Made available in DSpace on 2016-12-08T16:18:52Z (GMT). No. of bitstreams: 1 113873.pdf: 2132261 bytes, checksum: 786b7b4f210c67b22286ba784e9300d2 (MD5) Previous issue date: 2013-07-31 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This dissertation work, The Blind-Body in Art: Aesthetic and Reflective Experiences in the context of cultural institutions, resorts to the Phenomenological perspective and Sociohistorical Corps to investigate the Blind-Body and its perception of "to be in the world", raising questions about the body blindness, its mobility, in order to investigate how this Blind-Body deal with the challenges, achievements and overcomings, the body that perceives the other one and the world, in a peculiar way. This peculiarity implies, therefore, the aesthetic experience, establishing dialogues with the artwork and its accessibility in exhibitions spaces. Describes the mediations occurred in MASC from the visitations performed, discussing the importance of the role of the mediator in the process of exchange and learning. This work proposes educational and pedagogical actions that prioritize the contact with cultural assets, promoting social inclusion. / O presente trabalho de dissertação, O corpo-cego na arte: experiências estéticas e reflexivas no contexto de instituições culturais, recorre à perspectiva Fenomenológica e à Sócio-Histórica para investigar o corpo cego e sua percepção de ¿ser no mundo¿, levantando questões sobre o corpo da cegueira, sua mobilidade, com o propósito de indagar de que forma esse corpo-cego lida com os desafios, conquistas e superações, o corpo que percebe o outro e o mundo, de forma peculiar. Essa peculiaridade implica, portanto, a experiência estética, estabelecendo interlocuções com a obra de arte e sua acessibilidade nos espaços expositivos. Descreve as mediações ocorridas no MASC a partir das visitações realizadas, discutindo a importância do papel do mediador no processo de trocas e aprendizados. O presente trabalho propõe ações educativas e pedagógicas que priorizam o contato com bens patrimoniais e culturais, promovendo a inclusão social.

Submitted by Emanuel Varela Cardoso (emanuel.varela@ufcg.edu.br) on 2018-05-10T20:55:42Z No. of bitstreams: 1 MARÍLIA MACEDO MEDEIROS – DISSERTAÇÃO (PPGDesign) 2017.pdf: 4554025 bytes, checksum: 581c2f9410cfec58196a658c1c03cc04 (MD5) / Made available in DSpace on 2018-05-10T20:55:42Z (GMT). No. of bitstreams: 1 MARÍLIA MACEDO MEDEIROS – DISSERTAÇÃO (PPGDesign) 2017.pdf: 4554025 bytes, checksum: 581c2f9410cfec58196a658c1c03cc04 (MD5) Previous issue date: 2017-02-17 / Esta pesquisa analisou a relação entre os elementos que formam o ambiente construído de uma exposição temática com características interativas, imersivas e multissensoriais em museu e a experiência vivenciada pelos usuários. A base conceitual do trabalho compreende o ambiente construído de exposição como um produto em que seus atributos tangíveis e intangíveis são determinantes na identificação pelo usuário. Sendo assim, a investigação teve o objetivo de analisar de que modo recursos como iluminação, sonorização, dispositivos digitais, cenografia etc., empregados na exposição, instauram a experiência de visita. A revisão de literatura abrangeu temas ligados ao universo do design de exposições, visando aprofundamento nas práticas projetuais e compreensão da influência do uso desses recursos na percepção que o visitante tem do espaço. Buscou-se também avançar na compreensão da experiência e destacar os fatores que interferem diretamente no contexto da experiência de visita ao museu. Metodologicamente, este é um estudo misto, no qual foi conduzido um estudo de caso no Museu Cais do Sertão, situado em Recife, Pernambuco. Esse objeto de análise permitiu investigar a percepção dos visitantes sobre a experiência de visita a esse espaço, a partir da ferramenta quantitativa desenvolvida por Packer (2015) e de como os visitantes percebem as características espaciais pela ferramenta quantitativa estabelecida por Forrest (2014). Apresenta-se também entrevistas com os projetistas a fim de se obter um aprofundamento na compreensão das decisões projetuais e auxiliar na caracterização do espaço. Os dados coletados e analisados revelam que o ambiente do Cais do Sertão promove diferentes estímulos por meio do conjunto de linguagens empregadas e desperta a possibilidade para experiências hedônicas, sensoriais e afetivas. Algumas das respostas dadas pelos visitantes convergem com a intenção do projeto de curadoria. Ademais, coaduna-se com a hipótese de Forrest (2014) de que um ambiente tido como vibrante e forte em estímulos com suporte informacional em nível adequado mantém a curiosidade e possibilita um engajamento cognitivo sem esforço, fazendo com que a experiência de visita seja interpretada pelos visitantes como satisfatória. / This research analyzed the relationship between the elements that form the constructed environment of a thematic exhibition with interactive, immersive and multisensory characteristics in museums and the experience of the users. The conceptual base of this work understands the constructed environment of the exhibition as a product in which its tangible and intangible attributes are determined in the identification by its users. Therefore, this investigation had as a main goal to analyze how the resources such as illumination, sound, digital devices, scenography etc., employed in the exhibition environment affect the visiting experience of the museum. The literature review covered themes