Que savons-nous de la didactisation des pratiques de savoir scientifiques dans le contexte d’un événement public comme la Fête de la science ? Notre recherche étudie ces questions ; nous avons retenu comme terrain d’enquête trois stands d’un village des sciences, à propos des os et articulations, des eaux souterraines et du sable. Les ateliers sont menés par des scientifiques ; le public sur lequel nous enquêtons est scolaire ou non scolaire. Nous menons nos enquêtes auprès des chercheurs dans leur laboratoire pendant la préparation de l’événement, mais aussi dans leur activité ordinaire. Nous suivons une classe d’école élémentaire avant, pendant et après l’événement. Nos cadres théoriques sont la théorie de l’action conjointe en didactique, et l’approche documentaire. Notre méthode qualitative est basée sur des études de cas et s’appuie sur des films d’étude. Nous développons une méthodologie adaptée à cette recherche, sur la base de traitements d’images et de curation des données. Nous donnons à voir nos descriptions, nos analyses et nos résultats avec des systèmes hybrides texte-image-son. Nous proposons une typologie des transactions didactiques en situation de travail conjoint de plusieurs professeurs avec le même groupe d’élèves. Dans ce cadre spécifique, nous contribuons à la modélisation de certaines notions clés : le triplet des genèses (topogenèse, mésogenèse et chronogenèse), les transactions didactiques, les sémioses. Notre recherche met en évidence que l’activité de didactisation des pratiques scientifiques est contiguë et parallèle à leur production. Elle est nécessaire au sein même des laboratoires et s’ajuste aux publics. L’activité de didactisation sur les stands prend en compte toute pratique de savoir. Elle vise à replacer dans leur contexte les pratiques incompatibles avec les pratiques scientifiques. Elle prend en compte les pratiques de savoir compatibles avec les pratiques scientifiques, et amène le public à voir les thématiques abordées comme les scientifiques les voient. Les artefacts utilisés par les « chercheurs-médiateurs » sont ainsi conçus pour donner à voir des phénomènes ciblés. Ils sont combinés entre eux et associés à d’autres ressources matérielles et symboliques, sémiotiques et proxémiques. Le travail empirique a été conduit dans un contexte spécifique et sur un public particulier. Nos résultats doivent être mis à l’épreuve dans d’autres situations. Les ressources méthodologiques et technologiques demandent à être développées, testées et intégrées dans le système de ressources d’autres chercheurs. / What do we know about scientific knowledge practices in the specific context of the French event « Festival of science »? The research studies this question. We have chosen to investigate three stands in a “Life sciences village” about bones and articulations, underground water and sand. Activities are being carried out by scientists; the public can come from schools, but can also be a general public. We investigate in the scientists preparation of the event in their laboratory, and we look at their ordinary activity too. We observe students of an elementary school before, during and after the event. We refer to the theoretical frameworks of the Joint Action Theory in Didactics, and the Documentational Approach. Our qualitative method is based on case studies. The central data we analyze are videos shot during the investigations. We develop a suitable methodology for this research, based on image processing and digital data curation. We provide descriptions, analysis and results with text-picture-sound hybrid systems. We map out a typology of didactic transactions in the case of joint work of teachers with the same group of students. In this specific framework, we contribute to model concepts as: the genesis triplets (topo genesis, meso genesis and chrono genesis), the didactic transactions, the semiosis process. The research highlights that the activity of didactisation of scientific practices is contiguous with and parallel to its production. It is necessary within research labs themselves and has to adjust to the public. In the stands all knowledge practices are studied: some knowledge practices, inconsistent with scientific knowledge, are replaced in their original context. The activity of didactisation associates knowledge practices (consistent with scientific knowledge) with this scientific knowledge. Its aim is to bring the views of the public closer from those of the scientists. Researchers communicate their scientific activity to a public of non-specialists with artifacts which evidence phenomena. These artefacts are linked and associated with other material and symbolic, semiotic and proxemic, resources. The empiric work had been done in a specific context and with a particular public. These results now need to be implemented in other situations. Methodological and technological resources must be further developed and tested in other research.

