Doctor of Education / Department of Educational Leadership / Gerald D. Bailey / The purpose of this study was to create a handbook that would support museum professionals through the stages of planning, creating, and evaluating a user-centered eMuseum. Planning, Creating, and Evaluating eMuseums: A Step by Step Handbook for Museum Professionals was developed using the research and development methodology (R&D) developed by Borg and Gall (1989). The seven steps in the R&D cycle used in this study included: 1) research analysis and proof of concept, 2) product planning and design, 3) preliminary product development, 4) preliminary field testing, 5) revision of the prototype, 6) main field testing, and 7) revision of the final product. A prototype of the handbook was developed and then evaluated by experts in digital libraries or museum informatics in the preliminary field test. Revisions were made to the handbook based on their feedback. The handbook was then distributed to museum professionals for the main field test. Feedback from the main field test was used to create the final product. Major conclusions from the study were: 1. There was a need for a handbook to guide museum professionals through the steps of developing an eMuseum. Museum leaders indicated a desire to create a stronger online presence for their museums, but did not know how to begin the process. 2.The handbook was most useful to museum professionals. Originally, the handbook was intended for an audience broadly defined as "information professionals", which included both library and museum professionals. 3.Museum leaders and community stakeholders could partner to create eMuseums. Stakeholders included educators who wanted to use eMuseums to incorporate standards-based curriculum into their classroom or graduate students in education looking for collaborative projects to advance their study. 4.Finding new ways to reach audiences was important to museum leaders. Museum leaders were aware that the majority of their visitors expected to find information about their museum on the Internet and wanted to find ways to reach these audience members. 5.Museum professionals found resources listed in the book to be useful. The handbook worked effectively as a reference guide for creating an eMuseum.

Technology offers opportunities for museums to expand the ways in which cultural perspectives relevant to objects on display can be exchanged and understood. Multimedia content offered online in an environment with user input capabilities can encourage dialogue and enrich visitor experiences of museums. This action research project using narrative analysis was an effort to develop the use of web technology in museum education practice, with an emphasis on constructivist learning. Concepts including the visitor-centered museum and multiple narratives led the researcher to collaborate with a pre-service art teacher education classroom and a local Hindu community to create content that might better develop understandings of one museum's Hindu sculpture collection that are personal, cultural, and complex.

My essay aims to illustrate how an industrial memory is created based on Sandvik AB's premises. Industrial heritage and industrial memory are interrelated, but have different characteristics and conditions. I examine what conditions are required to create an industrial memory in the form of a museum. I describe the problems that exist in the various industrial concepts and contribute with an analysis of the different concepts. I am using Sandvik AB as a case study and by using the identified criteria for an industry memory my essay show the process in which an industrial memory can be created. I further investigate whether Sandvik AB can create a museum based on there industrial heritage. My research proves this fact and I finish the essay by proposing how a Sandvik museum in Sandviken can be designed. My research shows that Sandvik AB fulfills the criteria for being able to create an industrial memory from there industrial heritage. My research contribute with interpretations of the concepts of industrial heritage, industrial memory, living industrial memory and industrial history landscape. My essay shows that an industrial memory can represent a living company which shows against the usual view of an industrial memory as a representative of a discontinued production. My essay also examines two consulting firms which give proposals in creating a museum, a market that can be find outside Sweden. The research also contribute with supplementary proposals for the consulting firms different steps in the process of creating a museum. From a Swedish perspective, this study therefore contributes with a first proposal for the Swedish market in creating a museum.