linked to the universe of exhibition design, highlighting the project practices and the understanding of how the use of these resources influences the perception that visitors create about the space. This research also seeks to advance the discussion and the comprehension of the experience and which of the factors interfere directly in the context of the experience of visiting the museum. This was conducted through a mixed methods structure, to investigate a case study in the Cais do Sertão Museum, situated in Recife, Pernambuco, Brazil. The museum chosen allowed us to investigate the perception of the visitors about the experience of the visit to this space, using the quantitative tool (15 dimensions of experience – PACKER, 2015) and how the visitors perceived the spacial characteristics by the quantitative tool (Perceived Atmosphere, FORREST, 2014). Also, the main group of designers and curators were interviewed in order to deepen the understanding of the project decisions and to assist in the characterization of the space. The data collected and analyzed revealed that the environment of the Cais do Sertão museum promotes different stimuli through the languages employed and quickens the possibility of hedonic, sensorial and affective experiences. It was also possible to correlate some of the answers given by the visitors with the intention of the curatorial project. Furthermore, this research agrees with Forrest (2014) in which an environment that has strong and vibrant stimuli with informational support at an adequate level to meet the curiosity and enables cognitive engagement, contributing to a satisfactory experience.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / A busca do homem pela reprodução do movimento através das imagens é antiga. Tão antiga que é difícil fixar uma data para marcar a invenção do cinema. Para a indústria cinematográfica comercial, no entanto, esse marco costuma ser definitivo: o dia 28 de dezembro de 1895, por ocasião da primeira exibição pública paga de filmes dos Irmãos Lumiére com seu cinematógrafo. Mas o que parece ser inaugurado aí não é simplesmente uma técnica ilusória de reprodução do movimento, e sim um conceito de espetáculo que se sedimentou durante os dez ou vinte anos seguintes. Graças a interesses econômicos e ideológicos, o cinema passou de um exercício de escrita do movimento com a luz, para uma gramática muito bem sedimentada e padronizada. Junto com esse modelo de narrativa, determinou-se também a situação-cinema. Nela, o público é submetido a uma arquitetura de espectação estanque, que favorece a inatividade motora e a concentração na obra em detrimento da interação social e de uma postura participativa do espectador. Desde o surgimento da televisão e da videografia, porém, essa situação-cinema vem sendo contestada. Com essas novas tecnologias, seguidas pelo advento dos aparatos digitais, o audiovisual deixou de estar confinado às salas escuras, poltronas confortáveis e telas brancas. Todo e qualquer ambiente passou a ser uma paisagem de exibição audiovisual em potencial. Essa ruptura, por suas características estéticas, sociais, culturais, acabou encontrando na arte um campo de expansão. Ao longo dos últimos sessenta anos, a quantidade de aparelhos audiovisuais em circulação, portáteis, interativos só cresce. O resultado é que o audiovisual se tornou nosso principal meio para trocas de informações de toda ordem textual, visual, sonora etc. No seu dia-a-dia, o ser humano transita velozmente entre espaço físico e ciberespaço sem qualquer constrangimento. A materialidade é sempre um estímulo para acessar a virtualidade e vice-versa. Diante desse contexto cultural contemporâneo, de onipresença do audiovisual e de permanente troca entre essas duas janelas, é que este trabalho se posiciona. A busca aqui é por desvendar o ponto em que as duas dimensões de espaço e tempo se tangenciam e se mesclam. Deixam de ser ou para se tornar e. O pano de fundo para esse mergulho é justamente um exercício de exploração da potencialidade estética e criativa da exibição audiovisual entre todos os seus elementos constitutivos, incluindo aí o espectador participador. Assim se criam os cinemas para paisagens / The human quest for the reproduction of movement through images is old. It is so old that it is difficult to establish a date to herald the 'invention' of cinema. For the commercial film industry, however, this landmark is quite definitive: the 28th December 1895, which marks the first paid public exhibition of Lumiere Brothers' movies. What seemed to be inaugurated at that time is not simply an illusory technique to reproduce movement, but also a spectacle concept which was paved during the following ten or twenty years. As a result of economical and ideological issues, cinema migrated from being a practice of 'writing movement with light' to become a well established and standardised medium. Along with this narrative, a "cinema situation" was also born. Using this model, the audience is subjected to a fixed screening architecture, which favours motor inactivity and focus on the screen rather than on the social interaction of the spectators and their active role. Since the beginning of television and videography, this cinema situation has been contested. With those technologies as well as digital devices, audiovisual was no longer restricted to dark rooms, comfortable seats and white screens. Any and every environment became a potential audiovisual exhibition environment. This breakthrough found in the