is made up of 198 samples. This paper also shows a whole of information of different scholar material, such as furniture, shoe´s utensilis, building Groundwork, which might be used for further researches who wihsed to investigate the same theme
O presente trabalho objetivou construir um mapa dos objetos que compõem a base da cultura material da escola primária da Escola Apostólica Sagrado Coração de Jesus - EASCJ, com ênfase no acervo do Museu Irmão Luiz Gartner - MILG -, localizado no Seminário Sagrado Coração de Jesus em Corupá/SC. O período analisado vai de 1932 a 1953, abrangendo desde a fundação da escola que abriga o museu até a sua transferência, quando o MILG passa a funcionar em seu novo e ampliado espaço museológico, onde permanece até os dias de hoje. O trabalho estuda e dá destaque a duas coleções zoológicas que fazem parte do acervo: a de aves e a de mamíferos taxidermizados. Os dados foram coletados em documentos da Congregação Sagrado Coração de Jesus e da instituição que abriga o museu. Utilizaram-se, entre outros documentos, fichas de identificação dos animais taxidermizados, banco de imagens do Arquivo Provincial Padre Lux - Appal - e do Seminário, entrevistas com padres e ex-alunos da EASCJ. Os museus de ciências naturais foram inaugurados no Brasil a partir do século XIX e desempenharam um importante papel na propagação das ciências. Registram-se instituições desta natureza, tanto como unidades isoladas, quanto como instituições pedagógicas (museus escolares). Considerando, especificamente, o museu Irmão Luiz Gartner, os dados revelaram um número significativo de aves e mamíferos no acervo. Alguns deles são hoje ameaçados de extinção. Atualmente, o acervo de aves contém, no total, 539 exemplares. Com relação ao acervo de mamíferos, conta com 198 exemplares. O trabalho também apresenta um conjunto de informações sobre demais objetos da cultura material escolar, tais como móveis, utensílios didáticos, bases arquitetônicas da edificação, que poderão ser utilizadas como fontes por pesquisadores que desejem se debruçar sobre o mesmo tema
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Pflug, Norbert. "Der historische Eisenerzbergbau im Osterzgebirge und Elbtalschiefergebirge – eine geographisch-geologische Landschaftsanalyse." Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-126893.
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Im Osterzgebirge sowie im nordöstlich daran angrenzenden Elbtalschiefergebirge wurde mit Unterbrechungen über mehrere Jahrhunderte Bergbau auf Eisen betrieben. Für die Besiedlung, den Bergbau auf andere Metalle, die Landwirtschaft und das Handwerk in der Region hatte der Eisenerzbergbau eine gewisse Bedeutung. Im Gegensatz zum Silber- und Buntmetallbergbau ist über den Eisenerzbergbau allerdings nur relativ wenig bekannt.
Das Ziel dieser Diplomarbeit bestand deshalb darin, eine zusammenfassende geologisch-geographische Darstellung, die sowohl den historischen Eisenerzbergbau im Osterzgebirge als auch den historischen Eisenerzbergbau im Elbtalschiefergebirge beinhaltet, zu erarbeiten. Um ein hohes Maß an Vollständigkeit zu gewährleisten, wurden die Erkenntnisse aus Archiven, Bibliotheken und Sammlungen zusammengetragen. Überdies wurde auch auf das Fachwissen von Heimatvereinen, Bergbaumuseen und Hobbyhistorikern zurückgegriffen.
Ferner wird im Rahmen dieser Arbeit untersucht, welche Typen von Eisenerzlagerstätten es im Osterzgebirge und im Elbtalschiefergebirge gab, wie diese entstanden sind, um welche Mineralisation und um welche Art von Eisenerztypen es sich dabei handelt. Mit den gegenwärtig zur Verfügung stehenden Methoden der Analytik (REM-EDX) werden zudem die Mineralparagenese und die chemische Zusammensetzung von historischen und neuen Eisenerzproben aus dem Osterz- und Elbtalschiefergebirge untersucht. Ferner wird den Fragestellungen nachgegangen, wann diese Eisenerzlagerstätten erschlossen wurden, über welchen Zeitraum sie unter Abbau standen und wie viel Eisenerz aus den jeweiligen Gruben gefördert wurde. Hierfür erfolgte eine detaillierte Dokumentation der wichtigsten ehemaligen Eisenerzlagerstätten mit den dazugehörigen Zeugnissen des historischen Eisenerzbergbaus.
Darauf aufbauend werden die Bedeutung des Eisenerzbergbaus und des daran angeschlossenen Eisenhüttenwesens für die wirtschaftliche und kulturelle Entwicklung des Gebietes untersucht. Des Weiteren werden die regionalen Beziehungen zu anderen Bergbau- und Wirtschaftszweigen aufgezeigt. Der Prozess des Aufbrechens der regionalen Wirtschaftsstrukturen im Zuge der Industrialisierung wird eingehend erläutert. Und die Gründe für den Niedergang des Eisenerzbergbaus und Eisenhüttenwesens werden ebenfalls genannt. Danach erfolgt eine Betrachtung darüber, welche bergbauhistorischen Zeugnisse heute im Gelände noch auffindbar bzw. welche Nachfolgenutzungen an den Standorten des historischen Eisenerzbergbaus und des Eisenhüttenwesens gegenwärtig vorhanden sind. Abschließend wird erläutert welche Schlussfolgerungen für die Nutzung des geotouristischen Potenzials sich daraus ergeben.
