Global ETD Search

51	Interaction with a large sized augmented string instrument intended for a public setting / Interaktion med ett stort augmenterat stränginstrument avsedd för en offentlig miljö Paloranta, Jimmie January 2016 (has links) Interactive installations in public settings have increased in popularity over the past decade, as well as the construction of digital musical instruments. In this paper I present a study of the interaction with a large sized augmented string instrument intended for a large installation in a museum, with focus on encouraging creativity, learning, and providing engaging user experiences. In the study, 9 participants were video recorded while playing with the string on their own, followed by an interview focusing on their experiences, creativity, and the functionality of the string. I then used McCarthy and Wright’s framework for analysing technology as experience and Frank E Williams creativity taxonomy model to analyse the results. In line with previous research, results highlight the importance of designing for different levels of engagement (exploration, experimentation, challenge). However, results additionally show that these levels need to consider the users’ age and musical background as these profoundly affect the way the user plays with and experiences the string. / Interaktiva installationer i offentliga miljöer har ökat i popularitet under det senaste decenniet, liksom även skapandet av digitala musikinstrument. I denna uppsats presenterar jag en studie av interaktionen med ett stort augmenterat stränginstrument avsedd för en stor installation i ett museum, med fokus på att uppmuntra kreativitet, lärande, och att ge engagerande användarupplevelser. I studien blev 9 deltagare videoinspelade samtidigt som de spelade med strängen på egen hand, följt av en intervju med fokus på deras upplevelse, kreativitet, och strängens funktionalitet Jag använde sedan McCarthy och Wrights ramverk för att analysera teknik som upplevelse och Frank E Williams kreativitets taxonomi för att analysera resultaten. I linje med tidigare forskning så betonar resultaten vikten av att designa för olika nivåer av engagemang (undersökande, experimenterande, utmaning). Dock så visar resultaten dessutom på att dessa nivåer måste ta hänsyn till användarnas ålder och musikaliska bakgrund då dessa starkt påverkar hur användaren spelar med och upplever strängen. Interactive installations museum exhibits digital musical instruments string instruments sensor design creativity engagement interaction design user experience Human Computer Interaction
52	The Impact of Native American Activism and the Media on Museum Exhibitions of Indigenous Peoples: Two Case Studies Unknown Date (has links) This thesis is a critical study of two exhibits, First Encounters Spanish Exploration in the Caribbean and A Tribute to Survival. The objective of the thesis was to understand if and how indigenous activists, using the media as tool, were able to change curatorial approaches to exhibition development. Chapter 1 is broken into three sections. The first section introduces the exhibits and succinctly discusses the theory that is applied to this thesis. The second section discusses the objectives of the project and the third provides a brief outline of the document. Chapter 2 discusses the historical background of American museums in an attempt to highlight changes in curatorial attitudes towards the public, display, interpretation, and authority. Chapter 3 gives a more in-depth overview of the methodology and materials utilized in the thesis. Chapter 4 is a critical analysis of the literature for both First Encounters and A Tribute to Survival. Chapter five is a summary of the thesis and offers a conclusion of the effectiveness of using the media as a tool. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection Indians of North America -- Museums Material culture Media and culture Museums -- Philosophy
53	The Doulgas Summerland collection Fitzpatrick, Peter Gerard, Media Arts, College of Fine Arts, UNSW January 2007 (has links) The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including the DH Sterling and the William Mitchell. Through investigating the'truth' systems promoted by the photograph within the presentations of histories this research draws a link between the development of colonialism and the perception of photography. It also deliberates on how 'truth' perception is still a major part of an audience's knowledge base. 1. Anne-Marie Willis Picturing Australia: A History of Photography, Angus & Robertson Publishers, London. 1988:253 Photography. Museums. Contemporary art. Museum exhibits -- Social aspects. Museums -- Historiography. Museums -- Philosophy. History -- Philosophy. Imperialism in art. Documentary photography. Photographic criticism.
54	The stories told : indigenous art collections, museums, and national identities Dickenson, Rachelle. January 2005 (has links) The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permanent Canadian historical art galleries at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are significant in their illustration of contemporary colonial collection practices. The effectiveness of each installation is discussed in relation to the demands and resistances raised by Indigenous and non-Native artists and cultural professionals over the last 40 years, against racist treatment of Indigenous arts. National Gallery of Canada. Art Gallery of Ontario. Musée des beaux-arts de Montréal.
