<p>The purpose with this thesis is to study how the arranging of archaeological objects in permanent exhibitions has changed over time. To find out about this I have been analysing three museums with prehistorical permanent exhibitions. The exhibition at Statens Historiska museum was produced in 2005, Nationalmuseum in Köpenhamn was produced in 1972 with additions from 1988 and 1995 and, finally, Malmö Museer exhibition which was produced in 1977. These exhibitions have been compared to analyse developments during the last 30 years. The result shows that there are different ideals within the exhibitions. Over time, these ideals have been focused more on the visitors and they have tried to appeal to the visitors through themes where the objects have been placed into a narrative. However there are many styles of exhibiting prevalent today that go back all the way to the beginning of the 20th century.</p> / <p>Uppsatsens syfte är att ta reda på hur sättet att ställa ut arkeologiska föremål i basutställningar har förändrats över tid. Detta har jag undersökt genom tre utställningsbesök på Statens Historisk museum som hade en forntidsutställning som var producerad 2005, Nationalmuseum i Köpenhamn vars utställning var från 1972 med tillägg 1988 och 1995 samt Malmö Museer utställning från 1977. Dessa utställningar har sedan jämförts för att se vad som har hänt under de senaste 30 åren. Resultatet blev att det finns olika ideal inom utställningarna. Över tid har idealen blivet mer publikvänliga och har försökt tilltala publiken i större utsträckning genom teman där föremålen sätts in i en berättelse. Dock finns det mycket gestaltningsmässiga grepp som lever kvar sedan början av 1900-talet.</p>

<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>

<p>Abstract</p><p>Title: External communication channels of Prime Care How they where thought to be, how they work and how costumers apprehend them.</p><p>Number of pages: 50 (64 Including enclosures)</p><p>Author: Sophie Dicksen</p><p>Tutor: Peder Hård af Segerstad</p><p>Course: Media- and Communication Studies D</p><p>Period: Spring 2007</p><p>University: Division of Media and Communication, Department of Information Science, Uppsala University</p><p>Purpose/Aim: The focus of this paper lies on the external communication channels of Prime Care and the aim is to study the following aspects: How do the channels work? How are they apprehended by customers of the company? What are Prime Cares own thoughts behind the channels? How does Prime Cares self-image correspond to the way that customers apprehend the company?</p><p>Material/Method: Twenty interviews has been done with different customers of Prime Care in order to see how the company and its communication flow is apprehended. A consultant manager of Prime Care has also been asked about purposes behind the companies external communication channels in order to enable a comparison between Prime Cares image and profile. Prime Cares website, one of their mail sendouts, their salescalls, salesvisits and their exhibition participation have been studied on the basis of relevant litterature. Maletzkes model of mass communication was used as a general view of communication flow.</p><p>Main results: All communication channels included in this study have different ways of function even though they all have the same main purpose, videlicet to promote the company, to inform about its activities and to recruit new customers and consultants. All costumers have a positive impression in general of channels they have used even if some smaller changes are asked for concerning avaliable contact times. Prime Cares thoughts behind the channels are presented through their consulant manager and she believes for example that the companys website is the most effective medium when it comes to capturing the target groups interests. Even though Prime Cares assumptions about their self-image is not always similar to the customers ways of seeing them, both parties for example tend to agree that the companys avaliability is highly valuated.</p><p>Keywords: Prime Care, website, interviews, mail sendouts, salesvisits, salescalls, exhibition, Maletzkes model of mass communication flow.</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.

