The thesis explores the growing impact of copyright in art museums and galleries in the digital environment. Copyright has a great significance in these institutions but it has not received adequate academic consideration. The aim of this thesis is to examine the role of copyright and underline the foremost copyright challenges to museums and galleries in order to find out the appropriate approach to deal with them. The main argument is that copyright challenges museums and galleries to the extent it could disturb the survival of their mission in the digital domain. It argues that copyright provides insufficient protection to museums and galleries when they are copyright owners of digital and contemporary artistic works in particular. Also, it argues that copyright restricts the capacity of using artistic works by museums and galleries as cultural institutions and therefore it obstructs their activities and mission. Further, it argues that uncertain and deficient copyright policy and management practices represent impediment to the continuity and progress of museums and galleries in the digital era. To this effect, the thesis takes analytical approach and considers the legal primary and secondary resources of relevant laws, cases, academic commentary and journal articles. The legal framework is focused on copyright law of the United Kingdom as stated in the Copyright, Designs and Patents Act 1988 and its amendments. Furthermore, the thesis incorporates a review of an empirical study about the impact of copyright in museums and galleries and which is undertaken for this research purposes. The thesis concludes that it is necessary to deal with the specified copyright challenges in a way that maintains and promotes the mission of museums and galleries and facilitates a broader public access to their collections in the digital environment. In order to achieve this, it is recommended that some copyright law reform is needed concerning in particular copyright protection of artistic works and copyright exceptions available to museums and galleries for specific purposes such as preservation, research, and education. Also, it is proposed that museums and galleries require enhanced understanding of copyright law, more awareness, careful consideration and efficient management of copyright.

This thesis is based on fieldwork carried out among weavers of rush-woven objects in rural Taiwan. In this thesis, I argue that nowadays rush-weaving is good work, though not good labour, for the weavers, and the social logic of Yuanli rush-weaving lies in the process of craft production. It is an ethnographic investigation into the practice of rush-weaving in association with colonialism, the heritage movement, and museum operation. Firstly, this thesis examines the economics and history and practice of craft production, in order to understand how the craft industry has become what it is and what is embedded in the process of production. The skill-based knowledge required of weavers is embedded in the relationship between a weaver and her environment. While this fundamental characteristic remains, new meanings and uses are attached to craft practice and the objects produced. Secondly, this thesis explores the process by which craft production is involved in the heritage and museum movement in contemporary Taiwan, so as to understand the interrelationship between craft production and the movement. I consider how ideas of tradition, heritage, and museums are perceived and enacted in everyday life, and find that these ideas contain contradictions and have different meanings for insiders and outsiders. The analysis as a whole seeks to explain why artisans keep weaving in contemporary society, and that it must be understood in terms of their continuous reaction to the constant transformation that the rush-weaving industry has undergone, which is reflected in the relationship between artisans and their objects in the process of production. The thesis addresses current issues – which are both fiercely contested in events and policies, and marginalised in everyday life – in Taiwan, but also attempts to contribute to the anthropological perspective on knowledge in practice, technology and social logics, past and present, and tradition and innovation.

