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1
Horňáková, Lucia. "Uplatnenie umelca na trhu výtvarného umenia v Českej republike". Master's thesis, Vysoká škola ekonomická v Praze, 2013. http://www.nusl.cz/ntk/nusl-199746.
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This diploma thesis considers the theme of the art market in Czech republic. The cooperation between gallerists and artists is not following the professional tradition seen in American and European galleries. Those led the artist to present his artworks exclusively in one and only institution in return for services gallery offer him. The change of attitude in needed in both, galerists' and artists' parts. In my diploma thesis, I am confronting their opinions so I can create a model of their cooperation leading to a professionalization of the relationship.
2
Bradford, Hugh. "Marketing Scotland's museums and galleries". Thesis, University of Strathclyde, 1992. http://oleg.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=21499.
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The objective of this research is to document sound marketing practice in Scotland's museums and galleries. This research was undertaken due to the increasing interest in marketing by museums themselves, and by those who fund museums. Before the research began there was a suspicion that the transfer of consumer goods marketing concepts to museums might be inappropriate, and that there was a lack of empirically based studies of marketing in museums. The literature review confirmed these suspicions. An explanatory approach using qualitative methods was therefore appropriate. Examples of sound museum marketing practice were identified by use of a panel of experts. The research was essentially an ethnographic study of what curators (managers) in the successful museums actually do. Whilst the techniques used are well established in many of the social sciences they are less common both in marketing and in museum studies. The research also made use of "Ethnograph" software for the analysi s of interview data, one of the first occasions this has been done in marketing research in the UK. The research revealed an inductively derived model identifying three important areas that successful museum curators have to attend to, namely, the management of the museum, the management of its reputation, and the management of its relationships with the museum's patron (funding) groups. It is this latter split that provides the key difference between museum marketing and commercial marketing. The research went on to discover how these three categories are dynamically related in a "spiral of success", and how the model can be used as a diagnostic tool to identify areas requiring attention. The other principal findings relate to the characteristics of successful curators. The research has implications for policy in areas including training, and the whole relationship between museums and those who fund them. In particular the idea that marketing will necessa is refuted.
3
Onsal, Basak. "Emergence Of Art Galleries In Ankara A Case Study Of Three Pionerring Galleries In The 1950s". Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/12608100/index.pdf.
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This thesis attempts to analyze the emergence of private art galleries in Turkey by
focusing on specifically the three art galleries, namely Gallery Milar, Helikon Society&rsquos Gallery, and Society of Artlovers&rsquo
Gallery that were opened in Ankara during 1950s. To this aim, both the artistic movements and governmental policies regarding the artistic field are mentioned from a historical point of view. Interviews, analysis of relevant literature, examining periodical magazines, and daily newspapers constitute the main sources of data collecting. In conclusion, in the light of our findings it is decided that the formation of art market and emergence of art galleries in Turkey have quite different characteristics from the western example as a result of its own social, cultural and economic dynamics in the historical frame.
4
Liu-Devereux, Pauline Carol. "Galleries and drift : mapping undermined landscapes". Thesis, University of Exeter, 2011. http://hdl.handle.net/10036/3283.
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This is a creative/critical project, a collection of narratives inspired by critical discourse that map a local landscape and chart a personal topography. As a result of interdisciplinary study, particularly in the area of cultural geography and map making, I found new ways to explore ideas about Cornwall’s heritage, her undermined landscape and expand upon issues raised in my MA dissertation. Recognising the instability and partiality of maps provided insight and mapping became method as newly revealed pathways and subtly shifting perspectives inspired fresh narratives which challenge stereotypical images of Cornwall and reveal the sometimes dark realities of rurality. The more personal narratives in this collection reveal a different undermined landscape: ideas about romantic constructions and inheritance led to explorations of nostalgia, memory and identity. Life events became life writing and many of these narratives reflect a search for direction and for a missing person: the artist I once was. But there are other disappearances in these narratives and the final chapter gives an account of family events that had to be recorded but which raise ethical questions that life writers cannot ignore. We must take responsibility for the way we write about vulnerable subjects and recognise what this writing tells us about ourselves: that, as Nancy K. Miller has suggested, by exposing our lives to others through life writing, we too become vulnerable subjects. The essay accompanying these narratives reflects upon process and finds ways of giving an account of the writer writing. It uncovers contemporary theories that are embedded in the narratives and I describe it as an orouboros, a creature that continuously eats its own tail. Like the text it subjects to scrutiny, the essay is a life narrative, an autobiographical act that merges creative and critical thinking and this amalgamation has been my aim since my studies began.
5
Jonsson, Håkan. "Guarding art galleries with one guard". Licentiate thesis, Luleå tekniska universitet, Datavetenskap, 1995. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-17769.
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Jun, Jinhee. "Perceived constraints to art museums/galleries participation". Texas A&M University, 2003. http://hdl.handle.net/1969.1/1173.
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Research on constraints to leisure and recreation participation has focused on various types of activities in which people would like to participate, are currently participating, or have stopped participating. However, little attention has been made to identify constraints associated with art activities participation.
The objectives of this study were to 1) identify factors which limit people's attendance to art museums/galleries; 2) address the issue of the internal heterogeneity between two constrained leisure behaviors; 3) reveal the role of previous participation, interest in future participation, gender and lifecycle in the perception of constraints to art activities; and 4) show the validity of segmentation criteria which are previous participation, interest in future participation, gender and lifecycle.
Data from the Survey of Public Participation in the Arts (SPPA 1997) was used in this study. Total sample was divided into four categories by previous participation and interest in future participation. Further, the categories 'participants with interest' and 'non-participants with interest' were sub-divided based on gender and lifecycle. The results revealed that time, cost, access and availability were considered as the most significant constraints to art activity participation across all segments. However, the array and intensity of constraints differed depending on the types of constrained leisure. In addition, different types of constraints were experienced with different intensity by segments defined by previous participation, interest in future participation, gender and lifecycle. The analyses demonstrated that previous participation, interest in future participation, gender and lifecycle were important segmentation criteria in constructing homogeneous groups with respect to perceived leisure constraints.
7
Schellenberg, Kristian. "On the design of rockfall protection galleries /". Zürich : ETH, 2008. http://e-collection.ethbib.ethz.ch/show?type=diss&nr=17924.
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Elwick, Alex Robert. "Non-formal learning in museums and galleries". Thesis, University of Newcastle upon Tyne, 2013. http://hdl.handle.net/10443/2081.
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A ubiquitous, but under-researched, phenomenon, non-formal learning represents all learning that does not fall under the heading of ‘formal’ that is to say that it is not an organised event or package; bound by a prescribed framework; marked by the presence of a designated teacher; or result in the award of a qualification. This research primarily aimed to investigate how non-formal learning takes place in museums and galleries: specifically exploring the differences and characteristics of non-formal learning between different groups of people. As well as an extensive literature review which draws together theoretical approaches from a wide range of fields/disciplines, the thesis outlines the development of a methodological tool entitled ‘The Dual Model’ which is a combination of models of skill acquisition and cultural capital. This model represents a new approach to the investigation of non-formal learning and this thesis explores its direct implementation as an evaluative tool. Implicit learning (a form of learning which is unconscious, either whilst it is taking place or in terms of the knowledge subsequently created) represents a focal point for the research. By scrutinising contradictions in visitors’ accounts of their museums visits, possible cases of implicit learning in context are identified and evaluated; a unique contribution to an understanding of how people learn non-formally without being aware of doing so. The research confirms a typology of non-formal learning which differentiates between explicit and implicit components and also provides evidence that there are identifiably different sets of characteristics which individuals might exhibit based upon their cultural capital, their relationship with the art field and their level of skill acquisition.
