Cette recherche a pour objectif de saisir les mobilisations plurielles et éclatées autour de la mise en récit publique du conflit armé dans un contexte de violence en Colombie. Inspirée par les travaux sur les sorties de conflit et la sociologie de la mémoire, elle prend comme terrain d’observation les lieux de mémoire (musées et maisons de la mémoire, monuments) qui se multiplient depuis la fin des années quatre-vingt-six. Elle envisage les lieux de mémoire comme des objets pertinents pour saisir les rapports de force politiques et sociaux qui se nouent dans un contexte de sortie de conflit très relatif. À partir d’entretiens et d’observations ethnographiques menées dans trois lieux de mémoire, ce travail questionne les effets des lieux de mémoire sur le politique. Il met en évidence les limites du pouvoir des lieux de mémoire à encadrer les mémoires et à participer à la fin du conflit. En revanche, ils pacifient le rapport historiquement conflictuel qu’entretient l’État avec certains groupes sociaux en reformulant des problèmes politiques et économiques sous l’angle du symbolique et en créant de nouvelles formes de luttes et d’engagement politique. Les lieux de mémoire reconfigurent les rapports entre gouvernants et gouvernés : à travers mise en récit du conflit armé, des revendications sociales et politiques en sortent pacifiées et re-politisées. / The aim of this research is to capture the plural and fragmented mobilisations around the elaboration of a public narrative of the armed conflict in a context of violence in Colombia. Inspired by works on conflict resolution and on the sociology of memory, it takes as its field of study the places of memory (museums and houses of memory, monuments) that have multiplied since the end of the eighties. It considers the places of memory as relevant objects to grasp the relationships that come into being between political and social forces in a context of a very relative conflict resolution. From interviews and ethnographic observations conducted in three places of memory, the thesis questions the effects of places of memory on politics. This work highlights the limits of the power of the influence that places of memory have on the framing of the memories and in participating in the conflict resolution. On the other hand, they pacify the historically conflictual relationship that the state maintains with certain social groups by reformulating political and economic problems, giving them a symbolic prism, and by creating new forms of struggle and political activism. Places of memory reconfigure relations between those that govern and the governed: through the elaboration of a narrative for the armed conflict, social and political demands come out pacified and re-politicized.

L'explorateur, anthropologue, collectionneur, homme d'affaires, industriel et poète Auguste Genin (1862-1931), sillonna le territoire mexicain dans le cadre de ses multiples activités professionnelles dès les années 1880. Parallèlement, il développa un grand intérêt pour l'archéologie, l'histoire, la culture et les populations du Mexique. Son « œuvre archéologique» comprend l'ensemble de ses activités d'exploration et ses travaux archéologiques (fouilles, collectes, acquisitions) ainsi que leurs résultats, c'est à dire les collections archéologiques, et la documentation créée autour de ses ensembles. Pendant presque quatre décennies, entre la fin des années 1890 et le début des années 1930, Genin envoya plus de 1100 objets archéologiques à différents musées et institutions, notamment en Europe. Dans une époque charnière pour l'archéologie au Mexique, Genin fut témoin privilégié et acteur de l'évolution de la politique en matière d'études archéologiques et de l'appréciation pour les cultures préhispaniques. Ses travaux préservèrent la « mémoire » des pratiques et du collectionnisme «anciens», tout en s'ouvrant à une nouvelle ère. L'objectif principal de cette recherche est de dresser un profil du collectionneur et, par extension, d'une époque, et d'établir sa place dans l'histoire de la discipline au Mexique, par l'analyse de son œuvre archéologique. Cette dernière n'avait pas encore fait l'objet d'une étude complète, détaillée et synthétique et, en dépit de leur importance et de leur intérêt scientifique, aucun inventaire complet des ensembles n'en avait été dressé. / Explorer, anthropologist, collector, businessman, entrepreneur, and poet Auguste Genin (1862-1931), travelled throughout Mexican lands since the 1880's whilst carrying on his diverse business activities. At the same time, he developed a great interest in the archaeology, history, culture and peoples of Mexico .. His "archaeological work" is here understood as the whole of h.is exploration and archaeological activities (excavation, surface collection, acquisitions), as well as their direct results, that is, the archaeological collections themselves and ail the documentation associated with them. Over the span of more than forty years, between the end of the 1890's and the beginning of the 1930's, Genin sent more than 11 000 archaeological objects to various museums and institutions, mostly in Europe. During a pivotal moment for Mexican archaeology, Genin was a privileged witness and participant of the evolution concerning archaeological practice and study and the appreciation of pre-Columbian cultures. His work preserved the "memory" of "old-time" methods and collecting, and at the same time embraced a new era. The main goal of this research project is to draw a portrait of Genin as collector and, by extension, of a specific period, as well as to establish his place in the history of the discipline in Mexico, through the examination of his archaeological work. The latter had not yet been subject to a complete, detailed and integrated study, despite its importance and scientific interest, nor had a complete inventory of his collections been drawn up.

