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In this thesis the making and experiencing of the exhibition “Sundi Mongo – A village in Congo” is examined through ethnographical interviews with former and present employees at the Museum of Ethnography in Stockholm. The interviews, together with archive material concerning the exhibition, are analyzed with discourse theory in order to examine how discourses of defining Africa construct application and interpretation of the exhibition pieces. A significant element is dislocation, where the exhibition has been standing since 1983 and the meaning of the exhibition is now expressed as changed. This change of meaning is connected to the change of exhibition ideals and changes in the perception of the exhibition model; a real village called Sundi Mongo, located in southwestern Congo. Change and continuity also concerns interpretations of the museum’s cooperation with the Swedish Missionary Association and affective practices surrounding the exhibition pieces and objects in the museum’s collections. The construction of interpretations of the exhibition pieces and objects are also analyzed with the concept of fantasy.

This thesis presents an investigation into the potential of digitally enhanced exhibition spaces to foster the engagement of children within family groups with museum objects on display, i.e. where physical contact is prohibited. The main focus is on the influence of digital enhancement on visitors’ engagement with artefacts and not on the digital elements themselves. This study has taken the mixed methods approach. It combines ethnographicallyinformed field studies with a design intervention within an overarching methodology of action research. In the review of literature, research from multiple fields including museum studies, interaction design and play research was brought together and examined from the perspective of exhibition design. This led to the development of the Social Dream Spaces Model. This model, which describes how visitors engage with museum objects, was used as the basis for a design intervention aimed at enhancing children’s engagement with exhibited artefacts. In-gallery participant observations were carried out in Bantock House Museum, Wolverhampton. Insights, based on data analysed from the perspective of the Social Dream Spaces Model, were used to develop a prototype of a digitally enhanced space, which was implemented into the existing exhibition. Data gathered in observations before and after the design intervention were compared in order to determine any changes in visitors’ responses to the exhibition. This study demonstrates the benefit of using the Social Dream Spaces Model for designing digitally enhanced exhibition spaces that promote children’s engagement with artefacts and social contact around them. The findings also confirm that designing subtle and nonintrusive digital enhancement can facilitate intergenerational interaction in exhibition spaces.

馬祖特殊的地理位置與歷史背景，形成與台灣本島十分迥異的文化景觀，在「戰地政務」時期封閉的三十餘年，將部分無形的資產保存了下來，另一方面，軍方對於相機的管制，也造成庶民生活的影像記錄缺漏難尋，區域歷史也難以脫離官方色彩。因此，此創作計畫希望透過馬祖耆老肖像、口述，一窺馬祖過去八十年歷史的斷面；也經由老者的面容、生命故事，以替代性的參與重拾對於依公、依嬤溫暖的記憶。此次創作採取「紀實攝影」的方式，結合寫實主義美學，以不編導場景、姿勢，不暗示情緒的「冷面」風格，以「擺拍」的方式拍攝數位馬祖耆老，並輔以現場訪談、文字記錄。最終以展覽的形式整合呈現「攝影敘事」與「圖說敘事」之內容。根據回饋意見，此次的創作成果在體驗與情感方面獲得了不少共鳴，但是展覽呈現仍有改進空間，整體而言，這個主題值得更深入、長久的探索與記錄。 / Due to the unique geographic location and history background, Matsu shows a completely different culture from Taiwan. Matsu has saved the Intangible Cultural Heritage during the military rule that lasting for over 30 years. However, the restriction of camera using caused the difficulty of recording the image and status of the real life within that time. Moreover, the region history is likely to be related to military. Therefore, this project aimed to discover the history of Matsu in the past 80 years through the portraits and oral history of the residents as well as participating the old-days of the “grandparent”. The project has adopted the method of Documentary Photography combining Realism and then illustrated the whole pictures of elders of Matsu in Posed Photography and Deadpan style with the interview and words recording. The project has been presented through an exhibition that integrated Photography Narrative and caption. According to the result, there were a great number of feedback shows this project successfully acquired the feedback both in emotion and personal experience. Although it can be seen that some of improvement are necessary, generally to say, this project is worthy to be developed as a long-term project which can be explored and recorded in deeper and more comprehensive way.

