This article presents results from a survey designed to assess the relevance of library and information science (LIS) expertise - here defined as those topics typically, but not exclusively, taught in LIS programs - for museum professionals. The topics covered in this article are information representation, information organization and access, information management, computer technologies, digitization technologies, interactive technologies, information policy, evaluation methods, and collaboration initiatives. An online survey assessed the degree to which museum professionals possess skills in these topics, perform work in these topics, and consider these topics important for future study. The article examines the relative value of each topic for museum professionals, and discusses the importance of strengthening relationships between LIS and museum studies by better understanding the relevance of LIS expertise in museums.

The research report from the Principal Investigator of the first IMLS funded steve.museum research project. / Tagging has proven attractive to art museums as a means of enhancing access to on-line collections. The steve.museum research project studied tagging and the relationship of the resulting folksonomy to professionally created museum documentation. A variety of research questions were proposed, and methods for answering them explored. Works of art were assembled to be tagged, a tagger was deployed, and tagging encouraged. A folksonomy of 36,981 terms was gathered, comprising 11,944 terms in 31,031 term/work pairs. The analysis of the tagging of these works - and the assembled folksonomy - is reported here, and further work described. Tagging is shown to provide a significantly different vocabulary than museum documentation: 86% of tags were not found in museum documentation. The vast majority of tags - 88.2% - were assessed as Useful for searching by museum staff. Some users (46%) always contributed useful tags, while others (5.1%) never assigned a useful tag. Useful-ness increased dramatically when terms were assigned more than once. Activity for Registered Users was approximately twice that of Anonymous Users. The behaviour of individual supertaggers had far more influence on the resulting folksonomy than any interface variable. Relating tags to museum controlled-vocabularies proved problematic at best. Tagging by the public is shown to address works of art from a perspective different than that of museum documentation. User tags provide additional points of view to those in existing museums records. Within the context of art museums, user contributed tags could help reflect the breadth of approaches to works of art, and improve searching by offering access to alternative points of view. Tags offer another layer that supplements and complements the documentation provided by professional museum cataloguers.

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This thesis proposes an interpretation of the Musée des Monuments français in Paris (1795-1816) in conjunction with Quatremère de Quincy's contemporary writings on the museum in general. The aim of this is twofold: Firstly, to identify and explore the significance of the Musée as an important instance in the history of the modern museum institution; and, secondly, to offer new insight into Quatremère's celebrated critique against the institution in general, and the Musée des Monuments in particular. Through an examination of the Musée's history and its intellectual context, alongside a detailed description of its layout/ its collections and their arrangement, informed by contemporary reports and criticism, as well as the lengthy writings of its creator and curator Alexandre Lenoir, the project's key features are identified and analysed. Subsequently, the main aim of the Musée is seen as a quest for identity and order in history, through the medium of art. Furthermore, the Musée is identified as ultimately transcending its historicist basis, through a poetic engagement with its various fragments - both literal and metaphorical. At the same time, a close reading of Quatremère's texts relating to the museum reveals that, across considerable ambiguity, the concerns which led him to address the institution in the first place also centred around the problem of history and its representation in art. Through an examination of numerous points of rapprochement, the conflict between Quatremère and the Musée des Monuments is revealed as largely circumstantial, while a final difference emerges through this reconciliation, pertaining to the Musée's ultimately poetic character.

Dominant narratives in western historical museums often evoke a nostalgia for a Western Frontier that did not actually exist in the United States. Many Western historical museums, in particular, preserve nostalgia of an imagined Western Frontier through narratives of white masculine heroism, by featuring objects and artifacts symbolizing American exceptionalism and conquest, and by developing a sensory experience in exhibits to recreate an idealized time in history. As our understandings of history evolve, it is increasingly more evident that there is a significant need for Western historical museums as knowledge producers to shift narratives in exhibits from the dominant white-settler perspective. An integration of different value systems, cultures, practices, and beliefs in exhibits is possible by incorporating a diversity of thought in the frameworks used to interpret history, through the inclusion of diverse stories, and through creating accessible exhibits to reach a broader public audience.

General A. H. Nasution established the Armed Forces History Centre in 1964 for the purpose of countering a communist history of the 1945-49 revolution. After the coup attempt of 1965 and the ensuing military takeover of government the History Centre assumed a far more assertive and prominent role in history making. The fact that Nugroho Notosusanto, as Head of the Centre, took over the planning of Sukarno’s half-completed National Monument History Museum project in 1969 provides evidence of the extent to which national history making became military business in the early New Order period. The study considers how history was represented in the projects of the Centre from its inception in 1964 to its last museum project in 1993. It traces how the military used history from the early years of the New Order to legitimize the overthrow of the Sukmo regime, to justify the killing of perhaps 500,000 alleged communists, to strengthen military unity and to legitimize the military’s political role and the suppression of regime dissent. Where possible this study compares military representations of the Indonesian past with earlier representations of the past, especially Sukamoist interpretations of the past made in the leftist Guided Democracy period. In doing so the thesis examines how the national myth and related constructions of national identity were transformed by the military-dominated New Order regime.

Final Project (M.A.)--John F. Kennedy University, 2005. / "August 29, 2005"--T.p. Includes bibliographical references (p. 125-133).

Thesis (Ph. D.)--Georgia State University, 2007. / Title from file title page. Clifford M. Kuhn, committee chair; Alecia P. Long, Glenn T. Eskew, committee members. Electronic text (239 p.) : digital, PDF file. Description based on contents viewed June 4, 2008. Includes bibliographical references (p. 228-239).

Thesis (M.Arch.)--University of Detroit Mercy, 2008. / "28 April 2008". Includes bibliographical references (p. 119).

Thesis (M.S.)--Drexel University, 2000. / Includes bibliographical references (leaves [26-27]).