To see the other types of publications on this topic, follow the link: Site Museum.
Dissertations / Theses on the topic 'Site Museum'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Site Museum.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Martins, Raquel da Rocha. "Curadoria, Webdesign e manutenção do site do Centro de Arte Moderna da Fundação Calouste Gulbenkian." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2014. http://hdl.handle.net/10400.5/7773.
Full text
2
Marin, Sabrina Popp. "Comunicação Virtual de Museus: a informação sobre Arte nos sites da TATE e do MAC." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/93/93131/tde-11072012-134957/.
Full textAbstract:
Esta pesquisa investiga como os sites de duas instituições museológicas ocupam o Ciberespaço. Objetiva identificar aproximações e distanciamentos entre elas, no que diz respeito à qualidade da informação comunicada e ao entendimento do espaço virtual, enquanto local em potencial para a construção do discurso simbólico sobre Artes. Preocupase igualmente em observar a efetivação do papel do Museu como agente de aproximação e integração entre a sociedade e as demandas geradas pelas novas tecnologias. O Ciberespaço institui um novo tipo de espectador/internauta que se relaciona com os bens culturais de maneira contrária à já sacralizada pelas instituições museológicas surgidas nos séculos passados. A análise dos espaços do MAC Virtual, no Brasil, e da TATE Online, na Inglaterra, mostrou que o projeto virtual terá mais sucesso à medida que evita recriar, no ambiente virtual, o espaço consagrado para a exibição da obra de arte.This research investigates how the websites of two museological institutions occupy the Cyberspace. Its main goal is of identifying approaches and differences between them regarding the quality of published information and the understanding of the virtual space while place in potential for the development of the symbolic speech about Arts. At the same time it focuses on the consolidation of the Museums role as integration agent between society and the demands generated by new technologies. The Cyberspace creates a new kind of spectator/user that relates itself with the cultural assets in an opposite way to the traditional manner of the museological institutions that were created in the last centuries. Analyzing the website MAC Virtual in Brazil and TATE Online in England, showed that the virtual project will be more successful if it avoids recreating, in the virtual space, the traditional space for displaying the Artworks.
3
Mello, Paulo Cezar Barbosa. "Site Specificity na arte contemporânea: Inhotim." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-29062015-151300/.
Full textAbstract:
O estudo a seguir desdobra as questões de site specificity na arte contemporânea e suas modificações nas três últimas décadas. A compreensão do espaço em arte tomou novas formas não só em função dos espaços e dos discursos artísticos, mas também em função dos novos meios e linguagens. Essas mudanças demandaram alguns acompanhamentos por parte dos espaços expositivos, bem como um novo olhar sobre o que se entende por site specific art. Com base, principalmente nas propostas de Miwon Kwon, o presente material compara as obras de arte contemporânea, tecendo diálogos com as mudanças vistas. Espaços institucionalizados, como Inhotim, dialogam com a noção de site specificic arts, demonstrando as observações sobre site specificity. A pesquisa apresenta esta jornada e fornece subsídios para vislumbrar o espaço da arte contemporânea na segunda década do século XXI.The following research unfolds site specificity matters on contemporary art and its changes for the last three decades. The comprehension of the space in art had reached new standards, not only due to artistic spaces and discourses, but also for new media and languages. Theses changes demanded some accomplishments at the exhibition spaces as well as new looks over what one understands as site specific art. Upon Miwon Kown premisses this study compares contemporary art works creating dialogs with the modifications already achieved. Institutionalized spaces, such as Inhotim, converse with site specific arts, what reinforces the need for a site specificity stare. The probe validates the jouney and endorses a fresh look over contemporary art on the second decade of the 21st century
4
Buckley, Diana. "Louisiana State Museum Edward Douglass White historic site report & analysis." ScholarWorks@UNO, 2008. http://scholarworks.uno.edu/aa_rpts/2.
Full textAbstract:
The following analysis serves as an invitation to the reader interested in house museums and museum development, as well as a study of the internal operations of the Louisiana State Museum's Edward Douglass White Historic Site. The Louisiana State Museum is a relatively large system of 12 museum sites spread throughout the state. A brief history of the LSM is provided in chapter one, which precedes the reports primary substance expressed in chapter three, where day-to-day operations of the LSM-Edward Douglass White Historic Site house museum are analyzed via a SWOT analysis. Every part of research went hand in hand with my intern experience as the house museum's curator, research developed to offer the LSM templates for future growth. Equivalently, the suggestions noted in this report -- that of constructively operating a house museum, are outlined in respect to its surrounding community.
5
VanHook, Theresa Constance 1964. "The museum as an additional site for providing preservice teachers with classroom experience." Thesis, The University of Arizona, 1996. http://hdl.handle.net/10150/292000.
Full textAbstract:
This thesis stemmed from the idea that the museum can be used as an educational resource for both teachers and students. It examines how preservice art education majors worked with classroom teachers and students as part of a museum/university collaboration. The study was guided by three questions: (1) How did the student docents feel the experience enhanced their preservice teacher education? (2) How were student docents able to adapt activities developed around a museum exhibition to fit the needs of the host teacher and their class? (3) How can the museum and preservice teacher education programs collaborate to bring a variety of experiences to future art educators? Findings indicate that preservice teachers found classroom experiences and opportunities which link them with community resources beneficial as part of a teacher training program. The study asserts that programs which offer preservice teachers opportunities to work with teachers in schools should be included in preservice teacher course work.
6
Hoey, Erin M. "Out of Site, But Not Out of Mind: The Conservation and Display of Ancient Roman Floor Mosaics in Situ and in Museums." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/842.
Full textAbstract:
This thesis explores the display of Roman floor mosaics in museums and in situ. Taking the original mosaic to museums for display and protection, and replacing them on site with replicas, is best for the preservation of the original material and its context.
7
Gelman, Daria Lvovna. "Walkability through Challenging terrain: Connectivity between Frederick Douglass National Historic Site and Anacostia Community Museum." Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/84854.
Full textAbstract:
This thesis is an investigation of how to achieve walkability over steep urban topography greater than Americans with Disabilities Act accessible 8.33% standard. I studied how landscape architects and architects have overcome challenging topography in a variety of international cities and how to increase connectivity in the steep terrain of Washington D.C.'s Anacostia neighborhood. Specifically, this thesis explores the roles of staircases in the city and how staircases can enhance the experience of moving through the city.
Topographic changes can be an obstacle to walk on: the steeper the path the harder it is to move through it, which in turn may encourage a person to use a car to travel between low and high points in the city. My hypothesis is that steep topography can be an enhancement to walkability in the city.
The experience of traveling through steep terrain is unique as it can provide visually engaging environment of walking, including expansive views of the city, engaging architecture, and physical exercise. To test this hypothesis, I designed two distinct routes over steep topography to connect the Frederick Douglass National Historic Site, the Smithsonian's Anacostia Community Museum, a sports field, and the Fort Stanton Recreation Center. The paths respond to L'Enfant's method for laying out the city in "diagonal avenues superimposed over a grid system" (Nps.gov, 2018) and the very steep terrain of Anacostia, which seems to defy in places the orthagonal and axial relationships underlying L'Enfant's plan.
