Thesis (M.S.)--Oregon State University, 2008. / Printout. Includes bibliographical references (leaves 105-107). Also available on the World Wide Web.

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Η διπλωματική αυτή εργασία εκπονήθηκε στο Εργαστήριο της Ερευνητικής Ομάδας Αλληλεπίδρασης Ανθρώπου-Υπολογιστή του Τμήματος Ηλεκτρολόγων Μηχανικών και Τεχνολογίας Πατρών του Πανεπιστημίου Πατρών. Στόχος της εργασίας είναι η μελέτη και η ανάπτυξη δύο εικονικών χαρακτήρων, μιας ξεναγού και ενός παιδιού-επισκέπτη, καθώς και των συμπεριφορών τους, με αποτέλεσμα την ενσωμάτωσή τους σε μια εφαρμογή ενός εικονικού μουσείου. Ο χρήστης της εφαρμογής-επισκέπτης του μουσείου θα μπορεί να περιηγείται στους χώρους του, να αλληλεπιδρά με τα αντικείμενα του μουσείου και να πληροφορείται με τη βοήθεια της εικονικής ξεναγού σχετικά με αυτά. Το μουσείο στο οποίο αναφέρεται η διπλωματική εργασία είναι το “Μουσείο Σολωμού και Επιφανών Ζακυνθίων” που βρίσκεται στην Ζάκυνθο. / -

Η παρούσα διπλωματική εργασία αφορά τη σχεδίαση της εσωτερικής ηλεκτρολογικής εγκατάστασης στα αρχιτεκτονικά σχέδια μουσείου και στην ακουστική μελέτη αμφιθεάτρου εντός του μουσείου. Για την σχεδίαση της ηλεκτρολογικής εσωτερικής εγκατάστασης χρησιμοποιήθηκαν τα σύμβολα και οι κανονισμοί από τον ΕΛΛΟΤ HD 384. Για την κατασκευή των ηλεκτρολογικών σχεδίων χρησιμοποιήθηκε το λογισμικό Autocad 2008 και για την ακουστική μελέτη το λογισμικό CATT-Acoustic v7.2l, το οποίο είναι ένας προσομοιωτής μοντέλου ακουστικής χώρου. Η διπλωματική εργασία χωρίζεται σε 4 κεφάλαια όπου στο πρώτο κεφάλαιο γίνεται μια γενική περιγραφή για την Ε.Η.Ε., γενικές οδηγίες-κανονισμοί και αναφορά στα διάφορα καλώδια και αγωγούς που χρησιμοποιούνται. Στο 2ο κεφάλαιο, εξετάζονται στοιχεία φωτοτεχνίας και εξηγείται αναλυτικά η σημαντικότητα της χρήσης του σωστού είδους τεχνητού φωτισμού στα μουσεία και στις προθήκες τους. Στην συνέχεια, στο 3ο κεφάλαιο γίνεται η παρουσίαση του κάθε ηλεκτρικού κυκλώματος που σχεδιάστηκε και τί αγωγοί, ασφάλειες και συσκευές προτείνονται για την υλοποίηση του. Στο 4ο κεφάλαιο, παρουσιάζεται θεωρία ακουστικής και στο 5ο κεφάλαιο παρουσιάζεται η μεθοδολογία που ακολουθήθηκε, με τη χρήση του λογισμικού CATT- Acoustic, για τη διεξαγωγή της ακουστική μελέτης. Τέλος στο 6ο κεφάλαιο, παρουσιάζονται τα αποτελέσματα και τα συμπεράσματα της ακουστικής προσομοίωσης. / The present dissertation's subject is the design of internal electrical installation for the architectural plans of a museum, as well as the acoustic study of an amphitheatre inside the museum premises. For the design of this internal electrical installation symbols and regulations from ELOT HD 384 were used. The construction of the electrical plans was done on the software AUTOCAD 2008 and the acoustic study was done using the CATT-acoustic v.32, which is a software for simulating room acoustic. The dissertation is divided in 4 chapters, where in the first chapter a general description of the internal electrical installation is given, general instructions and regulations and reference to cables and wires that are used. In the 2nd chapter, elements of light are examined and the importance of using the correct kind of technical light in museums and their show-cases is explained thoroughly. Next, in the 3rd chapter, every electrical circuit that is designed is presented with the appropriate cables fuses and appliances for its implementation. In the 4th chapter, the acoustic theory is explained and in the 5th chapter the methodology followed for the acoustic simulation, with the use of the logismic CATT-Acoustic, is presented. Finally, in the 6th chapter the results of the acoustic simulation are presented and analyzed.

