This thesis provides a theoretical study of museums and how today's available technologies for 3D visualization and virtual reality are used in present day museums to further its main objectives. It explores the technologies and proposes additional implementations by thorough analysis of the positive and negative effects and makes a brief overview on possible ways they may be financed.

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This essay uses different angles to analyze how authentic objects and copies are used in an exhibition context. The survey focuses on four research questions. The questions concern the significance of copies in exhibitions and focuses on the relationship between the information conveyed in exhibitions and the objects used to convey the information. The questions also aim to examine the relationship between authenticity and copies and the museum visitors view on copies. The purpose of the survey is to see if the answers to these questions mean that the authentic museum objects are the most significant or if the information is the most valuable and that the objects in that case could just as easily consist of copies.  The methods used for collecting the empirical material is analyzes of relevant literature and interviews. The empirical material is used to illuminate different perspectives on the use and view of copies in exhibition contexts. Previous research is used to analyze the concepts of authenticity and copies. Classic cases of exhibitions based on copies are used to get an insight into how copies can be used in exhibitions. Part of the empirical material consists of interviews with Swedish museums, the interviews are used to investigate how museums today use copies and to perceive the museums´ views on the use of copies. The analysis of the empirical material provides many interesting aspects on this topic, and it turns out that the researchers, the classical cases, and the interviewed museums are more or less in agreement when it comes to the use of copies in exhibition contexts. The copies are perceived to have many positive qualities that can be used in different ways in an exhibition. Overall, the reasoning leads to copies having a significant role in exhibition contexts and is a somewhat unused resource that could be used more than what it currently does.  This is a two-year master´s thesis in Museum and Cultural Heritage Studies.

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'Museum Communication: Learning, Interaction and Experience' is a study of how museums have evolved and handled their communication approaches at both theoretical and practical levels. It discusses questions like; how has museum communication developed? What influences do these developments have on museology and its related disciplines? How will museum communication develop in the future? These are questions closely connected with essential concepts of learning, interaction, participation and experience, which will be discussed throughout the thesis. Learning and exhibition theories will be considered alongside discussions of epistemological and philosophical approaches, interpretation, and social development of museological research. The research forms a discourse analysis of museums' own views and opinions of these issues through replies of a questionnaire. It also focuses on specific case studies and examples in order to combine theoretical definitions and empirical approaches with museological developments. To form a deeper understanding of how museological communication is developing, the research includes interviews with professionals of philosophy and storytelling as well. Finally, the approaches are summarised in a new museum model developed from future studies. This model, called 'The Transformative Museum', identifies essential points in which museums have developed their communication practices and theories, and discusses how these may develop in the future. As the responsibilities of museum curators develop, museums have to embrace the concepts of transformation and flexibility too. Inquiries, research, learning and participation have to be transformed into all kinds of experiences in order to respond to changing needs and flexible structures of communities and societies. The transformative museum will have to acknowledge past traditions, current trends and future opportunities simultaneously in order to become a museum of both present and future relevance for all kinds of visitors and users.

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