Data life cycle and research data managemet plans are just two of many key-terms used in the present discussion about digital research data. But what do they mean - on the one hand for an individual scholar and on the other hand for a digital infrastructure like IANUS? The presentation will try to explain some of the terms and will show how IANUS is dealing with them in order to enhance the reusability of unique data. The presentation starts with an overview of the different disciplines, research methods and types of data, which together characterise modern research on ancient cultures. Nearly in all scientific processes digital data is produced and has gained a dominant role as the stakeholder-analysis and the evaluation of test data collections done by IANUS in 2013 clearly demonstrate. Nevertheless, inspite of their high relevance digital files and folders are in danger with regard to their accessability and reusability in the near and far future. Not only the storage devices, software applications and file formates become slowly but steadily obsolete, but also the relevant information (i.e. the metadata) to understand all the produced bits and bytes intellectually will get lost over the years. Therefore, urging questions concern the challenges how we can prevent – or at least reduce – a forseeable loss of digital information and what we will do with all the results, which do not find their way into publications? Being a disipline’s specific national center for research data of archaeology and ancient studies, IANUS tries to answer these questions and to establish different services in this context. The slides give an overview of the centre structure, its state of development and its planned targets. The primary service (scheduled for autumn 2016) will be the long-term preservation, curation and publication of digital research data to ensure its reusability and will be open for any person and institution. One already existing offer are the “IT-Empfehlungen für den nachhaltigen Umgang mit digitalen Daten in den Altertumswissenschaften“ which provide information and advice about data management, file formats and project documentation. Furthermore, it offers instructions on how to deposit data collections for archiving and disseminating. Here, external experts are cordially invited to contribute and write missing recommendations as new authors.

The museum life of archaeological artefacts - A biography of the Valsgärde-collection is a two years master ́s thesis in Archive, Library and Museum studies at Uppsala University in Sweden. It is an object biography of an archaeological collection housed in the university museum Museum Gustavianum in Uppsala. The collection is the result of excavations conducted by Uppsala University in the early 20th century in Valsgärde in Gamla Uppsala parish, Uppland. The aim of the study is to highlight the museum life of archaeological artefacts and relate this to the curation crisis within archaeology, as described in Anglo-American research. Archival material from the museum was examined, using a method inspired by ethnographic content analysis (ECA), in order to write a biography of the curatorial management and use of the collection. The resulting object biography revealed clear signs that the collection had been suffering from problems associated with the curation crisis during its museum life. The perspective offered by the biographical narrative also revealed some long-term issues that resulted in these problems. Both general problems described in research on the curation crisis and issues specific to the Valsgärde-collection is illustrated by this object biography. The study shows that a continuation of the biographies of archaeological artefacts beyond the mere excavation phase offers insights into issues within, as well as possible solutions to, the archaeological curation crisis. / Artefakternas museala liv - En biografi över Valsgärdesamlingen är en objektbiografisk studie över den arkeologiska samlingen från utgrävningarna i Valsgärde, Gamla Uppsala socken, Uppland. Studiens underlag har utgjorts av arkivhandlingar från föremålsarkivet Museum Gustavianum Samlingar (MGS) i Uppsala, där även samlingen förvaltas. Studiens syfte var att förlänga artefakters biografier för att inkludera deras museala liv kan se ut och förhålla det till forskning om samlingsförvaltningskrisen. Dess centrala problematik är att insamlingstakten av arkeologiskt material är för intensiv för att samlings- förvaltning ska hinna med. Resultatet blir att samlingar inte kan förvaltas på ett ansvarsfullt sätt i fråga om bevarande och användande. Studiens metod är inspirerad av etnografisk innehållsanalys (ECA), där datainsamlingen börjat med två huvudkategorier; förvaltning och användande. Inom dessa kategorier har arkivens sammansättning fått styra vilka teman som fått framträda under datainsamlingen. Objektbiografin faller inom forskningstraditionen Material culture studies, vars bärande princip är att materialitet är nödvändig för förståelse av sociala och kulturella skeenden. Objektbiografin erbjuder ett perspektiv som tillåter att kunskap om hur samlingen skapats, behandlats och använts, samt hur dess museala kontext sett ut och hur aktörer förhållit sig till den, kan användas för att förstå ett större fenomen, samlingsförvaltningskrisen. Studiens specifika frågeställningar gällde vad för bild arkiven på MGS kunde erbjuda av användande och förvaltning av samlingen samt hur detta förhåller sig till samlingsförvaltningskrisen. Samlingen har varit föremål för kontinuerligt intresse och användande, trots att den inte blivit fullständigt publicerad eller inventerad. Användandet har bestått av utställning såväl som forskning. Dock har brist på en tidig holistisk finansieringsplan gjort att den utsatts för undermåliga bevarandeförhållanden under sitt museala liv. Ansvariga har i regel varit måna om att ta hand om samlingen och upprepade försök gjordes att färdigställa samlingens bearbetning, men även här förelåg ekonomiska hinder. Arkivens bild av förvaltningen och användandet har tydligt visat att Valsgärde-artefakternas liv inte tog slut då de införlivades i en museisamling. Den övergripande slutsatsen som dragits från studien är att det fyller en funktion att förlänga arkeologiska artefakters biografier för att inkludera deras museala liv, speciellt om man vill komma till rätta med samlingsförvaltningskrisen.

