As museums continue to shift from being object-centered to visitor-centered, they also need to reconsider their exhibition development practices to become more relevant to their communities. In alignment with this premise, this double case study investigates two exhibitions that were curated using the supported interpretation (SI) model for visitor-centered exhibitions. They were the Mixing It Up: Building an Identity exhibition, taking place at the gallery of the Tempe Center for the Arts in Arizona, and Contemporary Latino Art: El Corazón de San Antonio, an exhibition that took place at the former Texas A&M University-San Antonio’s Educational & Cultural Arts Center. In this dissertation, I examine how SI was implemented at these two exhibitions and how it can be implemented at future ones in other art centers or similar venues. Supporting questions explore the strategies and processes that were used at Mixing It Up and El Corazón, and insights on how the model worked in these two instances. This study was informed by the constructivist paradigm of inquiry. In it, I used a hermeneutic/dialectic methodology and qualitative methods of data collection. At the Mixing It Up exhibition, I conducted observations and unstructured interviews using a maximum variation sampling strategy, and I also analyzed secondary data gathered through one of the interactive components of the exhibition. At El Corazón, I worked exclusively with secondary data gathered through the visitors’ participatory opportunities embedded in the exhibition interface. Moreover, I used self-reflection and Serrell’s (2006) Framework for Assessing Excellence in Exhibitions from a Visitor-Centered Perspective as a professional development tool to go deeper into an understanding of SI and its implementation at these two exhibitions. The findings of this study reveal that both exhibitions included interpretive elements that encouraged visitor participation and validated a multiplicity of voices. But they also show that those components made the exhibitions more meaningful for visitors allowing them to make personal connections with the art on display by themselves or with others. Additionally, as this study investigates how SI worked at these two exhibitions, it also sheds light into possible ways in which it can be implemented at other institutions in the future, and provides recommendations for future applications of it as well as areas for further research. / A Dissertation submitted to the Department of Art Education in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Fall Semester 2017. / October 10, 2017. / art museum education, interactive exhibitions, Latinx art exhibitions, supported interpretation (SI) exhibitions, supported interpretation (SI) model, visitor-centered exhibitions / Includes bibliographical references. / Pat Villeneuve, Professor Directing Dissertation; Carolyn Henne, University Representative; Jeff Broome, Committee Member; Ann Rowson Love, Committee Member; Linda Schrader, Committee Member.

This thesis is about four historical collections of Haida argillite carvings now at the National Museum of Scotland, the University of Aberdeen Museums and the Perth Museum and Art Gallery. Since the early nineteenth century Haida artists have carved argillite, a carbonaceous shale, into objects featuring Haida and European-inspired motifs, for trade or sale to non-Haida others. Scots Colin Robertson, William Mitchell, James Hector and John Rae acquired argillite as part of broader collections from the Northwest Coast of Canada made during the middle decades of the nineteenth century. Each of these men was employed by, or affiliated with the Hudson’s Bay Company. This thesis questions how the meanings and statuses of these objects, collected and deposited in Scottish museums between the 1820s and 1860s, have changed over the nearly two centuries of their existence. Research at these three museums, and at British and Canadian archives, provided the material that shed light on the historical circumstances of the approximately 30 objects constituting these collections. Semi-structured interviews with Haida carvers, community members and experts, and with museum curators elicited insights into the ways these objects are made meaningful today. The thesis examines the collections in four key contexts. First, it explores the ways in which they have been displayed and interpreted at the three museums, shedding light on the trajectories by which museums have represented the objects of others. Secondly, it describes the context in which the argillite carvings were produced, circulated and collected by sketching the social and political character of the Northwest Coast as it transformed through the decades of the fur trade to European colonization. How these objects transformed in status and value according to the agendas of their collectors is the third context, which reflects the character of relationships between Indigenous peoples and newcomers. Finally, I resituate these collections in the context of contemporary Haidas’ perspectives on the value and meaning of argillite carving(s), and propose that these objects can be understood as “inalienable commodities.” The argillite carvings in these Scottish museum collections are objects of exchange, produced and circulated in the contact zone of the mid-nineteenth century Northwest Coast. As such, they are windows into relationships between Indigenous and European people during this period. Collected as curiosities but remade into objects of science, biography and art, this study traces their shifting statuses as they have moved through various regimes of value. This thesis therefore characterizes the exchanges that have occurred around these objects as ongoing and dynamic.