Drawing on both L'Enfant's ordering scheme of the city and the given form of the two hundred foot escarpment above Anacostia, the design demonstrates that paths through steep terrain can be a great asset, revealing the larger order of the city through views to the monumental core, bringing people through the native forest, making more direct connections between the civic infrastructure, including the Frederick Douglass National Historic Site and the Smithsonian's Anacostia Community Museum. It shows that expanding the notion of walkability to include terrain that is not ADA accessible is important, and can be the impetus for the strategic inclusion of accessible paths where the topography permits.Master of Landscape Architecture
8
Tonn, Jenna Alexandra. "Museum, Laboratory, and Field Site: Graduate Training in Zoology at Harvard and Radcliffe Colleges, 1873-1934." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:23845445.
Full textAbstract:
This dissertation examines the development of graduate training in zoology at Harvard and Radcliffe Colleges under E. L. Mark between 1873 and 1934. It focuses on the changing spatial, institutional, and intellectual relationship between the Museum of Comparative Zoology and the Department of Zoology as a result of university-wide educational reforms that introduced teaching and research in the biological sciences to the curriculum in the nineteenth century.
Part I examines the Museum of Comparative Zoology’s relationship to the growth of elective instruction in natural history. Debates between the museum’s director, Alexander Agassiz, Harvard’s President Charles W. Eliot, and E. L. Mark hinged on the uncertain role that the museum was prepared to play as a site for undergraduate teaching. The creation of the department as an administrative unit in 1890, and the subsequent organization of the Department of Zoology, changed the balance of power between Agassiz and Mark and sparked demarcation conflicts over what counted as a teachable form of zoology.
Part II explores the scientific cultures of the Harvard and Radcliffe Zoological Laboratories. It addresses the laboratory as a physical site, a disciplinary space, a pedagogical tool, and a gendered social and scientific community. I reconstruct how Mark’s students experienced his idiosyncratic pedagogical system as part of their daily lives. A significant contribution of this dissertation is the examination of the Radcliffe Zoological Laboratory, a small room in the museum that Radcliffe College converted into a space for women pursuing zoological studies. Issues related to gender and debates about coeducation on campus reconfigured access to the practice of zoology, especially for Radcliffe graduate students.
Part III follows Mark’s laboratory to the field where he co-founded the Bermuda Biological Station for Research in 1903. Mark adapted his pedagogical systems to a new political and scientific environment in colonial British Bermuda. There, graduate training was understood through overlapping discourses of amateur natural history and middle-class leisure. Establishing a biological field station in an unpredictable colonial climate took priority over resistance to coeducation. This inadvertently turned the Bermuda station into an important destination for women seeking fieldwork experience in the twentieth century.History of Science
9
Jonas, Michael Jesaja. "Kleinplasie living open air museum: a biography of a site and the processes of history-making 1974 – 1994." Thesis, University of the Western Cape, 2012. http://hdl.handle.net/11394/4046.
Full textAbstract:
Magister Artium - MAIn 1974 an Agricultural Museum Committee was established at the Worcester Museum which ultimately led to the development in 1981 of the Kleinplasie Open Air Farm Museum.This began a new phase in the museum’s history, one that I will argue was particularly closely linked to Afrikaner nationalist historiography, in particular to ideas about frontier farmers and pioneer farming lifestyles and activities.This study will take the form of a critical analysis of the establishment of Kleinplasie Living Open Air Museum from 1974 until 1994. It will evaluate the making of exhibitions, its architecture, and the performances and public activities in the establishment of the institution as a site of memory and knowledge. The key question this work engages with is how representations, performance, exhibitions, museum activities, and public involvement were shaped to create particular messages and construct a site of cultural identity and memory at Kleinplasie Living Open Air Museum.It will also deal with questions around who decides on the voices and content of the exhibitions, architecture and displays. The role played by professionals, those who claim to represent community, donors and other interests groups will also be placed under the spotlight. There are also questions around the provenance of collections, the way they were acquired through donations and sponsorships, and the crucial role objects played in the construction of the narrative and identity of the museum.A key question that emerges from my own work is the connection between the Afrikaner nationalist scholarship and the development of the open-air museum based on the life of the frontier farmer at Kleinplasie. While Kleinplasie does not seem to follow the monumental approach that was evident in schemes such as the Voortrekker Monument in Pretoria, where triumphalism and conquest are key metaphors, it does rely on a sense of ‘independence’ and self-fulfilment in social history type setting. There is thus a need to consider how Afrikaner nationalist historiography impacted on the way history was depicted at Kleinplasie. P. J. van der Merwe’s studies of the character and lifeways of the trekboer(Die Trekboer in die Geskiedenis van die Kaapkolonie), seems to have played a central role in the construction of the theme and narrative. This three-volume trilogy provided Kleinplasie(literally, ‘little farm’) with a social and cultural history on which to construct its version of the past.
10
Farrar, Chelsea Jane. "Bridging the Gap: Teacher Voices, the Writing Process Through Art, and Creating an Art Museum Website." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/312511.
Full textAbstract:
Through a qualitative case study this research examines the needs of three generalist high school teachers in relation to arts integration, writing, critical thinking, and the art museum website. The study also examines the perspectives of art museum educators in relation to how museum websites can be used to support teaching the writing process in the school classroom. Arts integration and the museum website are analyzed in depth through literature review and in-depth semi structured interviews. This research aims to present a model for collaborative website design where the museum website is designed around classroom teachers' curricular needs.
11
Blacky, Nosipho. "Organization management challenges of national heritage institutions in South Africa : a case study of the Robben Island Museum (RIM)." University of the Western Cape, 2012. http://hdl.handle.net/11394/5083.
Full textAbstract:
Masters in Public Administration - MPAIn January 1997, Robben Island Museum (RIM) opened its doors to the public as a tourist destination. This was done without any formal management structure or strategic planning, to cope not only with its mandate as the first National Museum of the new democratic South Africa, but also to meet the demand of the great interest of visitors to see this prison where the icon of the liberation struggle, Nelson Mandela was incarcerated for 27 years. This operational take-off without formal administrative management structure and strategic planning was understandable given the social and political transitional climate in the country. The effect thereof as the old adage states ‘failure to plan is planning for failure’ seems to hold true for RIM who is struggling to become a well-managed national heritage site. RIM over the years have been beset with governance and management challenges and enjoyed continual bad publicity. The study’s aim was to bring an understanding of what the major governance and managerial challenges were and to make recommendations to address those. The study was guided by a central research question namely What were the administrative and management challenges of RIM and in what ways did it impact on the operational effectiveness of RIM as a national museum and World heritage site. A number of findings emanated from the study. A key one was that clarity of roles and responsibilities of the council and the management is required. Furthermore, the vision and mission of RIM must inform the formulation of strategies to give effect thereto. This in turn must be the base for the development of an appropriate organisational structure to implement the strategies. A number of recommendation stems from the research. An important one was that appointment must be on the basis of ‘fit for purpose’. This means that staff with the right skills and capacity should be appointed as a matter of priority. In conclusion, the findings of the study could be used by other heritage organisations faced with similar organisational challenges.
