Thèse de doctorat--Archéologie--Paris 1, 2003. / Bibliogr. p. I-XVI.

Thesis (M.A.)--State University of New York at Binghamton, Department of Anthropology, 2008. / Includes bibliographical references.

Thesis (Honors)--College of William and Mary, 2009. / Includes bibliographical references (leaves 84-87). Also available via the World Wide Web.

The study will investigate the creation and manipulation of experience in interior space. With phenomenology as the premise, the object becomes secondary to the experience. The site will be an unutilized vault structure on the Ditsong: National Museum of Natural History grounds in Pretoria. To give expression to experience, the program chosen is an experience based exhibition that adds onto the current exhibition at the museum. The exhibition will change annually to ensure variation for yearly visitors. To facilitate changing the exhibition, the spaces will be designed with the senses as base layers. Each space will be experienced primarily through one of the senses, so that the user becomes more aware of the specific sense in that space. The exhibition that layers onto the sense layer can focus on that sense to convey facts about the subject. The chosen subject for the exhibition detailed in the project is the insect collection. The purpose of the exhibition will be to show how insects use their senses. The senses of the insect will layer onto the basis layer of human senses. Because everything we experience is through our own senses, we can only get an idea of what the insect would experience. There will always be the interlayer of our own senses. Hierdie studie ondersoek die skep en manipulasie van ervaring in die binneruim. Met fenomenologie as uitgangspunt word die objek sekondêr tot die ervaring. Die perseel sal ‘n ongebruikte gewelf struktuur op die Ditsong: Nationale Museum van Natuurlike Geskiedenis se gronde in Pretoria wees. Om uitdrukking te gee aan ervaring is die gekose program ‘n ervaring gebaseerde uitstalling wat toevoeg tot die huidige uit-stalling by die museum. Die uitstalling sal jaarliks verander word om variasie te verseker vir gereelde besoekers. Om die verandering van die uitstalling te vergemaklik, word die ruimtes ontwerp met die sintuie as basis laag. Elke ruimte sal primêr ervaar word deur een van die sintuie sodat die gebruiker bewus word van die spesifieke sintuig in daardie ruimte. Die uitstalling wat gebaseer is op die sintuigbasis kan fokus op daardie sintuig om feite oor die onderwerp oor te dra. Die gekose onderwerp vir die uitstalling uiteengesit in die projek is die insekversameling. Die doel van die uitstalling sal wees om te wys hoe insekte gebruik maak van hulle sintuie. Die sintuie van die insek sal bo op die basis laag van menslike sintuie gevoeg word. Omdat alles wat ons ervaar deur ons eie sintuie geskied, kan ons slegs ‘n idee kry van wat die insek sal ervaar. Daar sal altyd die tussenlaag van ons eie sintuie wees. / Mini Dissertation (MInt (Prof))--University of Pretoria, 2010. / Architecture / unrestricted

<p>The purpose of this paper was to analyse “Identity- about trademarks, signs and symbols”. The project was a co-operation between the National museum of Art and Stockholm School of Economics in the spring of 2002, which consisted of an exhibition, a book and a series of seminars. The goal was to illustrate how the trademark had developed through history, which role it has in the modern society and how the trademark serves as a creator of identities. The project, mostly the exhibition, was exposed to criticism, which was directed towards the sponsorship deals between The National Museum of Art and five companies.</p>

The aim of this study is to give a historical view upon and examine the development of local and regional cultural history museums in Norway as a topic in Norwegian cultural policy 1900 – circa 1970. The present thesis is divided into four main parts: In part one data sources and theoretical perspectives are presented. The thesis is written in museology and this is the background for a perspective where of local and regional museums arose as a subject requiring development of public politics. The theoretical perspective is how development of politics frequently appears as a choice between various alternatives based on available contemporary material and ideological suppositions. Local and regional museums appear in this perspective as a cultural phenomenon in their own age, a phenomenon to which Stortinget, the Ministry and the museum profession attached both interpretations and conceptions. In part two, entitled “Concern over a group of museums” the parallelism between museum growth and policymaking from 1900 – 1920 is analyzed. Development of politics in these years can be considered as a process where the formation of clearly defined guiding principles for practice by the authorities took place. In the centre of this development of politics was the regulation on governmental subsidy based on a political framework the need to conform to norms related to calculability and equal treatment. At the same time it does appeared the legitimacy to carry out disciplinary measures was nourished by a conception of local and regional museums as unruly and an image of them as a type of “freely growing” institution. In part three, “A formative recognition”, deals with the growing cooperation between The Norwegian Museums Assosiation and the Ministry in the field of local and regional museum and how it influenced the work in this museum. Cooperation with the museum society ensured that a competent apparatus was available to the Ministry. This led gradually to development of a new administrative regime, more specifically a move toward something which can be described as a professional administration. Part four “Consolidation of the politics” examines the development 1945 – circa 1970. The new tendencies would turn out to reflect an increasing awareness of the educational opportunities for future museum personnel, different solutions for establishing good professional guidance for the unmanned museums and, in parallel within the professional museum milieu, an emerging debate on the museums’ role in society. Common for all these initiatives is that they demonstrate what one could characterise as an increasing degree of professionalism. Part four end with the Proposal from the Museum Committee of 1967. This white paper was presented by the Ministry of Churches and Education in 1972. The document was the first of its kind and was intended to be recognised as a comprehensive plan.  The most tangible result of the white paper was the arrangement for subsidies to semi-public museums which was introduced in 1975.

The purpose of this paper was to analyse “Identity- about trademarks, signs and symbols”. The project was a co-operation between the National museum of Art and Stockholm School of Economics in the spring of 2002, which consisted of an exhibition, a book and a series of seminars. The goal was to illustrate how the trademark had developed through history, which role it has in the modern society and how the trademark serves as a creator of identities. The project, mostly the exhibition, was exposed to criticism, which was directed towards the sponsorship deals between The National Museum of Art and five companies.

Eritrean art and material culture has not been accorded its rightful pace, neither has it been sufficiently isolated from its Ethiopian counterparts. Like the other reconstruction challenges facing Eritrea, following the 30 years' war for independence, the field of art and culture is in need of reconstruction. This study aimed to contextualize selected Eritrean material culture in terms of social, cultural, historical, art-historical and iconographic values. The selected artefacts have been studied in terms of construction, tactility of materials, iconography and functionality of the objects' form and surface. This dissertation provides a photographic documentation of the study samples. Results of this study indicate that makers of Eritrean material culture primarily aimed at the functional values of most of the objects instead of the aesthetic values. This is clearly shown on the form of the objects which describe the function. The makers produced the material culture to their own taste, reflecting the culture or religion they represent. The study samples are taken from the Ethnographic Section of the National Museum of Eritrea (NME). This study investigated museum practices, including challenges and limitations, as well as future plans of the NME. Information was elicited from knowledgeable individuals, fieldwork data collection, secondary sources and visual analysis of the study sample. The study recommended that this young institution (NME) needs to be empowered by the Government and solve its problems, so as to play a major role in reconstructing Eritrean cultural identity and preserving cultural heritage. In addition, research centres should be established to work on the process of the documentation and construction of Eritrean art history. Besides training individuals, the research centre should organize national and international conferences, conduct workshops and organize, recognize and encourage artists. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2006.

Thesis (Ph.D.)--McMaster University (Canada), 1990. / Source: Dissertation Abstracts International, Volume: 53-01, Section: B, page: 0160. Supervisor: J. R. Kramer.

Thesis (Ph.D.)-University of Melbourne, 2002. / "Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy." Includes bibliographical references (p. 306-351).