國內的文化大型特展，從1990年代開始蓬勃發展，一般為期三個月的大型特展需要投入大量的人力、經費及宣傳等資源才有成功機會；而原本是博物館的專業策展，隨著公立博物館的策展經費不足、大量的宣傳需求等因素，台灣的大型特展發展產生了媒體參與的特殊現象；平面報紙集團挾著豐沛的資金及宣傳工具兩大資源，逐漸投入大型特展的運作之中，其中就以聯合報系及中時報系最具代表。 媒體與博物館的合作，造就了國內這十餘年來，有機會引進全世界知名的藝術品及古文明，不少特展的參觀者更達到數十萬人，原本不去博物館的民眾受看展風潮感染而走進博物館，但此現象引發許多研究討論，認為媒體插手大型特展，大多以商業考量的負面論述。 本研究就以聯合報系在2000年至2004年間，在國內舉辦四大古文明展之「羅浮宫埃及文物珍藏展」為例，探討媒體與博物館合作大型特展，各自的思考模式，以及展覽的整合行銷操作模式，藉以闡述媒體的參與，對於博物館、社會大眾、參觀者及展覽本身，是否都是弊多於利? 本研究試圖尋找以下問題的解答： 一、 無論對博物館和媒體而言，大型特展所欲達成的目標，不外是吸引參展人潮及提升正面形象這兩點，而透過整合行銷傳播，是否真能達成上述兩個目標？ 二、 當整合行銷傳播之標的物為藝文性展覽時，如何透過整合行銷傳播策略，將短期的展覽塑造為品牌，以及將這種難以量化及具體化的產品傳達給消費者。 三、 大型特展經常被批評為假文化之名，行商業之實的利益做法，透過整合行銷傳播，是否有可能達到經濟收益、參觀者效益、以及社會大眾效益的三贏局面？ 研究結果顯示： 一、 在吸引人潮方面，透過參與媒體大量的宣傳、較活潑的行銷操作手法，確實能帶動更多人參觀特展，從近十餘年來國內創人數紀錄的特展都有媒體參與即可証明；提昇正面形象部分，經常舉辦大型特展的博物館及媒體受到民眾較大的關注及認識，也因此建立「大型特展」品牌權威，即可印証。 二、 古文明特展本身就有強烈的文化特性，加上民眾從小在課本中就會接觸古文明歷史，無形中累積了特展的品牌印象，加上媒體大量的整合行銷策略，自然能達到事半功倍的效果。 三、 大型特展動輒超過數千萬元以上的經費，以目前政府編列給博物館的預算根本無法支應；而媒體本身則是營利單位，在現實環境與媒體特性的綜合下產生博物館與媒體合作模式，造就大型特展得以舉辦、透過媒體專業的整合行銷達到宣傳效果，吸引民眾走入博物館，所以應是經濟效益、參觀者效益及社會大眾效益三者利多於弊的三贏局面。 本研究全文共分為五章，第一章為緒論，有研究動機、研究背景、研究問題、研究架構、研究問題與限制；第二章文獻探討，討論「大型特展」、「博物館行銷」、「媒體與博物館合作」之狀況、國內外「整合行銷傳播」之理論；第三章為研究方法，採個案研究法、深度訪談法及次級資料分析法，並佐以研究流程圖說明。 第四章為個案分析，以聯合報系「羅浮宮埃及文物珍藏展」台北場為分析對象； 第五章為結論與建議，綜合前述個案之資料整理、分析探討之後，除了總結對本研究問題的解答，並分別提出對媒體方和博物館方的建議，以及未來研究建議。 / The large-scaled cultural exhibition market in Taiwan has enjoyed a boom since the 1990’s. Successful mega exhibitions lasting three months in average require the investment of large amount of manpower, funds and promotion. Usually, the public museums own the know-how to plan and execute cultural exhibitions. However, public museums in Taiwan have failed to hold these events due to the lack of budget and channels of promotion. One specific phenomenon has appeared -the media involvement. Print media with two advantages- sufficient funds and promotion tools, have gradually devoted themselves into the mega cultural exhibition market. Among all the media, United Daily News Group (Udngroup) and China Times Group are the most well- known. The cooperation between the print media and museums created the chance to bring the world famous artistic master pieces and the legacies of ancient civilizations to the general public in Taiwan. Many of these exhibitions attracted several hundred thousands of people. It has been found that many people who do not fit the profile of “museum-goers” had been influenced by the popularity of some cultural exhibitions and were willing to-join the events. However, many relevant researches had judged that the investments of the media on the cultural exhibitions are mostly based on commercial considerations. By the case of “The Ancient Egyptian Art from Musée du Louvre” exhibition holding by Udngroup in National Science and Technology museum from 2000 to 2004, this research illustrates the thinking pattern of the organizers and the integrated marketing operation. Furthermore, this research elaborates whether the involvement of the media has more pros than cons to the museums, the general public, visitors, and the exhibition itself. Following are questions of this research : 1. For the organizers (museums or the media), the major objective of holding mega cultural exhibitions is to attract visitors and build up positive images. The question is whether those two objectives can be actually achieved by the operation of integrated marketing communication. 2. When promoting intangible products, such as short-term exhibitions, it is essential to transfer the non-quantitative and intangible cultural concept into certain “brand image” in order to communicate with consumers more effectively. This research illustrates how to manage this process by using integrated marketing communication strategies. 3. Mega exhibitions are usually criticized because organizers tend to focus more on commercial benefits than cultural values. This research attempts to assess that via integrated marketing communication, whether it is possible to benefit organizers with financial earnings, visitors with cultural satisfactions, and the general public as a whole at the same time and create an all-win situation. Following are findings of this research : 1. In terms of attracting more visitors, to promote intensively by the media with more lively marketing strategies is proved effective. The evidence is that successful exhibitions in past decades were all involved with the media. In terms of building positive images, organizations holding exhibitions frequently have set up the strong brand authorities due to the recognition of the general public. 