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.

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The study examines the impact of communication on customer satisfaction at the Transvaal Museum. Customer satisfaction refers to customer's overall satisfaction or dissatisfaction with the organisation based on all encounters and experience with that particular organisation. Communication has an impact on both customer satisfaction and future behavioural actions of consumers. There are four sources of brand messages namely, planned, unplanned, product and service messages. In the quest for increased customer satisfaction, companies are moving away from the traditional 4Ps (product, price, place and promotion) of the marketing mix to the 8Ps. The other four Ps include physical assets, procedures, personnel and personalisation. Integration of all marketing communications to customers is seen as a key activity in companies' attempts to build long term-relationships. On the whole, the study has indicated that customers of the museum are satisfied with its products, services and messages. However, the research has also shown that customers are not happy with the way the museum handles its planned communication activities. / Communication Science / M.A. (Organisational Communication Research Practice)

This research aims to establish a new way of understanding the ‘problem’ of children and young people’s participation. The problem is that the reality of participation has not lived up to its theoretical promise of enabling children and young people to meaningfully shape their environment on their own terms. With a reflexive approach, the research reformulates the relationship between the theory and reality of children and young people’s participation through investigating two case studies of participation projects in museums and galleries in the UK. In the literature review the problem of participation is situated within the policy, organisational and personal contexts; at each level of context, it is argued that there are fundamental, intractable reasons why the promise of participation cannot be realised in practice. In the case studies participation in practice is investigated in an in-depth way from a range of perspectives, focusing on the framing, practice and experience of the projects through discourse analysis of project documentation, observation of the projects in practice, and interviews with the participants. In the case studies the theoretical contradictions of participation emerge in practice; while the organisations attempt to enable the participants to engage with the project on their own terms, the top-down organisation of the project mean that controls over the participants are unintentionally created. The participants engaged with and experienced the projects in different ways and types of participants were identified in terms of how the projects were navigated. It was found that all participants were able to draw a positive experience from the projects even though there were problematic aspects. In response to the intractable problems of participation, in conclusion it is suggested that ‘spaciousness’ may be a more useful concept, focusing on enabling young people to make sense of their ambivalent experience in organisations in their own way.

Digital material has different preservation requirements than non-digital and is at greater risk of loss unless deliberate preservation activities are undertaken. Digital preservation is an on-going managed process designed to enable continued use of digital material for as long as necessary. Much of the digital preservation research to date has focused on understanding technical steps in preserving digital objects and there has been less attention paid to assumptions about selection and the conceptual underpinnings of practice. Selection is done, not conceptualised. Therefore the aim of this research was to investigate the theory and practice of selection for digital preservation in UK memory institutions. The objectives employed to achieve this aim were firstly to examine the underlying theory relating to selection in libraries, archives and museums of non-digital material. The research then went on to investigate who the stakeholders are in selection, how selection of digital material is performed and identifying the key influential factors in selection. An intensive, qualitative approach was used to complete these objectives. A thorough review of the literature provided a theoretical background to selection in libraries, archives and museums. Then preliminary data were gathered through a set of exploratory interviews with eight digital preservation experts in order to provide an overview of selection for digital preservation. The findings from these interviews then formed the basis for the second set of interviews with twenty five practitioners working in libraries, archives and museums. The views of practitioners were under-explored in the literature although it is they that perform selection. In addition to these interviews, twenty two current digital preservation policies were examined. This research has found that there is on the whole little change required for selecting digital material, in comparison to selecting non-digital material, although technical criteria relating to the ability of the institution to manage and preserve the material are of high importance. There is a clear assumption in institutions of selection leading only to permanent collecting, which should be questioned. This research has uncovered drivers to selection, including external funders, and barriers, which include a lack of confidence and knowledge on the part of practitioners in how to select and manage digital material. Concepts identified through this research provide a deeper understanding of selection for digital preservation in different contexts and encapsulate key factors underpinning selection. The concept of professionalism is a key factor; the need to be professional and ethical guide s practitioners through specific professional skills and knowledge. The practitioners become engaged with digital material and the level of engagement mirrors the way digital material is conceptualised by practitioners. Many stakeholders were identified, including managers, senior managers, users, creators and donors, funders, other organisations and IT staff. Relationships with stakeholders and the possible roles they play in selection were found to be key factors in selection. These findings contributed to the achievement of the final objective, which was to develop a conceptual model of key factors underpinning selection for of digital material for preservation. The conceptual model consists of five main concepts and their relationships: professionalism; relationships; organisational capabilities; material properties; and boundaries. There is a clear need for greater availability and access to training and networking opportunities for practitioners in order to increase engagement with digital material. Through this research, factors relating to selection have been identified and conceptualised. It has uncovered issues not previously addressed, in particular relating to the social aspect of selection. This research provides an understanding of the complexities of selection and the influences upon it.