Abstract Title: External communication channels of Prime Care How they where thought to be, how they work and how costumers apprehend them. Number of pages: 50 (64 Including enclosures) Author: Sophie Dicksen Tutor: Peder Hård af Segerstad Course: Media- and Communication Studies D Period: Spring 2007 University: Division of Media and Communication, Department of Information Science, Uppsala University Purpose/Aim: The focus of this paper lies on the external communication channels of Prime Care and the aim is to study the following aspects: How do the channels work? How are they apprehended by customers of the company? What are Prime Cares own thoughts behind the channels? How does Prime Cares self-image correspond to the way that customers apprehend the company? Material/Method: Twenty interviews has been done with different customers of Prime Care in order to see how the company and its communication flow is apprehended. A consultant manager of Prime Care has also been asked about purposes behind the companies external communication channels in order to enable a comparison between Prime Cares image and profile. Prime Cares website, one of their mail sendouts, their salescalls, salesvisits and their exhibition participation have been studied on the basis of relevant litterature. Maletzkes model of mass communication was used as a general view of communication flow. Main results: All communication channels included in this study have different ways of function even though they all have the same main purpose, videlicet to promote the company, to inform about its activities and to recruit new customers and consultants. All costumers have a positive impression in general of channels they have used even if some smaller changes are asked for concerning avaliable contact times. Prime Cares thoughts behind the channels are presented through their consulant manager and she believes for example that the companys website is the most effective medium when it comes to capturing the target groups interests. Even though Prime Cares assumptions about their self-image is not always similar to the customers ways of seeing them, both parties for example tend to agree that the companys avaliability is highly valuated. Keywords: Prime Care, website, interviews, mail sendouts, salesvisits, salescalls, exhibition, Maletzkes model of mass communication flow.

Ljudet är ett intressant kommunikationsmedium som utnyttjar varje individs egna erfarenheter och föreställningar där associationer får stort utrymme. Mu- seer som idag kan välja från ett stort urval av medier har mycket att vinna ge- nom att använda sig av ljud - inte enbart för att tekniken tillåter det. Den här uppsatsen har för avsikt att undersöka ljudets möjligheter som kom- munikationsmedium i utställningar. Syftet är att sprida ljus över detta förhål- landevis outforskade område som jag anser har många outnyttjade möjligheter. För att avgränsa min undersökning har jag valt att studera utställningen Dröm- mens syster som finns på Världskulturmuseet i Göteborg. Jag har intervjua någ- ra nyckelpersoner bakom utställningen för att förstå dess mål. Därefter har jag intervjuat ett antal besökare för att skapa en bild av hur dessa har upplevt besö- ket i utställningen. Drömmens Syster är en utställning om människor och myter kring Orinocoflo- den som visas. Utställningen vill berätta om de alltmer hotade folken kring flo- den som slingrar sig igenom Venezuela. Resultatet visar att ljud är ett bra medium för att förmedlar information och speciellt för att involvera besökaren i en upplevelse av regnskogen och livet kring vattenfallet. Vid flera tillfällen har museet lyckats förmedlar mer informa- tion än en bild skulle har gjort. Besökarna kan dra nytta av den lugnande effekt som vattenfallet har och uppleva skräck när ormen väser. På grund av det resul- tat jag fått hoppas jag att fler kommer att se möjligheterna i informationsför- medling via sinnen som till exempel auditiv kommunikation. / Sound is an interesting communication media that takes advantage of each persons individual ex- perience and conceptions and allows for many individual associations. Today museums can choo- se from a wide range of media (pictures, video, sound guides, computer and sound installations) to communicate with their audience because a greater variety of technical solutions is available. This paper has the goal to analys the possibilities of sound as a media of communication. The aim is to shed light on this relativly unexplored field that I think has a lot of potential. To narrow down my exploration, I have chosen to take a closer look at the exhibition Drömmens syster that is shown at the Världskulturmuseet in Gothenburg, Sweden. I have interviewed some key persons behind this exhibition to get an idea about the aim and I have interviewed a number of visitors to get a better understanding of how they experienced the exhibition. The exhibition Drömmens syster is about the more and more endangered people and their myths who live close by the Orinoco river in Venzuela. The conclusion from this essay shows that sound is a good media for communicating informa- tion. It is especially well suited to involve the audience in an experience of rain forest and the daily life around it. The museum suceeds several times to tell more by using sound than by just using pictures. Visitors can gain from the calming effect of the waterfall and they can get thrilled from the hiss of the snake. Therefor I sincerely hope that we are going to see more media con- cepts in the future that use auditive communication.