9
Fosh, Lesley. "Gifting personalised trajectories in museums and galleries". Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/38013/.
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The designers of digital technologies for museums and galleries are increasingly interested in facilitating rich interpretations of a collection’s exhibits that can be personalised to meet the needs of a diverse range of individual visitors. However, it is commonplace to visit these settings in small groups, with friends or family. This sociality of a visit can significantly affect how visitors experience museums and their objects, but current guides can inhibit group interaction, especially when the focus is on personalisation towards individuals. This thesis develops an approach to tackling the combined challenge of fostering rich interpretation, delivering personalised content and supporting a social visit. Three studies were undertaken in three different museum and gallery settings. A visiting experience was developed for pairs of visitors to a sculpture garden, drawing upon concepts from the trajectories framework (Benford et al., 2009). Next, a study at a contemporary art gallery investigated how gift-giving could be used as a mechanism for personalisation between visitors who know each other well. Finally, the third study, at an arts and history museum, explored how gift-giving could be applied to small groups of friends and family. The thesis reports on how the approach enabled visitors to design highly personal experiences for one another and analyses how groups of visitors negotiated these experiences together in the museum visit, to reveal how this type of self-design framework for engaging audiences in a socially coherent way leads to rich, stimulating visits for the whole group and each individual member. The thesis concludes by recommending the design and gifting of museum and gallery interpretation experiences as a method for providing deeply personalised experiences, increasing visitor participation, and delivering meaningful group experiences.
10
Romberg, Camilla, My Kristiansson y Hilda Gustafsson. "En gallerias kommersiella miljö : Besökarens individuella upplevelse". Thesis, Linnéuniversitetet, Institutionen för marknadsföring (MF), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-54636.
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Titel - En gallerias kommersiella miljö: Besökarens individuella upplevelse Ämne - Företagsekonomi, kandidatuppsats på C-nivå Författare - Hilda Gustafsson, My Kristiansson & Camilla Romberg Handledare - Dan Halvarsson Frågeställningar - Hur är den individuella besöksupplevelsen i en gallerias kommersiella miljöer, utifrån människans fem sinnen och dess multisensoriska sinnesupplevelse? Vad påverkar den individuella besöksupplevelsen i en gallerias kommersiella miljöer, utifrån människans fem sinnen och dess multisensoriska sinnesupplevelse? Syfte - Syftet med denna studie är att studera och skapa förståelse för hur besökaren uppmärksammar en gallerias kommersiella miljö, samt hur denna miljö påverkar besökarens individuella upplevelse utifrån sinnesmarkandsföring. Detta då få studier inom ämnet i sinnesmarkandsföring har genomförts. Metod - Studien innefattar ett induktivt synsätt och en kvalitativ metod. Studien har fokuserat på två torg som finns i gallerian Emporia i Malmö. Där har det utförts semistrukturerade intervjuer vid insamling av empirisk data. Analys - Utgångspunkten i studien är sinnesmarknadsföring, som handlar om hur olika sinnen enskilt samt i kombination har stimulerat besökare och påverkat deras upplevelse i en galleria. Empirin har sedan sammankopplats med teorier inom sinnesmarknadsföring. Slutsats - Båda torgen väckte stor uppmärksamhet hos intervjupersonerna. Generellt upplevdes det Gröna torget som positivt för intervjupersonerna medan det Blå torget upplevdes som både positivt och negativt.Title - The servicescape in a shopping mall: The visitors’ individual experience Subject - Business Economics, bachelor thesis Authors - Hilda Gustafsson, My Kristiansson & Camilla Romberg Tutor - Dan Halvarsson Presentation of the questions - How is the visitors’ individual experience in a shopping mall, on the basis of the human five senses and multisensory? What affects the visitors’ individual experience in a shopping malls servicescape, on the basis of the human five senses and multisensory? Purpose - The purpose of this paper is to study and create an understanding of how the visitor recognizes the shopping mall produced servicescapes, and how this servicescapes affects the visitor's individual experience based on sensory marketing. This is because few studies are conducted on the subject sensory marketing. Method - The study includes an inductive approach and a qualitative method. The study have been focused on two servicescapes that are in the shopping mall Emporia in Malmö, where there were used semi-structured interviews to gather empirical data. Analyse - The starting point was based on sensory marketing. It was about how different senses individually and combined had stimulated visitors and affected their experience in a shopping mall. The empirical data has then been linked with theories of sensory marketing. Conclusions - Both of the servicescapes attracted attention from the interviewed people. The interviewed people at the Green servicescape had a positive experience and at the Blue servicescape, did they have both positive and negative experience.
11
Chikatamarla, Ravikiran. "Optimisation of cushion materials for rockfall protection galleries /". Zürich : ETH, 2005. http://e-collection.ethbib.ethz.ch/show?type=diss&nr=16315.
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Domeij, Johan y Anders Åström. "Svenska Spels sociala ansvarstagande : Ett spel för galleriet?" Thesis, Umeå University, Umeå School of Business, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-1893.
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Socialt ansvar är en faktor som har en betydande roll i dagens företagsklimat. Svenska Spel är ett företag som måste ta ett stort socialt ansvar, dels på grund av sina produkter och dels sin ägarstruktur. Deras produkter lockar med spännig och möjligheter till rikedom men produkterna har också en negativ baksida. Spelande kan leda till ett beroende där individen själv och andra människor i dess närhet påverkas och far illa. I och med utvecklandet av snabba spel och dess enkla tillgänglighet över Internet har kraven på spelbolagens sociala ansvar stärkts. Detta leder fram till vårt syfte: Att analysera i vilken utsträckning Svenska Spel tar sitt sociala ansvar utifrån vad de själva anser sig ta för ansvar samt hur deras intressenter upplever Svenska Spels sociala ansvarstagande. Vidare undrade vi hur Svenska Spel upplyser sina konsumenter om de negativa faktorerna kring deras spelprodukter och hur deras sociala ansvarstagande yttrar sig.
Vi genomförde en kvalitativ undersökning där vi intervjuade intressenter till Svenska Spel. Genom att använda en egenkonstruerad intressentmodell hittade vi representativa respondenter från de intressentkategorier som vi ansåg påverkades av eller själva påverkade Svenska Spel. Djupintervjuer användes för att skapa en djupare förståelse kring hur intressenterna uppfattade Svenska Spels sociala ansvar.
Den empirisk insamlade datan samt analysen är tematiskt indelad efter frågor rörande socialt ansvar, kommunikation, information och marknadsföring baserat på teorier rörande samma ämnen. Genom analysen har vi kunnat konstatera att
Svenska Spel enbart anser sig ha ett spelansvar och inget ansvar för de människor som utvecklat ett spelberoende. Svenska Spels intressenter menar att företaget inte tar ett tillfredställande socialt ansvar eftersom företaget inte finner sig ansvarigt för de negativa effekter företagets produkter åstadkommer.
13
Connors, Grace Elizabeth. "New Orleans Auction Galleries: An Internship Academic Report". ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/aa_rpts/192.
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This internship academic report is the result of a 480--‐hour internship at New Orleans Auction Galleries completed from February--‐September 2015. New Orleans Auction Galleries is a for--‐profit arts organization located in the Arts District of New Orleans, Louisiana. During my internship, I worked closely with the Art Department and Office Administration, as well as preview receptions andauctions. This experience provided me with a valuable education of the inner workings of New Orleans Auction Galleries from its day--‐to--‐day operations to its vision as an organization. His report begins with the history and goals of New Orleans Auction Galleries and moves forward with discussing the structure of the organization as it stands today, a SWOT analysis, best practices, recommendations, and concludes with my final thoughts.