This Dissertation is submitted in partial compliance with the requirements for the Masters Degree in Technology: Fine Art, Technikon Natal, 1999. / In this research paper I will examine the Durban based 'alternative/informal' art space, the FLAT Gallery, which operated from October 1993 to January 1995. I will begin by first defining what is meant by an 'alternative space' and by looking at the historical development of such spaces both in South Africa and the United States of America. This will include an investigation into the ideological motivations and socio-political influences behind such spaces, as well as an exploration of what is meant by 'alternative practice', which I will show as being inseparable from the mission of the 'alternative space.' This will by no means be a comprehensive survey of alternative spaces in South Africa or the United States, but rather a tracing of the phenomenon with relevant examples. Here, I will explore the similarities that existed between the FLAT and other contemporary artist initiatives in South Africa and the United States, drawing comparisons between the FLAT and other similar venues. I will examine the particular circumstances that catalyzed the FLAT Gallery in the specific cultural and historical context of Durban, South Africa in 1993 and 1994. I will then construct a chronological documentation of the FLAT Gallery' s programme including interviews and extensive visual and audio archives. With this archival information and with detailed descriptions of each event, exhibition or performance, I will create a comprehensive record of the FLAT Gallery's activities. This will include an investigation into the historical influences, with specific examples of linkages to other artist-motivated projects in the past. In this way, I will both identify important precedents for many of the FLAT projects. I will conclude with those 'FLAT activities' that continued beyond the operation of the 'alternative/informal' space. It is my intention to create a document that not only offers a comprehensive study of the FLAT Gallery's programme, but also offers students, recent graduates and emerging artists useful practical information. This document is an affirmation of the possibilities for working and exhibiting once one has left the 'comforts' of faculty guidance, peer support, studio facilities and venues for showing work that the institutional environment provides. My claim is that there rests in the artist the responsibility to actively build a place where his/her development as a creative individual can flourish; that one must not wait for 'permission' or for 'someone' to offer validation of one's work. With this document I intend to demonstrate that it is indeed possible here in Durban to do Something!. / M

This research aims to evaluate the construction of Turkey and the “Oriental other” in Colonial Britain at the turn of the 20th century through a post-colonial theoretical perspective presented through the analysis of various data regarding the 'Aegean & Hittite Collections' gallery at the Public Museum Liverpool (now World Museum) from 1931 till the Blitz of June 1941. The sources include undocumented archives such as field notes, postcards and correspondence and what remains of the 'Garstang Hittite Collection' held at National Museums Liverpool (NML). A full investigation into how the collection was put together through curatorial and archaeological methods, what it consisted of, why these specific objects were chosen and what value were attributed by the collector and curators of the time along with gallery pals and visitors’’ guide book will allow for valid reconstruction and re-interpretation of the “Aegean & Hittite Gallery”. Furthermore I shall also explore the value of displaying a substantial collection of Hittite casts at a time when such objects were tools for Classical and Neo-Classical artistic education, understood by contemporary British society to be the pinnacle of artistic achievement. This Neo-Hittite imagery had no artistic value attributed to it and was displayed in a context of educational value for the lower social classes who could not perceive the ‘high’ arts involved in Classical Greek culture that had been adopted by aristocratic Britain as the paradigm for its own colonial identity; popularly reinforced nationally through various media, including exhibitions such as this, and also internationally through neo-Classical architectural design e.g. The Liverpool Acropolis. My thesis also relates the above premises with the life and work of Prof. John Garstang, his role within the Institute of Archaeology in Liverpool, his contribution to the “Aegean & Hittite Collections' gallery, his role as archaeological agent for private collectors, his work ethics and methodologies and his later role as establisher of British archaeological institutes in Jerusalem, Amman and Ankara. Academic reception of Hittite archaeology in Britain and the newly-formed nation-state of Turkey following the abolition of Ottoman rule in 1923 will also be considered especially regarding Garstang’s standing as a British archaeologist contributing to the Kemâlist Turkish capital city of Ankara in 1947. This research will place the Hittite Gallery’s contents and displays within their archaeological, cultural and intellectual contexts but also aims to explore the political use of contemporaneous Hittite archaeological negotiation both in Britain and Turkey at such a tumultuous time bound together through the work of Prof. John Garstang.

The MA Thesis makes a brief survey about one of interesting trends in museology - the interactivity. First part of the Thesis is devoted to the definition of interactivity in the relation with museums. Interactivity is understanded as a possibility for the visitors to be active and creative at the museum, to use more senses than only their eyes, the possibility to touch the exhibited objects. From all types of museums two are considered to be completely interactive or hands-on - Science Centers and Children's museums. The next part of the thesis is dedicated to the fundamental aspects of Arts Marketing and interactivity is assigned to the Product of museums as one of its aspects. An analyzis of some foreign and Czech interactive museums is also an important part of the Thesis.