在廿一世紀的商務活動中，由於展覽服務業除了能夠協助企業掌握新產品/服務的資訊、有效鎖定產品/服務的訴求對象外，更能進一步衍生創造龐大的關聯產值及市場商機，使得展覽服務業成為世界各國所重視並競相發展的產業，成為當前快速崛起發展的新興產業之一。 在展覽服務業所涵蓋的眾多行業中，展覽運輸服務業是一個重要且極富挑戰的利基型服務業。展覽運輸服務業者在從事物流運籌服務的過程中，因各國或地區對於展品之進出口方式有不同規定，故在提供運輸服務時，必須釐清所可能遭遇之各類規定，其必需具備相當程度的展品及報關知識和經驗。 然而，國內探討展覽運輸服務業的文獻相當稀少，就連相關的研究報告亦不多。基於此，本研究藉由台灣展覽運輸服務業中已經營二十幾年且獲利位居上位的個案公司E，探討該公司在過去二十幾年中，如何適配其商業模式及薪酬制度，以確保員工能夠協助公司有效執行其競爭策略，達成所設定的營運目標，俾利展覽運輸業及會展產業作為參考運用。 / Due to MICE industry’s being able to assist firms taking advantage of market opportunities, appealing to the target segments efficiently, and create enormous market value; it has been emphasized and promoted by countries all around the world, and hence become one of the most fast-growing industries. Among the segments of MICE industry, Exhibition logistics is a very important and challenging sub sector with potential niches to develop. Besides, due to firms’ engaging in Exhibition logistics being facing lots of challenges, a great part of which come from the different customs regulation, they have to be equipped with in-depth knowledge and experience regarding exhibitions and custom clearance, which makes the subsector a potential object worthy digging into. However, there is rare literature concerning exhibition logistics, let along related reports. Therefore, this thesis adopts case study method and researches into Company A, which has been engaged in exhibition logistics for more than twenty years and earned relatively strong profit, to understand how it matches its business model and compensation so as to make sure that its employees could execute its competitive strategy effectively.

The purpose with this thesis is to study how the arranging of archaeological objects in permanent exhibitions has changed over time. To find out about this I have been analysing three museums with prehistorical permanent exhibitions. The exhibition at Statens Historiska museum was produced in 2005, Nationalmuseum in Köpenhamn was produced in 1972 with additions from 1988 and 1995 and, finally, Malmö Museer exhibition which was produced in 1977. These exhibitions have been compared to analyse developments during the last 30 years. The result shows that there are different ideals within the exhibitions. Over time, these ideals have been focused more on the visitors and they have tried to appeal to the visitors through themes where the objects have been placed into a narrative. However there are many styles of exhibiting prevalent today that go back all the way to the beginning of the 20th century. / Uppsatsens syfte är att ta reda på hur sättet att ställa ut arkeologiska föremål i basutställningar har förändrats över tid. Detta har jag undersökt genom tre utställningsbesök på Statens Historisk museum som hade en forntidsutställning som var producerad 2005, Nationalmuseum i Köpenhamn vars utställning var från 1972 med tillägg 1988 och 1995 samt Malmö Museer utställning från 1977. Dessa utställningar har sedan jämförts för att se vad som har hänt under de senaste 30 åren. Resultatet blev att det finns olika ideal inom utställningarna. Över tid har idealen blivet mer publikvänliga och har försökt tilltala publiken i större utsträckning genom teman där föremålen sätts in i en berättelse. Dock finns det mycket gestaltningsmässiga grepp som lever kvar sedan början av 1900-talet.

The work of my MFA thesis exhibition comes directly out of the physical processes that constitute my studio practice. It is work that embodies the labour of my hands and the decisions that guided them in their struggle with unfamiliar materials. Drawing inspiration from subjects as diverse as physics and fiction to create a sculptural arrangement, the work is intended to engage with its audience in an active way through acoustic appropriation and physical presence. As an artist, I set up an environment to be explored, establishing boundaries and also possibilities.

This thesis examines how to improve the exhibition of products within retail for clothes and gift articles. The purpose is to investigate and test how light sources and different directions of light affect how the products are perceived regarding their exhibition. Our question formulations are: To what degree does the level of light in combination with the background of the interior design of a shop affect whether a product is perceived more or less attractive? What can we recommend to make the exhibition of products more attractive?   From our observations shops nowadays have relatively high levels of light when they expose products on vertical areas. We have looked on the recommendation from “Energimyndigheten” in order to see what they think is important when designing retail lightening. This recommendation only considers food stores and there were no recommendations for retails when it comes to exhibition. In this thesis we investigate how the level of light affect the experience of illuminated products and how to improve the knowledge of how to illuminate products so that are experienced more attractive.   The methods we used in this thesis where interviews, experiment and measurements of light. We did the interviews with staff from seven different shops in Jönköping city. This was done in order to understand how shops work with lighting and concepts. In our experiment we built up five different test scenes with four identical objects in each scene but with different lightings. Our informants evaluated how the different objects were experienced by estimating their experiences in a survey. We tested how different sources of light work with different backgrounds and objects. The objects that were used in the experiment were glass, metal, a cube of concrete and textile. The measurements of light were used in order to see connections between the measured values and whether they corresponded with the result from the experiment.   From our results we can see that metal halide has the capacity of bringing out textile and also contribute to creating fresh and light impressions on products. Halogen contributes in creating a calmer and lower impression in a retail environment. With darker backgrounds you bring out clear contrasts from bright and colorful objects . Whiter backgrounds reflect the light better which creates life in glass and metal objects in combination with metal halide. We can conclude that the level of light does not affect how attractive products are experienced, this is rather due to the direction of light, the color temperature, the effect and the capacity of the source of lighting to reproduce color in combination with different backgrounds. / Detta examensarbete undersöker hur man kan förbättra exponeringen av produkter inom detaljhandeln för kläder och presentartiklar. Syftet är att utreda och testa hur ljuskällor och olika ljusriktningar påverkar hur produkter upplevs avseende exponering. Frågeställningarna är: I vilken utsträckning påverkar ljusnivån i kombination med bakgrunden på butiksinredningen om en produkt upplevs mer eller mindre attraktiv? Vad kan vi rekommendera för att göra exponeringen av produkter mer attraktiva? I dagsläget har butikerna utifrån våra iakttagelser relativt höga ljusnivåer när man exponerar produkter på vertikala ytor. Vi har tittat på energimyndighetens rekommendation för att se vad de anser är viktigt när man skall utforma en butiksbelysning. Denna rekommendation behandlar enbart livsmedelsbutiker och det finns inga rekommendationer för detaljhandeln när det gäller exponering.       De metoder vi använt i arbetet är intervju, experiment och ljusmätningar. Intervjuerna gjorde vi med butikspersonal från sju olika butiker i Jönköpings centrum. Detta gjorde vi för att bilda oss en uppfattning om hur butiker arbetar med belysning och butikskoncept. I vårt experiment byggde vi upp fem olika testmiljöer med fyra likadana objekt i varje miljö men med olika ljussättningar. Där fick våra informanter utvärdera hur de olika objekten upplevdes genom att de fick skatta sina upplevelser i en enkät. Här testade vi hur ljus från olika ljuskällor fungerar ihop med olika bakgrunder och objekt. De objekt som användes i experimentet var glas, metall, betong och textil. Ljusmätningarna använde vi för att se samband mellan de uppmätta värdena och om de stämde överens med resultatet från experimentet.     Utifrån våra resultat kan vi se att metallhalogen har förmågan att lyfta fram textil samt att den bidrar till att skapa fräscha och ljusa intryck av produkter. Halogen bidrar till att skapa lugnare och ett mer lågmält intryck i en butiksmiljö. Med mörka bakgrunder får man fram tydliga kontraster till ljusa och färgstarka föremål. Vitare bakgrunder återkastar ljuset bättre vilket gör att man skapar liv i glas och metallföremål i kombination med metallhalogen. Vi kan dra slutsatsen att ljusnivån inte påverkar hur attraktiva produkter upplevs utan att detta beror på ljusriktning, färgtemperatur, effekt och ljuskällans färgåtergivningsförmåga i kombination med olika bakgrunder.