Thesis (M.A.)(Hons)--University of Western Sydney, Nepean, 1997. / Includes bibliographical references.

Thesis (Ph. D.)--University of New Mexico, 2004. / "July 2004." eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 172-178).

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / Essa tese à o resultado de pesquisa sobre a presenÃa do pÃblico em exposiÃÃes de artes plÃsticas em centros culturais e museus de arte. Utilizando dados da observaÃÃo etnogrÃfica, descrevemos prÃticas sociais e interaÃÃes efetuadas entre os atores sociais durante o tempo em que estÃo em exposiÃÃes. ApÃs aproximarmos o leitor do universo da pesquisa e discutirmos conceitos da abordagem sociolÃgica de exposiÃÃes de arte, tratamos das prÃticas sociais fundamentais do pÃblico em exposiÃÃes, como estudar, brincar, conversar, observar a obra, dar uma olhada, conviver, fazer carinho e namorar. Tentamos tambÃm mostrar como a exposiÃÃo pode consistir em item de um conjunto de atividades significativas para os atores sociais. A tÃtulo de conclusÃo, apresentamos nossas contribuiÃÃes e discutimos os limites do modelo um indivÃduo / uma obra e da concepÃÃo de exposiÃÃo de arte como arena de recepÃÃo de mensagens. / The result of the following thesis was based on research upon public attendance to art exhibition in Cultural Centres as well as Art Museums. Utilizing observing ethnographic facts, we describe social practices and interactions which take place amongst social actors during the time of the exhibit. On bringing the reader to the researching universe and discussing concepts based on a sociologic approach of art exhibition, we cover the fundamental social practices of the public during exhibits on how to study, play, talk, observe the artistic work, take a glimpse, familiarize, caress and court it. We also try to show how the exhibit may consist an item of a group of activities significant to the social actors. As to conclude, we presented our contributions and discussed the limits of the pattern individual / art work and that of the conception of art exhibition as a receptive message arena.

Esta dissertação apresenta uma reflexão sobre o intercâmbio artístico realizado entre São Paulo e Buenos Aires, no decorrer da década de 1970. Essa rede de trocas está focada no Museu de Arte Contemporânea da Universidade de São Paulo (MAC USP), sob a gestão de Walter Zanini, e no Centro de Arte y Comunicación (CAYC), dirigido por Jorge Glusberg. Para tanto, iniciamos com um breve estudo sobre as políticas de modernização cultural na Argentina e no Brasil, desde a fundação das primeiras instituições de caráter moderno, nas décadas de 1950 e 1960. Nessa trajetória, traçamos os locais na Argentina onde houve o estímulo às novas vanguardas, desde a ascensão da pop art até a desmaterialização do objeto artístico. Sabemos que o MAC USP e o CAYC constituíram-se como plataformas interdisciplinares e multimídias fundamentais para a ampliação e o incentivo das práticas experimentais, sobretudo da arte conceitual. Desse modo, estabeleceram-se como importantes polos de arte contemporânea na América Latina nesse período. Procuramos analisar os interesses particulares de ambas as gestões, o perfil institucional e os mecanismos de divulgação e circulação das propostas conceituais amparadas pelas duas entidades. E, por fim, mapeamos a presença dos artistas argentinos do Grupo de los Trece, ligados ao CAYC, no acervo do MAC USP. / This dissertation offers a reflection on the artistic exchange occurred between Sao Paulo and Buenos Aires in the 1970s. This reciprocal network is centered in the University of Sao Paulos Museum of Contemporary Arte (MAC USP), under de auspice of Walter Zanini, and in Buenos Aires Art and Communication Center (CAYC), directed by Jorge Glusberg. We begin with a brief study of cultural modernization programs in Brazil and Argentina, as of the establishment of the first institutions of a modern nature, in the 1950s and 1960s. In this trajectory we map venues in which new avant-garde were stimulated, from the dawn of pop art to the dematerialization of the artistic object. We demonstrate that MAC USP and CAYC established essential interdisciplinary and multimedia platforms aiming at amplifying and motivating experimental practices, especially concept art, thus constituting important loci of contemporary art in Latin America at that time period. We aim to analyze the particular interests of each administration, their institutional profile and mechanisms to broadcast and promote conceptual propositions sustained by each organization. Finally, we trace the presence of Argentine artists of Grupo Los Trece, associated to CAYC, in MAC USPs collection.