14
Gestlöf, Sandra y Maria Hendsel. "Sinnesmarknadsföring : En jämförelse mellan två galleriors tillämpning av sinnesmarknadsföring". Thesis, Södertörns högskola, Institutionen för samhällsvetenskaper, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-22481.
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Purpose: The purpose of this study is to analyze the application of sensory marketing in malls. Problem discussion: The competition between malls is increasing, where visitors are increasing demands on the shopping malls layout. Shopping malls surface and its atmosphere becomes essential in the design of a mall so it will be attractive enough. Sensory marketing can be an appropriate method to stand out from the crowd and attract visitors. Sensory marketing is a process of engaging visitor’s senses to create a strong relationship between the brand and visitors. When the five senses are stimulated it creates a relationship with the brand on more levels, which in turn contribute towards that the customer is willing to spend more money on the brand. Theory: The theory includes a presentation of sensory marketing, the human five senses: hearing, sight, touch, smell and taste, brands and a model of the holistic pentagon. Method: The study is both quantitative and qualitative. A triangulation will be applied consisting of interviews, survey and observations. The data were analyzed using selected theories. Results and conclusion: The result of the paper shows that sensory marketing, stimulation of the human five senses contribute to an increased positive attitude towards the brand. Application of sensory marketing is therefore a good way to differentiate itself from competitors.
15
Riding, Deborah. "Challenging the rules of engagement : co-creation of knowledge in the public art museum". Thesis, University of Chester, 2017. http://hdl.handle.net/10034/620832.
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This research examined perceptions of knowledge about art in the gallery and explored the potential of co-creation as a possible model with which to genuinely learn with our audience. Data for the study was generated at a gallery I have been based at throughout the period of undertaking the research. Participants were recruited from this gallery from groups implicated in knowledge co-creation: educators, curators, gallery assistants and audience members. Participants took part in a group workshop at the gallery facilitated by an artist educator, designed to provide opportunities to develop new knowledge together. Following the workshop, participants were interviewed and their experiences analysed. Other data generated through the workshop, as well as analysis of organisational documentation, and reflection on my own practice as a gallery educator, have been drawn together through a bricolage approach. Through analysis of data, I have constructed a situated taxonomy of knowledge types in the gallery and a conceptual model of co-creation. Key paradigms of knowledge have been identified, and the issues associated with the authoritative nature of institutional knowledge presented as a significant barrier to co-creation. Findings indicate that a fundamental shift in the epistemological stance of the gallery is required. A new not-knowing paradigm has been constructed to accommodate models of co-creation shown to be successful in generating a collaborative learning experience, which I have termed ‘learning-with’.The material being presented for examination is my own work and has not been submitted for an award of this or another HEI except in minor particulars which are explicitly noted in the body of the thesis. Where research pertaining to the thesis was undertaken collaboratively, the nature and extent of my individual contribution has been made explicit.
16
Leite, Maria Isabel. "Museums and galleries' education in London- an outsider's view". Thesis, Roehampton University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515427.
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Sturesson, Emelie y Carl-Otto Ardermark. "Kapitalreglering - Finansmarknadernas räddning, eller bara ett spel för galleriet?" Thesis, Linnéuniversitetet, Institutionen för ekonomistyrning och logistik (ELO), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-34685.
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Background: The regulation of banks is increasing in order to stabilize the financial market. Despite this increase in regulation, financial crises still continue to occur. The Basel Committee on Banking Supervision is gradually increasing the capital requirements for banks, yet the increase in capital requirements doesn’t seem to solve the problem. This raises the question: how does capital regulation affect banks? Purpose: The purpose of this study is, primarily to illustrate the effects that capital regulation has on risk and efficiency on banks within the European Union, but secondary also study the relationship between risk, efficiency and capital regulation. Method: To achieve the purpose of this study, a deductive approach has been used, where the problem is assumed to be due to an agency problem. The agency problem is expected to occur due to the intermediation approach and profit maximization is set against portfolio choice theory and the regulatory hypothesis. The research method is based on a quantitative method using panel data from commercial banks within the European Union, between the years 2005 – 2012. Conclusions: Regulation of bank on one hand and profit maximization on the other, will drive one eternal circle flow between regulation, risk and efficiency. Thus, the banks Moral Hazard behavior has to be stopped if the capital regulation is to have any real effect.Bakgrund: Regleringen av banker ökar i syfte att stabilisera marknaden, trots detta fortsätter de globala finanskriserna att skaka världen. Baselkommittén ökar succesivt kapitalkraven på bankerna, ändå verkar det inte lösa problemen. Den stora frågan är hur kapitalregleringen egentligen förhåller sig till bankerna. Syfte: Syftet med studien är främst att belysa vilka effekter kapitalreglering har på risk och effektvitet, i bankerna inom den Europeiska unionen, men även att studera samband mellan risk, effektvitet och kapitalreglering. Metod: För att uppnå syftet har en deduktiv forskningsansats använts, där problemet antas ha sin grund i ett agentproblem. Agentproblemet förväntas bero på att intermediation approach och vinstmaximerings beteende, ställs mot portföljvalsteori som sedan ställs mot den reglerande hypotesen. Forskningsmetoden är kvantitativ och bygger på paneldata från bankaktiebolag i EU-medlemsländer mellan åren 2005 – 2012. Slutsatser: Reglering av banker på ena sidan och vinstmaximering på den andra, kommer att driva ett evigt kretslopp mellan reglering, risk och effektivitet. Således måste bankernas Moral Hazard beteende brytas för att kapitalreglering ska få någon verklig effekt.
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Cannon-Brookes, Stephen W. A. "Daylight in museum galleries : quantitative evaluation using scale models". Thesis, Cardiff University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363467.
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Kim, Yong-Seung. "An approach to evaluating exhibition spaces in art galleries". Thesis, University of Bath, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303059.
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Vom, Lehn Dirk. "Exhibiting interaction : conduct and participation in museums and galleries". Thesis, King's College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.399987.
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Tagesson, Filip y Sebastian Ekström. "Ett spel för galleriet : en studie om svensk spelreklam". Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-14434.