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Pflug, Norbert. "Der historische Eisenerzbergbau im Osterzgebirge und Elbtalschiefergebirge – eine geographisch-geologische Landschaftsanalyse." Master's thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-131472.
Full textAbstract:
Im Osterzgebirge sowie im nordöstlich daran angrenzenden Elbtalschiefergebirge wurde mit Unterbrechungen über mehrere Jahrhunderte Bergbau auf Eisen betrieben. Für die Besiedlung, den Bergbau auf andere Metalle, die Landwirtschaft und das Handwerk in der Region hatte der Eisenerzbergbau eine gewisse Bedeutung. Im Gegensatz zum Silber- und Buntmetallbergbau ist über den Eisenerzbergbau allerdings nur relativ wenig bekannt.
Das Ziel dieser Diplomarbeit bestand deshalb darin, eine zusammenfassende geologisch-geographische Darstellung, die sowohl den historischen Eisenerzbergbau im Osterzgebirge als auch den historischen Eisenerzbergbau im Elbtalschiefergebirge beinhaltet, zu erarbeiten. Um ein hohes Maß an Vollständigkeit zu gewährleisten, wurden die Erkenntnisse aus Archiven, Bibliotheken und Sammlungen zusammengetragen. Überdies wurde auch auf das Fachwissen von Heimatvereinen, Bergbaumuseen und Hobbyhistorikern zurückgegriffen.
Ferner wird im Rahmen dieser Arbeit untersucht, welche Typen von Eisenerzlagerstätten es im Osterzgebirge und im Elbtalschiefergebirge gab, wie diese entstanden sind, um welche Mineralisation und um welche Art von Eisenerztypen es sich dabei handelt. Mit den gegenwärtig zur Verfügung stehenden Methoden der Analytik (REM-EDX) werden zudem die Mineralparagenese und die chemische Zusammensetzung von historischen und neuen Eisenerzproben aus dem Osterz- und Elbtalschiefergebirge untersucht. Ferner wird den Fragestellungen nachgegangen, wann diese Eisenerzlagerstätten erschlossen wurden, über welchen Zeitraum sie unter Abbau standen und wie viel Eisenerz aus den jeweiligen Gruben gefördert wurde. Hierfür erfolgte eine detaillierte Dokumentation der wichtigsten ehemaligen Eisenerzlagerstätten mit den dazugehörigen Zeugnissen des historischen Eisenerzbergbaus.
Darauf aufbauend werden die Bedeutung des Eisenerzbergbaus und des daran angeschlossenen Eisenhüttenwesens für die wirtschaftliche und kulturelle Entwicklung des Gebietes untersucht. Des Weiteren werden die regionalen Beziehungen zu anderen Bergbau- und Wirtschaftszweigen aufgezeigt. Der Prozess des Aufbrechens der regionalen Wirtschaftsstrukturen im Zuge der Industrialisierung wird eingehend erläutert. Und die Gründe für den Niedergang des Eisenerzbergbaus und Eisenhüttenwesens werden ebenfalls genannt. Danach erfolgt eine Betrachtung darüber, welche bergbauhistorischen Zeugnisse heute im Gelände noch auffindbar bzw. welche Nachfolgenutzungen an den Standorten des historischen Eisenerzbergbaus und des Eisenhüttenwesens gegenwärtig vorhanden sind. Abschließend wird erläutert welche Schlussfolgerungen für die Nutzung des geotouristischen Potenzials sich daraus ergeben.
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"Interpreting Critical Literacy In A Natural History Museum." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.18090.
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abstract: The purpose of this study was to investigate critical literacy practices in two prehistoric exhibits in a natural history museum. Bourdieu's habitus and Bakhtin's dialogism served as theoretical frames to collect and analyze data. Data were collected and triangulated using field notes, interview transcriptions, archives, and other data sources to critically scrutinize textual meaning and participant responses. Spradley's (1979) domain analysis was used to sort and categorize data in the early stage. Glaser and Strauss's (1967) constant comparative method was used to code data. My major findings were that museum texts within this context represent embedded beliefs and values that were interwoven with curators` habitus, tastes and capital, as well as institutional policies. The texts in the two Hohokam exhibits endorse a certain viewpoint of learning. Teachers and the public were not aware of the communicative role that the museum played in the society. In addition, museum literacy/ies were still practiced in a fundamental way as current practices in the classroom, which may not support the development of critical literacy. In conclusion, the very goal for critical museum literacy is to help students and teachers develop intellectual strategies to read the word and the world in informal learning environments.Dissertation/Thesis
Ph.D. Curriculum and Instruction 2013