55	The Doulgas Summerland collection Fitzpatrick, Peter Gerard, Media Arts, College of Fine Arts, UNSW January 2007 (has links) The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including the DH Sterling and the William Mitchell. Through investigating the'truth' systems promoted by the photograph within the presentations of histories this research draws a link between the development of colonialism and the perception of photography. It also deliberates on how 'truth' perception is still a major part of an audience's knowledge base. 1. Anne-Marie Willis Picturing Australia: A History of Photography, Angus & Robertson Publishers, London. 1988:253 Photography. Museums. Contemporary art. Museum exhibits -- Social aspects. Museums -- Historiography. Museums -- Philosophy. History -- Philosophy. Imperialism in art. Documentary photography. Photographic criticism.
56	The role of memory, museums and memorials in reconciling the past : the Apartheid Museum and Red Location Museum as case studies Sippel, Elizabeth January 2011 (has links) When South Africa became a democracy, many of its cultural institutions were tainted by the stigma of having been tools for the production and propagation of apartheid ideology. This thesis examines two key facets of post-apartheid museums and memorials. Firstly, how they have repositioned themselves as institutions of cultural and social standing. Secondly, their role as tools of nation building, social change, and creators of national collective memory within the new democratic South Africa. Through an analysis of cultural memory theory pertaining to museology, this study elaborates on the methods employed by museums to incorporate memory into their narratives and in turn, transfer collective memory to their viewers. This thesis provides a comparative study of the architectural, memorial and museological strategies of two post-apartheid museums; the Red Location Museum and the Apartbeid Museum. It examines the contributions of both museums to the introduction of new museological strategies for the successful creation and transmission of South African collective memory. Through this analysis, both the invaluable contributions and the drawbacks of post-apartheid museums as tools for the promotion of new democratic ideologies and philosophies are considered. This thesis does not resolve the arguments and questions which have surfaced regarding cultural institutions as tools for the promotion of reconciliation and the construction of national collective memory within South Africa. As the current climate of memorialisation is one of change and paradox, it is presently impossible to fully quantify post-apartheid museums' roles within South Africa's move toward reconciliation and social change. However, the examination of both the Red Location Museum and the Apartheid Museum reveals the extraordinary change that South African cultural institutions have undergone in addition to their potential to become institutions which facilitate active reconciliation as well as social and cultural growth. Atrocities -- Museums Apartheid and art Apartheid -- History Historical museums Collective memory Memorialization History -- Psychological aspects Memory (Philosophy) Museum exhibits -- Historiography Museums -- Historiography
57	The stories told : indigenous art collections, museums, and national identities Dickenson, Rachelle. January 2005 (has links) No description available. Musée des beaux-arts de Montréal. Art Gallery of Ontario. National Gallery of Canada.
58	Acervos digitais, memória e patrimônio: discursos, técnicas e tecnologias no processo de musealização do Acervo Bar Ocidente em Porto Alegre/ RS / Digital archives, memory and heritage: discourses, techniques and technologies in musealization process of bar ocidente's collection in Porto Alegre/ RS Ceschin, Luciana 18 December 2015 (has links) Esta pesquisa apresenta um processo de musealização que resultou na elaboração do Acervo Digital Bar Ocidente, um acervo digital que disponibiliza na internet um conjunto de impressos do Bar Ocidente, local que faz parte da memória da cidade de Porto Alegre, Rio Grande do Sul. Discute os processos que levaram o conjunto de documentos a serem considerados de interesse ao patrimônio cultural local. Discute as relações entre o campo patrimônio cultural e as tecnologias de informação e comunicação digitais. Apresenta diferentes narrativas a respeito da realização do referido acervo digital. Discute e analisa, a partir dos estudos CTS, as técnicas, tecnologias e bases conceituais utilizadas pelas diferentes equipes nas diferentes etapas de trabalho até o lançamento do site. Considera-se que os artefatos têm histórias e é necessário entender os regimes de valor em jogo no contexto de sua criação, pois são estes que permitem identificar e compreender as trajetórias possíveis que a sociedade permite ao artefato. / This research presents a process of musealization that has as its result the development of Bar Ocidente Digital Archive, it is a digital collection that features on the internet a printed set of Bar Ocidente, a place that is part of the memory of the city of Porto Alegre, Rio Grande do Sul. It discusses the processes that led the set of documents to be considered of interest to the local cultural heritage. It discusses the relation between cultural heritage and information technologies and digital communications. It presents different narratives about the purpose of this digital collection. It discusses and analyzes the techniques, technologies and conceptual foundations used by different teams in different stages of work until the launching of the site. It is considered that the artifacts have stories and it is necessary to understand the context of their creation due to identify and know possible paths that society allows to the artifact. CNPQ::CIENCIAS HUMANAS Cultura material Preservação pela digitalização Museus - Exposições Sites da Web - Desenvolvimento Tecnologia da informação Tecnologia Material culture Digital preservation Museum exhibits Web site development Information technology Technology