This research study provides answers to questions pertaining to current practices in the art museum field regarding socially responsive programming and the motivations for developing and implementing such programs. Socially responsive programming is programming that encourages dialogue and debate about social, economic and political issues in order to promote honesty, fairness, concern for the rights and welfare of others, empathy, and compassion (Desai & Chalmers, 2007). The study engaged a mixed methods approach by utilizing a survey and three case studies. The purpose of the survey was to gauge the position of the field in relation to their values and support of socially responsive programs. Janes’ and Conaty’s (2005) four characteristics of socially responsive museums: seeing social issues and acting to create social change (idealism); building and sustaining strong relationships with the community (intimacy); investing time for reflection and resources to fully understand social issues (depth); and judging the museum’s worth, not based on building size, prestige of collections, or attendance numbers, but on the quality programs a museum provides to the community (interconnectedness) guided the construction of the survey and served as an analytical tool for the case studies. The survey sample resulted from distributing the survey through major museum-themed listservs. The survey also aided in identifying three exemplars of socially responsive museum. These institutions, Museo de Arte Contemporáneo de Monterrey, the Columbus Museum of Art, and the San Angelo Museum of Fine Arts, comprised a purposeful sample in order to further investigate museum staff members’ motivations for creating and instituting socially responsive art museum practices. / text

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In this thesis, I will examine how objects are given narrative voices by memorial museum curators, and how these narrative qualities facilitate ethical and critical relations between museumgoers and traumatic histories. My two main points of contention arise out of these questions: 1. What does it mean for an object to be a witness in the context of trauma? 2. What might the material dimensions of witnessing accomplish in regards to museumgoers understanding of and ability to respond to their memorial museum experience? Instead of being silent witnesses to the past, I propose that objects can become contact points of ethical engagement and understanding when it concerns traumatic events in history. The ability and necessity of seeing objects as more than mere things to be manipulated by language and curatorial framing is crucial in cases of trauma, as they can become portals that can help overcome the “constitutive failure of linguistic representation in the post-Holocaust, post-Hiroshima, post-Vietnam era” (Leys, p. 267f). This thesis will contribute to the theoretical and museological conversation concerning objects and their representation in the aftermath of trauma, with an emphasis on interobjectivity as a tool to combat consumptive empathy. Stressing the dialogic and relational functions of material witnesses will underscore the ultimate responsibility of the museumgoer to take on the role of secondary witness, a position that is perhaps fraught with unclear obligations, but is nevertheless crucial in the transmission of difficult histories. / Thesis (Master, Cultural Studies) -- Queen's University, 2013-08-17 11:27:55.134

Digital technology is a pervasive aspect of contemporary society and its influence on narrative has been profound. In the realm of museums digital technology is significantly altering the way museums create and disseminate narrative. Using survey research, this study examines the influence of digital technology on the narrative of American art museums. By surveying museum professionals working in American art museums narrative and technological trends can be identified. This research presents three major findings. First, museum professionals identify American art museums as narrative environments. Second, American art museums are using digital technologies for narrative purposes. Third, digital technology has directly influenced the narrative of American art museums. Recommendations for further areas of study are suggested based on the findings of this research. / Department of Telecommunications