Thesis is submitted in partial fulfilment for the degree of Master of Architecture (Professional) to the Faculty of Engineering and the Built Environment, School of Architecture and Planning at the University of the Witwatersrand, Johannesburg, 2017 / Uganda is one of the most ethnically diverse countries on the planet. Under half a century of colonialist rule, the country was subjected to a loss of identity through a painful process of demoralizing propaganda and subordination that sought to create of it a consistently dependent market. Over 50 years after independence, the country is still suffering the repercussions of our recoded identity. The colonial code ensures a people that are constantly subjugated to a foreign, imperialist power, and only through recoding the colonial will we be able to take back the power of self-definition that has defined our post-colonial, neo-colonial state. The soil in which I root is an investigation into the origins and influence of the colonial in the development of national identity in Uganda within the context of Sub-Saharan African states. This research will be investigating appropriate influences, in terms of contextual relation and monumentality, which have been employed in the development of identity: looking particularly into two approaches to national identity generation – the personality cult and the anti-monument. This is conducted in order to determine an appropriate response to a Ugandan “museum” of political history – designed to contradict the existing, colonial, introspective building – within the context of Kampala city. With 70% of the population under the age 24 and the highest ethnic diversity in the world there is an urgent need to recognize Uganda’s identity as a post-independent society, in order for the development of a national self-efficacy and self-determination determination. / XL2018

A pesquisa Famílias no museu de arte: lazer e conhecimento um estudo sobre o programa educativo Interar-te do MAC USP teve como objetivo investigar as motivações dos adultos que optam por proporcionar a crianças e jovens, nos momentos de lazer de sua família, atividades de cunho cultural e educativo e, com isso, observar os desdobramentos destas iniciativas na formação e na criação do hábito de frequentação de museus de arte de todos os envolvidos. Foi selecionado para estudo de caso o programa Interar-te do Museu de Arte Contemporânea da Universidade de São Paulo. Este programa uma das ações de extensão universitária da Divisão Técnico-Científica de Educação e Arte do MAC USP tem como público-alvo famílias e é realizado aos sábados, uma vez ao mês, entre janeiro e novembro; foi criado a partir de uma demanda institucional para a sede do Museu no Parque Ibirapuera, que é muito frequentado aos finais de semana pelas opções de lazer que oferece. Para compreensão do contexto da pesquisa, foram delimitados os conceitos de lazer e de família e abordados princípios sobre educação em museus de arte. Utilizou-se metodologias de análise qualitativa de pesquisa e outras informações complementares foram obtidas através de instrumentos quantitativos direcionados à amostra selecionada para estudo. Constatou-se que há influências da família de origem sobre os adultos na criação de seus hábitos de frequentação de programações artístico-culturais, assim como destes sobre suas próprias famílias, considerando-se a delimitação do perfil que a amostra representa; e, ainda, que o programa educativo Interar-te do MAC USP promove ensino e aprendizagem em artes visuais a diferentes faixas etárias e promove integração entre os membros das famílias que o frequentam. / The research Families in the museum of art: leisure and knowledge a study about the Interar-te Educational Program from MAC USP aims to investigate the motivation of adults who provide their children with cultural and educational activities during their families leisure time, in order to observe the impact of these initiatives on the habit of attending museums of art among these family members. A program called Interar-te, which is developed by the Museum of Contemporary Art of the University of São Paulo (MAC USP), was chosen for this case study. This Program, whose target audience is directed to parents and their children, is held once a month, on Saturdays, between January and November, and is one of the university extension activities provided by the Technical-Scientific Division of Education and Art of MAC USP. It was created to supply an institutional demand of the Museums headquarters, located at Ibirapuera Park, which is a park that receives lots of visitors on weekends because of the leisure options it offers. The concepts of leisure and family were approached, and the principles related to education in art museums were approached in order to provide a better comprehension of the research context. The research was based on methodologies for qualitative research analysis, and other complementary information was collected by using quantitative tools, which were directed to the sample selected for the study. Considering the delimitation of the sample profile, we verified that families play an influential role on adults in relation to the construction of their habits of attending cultural-artistic programs, and that these habits also influence their own families. We also concluded that the Interar-te Educational Program of MAC USP promotes teaching and learning concerning visual arts for people of different ages and promotes integration among the family members who visit the Museum.

