This essay analyzes the content and intermediation in two Swedish museums’ exhibitions about The Great Migration by using the didactic questions what, how and why. Using observations and interviews as methods, the results are compared afterwards to the Upper Secondary school’s national curriculum and to the concepts of learning and knowledge, by applying the theories of Arfwedsons and Hein. These theories help the reader to understand to what level the exhibitions give the visitors possibilities to produce their own learning and knowledge or if the exhibitions have a claim to present the truth and want the information to be reproduced by the visitors. In simplified terms, the study investigates how justified a school visit is to one of the exhibitions for the various history courses. The conclusions show that the exhibitions differ among themselves, which will make school visits relevant in different ways, depending on which exhibition and which history course you have in mind. One of the exhibitions focus on showing The Great Migration from a local history perspective and with connections to today’s refugees while the other exhibition instead makes an effort to show the same migration through several perspectives, on all kinds of levels in society. Based on the results and the connections to the school’s curriculum a conclusion can be made: The more advanced a course is, the more relevant it becomes for schools to visit the exhibitions. Having put the concepts of learning and knowledge into the results, the study shows that both exhibitions have a claim to present the truth and in that way sees the visitors as reproducers of that information. Aside from the fact that only one of the exhibitions intermediate through different kinds of channels, both exhibitions lack in source criticism giving the visitors no chance of questioning the material.

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The work offered for this PhD by Published Works charts the history of cinema exhibition in Britain from the late 1950s to the present. At the start of this period, cinemagoing as a form of public entertainment entered a long period of decline that was only arrested with the development and growth of multiplex cinemas in the 1980s and 1990s. Despite these changes, the feature film itself remained a culturally and commercially valuable artefact, though increasingly this meant the Hollywood film. Whilst due consideration is afforded to the technological changes in cinemas and the cinema apparatus, my work places the development of cinemagoing in a broad social, economic, cultural and political context, and explains how these issues impact upon on-going developments. In the late 1950s, cinemagoing declined partly in response to changing leisure habits, demographic shifts, the growth of consumer culture, television, and the widespread adoption of new broadcast technologies like home video and satellite. The multiplex returned feature films to cinemas, but was a definitively American commercial form closely associated with new forms of leisure and out-of-town retailing. There are also parallels between the context for development of the multiplex in the USA – suburbanisation, shopping malls and reliance on the motorcar – and developments in Britain in the last 30 years. To this end there is a specific emphasis on the development of the multiplex cinema as part of a wider narrative about the re-positioning of cinemagoing as a collective, public form of visual entertainment, in the period from the mid-1980s, in the context of some dramatic changes in the transient nature of capitalism and urban planning. From the early 1990s onwards there was a growing anxiety about the impact of out-of-town developments on Britain’s urban centres, and a concomitant and renewed emphasis on the importance of the urban core rather than the edge. Thus, the key to understanding the evolution of cinema exhibition today is to pay particular attention to urban planning as inherently ideological, shifting and changing in line with broader political, economic and social considerations.

During the Spring 2006 semester, Virginia Commonwealth University students enrolled in the graduate Museum Studies course on exhibition development collaboratively curated an exhibition entitled From the Seat of Authority, which opened at the Anderson Gallery in June 2006. This thesis project documents the exhibition and offers an account of the deliberative and creative development process in which student-curators engaged. It is different from other case studies that focus on the technical aspects of curating an exhibition.Major components of the development process include articulating a theme, selecting artworks, writing interpretive text, and designing display techniques. This thesis project aims to characterize the development of these components in relationship to the overall creative processes. It is important to note that the previously mentioned four components were not developed independently of one another, as the exhibit development process was non-linear and organic.

A educação em ciências é uma prática social que vem sendo cada vez mais ampliada e desenvolvida e, nesse aspecto, os museus ganham destaque como locais de divulgação e de educação não formal. Neste sentido, é evidente a atual e gradual mudança que a natureza e o papel educacional dos museus vêm sofrendo, o que leva a questionar os pressupostos teóricos e práticos que fundamentaram e fundamentam as ações em educação não formal nesses locais. Assim, tendo em vista a fundamentação do trabalho de divulgação que o Laboratório de Malacologia do Instituto de Biociências da USP inicia, pretendia-se verificar como os moluscos são abordados nas exposições de dois museus universitários de ciências, discutindo algumas abordagens científicas, comunicacionais e museológicas que norteiam a práxis expositiva desses locais. Para tanto, optou-se por uma abordagem metodológica qualitativa por meio de dois instrumentos de pesquisa: observação com registros escritos e fotográficos e análise documental. A análise das abordagens científicas indicou que as duas instituições apresentam temáticas expositivas condizentes com os objetivos a que se propõem, ou seja, divulgar a pesquisa que ali é feita e, no caso do Museu de Zoologia, discutir também as idéias dominantes na Zoologia. Os textos, por sua vez, aparecem predominantemente na forma de impressos, cada instituição apresentando padrões de diagramação diferentes e conseqüentemente levantando questões diferentes. Com relação ao discurso empregado, fica evidente que o texto apresentado é um híbrido de diversas categorias de discurso. Por fim, as exposições revelaram corresponder preponderantemente ao tipo Educativas descrito por DEAN (2003), fazendo amplo uso de objetos reais embora estes estivessem sempre distantes do visitante e com função geralmente de ilustração. Quanto aos níveis de interatividade descritos por WAGENSBERG (2000), chama atenção o fato de nenhum dos museus trabalharem os três níveis, e a interatividade mental, única trabalhada pelos dois museus, sendo timidamente explorada. / Science Education is a growing and developing social practice and, in this respect, museums have gained prominence as places for doing public communication of science and non-formal education. In this sense, the nature and educational role of museums are clearly suffering gradual changes, what leads to questions about the theoretical and practical pre-assumptions that formed and still form the basis for actions in non-formal education occurring in these places. Thus, having in mind the fundamentals of the science communication work that the Malacology Lab (Institute of Biosciences-USP) has begun, the intention was to verify how mollusks are approached in the exhibitions of two universitary science museums, discussing some of the scientific, communicative and museological approaches that guide the expositive praxis of these places. For doing so, a qualitative methodological approach by means of two research instruments was chosen: observation, producing written and photographic records, and documental analysis. The analyses of scientific approaches indicated that both institutions have expositive subjects that meet their objectives of divulging the research they do and, in the case of the Zoology Museum, of discussing the dominant ideas in Zoology. The texts, in turn, appear predominantly as printouts, with each institution presenting different diagramming patterns and, consequently, bringing up different questions. As for the discourse used, it is clear that the text presented is a hybrid of several discourse categories. Finally, the exhibitions showed to be predominantly of the Educative type as described by Dean (2003), making wide use of real objects even though these were always far from the visitors and used for illustrative purposes. As for the levels of interactivity described by Wagensberg (2000), what calls the attention is the fact that none of the museums works all three existing levels and the only one worked by both museums, mental interactivity, is timidly explored.