Os museus de história natural são instituições multifacetadas. Constituem-se como espaços privilegiados para discussão da teoria evolutiva, uma vez são instituições de pesquisa científica, repositórios de material comparativo e meios de comunicação, especialmente por meio de suas exposições. Neste trabalho, o animal é entendido como interface entre duas áreas: museologia e zoologia. Discute-se, então a musealização da zoologia, ou seja, os processos que tornam um animal objeto de museu (musealia) e o seu uso em narrativas evolutivas de exposições de museus de história natural. Para tanto, foram analisadas exposições de três museus de história natural latino-americanos: \"Las Aves\" - Museo de Ciencias Naturales Bernardino Rivadavia; \"Tiempo y materia. Laberintos de la evolución\" - Museo de La Plata; e \"Conchas, corais e borboletas\" - Museu Nacional do Rio de Janeiro. A heterogeneidade de acervos e recursos expográficos exigiu o desenvolvimento de uma metodologia objetiva e replicável para descrição das exposições, estruturada em: (i) fichas; (ii) matrizes conceituais; e (iii) planta baixa. A partir do detalhamento das exposições realizou-se a análise comparativa, considerando três aspectos: presença de conceitos evolutivas nas narrativas; (ii) abordagem da teoria evolutiva; e (iii) concepção de museologia. Tais análises demonstraram que \"Las Aves\" e \"Conchas, corais e borboletas\" são exposições mais semelhantes, tanto nos conceitos evolutivos presentes na narrativa, como na abordagem sistemática da teoria evolutiva na exposição. \"Tiempo y materia\" mostrou-se como uma exposição diferenciada, pois sua narrativa foi construída a partir do conceito de evolução e não de grupos zoológicos, acumulando o maior número de conceitos evolutivos presentes na narrativa e uma abordagem voltada aos mecanismos evolutivos. Contudo, quanto à concepção de museologia, nas três exposições há o distanciamento entre o visitante e o conteúdo proposto, sendo que a teoria evolutiva é apresentada como fato corroborado pelo acervo, textos e outros recursos expográficos. Quanto a comunicação da teoria evolutiva e o papel comunicacional dos animais em exposições, observou-se que a construção teórica das narrativas está restrita aos textos e que os animais emprestam suas estruturas para ilustração e demonstração de conceitos evolutivos apresentados textualmente, servindo como \"comprovação\" da realidade e materialidade da teoria. / Natural history museums are multifaceted institutions. They constituted a privilege venue for discussion of the Theory of Evolution, as they are institucions of scientific research, and also a commucation medium especially due to its exhibitions. For this study, animals are understood as an interface between two fields: museology and zoology. Submitted for discussion is the musealisation of zoology, that is, the processes that make animals a museum object (musealia) and its use on evolutionary narratives on natural historical museums exhibitions. For this purpose, exhibition in three Latin American natural history museums were analyzed: \"Las Aves\" - Museo de Ciencias Naturales Bernardino Rivadavia (Buenos Aires, Argentina); \"Tiempo y materia. Laberintos de la evolución\" - Museo de La Plata (La Plata, Argentina); e \"Conchas, corais e borboletas\" - Museu Nacional do Rio de Janeiro (Rio de Janeiro, Brazil). Heterogeneous collections and exhibitions resources demanded the development of an objective and replicable methodology for describing those exhibits, structured in (i) data sheets; (ii) conceptual matrixes; and (iii) ground plan of the facilities. Detailed description of the exhibitions led to a comparative analysis around three items: (a) the presence of evolutionary concepts in their narratives; (b) their approaches on evolutionay theory; and (c) their museological conceotualisation. Analyses demonstrated that \"Las Aves\" and \"Conchas, corais e borboletas\" were more similar to each other, both in the evolutionary concepsts presents and in their systematics-oriented approach on evolutionary theory. On the other hand, \"Tiempo y material\" had its own narrative built on the notion of evolution itself and not on animal taxonomic work. As for their museological conceptualization, in all three exhibitions there is a gap between the visitor and the proposed content, and evolutionary theory is presented as a corroborated fact by the objects, texts and others exhibitions resources. Upon reflecting on the one communication of the evolutionary theory and the communication role of animals in exhibition, one can notice the the theoretical construction of narratives is restrict to the associated texts, and the animal themselves lend their own structures for the illustration and demonstration of textually presented evolutionay concepts, serving as \"proof\" of the reality and materiality.

No description available.

An increased understanding of species-specific behavioral needs has lead zoos to focus on providing more naturalistic and stimulating environments. Scientific assessments of how changes in habitat affect animal behavior are necessary in improving overall animal welfare. This study examined the move of three orangutans housed at the Oregon Zoo into a new and innovative exhibit. Post-occupancy evaluation (POE), which offers systematic information regarding the success or failure of the built environment (Maple & Finlay, 1987), was utilized to effectively evaluate the results of the move. The collection of behavioral data and adrenal activity monitoring through collection of non-invasive saliva, urine and hair provided a comprehensive methodology for comparing changes in behavior and physiological functioning. Behavioral results showed that following the move to the new enclosure animals spent less time inactive, more time at higher elevations and utilized exhibit structures at a greater frequency. Hormonal results suggest that detection of cortisol in orangutan hair could be a useful tool for monitoring chronic stress.