Följande studie syftar till att undersöka den interaktion som följer två kommunikationsstrategier på resebolaget TUI:s Instagramkonto och faller inom det medie- och kommunikationsvetenskapliga fältet. För att uppfylla studiens syfte utformas en huvudfråga och två stödfrågor, som utgör utgångspunkten för uppsatsens resultat- och analysdel. Dessa frågor är: - Hur ser interaktionen ut mellan TUI och dess följare på Instagram? - Hur arbetar TUI med rotationskuratering respektive kommersiell kuratering på Instagram? - Hur skiljer sig interaktionen åt mellan dessa två kommunikationsstrategier? Det ramverk som studien vilar på är teorier kring strukturer i sociala medier, avsändare, word of mouth och visuell kommunikation. Studiens metod är kvalitativ och genom en netnografisk observation studeras kommunikationsstrategierna rotationskuratering, där en anställd kuraterar (skapar) innehållet veckovis, och kommersiell kuratering, där huvudkontoret kuraterar innehållet. Det insamlade materialet analyseras genom en semiotisk bildanalys och en tematisk textanalys. Studien visar att TUI vid kommersiell kuratering använder ett opersonligt textspråk, som kan liknas vid redaktionellt skrivet material, och bilderna är av hög kvalitet. Följden av detta blir kortfattade och opersonliga kommentarer, där fokus ofta ligger på bilden. Följarna omnämner (taggar) andra användare i stor utsträckning vilket leder till interna konversationer följarna emellan i kommentarsfältet. Vid rotationskurateringen använder TUI istället ett mer avslappnat språk, där kuraterarens personlighet tydligt framkommer. Detta genererar kommentarer av mer personlig karaktär, där följarna ställer frågor till TUI och delar med sig av egna erfarenheter. Slutsatserna är att rotationskurateringen resulterar i en mer personlig interaktion, vilket stärker relationen mellan TUI och följarna, medan den kommersiella kurateringen leder till en större delning samt att större fokus läggs vid bilden. / This study falls within the field of media and communication, and aims to research two different communication strategies on the travel company TUI’s Instagram page, as well as the interaction that these strategies result in. In order to fulfill the purpose of the study the following research questions have been defined:  - What kind of interaction is displayed on TUI’s Instagram page, between the corporation and their followers? - How is TUI working with rotation curation versus commercial curation on Instagram? - How does the interaction differ between these two communication strategies? The study is based upon theories about structures in social media, the sender, word of mouth and visual communication. A qualitative method has been used and through a nethnographic observation on rotation curation, where an employee curates the content, and commercial curation, where the head office curates the content, the outcome of both strategies have been studied. The results of the study are interpreted through a semiotic analysis of the images and a thematic text analysis. The study shows that TUI, when using commercial curation, adopts a strict and impersonal way of writing and uses high quality images. Brief and less personal comments, that often revolve around the images, is the resulting fallout. Sharing posts by tagging other Instagram accounts is also common. During the rotation curation, however, a more casual way of writing is being used and the curator’s personality is prominent. This results in comments and interaction of a more personal nature, where the followers ask questions and share personal experiences with TUI. In conclusion, the rotation curation results in a more personal interaction, in which the relationship between TUI and the followers improves, while the commercial curation results in greater sharing and comments focusing on the content of the images.

A conservação de acervos arqueológicos durante muitos anos foi uma temática pouco difundida entre os profissionais e cursos de arqueologia, e mesmo nas disciplinas sobre museus, o enfoque costumava ser voltado majoritariamente para as exposições, não oferecendo as informações necessárias para que se exercesse a curadoria e o gerenciamento de coleções em campo e laboratório. Contudo, o atual cenário nacional tem trazido urgência para os debates sobre o tema, visto o crescente número de coleções provenientes de pesquisa acadêmica e da arqueologia preventiva, deixando as reservas técnicas lotadas e muitas vezes sem oferecer as condições necessárias de guarda, fazendo com que os materiais arqueológicos se acumulem e se degradem com velocidade aumentada. Nesse contexto, esta dissertação tem por objetivo verificar, através de uma pesquisa-ação, as práticas da Musealização da Arqueologia nas instituições museais que salvaguardam acervos arqueológicos no Estado do Rio Grande do Sul, identificando como desenvolveram os procedimentos conservativos que estão sendo empregados e se sentem a necessidade de mudá-los ou potencializá-los por não responderem às expectativas. Deste modo, foram realizados questionários e observação participante com os responsáveis técnicos pelas coleções, a fim de compreender como tem se dado a tomada de escolha das metodologias aplicadas e, posteriormente, um breve diagnóstico do estado de conservação do acervo, por fim, prestou-se assistência, mediante o interesse dessas instituições, para elaboração de protocolos, procedimentos ou atividades regidas pela premissa da preservação do patrimônio arqueológico. / The archaeological conservation\'s collections, for many years was a little known thematic between the professionals and archaeology courses, even in museum classes, the focus use to be mostly on exhibitions, not providing the information needed for the exercise of curation and management of collections in the field and laboratory. However, the current national scenario has brought urgency to the debates on the subject, given the growing number of collections from academic research and preventive archeology, leaving the technical reserves crowded and often without offering the necessary conditions of guard, the archaeological materials accumulate and degrade with increased velocity. In this context, this dissertation aims to verify, through the action research, the practices of the Musealization of Archeology in museum institutions that safeguard archaeological collections in the state of Rio Grande do Sul, identifying how they have developed the conservative procedures that are being used and if they feel the need to change them, or empower them by not responding to expectations. Thus, was realized questionnaires and participatory observation with the technics responsible for the collections, in order to understand how the choice of applied methodologies has been chosen and, subsequently, a brief diagnosis of the conservation status of the collection, and finally, the assistance provided, through the interest of these institutions, in the elaboration of protocols, procedures or activities governed by for the preservation of the archaeological heritage

Made available in DSpace on 2016-04-26T18:13:15Z (GMT). No. of bitstreams: 1 Rodrigo dos Santos Monteiro.pdf: 903684 bytes, checksum: 2eddf5e1e885d9791c608af32acf7988 (MD5) Previous issue date: 2013-08-26 / The goal of this dissertation is to investigate the communicative potential of curation, admitting it as a critical action. The critical role of the curators has been diagnosed particularly from the growing crisis of cultural journalism over the last twenty years. The museums‟ conservators have played similar practices (CHECA, 2008), but the new creating networks have extended these actuations apart from specific institutions, broadening the discussion to other media environments. Thus, to analyze the critical actions inherent curation, I study firstly the development of curatorial practices in museums, but from an exercise in archeology (FOUCAULT, 2005); I expand the debate from interviews of those who were the first curators to act in various systems (OBRIST, 2010) and specifically in Brazil (CHAIMOVICH, 2008). The epistemological approach traced brings studies related to body (GREINER, 2008, 2010; KATZ e GREINER, 1998, 2008; HUTCHINS, 1994; LAKOFF e JOHNSON, 1999) to think about curation as an activity involves perceptual and cognitive processes. As points of analyses were made notes on some festivals of theater and dance (arts from the body), as Festival Internacional de Teatro e de Dança de Buenos Aires (FIBA) and Festival Olhares Sobre o Corpo (Uberlândia-MG), plus a more detailed evaluation of the cultural situation of Ribeirão Pires city (SP) (DUARTE, 2012). The main hypothesis of this dissertation is that a critical curation creates media environments that change the cartography of bodies and territories The information of the works are not only internalized in the body of the viewer, once he/she creates sense to what he/she sees/ hears/ fells. In this way, it is in the nexus between curation and public where new connections are created among work of art, the local context and the public. The research considers the curation as critic when it destabilizes ways of perceiving and acting in the world. To study it, I turn to bibliographies of communication, semiotics, history and art theory, philosophy and cognitive sciences. The expected result is to bring the discussion questions that consider the curation as an area where the artistic forms of communication are designed and tested / O objetivo desta dissertação de mestrado é investigar a potencialidade comunicativa da curadoria, admitindo-a como uma ação crítica. O papel critico dos curadores tem sido diagnosticado particularmente a partir da crise crescente do jornalismo cultural durante os últimos vinte anos. Os conservadores de museus já desempenhavam práticas semelhantes (CHECA, 2008), mas as novas redes de criação têm estendido essas atuações para além de instituições específicas, ampliando as discussões para outros ambientes midiáticos. Assim, para analisar as ações críticas inerentes à curadoria, estudo, primeiramente, o desenvolvimento de práticas curatoriais em museus, mas a partir de um exercício de arqueologia (FOUCAULT, 2005); amplio o debate a partir de entrevistas daqueles que foram os primeiros curadores a atuar em sistemas diversos (OBRIST, 2010) e especificamente no Brasil (CHAIMOVICH, 2008). A abordagem epistemológica traçada traz estudos referentes ao corpo (GREINER, 2008, 2010; KATZ e GREINER, 1998, 2008; HUTCHINS, 1994; LAKOFF e JOHNSON, 1999) para pensar a curadoria como uma atividade que envolve processos perceptivos e cognitivos. Como pontos de análise, foram feitos apontamentos sobre alguns festivais de teatro e de dança (artes do corpo), como o Festival Internacional de Teatro e de Dança de Buenos Aires (FIBA) e o Festival Olhares Sobre o Corpo (Uberlândia-MG), além de uma avaliação mais detalhada sobre a situação cultural da cidade de Ribeirão Pires (SP) (DUARTE, 2012). A hipótese principal da dissertação é a de que uma curadoria crítica cria ambientes midiáticos que alteram a cartografia de corpos e de territórios. As informações das obras não são apenas internalizadas no corpo do espectador, uma vez que este cria sentido para aquilo que vê/escuta/sente. Desta maneira, é no nexo entre curadoria e público que se criam novas conexões entre a obra de arte, o contexto local e o público. A pesquisa considera a curadoria crítica quando desestabiliza modos de perceber e agir no mundo. Para estudá-la, recorro às bibliografias da comunicação, da semiótica, da história e teoria da arte, da filosofia e das ciências cognitivas. O resultado esperado é trazer à discussão questões que consideram a curadoria como uma área onde as formas de comunicação artísticas são projetadas e testadas

The quantity of literature in the biomedical domain is growing exponentially. It is becoming impossible for researchers to cope with this ever-increasing amount of information. Text mining provides methods that can improve access to information of interest through information retrieval, information extraction and question answering. However, most of these systems focus on information presented in main body of text while ignoring other parts of the document such as tables and figures. Tables present a potentially important component of research presentation, as authors often include more detailed information in tables than in textual sections of a document. Tables allow presentation of large amounts of information in relatively limited space, due to their structural flexibility and ability to present multi-dimensional information. Table processing encapsulates specific challenges that table mining systems need to take into account. Challenges include a variety of visual and semantic structures in tables, variety of information presentation formats, and dense content in table cells. The work presented in this thesis examines a multi-layered approach to information extraction from tables in biomedical documents. In this thesis we propose a representation model of tables and a method for table structure disentangling and information extraction. The model describes table structures and how they are read. We propose a method for information extraction that consists of: (1) table detection, (2) functional analysis, (3) structural analysis, (4) semantic tagging, (5) pragmatic analysis, (6) cell selection and (7) syntactic processing and extraction. In order to validate our approach, show its potential and identify remaining challenges, we applied our methodology to two case studies. The aim of the first case study was to extract baseline characteristics of clinical trials (number of patients, age, gender distribution, etc.) from tables. The second case study explored how the methodology can be applied to relationship extraction, examining extraction of drug-drug interactions. Our method performed functional analysis with a precision score of 0.9425, recall score of 0.9428 and F1-score of 0.9426. Relationships between cells were recognized with a precision of 0.9238, recall of 0.9744 and F1-score of 0.9484. The information extraction methodology performance is the state-of-the-art in table information extraction recording an F1-score range of 0.82-0.93 for demographic data, adverse event and drug-drug interaction extraction, depending on the complexity of the task and available semantic resources. Presented methodology demonstrated that information can be efficiently extracted from tables in biomedical literature. Information extraction from tables can be important for enhancing data curation, information retrieval, question answering and decision support systems with additional information from tables that cannot be found in the other parts of the document.

During the 1990s, artists started to explore the possibilities of the World Wide Web. This thesis investigates online artworks by studying their agency. Why do people interact with them, as if they are alive? How do they mobilise people, or make them share visions and ideas? Based on research in largely untapped archives, it presents an in-depth examination of several case studies, exploring the artwork's ability to have the power to act in a variety of social settings. Through studying the life trajectory of the artwork, it also offers insights in how these dynamic entities undergo changes over time and across cultures. Grounded in theoretical literature on the agency of art, this research offers an innovative way of understanding Internet art and it contributes to wider conversations about the agency of art and artefacts. Case studies include: Mouchette (Martine Neddam), 'Mouchette' (1996-present). Web project (www.mouchette.org). Collection of Stedelijk Museum (Amsterdam). Shu Lea Cheang, 'Brandon' (1998-1999). Web project (brandon.guggenheim.org). Collection of Solomon R. Guggenheim Museum (New York). Lynn Hershman Leeson, 'Agent Ruby' (1998-2002). Web project (agentruby.sfmoma.org). Collection of SFMOMA (San Francisco).

In earth observation and climatological sciences, data and their data services grow on a daily basis in a large spatial extent due to the high coverage rate of satellite sensors, model calculations, but also by continuous meteorological in situ observations. In order to reuse such data, especially data fragments as well as their data services in a collaborative and reproducible manner by citing the origin source, data analysts, e.g., researchers or impact modelers, need a possibility to identify the exact version, precise time information, parameter, and names of the dataset used. A manual process would make the citation of data fragments as a subset of an entire dataset rather complex and imprecise to obtain. Data in climate research are in most cases multidimensional, structured grid data that can change partially over time. The citation of such evolving content requires the approach of "dynamic data citation". The applied approach is based on associating queries with persistent identifiers. These queries contain the subsetting parameters, e.g., the spatial coordinates of the desired study area or the time frame with a start and end date, which are automatically included in the metadata of the newly generated subset and thus represent the information about the data history, the data provenance, which has to be established in data repository ecosystems. The Research Data Alliance Data Citation Working Group (RDA Data Citation WG) summarized the scientific status quo as well as the state of the art from existing citation and data management concepts and developed the scalable dynamic data citation methodology of evolving data. The Data Centre at the Climate Change Centre Austria (CCCA) has implemented the given recommendations and offers since 2017 an operational service on dynamic data citation on climate scenario data. With the consciousness that the objective of this topic brings a lot of dependencies on bibliographic citation research which is still under discussion, the CCCA service on Dynamic Data Citation focused on the climate domain specific issues, like characteristics of data, formats, software environment, and usage behavior. The current effort beyond spreading made experiences will be the scalability of the implementation, e.g., towards the potential of an Open Data Cube solution.