Robben Island Museum Training and Development Staff Bursary
12
Zook, Alyse. "Museum as site of meaning: Exploring audience responses to the National Underground Railroad Freedom Center's Invisible: Slavery Today Exhibit." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1407407154.
Full text
13
Brown, Lyndsey S. "Founding Force, Forgotten Focus: A Case Study of Gender Influence Within the Preservation of Historic House Museums, with Emphasis on the Jacobsburg Historical Society's Boulton Historic Site in Pennsylvania." Master's thesis, Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/162987.
Full textAbstract:
HistoryM.A.
Historic house museums are the focus of an ideological tension between preservation and interpretation within the public history community. At a time where many house museums are failing, preservationists advocate for solutions to the house museum dilemma focused on saving the building. Historians and other museum professionals point to the importance of the value of the collections, memories, and documents preserved within the house as critical tools for understanding and teaching American history. Of specific focus in this thesis is the role gender influence played in the formation of historic house museums and how an examination of its continuing effect on agency within heritage sites creates access points for cutting-edge public history and interpretation. This is done through a case study of the history of the Jacobsburg Historical Society's Boulton Historic Site in Nazareth, Pennsylvania. The site was the location of the Boulton Gun Works, built in 1812 by the Henry family, manufacturers of the Pennsylvania Longrifle and key members of the early industrial community of Jacobsburg, located just north of the Moravian community of Nazareth.
Temple University--Theses
14
Mountford, Duncan. "The investigation of the museum as a site of control, memory, and loss by expression in installation and sculptural form." Thesis, Nottingham Trent University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396364.
Full text
15
Huffman, Craig. "A proposal for the Museum of Art/Tallahassee at the Wahnish Cigar Factory Historic Site in the All Saints District." Thesis, Virginia Polytechnic Institute and State University, 1995. http://hdl.handle.net/10919/53399.
Full textAbstract:
This project addresses the possible connections that occur when a place is studied at the geographic, urban, neighborhood, street, building, and personal scales. The project is located in an under-utilized area adjacent to Tallahassee's central business and state government center known as the All Saints Neighborhood. The Design Thesis which, focuses on the Arts Museum, is part of a larger study titled Implicit Structure. At all of the scales referenced above, implicit structure is a method that seeks a transformation of the inherent qualities and evolving possibilities of a particular place/ occasion. It is a critical process of revealing similar to Henri Bergson's description of the evolutionary moment: "Each moment is not only something new, but something unforeseeable;... change is far more radical than we suppose - to change is to mature, to mature is to go on creating one's self endlessly."
Henri BergsonMaster of Architecture
16
Cychosz, Elizabeth K. ""Everything is Just Starting": (Re)presenting the Tuol Sleng Museum of Genocidal Crimes as a Post-Justice Site of Memory." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1429785468.
Full text
17
Terrisse, Marc. "Les musées de sites archéologiques appréhendés en tant que vecteurs de développement local à travers trois études de cas préfigurant la mise en valeur opérationnelle du site de Chellah." Phd thesis, Université du Maine, 2011. http://tel.archives-ouvertes.fr/tel-00654271.
Full textAbstract:
Le site de Chellah situé à Rabat au Maroc rassemble des témoignages archéologiques et historiques allant de la période pré punique aux sultans mérinides. Le site n'est actuellement pas mis en valeur voire à l'abandon. Par le biais de ce travail de recherche, une proposition opérationnelle de mise en valeur du site de Chellah à travers la création d'un musée de site est mise en avant. Cette proposition se base sur l'évolution des notions de patrimoine, musées et tourisme dans la période contemporaine à la fois en Europe et au Maroc et sur l'analyse de trois études de cas (Montréal, Saint-Romain en Gal et Saragosse) en mesure de dégager des éléments de réussite quant à la transformation d'un musée de site en vecteur de développement local. Une approche scientifique poussée, combinée à une prise en compte des problématiques économiques, principalement touristiques font figure d'éléments déterminant dans la durabilité des musées de sites. Le musée devient ainsi un outil de développement à caractère interdisciplinaire. Ces facteurs de réussite sont repris dans la proposition de musée de site pour Chellah où l'ensemble du projet muséographique est détaillé tout en prenant en compte les spécificités socio-économiques du Maroc et de Rabat.
18
Douche, Claude. "L'outillage en matières dures animales du site du Placard (Charente) conservé à l'Institut de Paléontologie humaine et au Musée de l'homme : Contribution à la valorisation des collections du Museum national d'histoire naturelle." Paris, Muséum national d'histoire naturelle, 2004. http://www.theses.fr/2004MNHN0004.
Full textAbstract:
L'auteur rappelle d'abord l'historique de la découverte du site du Placard (Charente) en insistant sur les conditions propres à cette époque : manque de rigueur dans la stratigraphie, absence d'inventaire précis et dispersion des collections. Dans les chapitres suivants sont traitées les industries sur matières dures animales conservés à l'IPH et au musée de l'Homme et regroupées par types. Pour chacun est donné : la répartition chronologique des pièces établie d'après la couleur des sédiments déposés, la définition, l'historique des circonstances de découverte de chaque type d'objet ainsi que leur nombre, la morphologie, les caractères morphométriques. Une classification des décors est proposée dans un chapitre à part. Dans la conclusion l'auteur met en évidence : - La spécificité du Placard, - La difficulté de situer ce gisement de façon précise sur le plan chronologiqueThe author first gives a chronological account of the discovery of the site " Le Placard " (Charente), insisting on the conditions at that time : lack of rigour in the stratigrafy, absence of a precise inventory and dispersion of the collections. In the following chapters we will discuss the bone, antler and ivory assemblage preserved at the IPH and musée de l'Homme and regrouped by types. For each one we give : the chronological distribution of the pieces established according to the colour of the sediments, the definition, the historic where the author reminds the discovery's circumstances of each type of object as well as their number, the morphology, and the morphometric caracteristics. Then the author establishes a classification of engraving. In the conclusion, the author highlights : - The specicity of "Le Placard" , - The difficulty to set this site precisely on the chronological aspect
19
Huser, William A. "Archaeology and socioeconomic evaluation of the William Conner House Site (12H608) : a 19th century rural residence in Hamilton County, Indiana." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/845925.