Os museus existem desde a Grécia Antiga, mas apenas recentemente, principalmente a partir da metade do século XX, é que se começou a dar importância para a dimensão educativa que esses espaços podem desenvolver. Desde então, as exposições passaram a se preocupar em ressignificar os objetos expostos, pensando no conteúdo que eles podem carregar consigo. Entre a intenção dos idealizadores de uma exposição e as possíveis interpretações dos visitantes há um espaço, e cabe aos mediadores fazer a ponte entre esses dois pontos. Esses mediadores, em geral, são estudantes de graduação, que atuam muitas vezes improvisando, criando um repertório de exemplos, analogias e explicações para aproximar o conteúdo científico de uma exposição do visitante. Este trabalho analisou os mediadores da Estação Ciência (USP), quais os recursos por eles utilizados e com quais intenções eles produzem esses discursos, para então compreender o processo dessa produção na tentativa de comunicar o conhecimento científico. Buscamos nos apoiar nas teorias da Transposição Didática (Chevallard) e do Discurso Pedagógico (Bernstein), entendendo que o museu é um espaço que promove a formação de conceitos e que favorece as interações sociais capazes de promover a aprendizagem, numa referência à concepção de aprendizagem vigotskiana. Os resultados dessa análise permitiram-nos concluir que diversos discursos e saberes influenciam na construção do discurso de um mediador, no entanto, o processo de produção desse discurso mostrou-se pouco consciente e reflexivo quando se trata de comunicar algum conhecimento, e isso aponta para a necessidade de se investir na formação desses profissionais. / Museums have existed since Ancient Greece, but only recently, mainly starting in the 20th century, people have begun to notice the educational dimension that can be developed inside museums. Since then, curators have been concerned about resignifying the objects exhibited, thinking about the content they carry. There is a gap between the intentions of the creators of an exhibit and the possible interpretations of the visitors, and the role of the mediators is to bridge this gap. These mediators are, in general, undergraduate students who often improvise, creating a repertory of examples, analogies and explanations to bring visitors closer to the scientific content of the exhibit. In this paper we analyze the mediators working at USP\'s Estação Ciência (The University of São Paulo\'s Science Station), the type of resources they make use of and their intentions when building their discourses, so that we can finally understand the production process of these discourses (which try to convey scientific knowledge). For that we rely on Chevallard\'s didactic transposition and Bernstein\'s pedagogic discourse theories, with the understanding that the museum is a space that fosters the building of concepts and promotes the types of social interaction that are capable of stimulating learning, referencing Vygostky\'s vision of what learning is about. The results of this analysis enabled us to conclude that several discourses and brands of knowledge can influence the production of a mediator\'s discourse; however, the production process of this discourse is only slightly conscious and deliberative when it comes to conveying knowledge. This points to the necessity of investing in the preparation of these professionals.

Thesis advisor: James O'Toole / This dissertation examines the development of historic house museums in the United States from the mid-nineteenth century to the present to unravel the complex relationship between public presentations of slavery and popular perceptions of the institution. In conducting the research for this project, I examined the historic and contemporary public programming at nineteen separate museums. This sample of museums includes both publicly funded and private sites in both the North and South. By bringing together a diverse group of museums, this project examines national trends alongside regional traditions as well as the role of organizations such as the National Trust for Historic Preservation, the National Park Service, and a host of private institutions in determining different interpretive foci. / Thesis (PhD) — Boston College, 2009. / Submitted to: Boston College. Graduate School of Arts and Sciences. / Discipline: History.

This dissertation reconstructs and investigates the origins of the Pérez Art Museum Miami. In 2013, the museum re-opened in a new, county-funded building to great acclaim and international attention, but the museum’s origins in the 1970s have been largely forgotten. A result of the 1972 “Decade of Progress” bond vote by county taxpayers that allocated funds to build a new art museum, the museum opened as the Center for the Fine Arts in 1983 as a non-collecting institution dedicated to displaying traveling exhibitions. The new institution represented the combined efforts of local government, business, and art to construct not only a place in which to view art but also as part of an overall plan to create a great metropolitan area. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection