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<p>Purpose/Aim: Exhibitions in cultural-historical museums have traditionally been object-centered and associated with one-way communication. The aim of this thesis is to gain knowledge about how exhibition producers – and educationalists at swedish cultural-historical museums today relate to communication in exhibitions from a communication scientific perspective.</p><p>Material/Method: The method of the thesis is interviews exhibition producers – and educationalists at five swedish cultural-historical museums about how they work with communication issues in exhibitions. The empiricism gained from the interviews have been analyzed from a communication scientific angle, using two communication theories as idealtypes for communication processes; Shannon and Weaver´s model and Stuart Hall´s encoding/decoding-theory.</p><p>Main results: Communication in exhibitions have developed, much due to the use of more channels for communicating with the visitors and the acknowledgement of the visitor as an active subject in interpreting the exhibitions and their message.Despite this development, communication in exhibitions still have features of a one-way communication. The main feature is the lack of possibilities for visitors to communicate their interpretations and point of views of the exhibition back to the exhibition producers. This leaves the visitors more or less passive in the communication process that is taking place in exhibitions in the same way that the model for communication by Shannon and Weaver describes.</p>

Purpose/Aim: Exhibitions in cultural-historical museums have traditionally been object-centered and associated with one-way communication. The aim of this thesis is to gain knowledge about how exhibition producers – and educationalists at swedish cultural-historical museums today relate to communication in exhibitions from a communication scientific perspective. Material/Method: The method of the thesis is interviews exhibition producers – and educationalists at five swedish cultural-historical museums about how they work with communication issues in exhibitions. The empiricism gained from the interviews have been analyzed from a communication scientific angle, using two communication theories as idealtypes for communication processes; Shannon and Weaver´s model and Stuart Hall´s encoding/decoding-theory. Main results: Communication in exhibitions have developed, much due to the use of more channels for communicating with the visitors and the acknowledgement of the visitor as an active subject in interpreting the exhibitions and their message.Despite this development, communication in exhibitions still have features of a one-way communication. The main feature is the lack of possibilities for visitors to communicate their interpretations and point of views of the exhibition back to the exhibition producers. This leaves the visitors more or less passive in the communication process that is taking place in exhibitions in the same way that the model for communication by Shannon and Weaver describes.

Flexibil and accessibil public relations technologies are able to replace specific communication solutions of e. government based public institution with. Public reations should be recognized as a constituent part of e. governemt policy, which is aimed to governments’ accesability and effectiveness increase, accountability and transparency.

El ecosistema mediático moderno opta actualmente por una nueva forma de contar historias: la narrativa transmedia. Habiendo dicho esto, es la intención de este proyecto de investigación elaborar un análisis sobre la naturaleza de las obras transmediales y los posibles tipos de relaciones que estas pueden generar entre el creador y el consumidor, de manera que los nuevos comunicadores conozcan las herramientas alternativas que están actualmente a su disposición para contar historias. Para conseguirlo, esta investigación utiliza a la franquicia Star Wars y un club de fans, The Force Perú, como sujetos de estudio y se propone a lograr el objetivo principal de examinar una de las estrategias que utiliza el club de fans The Force Perú para generar contenido transmedial en base a Star Wars. Por otro lado, este proyecto de investigación también se propone a lograr el subobjetivo de describir los nuevos contenidos desarrollados por The Force en base a Star Wars a través de su podcast “La mesa de Greedo” y el subobjetivo de analizar la organización de los creadores de contenido del podcast del club de fans The Force Perú. En cuanto a la metodología que se planea implementar en este proyecto, esta se ceñirá a un paradigma interpretativo o cualitativo y tendrá un enfoque etnográfico. De esta manera, las técnicas de recolección de datos serán entrevistas semiestructuradas y no estructuradas. / The modern media ecosystem is currently opting for a new form of storytelling: transmedia narrative. Having said that, it is the intention of this research project to prepare an analysis on the behaviour of transmedia works and the possible types of relationships that these can generate between the creator and the consumer, so that new communicators get to know the alternative tools for storytelling that are currently at their disposal. To achieve this, this research uses the Star Wars franchise and a fan club, The Force Peru, as study subjects and aims to achieve the main objective of examining one of the strategies that the Force Peru fan club uses to generate transmedia content based on Star Wars. On the other hand, this research project also aims to describe the new content developed by The Force based on Star Wars through its podcast La mesa de Greedo and to analyse the organization of podcast content creators from The Force Peru fan club. As for the methodological design that will be implemented within this project, it will follow an interpretive or qualitative paradigm and will have an ethnographic focus. Thus, the data collection techniques will be semi-structured and unstructured interviews. / Trabajo de investigación

Am 3. Juni 2009 beschloss die Europäische Kommission, 2011 zum „Europäischen Jahr der Freiwilligentätigkeit“ auszurufen. Zur Begründung führte sie aus: „Die Europäische Kommission sieht die Freiwilligentätigkeit als gelebte Bürgerbeteiligung, die gemeinsame europäische Werte wie Solidarität und sozialen Zusammenhalt stärkt… Freiwilliges Engagement spielt in so unterschiedlichen Bereichen wie Bildung, Jugend, Kultur, Sport, Umwelt, Gesundheit, Sozialwesen, Verbraucherschutz, humanitäre Hilfe, Entwicklungspolitik, Forschung, Chancengleichheit und Außenbeziehungen eine maßgebliche Rolle“. Das Centre Européen du Volontariat geht in seinem Jahresbericht von 2010 von mehr als 100 Millionen ehrenamtlich Tätigen in ganz Europa aus. Diese Umstände bieten einen willkommenen Anlass, Umfang, Inhalt, Geschichte und auch problematische Aspekte freiwilliger Arbeit im Bereich der Kultur am Beispiel der Landeshauptstadt Dresden zu reflektieren.