Full textAbstract:
The purpose of this study was to question the frequent use of field dependenceindependence (FDI) measures in past cross-cultural learning styles research, to illustrate generalizations this research has made about minority groups, and to examine applications of cross-cultural learning styles studies to composition. In the Part I of the study, 101 undergraduates (37 African-American, 47 Anglo-American, and 17 Hispanic) completed Witkin's Group Embedded Figures Test (GEFT) (designed to measure FDI) and Kolb's Learning Style Inventory (LSI) (an instrument never used in cross-cultural learning styles research). An ANOVA determined a significant difference among mean GEFT scores for ethnicity and gender, results consistent with past research. Results of the LSI, which introduced a new definition of learning styles, however, produced no significant differences among cultural groups. In Part II of this study, six students (one female and one male from each cultural group) volunteered for case studies. The test results and case studies illustrate that past FDI studies have made inaccurate generalizations of minority groups and have ignored individual differences within cultural groups. Further use of Kolb's LSI in future research and in teaching composition is explored.Department of Anthropology
20
Ginoulhiac, Michèle. "Muséalités de l'espace urbain : l'œuvre comme dispositif de médiation dans l'espace public au tournant du XXIe siècle." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20112.
Full textAbstract:
« Musée à ciel ouvert » est devenu une formule de communication choisie par quelques métropoles pour valoriser leur patrimoine artistique auprès du public. Nous allons interroger sa validité en regard de la notion de muséalité, puisque les règles du musée sont dûment convoquées pour légitimer l’espace urbain comme un lieu de mémoire. La muséalité, prise dans son sens le plus large, désigne « la valeur culturelle ou la qualité d’une chose muséalisée », c’est-à-dire la valeur de témoignage de la réalité qu’elle informe. Cette valeur, « en rapport avec l’aspect ontologique de la réalité, est conditionnée par sa pluridimensionnalité et sa charge énergétique, elle dépasse les valeurs temporaires par son importance culturelle. » Or, si l’espace urbain est bien un musée, les formes muséalisées, à savoir l’art public, en appellent à revoir ces valeurs qui restent trop attachées à l’objet. Cette valeur culturelle prêtée aux objets muséaux par l’institution traditionnelle est actée grâce aux frontières que cette dernière établit avec la réalité. Dans un premier temps, nous verrons comment la remise en question de ces limites oblige à repenser les qualités des choses muséalisées. Dans un deuxième temps, nous examinerons l’hypothèse suivante : les pratiques plastiques contemporaines, qu’elles soient ou non autorisées, et notamment celles de l’installation et de l’installation in situ vont accélérer le processus de questionnement de la muséalité. En effet, les recherches des plasticiens concernant le rapport de l’œuvre au lieu et au spectateur vont permettre d’envisager la notion de sculpture de manière élargie. Elles font notamment ressortir les qualités inhérentes au lieu, à ses mémoires identitaires hybrides qui nous paraissent être la clé d’une redéfinition de valeurs muséales plus attachées à une dimension sociale. De fait, l’objet n’est plus le seul légitime porteur de ces valeurs, l’espace ou même une situation peuvent se révéler avoir une importance culturelle. Aussi, la notion de muséalité doit-elle intégrer des valeurs temporelles de l’ordre de l’éphémère, du contingent et du précaire. Ces nouvelles valeurs ne peuvent advenir que parce que les outils de mémorisation, qui sont aussi des outils de diffusion, ont évolué : la photographie, Internet. L'espace urbain, en tant qu'espace public, a toujours été le lieu de dispositifs de démonstration du pouvoir et de commémorations. L’art sculptural en était l'outil privilégié. Au XXIe siècle, cet espace, qui devient le théâtre d'enjeux plus complexes liés à la métropolisation, garde pourtant l'œuvre comme média. Les commandes publiques s’accélérant, en lien aux innovations de l’architecture ou de l’urbanisme et à la valeur portée au patrimoine, tout semble aller dans le sens d’une esthétisation de l’espace public. L’œuvre va s’imposer comme un dispositif de médiation incontournable. Afin de préciser les enjeux de la valeur culturelle attachée à un tel dispositif, nous examinerons des cas actuels, différents et complémentaires, comme l’apport d’œuvres contemporaines sur le site patrimonial du Palais-Royal, mais aussi le site de La Défense à Paris qui propose plus d'une soixantaine de sculptures sur sa longue dalle piétonnière, ou encore le métro de Toulouse qui est doté d'une quarantaine d’œuvres conçues pour chaque station. Les qualités muséales de l'œuvre dans l’espace urbain ne s’évaluent pas en regard des mêmes critères que celles de l’œuvre dans l'institution du musée et nécessitent un changement de paradigme. Au sein de cet espace public, les dispositifs artistiques, muséaux et politiques se rencontrent autour d’objectifs communs de médiation plus que de médiatisation et redéfinissent la muséalité au plus près de son opérativité sociale"The Open Air Museum" is the chosen means of communication by some metropolitan areas to promote their artistic heritage. We will question its validity in comparison with the concept of museality, since the principles of the museum are duly convened to legitimize an urban space as a place of memory. The museality, taken in its broader sense, refers to « the cultural value or quality of something conferred upon a museum object », that is to say, the evidential value of the reality it informs. This value "in relation to an ontological aspect of reality is conditioned by its multidimensionality and its vital impact to exceed temporal values by its cultural significance". Yet, if the urban space is a museum, public art calls to review these values that remain too attached to the object. Traditional institutions relied on the lines it established between reality and the museum to give value to museum objects. First, we will see how the reassessment of these limits requires a rethink of all things museality. Second, we will see that these are contemporary visual art practices, whether they are authorized or not, notably installation works and site specific installation works that will accelerate the process of questioning museality. Actually, the visual artist’s research, with regard to the relation of the art work within the space and to the spectator, will permit to envisage a wider concept of what sculpture can be. In particular, they force the inherent qualities of a site to stand out, to record its hybrid identities that, to us, appear to be the key to redefine museum values attached to a more social dimension. Indeed, these values are no longer solely conferred upon the object; the space, situation or an event can be of cultural importance. Also, the concept of museality must integrate ephemeral temporal values of a contingent and precarious nature. These new values can only happen because recording tools have also evolved: photography, internet. Urban spaces, as public places, have always been used as a mechanism for the public demonstration of power and commemoration. Sculpture was the preferred means. However, the public space which becomes, in the twenty-first century, the most complex theatre of issues related to metropolization, keeps the art work as media. Public commissions are increasing due to innovations in architectural or urban planning and value given to heritage. Everything appears to be heading in the direction of an aestheticization of public places where the art work will impose as an essential mediation mechanism. Finally, to clarify the issues of cultural values attached to such a system we will examine real cases, different and complimentary, such as the contribution of contemporary art works on the heritage site of the Palais-Royal, but also the site of La Défense in Paris which proposes more than sixty sculptures along a footpath, or the Toulouse underground which has allocated forty stations to accommodate art works conceived on site. A paradigm shift is necessary, as the criteria used to evaluate art work in an urban space are not the same as those used for art work in an institutional museum. Within the public space artistic organizations, museums and politics meet around common objectives of mediation rather than media coverage, to redefine museality closer to their own social operativity
21
Kong, Yuen-fan Bonnie. "Museum Street, street Museum-[Museum] of Sheung Wan Heritage Trail." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25954568.