Gender equity has been a national and global aim for over half a century (Ceci & Williams, 2007; National Center for Education Statistics, 2003; National Science Board, 2008). While gains have been made, one area where inequity remains is spatial reasoning ability, where a large gender gap in favor of males has persisted over the years (Else-Quest, Linn, & Shibley Hyde, 2010; National Science Board, 2008; Ruble, Martin, & Berenbaum, 2006). This gender gap in spatial reasoning has had substantial societal impact on the career interests of females in areas of Science, Technology, Engineering, and Math (STEM), contributing to the larger societal need to engage non-dominant groups in these fields to reduce outsourcing (Ceci & Williams, 2007; Jaschik, 2007; Wai, Lubinski, & Benbow, 2009; White, 1992). Both spatial reasoning ability and STEM career interest have been related to science museum visits (Hamilton, Nussbaum, Kupermintz, Kerkhoven, & Snow, 1995; Salmi, 2001, 2002). However, researchers have also found a gender gap in favor of males in regard to science museum attendance and experiences once at the museum (Borun, 1999; Crowley, 2000). There are many suggestions for increasing female engagement at science museums and creating equitable experiences, but few have been systematically studied (Kekelis, Heber, & Countryman, 2005; Koke, 2005; Maher, 2005; Taylor, 2005). This research investigated gender equitable exhibit development by enhancing a geometry exhibit with several female-friendly design features and analyzing video data to determine the effects on girls' engagement and social interactions with their caregivers. The findings suggest that incorporating several female-friendly design features leads to significantly higher engagement for girls (evidenced by greater attraction and time spent). This study also looked for any unanticipated negative effects for boys after incorporating the female-friendly design features. It is encouraging that this study was unable to detect any unintended negative effects for boys; however, such non-significant results are inconclusive and should not dissuade future research and design teams from continuing to check for unanticipated ill effects of female-friendly design features for boys. While the positive effects for girls were significant, it is important to note that they were not significantly more positive for girls than for boys; further research is needed to determine whether the female-friendly design features create a more equitable experience for girls, or a more positive experience for everyone. This study did not identify any significant differences in parent-child verbal social interactions between the two versions of the exhibit; however, the pattern of results suggests that gender discrepant parent explanations, as found by Crowley, 2001 in a children's museum, may be less of a concern for girls in science centers, providing an interesting area for future study. This research presents evidence to support incorporating female-friendly design features in future science exhibit development projects, and indicates areas where future studies are still needed to gain a deeper understanding of their effects.

The importance of the aura, the metaphysical element that gives art, artifacts, and other objects of cultural heritage their authenticity, has been heavily contemplated ever since the publication of Walter Benjamin's "The Work of Art in the Age of Mechanical Reproduction." This thesis strives to add to this conversation and expand upon it by delving into the emergence of additive manufacturing, or what is more commonly known as 3D printing, and its relation to museums and other institutions that comprise the public humanities. This technology challenges the auratic properties of an exhibit by first digitizing it onto a computer by scanning it and then uploading this data to a 3D printer, which then proceeds to replicate the scanned exhibit down to incredibly fine details. For museums the possibility that 3D printed replicas, increasingly able to be indistinguishable from the original and capable of being produced in great numbers at ease, replacing their auratic exhibits is a very real possibility to consider. This thesis argues that some museums are responding by despatializing their exhibitions in order to uphold their auratic exhibits, while others are offsetting the potential loss by turning their exhibitions into tactile, multisensory experiences. Either option, which are not mutually exclusive, transforms the traditional museum. This thesis ultimately concludes that it's possible to reconcile the auratic exhibit with the 3D printed replica should these institutions properly adapt. Doing so will allow them to continue fulfilling their mission statements to preserve and promote the auratic exhibits well into the future. / Master of Arts