Moldova is known for its wines, which enjoy great popularity not only in its own country, but in all CIS countries too. The wine trade is the heart of the Moldovian economy and the main export article of the country. That is why I have decided to write about wines and focus on exhibitions and fairs. Exhibitions and fairs are, in my opinion, a quite neglected item in comparison with traditional methods of propagation - advertising, PR, sponsorship, etc. My diploma work among other things will help to eliminate this gap. The main objective of my work is the analysis of the wine trade fair ExpoVin Moldova, followed by recommendations to improve the activities of the event. The central hypothesis of my work will be the following assertion: ExpoVin Moldova provides absolutely excellent opportunity for collaboration for producer of wines, government and retailers of wine. Therefore, I will try either to confirm or reject this hypothesis.

This research records a three year journey of exploration through the visual arts, specifically painting and drawing in relation to the landscape. The written work presented here provides a support document to my final exhibition of paintings that were exhibited in the John Curtin Gallery at Curtin University of Technology from November 24th - December 15th 2002.The writing of this exegesis is in itself a creative piece, but it is not the same as the visual research that culminates in the paintings. I am convinced that to talk about creating art actually leads one away from being in the experiencing of that art, hence this writing discusses the processes involved and not the finished work. My primary objective within this exegesis is to present a discussion centred around some of the philosophical issues that became visible whilst carrying out my practical work. This discussion is also about process itself in art making practices and research, hence this exegesis is intended to run as a parallel to the visual body of work as presented in the final exhibition of works held in the John Curtin Gallery.I have intentionally used my own practice as a device to question the choices and outcomes of art making generally in an effort to add a little colour to the larger discourse of creative practices. Some of the writing may seem personal (apart from the journal notes) and again, this is an intentional device in order to bring about a sense of embodiment within the writing itself and a way of mirroring the processes within the paintings.

In the way of museums, certain things have been collected and assembled for a display, a truth, in the form of a private room in which resides the dream world of the curator. Then, as the visual expression of this inner space deepens, they are carefully taken apart, always with respect for the original. Yet the work is not shaped by the hand of a conservator destined to abandon the imagination in favour of a trail of physical evidence. Nor does it reflect the conventional rationalist sensibilities of a museum worker who, by suppressing a poetic understanding of the world is confined by "cold language" (Frame 1992 p.45) and remains caught inextricably in the web of colonial thinking.Here the imagination is truth (Einzig 1996) and an understanding of the nature of this inner space the key to the locked door. The Anthropologist and the Archaeologist, indeed a whole host of disciplinary specialists may come knocking, but it is the artist that gains access to the curatorial spirit. Compelled as much by a love of the museum profession as a crisis of European consciousness (Spivak in Harasym 1990), objects are assembled for an inner journey to a place where shadow and sunlight chase each other across the landscape (McQueen 2000). This is the dialectic space of both curator and artist, of the rational and the irrational, of inside and outside, and of disciplinary devotion and betrayal.

The Japan-British Exhibition was held at the White City, Shepherd’s Bush, London from May 14 to October 29, 1910. This exhibition was held 15 years after Japan’s acquisition of Taiwan as her first colony, and it was a great opportunity for Japan to show her successful management of Taiwan to the world. In this event, while Japanese industries and cultures were widely introduced, the ‘Formosan Hamlet’ was reconstructed and some Taiwanese aborigines showed their life, performed their war dance, and mimicked battles in front of visitors there.

What if the objects in the Museum of Islamic Art in Berlin could talk?All the artefacts are there for a reason. But especially in a historic exhibition on another culture those reason can be extremely difficult to see. Why look at a shagged old carpet? More than 4 million Muslims live in Germany today. Most people have very little background knowledge in Islamic art or history - but Islam is a regular topic of heated debate. People come to the Museum of Islamic Art with today´s questions, ideas and expectations. In today´s exhibition, visitors are flooded with impressions and information, but without background knowledge, it is difficult to relate things.  What are engaging, and information-rich, but not overwhelming formats to access deeper information on particular objects? How to explore their specific contexts as well as their relation to other objects?My final design - ‘Storytellers’ are guides. They are small tokens that represent objects from the museum. Each object has its own character, topic and relationships to other objects. It will show you through the exhibition on its` individual tour. There are tours with stories for children, families, different levels of background knowledge and interests.