arts a promising field due to its aesthetic, social, cultural appeals. Throughout the last 60 years, the amount of audiovisual gadgets that are portable and interactive has increased. As a result, audiovisual has become the most used medium to exchange information of all sorts textual, visual, audio etc. On a daily basis, human beings move fast and comfortably between material life and cyberspace. Material reality is always an incentive to reach virtual reality and vice-versa. This work is based on this contemporary cultural context, one of audiovisual omnipresence and permanent exchange between these two windows. The search is to unveil the point where these two ways of experiencing space and time touch each other and mix together; how they evolve from being excludent to become complementar. The background for this quest explores the use of the aesthetic and creative potentialities in audiovisual exhibitions and all its inner elements, which includes an active spectator. This is how cinemas for environments are created

O presente trabalho assume a relação entre história e memória como um dos desafios disciplinares da História no âmbito da educação básica e pretende refletir sobre o ofício do historiador investigando o processo de patrimonialização do espaço escolar. Desta forma reconhece a materialidade das instituições formais de ensino como possibilidade de atuação da História, enquanto disciplina que proporciona diferentes leituras do mundo, inclusive a reflexão sobre a memória e a cultura material. Tomando em conta estas considerações, propõe-se que alunos e alunas do 6º do ensino fundamental de uma escola pública de Porto Alegre/RS possam construir noções de documento e fontes para a história, da narrativa como mediação entre o passado e a interpretação historiográfica, bem como da noção de patrimônio cultural e seus desdobramentos enquanto possibilidade para a educação histórica. Para concretizar o objetivo enunciado a pesquisa no acervo documental e iconográfico da escola foi simultaneamente recurso metodológico e questão mobilizadora para a produção de conhecimento no ensino fundamental Além de discutir teoricamente o problema anunciado, operando com os conceitos de patrimônio cultural e patrimônio escolar, e avaliar os resultados da pesquisa, a investigação também descreve e examina a construção de um projeto de exposição, reunindo fotografias e excertos de documentos escritos que compõe o acervo da instituição educativa. A partir da aplicação de instrumento de avaliação escrito, e das anotações efetuadas durante as aulas, foi possível verificar que a maioria dos estudantes conseguiu identificar a importância e a variedade dos vestígios como matéria-prima das fontes para a história e a relação entre a produção historiográfica e as demandas do presente. Também quando questionados sobre diferentes formas narrativas, majoritariamente os estudantes envolvidos na pesquisa identificaram as características da escrita autobiográfica, dos enredos ficcionais e as providências próprias da elaboração do conhecimento histórico. Com relação à noção de patrimônio cultural, a maior parte dos alunos e das alunas reconheceu a tensão entre o papel da memória e a dimensão histórica na patrimonialização dos bens. / The present work assumes the relation between history and memory as one of the disciplinary challenges of history in the scope of basic education and intends to reflect on the occupation of the historian investigating the process of patrimonialization of the school space. In this way, it recognizes the materiality of formal educational institutions as a possibility for the performance of history, as a discipline that provides different readings of the world, including reflection on memory and material culture. Taking into account these considerations, it is proposed that students of the 6th grade of a public elementary school in Porto Alegre/RS can construct notions of document and sources for history, of narrative as mediation between the past and the historiographic interpretation, as well as the notion of cultural patrimony and its outspread as a possibility for historical education. In order to fulfill the stated goal, the research in the documentary and iconographic collection of the school was simultaneously a methodological resource and a mobilizing question for the production of knowledge in elementary school. In addition to theoretically discussing the problem advertised, operating with the concepts of cultural heritage and school heritage, and evaluating the results of the research, the research also describes and examines the construction of an exhibition project, gathering photographs and excerpts of written documents that compose the collection of the educational institution From the application of a written evaluation instrument and the notes made during the lessons, it was possible to verify that the majority of the students were able to identify the importance and the variety of the traces as raw material of the sources for the history and the relation between the historiography production and the demands of the present. Also when asked about different narrative forms, most students involved in the research identified the characteristics of autobiographical writing, fictional plot, and the proper arrangements for the elaboration of historical knowledge. Regarding the notion of cultural heritage, most of the students recognized the tension between the role of memory and the historical dimension in the patrimonialization of goods.