Hoje a tecnologia digital se aplica de forma maior e mais variada em diversos aspectos do cotidiano. Com esteio nisso objetiva-se identificar aspectos projetuais relevantes no sentido da mediação de conteúdo e potencialização do aprendizado de visitantes em museus por meio da interação com artefatos tecnológicos digitais interativos. Busca-se tal entendimento mediante um estudo de ações projetuais nesta natureza associado a observação do usuário em atividade. Contribuições e influxos para o visitante foram estudados partindo, primeiramente, de uma reunião de padrões e classificações realizadas por alguns autores sobre o tema, para, com amparo nisso, realizar as análises, as quais foram divididas em duas fases. A primeira estruturou-se num estudo de reconhecimento de estratégias projetuais relevantes aplicadas em exemplos notáveis de artefatos estudados, pelo qual foi obtida uma visão geral do estado da arte de aplicações, nacionais e internacionais de designs desta natureza, ensejando a identificação de estratégias projetuais de cunho estrutural e conceitual. Tais análises foram articuladas a um aprofundamento na observação do usuário em interação, por meio de dois estudos de caso selecionados dentre os projetos anteriormente elencados. O primeiro foi o projeto A Voz da Arte, fruto da parceria entre Pinacoteca do Estado de São Paulo e a IBM. Já o segundo se concentra na instalação Relevos da Terra em 3D, situada no Museu Catavento Cultural. A coleta de dados se deu por levantamento de áudio e vídeo da interação de 15 visitantes no primeiro, e 12 no segundo artefato, seguida por entrevistas semiestruturadas com cada usuário, tratando de questões relativas a suas experiências individuais na atividade de interação com interface e conteúdo propostos. Por fim realizou-se uma categorização dos pontos relevantes observados, produzindo um diagrama que sintetiza as estratégias projetuais elencadas em três dimensões de estímulos da interação, divididas em aspectos: materiais; racionais e emocionais. / Today digital technology is applied in a larger and more varied way in different aspects of daily life. Based on this, this research aims to identify relevant design aspects in the sense of content mediation and enhancement of the visitor`s learning in museums through interaction with interactive digital technological artifacts. Such understanding is sought through a study of this nature of designs associated with observation of the user in activity. theoretical contributions and impacts for the visitor were studied, starting from a meeting of standards and classifications carried out by some authors on the subject, in order to carry out the analyzes, which were divided into two phases. The first one was structured in a recognition study of relevant design strategies applied in notable examples of artifacts selected, for which an overview of the state of the art of national and international applications of designs of this nature was obtained, leading to the identification of structural and conceptual design strategies. Such analyzes were articulated to a deepening in the observation of the user in interaction, through two case studies selected among the projects previously listed. The first is the A Voz da Arte project, the result of the partnership between Pinacoteca do Estado de São Paulo and IBM. The second one focuses on the Relevos da Terra em 3D installation, located in the Catavento Cultural Science Museum. The data collection was done by audio and video survey of the interaction of 15 visitors in the first, and 12 in the second artifact, followed by semi-structured interviews with each user, dealing with questions related to their individual experiences in interaction activity with interface and content proposed. Finally, a categorization of the relevant points was carried out, producing a diagram that synthesizes the projected strategies in three dimensions of stimuli, divided into: material; rational and emotional aspects.

ABSTRACT: Small museums occupy a distinctive niche in the world of museums. They hold unique objects in their collections, exhibit them, and educate the public about them. All museums have the challenge to care for collections in a manner that will enhance their preservation for future generations. Large museums have paid staff and budgets for collections care. Small museums, as used in this study, have one full-time staff person or less, who are often inadequately trained in caring for collections. Nevertheless, they still must work to preserve their collections for the future. In this qualitative study, the grounded theory method was used to identify and recommend quality collections care practices in small Utah museums for developing training programs in collections care. There are small museums that practice aspects of quality collections care. These museums were identified using survey forms and Performance Goals records in the Utah Office of Museum Services. Seventeen staff and employees from 15 small museums were interviewed. The data were analyzed using constant comparative analysis to categorize the comments. Themes emerged in response to two research questions: 'What are quality collections care practices in Utah' and 'How are staff and volunteers of small museums in Utah trained in quality collections care practices?' Themes from the collections care aspect centered on knowing what you have and caring for what you have. These included use of the PastPerfect Software Program; timely processing of museum objects; and following the museum's mission, security, housekeeping, and preventative conservation. Themes from the training aspect centered on training efforts within the museum, and training received, learned, or gained through efforts outside the museum. These included the Internet for training, sharing information, workshops and conferences, and mentors and networks. Application of the themes to collections care was discussed, including suggestions for implementation. This was followed by a discussion of the role of small museums, volunteers in small museums, state museum organizations, quality collections care practices, and training for collections care. Finally, an alarm was sounded for some serious issues confronting small museums in Utah, ending with recommendations for further study.

Os Museus e Centros de Ciências nas últimas décadas vêm ganhando espaço dentro dos debates científicos e novas estratégias para atrair o público que os visita têm sido elaboradas. Nesse contexto, a divulgação científica vem se mostrando de grande importância e aliada para aproximar a ciência do público. O presente trabalho tem por objetivo avaliar como uma exposição, contendo uma maquete interativa, referente a uma pesquisa do Instituto de Química de São Carlos da Universidade de São Paulo, pode motivar alunos de Ensino Médio a aprender Ciência. Segundo a Teoria da Autodeterminação proposta por Edward L. Deci e Richard M. Ryan em 1980, o indivíduo desenvolve a motivação intrínseca por meio de três necessidades psicológicas básicas: autonomia, competência e pertencimento. Tais necessidades podem sofrer várias influências externas. A fim de incentivar estas três necessidades, foi elaborada uma maquete interativa de Química, na qual o público interage e aprende com os objetos, para compor uma exposição museal. Para a coleta dos dados, foi realizada a triangulação metodológica com a combinação de estratégias quantitativas e qualitativas. Os instrumentos de coleta de dados utilizados foram o questionário Intrinsic Motivation Inventory com escala Likert contendo cinco fatores que influenciam a motivação intrínseca: interesse, percepção de competência, esforço, valor, pressão e percepção de escolha, uma entrevista semiestruturada e observação. A pesquisa foi desenvolvida com 250 estudantes do ensino médio de escolas públicas das cidades de São Carlos e Ibaté que visitaram a exposição montada na Biblioteca da Prefeitura do Campus USP de São Carlos. A análise dos resultados permitiu verificar que o professor é um importante agente na motivação, no aprendizado e no interesse dos estudantes por Química. Os resultados também mostram a importância da universidade dentro da divulgação científica e sua responsabilidade para a motivação dos estudantes. / The Museums and Science Centers in the last decades have been expanding in the scientific debates and new strategies to attract the visiting public have been elaborated. In this context, the scientific dissemination is proving to be of great importance and coupled to bring science closer to the public. The present work aims to evaluate how an exhibition, containing an interactive mockup, referring to a research of the Institute of Chemistry of São Carlos of the University of São Paulo, can motivate students of High School to learn Science. According to the Self-Determination Theory proposed by Edward L. Deci and Richard M. Ryan in 1980, the individual develops intrinsic motivation through three basic psychological needs: autonomy, competence, and belonging. Such needs may undergo various external influences. In order to stimulate these three needs, an interactive mockup of Chemistry was elaborated, in which the public interacts and learns with the objects, to compose a museum exhibition. For data collection, methodological triangulation was performed with the combination of quantitative and qualitative strategies. The data collection instruments used were the Intrinsic Motivation Inventory with Likert scale containing five factors that influence intrinsic motivation: interest, perception of competence, effort, value, pressure and perception of choice, a semi-structured interview and observation. The research was developed with 250 high school students from public schools in the cities of São Carlos and Ibaté, who visited the exhibition set up in the City Hall´s library of the USP Campus of São Carlos. The analysis of the results allowed verifying that the teacher is an important motivation agent, in the learning and in the interest of the students by Chemistry. The results also show the importance of the university within the scientific dissemination and its responsibility for the motivation of the students.

This is a study of the communication environment at The Amazing You, an exhibition about health and wellness with over 400 different exhibits at the Tampa Museum of Science and Industry (MOSI). The purpose of this study is to describe a multi-media, multi-vocal health communication environment which incorporates forms of intervention from various medical communities of practice into a narrative about human life stages. Describing communication at a science center as circular, complex and multi-directional allows for notions of feedback to be considered in an otherwise unilinear and unidirectional process from message to receiver. This research is about science center communication as an integrative, wrap-around process, from medical experts, to exhibit designers, to visitors, and back. In this study I have interviewed MOSI executives to find out about the purposes of the exhibition and the process of consultation, design and implementation. I have also conducted 72 surveys and 22 in-depth interviews with MOSI visitors to elicit feedback about the exhibition. This ethnographic inquiry into a health communication environment shows how visitors are urged to identify with health promotion messages which interpellate them as disease candidates. Using theoretical concepts from frame analysis, classical rhetoric and speech act theory opens up new lines of inquiry for exhibit designers, museum administrators, visitor researchers and critical communication researchers interested in multimedia health promotion.

Past research into defining and measuring the characteristics of learning environments in Science Education Centres and Science Museums (SECSMs) has been based upon low-inference measures, such as observations and interviews. Many searchers feel that the diversity of informal education settings in SECSMs makes it difficult to develop high-inference measures for informal learning environments. This study used the semiformal environment of the CSIRO Science Education Centres as a stepping-stone between formal and informal learning environments. A review of learning environment research identified a possible procedure for the development of, and a format for, a suitable instrument. Research in SECSMs was reviewed to identify learning environment factors that defined the CSIROSEC learning environment. A pilot study was conducted to determine the feasibility of developing a learning environment instrument for CSIROSECs. This led to the more formal process of developing a learning environment instrument for CSIROSECs based upon the five scales of Affect, Social Interaction, Novelty, Independence and Involvement. / A number of cycles of testing of the instrument, statistical analyses, and subsequent refinements resulted in the Learning Environment Instrument for CSIRO Science Education Centres (LEI for CSIROSECs). The instrument measures distinct, if somewhat overlapping, aspects of the learning environment. The LEI for CSIROSECs displays comparable measures for internal consistency (alpha reliability) and discriminant validity to existing learning environment instruments. The sensitivity of the instrument has been demonstrated for the comparison of different classes, comparison of teacher-student perceptions, comparison of primary and secondary classes, and the comparison of CSIROSEC programs. Suggestions have been made for applications of the LEI for CSIROSECs and its further development,as well as its potential use in research.

This thesis investigates how volunteers are organized at visitor attractions. It focuses on museums and art museums; non-profit institutions that manage large volunteer programs. The study addresses five important issues : 1/ in what context do museums and art museums operate; 2/ why people are motivated to volunteer for these institutions; 3/ what is the extent to which the institution interacts with its external environment and how this affects organizing routines of volunteers; 4/ what is the relationship between volunteer motivation, interest dissatisfaction and value commitments; and 5/ how this understanding can result in the better management of volunteers. Two attractions in New South Wales and one in the Australian Capital Territory were investigated. The author collected data on field activities of volunteer managers and coordinators, and administered a questionnaire to the total population of volunteers in these three attractions. The thesis contributes to a more holistic understanding of volunteers that offers a critical theoretical extension to tourism, institutional and neo-institutional literature. / Doctor of Philosophy (PhD)

By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.

This study utilising a 'theory into practice' methodology, interrogates the phenomena of the Australian Regional Art Museum and establishes that curatorship, as a defined visual art practice can sustain the art museum as a viable cultural institution in contemporary regional Australia. It employs a case study of a new model art museum and the curation of selected collections-based exhibitions.