Hui Pui Lam Joe. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 121-128). / Abstracts in English and Chinese. / Chapter Chapter 1 --- Buried in the footnotes-Introduction / Chapter 1.1 --- The importance of museums --- p.1 / Chapter 1.2 --- What are museums? --- p.6 / Chapter 1.2.1 --- Museums in Hong Kong --- p.6 / Chapter 1.2.2 --- Definitions of Museums --- p.7 / Chapter 1.3 --- Research Questions --- p.10 / Chapter 1.4 --- Research Texts: --- p.10 / Chapter 1.4.1 --- Background information of the ´بHong Kong Museum of History' --- p.10 / Chapter 1.4.2 --- Background information of the ´بThe Hong Kong Story´ة --- p.11 / Chapter 1.4.3 --- Background information of the ´بTai O Cultural --- p.12 / Chapter 1.5 --- Methods of study --- p.13 / Chapter 1.6 --- Chapter outline --- p.15 / Chapter Chapter 2 --- The theoretical and critical framework / Chapter 2.1 --- ´بModernist museums´ة as gendered institutions --- p.18 / Chapter 2.1.1 --- The dominant form of museum in the MH --- p.21 / Chapter 2.2 --- Literature on gender representation in art galleries and history museums --- p.22 / Chapter 2.2.1 --- In the context of art galleries --- p.22 / Chapter 2.2.2 --- The pragmatic approach --- p.23 / Chapter 2.2.3 --- The quantitative approach --- p.24 / Chapter 2.3 --- "Gaby Porter and other museologists, works" --- p.25 / Chapter 2.3.1 --- Gender dualism --- p.27 / Chapter 2.3.2 --- Object-centered approach --- p.31 / Chapter 2.3.2.1 --- The concept of ´بemotion material´ة --- p.35 / Chapter 2.3.2.2 --- Methods to regenerate the representation of women in history museum --- p.37 / Chapter 2.3.3 --- Classification system --- p.39 / Chapter 2.4 --- New museology movement --- p.40 / Chapter 2.4.1 --- Post-museum --- p.40 / Chapter 2.4.1.1 --- The characteristics of post-museum --- p.42 / Chapter 2.4.1.2 --- How does post-museum relate to gender? --- p.44 / Chapter 2.4.2 --- Ecomuseum --- p.45 / Chapter Chapter 3 --- Case study of the Hong Kong Story- Gender dualism and object-centered approach in exhibition / Chapter 3.1 --- General description of the Hong Kong Story (HKS) --- p.47 / Chapter 3.2 --- Displays in lower and upper floors --- p.48 / Chapter 3.2.1 --- Lower floor: Folk Culture in Hong Kong --- p.49 / Chapter 3.2.2 --- Upper floor: Birth and Early Growth of the City and Modern Metropolis and the Return to China --- p.51 / Chapter 3.3 --- Gender dualism in Exhibition --- p.53 / Chapter 3.3.1 --- Male-defined experiences of work and daily life --- p.59 / Chapter 3.3.2 --- Marginalization of work in domestic area --- p.63 / Chapter 3.4 --- Object-centered approach taken by curators --- p.65 / Chapter 3.4.1 --- Lower floor- The representation of wedding ceremony --- p.68 / Chapter 3.4.1.1 --- Reasons behind the under-representation of women experiences in traditional wedding ceremonies --- p.69 / Chapter 3.4.2 --- Upper floor- The under-representation of women experiences --- p.72 / Chapter 3.5 --- Methods to exhibit the non-material formed history and emotion material --- p.75 / Chapter Chapter 4 --- Out of the box: Case Study of the Tai O Cultural Workshop / Chapter 4.1 --- Orientation of the Workshop and the role of Ms. Wong in the Workshop --- p.81 / Chapter 4.1.1 --- The Position of Ms. Wong in the Workshop --- p.82 / Chapter 4.2 --- Description of displays --- p.83 / Chapter 4.2.1 --- The interpretation of objects --- p.86 / Chapter 4.2.2 --- The importance of Ms. Wong as a guide --- p.88 / Chapter 4.3 --- A critical analysis of exhibition --- p.89 / Chapter 4.3.1 --- The role of guide in the Workshop --- p.90 / Chapter 4.3.2 --- The naming issue --- p.92 / Chapter 4.3.3 --- The ways of object interpretation --- p.95 / Chapter 4.3.4 --- Objects as emotion material --- p.96 / Chapter 4.3.5 --- The position of Ms. Wong as a curator --- p.101 / Chapter 4.3.6 --- The orientation of the Workshop- Tai O as a unique and lively community --- p.104 / Chapter 4.4 --- Reasons for the success of the Workshop --- p.108 / Chapter Chapter 5 --- Conclusion / Chapter 5.1 --- Comparison between the MH and the Workshop --- p.110 / Chapter 5.2 --- Limitation of the Workshop --- p.114 / Chapter 5.3 --- The positive role of laymen to change curatorial practices --- p.115 / Chapter 5.4 --- In what ways can HKS learn from the Workshop? --- p.117 / Bibliography --- p.121 / Appendix / Appendix: Pictures of the Hong Kong Story (Chapter 3) and the Tai O Cultural Workshop (Chapter4) --- p.130