ACT Year 9 Exhibitions Program aligns curriculum, pedagogy and assessment in the design and implementation of rich learning tasks, which are focussed on transdisciplinary, problem-based, community-centred issues. It provides an authentic assessment model through a panel assessment process of demonstrated student achievement. This case study research examines the uptake of an Exhibitions approach in three ACT high schools. It discovers, through their own telling, what inspires commitment by participants to the program and the ways that they measure success. The study draws on a rich data set of narrative inquiry and semi-structured interviews with teachers and students from the case study schools. Analysis of the 'lived experiences' of the participants indicates that how individuals profit by the program is determined by five critical factors which are realized differently for them. Further, for the Year 9 Student Exhibitions Program to succeed in meeting its goals of providing for teacher renewal and improved student learning outcomes, and of promoting high school reform, certain conditions must prevail. These conditions converge around the support afforded teachers to build their capacity for curriculum and pedagogical change, and the opportunities for engagement and agency of both teachers and students in the design of the Exhibition task and its implementation. This study investigates the realities of implementing change in schools and its findings augment what theorists would predict for school change. It indicates that the extent to which Exhibitions can drive a wedge into the 'business-as-usual' approach of the ACT's more traditional high schools, and provide an alternative view of what it means to educate for the 21st century, depends ultimately upon the human and structural conditions created in the school, and the authenticity of the approach to uptake. This study contains important recommendations for government and education systems alike as they pursue school change.

<p>Syftet med arbetet har varit att skapa informationsmaterial till Eskilstuna konstmuseum som är anpassat efter målgruppen. Detta önskades eftersom inget liknande material fanns sedan tidigare på konstmuseet. Målet var att besökare och potentiella besökare snabbt skulle kunna få en överblick av vad museet hade att erbjuda. Men också för att ge besökare en möjlighet att kunna få förståelse för vad som visas och hur utställningarna är uppbyggda, utan att behöva gå en guidad tur.</p><p>Detta har gjorts till större delen genom analyser och litteraturstudier, men utprovningar har också varit en stor del av arbetet.</p><p>Resultatet blev två broschyrer som togs fram enligt riktlinjer för informationsdesign, en informationsbroschyr och en broschyr om samlingen.</p>

<p>This study examinates technology's traumatic impact on the male subject in The Atrocity Exhibition by J.G. Ballard. In my analysis I show how the protagonist uses a fetischistic strategy in order to make sense of the trauma that technology embeds. Paradoxically it proves to be the agent of his trauma, but also functions as his shield. The machine is thus in a position of the hinge, the point in a structural system that both enables and deconstruct the system. In the same position we find the woman. She is the very epicentre of the novel and the violence directed towards her is part of a complex problem that I adress. The woman is divided into pieces and fetischized by the male gaze to serve as a solution for his trauma.</p><p>Hal Foster's notion ”the double logic of prosthesis” constitutes a theoretical base. The model shows how a fetischistic strategy is applied by avant-garde artists to solve the technological trauma that they experience. Both content and composition of The Atrocity Exhibition are inspired by avant-garde practices, I have therefore compared the text with Foster's theory on how the avant-garde problematized the interaction between man and machine. Marshall McLuhan's belief that the human body and technology are inseparable in the era of electronics further helps me to study technology's effect on perception.</p>

This curriculum exposes students in Visual Arts classes to the art of exhibition and prepares them to complete the artistic cycle by exhibiting their own work and others. The curriculum is presented in the form of a guide book in which the main body of lessons are geared towards high school Intro to Art classes with quick tips and activities that are adapted toward all grade levels. By learning about all aspects of exhibiting art, theme development, installation design, accessioning and preparing art, and publicity, students are given another tool with which to create a connection with artistic mediums and history. The final goal is to infuse exhibition skills into every aspect of the curriculum as a natural part of learning and talking about art.

My installation, "The Viewers", consists of three life-sized figures and a projected video feed. The figures are placed in and around the gallery space, and the video originates from a hidden camera installed in one of the figures eyes. The first figure that the viewer encounters upon entering the gallery space is hyper-realistic security guard. His position behind the gallery circulation desk, a space which is traditionally assumed not to be an 'art space' allows him to view those entering the gallery while remaining relatively unnoticed. A camera that is installed in his one of his eye sockets and hidden behind sunglasses feeds live images that "he perceives" to another part of the gallery where they are projected. The second figure is a male soldier, positioned covertly on a lighting ledge connected to the ceiling of the gallery. From his high-post, he can clearly view the gallery's occupants through his binoculars, while only being noticeable himself from particular angles. The third figure is a real person dressed as a gorilla. Throughout the evening, he will move through the gallery, viewing and contemplating the artworks and its viewers as well. The purpose of the gorilla is primarily to view the exhibit and the social interaction generated by the gallery setting, but inevitably, viewers will want to interact with him, drawing them into the playful drama of the piece as a whole. Together, and through their individual means of viewing, each figure alludes to the idea of playing a part: the security guard in his fulfillment of the role of a security guard, the soldier in the almost costume-like quality evoked by his camouflage attire, and the gorilla being fairly obviously a performer in costume. That each is in a sense playing a role, and that each has a particular means of viewing the people in the gallery, suggests the additional roles and importance of the fourth element, that of the viewers. My work aims to suggest that the viewers are always playing a part of sorts when viewing an exhibition: the part of the viewer. This references not only the integral nature that the viewer has in defining the meaning of an artwork, but also the role that the viewer agrees to take on – the set of assumptions and mode of viewing the art as ‘art’ – as soon as one enters the gallery space.

This bachelor thesis brings up a discussion about museums availability and access to thearchaeological display objects towards blind and visually impaired visitors. The study phasewill take start in analyzing four museums in south Sweden, all which have exhibitions aboutthe prehistory.Visually impaired and blind visitors don’t have a lot to go on at the current exhibitions aboutprehistory. This is because of the lack of access and availability when it comes to their specialneed. To raise awareness to this problem I took out a survey for the museums to answer. I alsovisited two of the exhibitions to make my own opinion of the museums public areas; such asthe entrance, hallway and the exhibition area. Things I looked out for were Braille, audioguides and objects to touch.The sense to touch is of most importance for visually impaired and blind to create an image ofan object. Because of this I discuss the ability for an exhibition where most of the objects areexposed to all visitors to be touched. An exposure of archaeological object to benefit needsfor visually impaired is an important discussion towards the management of thearchaeological display objects, which leads the study towards replicas and experimentalarchaeology.The conclusion was that it is quite possible to design and customize an archaeologicalexhibition for the visually impaired by factors like; reconstructed objects, route marker fororientation, Braille and audio guides with well rendered image descriptions.

Summary It is inspiring to see museum visitors evolve and develop through art exhibitions. Great potential lay in facilitating the learning experience by art exhibitions, and the possibility of designing exhibitions that make visitors attracted to learn. The purpose of the present work is to study the means of creating favorable conditions for lifelong and enjoyable learning in art exhibitions.   The concept of learning has multiple definitions, and several have been used effectively in various ways in preceding works. The underlying principle of this work is that visitors learn by actively processing information in their own minds and through experiences. The term lifelong learning is often associated with employability and adaptability. In this work, the view of lifelong learning is from a museum perspective, and that it is a form of learning that involves enjoying learning and actively seeking opportunities to learn, irrespective of the level of education and employment status. We define enjoyable learning at art exhibitions as a state of mind when visitors enjoy themselves because they are learning.   Art education has, since the first museums were founded, strived for becoming more available on many levels. Art educators have pursued and attempted to construct more pleasant forms of learning involving more dialogue and participation of visitors. Given that the field of art education is constantly evolving, critical examination of current practices remain useful tools.   A series of questionnaires were handed out to museum visitors during four exhibitions. The visitors were asked to define the reason for coming to the art exhibition in question and to formulate their perceptions of their learning experience. A total of 200 questionnaire replies were collected, examined and analyzed. The primary attraction to the art exhibitions was to have an art experience. 72 of 200 people came just to see and experience art, and 124 people responded that they came to see and experience art along with any of the other options. There were only 6 people who came just to learn, and just as many said they do not like to learn and discover new things in art exhibitions. Based on these results, we find that providing motivation for learning appears important and an underexplored area. To create favorable conditions for lifelong learning in art education is to get a clearer link to personal development and employability. One can facilitate, and attract, visitors to enjoyable learning in exhibitions by letting them know more about the museum, the staff and the thoughts that are behind the exhibits. Partnerships can attract more and new visitors. It is important that the exhibition has an art education that is well established which can enhance the experience of art. The pedagogy should not interfere with the experience of art, considering that some visitors were disinterested or even negative towards learning. Many of the respondents were satisfied but wanted more information through interaction with staff and/or artist. The greatest art educational challenge appears to be providing the visitors motivation for learning by giving them what they did not know they wanted.     Key words: Art education, Museum, Exhibition, Lifelong learning, Enjoyable learning. Sökord: Konstpedagogik, Museum, Utställning, Livslångt lärande, Lustfyllt lärande.

Denna rapport grundar sig i Svenska Mässans planer på expansion och de krav på effektiv hantering och korta ledtider som det medför. Svenska Mässans unika förutsättningar vad gäller yta, bransch och placering medför ett komplext flöde av material. Flödet försvåras ytterligare av att lager och de hallar där eventen genomförs på ligger på olika plan. Den andra delen grundar sig i den litterära brist som finns kring den här typen av logistik. I rapporten introduceras därför ett nytt begrepp - Mässlogistik. Begreppet syftar till att beskriva de verksamhetsspecifika flöden och interna transporter som sker i en sådan speciell bransch som mässbranschen. Genom att definiering av begreppet samt identifiering och fördjupning i de ingående komponenterna, har förslag på hur just Svenska Mässan kan öka sin resurseffektivitet tagits fram. Förslagen är koncentrerade kring deras största problemområden och det som har mest negativ påverkan på flödena. Rapporten är således uppbyggd kring två frågeställningar: 1.     Hur kan lagerstrukturen i möbellagret ändras på Svenska Mässan för att uppnå en högre resurseffektivitet? 2.     Hur ska Svenska Mässan organisera sina interna transporter för att generera en högre resurseffektivitet? För att kunna ge svar på ovanstående frågeställningar har fallstudiemetoden använts där nuläget först har kartlagts för att användas som utgångspunkt och därefter analyserats. Det har gjort att en tydlig bild över problemområdena i form av ostrukturerat lager, bristande planering, hisskonkurrens och ineffektiva transporter har visat sig. Lösningarna på dessa problem har dels hämtats ur litteraturen och dels genom ett logiskt resonemang med inspiration från andra företag. Vidare har en ABC-analys genomförts, på de standardmöbler som används på Svenska Mässans event, vilket har varit en utgångspunkt för att skapa ett effektivare flöde vid in- och utleverans i lagret. Ett ytterligare led i att nå en högre resurseffektivitet, både vid lagring och transport, har varit ett förslag med specialkonstruerade vagnar som lastbärare. Genom en benchmarking på Volvo personvagnar har även kittning undersökts som alternativ för att på så vis kunna förpacka och säkerställa fyllnadsgraden i hissarna och därmed också minska konkurrensen om dessa. I dagsläget hämtar montörerna sitt material själva, vilket leder till att mycket tid används för förflyttningar mellan planen. För att motverka detta har ett förslag tagits fram med att använda sig av materialare. Tanken är att dessa ska förse montörer med allt material de behöver samt att kitta och sekvenslägga montermaterialet. Dessutom ska de ansvara för att hissarna används på ett mer effektivt sätt och därmed öka fyllnadsgraden.   Slutsatser som dragits under detta arbete är att kommunikation och planering är en av de viktigaste grundkomponenterna för att uppnå en högre resurseffektivitet i Svenska Mässans produktionsavdelning. Vidare har det konstaterats att det finns tid att spara genom effektiva transporter samt att utnyttja hissarnas kapacitet på ett mer fullständigt sätt. / This report takes it stance in the Swedish fair’s plans for an expansion and the requirements of effective handling and short lead-times that it implies. The Swedish exhibition and congress centre (SECC) and their unique set of prerequisites concerning space, industry and location results in a very complex flow of material. The complexity of the flow increases further as storage and exhibition halls are located on different floors. The report is of further interest as there is a lack of academic knowledge concerning logistics of this kind. Therefore, this report aims to introduce a new set of terms – exhibition logistics, with ambitions to describe the specific flows and internal transports existing in the exhibition hall industry. By identifying and defining the terms a proposal is given of how the SECC can increase their resource- efficiency.   The proposed advices are focused on the greatest problem areas and furthermore those areas affecting the flows to the highest extend. The report is composed around the following questions: 1.     How can the Swedish exhibition and congress centre’s storage structure and resource storage be changed in order to reach a higher resource-efficiency? 2.     How should the Swedish exhibition and congress centre organize its internal transports to generate greater resource efficiency? To be able to answer the questions above, a case study has been applied. Firstly, research have been undertaken to understand the present situation followed by an analysis of the same. This has given the authors a clear picture of the problem areas; unstructured storage, lack of planning, ineffective use of the elevators as well as inefficient transportations occurring at all times. The presented solutions have partly been collected from relevant academic literature and from an up to date discussion with inspiration from other actors in the current market place. Furthermore, an ABC – analysis have been carried out of the standard furniture’s being used during events at SECC. Proposals for using unique constructed wagons for transporting the equipment have been reported. Yet, this analysis is a further action in order to adapt a greater resource efficiency regarding storage and transportations. At the present time, the assemblers are collecting their material on their own, which results in time consuming movements between storage and working floors. In order to prevent this, the authors have presented a suggestion of using a person for preparing the material. The implication is that they should serve the assembler all material needed for completion and fit for display. Additionally, they should also be given the responsibility of making sure that the elevators are used in a more efficient manner, thereby increasing the occupancy level. The conclusions reflect the importance of two key components that must be improved in order to increase the efficiency in SECC production department - planning and communication. Moreover, it has been concluded that time can be saved by effective transportations and by using the elevators’ capacity to its maximum.

Sammanfattning Mässor förekom som fenomen redan under medeltiden och har allt sedan dess använts som en kanal för försäljning och marknadsföring. Idag tävlar företag och organisationer om mässbesökares uppmärksamhet genom att skapa attraktiva montrar med vinnande koncept som ska locka människor och få dem att lägga företagsnamnet på minnet. Detta är vad Karlstads universitet haft i åtanke då de utformat beskrivningen till detta projekt. Bakgrunden till projektet är att universitetet finns representerat på ett antal mässor varje år, runt om i landet. Uppdraget har således varit att ta fram ett nytt koncept med en tillhörande design till universitetets mässmonter. Syftet med detta projekt är inte primärt att få besökarna att söka till universitetet, utan att de ska minnas det vid eventuell framtida övervägning av vidarestudier. Projektet har utvecklats med hjälp av kvalitativ metodik. Intervjumanualer har utformats för att kunna kartlägga vad kommunikationsavdelningen, studentambassadörer och studievägledare har för åsikter angående monterkoncept. Utifrån informationen som dessa intervjuer gav, skapades en mall över viktiga aspekter att ta till vara på vid utformningen av det nya materialet. Utöver detta har universitetets kommunikationsstrategi studerats och teorier om marknadsföring, varumärke, sinnesmarknadsföring och platser har bearbetats för att skapa ett så bra monterkoncept som möjligt. Resultatet som skapats består av ett koncept med tillhörande trycksaker. Trycksakerna som framställts innefattar bland annat en broschyr, två uppsättningar med roll-ups och en monterbakgrund. Det slutgiltiga konceptet blev ett genomgående sommartema som grundar sig i respondenternas egna associationer och åsikter samtidigt som det anspelar på universitetets huvudfärg som är gul. Känslan som monterns utseende ska förmedla är att man som besökare i montern befinner sig utanför Karlstads universitet på sommaren. Vårt antagande är att detta representerar något utöver ett vanligt monterkoncept och därigenom etsas fast i besökarnas minne. / Abstract   Fairs already existed as a phenomenon in the Middle Ages and has since then been used as a channel for sales and marketing. Today, companies and organizations compete to get the attention of visitors by creating attractive displays with the winning concept that will attract people and get them to put the company name to memory.   This is what Karlstad University had in mind when they designed the specification for this project. The background to this project is that the University is represented on a number of exhibitions each year, around the country. The mission has thus been to develop a new concept with an associated design at the university's stand. The goal of this project is not primarily to get visitors to apply for the university, but that they will remember it in any future consideration regarding further studies.   The project was developed using qualitative methodology. Interview manuals was designed to help identify what the communication department, student ambassadors and counselors thoughts of stand concept were. Based upon the information that these interviews showed, we created a template of key aspects to use  in making new material. In addition, the communication strategy of the university studied, and theories of marketing, branding, sensory marketing and places have been processed to create the best stand concept as possible.   The result created consists of a concept with accompanying printed materials. Printed matter produced includes a brochure, two sets of roll-ups and a display background. The final concept was a recurring summer theme based in the respondents' own associations and opinions, while it alludes to the University's main color that is yellow. The feeling this booth appearance should convey is that a visitor is outside Karlstad University in the summer. This feeling is reinforced by the stand's floor  that is a lawn that joins the display background image representing the university and the lawn beyond. Our assumption is that this represents something beyond a normal stand concept and thus etched in the visitors memory.

The current paper presents a study conducted at CERN, Switzerland, to investigate visitors' and tour guides' use and appreciation of existing panels at visit itinerary points. The results were used to develop a set of recommendations for constructing optimal panels to assist the guides' explanation.