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Studien har utgångspunkt i den föreslagna upplösningen av det svenska spelmonopolet. Lagregleringen föreslås träda i kraft i början av 2019 för att tillåta privata spelaktörer att både agera och marknadsföra sig på den svenska spelmarknaden på lika villkor som de statligt ägda spelbolagen idag har. Genom att ge de privata aktörerna tillträde på den svenska marknaden menar svenska myndigheterna att man genom licenser kan kontrollera att samtliga aktörer agerar måttfullt med sin marknadsföring. Spelberoende är klassats som ett folkhälsoproblem och belastar därmed samhället både ekonomiskt och ur en hälsosynpunkt. Utifrån ett konsumtionskulturellt perspektiv beskriver och bidrar studien med en djupare förståelse för representationers innebörd i spelbolags reklamfilmer samt vad spel har för betydelse utifrån dessa. En kvalitativ innehållsanalys på 12 reklamfilmer har genomförts. Det empiriska materialet har sedan analyserats och tolkats med hjälp av konsumtionskulturella teorier. Studien visar på att budskapen som reklamfilmerna kommunicerar skiljer sig åt beroende på vilken spelform som marknadsförs. Reklamfilmer för lotterispel är missvisande då de bland annat endast skildrar vinnare. De säljer drömmen om en ny identitet och självförverkligande samt att det kan uppnås genom spelande. En vinst anses möjliggöra mer konsumtion vilket tillskriver individen en högre social status i ett konsumtionssamhälle. Kasinospel och betting säljs och marknadsförs som en upplevelsebaserad produkt med spelande som aktivitet i fokus. Vidare påvisar studien att reklamfilmernas representationer av manliga attribut befäster och förstärker stereotypa föreställningar om manlighet och spelande som en manlig aktivitet. Studien påvisar problematik med de kriterier i lagförändringen som spelbolagen förväntas förhålla sig till. Kriterierna ämnar kontrollera att marknadsföringen präglas av måttfullhet. De är dock vagt formulerade och lämnar tolkningsutrymme för både konsumenter och rättssystemet. Tolkningarna av de kommunicerade budskapen skapar konnotationer hos mottagaren som blir svåra att kontrollera. Spellicensutredningens föreslagna kriterier för att upprätthålla måttfullhet i spelbolags marknadsföring är baserade på okunskap och förenklade föreställningar om hur reklam egentligen fungerar.The study is based on the proposed dissolution of the Swedish gambling monopoly. The regulation is suggested to take effect in early 2019 in order to allow private actors to both act and promote themselves on the Swedish gambling market on equal terms as the state-owned gambling companies. The purpose of granting private gambling companies access to the Swedish market is, according to the Swedish authorities, to by a gambling license system make sure that all actors promote their business moderately. Gambling is classified as an addictive disease, and thereby burdens society both economically and from a health point of view. With a consumer-cultural approach, the study describes and contributes to a deeper understanding for the meanings’ of the representations in gambling companies’ commercials and what meaning gambling has from a cultural point of view. A qualitative content analysis of 12 commercials from gambling companies has been made. Theories in consumer-culture have been applied to analyze the empirical data. The study finds evidence that the messages communicated by the commercials differ depending on the type of gambling being marketed. Commercials promoting lotteries are misleading as they only portray winners. They sell the dream of a new identity and self-realization which can be achieved through gambling. Winning on a lottery is considered to enable more consumption which gives the individual a higher social status in a consumer society. Casino gambling and betting is promoted as an experience-based product with focus on the gambling as an activity. Furthermore, the study demonstrates that the commercials’ representations of male attributes consolidate and amplify stereotypes of masculinity and gambling as a male activity. The study shows problems with the criteria in the regulation that the gambling companies are expected to abide by. The purpose of the criteria is to ensure that marketing is characterized by moderation. However, they are vaguely formulated and leave interpretation for both consumers and the judiciary. The recipient creates connotations of the interpretations of the communicated messages that become difficult to control. The proposed criteria for maintaining moderation in gambling companies’ marketing are based on ignorance and simplified notions about how advertising really works. The study is written in Swedish.
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Gestsson, Magnus. "Commercial galleries in Copenhagen, London and Reykjavík : a comparative study of the formations, contexts and interactions of galleries founded between 1985 and 2002". Thesis, University of Leicester, 2009. http://hdl.handle.net/2381/9475.
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This study situates the commercial gallery operator, or ‘gallerist’, in the context of art world conceptions. Specifically it examines the contexts and activities of gallerists in Copenhagen, London’s East End and in Reykjavik in the era of the Young British Artists and the revitalised art market that phenomenon engendered. Drawing upon interviews with gallerists and studies of urban culture and environments, this thesis reveals that gallerists are driven by creativity and artistic vision, often at the expense of market awareness. The London and Copenhagen gallerists saw themselves as pioneers who through their actions not only established new art businesses but developed new cultural quarters in these cities. The tiny capital city of Reykjavík exposed the significance of scale and position; its new galleries remained within the comfort zone of established art institutions in the city centre. They were small and internationally isolated, and appeared much like those found in provincial cities in larger countries. Copenhagen also lacked the world city status of London and its gallerists sought recognition and buyers through international art fairs. In contrast, London found itself at the heart of an international art world. Galleries were established in such numbers in the East End as to produce an art world momentum of its own. Gallerists in the more cosmopolitan settings of London and Copenhagen possessed a greater sense of community; those in constrained markets of Reykjavik retained a small-town competitiveness. The creative desires of gallerists were also reflected in their proactive pursuit of artists; it was they who decided what to show and who to patronise. While the majority of gallerists favoured art with a conceptual edge, all denied that they were specialising in this work. They emphasised the diversity of the works on sale. The London and Copenhagen markets were mature markets but those in Reykjavík appeared more regulated. Within these cities it was possible by these means to detect distinctive art worlds as products of, and woven into, the cities they inhabited.
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Leathard, Matthew James. "Computational modelling of coolant heat transfer in internal combustion engines". Thesis, University of Bath, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248102.
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Domingue, Natalie. "New Orleans Auction Galleries: Sustaining Vitality in Shifting Auction Markets". ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/aa_rpts/203.
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This report examines an internship experience as the Auction and Fine Art Department Assistant at New Orleans Auction Galleries with discussion of the Company’s history, operating structure, and role in the auction market. In addition, an evaluation of the Company’s strengths, weakness, opportunities and threats and a discussion of the auction industry’s best practices used by international auction houses as they related to New Orleans Auction Galleries is also found. The report concludes with recommendations made by the intern, for the Company’s future sustainability in the auction market.
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Sandström, Kajsa. "Arkivkonstperspektiv på digitalisering av arkiv : En fallstudie av Thielska Galleriets digitaliseringsprojekt för arkiv och konstsamling". Thesis, Södertörns högskola, Arkivvetenskap, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-42076.
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Since the turn of the millennium an extensive digitalisation of the European cultural heritage has been underway. The aim is to make the common cultural heritage accessible to everyone and promote developments in education, tourism and the creative industry, among others. Historically, archival documents and works of art have been closely related as archival documents has served as a proof of an artworks history and autheticity, its’ provinance. Since the turn of the millennium the archive has become a recurring theme in contemporary art. Informed by post structuralist theories of the archive as both a material place and a structure for power and history. In this paper the relation between archival documents and artworks are being examined. By studying the digitalisation project of Thielska Galleriet in Stockholm the aim is to answer how documents of Richard Bergh’s letter archive, preserved at Thielska Galleriet, are being affected when made digitally available together with the museum’s art collection. The study is framed by the archive science theory the accessparadigm. Occuring at the turn of the 21st century the paradigm correlated with the change from paper to digital information storage, changing the focus of the archive from custody to access. The analysis is taking an interdisciplinary approach in relation to the concepts provenance and authenticity, established in both archive science and art history and is further framed by the art historical dissertation The Archive Art Phenomenon: History and Critique at the turn of the Twenty-First Century by Sarah Callahan (Stockholm University 2018). The case study shows that the relation between archival documents and artworks at Thielska Galleriet has been blurred in different ways historically. Though faithful to concepts of provenance and authenticity, the digitalisation project faced some challenges regarding how the status of some archival documents changed when registered in correlation with the art collection in the database. Seen through the lens of the Archive Art Phenomenon, archival documents might be considered artworks if they are conceptualised as such. Access to the digitalised archives and art collection of Thielska Galleriet opens up for considering the archival documents in new ways. The use of Richard Berghs letter archive in artistic work and processes is one such potential.
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Checchia, Viviana. "Beyond the exhibition : a vessel for self-reflexive curating in the Mediterranean". Thesis, Loughborough University, 2016. https://dspace.lboro.ac.uk/2134/25048.
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This thesis is the written result of a practice-based PhD. The thesis presents a 'located' model of curatorial practice that aims to actively benefit the cultural landscape of host regions. It challenges existing definitions of 'the curatorial', taking a multidisciplinary understanding of curatorial practice and evaluating curatorial methods in light of recent geo-political developments. Concerned with the effects of changes in European cultural policy, and the geopolitical position of the Mediterranean basin, this thesis evaluates contemporary curatorial practices in the Euro-Mediterranean Partnership context and, through practice-based interventions, suggests ways to develop situated curatorial processes, appropriate to their geographical context. Specifically, I argue that the temporary, large-scale exhibition formats financially supported by EU policies, such as the European Regional Development Fund, are not necessarily the most appropriate or beneficial to the cultural development of their host regions. I therefore propose an alternative set of methods, tools and considerations for a self-reflexive model of curatorial practice. This proposal takes the form of a curatorial initiative 'Vessel'; a long-term practice-based research project that seeks models of practice that effectively enable local engagement in cultural production, allowing culture to flourish independently of larger hegemonies. Several of Vessel's experimental initiatives are presented here, and appraised in order to build a theoretical understanding of 'located' curatorial practices that can inform alternative approaches. This research is developed through case studies of Manifesta, Liminal Spaces, Matadero and Intermediae; all of them testing grounds for 'Vessel', a curatorial initiative based in Puglia, Italy. Puglia has been chosen as a site for this research because of its central role in the current Mediterranean situation. This thesis illustrates the theoretical, geographical and historical context of this investigative project, and documents the evolution and outcomes of the curatorial initiative attempted. This thesis represents the first practice-based study of contemporary curatorial practices in the Euro-Mediterranean Partnership (EUROMED) context, which seeks primarily to develop situated curatorial processes appropriate to their geographical context. The thesis discusses aspects of human geography, cultural studies, social science and European studies, all filtered through practical implementation and reflective examination of the main discipline of interest: curatorial studies. This research acknowledges the role of the curator as a mediator between cultural producers and the political and bureaucratic conditions for cultural production. This role offers the opportunity to develop an awareness of the potential influence of those conditions on the artists, their work and their audiences. In other words, the curator is in a unique position to have an overview of the practices, interests and concerns of cultural producers, as well as those of policy makers and administrative bodies, and any potential conflicts of interest that may arise. Thus, curators are in a privileged position to operate as proactive agents, particularly when they observe that cultural policies are not achieving the aim of fostering cultural development. This thesis, therefore, invites curators to consider their responsibility to critically assess the long-term effects of their practice on cultural and epistemological development in Europe. The thesis is divided into four chapters. Chapter 1 presents the research questions, clarifying their terminology and broadly discussing their rationale, context and theoretical focus. The chapter questions current EU cultural and economic strategies and suggests that they may be misguided. In Chapter 2, the level of analysis shifts from the geo-political context to a more specific situation: the position of art practitioners involved in the above situation, and the outcomes produced. Since the exhibition format is popular and has been envisioned by the EU cultural agenda as one of the most effective instruments for creating a dialogue between different geographical areas, Chapter 2 challenges this understanding of the format and the ways of production embedded in it. Chapter 3 presents a series of alternative curatorial approaches coming from the South and related to the four theoretical pillars of the self-reflexive approach: geography, time, process and epistemology. Starting with the methods used to investigate the case studies, the chapter traces connections between theory and practice. The chapter moves through close readings of the alternative case studies and comparative analysis, to the use of self- reflexive practice. Chapter 4 is at the heart of the thesis: it presents the methodologies underpinning both the approach to case study analysis and the practical research. This involves the curatorial proposal put forward and practised through Vessel. Vessel is therefore presented, in Chapter 4, as a self-reflexive model of located curatorial practice that is appropriate for located curatorial engagement. The conclusion addresses the capacity of curatorial practices to cultivate local epistemologies. I propose the outcome of the Vessel research project, and associated case studies as a set of curatorial methods and considerations for a 'located' model of curatorial practice.
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8, ASHRAE Technical Committee 9., Cecily M. Grzywacz, Phil Maybee, Jan Holmberg y Monika Fjaestad. "Chapter 21 ASHRAE Handbook Applications 2007 : Museums, Galleries, Archives and Libraries". Högskolan på Gotland, Avdelningen för Kulturvård, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hgo:diva-311.
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Inom ramen for Energimyndighetens projekt “Spara och bevara” har Högskolan på Gotland bearbetat och översatt kapitel 21 i “2007 ASHRAER HANDBOOK Heating, Ventilation and Air-Conditioning APPLICATIONS”. ASHRAE är namnet på den amerikanska ingenjörsorganisationen American Society of Heating, Refrigerating and Air-Conditioning Engineers, Inc. baserad i Atlanta i USA. Bearbetningen är gjord av Tekn.Dr. Jan Holmberg vid Högskolan pa Gotland i samarbete med konservator Monika Fjaestad vid Riksantikvarieambetet. Syftet med denna publikation är att på svenska sprida de utomordentligt väl underbyggda översikter av problem att beakta vid förebyggande konservering och energibesparing i historiska hus och kyrkor, som presenteras i kapitel 21.
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Scott, Helen E. "Confronting nightmares : responding to iconoclasm in Western museums and art galleries". Thesis, St Andrews, 2009. http://hdl.handle.net/10023/788.
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Hakvoort, Gido Albert. "Multi-touch and mobile technologies for galleries, libraries, archives and museums". Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6901/.
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Technological developments open new opportunities to meet the increasing expectations of visitors to galleries, libraries, archives or museums. Although these technologies provide many new possibilities, individual challenges and limitations are rife. Galleries, libraries, archives and museums should aim to unify many such technologies in order to capture visitor attention, engage interaction and facilitate both personal and social experiences. By incorporating objects, devices and people into a network of interconnected systems, new patterns, interaction types and social relations are expected to emerge. This thesis explores the unification of these technologies, identifies behavioural patterns emerging from visitor interactions and examines how combining these technologies can contribute to engaging visitor interactions and the effects they have on both individuals and groups. The thesis states that combining mobile devices and interactive displays will offer new engaging interactions for museum visitors. This will allow them to spread their interactions throughout the museum and easily switch between private and social experiences. Museums should therefore adopt combinations of mobile devices and interactive displays to meet the increasing expectations of their visitors and offer both private and social experiences.
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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.
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Lindgren, Erik. "Ett spel för galleriet? : Historiska, framtida och nutida problem med lotterilagens främjandeförbud". Thesis, Örebro universitet, Institutionen för juridik, psykologi och socialt arbete, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-27755.