La question du statut des objets issus des sociétés extra-occidentales conservés dans les musées occidentaux restait posée, jusqu’à récemment, dans les termes du paradigme construit au cours du vingtième siècle opposant le statut ethnographique au statut esthétique, et à partir d’une conception intrinsèque du statut des objets. La controverse suscitée par l’annonce du projet du musée du quai Branly au sein des communautés anthropologique et muséale en témoigne. Cette recherche propose de renouveler l’approche du statut des objets extra-occidentaux en adoptant une conception extrinsèque du statut des objets. Elle repose sur deux analyses sémiotiques successives de l’exposition permanente du musée du quai Branly. La première vise à analyser séparément et exhaustivement les registres médiatiques de l’espace, scriptovisuel et audiovisuel qui composent, avec le registre des objets, l’exposition ; la seconde à analyser, au sein d’un corpus restreint d’unités d’exposition, l’interaction des registres, dans le but final d’identifier les processus interprétatifs producteurs du sens des objets. L’objectif de cette double analyse consiste à vérifier que l’exposition permanente du musée du quai Branly assigne le statut d’objet de patrimoine aux objets issus des sociétés extra-occidentales qu’il conserve.La première partie de la thèse est consacrée à restituer la construction de la question de recherche, qui porte surle caractère patrimonial du statut des objets de musée extra-occidentaux, et à rendre compte des moyens méthodologiques mis en oeuvre pour y répondre. La deuxième partie, consacrée aux résultats de l’analyse séparée des registres, confirme que les marqueurs nécessaires à l’assignation du statut patrimonial des objets extra-occidentaux, les mondes d’origines ailleurs et muséaux, sont bien certifiés dans l’exposition. Elle montre également la mobilisation particulière du registre de l’espace. L’ensemble incite à formuler l’hypothèse que l’espace ne constitue pas un interprétant des objets, que les mondes d’origine ailleurs et muséaux occupent une place secondaire dans l’assignation du statut des objets et, finalement, que les objets sont les principaux interprétants des objets. Enfin, la troisième partie permet de vérifier que la certification de l’appartenance des objets à leur double monde d’origine est bien réalisée par le traitement muséal, l’exposition assigne donc bien le statut de patrimoine aux objets exposés, mais elle montre aussi que les éléments de la certification apparaissent comme secondaires, tandis que la production du sens des objets par la relation entre les objets favorise l’assignation d’un autre statut de l’objet : le statut de curiosité. En s’appuyant sur la production de la signification des objets par le dispositif d’exposition pour le visiteur, cette recherche permet de penser, plus largement, la capacité de l’exposition à proposer un discours neutre qui modifie son opérativité, et qui permet à l’institution muséale de se placer dans une posture de délégation du sens produit par l’exposition. / Until today, the question of the status of objects from non-Western societies preserved in Western museums wasraised, in terms of twentieth century paradigms which associated ethnographic and aesthetic status, and whichpresupposed objects to have an intrinsic status of their own. The controversy amongst anthropological andmuseum communities caused by the announcement of the Quai Branly museum project testifies to thesepresuppositions. This thesis aims to re-elaborate the approach to non-Western objects through an extrinsicapproach to their status. It rests on two subsequent semiotic analyses of the permanent exhibition of the QuaiBranly Museum. The first one analyzes separately and exhaustively the space, texts, pictures and audiovisualmaterial as media categories of the exhibition. The second one analyzes, in a restricted corpus of exhibitionunits, the interactions between different media categories with the goal of identifying the interpretative processeswhich produce the sense of the objects. The purpose of this double analysis is to verify whether the permanentexhibition of the Quai Branly Museum a heritage status to the objects from non-Western societies which itpreserves.The first part of the thesis presents the construction of the research question, focused on the heritage status ofnon-Western objects in museums, and explains the methods implemented to answer such a question. The secondpart, devoted to the results of the separate media categories’ analysis, confirms that the labels necessary to theassignment of heritage status to non-Western objects, the elsewhere world origin and museum world origin, areindeed present in the exhibition. It also shows the particular mobilization of space in the exhibition. Together,these two sections encourage us to theorize that space is not a mode of interpretation for objects, in that the“elsewhere” world origin and the museum world origin have but a secondary place in the assignment of objectstatus, while objects are themselves the main means for object interpretation. Finally, the third part verifies thatthe attestation of the objects’ double world of origin is effectively authenticated in the exhibition ; this sectionshows that, while the exhibition does assign a heritage status to the exhibits, the elements of authentification arenot necessary for the interpretation of the objects’ meaning, whereas the meaning produced by the relationshipbetween objects promotes the assignment of yet another object status : the status of curiosity. This thesis,focused on the production of object meaning for the visitor by means of the exhibition display, more broadlysuggests the exhibition’s ability to provide a neutral view which modifies its operativity, an ability which allowsthe museum to delegate the production of the object’s meaning to visitors.