A formação de coleções museológicas no Brasil remonta ao século XIX, período de estabelecimento dos primeiros museus brasileiros. Na gênese destes museus encontra-se também a origem institucional da Arqueologia Brasileira, isto significa também dizer que desde esta época, em meio às coleções formadas no país constam aquelas compostas essencialmente por artefatos arqueológicos. As coleções arqueológicas quando inseridas no contexto dos acervos museológicos se mostram pouco articuladas com outros conjuntos patrimoniais, o que revela então camadas de relações que foram estabelecidas para com estes artefatos e evidencia um processo que destaca o isolamento e o esquecimento dos objetos arqueológicos enquanto elementos constituintes das memórias locais, regionais ou nacionais. Esta "estratigrafia do abandono" é observada no Rio Grande do Norte a partir das relações estabelecidas para com os acervos arqueológicos nos museus Câmara Cascudo, Lauro da Escóssia, Museu do Seridó, Museu do Sertanejo e Museu de Soledade. Assim, estudando realidades institucionais distintas, se busca contribuir para a percepção não só do potencial informativo (arqueológico ou histórico-cultural) e comunicativo (educação e relação com as identidades) das coleções arqueológicas potiguares, mas também para evidenciar a maneira como este campo do patrimônio cultural brasileiro tem sido abordado em terras norte-riograndenses. / The museums collections formation at Brazil its source in the 19th century, when to appeared first brazilian museums. In the origin these museums it's also institutional origin brasilian archaeology, at this moment it's were formed archaeological collections. The archaeological collections not articulate with the others heritages, the archaeological objects it's isolated and forgotten. The archaeological workmanships it's don't do local memories, or national memories. This "stratigraphy of the abandonment" it's observed in Rio Grande do Norte, from this relations with archaeological collections at the museums Câmara Cascudo, Lauro da Escóssia, Seridó, Sertanejo and Soledade. The objective to the researching about institutional realities different is to contribute for the perception not only of the informative potential (archeological or historical-cultural) and communicative (education and relationship with the identities) of the archeological collections potiguares, but also to evidence the way as this bazilian cultural heritage it has been approached in Rio Grande do Norte.

Management of cultural heritage depends on ethical decisions. These ethical decisions will bestow the heritage with a value and will protect it by establishing legal frameworks. However, sometimes, these legal frameworks can have the opposite effect and damage the heritage if they are not continuously revised and updated according to the new ethical challenges of the development in the field of cultural heritage. Although underwater cultural heritage has a legislative element that protects it from the relatively minor threat of treasure hunters, it pays little attention to ethical concerns that expose the heritage to more serious menaces. This study proposes (contrary to the traditional view of land heritage management as an example to underwater heritage management) a new vision where underwater cultural heritage challenges principles that in land heritage management have been taken for granted: valuation, use, management and preservation. The work presents four case studies as models both for illustrating the key ethical issues and for offering solutions: the violin of the Titanic, ancient lead for particle physics experiments, watery graves and the effects of climate change on underwater cultural heritage. Finally this work explores themes of value, ethics and the process in which a common object becomes heritage.

Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: p. 145-147. / by Carol Rose Schwartz. / M.Arch.

Thesis. 1979. M.Arch--Massachusetts Institute of Technology. Dept. of Architecture. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: leaves 84-86. / M.Arch

Thesis (M.Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1980. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: p. 135-137. / by Catherine J. Dean. / M.Arch.