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Regleringen av spelmarknaden i allmänhet och främjandeförbudet i synnerhet har i ett flertal fall varit föremål för prövning av svenska domstolar. Dessa har framförallt gällt publicering av reklam till förmån för utländska spelbolag och såväl tryck- som yttrandefrihetsrättsliga intressen har vägts mot, och sedermera också bedömts väga tyngre än lotterilagens främjandeförbud. Sedan Sveriges inträde i EU har den svenska regleringens förenlighet med EU:s regler om fri rörlighet prövats av svenska domstolar ett flertal gånger. Det senaste avgörandet i raden utgörs av Svea Hovrätts dom från den 22 juni 2011 där straffstadgandet i 54 § lotterilagen underkändes p.g.a. att det ansågs strida mot EU-rättens diskrimineringsförbud. Domen har överklagats till HD som meddelat prövningstillstånd. 38 § i lotterilagen har, trots massiv kritik, ännu inte underkänts av någon domstol. Genom sina många avgöranden på spelområdet har EU-domstolen utvecklat en metod för hur nationella och i sig handelshindrande spelregleringar skall bedömas. Domstolen har gått, från att i början ha haft en tämligen tillåtande syn på dessa, till att i sina senare avgöranden ha valt en aningen strängare linje. Inte minst gäller detta frågan hur expansiv en stats marknadsföringspolitik för spel får vara. I och med att spel och lotterier ännu inte blivit föremål för harmonisering är det dock fortfarande till stor del upp till medlemsstaterna själva att bestämma hur de vill reglera spelmarknaden, detta så länge utformningen är icke-diskriminerande, proportionerlig och tillämpas på ett sammanhängande och systematiskt sätt som inte inskränker den fria rörligheten mer än nödvändigt. Den svenska ordningen med främjandeförbud skulle främst kunna kritiseras för att ha ett annat mål än de angivna och istället syfta till att stärka statskassan, något som inte är ett giltigt skäl för att inskränka den fria rörligheten för tjänster eller etableringar. Åtminstone kan det, särskilt mot bakgrund av den expansiva marknadsföringspolitik som bedrivs av de statliga spelbolagen och det faktum att det inte är förbjudet för svenskar att spela på utländska lotterier, ifrågasättas om ordningen är sammanhängande och systematisk såtillvida att den tjänar till att minska spelandet. Hittills har EU-domstolen främst behandlat nationella spelmonopol eller särregleringars förenlighet med reglerna om fri rörlighet på den inre marknaden. En intressant och i dagsläget obesvarad fråga är därför hur domstolen skulle resonera ang. en sådan ordnings förenlighet med EU:s konkurrensregler. AB Svenska Spel är ett bolag som av staten fått ett exklusivt tillstånd att bedriva vadhållning på den svenska marknaden för spel och lotterier. Om bolaget kan anses missbruka sin dominerande ställning på denna marknad skulle en möjlighet kunna vara att indirekt angripa den svenska regleringen genom art. 102 kombinerat med art. 106.1 FEUF. För att nå framgång med detta torde dock krävas att staten kan sägas ha medverkat till företagets konkurrensbegränsande beteende eller att själva regleringen är konkurrensbegränsande i sig, samt att inte undantagsregeln i art. 106.2 är tillämplig.
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Krueger, Pamela. "Counterfeit cultures, cultural appropriation, art by Native artists and Canadian art galleries". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ31446.pdf.
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Sukkaryeh, Ghufran. "Impact of copyright law in museums and galleries in the digital age". Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/6400.
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The thesis explores the growing impact of copyright in art museums and galleries in the digital environment. Copyright has a great significance in these institutions but it has not received adequate academic consideration. The aim of this thesis is to examine the role of copyright and underline the foremost copyright challenges to museums and galleries in order to find out the appropriate approach to deal with them. The main argument is that copyright challenges museums and galleries to the extent it could disturb the survival of their mission in the digital domain. It argues that copyright provides insufficient protection to museums and galleries when they are copyright owners of digital and contemporary artistic works in particular. Also, it argues that copyright restricts the capacity of using artistic works by museums and galleries as cultural institutions and therefore it obstructs their activities and mission. Further, it argues that uncertain and deficient copyright policy and management practices represent impediment to the continuity and progress of museums and galleries in the digital era. To this effect, the thesis takes analytical approach and considers the legal primary and secondary resources of relevant laws, cases, academic commentary and journal articles. The legal framework is focused on copyright law of the United Kingdom as stated in the Copyright, Designs and Patents Act 1988 and its amendments. Furthermore, the thesis incorporates a review of an empirical study about the impact of copyright in museums and galleries and which is undertaken for this research purposes. The thesis concludes that it is necessary to deal with the specified copyright challenges in a way that maintains and promotes the mission of museums and galleries and facilitates a broader public access to their collections in the digital environment. In order to achieve this, it is recommended that some copyright law reform is needed concerning in particular copyright protection of artistic works and copyright exceptions available to museums and galleries for specific purposes such as preservation, research, and education. Also, it is proposed that museums and galleries require enhanced understanding of copyright law, more awareness, careful consideration and efficient management of copyright.
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Mitchell, Elizabeth Sarah. ""Believe me, I remain ..." : the Mary Greg collection at Manchester city galleries". Thesis, Manchester Metropolitan University, 2018. http://e-space.mmu.ac.uk/620461/.
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This thesis traces the history of a collection of domestic objects and amateur crafts given to a museum during the first half of the twentieth century. Using the metaphor of archaeology, it takes an object-centred approach to the investigation of changing relationships over time between a collection of objects, an archive of letters, and the institution in which they are held. Drawing on developments in sensory anthropology, theoretical distinctions between objects and things, and letter-writing as a gendered social practice, it treats this material as both ‘evidence and affect’, using writing and photography to consider sensorial and emotional responses to objects, documents and place alongside the historical data they may yield. It situates this within wider historical and biographical research into private and public collecting during the nineteenth and early twentieth centuries. In so doing, this thesis provides new insight into the histories of collecting and the development of the municipal art gallery in Britain during the interwar period. It evidences the centrality of decorative art to an increasing domestication of the art museum in the aftermath of the First World War, even as modernist art practices prompted the development of the formalist ‘white cube’ aesthetic. It demonstrates the conflicted position of decorative art objects within this developing dynamic, caught between aesthetic and ethnographic criteria of value. It also challenges received knowledge in relation to the gendered history of institutional collecting. Mary Greg is identified as a significant patron of multiple museums, her interests contributing to an expansion of scope in what was considered worthy of museum preservation. The Mary Greg Collection in Manchester is shown to manifest, in microcosm, a history of changing attitudes towards the material culture of the domestic past, from nineteenth century antiquarianism, through an Arts and Crafts sensibility and developments in domestic ethnography, to the early twentieth century theorising of childhood and the interwar handicrafts revival. However, this thesis also demonstrates how formal technologies of record keeping, distinctions between professional and amateur, and developing hierarchies of museological value, as well as social and gendered modes of propriety, all contributed to the obscuring of one woman’s contribution to British museum culture. Bringing the history of the collection up to the present day, this research also considers the ways in which museums incorporate the sedimented layers of their own institutional histories, and how the meaning and value of objects in museums changes over time. Drawing on a Ruskinian notion of ‘voicefulness’, found within the collection’s history, it makes a case for alternative museological criteria of value based on qualities of intimacy, love and curiosity. In so doing, it demonstrates how the legacies of past collecting practices, often difficult to reconcile with contemporary professional concerns, may yet have the potential to yield not just new insights into the past, but new possibilities in the future.
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Woodall, Alexandra Caroline. "Sensory engagements with objects in art galleries : material interpretation and theological metaphor". Thesis, University of Leicester, 2016. http://hdl.handle.net/2381/37942.
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This thesis aims to explore sensory engagements with material objects. In other words, it investigates the physical encounter between a person and a thing, particularly through a focus on the sense of touch. It does so within the art gallery context. It looks at the capacity of such embodied practices to inspire creative response to objects, an approach which, the thesis argues, does not necessarily rely on knowing contextual information or fact, but rather allows for responses including imagining and making. The research coins the term ‘material interpretation’ to describe such an approach to the interpretive process. The work is interdisciplinary in nature: building on studies of materiality in the museum context, it draws especially from sensory anthropology and studies of material culture. Significantly however, the research develops an entirely new field of critical dialogue. Uniquely and unusually, by bringing museology together with concepts from the discipline of theology, the thesis develops an unprecedented approach to exploring interpretation practice through a lens of what it calls ‘theological museology’. Arising from the researcher’s professional practice and experience of interpretation projects in which such sensory engagements with objects were given priority, the research comes from a practical grounding. As such it argues that material practices be embedded within the institution through a strategic approach to creative and inclusive interpretation. The research takes a qualitative approach and is based on case studies. These include exploring a collection in storage (the Mary Greg collection at Manchester Art Gallery); projects based on artist-made interpretive objects called Object Dialogue Boxes (including at Museums Sheffield); and the creative use of a city’s handling collection (the Artemis Collection in Leeds).
