Naturalistic exhibits have become popular among zoo designers as well as zoo visitors. However, one problem associated with naturalistic exhibits is that many times visitors cannot see the animals. The primary purpose of this study was to examine the effect of this lack of visibility on visitor experience. Other goals of this study were 1) to theorize the relationship between visitor experience and exhibit design, 2) to present the implications of this study on current practices in zoo exhibit design, and 3) to provide a series of design recommendations which will enhance current design practices. The results of this study suggest that there is a significant relationship between animal visibility and visitor experience. Most importantly, the results indicate that animal visibility can significantly influence how visitors use the interpretive materials associated with the exhibits. These results are important because a primary zoo objective is visitor education through sign readership. The most valuable contributions made by this study are 1) the theory proposed in this thesis which provides designers a stronger theoretical foundation from which to begin the design of zoo exhibits, 2) the findings provide additional empirical data in identifying qualities of exhibits which stimulate visitors to read, and 3) the findings provide researchers additional evidence concerning what factors of an exhibit are most significant in influencing visitor attitudes. / Master of Landscape Architecture

<p>Webexhibits is a growing but unexplored, cultural phenomenon that indicates a new use of the Internet for cultural communication. In the essay two quantitative methods, logganalysis and websurveys, have been used to study the visitors in 5hus.nu. The purpose is to generate knowledge about webexhibits as a cultural manifestation and medium by studying the experience and actions of its visitors. To achieve the aim the paper explores the methodological questions of how to study webusers. Theories about the exhibition as a medium and the web as a virtual area of exhibits have been used to understand and interpret the results. The study also relates to the research field of Visitor Studies. The analysis shows that a new relationship and pattern of ommunication between the producer and its public is created in the"virtual"exhibition space. Interactivity contributes to differentiated experiences and varying ways in which visitors navigate the site. However the statistic results illustrate that the net is a traceable, complex and technical exhibition arena, where time and space are subordinated and where a new form of cultural activity is being developed.</p> / <p>Utställningar på webben är en växande men fortfarande outforskad kulturyttring, som vittnar om en vidgad användning av Internet för kulturell kommunikation. I uppsatsen tillämpas två webbaserade kvantitativa metoder: trafikanalys och webbenkäter, för att studera besökarna i en fallstudie av webbutställningen 5hus.nu. Syftet har varit att genom analys av besökarnasegna upplevelser och agerande generera kunskaper om webbutställningar som kulturyttring och medium. För att uppnå syftet ges en metodologisk redogörelse för hur besökarna i en webbutställning kan studeras. Empirin har tolkats mot kommunikationsteorier om utställningsmediet och webben som utställningsarena. Studien har även kopplats till det tvärvetenskapliga forskningsfältet Visitor Studies - besöksstudier. Resultaten visar tydligt på hur nya kommunikationsformer mellan avsändare och mottagare skapas i det ”virtuella” utställningsrummet. Interaktiviteten bidrar till att besökarnas upplevelser och agerande i hög grad skiljer sig åt. Samtidigt pekar statistiken på att webben är en mycket spårbar, komplex och teknikstyrd utställningsarena, där tid och rum får en underordnad betydelse och där en ny form av kulturaktivitet håller på att utvecklas. </p>

Webexhibits is a growing but unexplored, cultural phenomenon that indicates a new use of the Internet for cultural communication. In the essay two quantitative methods, logganalysis and websurveys, have been used to study the visitors in 5hus.nu. The purpose is to generate knowledge about webexhibits as a cultural manifestation and medium by studying the experience and actions of its visitors. To achieve the aim the paper explores the methodological questions of how to study webusers. Theories about the exhibition as a medium and the web as a virtual area of exhibits have been used to understand and interpret the results. The study also relates to the research field of Visitor Studies. The analysis shows that a new relationship and pattern of ommunication between the producer and its public is created in the"virtual"exhibition space. Interactivity contributes to differentiated experiences and varying ways in which visitors navigate the site. However the statistic results illustrate that the net is a traceable, complex and technical exhibition arena, where time and space are subordinated and where a new form of cultural activity is being developed. / Utställningar på webben är en växande men fortfarande outforskad kulturyttring, som vittnar om en vidgad användning av Internet för kulturell kommunikation. I uppsatsen tillämpas två webbaserade kvantitativa metoder: trafikanalys och webbenkäter, för att studera besökarna i en fallstudie av webbutställningen 5hus.nu. Syftet har varit att genom analys av besökarnasegna upplevelser och agerande generera kunskaper om webbutställningar som kulturyttring och medium. För att uppnå syftet ges en metodologisk redogörelse för hur besökarna i en webbutställning kan studeras. Empirin har tolkats mot kommunikationsteorier om utställningsmediet och webben som utställningsarena. Studien har även kopplats till det tvärvetenskapliga forskningsfältet Visitor Studies - besöksstudier. Resultaten visar tydligt på hur nya kommunikationsformer mellan avsändare och mottagare skapas i det ”virtuella” utställningsrummet. Interaktiviteten bidrar till att besökarnas upplevelser och agerande i hög grad skiljer sig åt. Samtidigt pekar statistiken på att webben är en mycket spårbar, komplex och teknikstyrd utställningsarena, där tid och rum får en underordnad betydelse och där en ny form av kulturaktivitet håller på att utvecklas.