This study has been carried out from two points of view: how museums have changed to adapt to new technologies and the inclusion of people with different disabilities as a target group when developing a new product. This study is done through a series of qualitative interviews made to museum staff and personnel related to the target group, belonging to working directly any of the groups in which the disabilities are divided. Through the study and the application of their answers and contributions as well as the data collected in previous studies, the development of an interactive-multimedia Lab was accomplished, which is installed in the museum Kulturfabriken in Skövde. In order to execute a product development process properly, an adequate methodology was developed, which combines working methods, focused directly on the elaboration of the product from the most practical point of view and analysis methods, which helped analyze the process in an appropriate way through the different interviews and meetings held with the focus groups, to make a customized product with the needs of the museum, but also to combine the needs of the groups with disabilities and special features such as: surround sound system and immersive space, in order to create a suitable multimedia space.

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This thesis offers an examination of egg-collecting, which was a very popular pastime in Britain from the Victorian era well into the twentieth century. Collectors, both young and old, would often spend whole days and sometimes longer trips in a wide variety of different habitats, from sea shores to moorlands, wetlands to craggy mountainsides, searching for birds’ nests and the bounty to be found within them. Once collectors had found and taken eggs, they emptied out the contents; hence, they were really eggshell collectors. Some egg collectors claimed that egg-collecting was not just a hobby but a science, going by the name of oology, and seeking to establish oology as a recognised sub-discipline of ornithology, these collectors or oologists established formal institutions such as associations and societies, attended meetings where they exhibited unusual finds, and also contributed to specialist publications dedicated to oology. Egg-collecting was therefore many things at once: a culture of the British countryside, from where many eggs were taken; a culture of natural history, taking on the trappings of a science; and a culture of enthusiasm, providing a consuming passion for many collectors. By the early twentieth century, however, opposing voices were increasingly being raised, by conservation groups and other observers, about the impact that egg-collecting was having on bird populations and on the welfare of individual birds. By mid-century the tide had turned against the collectors, and egg-collecting in Britain was largely outlawed in 1954, with further restrictions imposed in 1981. While many egg collections have been lost or destroyed, some have been donated to museums, including Glasgow Museums (GM), which holds in its collections over 30,000 eggs. As a Collaborative Doctoral Award involving the University of Glasgow and GM, the project outlined in this thesis aims to bring to light and to life these egg collections, the activities of the collectors who originally built them, and the wider world of British egg-collecting. By researching archival material held by Glasgow Museums, published specialist egg-collecting journals and other published sources, as well as the eggs as a material archive, this thesis seeks to recover some of the practices and preoccupations of egg collectors. It also recounts the practical activities carried out during the course of the project at GM, particularly those involving a collection of eggs newly donated to the museum during the course of this project, culminating in a new temporary display of birds’ eggs at Glasgow Museums Resource Centre.