Trebon is famous not only for the spa, a rich cultural life and many sights, but also fish farming and pond system that consists of numerous lakes and other water bodies. Every year there are many exhibitions, festivals, theatrical performances and much more. Trebon is a state dominated by the castle, but for visitors, the town offers many more attractions. The landscape around Trebon calls for various types of sporting activities and through the presence of many lakes for water sports. Can not forget the beautiful countryside of Trebon, who became a protected area. Due to these factors, Trebon has great potential for tourism and its further development. This thesis has set three goals. The first goal is the task of analyzing supply and demand of tourism in the town of Trebon. The second objective is the investigation of motivation, expectations and images of selected cultural activities to supplement the product mix for the selected segments of visitors. The third objective is to devise ways of communication and cooperation in cultural and tourism sectors in the town of Trebon. The thesis begins with a theoretical part, which serves as a basis for understanding the important concepts and other relationships. There were also more characteristic of the area in question. Most of the information provided Třeboňsko situational analysis, which were defined in the most important elements needed for tourism. Information obtained from the situational analysis and survey were then used for SWOT analysis. The conclusion of the thesis deals with proposals for new products in Trebon and proposals for improving communication and cooperation between cultural institutions and organizations engaged in tourism.

Submitted by Kenia Bernini (kenia.bernini@ufpel.edu.br) on 2018-11-12T17:37:11Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Ricaro_Luis_Sampaio_Pintado_Tese.pdf: 14891681 bytes, checksum: 116531767be8c837e551084f4c677a1f (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2018-11-13T15:58:16Z (GMT) No. of bitstreams: 2 Ricaro_Luis_Sampaio_Pintado_Tese.pdf: 14891681 bytes, checksum: 116531767be8c837e551084f4c677a1f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-11-13T15:58:16Z (GMT). No. of bitstreams: 2 Ricaro_Luis_Sampaio_Pintado_Tese.pdf: 14891681 bytes, checksum: 116531767be8c837e551084f4c677a1f (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-08-15 / Sem bolsa / Esta tese trata da museografia desenvolvida pela arquiteta italiana Lina Bo Bardi no período de 1947 a 1968, a partir da instalação do Museu de Arte de São Paulo até a transferência para a sede na Avenida Paulista. Trata também da museografia desenvolvida neste ínterim para o Museu de Arte Moderna da Bahia. Especificamente, analisa a expografia, suas referências e desdobramentos nos museus enfocados. Ao tratar da expografia aproxima-se da arquitetura dos espaços expositivos e dos museus que projetou e instalou. A partir de fontes escritas e registro fotográfico descreve a expografia, seus dispositivos e os locais onde foram utilizados. Pretende-se assim, contribuir para a compreensão das práticas museográficas no Brasil a partir da análise da expografia desenvolvida por Lina Bo Bardi como contribuição para a expansão da imaginação museal no Brasil / This thesis pertains to the museography developed by the italian architect Lina Bo Bardi in the time period of 1947 through 1968, that includes the installation of the São Paulo Art Museum until the transfer to the new building on Paulista Avenue. This thesis also includes the museography developed in this era for the Museum of Modern Art of Bahia. Specifically it analyzes the design of exibits, their references and influences of the São Paulo and Bahia museums. When talks about the design of exibits gets close to the exposition spaces and from the museums she created and designed. From written sources and photographic records it describes the design for exhibits, its devices and where they were used. It's intending to contribute to the understanding of museum practices in Brazil from the analyzes of the exihibition design developed by Lina Bo Bardi as a contribution to the expansion of the museum imagination in Brazil