This thesis is a critical study of two exhibits, First Encounters Spanish Exploration in the Caribbean and A Tribute to Survival. The objective of the thesis was to understand if and how indigenous activists, using the media as tool, were able to change curatorial approaches to exhibition development. Chapter 1 is broken into three sections. The first section introduces the exhibits and succinctly discusses the theory that is applied to this thesis. The second section discusses the objectives of the project and the third provides a brief outline of the document. Chapter 2 discusses the historical background of American museums in an attempt to highlight changes in curatorial attitudes towards the public, display, interpretation, and authority. Chapter 3 gives a more in-depth overview of the methodology and materials utilized in the thesis. Chapter 4 is a critical analysis of the literature for both First Encounters and A Tribute to Survival. Chapter five is a summary of the thesis and offers a conclusion of the effectiveness of using the media as a tool. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including the DH Sterling and the William Mitchell. Through investigating the'truth' systems promoted by the photograph within the presentations of histories this research draws a link between the development of colonialism and the perception of photography. It also deliberates on how 'truth' perception is still a major part of an audience's knowledge base. 1. Anne-Marie Willis Picturing Australia: A History of Photography, Angus & Robertson Publishers, London. 1988:253

The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permanent Canadian historical art galleries at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are significant in their illustration of contemporary colonial collection practices. The effectiveness of each installation is discussed in relation to the demands and resistances raised by Indigenous and non-Native artists and cultural professionals over the last 40 years, against racist treatment of Indigenous arts.

The Douglas Summerland Collection is a fictional "monographically based history"1. In essence this research is concerned with the current debates about history recording, authenticity of the photograph, methods of history construction and how the audience digests new 'knowledge'. The narrative for this body of work is drawn from a small album of maritime photographs discovered in 2004 within the archives of the Port Chalmers Regional Maritime Museum in New Zealand. The album contains vernacular images of life onboard several sailing ships from the nineteenth and twentieth centuries, including the DH Sterling and the William Mitchell. Through investigating the'truth' systems promoted by the photograph within the presentations of histories this research draws a link between the development of colonialism and the perception of photography. It also deliberates on how 'truth' perception is still a major part of an audience's knowledge base. 1. Anne-Marie Willis Picturing Australia: A History of Photography, Angus & Robertson Publishers, London. 1988:253

DABUL, Lígia Maria de Souza. O público em público: práticas e interações sociais em exposições de artes plásticas. 2005. 333f. Tese (Doutorado em Sociologia) – Universidade Federal do CEARÁ, Departamento de Ciências Sociais, Programa de Pós- Graduação em Sociologia, Fortaleza-CE, 2005 / Submitted by Liliane oliveira (morena.liliane@hotmail.com) on 2011-11-29T13:54:01Z No. of bitstreams: 1 2005_TESE_LMSDABUL.pdf: 1849039 bytes, checksum: bec58ce55af60c7c6229b3d92fa040f7 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2011-11-29T14:51:32Z (GMT) No. of bitstreams: 1 2005_TESE_LMSDABUL.pdf: 1849039 bytes, checksum: bec58ce55af60c7c6229b3d92fa040f7 (MD5) / Made available in DSpace on 2011-11-29T14:51:32Z (GMT). No. of bitstreams: 1 2005_TESE_LMSDABUL.pdf: 1849039 bytes, checksum: bec58ce55af60c7c6229b3d92fa040f7 (MD5) Previous issue date: 2005 / 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. / Essa tese é o resultado de pesquisa sobre a presença do público em exposições de artes plásticas em centros culturais e museus de arte. Utilizando dados da observação etnográfica, descrevemos práticas sociais e interações efetuadas entre os atores sociais durante o tempo em que estão em exposições. Após aproximarmos o leitor do universo da pesquisa e discutirmos conceitos da abordagem sociológica de exposições de arte, tratamos das práticas sociais fundamentais do público em exposições, como estudar, brincar, conversar, observar a obra, dar uma olhada, conviver, fazer carinho e namorar. Tentamos também mostrar como a exposição pode consistir em item de um conjunto de atividades significativas para os atores sociais. A título de conclusão, apresentamos nossas contribuições e discutimos os limites do modelo um indivíduo / uma obra e da concepção de exposição de arte como arena de recepção de mensagens.