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Harvey, Melinda. "Art Center: Individual and Group in the Context of Galleries and Studios". VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2714.
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This is an adaptive reuse thesis project of an old warehouse on the south side of Richmond, Virginia. Through this project, the possibility of designing an art center to occupy the space is explored. This art center houses artist studios, gallery space as well as open studio space for art classes. The design concept establishes a building language and varies that language based on the space and its requirements. The final design also deals with the spaces in between, where one rule set meets another.
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Cox, Margaret. "Social Media in the Arts: Designing for Meaningful Participation in Museums and Galleries". Research Showcase @ CMU, 2011. http://repository.cmu.edu/theses/12.
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My thesis focuses on Social Media in the Arts. The motivation behind this research spurred from a recent boom in social media marketing and engagement by arts organizations. I began to survey the positive and negative attributes of current social media tools, while discovering a multitude of social media experiments created by museums and galleries. Through several explorative and generative research processes, I looked into the needs of stakeholders including visitors, curators, and artists. This process concluded with a project designed specifically to encourage meaningful visitor participation in the arts—a social media app called “ViewPoint”. It takes advantage of visitor’s natural instinct to point at interesting things. Pointing becomes a means to share artworks with friends and non-acquaintances. It then uses sharing as a catalyst for in person conversations. ViewPoint is deceptively simple, however it leverages characteristics of in-person events and the power of social media to optimize the conditions for quality interaction. In researching the past year, I have been surprised by my findings and inspired by the power of the public voice. I have discovered first hand that each person sees art in his or her own way and that the best solution is one that allows a personal experience as visitors perceive, share and learn about art.
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Lee, P. C. "Inspiring creativity : creating edge effects through partnerships with museums, galleries and arts practitioners". Thesis, University of Wolverhampton, 2007. http://hdl.handle.net/2436/90242.
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Grunenberg, Christoph. "The politics of presentation : museums, galleries and exhibitions in New York, 1929-1947". Thesis, Courtauld Institute of Art (University of London), 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283893.
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Girardot, Kendra Sue. "Teaching and learning in the art museum galleries: tour guide strategies and approaches". The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1406885494.
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Smith, Heather Jacqueline Louise. "Provisions for visually impaired people in museums and galleries in Scotland : an investigation". Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/12908.
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This investigation aims to assess issues of physical, sensory and intellectual access to museums and galleries in Scotland, with a particular relevance to people with sight difficulties. The research has been completed from the point of view of the visually impaired visitor, using original fieldwork comprising visits to museums accompanied by people with different types of sight difficulties. An examination of the facilities provided has been undertaken from the visitors' perspective alongside the current and forthcoming legislative requirements. The opinions of the museums' community have been taken into consideration primarily by discussions with the curators of the museums and galleries visited. An appreciation of the legislative stimulus for museums and galleries to consider people with disabilities, the Disability Discrimination Act 1995, is also attempted, including reports from the MPs involved in the development and the introduction of this legislation and the MSPs with responsibilities for the representation of people with disabilities in the Scottish Parliament. A particular focus is applied to the introduction of Part 111 of the legislation which was enacted during the research period and used as a stimulus for the areas of questioning with the visually impaired people who assisted. This facilitates the presentation of a context against which to place the findings of the discussions with visually impaired people. Visitors are an essential requirement for the existence and future of museums and galleries and the potential audience of people with visual impairments is increasing and significant.
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Roth, Diana Eibner. "A luz natural como elemento compositivo na arquitectura contemporânea". Master's thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- -Faculdade de Arquitectura, 1997. http://dited.bn.pt:80/29893.
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Robson, Anne Deirdre. "The market for modern art in New York in the nineteen forties and nineteen fifties a structural and historical survey /". Thesis, Online version, 1988. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.324692.
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Heath, Elizabeth. "Sir George Scharf and the early National Portrait Gallery : reconstructing an intellectual and professional artistic world, 1857-1895". Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/73230/.
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This thesis investigates the professional practice of the National Portrait Gallery's first Director Sir George Scharf (1820–95). It is the first focused analysis of his career and influence, within the nineteenth-century art and museum worlds. It attempts to position Scharf in relation to developments in art historical scholarship and the professionalization of museum practice, in the second half of the 1800s. Chapter 1 outlines Scharf's methodology for portraiture research and considers his scientific approach alongside the establishment of art history as a discipline during his lifetime. Whilst exploring Scharf's development of research standards to be carried forward by successors, it argues for his active role amongst a growing contingent of museum professionals. Chapter 2 reconstructs Scharf's social and professional networks, collating the names of individuals with whom he interacted and mapping the physical sites of engagement. It proposes that access to contacts proved vitally important to his official work and that Scharf himself functioned as an influential figure in this sphere. The third chapter concerns the nature of Scharf's relationships with members of the NPG's Board of Trustees. It investigates his early collaboration with two expert Trustees and charts his interactions with consecutive Chairmen of the Board, demonstrating Scharf's increasing authority with regards to Gallery procedures. Chapters 4 and 5 explore Scharf's interventions relative to the organization and interpretation of the collection across the NPG's early exhibition spaces. Chapter 4 argues that an increased capacity for display enabled Scharf to implement a rational hanging scheme, in line with the Gallery's instructive purpose and inspired by contemporary debates over the efficient presentation of public art. The final chapter documents Scharf's efforts to contextualize the national portraits, ranging from manipulating the exhibition environment, to expanding the NPG's catalogue according to a scholarly model. In its examination of George Scharf's career spanning five decades, particularly his engagement with discourse surrounding public art museums in the Victorian period, this thesis aims to make a significant contribution to the fields of museum studies and studies in the history of collecting and display.
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Havlik, Michele Lynne y havlik@optusnet com au. "An investigation of Interaction Design principles, for use in the design of online galleries". RMIT University. Creative Media, 2007. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20080213.091808.
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Abstract: This research is the culmination of a four-year investigation and analysis into the principles of Interaction Design, particularly those that are found to be most suitable when designing and developing interactive navigation systems. The research was undertaken as a Masters degree by project. The project consists of a CD containing an online gallery showcasing works of art and an accompanying exegesis. The exegesis is structured into seven chapters, which consider, analyse and define what the key characteristics of Interaction Design are, where it comes from, and how it improves the quality of interactive multimedia applications. The exegesis includes four case studies that look at how other practitioners in the digital realm have created systems for showcasing narrative or creative content online. I examine alternative artworks and how they have shaped the development of creative media. I investigate what experts in the field define as good Interaction Design and what guidelines and principles they recommend. I show how these guidelines conflict with more creative approaches and how good design and creativity can be merged to be usable and friendly to users. I also look at the history of opponents of guidelines and principles and how their contribution helps make design better. By creating the example gallery I aim to help designers working within the field of ID to understand the principles behind good design in order that they may deliver higher-quality user experiences relevant to the content they are displaying. By creating this gallery I also hope to help artists understand the principles behind good design in order that they may showcase their artworks in ways appropriate to their artwork. By designing and building an example I aim to provide a better understanding of how to construct a feature-rich application in an easy to use and understandable environment.
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Horton, Melanie. "Propaganda, Pride and Prejudice : Revisiting the Empire Marketing Board Posters at Manchester City Galleries". Thesis, Manchester Metropolitan University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.520788.