abstract: The Victorian era was the age of museum development in the United States. In the wake of these institutions, another important figure of the nineteenth century emerged--the flâneur. The flâneur represents the city, and provided new mechanisms of seeing to the public. The flâneur taught citizens how to gaze with a panoptic eye. The increasing importance of cultural institutions contributed to a new means of presenting power and interacting with the viewing public. Tony Bennett's exhibitionary complex theory, argues that nineteenth-century museums were institutions of power that educated, civilized, and through surveillance, encourage self-regulation of crowds. The flâneur's presence in the nineteenth century informed the public about modes of seeing and self-regulation--which in turn helped establish Bennett's theory inside the museum. The popular writing and literature of the time provides an opportunity to examine the extent of the exhibitionary complex and the flâneur. One of the most prominent nineteenth-century authors, Henry James, not only utilizes museums in his work, but he often uses them in just the manner Bennett puts forth in his theory. This is significant because the ideas about museums in James's work shaped the minds of an expanding literary public in the United States, and further educated, civilized, and regulated readers. James also represents the flâneur in his writing, which speaks to broader cultural implications of the both exhibitionary complex on the outside world, and the effects of broader cultural influences on the museum. Beyond the impact of James's work, in the late nineteenth century American culture increasingly became centered around the printed word. The central position of books in American culture at the end of the nineteenth century allowed books and libraries to appropriate the exhibitionary complex and become tools of power in their own right. The book and the library relate to the museum as part of a larger cultural environment, which emerged as a result of modernity and a response to the ever-changing nineteenth-century world.   / Dissertation/Thesis / M.A. History 2011

This thesis is the written result of a practice-based PhD. The thesis presents a 'located' model of curatorial practice that aims to actively benefit the cultural landscape of host regions. It challenges existing definitions of 'the curatorial', taking a multidisciplinary understanding of curatorial practice and evaluating curatorial methods in light of recent geo-political developments. Concerned with the effects of changes in European cultural policy, and the geopolitical position of the Mediterranean basin, this thesis evaluates contemporary curatorial practices in the Euro-Mediterranean Partnership context and, through practice-based interventions, suggests ways to develop situated curatorial processes, appropriate to their geographical context. Specifically, I argue that the temporary, large-scale exhibition formats financially supported by EU policies, such as the European Regional Development Fund, are not necessarily the most appropriate or beneficial to the cultural development of their host regions. I therefore propose an alternative set of methods, tools and considerations for a self-reflexive model of curatorial practice. This proposal takes the form of a curatorial initiative 'Vessel'; a long-term practice-based research project that seeks models of practice that effectively enable local engagement in cultural production, allowing culture to flourish independently of larger hegemonies. Several of Vessel's experimental initiatives are presented here, and appraised in order to build a theoretical understanding of 'located' curatorial practices that can inform alternative approaches. This research is developed through case studies of Manifesta, Liminal Spaces, Matadero and Intermediae; all of them testing grounds for 'Vessel', a curatorial initiative based in Puglia, Italy. Puglia has been chosen as a site for this research because of its central role in the current Mediterranean situation. This thesis illustrates the theoretical, geographical and historical context of this investigative project, and documents the evolution and outcomes of the curatorial initiative attempted. This thesis represents the first practice-based study of contemporary curatorial practices in the Euro-Mediterranean Partnership (EUROMED) context, which seeks primarily to develop situated curatorial processes appropriate to their geographical context. The thesis discusses aspects of human geography, cultural studies, social science and European studies, all filtered through practical implementation and reflective examination of the main discipline of interest: curatorial studies. This research acknowledges the role of the curator as a mediator between cultural producers and the political and bureaucratic conditions for cultural production. This role offers the opportunity to develop an awareness of the potential influence of those conditions on the artists, their work and their audiences. In other words, the curator is in a unique position to have an overview of the practices, interests and concerns of cultural producers, as well as those of policy makers and administrative bodies, and any potential conflicts of interest that may arise. Thus, curators are in a privileged position to operate as proactive agents, particularly when they observe that cultural policies are not achieving the aim of fostering cultural development. This thesis, therefore, invites curators to consider their responsibility to critically assess the long-term effects of their practice on cultural and epistemological development in Europe. The thesis is divided into four chapters. Chapter 1 presents the research questions, clarifying their terminology and broadly discussing their rationale, context and theoretical focus. The chapter questions current EU cultural and economic strategies and suggests that they may be misguided. In Chapter 2, the level of analysis shifts from the geo-political context to a more specific situation: the position of art practitioners involved in the above situation, and the outcomes produced. Since the exhibition format is popular and has been envisioned by the EU cultural agenda as one of the most effective instruments for creating a dialogue between different geographical areas, Chapter 2 challenges this understanding of the format and the ways of production embedded in it. Chapter 3 presents a series of alternative curatorial approaches coming from the South and related to the four theoretical pillars of the self-reflexive approach: geography, time, process and epistemology. Starting with the methods used to investigate the case studies, the chapter traces connections between theory and practice. The chapter moves through close readings of the alternative case studies and comparative analysis, to the use of self- reflexive practice. Chapter 4 is at the heart of the thesis: it presents the methodologies underpinning both the approach to case study analysis and the practical research. This involves the curatorial proposal put forward and practised through Vessel. Vessel is therefore presented, in Chapter 4, as a self-reflexive model of located curatorial practice that is appropriate for located curatorial engagement. The conclusion addresses the capacity of curatorial practices to cultivate local epistemologies. I propose the outcome of the Vessel research project, and associated case studies as a set of curatorial methods and considerations for a 'located' model of curatorial practice.