Diferentes são os vieses para a inserção dos espaços de educação não formal na formação do professor, assim como distintas podem ser as interpretações das orientações legais nesse contexto. Assume-se que os museus, especialmente os de ciências, e suas exposições possuem uma didática e currículo próprios e contribuem no processo de formação do professor de biologia, seja como campo de produção de conhecimento seja pelo aporte cultural que representam. Esta pesquisa teve como objetivo caracterizar a inserção das atividades de campo e museus no discurso pedagógico dos cursos de formação inicial do professor de biologia. O referencial teórico-metodológico baseia-se nas teorias de currículo, em especial a do discurso pedagógico de Bernstein. A partir de uma metodologia qualitativa, foram elencados três cursos de Licenciatura em Ciências Biológicas como objeto de análise, baseados nos seguintes critérios: pertencerem a universidades públicas, o conceito no ENADE e a posição geográfica. Os dados foram obtidos via entrevistas e análise documental. A análise de documentos oficiais da Educação Básica e da Superior mostrou a obrigatoriedade da temática museal na formação do professor de biologia e no ensino de ciências contemporâneo. Foi feita uma análise descritiva dos currículos das instituições considerando o projeto pedagógico e matrizes curriculares. Sobre as relações entre os discursos obteve-se: (1) análise exclusiva sobre as relações entre os discursos dos componentes curriculares (sem uma temática específica) e (2) análise das relações entre os discursos de tais componentes a partir da inserção da temática de atividades de campo e visitas a museus. A proposta de um ensino que visa à interdisciplinaridade influenciou os graus muito fraco (1) e fraco (2) das categorias de classificação atribuídas ao curso da UFABC (C-- e C-, respectivamente). A análise curricular da UNESP Assis obteve graus fraco (1) e forte (2) (C- e C+, respectivamente). Ao curso da UNIRIO atribuiu-se grau forte de classificação aos dois instrumentos (C+). Quanto maior for o esbatimento das fronteiras entre os componentes curriculares, mais os discursos de tais componentes dialogam. Parte dos cursos está em processo de reforma curricular e algumas adequações são esperadas em breve. Constata-se que o órgão regulador da área das Ciências Biológicas exerce forte influência no currículo de formação do professor, apesar de não se constituir como o Campo de Recontextualização Oficial, papel este desempenhado pelo MEC. Os dados mostraram que as atividades de campo e visitas a museus são legitimadas como: metodologias de ensino nas universidades (tanto nas disciplinas didático-pedagógicas como nas de formação geral); conteúdo específico de uma área de conhecimento na formação do professor; horas de estágio curricular obrigatório; e atividades complementares. Dependendo de qual componente curricular contemple a temática museal (obrigatório ou optativo) tem-se maior ou menor número de professores discutindo sobre tal temática durante a formação inicial. As práticas de divulgação e popularização da ciência se constituem como demandas relevantes a serem contempladas na formação de professores dessa área. Assim, as diferentes entradas da temática museal nos cursos de formação inicial contribuem para estreitar as relações interinstitucionais (universidade, escola e museu). / Different are the biases to the inclusion of non-formal education spaces in teacher education, as well as different can be interpretations of legal guidelines in this context. It is assumed that museums, especially the sciences ones, and its exhibits have an own didactic and curriculum and contribute in the education of the biology teacher, whether as knowledge production or by the cultural contribution they represent. This research aimed to characterize the insertion of field activities and museums in the pedagogical discourse of the initial educational courses of the biology teacher. The theoretical and methodological framework is based on the curriculum theories, especially in Bernsteins pedagogical discourse. From a qualitative methodology, it was listed three Biological Sciences Degree courses as the object of analysis, based on the following criteria: belong to public universities, the concept in ENADE and the geographical position. Data were collected through interviews and document analysis. The analysis of official documents of Basic and Higher Education showed the museum theme as being obligatory in teacher education of biology and also in the contemporary teaching of sciences. A descriptive analysis of the institutions curricula was implemented considering the education program and their curriculum matrices. Concerning on the relations between the discourses was obtained: (1) exclusive analysis of the relations between the discourses of the curricular components (without a specific subject) and (2) analysis of the relationship between the discourses of such components from the inclusion of the subject of field activities and visits to museums. The proposal for a training that aims the interdisciplinary influenced the very weak degrees (1) and weak ones (2) of the classification categories assigned to the course of UFABC (C-- and C-, respectively). The curriculum analysis of UNESP Assis obtained weak degrees (1) and strong (2) (C- and C+, respectively). To the course of UNIRIO was attributed the strong grade rating to the two instruments (C+). As higher are the blurring of boundaries between the curricular components, more frequent are the dialogues between the speeches of such components. Part of the courses is on curriculum reform process and some adjustments are expected soon. It was noticed that the regulatory authority in the area of Biological Sciences has a strong influence in the teacher education curriculum, although not incorporated as the official recontextualization field, this role is played by the MEC. The data showed that the field activities and museum visits are legitimized as: teaching methodologies in universities (in didactic and pedagogical disciplines as in those of general education); specific content of a knowledge area in teacher education; mandatory curricular training hours; and complementary activities. Depending on which curricular component the museum theme is contemplated (mandatory or optional) it has a larger or smaller number of teachers discussing this subject during the initial training. The practices of dissemination and popularization of science constitute relevant demands to be included in teacher training in this area. Thus, the different entrances of the museum theme in initial training courses contribute to the strengthening of inter-institutional relations (university, school and museum).