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-07-27T12:57:21Z No. of bitstreams: 1 giovanaloosmoreira.pdf: 4589505 bytes, checksum: fec6dbf1051694327fb64c886fe45a49 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-07-27T14:38:59Z (GMT) No. of bitstreams: 1 giovanaloosmoreira.pdf: 4589505 bytes, checksum: fec6dbf1051694327fb64c886fe45a49 (MD5) / Made available in DSpace on 2016-07-27T14:38:59Z (GMT). No. of bitstreams: 1 giovanaloosmoreira.pdf: 4589505 bytes, checksum: fec6dbf1051694327fb64c886fe45a49 (MD5) Previous issue date: 2016-07-20 / CNPq - Conselho Nacional de Desenvolvimento Científico e Tecnológico / O estudo se deterá na compreensão da narrativa de História do Brasil produzida por Antônio Firmino Monteiro. Pintor do século XIX que se destacou, sobretudo, nas Exposições Gerais de Bellas Artes de 1879 e 1884. Recortaremos três telas, “Um episódio da Retirada da Laguna”, “O Vidigal” e “Capitão João Homem”, a fim de visualizarmos aspectos de contexto histórico e trajetória que formularam sua concepção crítica sobre a História do Brasil. / The study purpose is to provide an understanding of Brazil history writing as produced by Antônio Firmino Monteiro. Monteiro was a 19th century painter that stood out, above all, in the 1879 and 1884 General Exhibition of Fine Arts (Exposições Gerais de Bellas Artes). Three paintings are highlighted in order to expose aspects of historical context, as well the path that formulated his critical review about the history of Brazil.

Submitted by Marcia Bacha (marcia.bacha@fgv.br) on 2013-01-02T17:54:57Z No. of bitstreams: 1 CPDOC2008LeilaEstephanio.pdf: 1938175 bytes, checksum: b93bf7ba030560c28a943d2d85726953 (MD5) / Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2013-01-02T17:56:01Z (GMT) No. of bitstreams: 1 CPDOC2008LeilaEstephanio.pdf: 1938175 bytes, checksum: b93bf7ba030560c28a943d2d85726953 (MD5) / Approved for entry into archive by Marcia Bacha (marcia.bacha@fgv.br) on 2013-01-02T17:56:31Z (GMT) No. of bitstreams: 1 CPDOC2008LeilaEstephanio.pdf: 1938175 bytes, checksum: b93bf7ba030560c28a943d2d85726953 (MD5) / Made available in DSpace on 2013-01-02T17:59:42Z (GMT). No. of bitstreams: 1 CPDOC2008LeilaEstephanio.pdf: 1938175 bytes, checksum: b93bf7ba030560c28a943d2d85726953 (MD5) Previous issue date: 2008 / This paper aims to contribute to the reflection of the places of memory and their archives as a continuing construction of cultural heritage and of the memory of the country. In our approach the commemorative exhibitions in tribute to Rui Barbosa with his personal papers and institutional records were the object of the research. / Este trabalho pretende examinar como as exposições fotográficas produzidas pela Casa Rui Barbosa em torno da figura de Rui Barbosa construíram, a partir do final da década de 1940, uma memória sobre a vida e a obra desse importante personagem da história brasileira. Essa investigação pretende demonstrar a importância dos acervos privados e públicos na construção contínua do patrimônio cultural e da memória do país.

In this paper I argue that, in an effort to create novel cross media exhibition concepts, museums should use service design. By realigning their organizations and embrace the fact that what they are offering is indeed a service, they can gain a new outlook and generate new ideas about how to create novel cross media exhibition concepts. I also suggest that treating the exhibition in a similar way that film studios treat franchises could help shift the mindset and make it cross media-centric. In order to arrive at these conclusions I performed an observational study and conducted qualitative interviews with museum professionals working in various museums in Sweden. The observational study was designed to get a grasp of the current state of digital artefacts in Swedish museums whereas the interviews were aimed towards identifying attitudes as well as knowledge of current opportunities and obstacles. The observational study taught me that instances of rich, meaningful interactions with ties to an overall concept was not common, and that there is definitely opportunities to think differently about delivering these types of distributed user experiences. The interviews gave me a greater understanding of the intricacies of the field of cultural preservation and museums, as well as insight into some of the reasons why things are the way they currently are. Using service design to align these organizations could perhaps aid with some of these reasons.