Full text
22
Racková, Eliška. "Areál bývalého šamotového závodu MŠLZ Mladějov na Moravě - funkční využití areálu pro potřeby Průmyslového muzea Mladějov." Master's thesis, Vysoké učení technické v Brně. Fakulta architektury, 2010. http://www.nusl.cz/ntk/nusl-215644.
Full textAbstract:
The design goal is to propose future utilisation of large former industrial site containing heterogeneous set of manufacturing, service and dwelling buildings of different age and qualities. Also the site is heterogeneous itself – the old industrial grounds which are quite well maintained and long-term used apart from the new part – which has been conquered in hurry in the 60’ and now quickly disappearing in birch succession forest. The difference is reflected not only in site use design, but also in architectural solution of singular buildings. Buildings in the old part serv to the needs of Museum and its further activities and reacts to the style defined by Lichtenstein period architecture – power station and steam plant. Different pattern of each building aimed to utilization of the full building renovation approaches spectrum, ranging from steam plant conservation to analogical installation in the power plant to analogical reconstruction od wooden floor of the old furnance. Question of use and design of the blast furnances is far more complex and became the main topic of this work. The furnance approaches much more the LTO area than building one. It includes only two standard building spaces (threshers), the rest is taken by machinery or closed and inaccessible. The building character predestinates the furnances to become a archeologized monument. The design goal was to use the time still remaining for this unique structure with the intensity possible from the safety and functioning views. In the first stage, the furnance will house a community of artists, other creative or interested people functionally parallel to Cartuzian order monasteries. The housing units will be built in the powdery reservoirs, the common rooms in the threshers. A parallel to the chapel will be the furnance base – being accessible to the public. Every reservoir unit consists of two containers, winter garden and own garden space, every one is a miniature, but fully self sufficient unit surrounded by its own little universe, as the Cartusian idea requires. The main construction used will be the shipping containers, adapted for dwelling, put on suspended “cradles”. The unused rest of the reservoir space will be used as gigantic flower pot. In time, the roles of the spaces will change. The communication spaces of the former community house will become the only access to the furnance spaces and the corridor will remain half open as a view platform.
23
Dailey, Taren Laine. "Museums in the Age of Neoliberalism: A Multi-Sited Analysis of Science and Health Museums." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-12032006-111240/.
Full textAbstract:
Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Emanuela Guano, committee chair; Cassandra White, Kathryn Kozaitis, committee members. Electronic text (80 p.) : digital, PDF file. Description based on contents viewed May 3, 2007. Includes bibliographical references. Includes bibliographical references (p. 73-76).
24
江婉芬 and Yuen-fan Bonnie Kong. "Museum Street, street Museum-[Museum] of Sheung Wan Heritage Trail." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986511.
Full text
25
Roberts, Randy C. "Museums as Sites of "Being in Conversation": A Hermeneutic Phenomenological Study." Antioch University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1373833371.
Full text
26
Ferro, Velarde Gonzalo Sebastián. "Museo de Sitio Huaca Garagay." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/655923.
Full textAbstract:
El proyecto de Museo de Sitio Huaca Garagay, ubicado en el distrito de San Martín de Porres, en Lima, es una intervención arquitectónica – urbana, cuyo objetivo busca proteger y repotenciar la importancia de un espacio arqueológico abandonado, destruido e invadido durante su historia, consolidando este sector en un espacio público metropolitano. Haciendo esto, integramos este sector con la ciudad de Lima, pero también, se buscará que este proyecto genere un espacio comunitario para los vecinos de la zona, con la búsqueda de proteger el monumento arquitectónico ya existente en el lugar.
Este proyecto se sustenta en bases teóricas, las cuales son desarrolladas en base al proceso de investigación, dando importancia a los recursos que se han tomado en los últimos 20 años para intervenir de manera armónica un resto arqueológico, teniendo como resultado una propuesta que se materializa en generar un vínculo entre la Arquitectura Prehispánica y la Arquitectura Contemporánea.
La propuesta busca la mímesis entre lo existente (la Huaca Garagay) y lo nuevo (el Museo). La edificación tendrá en el primer nivel, a manera de excavación, espacios comunitarios (Biblioteca, Talleres) que permitirán la recreación y descanso en una “plaza hundida” central. El segundo nivel, que estará a nivel de la calle, tendrá como desarrollo el recorrido del Museo de Sitio y el Auditorio, y el último nivel, el restaurante. Todo conectado con un área de investigación, administración y servicios.
Finalmente, se concluye que la propuesta tiene un resultado positivo en la sociedad, la ciudad y el entorno.The Huaca Garagay Site Museum project, located in San Martín de Porres district, in Lima, is an architectural-urban intervention, whose purpose seeks to protect and reinforce the importance of an archaeological space abandoned, destroyed and invaded during its history, consolidating this sector in a metropolitan public space. By doing this, I integrate this sector with the city of Lima, but also, this project will create a community space for the residents of the area, seeking to protect the architectural monument already existing in the place. This project is based on theoretical bases, which means that have been developed on the research process, giving importance to the resources that have been taken in the last 20 years to harmoniously intervene in an archaeological site, resulting in a proposal that materializes in generating a link between Pre-Hispanic architecture and Contemporary Architecture. The proposal seeks a mimesis between what exists (the Huaca Garagay) and what is new (the Museum), generating one only building. On its first level, as an excavation, will have community spaces (library, workshops) that will allow recreation and rest in a "sunken plaza” central. The second level, which will be at street level, will have the development of the Site Museum and the Auditorium, and the last level, the restaurant. Everything connected to research, administration and services area. Finally, it is concluded that the proposal has a positive result in society, the city and the environment.
Tesis
27
Smith, Charlotte H. F. "The house enshrined : great man and social history house museums in the United States and Australia /." Online version, 2002. http://bibpurl.oclc.org/web/24545.
Full text
28
Chalfen, Joel. "Performances of conscience at three historic site museums." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/performances-of-conscience-at-three-historic-site-museums(892a20bb-185d-43e6-b625-1483549c44f4).html.