2. Strong cultural features of ancient civilizations, plus people’s basic knowledge deriving from the education since their childhood have made it easier to promote cultural events. With the markup of the intensive promotion of the media, brand images of exhibitions are built up quickly. 3. The plan and execution of mega cultural exhibitions frequently require large amount of funds, usually more the ten million NT dollars. The budget distributed by the government to the museum can’t afford to hold these exhibitions. The media are profitable organizations with sufficient funds and the know-how in marketing and promotions. The cooperation pattern between museums and the media have resulted in more successful events with numerous visitors. It can be concluded that this pattern has created the all-win situation which has benefited organizers with financial earnings, visitors with cultural satisfactions, and the general public as a whole at the same time. This research paper includes five chapters. The first chapter is the introduction, demonstrating the research motivation, research background, questions, structure, and limitations. The second chapter is the literature review collecting and critically analyzing the theories relevant to “mega exhibitions”, “museums marketing”, “cooperation between the media and the museums”, and the international and domestic researches on integrated marketing communication. The third chapter is the research methodology. This research adopts research methods including case study, interview, and secondary data analysis. Important concepts are also demonstrated with clear flow charts. The forth chapter is the case study in depth. The chosen topic is “The Ancient Egyptian Art from Musée du Louvre” exhibition holding by Udngroup in Taipei. The fifth chapter includes the conclusions and recommendations. This chapter presents the findings of the research and recommendations to organizers- both the media and the museum, and the future researcher. Keywords: Cultural exhibitions, integrated marketing, media, museum.

This thesis explores the nature of contemporary sculptural practices in relation to the broader field of installed sculpture (which deploy articulated, interrelated, but autonomous components) and in the context of recent approaches to both curation and display. The artistic work and attendant commentary constitute a response to the issues of sculptural agency and display raised by both the practice-based outcomes and key works of several contemporary artists: Gabriel Kuri, Gedi Sibony, Melanie Counsell, Marc Camille Chaimowicz and Michael Dean. In a number of exhibitions ‘post-installation’ practices and the function of ‘montage’ sculpture is examined. Through outlining the current landscape of sculptural production and medium specificity a progressive notion of the monument is established. The sculptural artwork is seen to retain a political resistance, as both art-object and thing in the world. An assessment is made of how sculptures produce space within and through their exhibition context, directly related to the production of space as a whole (a social morphology posited by Henri Lefebvre). Applying a conception of time in reference to spatial production opens up the artwork’s potential to draw on complex codes of mnemonic function, which can potentially generate emancipatory agency from ideological issues in late-capitalism. Re-readings of key installed works by Marc Camille Chaimowicz and Mark Dean, through contexts derived from Nietzsche and Mark Fisher, reveal how sculptures can activate specific mnemonic codes, or collective memory. Such art works utilise a ‘forgetful memory’ – a reflexive process of positing, junking and reimagining relationships to cultural information. The body of artistic work produced for this research, intertwined with its critical reflection, makes an original contribution to knowledge by interrogating theoretically and experientially the potentials of ‘the sculptural’, as part of the plural production of art and exhibition-making. By means of practice and its outcomes, the research engages the current dynamics of spatial production and radicality of sculptural objecthood. The work examines the complex relationships between social memory and historicity, with which sculpture in an exhibition environment can engage.

In this project I conduct two experiments in redistributing media power and reflect upon how successful they were. The experiments include a poster campaign specific to Richmond and a project dealing with educating people about guerrilla media techniques.

As exposições científicas de caráter internacional e itinerante estão presentes em diversos momentos da história da divulgação científica do Brasil e do mundo. Esses grandes eventos também marcam presença na atualidade, através das mostras que buscam apresentar à população as Ciências produzidas em diferentes contextos. Embora historicamente o papel social dessas exposições tenha se alternado em força e motivos, torna-se evidente que esse tipo de iniciativa ainda é recorrente na agenda da divulgação científica do nosso país. Nesse contexto, esta tese compreende uma investigação sobre a vinda ao Brasil da exposição científica, itinerante e internacional \"Túnel da Ciência 3.0\" desenvolvida pelo Instituto Max Planck, a partir da iniciativa do setor público e privado. A compreensão das negociações e tensões estabelecidas entre diferentes sujeitos envolvidos na significação de uma exposição científica de caráter internacional, sob a ótica da teoria histórico-cultural da atividade é o objetivo principal da pesquisa. A produção de dados foi feita com a utilização de: notas de campo, entrevistas semiestruturadas com organizadores, representante do Ministério da Ciência e Tecnologia, monitores e visitantes, além da gravação em áudio e vídeo das visitas. A sistematização e a análise dos dados foram realizadas com o uso do software NVIVO11 ®, de forma a auxiliar na esquematização dos sistemas de atividade, bem como viabilizar a categorização dos conteúdos das contradições, tendo como base as manifestações discursivas de contradições e o método dialético. Os referenciais utilizados nessa investigação, incluindo os conceitos de sistema de atividade e contradições ofereceram dicas importantes sobre organização das relações que são estabelecidas entre os sujeitos envolvidos com a exposição. Foi possível identificar dez categorias que refletem os conteúdos das contradições de um processo de itinerância de uma exposição científica e internacional. São elas: Ciência local x Ciência global, financiamento público x privado, Aprender conteúdos científicos x explorar os aparatos interativos, divulgação institucional x divulgação das ciências, modelos dialógicos x valores universais, interatividade: discurso midiático x discurso expositivo, negociações: entre o planejado x efetivado, formalização institucional da concepção de divulgação científica x instabilidade política, teoria x prática de monitoria, monitoria junto ao público escolar x monitoria junto ao público espontâneo. A partir da reflexão sobre essas categorias sugerimos elementos centrais a serem considerados nos processos de adaptação de grandes exposições itinerantes e internacionais, que possibilitem a reflexão sobre formas mais contextualizadas desses eventos de modo a atender especificidades locais dos países visitados, contribuindo, assim, para as discussões que envolvem políticas públicas de divulgação das Ciências e tecnologias e a educação não formal. / The scientific, international and itinerant exhibitions are present at various moments in the history of the science communication of Brazil and the world. The major events are also present today, through the exhibitions they seek are presented as the sciences produced in different contexts. Although historically the social role of these exhibitions has alternated in strength and motives, it becomes clear that this type of initiative is present in the scientific communication of our country. In this context, this thesis comprises an investigation about the coming to Brazil of the scientific, itinerant and international exhibition \"Science Tunnel 3.0\" developed by the Max Planck Institute, based on the initiative of the public and private sector. The understanding of the negotiations and tensions established between different subjects involved in the meaning of an international scientific exhibition, from the point of view of the historical-cultural activity theory is the aim of the research. The production of data was done using field notes, semi-structured interviews with organizers, representatives of the Ministry of Science and Technology, monitors and visitors, as well as audio and video recording of visits. The systematization and analysis of the data were performed using the NVIVO11 ® software, in order to aid in the schematization of the activity systems, as well as to enable the categorization of the contents of the contradictions, based on the discursive manifestations of contradictions and the dialectical method. The frameworks used in this research, including the concepts of activity system and contradictions, provided important clues about the organization of the relationships that are established among the subjects involved with the exhibition. It was possible to identify ten categories that reflect the contents of the contradictions of a roaming process of a scientific and international exhibition. They are: Local science x Global science, public x private funding, Learning scientific contents x exploring the interactive apparatuses, institutional divulgation x science communication, dialogic models x universal values, interactivity: media discourse x expositive speech, negotiations: between the planned x effective, institutional formalization of the concept of scientific communication x political instability, theory x practice of monitoring, monitoring with the school public x monitoring with the spontaneous public. From the reflection on these categories, we suggest central elements to be considered in the processes of adaptation of international exhibitions, which allow the reflection on more contextualized forms of these events in order to meet local specificities of the countries visited, thus contributing to the discussions involving public policies for science and technology communication and non-formal education.