Submitted by Yole Maria Mendonça (yolemendonca@gmail.com) on 2017-05-05T13:16:19Z No. of bitstreams: 1 dissertaçãoYoleversaofinal04-05.pdf: 3100072 bytes, checksum: 9052a65234b5d9d9badad7d16bf4974e (MD5) / Approved for entry into archive by Rafael Aguiar (rafael.aguiar@fgv.br) on 2017-05-05T20:23:03Z (GMT) No. of bitstreams: 1 dissertaçãoYoleversaofinal04-05.pdf: 3100072 bytes, checksum: 9052a65234b5d9d9badad7d16bf4974e (MD5) / Made available in DSpace on 2017-05-16T14:04:21Z (GMT). No. of bitstreams: 1 dissertaçãoYoleversaofinal04-05.pdf: 3100072 bytes, checksum: 9052a65234b5d9d9badad7d16bf4974e (MD5) Previous issue date: 2017-04-04 / This essay analyses the contribution of the great art exhibitions for the development of the public of cultural centers, through a case study of the Banco do Brasil Cultural Center of Rio de Janeiro. Based on questionnaires applied to visitors of two major exhibitions held at that center in 2015 and 2016, this research was conducted to determine the effectiveness of these events in the expansion, diversification and loyalty of this public. In a more specific way, the study investigates to what extent large exposures are able to attract people from C,D/E social classes, and what are the most appropriate strategies to make it a regular goer. For this purpose, in-depth interviews were conducted with a small contingent of new visitors from the two representative representatives of this social segment. The analysis of the results allows us to afirm that the strategy of large expositions allowed the CCBB to expand is public in numerical and social terms, presenting a profile closer to the distribution of brazilian society in relation to the average of cultural spaces. However, in relation to the D/E classes this representation is still below the social reality of the country. While taking into account that the extension of this representation interacts with dimensions that go beyond the work developed by a cultural center, this study proposes ways to increase the participation of this social segment in the CCBB public. / Este trabalho analisa a contribuição das grandes exposições de arte para o desenvolvimento do público de centros culturais, por meio do estudo de caso do Centro Cultural Banco do Brasil do Rio de Janeiro. A partir de questionários aplicados aos visitantes de duas grandes exposições realizadas naquele centro em 2015 e 2016, foi realizada pesquisa para apurar a eficácia desses eventos na ampliação, diversificação e fidelização desse público. Num aspecto mais específico, o estudo investiga em que medida as grandes exposições estão sendo capazes de atrair o público das classes C,D/E e quais seriam as estratégias mais adequadas para transformá-lo num frequentador habitual. Para tanto, foram realizadas entrevistas em profundidade com um pequeno contingente de novos visitantes das duas mostras representantes desse segmento social. A análise dos resultados nos permite afirmar que a estratégia de realização de grandes exposições possibilitou ao CCBB ampliar seu público em termos numéricos e também sociais, apresentando um perfil mais próximo da distribuição da sociedade brasileira em relação à média dos espaços culturais. No entanto, em relação às classes D/E essa representação ainda está aquém da realidade social do país. Sem deixar de levar em conta que a ampliação dessa representatividade interage com dimensões que vão além do trabalho desenvolvido por um centro cultural, este estudo propõe em seu final alguns caminhos para o crescimento da participação desse segmento social no público do CCBB.

When South Africa became a democracy, many of its cultural institutions were tainted by the stigma of having been tools for the production and propagation of apartheid ideology. This thesis examines two key facets of post-apartheid museums and memorials. Firstly, how they have repositioned themselves as institutions of cultural and social standing. Secondly, their role as tools of nation building, social change, and creators of national collective memory within the new democratic South Africa. Through an analysis of cultural memory theory pertaining to museology, this study elaborates on the methods employed by museums to incorporate memory into their narratives and in turn, transfer collective memory to their viewers. This thesis provides a comparative study of the architectural, memorial and museological strategies of two post-apartheid museums; the Red Location Museum and the Apartbeid Museum. It examines the contributions of both museums to the introduction of new museological strategies for the successful creation and transmission of South African collective memory. Through this analysis, both the invaluable contributions and the drawbacks of post-apartheid museums as tools for the promotion of new democratic ideologies and philosophies are considered. This thesis does not resolve the arguments and questions which have surfaced regarding cultural institutions as tools for the promotion of reconciliation and the construction of national collective memory within South Africa. As the current climate of memorialisation is one of change and paradox, it is presently impossible to fully quantify post-apartheid museums' roles within South Africa's move toward reconciliation and social change. However, the examination of both the Red Location Museum and the Apartheid Museum reveals the extraordinary change that South African cultural institutions have undergone in addition to their potential to become institutions which facilitate active reconciliation as well as social and cultural growth.