當創新不再被視為全新的發明，而更近似於既有資源的重新組合，資源重組（recombination）便成為創新的重要來源。當企業的資源有限時，有一派學者主張運用隨創（bricolage）概念，就地取材地為既有資源賦予全新價值。不過，當組織內部的資源不多，重組之後所得到的創新也相對有限。因此，另一派學者主張從組織外部連結跨域資源，整合各方之長的仲介（brokerage）觀點，在許多知名企業紛紛採用之後，霎時之間蔚為主流。然而，過去對於仲介的研究，大多聚焦於資源重組的過程，卻忽略了企業所面臨的情境制約（constraint）。 有別一般的困難，制約根深蒂固於情境（context）之中，涵蓋的範圍極廣，單一企業往往難以獨力排除，故問題解決（problem-solving）的思維不易奏效。企業如何在制約之下發展創新，是過去的研究較少著墨之處，因此我們對於企業如何回應制約的瞭解相當有限。本研究由制約對創新者的影響切入，強調創新者如何在制約之下仲介資源，並且創意地回應制約，進而發展出「借力使力」的仲介方式，不僅化解制約的阻礙，也透過資源的重新整合，從既有的資源中創造新的價值。 本研究選擇國內某知名媒體集團A公司旗下的B集團為個案公司，B集團深耕活動事業多年，媒體背景為其建立廣博的社會網絡，使其在仲介各方資源時更加順利，因而發展出與眾不同的創意回應。本論文的研究問題為：「企業在面臨制約的情況下，如何仲介資源以回應制約？」本研究以個案公司在2009年底至2010年初所舉辦的梵谷畫展作為研究個案，深入企業以訪談法蒐集資料，採用詮釋型的質性研究方法，分析策展人如何仲介各方資源，借力使力地回應情境制約，使展覽順利舉辦。最後，本研究從策展人回應制約的仲介歷程中，歸納出三種創意回應的設計原則。本研究於學理上的貢獻有二：首先，本研究呈現創新者在制約之下的仲介歷程，補強過去研究較少著墨之處，進而豐富仲介理論的內涵；其次，本研究將創新者透過仲介作為回應制約的過程，作為一種創意回應的形式，進而豐富了創意回應的理論意涵。 / When innovation is regarded as resources combination rather than novel invention, recombination therefore becomes the origin of innovation. One school demonstrated the concept of 『Bricolage』, which transfers existed resources into new values, however, it would be limited if resources are insufficient. The other school referred to 『Brokerage』, which brokers the resources outside the organization and creates new combinations through diversified resources. Nevertheless, most of relative researches focus on the process of recombination, which led to disregarding the constraints met by enterprises. Unlike normal barriers or challenges, constraints in the context are hard to removed for enterprise with insufficient resources. Due to the pervasive effectiveness of constraints, the problem-solving concept may not work well when it is applied to this issue. That is to say, how enterprises innovate under constraints is the issue neglected by past researches. Hence, this research mainly focuses on how innovator brokers diversified resources to respond to constraints creatively. Then we find that a type of brokerage named 『leverage through brokerage』. By this type of brokerage, innovators could respond to the effectiveness of constraints, and create new values through the recombination of existing resources. This research chooses B group, which belongs to a leading media company in Taiwan, as our research case. Rather than ineffective problem-solving ability of enterprise, this research cuts to the point from the effects to innovators in such constraints. B group has devoted into curation industry for many years, it tends to be easier to broker resources from different stakeholders and develop unique creativity since its media background and wide social networks. This research explains: When an enterprise confronts constraints, how does it broker resources to respond such constraints? This research chose 『Van Gogh exhibition』 held from 2009 to 2010 as a case study, adopting deeper research by interviews and using interpretation as qualitative research method, trying to analyze how curator broker resources from different stakeholders and leverage them to respond constraints. Finally, this research generalizes three creative responses as design principles from the curator's responding process to the constraints. The findings of this research demonstrate two academic contributions: (1) Different from past research, this case focuses more on the process of the brokerage when an enterprise try to innovate under constraints, therefore enriches the Brokerage theory. (2) This case concludes the process of curator's responding to constraints through brokerage as a way of creative response, hence complements the creative response theory.