Detta kandidatarbete undersöker hur interaktiv teknologi kan användas för att förmedla kulturarv genom att förstärka en utställning i ett museikontext. Med samhällets växande digitalisering kommer en möjlighet för museer att erbjuda nya upplevelser med mervärde utöver fakta och bilder. För att ta till vara på denna digitalisering har vi valt att undersöka de möjligheter nya medier har för att förstärka en galjonsfigur samt lägga fokus på känslomässiga aspekter av en upplevelse. Med stöd i tidigare forskning och ett designetnografiskt perspektiv har vi framställt en gestaltning som förslag på hur en kan förstärka en utställning i ett museikontext. Denna gestaltning bygger på projektion, gestkontroller och mikroelektronik. Undersökningen erbjuder ett perspektiv på användningen av interaktiv teknologi i kultursektorn och öppnar upp för vidare diskussion och studier. / This bachelor thesis examines how interactive technologies can be used to convey cultural heritage by enhancing an exhibition in a museum context. Following the growing digitalization of society, an opportunity arises for museums to offer new experiences with added value besides facts and pictures. In order to take advantage of this digitalization, we have chosen to explore possibilities for new media to enhance a figurehead exhibition and focus on emotional aspects of the experience. Supported in previous research and a design ethnographic perspective, we have presented a design product as a proposal for how one can enhance an exhibition in a museum context. This design product is based on projection, gesture controls and microelectronics. This bachelor thesis offers a perspective on the use of interactive technology in the cultural sector and opens up for further discussion and investigation.

Gustav Vasa-föreningen planerar att bygga en utställning för att främja kulturlivet och öka lärandet kring Gustav Vasas ledning på 1500-talet. Förhoppningen är att genom utställningen kunna agera som en förlängd arm till skolorna i Strängnäs kommun i form av studiebesök. I utställningen vill föreningen informera om Gustav Vasas utnämning till kung den 6 juni 1523 på ett intresseväckande och informativt sätt, för att kunna nå ut till en yngre målgrupp, lågstadieelever. Genom ett samarbete med föreningen har detta examensarbete undersökt hur sinnen som modaliteter kan tillämpas i en utställningsmiljö i lärande syfte. I rapporten har Selanders teorier om multimodalt lärande tillsammans med McKenna-cress & Kaminens och Velvets riktlinjer kring utställningsmiljöer tillämpats. Teorierna har tillsammans med en etnografisk undersökning i form av en observation lagt grund för det designförslag som fastställts. Designförslaget redogör för hur utnämnandet av Gustav Vasa som kung kan kommuniceras i utställningsmiljö, för att bidra till lärande med hjälp av sinnen som modaliteter. / The Gustav Vasa Association plans to build an exhibition to promote cultural life and increase learning about Gustav Vasa's leadership in the 16th century. The ambition is that through the exhibition will act as an extended arm for the schools in Strängnäs municipality in the form of study visits. In the exhibition, the association wants to inform about Gustav Vasa's coronation as king on June 6, 1523 in an interesting and informative way, in order to reach a younger target group in the form of primary school pupils. Through a collaboration with the association, this degree project has examined how the senses as modalities can be applied in an exhibition environment for learning purposes. In the report, Selander's theories on multimodal learning together with McKenna-cress & Kaminens and Velvet's guidelines on exhibition environments have been applied. Together with an ethnographic survey in the form of an observation, the theories have laid the foundation for the design proposal that has been established. The proposal describes how the appointment of Gustav Vasa as king can be communicated in an exhibition environment, in order to contribute to learning with the help of the senses as modalities.