In den heutigen Industrienationen wird für die erfolgreiche Integration in die Gesellschaft jedoch ein hohes Maß an Kommunikations-, Lese- und Schreib-kompetenzen vorausgesetzt. Es stellt sich daher die Frage, ob Menschen, die nicht ausreichend über diese Kompetenzen verfügen, angemessen in der Gesellschaft integriert sind. Insofern ist Inklusion in unserer heutigen Gesellschaft ein allgegenwärtiges Thema. Das Pilotprojekt „Barrierefreie Kommunikation im Albertinum“ ermöglicht einen Einblick in die Kommunikationsweise von Menschen mit kognitiven Einschränkungen. Mit dieser Zielgruppe wurden Gespräche über sechs verschiedene Kunstobjekte geführt. In dieser Arbeit steht die Skulptur „Ever After“ von Tony Cragg im Vordergrund. Die dazu aufgezeichneten Gespräche werden in der vorliegenden Arbeit analysiert. Es wird der Frage nachgegangen, wie Menschen mit kognitiven Einschränkungen Kunst kommunizieren. Der Begriff der Kommunikation stellt das Hauptaugenmerk dieser Arbeit dar. Lenken Menschen mit kognitiven Einschränkungen das Gespräch? Nehmen sie Ko-Konstruktionen vor? Kann eine Imagearbeit festgestellt werden? In der Gesprächsforschung gibt es bereits Studien, an deren Theorien und Ergebnissen sich orientiert wird. In der Linguistik werden Gespräche oft an natürlichen und authentischen Alltagsgesprächen untersucht und daraus leitet man bestimmte Kommunikations-Schemata ab. In dieser Arbeit werden insbesondere jene Schemata behandelt, die ein hohes Maß an kommunikativen und gesprächsstrategischen Kompetenzen erfordern. Hierunter zählen die Gesprächsmuster, als auch die Verfahren der Gesprächssteuerung und der Imagearbeit. In der Analyse wird geprüft, ob und wie Menschen mit kognitiven Einschränkungen diese anwenden. Des Weiteren tritt die Thematik Kunst in den Blickpunkt und wie sich die Proband:innen mit dem Kunstwerk auseinandersetzen. Welche Assoziationen haben sie zu dem Kunstwerk? Was sagen sie zum Herstellungsprozess? Nehmen sie eine Bewertung des Kunstwerkes vor? Diesen Fragen wird nachgegangen, um zu analysieren, inwiefern der Gesprächsgegenstand Kunst die Kommunikation der Proband:innen beeinflusst und ob sie ein Verständnis dafür entwickeln.:1. Einleitung 3 2. Das Pilotprojekt im Albertinum 6 2.1 Barrierefreie Kommunikation im Albertinum 6 2.2 Das Kunstwerk „Ever After“ von Tony Cragg 7 3. Theoretische Grundlagen 9 3.1 Kognitive Einschränkungen 9 3.2 Die Gesprächsanalyse 12 3.2.1 Einführung und Definitionen 12 3.2.2 Gesprächsmuster 15 3.2.3 Verfahren der Gesprächssteuerung 18 3.2.4 Imagearbeit 22 3.2.5 Transkription 24 3.3 Kunst kommunizieren 26 3.3.1 Situatives Kunstgespräch 26 3.3.2 Sprachliche Mittel und Verfahren 26 3.3.3 Vergleich der Analyse 28 4. Praxisbezogener Teil 29 4.1 Informationen zu den Probanden 29 4.2 Qualitative Gesprächsanalyse 29 4.2.1 Gesprächsmuster 31 4.2.2 Gesprächssteuerung 38 4.2.3 Imagearbeit 47 4.3 Kunst kommunizieren 52 4.3.1 Situatives Kunstgespräch 52 4.3.2 Sprachliche Mittel und Verfahren 53 4.3.2 Vergleich der Analyse 58 5. Schlussteil 60 6. Literaturverzeichnis 63 7. Anhang 66

TITLE: 2D and 3D Dimension in Kinderdarten Art Education AUTHOR: Bc. Lucie Kaločová DEPARTMENT: Department of Art Education SUPERVISOR: Mgr. Magdalena Novotná, Ph.D. ABSTRACT: This diploma thesis deals with the transition of areal and three-dimensional imagery in the works of selected artists, which are the basis for didactic transformation, into artistic activi- ties in the kindergarten program 'Starting Together'. The empiric part deals with the deve- lopment of spatial and areal perception among preschool children. The theoretical part discusses the contemporary understanding of art teaching and its full development potential in preschool education. It outlines the teacher's role in planning of artistic activities and his/her ability to provide children the world of culture and art in kinder- garten in comparison with the role of a gallery educator in an art gallery. It seeks to provide theoretical support for the empiric part and for the realized interdisciplinary project. It deals with the development of selected cognitive abilities of children of preschool age, sensation and perception, along with the possibilities of the development of spatial intelli- gence including the process of comparing during artistic activities. Art is put into the context of mathematics (didactics of mathematics education...

In thesis I focus on the current position of art gallery and museum education, which is influenced by science disciplines pedagogy and museology. In the theoretical part, on the basis of specialized literature, I define terms related to the theme of the work (gallery/museum pedagogy and educator, gallery/museum educator position within the institution, General educational program etc.). I am seeking further possibilities of cooperation and limits of cooperation of an elementary school with galleries/museums as institutions that have educational potential. Didactic work is based on qualitative research, which mainly uses the methods of open coding of videos from executed programs. My intention is to compare the differences and similarities in the implementation of educational programs between the 1st and 5th grade. Based on defined objectives I evaluate their implementation in accordance with educational programs, which are crucial for cooperation of galleries and schools. The focus is mainly on the conception, implementation and reflection of a three-phase educational program. The didactic part also reveals a possible link to the interdisciplinary relations. In the creative part of the thesis, I compile a topic of an authoring book, on the theme of the exhibition of Květa Pacovská: Maximum Contrast.

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For art to become personally meaningful to visitors, museums need to view art interpretation as a narrative inquiry process. General museum visitors without art expertise naturally make meaning of art by constructing stories around a work to relate to it. Narrative inquiry, a story based exploration of experience, fits into contemporary museum education theory because it is a constructive and participatory meaning making process. This thesis examines how art museums can build upon visitors' natural interpretive behaviors, by employing art-based narrative inquiry practices and using the work of art as a narrative story text. Individuals learn when their personal narrative comes into conflict with the narrative of the museum and they negotiate new meaning. This kind of narrative learning is a process of inquiry that visitors must engage in themselves. The art museum interpretive experience can foster in visitors the ability to engage in an art-based narrative inquiry process by suspending disbelief,recalling personal memories, comparing different narrative versions, imagining possible meanings, and re-storying experiences into new understandings. This research text explores these topics through a narrative based method of inquiry comprised of a series of autobiographical stories describing the researcher's experiences in coming to understand the relationship between narrative inquiry and art museum education.

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