The research presented in this PhD dissertation provides a socio-educational perspective on the participatory representation of identity in Greek Laographic Museums. Museums are seen as an extension of formal educational spaces through their educational activities and school partnerships or outreach programmes (Hooper-Greenhill, 2007). However, they are also mainly engaging in the process of interpreting the cultures and communities represented in their collection, thus, assigning them an identity, which they then present to the public (McLean, 2005, 2008). The public, in turn, interprets it through the lens of their own identities. A result of this process is the creation and sharing of new knowledge about identity through exhibition design (Jones, Sandweiss, Mouliou, & Orloff, 2012; McLean, 2006; Newman & McLean, 2006; O’Neill, 2006). This study adopts the stance that exhibition design is the primary way museums are fulfilling their educational role. It puts forward the idea that the involvement of community members in the founding of a museum about their local identity can result in a rich, polyphonous narrative and positively affect the bond and sense of ownership the community develops in relation to the museum and their locale. This is in line with literature predicting that in the context of multicultural societies and increased mobility, bringing people together through shared cultural elements of the location they have in common, can aid social cohesion and inclusion (Graham & Howard, 2008; Hague & Jenkins, 2005; Howard, 2003). As a theoretical starting point, this research was guided by the views of Hall (1997a,1992) on changing identities and the links between identity, culture, interpretation and narrative for being potentially more reflective of current museological practice that is starting to operate within a participatory paradigm. Designed as a case study around the founding of a new museum on a small Greek island, Astypalaia, it used participatory methods in a variety of ways to engage local residents in the process of collaboratively designing the exhibition narrative of this new space that would share the story of life on the island. To frame the main case study, this research also mapped the practices of laographic museums across Greece, in order to point out what a typical museum of that type looks like in this context and assess in what ways Astypalaia is in line or deviates from this. The results of this process were compared to the findings of the case study and linked to literature on participation, education, and identity construction in museums and communities. The following discussion argues that, while collaborative projects require structure, effort and skills in their facilitation, they have the potential to make a museum narrative more representative and inclusive and benefit their participants in multiple ways. By having access to the project from its conception until its final stages, this work aims to provide a holistic view of the challenges and possibilities of implementing a participatory approach in the founding of a new museum and to discuss the knowledge such a process generates.

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.