Submitted by Débora de Souza Simões (debora-dss@hotmail.com) on 2018-06-25T22:04:48Z No. of bitstreams: 1 Dissertação_Débora de Souza Simões_corrigida.pdf: 2850036 bytes, checksum: 7c6ee8f55d342a92b7067a0ee5189516 (MD5) / Approved for entry into archive by Priscila Carreira B Vicentini null (priscila@fclar.unesp.br) on 2018-06-26T17:35:35Z (GMT) No. of bitstreams: 1 simoes_ds_me_arafcl.pdf: 2797980 bytes, checksum: d958ab07966c034bb2cdcbb92570208a (MD5) / Made available in DSpace on 2018-06-26T17:35:35Z (GMT). No. of bitstreams: 1 simoes_ds_me_arafcl.pdf: 2797980 bytes, checksum: d958ab07966c034bb2cdcbb92570208a (MD5) Previous issue date: 2018-04-26 / A presente pesquisa teve por objetivo investigar a representação de memórias e identidades culturais que o Museu Histórico e Pedagógico ‘Voluntários da Pátria’ de Araraquara expõe, em específico, como a coleção de Arte Popular, representada pelas obras de Mestre Dito e Mestre Jorge, se insere nesse contexto. Partimos do pressuposto de uma marginalização dessas memórias dentro da instituição pelo espaço que ocupam e, compreendendo o museu enquanto um local de conflito, de memória, esquecimento e ausência, nesse sentido, buscamos na historiografia da cidade, na história do negro em Araraquara, na história de constituição da instituição e na atual exposição presente no museu, compreender como esse processo, posto aqui como histórico, se reproduz no museu. Utilizamos do aporte teórico que se propõe a compreender a história, a memória e o tempo, relacionando tais conceitos ao de museu, com o intuito de compreender e definir qual o tipo de museu histórico em análise, qual a tradição que segue, e qual a relação entre sua expografia e a historiografia sobre a cidade de Araraquara. / The present research had as objective investigate the representation of memories and cultural identities that the Museu Histórico e Pedagógico “Voluntários da Pátria” of Araraquara exposes, specifically, how the collection of Popular Art, represented by the works of Mestre Dito and Mestre Jorge, is inserted in this context. We start from the assumption of a marginalization of these memories within the institution by the space they occupy and, understanding the museum as a place of conflict, of memory, forgetfulness and absence, in this sense, we look for in the historiography of the city, in the history of the black people in Araraquara, history of the constitution of the institution and the present exhibition in the museum, to understand how this process, put here as historical, reproduces itself in the museum. We use the theoretical contribution that proposes to understand history, memory and time, relating these concepts to the museum, in order to understand and define the type of historical museum under analysis, which tradition follows, and which relation between its expography and the historiography on the city of Araraquara.