Full textAbstract:
The International Coalition of Historic Site Museums of Conscience contributes to current debate about the role that heritage institutions can play as agents for social change. In particular, it proposes historic sites as key venues where dialogue about contemporary human rights issues can take place and help contribute to building stronger democracies, connecting past to present. On the one hand, this raises questions about the activation of competing interpretations of the past to create a critical civic culture. On the other hand, the project of the 'Site of Conscience' asks questions about what there is in the nature of visiting historic site museums that might particularly lend itself to creating an active citizenry. Focusing on the latter of these two concerns, the thesis uses theatre and performance as a conceptual framework for understanding the controls and possibilities of a creative and empowering participation for public visitors at three of the Coalition's member sites: the Lower East Side Tenement Museum, USA; The Workhouse, UK; and The Gulag Museum at Perm-36, Russia. Through reading performance into the visiting event, the thesis is able to respond to questions about how visitors negotiate the museum's project to relate past to present with their own interests in visiting the past, not as a matter of competing narratives but of competing modes of encounter. How people experience their visit is foregrounded as a condition of political engagement.The question then asked is how this negotiation of modes of encounter becomes a performance of the Site of Conscience and the effective achievement of the museum's social agency. The thesis focuses on the uncertainties and gaps that emerge out of the intervening presence of a museum interpreting an historic site. In these circumstances, how control over the making of the visiting event is distributed becomes critical to its transformative potential. The thesis therefore asks about how visitor experiences of these uncertainties and differences become a negotiation of authority to represent the past and hence, how the past emerges in the present.
29
Cheng, Yuen-kwan Vicky. "Sceneric city 'live' Museum in Old Sheung Wan /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25954799.
Full text
30
Padula, Roberto Sanches. "Websites de museus de arte: uma abordagem da gestão cultural." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/1224.
Full textAbstract:
Made available in DSpace on 2016-04-25T16:44:57Z (GMT). No. of bitstreams: 1
Roberto Sanches Padula.pdf: 982916 bytes, checksum: f42753eef78240e2db4f8b7967e19445 (MD5)
Previous issue date: 2007-05-28The Internet has been growing in importance both to individuals and to organizations. For the companies, a website on the Internet represents a possibility of new business, and for the not-forprofit organizations it represents greater amplitude to its social actions. The cultural sector, that normally is also not-for-profit, is using this channel to services, communication and to spread the public access to its cultural actions, according to its mission. This work analyses the implementation of art museums websites as a question of management of culture. Some aspects are considered, like virtualization of museums, visitor experience, works of art aura, services, and communication. The necessaries conditions and functions to be accomplished by the website are also verified. In order to better understand these topics, some selected art museums websites are analyzed on its functionalities, usability, and mission adherence. As a conclusion, the work makes some considerations about the future of websites towards interactivity and how easy it is to use the website to maximize funding opportunities
A Internet vem ocupando, cada vez mais, um importante papel tanto para indivíduos como para as organizações. Se, para as empresas, ter um website no ar representa possibilidades de negócios, para entidades sem fins lucrativos ela representa a possibilidade de maior amplitude das suas ações sociais. O setor cultural, que via de regra não tem fins lucrativos, vem cada vez mais utilizando esse canal para prestação de serviços, para comunicação e para aumentar o acesso do público às suas ações culturais, o que vem de encontro à sua missão. O trabalho analisa a implementação de um website na Internet sob a ótica da gestão cultural, e particulariza o estudo em museus de arte. São relacionados os diversos aspectos que têm que ser levados em consideração, como a virtualização do museu, a experiência da visita presencial e virtual, a aura das obras de arte, a prestação de serviços, a ação comunicativa. Também são verificadas as condições e funções necessárias para que o website cumpra seus objetivos. Para um melhor entendimento dos assuntos na prática, são analisados alguns websites selecionados de museus de arte, quanto a suas funcionalidades, usabilidade e aderência à missão. O trabalho é concluído com algumas considerações sobre a direção que os websites vêm tomando em relação à interatividade, e a sobre a facilidade do website ser um instrumento efetivo na captação de recursos
31
Webber, Susan, and n/a. "House museums as sites of memory." University of Canberra. Built & Cultural Environment, 2005. http://erl.canberra.edu.au./public/adt-AUC20080925.100449.
Full textAbstract:
Houses and the objects within them stand as tangible symbols of human memory. Some
memories are created unconsciously in day-to-day living; others are consciously attached
to objects that are cherished as symbols of other places, relatives and friends. Memories
may seem to be lost until they are rediscovered in moment of involuntary recall, triggered
by an object, a smell or taste.
The purpose of this research project is to investigate the memory experiences of
visitors to a house museum; what they do with those experiences and how important they
are to them.
Forty adult visitors to Calthorpes' House in the ACT were interviewed using the
focused interview technique with a framework of questions that allowed for a
conversational style and additional questions. The interviews were recorded and later
transcribed.
The results showed that all visitors reported experiencing memories during their
visit to Calthorpes' House. Many people found those experiences enjoyable and wanted
to share them with others.
These findings are important because they can inform the set-up, interpretation
and publicity of house museums in ways which will attract new visitors and help to
engage with visitors' interests when they visit house museums.
32
Karpinski, Sara. "Contested Spaces: Imagining Berlin's Divided Past Through Debated Sites of Heritage Tourism." Master's thesis, Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/288011.
Full textAbstract:
HistoryM.A.
With the fall of the Berlin Wall and the opening of the borders in November 1989 and eventual unification in October 1990, Berlin faced the distinct challenge of how to create a modern, unified capital city in the center of Europe while the physical landscape continued to reinforce mental divisions. Changing the physical face of Berlin to capitalize on the city's less-traumatic history while promoting an active tourist economy proved the most visually appealing and marketable approach to meet this goal. This study focuses on the impacts of these efforts two heavily debated sites of heritage tourism in Berlin: The Schloßplatz and the Berlin Wall. By applying methods of American Public History and History of Tourism, this paper answers the following question: How can Berlin sites of heritage tourism support the city's tourist economy, properly interpret the history of division and engage a population that carries its own narratives, experiences, and continued consequences of the Cold War? Examination of these sites demonstrates that the histories produced through sites of Cold War heritage tourism continue to propagate the popular narratives of the German Democratic Republic (GDR), but in recent years also demonstrate a notable shift towards engaging a more nuanced understanding of Cold War experience in divided Berlin. In a city only twenty years separated from reunification, Berlin's sites of heritage tourism are increasingly successfully providing their visitors, both supremely local and broadly foreign, with nuanced and critical narratives of Berlins Cold War history.
Temple University--Theses
33
Li, Pak-yee Tuesday. "The Story of Ping Shan : a living museum of a lineage village in Hong Kong /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25954489.
Full text
34
Campbell, Bruce Argyll. "The battle of the sites : a national museum for Wales." Thesis, University of Leicester, 2005. http://hdl.handle.net/2381/8240.
Full textAbstract:
This study has examined the progress towards a national museum for Wales; the perception of museums in the civic and national context; and the changes in this perception under the influence of alternative cultural and political agendas. To understand the perception of museums in the contending towns, the history of the relevant societies and their museums and their place in the civic environment, has been examined. With a greater certainty of a grant for a national museum in the early years of the twentieth century, the place of the museum in the civic and national arena took on a new role. This change in the status of the museum has been studied in the context of a growing sense of Welsh nationalism along with the differing political activities in the contending towns. The decision concerning the location of the national museum lay with the central government in London. The activities of this political operation has been examined as has the reaction to the decision in Wales. The purpose of this historiography has been to evidence the use of these museums - in particular, the proposed national museum for Wales - as instruments by people and organisations in the achieving of their various aims. To those with civic ambition the possession of the national museum would he symbolic of the capital of the Principality. Possession of the national museum, therefore, would bring commensurate status and power. To the civic leaders of Cardiff, the museum was an instrument in their drive for civic hegemony.
35
Cosson, Isabelle. "Le musée de l'immigration d'Ellis Island, lieu de mémoire de l'immigration américaine." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA131.
Full textAbstract:
L’histoire d’Ellis Island, de l’ouverture de la station d’immigration en 1892 jusqu’à la restauration du site dans les années 1980 après une période d’abandon et d’oubli, reflète les interactions entre les discours sur l’immigration et la construction de l’identité politique et culturelle de la nation américaine. Le musée de l’immigration qui a ouvert sur l’île en 1990, dans le bâtiment même où sont passés douze millions d’immigrants entre 1892 et le milieu des années 1920, est devenu le lieu de mémoire de l’immigration américaine. En partant du postulat que les sociétés construisent leur représentation du passé et leur mémoire collective pour répondre à leurs besoins dans le présent, cette thèse entend montrer comment et à quelles fins la nation américaine a choisi de mettre en avant, à un moment donné, certains éléments de son histoire pour s’affirmer « nation of immigrants ». La création du musée d’Ellis Island, qui a consacré l’immigration et l’ethnicité comme composantes essentielles de l’identité américaine, était en effet aussi un choix de mémoire de l’Etat fédéral, témoignant d’une manière d’interpréter et de représenter l’HistoireThe story of Ellis Island, from the opening of the immigration station in 1892 to the restoration of the site in the 1980s after a period of neglect and oblivion, reflects the interactions between discourses on immigration and the building of the political and cultural identity of the American nation. The immigration museum that opened on the island in 1990, in the building where twelve million immigrants were processed between 1892 and the mid-1920s, has become the site of memory of American immigration. Starting from the postulate that societies build their representation of the past and their collective memory to meet their demands in the present, this thesis aims at showing how and for what purposes the American nation chose to put forward, at a certain time, selected pieces of its history to assert itself “ nation of immigrants”. The setting-up of the Ellis Island museum, which affirmed immigration and ethnicity as essential components of the American identity, was indeed also a choice of memory by the Federal government, testifying to a way of interpreting and representing History
36
Poirrier, Lauren. "A Comparative Study of the National First Ladies' Library and the Women's Rights National Historical Park." Youngstown State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1277819335.
Full text
37
Marchessault, Robert L. "Pixels and pigment, designing museum web sites that support art education." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0009/MQ29163.pdf.
Full text
38
Pilgram, Lisa. "British-Muslim family law as a site of citizenship." Thesis, Open University, 2018. http://oro.open.ac.uk/57593/.
Full textAbstract:
The Archbishop of Canterbury's speech on 'Civil and Religious Law in England', delivered a decade ago, attracted considerable public and academic attention. In the years that followed a 'Sharia debate' emerged, where traces of (legal) orientalism became especially visible in an essentialist portrayal of 'Sharia' as being in opposition to 'the West'. What was absent in this debate, which was conducted at the abstract level of compatibility-incompatibility, East-West, law-religion, is an analysis of the actual practices of family law of Muslims in contemporary Britain. People marry, divorce, bring up their children and deal with inheritance by resorting to a variety of norms such as Muslim law, English family law and customary law. Drawing on legal pluralism scholarship and elements of Pierre Bourdieu's theory of the field, this thesis investigates the emergence of British-Muslim family law as a site of citizenship. It is based on research focusing on solicitors offering Islamic legal services and advice in the UK and clients of such services. By focusing on the creative capacities of legal professionals as well as clients in navigating between English and Muslim family law, the thesis is an attempt to present an alternative narrative of British-Muslim family law, which may inform a different understanding to what is commonly perceived as 'informal' legal practices threatening the cohesion of citizens in a the nation-state. The thesis argues that private practice in Islamic legal services is a particularly pertinent case for analysis. This is because solicitors' day-to-day practice in dealing with cases in between Muslim and English law challenges the presumed incompatibility of 'Muslim and English' family law, 'the foreign and the native', or 'the oriental and the occidental'.
39
李百怡 and Pak-yee Tuesday Li. "The Story of Ping Shan: a living museum of a lineage village in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B3198664X.
Full text
40
Barnes, Pamela. "Staging the museum : strategies of engagement through performance in cultural heritage sites." Thesis, University of the West of Scotland, 2017. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.739386.
Full text
41
Fouseki, Kalliopi. "Conflict resolution in the management of in-situ museums." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/1444269/.
Full textAbstract:
This thesis suggests a conflict management model for the resolution of conflicts that occur during the in-situ conservation and presentation of archaeological remains that are discovered as a result of development projects. More specifically, the thesis examines the extent to which the creation of in-situ museums---museums that are usually located in the basements of modern buildings and preserve archaeological remains in situ---can function as a compromise solution among the conflicting parties. The thesis is divided into eight chapters. The first chapter presents the research aims and objectives of the thesis while the second chapter analyses the methodological approaches. The third chapter reviews from a critical point of view the basic conflict management theories that have been developed by a variety of disciplines including economics, management science and sociology. This chapter identifies the key conflict elements and suggests a descriptive conflict management model. This model constitutes a tool for analysing the conflict situations in the case studies. Chapter four conceptualises the case of in-situ museums and explores how some of their distinctive characteristics play a role in conflict genesis, escalation and resolution. The next three chapters analyse conflict situations within the theoretical framework and discourse that have been presented in the two previous ones. Chapter 5 examines conflict situations that arose when archaeological remains were discovered during the construction of private works. Chapter 6 analyses examples of conflicts that relate to the discovery of archaeological remains during the implementation of public works. Chapter 7 is exclusively devoted to the case of the New Acropolis Museum in Athens. Chapter 8 concludes with the suggestion of an operational conflict management model that can be integrated into the heritage management planning. The formation of this model was based on the descriptive conflict management model presented in chapter 3. The operational conflict management model is enriched with a series of guidelines and tactics for dealing effectively with oppositions and conflicts.
42
Naujokaitis, Alina. ""Inside outer space exhibitions" : a museum intern's view of multi-sited exhibit performativity in Smithsonian Institution space culture /." Connect to online version, 2009. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2009/.pdf.
Full text
43
鄭遠君 and Yuen-kwan Vicky Cheng. "Sceneric city: 'live' Museum in Old Sheung Wan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986328.
Full text
44
Ceschin, Luciana. "Acervos digitais, memória e patrimônio: discursos, técnicas e tecnologias no processo de musealização do Acervo Bar Ocidente em Porto Alegre/ RS." Universidade Tecnológica Federal do Paraná, 2015. http://repositorio.utfpr.edu.br/jspui/handle/1/2027.