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What happens when an art museum decides to investigate the 'legacies of empire' through an explicitly colonial collection? And what happens when the 'outsider' asked to do this research holds an investigative mirror up to the museum's own history and cultural practices? This thesis presents findings from practice-led collaborative research into Manchester City Galleries' (MCG) collection of Empire Marketing Board (EMB) posters. The Empire Marketing Board (1926-33) was an early experiment in British peacetime governmental propaganda. 222 of its artist-designed posters were collected by Manchester's City Art Gallery in the 1930s as examples of art's benefit to industry but have remained little known or used since. This study of them used an innovative methodology, based on a rich mix of anthropology, museological theory, visual analysis, historical investigation and community consultation, to revisit their history, ascribe new meaning to their significance and examine their interpretive potential from a postcolonial perspective. The posters' contextual history was situated in theoretical terms amongst what Tony Bennett (1995a) has described as an 'exhibitionary complex', however, the meanings that they generated when re-presented through this research, suggested that this context still influences understandings of them. This thesis describes a series of new relationships developed between the EMB poster collection, MCG and its public today. It presents a broadly expressive understanding of the posters in their current, postcolonial context, revealing rich insights into their meaning-making potential. Yet, it also highlights a contradiction that staff working in art museums face when attempting to approach colonial histories from a postcolonial perspective. It brings attention to the restrictive tensions that condition understandings of material culture representing colonial 'self' identity and reveals 'invisible' aspects of institutional culture and identity that impeded engagement with this research. Overall, this thesis concludes that the 'legacies of empire' encountered in this research actually lay within 'ourselves', demonstrated through articulations and individual negotiations of colonial traces within an art museum context. What happens when an art museum decides to investigate the 'legacies of empire' through an explicitly colonial collection? And what happens when the 'outsider' asked to do this research holds an investigative mirror up to the museum's own history and cultural practices? This thesis presents findings from practice-led collaborative research into Manchester City Galleries' (MCG) collection of Empire Marketing Board (EMB) posters. The Empire Marketing Board (1926-33) was an early experiment in British peacetime governmental propaganda. 222 of its artist-designed posters were collected by Manchester's City Art Gallery in the 1930s as examples of art's benefit to industry but have remained little known or used since. This study of them used an innovative methodology, based on a rich mix of anthropology, museological theory, visual analysis, historical investigation and community consultation, to revisit their history, ascribe new meaning to their significance and examine their interpretive potential from a postcolonial perspective. The posters' contextual history was situated in theoretical terms amongst what Tony Bennett (1995a) has described as an 'exhibitionary complex', however, the meanings that they generated when re-presented through this research, suggested that this context still influences understandings of them. This thesis describes a series of new relationships developed between the EMB poster collection, MCG and its public today. It presents a broadly expressive understanding of the posters in their current, postcolonial context, revealing rich insights into their meaning-making potential. Yet, it also highlights a contradiction that staff working in art museums face when attempting to approach colonial histories from a postcolonial perspective. It brings attention to the restrictive tensions that condition understandings of material culture representing colonial 'self' identity and reveals 'invisible' aspects of institutional culture and identity that impeded engagement with this research. Overall, this thesis concludes that the 'legacies of empire' encountered in this research actually lay within 'ourselves', demonstrated through articulations and individual negotiations of colonial traces within an art museum context.
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Iordanidou, Chrysavgi. "Daylight openings in art museum galleries : A link between art and the outdoor environment". Thesis, KTH, Ljusdesign, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-215338.
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This thesis is investigating how the typology of daylight openings in art museum galleries is affecting the connection to the outdoor environment. Museum architecture nowadays emphasizes on the museum’s public role and interaction with the urban context, with transparency as the key to this approach. Considering the benefits and challenges of introducing natural light in art museum galleries, its controlled use enhances the experience of both the artworks and the space. The different typologies of daylighting and their design parameters have a direct impact on the connection to the outdoor environment and the shaping of views. Two case studies are analyzed in order to investigate various daylight openings designs, their integration in the exhibition space and the relationship they form with the exterior. Examining the findings, a discussion is developed on the range of factors that affect the connection to the outdoors. The thesis concludes that the design of daylight openings determines the way and the degree the galleries communicate with the exterior environment.
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Lahr, Jens. "Experimental and computational analysis of oil flow in cooling galleries of diesel engine pistons". Thesis, Birmingham City University, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.705651.
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This thesis describes in details the experimental and numerical investigations conducted to determine the filling and flow behaviour inside dynamic operating piston cooling galleries. An experimental test rig was built to replicate the reciprocating motion of internal combus- tion engine pistons to allow for varying engine speed, stroke length, oil flow rate and piston size. Two transparent models were produced, representing cooling galleries for small sized engine pistons found in passenger vehicles and large sized engine pistons found in heavy goods vehicles and earth moving equipment. High speed image processing was undertake to capture the flow behaviour inside the galleries during the piston cycle. An oil mixture was used to replicate the properties of engine oil at engine operating conditions. The flow inside the gallery was recorded from various view positions to capture the flow throughout the gallery. The flow domains representing the investigated gallery shapes were generated and computational fluid dynamic (CFD) studies of the two-phase flow behaviour were performed. The studies of gallery filling and in-gallery flow behaviour were undertaken for the same parametric conditions as defined in the experiments. The flow behaviour and filling of both studies, experimental and numerical, are compared and discussed. The results of the experimental and numerical studies compared well in terms of the identified directions of the main bulk oil flow within the small and large gallery and for the investigated crank speed and flow rate conditions. Both galleries showed that the flow in the gallery from inlet to outlet was mainly driven by the oil jet entering the gallery. The continuous entering jet forced a flow of the oil into the gallery branches. Strong turbulence in the direct vicinity of the inlet occurred as air and oil mixing was significant. It was found that the size of the turbulence region depended on the flow rate and engine speed, as well as the direction of movement of the gallery. It also sustained the presence of a large amount of medium-sized air bubbles due to mixing effects. Although the CFD did not predict the fine detail of the turbulent mixing, it did capture the underlying main flow characteristics, including short circuiting at the inlet. In the mid-gallery section the formation of large air bubbles took place, which could span across the gallery height. The flow behaviour was still driven by the inflow, but also controlled by the gallery cross-sectional shape. At the gallery outlet the flow was predominantly inertia driven as a result of the gallery movement with the oil exiting mainly during the upward stroke, allowing formation of large air bubbles. Distinctly different flows were encountered within the large and small gallery. The large gallery volume showed more unstructured or chaotic flow behaviour, especially in the mid- gallery section, as a result of the complex cross-sectional shape. In the small gallery volume the bulk flow was more controlled and wall-guided due to the limited space and regular cross-sectional shape. It was also found that the overall gallery filling for both galleries varied only by approximately 2% during the crank cycle. In contrast the variation of gallery section fillings of up to 30% and 50% for the large and small gallery respectively were determined, highlighting the effects of air movement within the galleries. The experimental results showed that an increase in flow rate, reflected by an increase in jet exit velocity, led to strong air entrainment of micro-scale bubbles into the oil clearly visible inside the gallery, while an increase in engine speed led to significantly lower formation of micro-scale air bubbles in the gallery. In contrast the CFD struggled to capture such fine details, unless the mesh density reached a very fine level, resulting in unsustainably long simulation times.
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Nguyen, An Hoa [Verfasser] y Peter [Akademischer Betreuer] Littelmann. "One-skeleton galleries and cell combinatorics in type A / An Hoa Nguyen. Gutachter: Peter Littelmann". Köln : Universitäts- und Stadtbibliothek Köln, 2011. http://d-nb.info/1038267013/34.
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Richard, Sophie. "International Network of Conceptual Artists : dealer galleries, temporary exhibitions and museum collections (Europe 1967-1977)". Thesis, Anglia Ruskin University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436467.
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