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Visitors use and understanding of interactive exhibits and their learning of scientific concepts was investigated by three studies. The first study categorised visitors' use of a sound exhibit and found that 49% successfully used the exhibit. Understanding was described with a knowledge hierarchy and learning was measured using a pre-test and post-test. Findings indicated that many visitors had prior knowledge of the relevant concepts and 50% of visitors learnt a concept from the exhibit. The second study investigated young children's understanding and interaction with the Mitey Quarry, a cooperative exhibit of four elements, conveyor, elevator, auger and sorter, which were used to move balls around the exhibit. Findings indicated that children's activities and their level of understanding varied for each element, though higher levels were achieved with elements that were easily observable. The children's activities began with observation, and then vacillated between manipulation, operation and control of an element. The third study identified the educational objectives of a physical fitness exhibit, Let's Get Physical, and their achievement by high school students. Findings indicated that the instructional sequence integrated cognitive and affective objectives, and although 42% of students stated their intentions to begin new exercise activities in response to the exhibit message "to be active everyday", after two weeks, these intentions had not been enacted. The research has contributed to improved exhibit design by demonstrating the value of knowledge, activity and affective hierarchies in identifying exhibit objectives and providing a means for evaluation. Hierarchies are an effective way to describe and measure the visitors' use and understanding of interactive exhibits and learning from them.

University of Technology, Sydney. Faculty of Design, Architecture & Building. / The thesis explores the notions of immersive experience in museum exhibitions, and examines whether the communication of the exhibition content can be transmitted more effectively to visitors through the creation of an immersive environment. The study reviews the origins and changing interpretations of the term 'immersive experience', and draws upon the work of researchers including Heim (1998) and Bitgood (1990) to examine immersive experience in the context of museum exhibitions. The role of narrative in enhancing immersive experience in exhibitions is explored through the work of researchers including Hooper-Greenhill (2000) and the ideas of Joseph Campbell on myth, story telling, and the concept of 'hero'. Theories of effective communication and learning in the museum context are examined, as well as formal strategies that can be undertaken by museums to inform and facilitate communication and learning for the experience of the visitor. The author employs the methodology of 'participant observation', using her experience as Senior Designer at the Powerhouse Museum in Sydney to reflect on the aspects of multi-sensory stimulation required for the communication process in an exhibition, and on what is achieved by the implementation of new technology into museum exhibition spaces. A number of exhibitions designed at the Powerhouse Museum by the author are used as case studies. The major outcome of the study is a theoretical framework on immersive experience that may be applied by museum designers and curators to enhance communication experience for visitors to exhibitions, or may be used by educators to enhance learning experiences for groups who use museums as learning environments. The thesis concludes with some ideas for further research in the area of immersive experience in the museum, including the development of a methodology for evaluating the effectiveness of immersive experiences created by museum designers.

Museums have been intimately connected to the discipline of anthropology since the colonial era when curiosity cabinets were created to house "exotic" items from afar that were used to represent "exotic" people and their cultures. However, with the postmodern debates in anthropology, both the discipline and museums have begun to realize that most displays reveal more about those who create them than about those who are on display. This realization combined with the rise in Native American concern for the control of material culture that was taken from them and their involvement in civil rights activism has brought Native objects and their display to the forefront of these debates. This has resulted in a push for true collaboration in the discipline as well as museums, which is forcing museums to work with Native Nations in developing displays that fulfill the museums' needs and that relinquish power to Native Nations in the exhibit development process. This project involved the collaboration between the Miami Indians of Indiana and the researcher to create an exhibit that will be displayed in the Miami community. This thesis follows that intimate connection between museums and anthropology and looks at the exhibit to examine what it reveals about Miami community identity. / Department of Anthropology

Throughout history, objects of art have been damaged and sometimes destroyed in earthquakes. Even though the importance of providing seismically adequate design for nonstructural components has received attention over the past decade, art objects in museums, either on display or in storage, require further research. The research reported in this study was undertaken to investigate the seismic vulnerability of art objects. Data for this research was gathered from three museums in Montreal. / The seismic behaviour of three unrestrained display cases, storage shelves, and a 6m long dinosaur skeleton model structure was investigated according to the seismic hazard for Montreal and representative museum floor motions were simulated for that purpose. Particular attention was paid to the support conditions, the effects of modified floor surface conditions, the sliding and rocking response of unrestrained display cases, the location (floor elevation) of the display case and/or storage shelves, art object mass, and the dynamic properties of the display cases/storage shelves. The seismic vulnerability of art objects was evaluated based on the seismic response of the display cases/storage shelves at the level of art object display. The display cases were investigated experimentally using shake table testing. Computer analyses were used to simulate the seismic behaviour of storage shelves, and the seismic sensitivity of the dinosaur structure was determined via free vibration acceleration measurements. The floor contact conditions and floor elevation had a crucial effect on the unrestrained display cases, causing them to slide or rock vigorously. The distribution of content mass had a large impact on the response of the shelving system. As a result of experimental and analytical analyses, recommendations and/or simple mitigation techniques are provided to reduce the seismic vulnerability of objects of art.

Thesis (M.A.)(Hons)--University of Western Sydney, 1997. / Includes appendices. Includes bibliography.

Thesis (M.A.) - Carleton University, 2005. / Includes bibliographical references (p.133-142 ). Also available in electronic format on the Internet.

Mémoire (M.E.S.R.)--Université du Québec à Chicoutimi, 1998. / Document électronique également accessible en format PDF. CaQCU

Thesis (M.S.)--The University of North Carolina at Greensboro, 2009. / Directed by Patrick Lucas; submitted to the Dept. of Interior Architecture. Title from PDF t.p. (viewed Jul. 29, 2009). Includes bibliographical references (p. 97-101).

Thesis (Ph. D.)--University of Nebraska--Lincoln, 1993. / Description based on print version record. Includes bibliographical references (leaves [92]-97).