59	Acervos digitais, memória e patrimônio: discursos, técnicas e tecnologias no processo de musealização do Acervo Bar Ocidente em Porto Alegre/ RS / Digital archives, memory and heritage: discourses, techniques and technologies in musealization process of bar ocidente's collection in Porto Alegre/ RS Ceschin, Luciana 18 December 2015 (has links) Esta pesquisa apresenta um processo de musealização que resultou na elaboração do Acervo Digital Bar Ocidente, um acervo digital que disponibiliza na internet um conjunto de impressos do Bar Ocidente, local que faz parte da memória da cidade de Porto Alegre, Rio Grande do Sul. Discute os processos que levaram o conjunto de documentos a serem considerados de interesse ao patrimônio cultural local. Discute as relações entre o campo patrimônio cultural e as tecnologias de informação e comunicação digitais. Apresenta diferentes narrativas a respeito da realização do referido acervo digital. Discute e analisa, a partir dos estudos CTS, as técnicas, tecnologias e bases conceituais utilizadas pelas diferentes equipes nas diferentes etapas de trabalho até o lançamento do site. Considera-se que os artefatos têm histórias e é necessário entender os regimes de valor em jogo no contexto de sua criação, pois são estes que permitem identificar e compreender as trajetórias possíveis que a sociedade permite ao artefato. / This research presents a process of musealization that has as its result the development of Bar Ocidente Digital Archive, it is a digital collection that features on the internet a printed set of Bar Ocidente, a place that is part of the memory of the city of Porto Alegre, Rio Grande do Sul. It discusses the processes that led the set of documents to be considered of interest to the local cultural heritage. It discusses the relation between cultural heritage and information technologies and digital communications. It presents different narratives about the purpose of this digital collection. It discusses and analyzes the techniques, technologies and conceptual foundations used by different teams in different stages of work until the launching of the site. It is considered that the artifacts have stories and it is necessary to understand the context of their creation due to identify and know possible paths that society allows to the artifact. CNPQ::CIENCIAS HUMANAS Cultura material Preservação pela digitalização Museus - Exposições Sites da Web - Desenvolvimento Tecnologia da informação Tecnologia Material culture Digital preservation Museum exhibits Web site development Information technology Technology
60	Communicating science : developing an exhibit with scientists and educators Lemagie, Emily 28 October 2011 (has links) Outreach is a small, but significant component to modern research. Developing an exhibit for public display can be an effective way to communicate science to broad audiences, although it may be a less familiar method to scientists than writing papers or giving presentations. I outline the process of developing an interactive exhibit for outreach, and evaluate and discuss the effectiveness of a computer exhibit designed to communicate estuary currents and scientific modeling using Olympia Oyster restoration in the Yaquina Bay estuary as a theme. I summarize the results of this project in three primary recommendations: 1) exhibit developers should be deliberate in the decision to use a computer and only select this media if it is determined to be the best for communicating exhibit learning outcomes, 2) the design of visualizations to convey research results should be carefully modified from their scientific forms to best meet the exhibit learning outcomes and expectations of the exhibit audience, and 3) scientists should play an integral role in the development of scientific content-based exhibits, but their expertise, and the range of expertise from other members of the exhibit development team, should be strategically utilized. / Graduation date: 2012 Exhibit Exhibit Development Exhibit Design Education Marine Education Marine Interpretation Science Interpretation Informal Science Environmental Interpretation Environmental Outreach Science Education Communicating Science Estuary Interpretation Communication Outreach Science Outreach Free-Choice Learning Informal Education Informal Science Estuary Education Museum Exhibit Interactive Kiosk Computer Exhibit Computer Interface Interactive Touchscreen Kiosk Marine Science Exhibit Computer Display Interactive Exhibit Interactive Visualization Current Simulation Scientific Model Numerical Model Estuary Science Visitor Center Marine Science Center Visitor Behavior Museum Hatfield Marine Science Center Science Center Emily Lemagie Oregon Sea Grant Education Kiosk Educational Kiosk Computer Kiosk Science Communication Touchscreen Interface Backwards Design Tidulator Museum exhibits -- Oregon -- Newport Hatfield Marine Science Center

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