Full textAbstract:
Esta pesquisa apresenta um processo de musealização que resultou na elaboração do Acervo Digital Bar Ocidente, um acervo digital que disponibiliza na internet um conjunto de impressos do Bar Ocidente, local que faz parte da memória da cidade de Porto Alegre, Rio Grande do Sul. Discute os processos que levaram o conjunto de documentos a serem considerados de interesse ao patrimônio cultural local. Discute as relações entre o campo patrimônio cultural e as tecnologias de informação e comunicação digitais. Apresenta diferentes narrativas a respeito da realização do referido acervo digital. Discute e analisa, a partir dos estudos CTS, as técnicas, tecnologias e bases conceituais utilizadas pelas diferentes equipes nas diferentes etapas de trabalho até o lançamento do site. Considera-se que os artefatos têm histórias e é necessário entender os regimes de valor em jogo no contexto de sua criação, pois são estes que permitem identificar e compreender as trajetórias possíveis que a sociedade permite ao artefato.This research presents a process of musealization that has as its result the development of Bar Ocidente Digital Archive, it is a digital collection that features on the internet a printed set of Bar Ocidente, a place that is part of the memory of the city of Porto Alegre, Rio Grande do Sul. It discusses the processes that led the set of documents to be considered of interest to the local cultural heritage. It discusses the relation between cultural heritage and information technologies and digital communications. It presents different narratives about the purpose of this digital collection. It discusses and analyzes the techniques, technologies and conceptual foundations used by different teams in different stages of work until the launching of the site. It is considered that the artifacts have stories and it is necessary to understand the context of their creation due to identify and know possible paths that society allows to the artifact.
45
Wrangö, Johan. "Samtidskonst på museum : Hur fyra konstpedagoger ser på sitt arbete med samtidskonst och elever." Thesis, Linnéuniversitetet, Institutionen för kulturvetenskaper, KV, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-14064.
Full textAbstract:
Syftet med denna uppsats är att undersöka fyra konstpedagogers syn på konstpedagogik och samtidskonst. Med hjälp av kvalitativa intervjuer vill jag undersöka eventuella skillnader i arbetet med samtidskonst jämfört med modernistisk konst. I bakgrunden presenteras främst litteratur om samtidskonst och modernistisk konst samt konstpedagogik. Resultatdelen sammanfattar intervjuerna med konstpedagogerna. I diskussionen analyseras resultatet och kopplas till bakgrunden. Diskussionen är indelad i rubriker som samstämmer med frågeställningarna från syftet. Här behandlas några arbetssätt med samtidskonst såsom dialog mellan konstpedagogen och eleverna. Diskussionen ger också en förklaring till hur samtidskonsten och konstpedagogiken kan gynna elever, till exempel genom samhällsfrågor och förståelse för vårt bildsamhälle.
46
Bagnall, Gaynor R. "Mapping the museum : the cultural consumption and production of two north west heritage sites." Thesis, University of Salford, 1999. http://usir.salford.ac.uk/26559/.
Full textAbstract:
This thesis is based on case studies of two prominent heritage sites in the Greater Manchester area: Wigan Pier and The Museum of Science and Industry. These case studies have involved detailed interviews with and observation of visitors to the sites, interviews with staff, management and associates of the sites, and examination of archival records. The thesis addresses debates about heritage and the changing form and content of museums. In particular, there is an engagement with the work of Bourdieu, Foucault and Urry as the thesis seeks to analyse the construction and consumption of these two sites. Specifically, the complexity and diversity of such locations are highlighted, both in the ways in which such sites are constructed, produced and organised and in the manner in which they are consumed by visitors. Thus, it is argued that it is important to take note of the impact of the modes of operation of specific sites on the consumption patterns, found there. Further, it is maintained that this is a complex relationship, where a focus on the actual consumers enables the full complexity of the narratives they employ to talk about their visit, to emerge. On this basis, the centrality of the concept of the tourist gaze is challenged as the thesis explores the ways in which visitors physically, emotionally and imaginatively map their visit. Moreover, the thesis highlights the distinction of the sites in terms of authenticity. The detailed examination of the idea of cultural capital leads to the argument that this concept needs to be replaced with a theorisation which is better able to incorporate the everyday life and life histories of the visitors. With this aim the thesis seeks to locate visitors' consumption of these particular sites in the context of their general patterns of cultural consumption. Consequently, it is suggested that the notion of the 'cultural omnivore' has some potential in explaining the patterning of cultural consumption found amongst visitors to these two sites.
47
Mason, Rhiannon. "Reading museums and heritage sites : towards a poststructuralist and postmodern museology." Thesis, Cardiff University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250514.
Full text
48
Tran, Tram Mai. "Interpreting Asian American immigration experiences historic sites, museums, and the Internet /." [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0041039.
Full text
49
Sambumbu, Sipokazi. "Making heritage in post-apartheid South Africa: Agencies, museums and sites." University of the Western Cape, 2017. http://hdl.handle.net/11394/5926.
Full textAbstract:
Philosophiae Doctor - PhD (History)This work responds to the perceptions of post-apartheid heritage practices as producing an authorised heritage discourse. It contrasts this perception by approaching the making of postapartheid heritage as not just a simple discourse, but as a broad and complicated network of many meanings, knowledges, practices and approaches. These are generated and disseminated through multiple disciplinary and practice inputs and outputs, and at different levels and scales. This work approaches these multiple intersecting points of heritage production and reproductions as an intricate network, within and through processes of heritage making can be seen as productive and unproductive. The focus of this work is in these different facets that emerge as different role players navigate through intricate negotiations of meanings and knowledges about pasts and presents. In this thesis, these workings are repeatedly identified through the term complex, which I use to mean complicated, intricate or convoluted. The analysis applies the term differently from the theoretical concept of complex, which refers to the making of public national citizenry through a power/knowledge, rather than power and knowledge discourse. This work therefore investigates the complicated workings of heritage by means of legislation, the complicated heritage governance by a council and agency, and the workings of heritage through equally complicated operations of museums and sites. The investigation involves focused ethnographic studies of the operations of the South African Heritage Resources Agency, National Heritage Council, Nelson Mandela Museum, Ncome Monument and Museum Complex, Freedom Park, and Robben Island Museum. While this work might be theoretically associated within Critical Heritage Studies, especially its recent preoccupation with the notion of authorised heritage discourse, it is framed against this concept. It argues that post-apartheid heritage is produced through intricate negotiations occurring within entanglements, rather than through simple a hegemonic discourse. It also argues that making heritage in post-apartheid South Africa occurs within a wide network of multiple practices and approaches, rather than along streamlined, simple deployments of dominant meanings and knowledges.
50
Kruse, Markus. "Museums, Galleries, Art Sites, Virtual Curating and the World Wide Web." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1394727380.
Full text