This thesis explores the application of vision-based augmented reality in formal and informal educational environments. It focuses on the common practices, concerns, and priorities that developers and content creators in each environment frequently encounter, offering insights into how these experiences are changing with the incorporation of new digital media technologies and the hardware platforms that support them. The research outlined in this thesis uses qualitative methods, assembled around a series of twelve hour-long interviews with highly-experienced educators, developers, researchers, and designers, and analyzed using a grounded theory approach. This thesis introduces original research about the role of computer vision-based augmented reality as an educational medium, a topical discussion in information studies, museum studies, learning sciences, and a number of other fields, and makes a theoretical commitment to addressing the ways that material and virtual objects come to interact meaningfully in a variety of learning environments.

This thesis analyzes the educational function of art museums, how education in art museums evolved and how an art museum can conduct an educational mission. The concept of the material collections as the educative origin of art museums will be discussed alongside the history of collections in Europe. In addition to the concept of collection, the importance of educational programmes of art museums will be highlighted. Having derived a general notion of the educational function of art museums, the thesis will seek to answer questions such as how museology evolved in Turkey and whether the turkish museology has an educational concern. In accordance with these questions two turkish contemporary art museums will be investigated as case studies.

The nineteenth century is a period, when great transformations were experienced in the Ottoman Empire. Besides the political, economical and judicial changes, with the impact of the westernization process, important leaps about two important components of cultural life, museology and archeology, were realized in terms of both collecting and protecting the ancient monuments / and their exposition. As two interrelated fields of culture and sciences originated from Europe, museology and archeology were incorporated in the cultural life of the Ottoman Empire in the nineteenth century. The Ottoman Empire was acquainted with these two scientific fields through the impacts of both the museological studies in Europe and the excavations of the foreign researchers and archeologists, conducted within the imperial territories. This study aims to observe the emergence of museological and archeological studies in the Ottoman Empire and its development by the impacts of the West. In this study, the origins of the museological and archeological studies, the first attempts in the Ottoman Empire and the development in the continuing process and the judicial acts about the mentioned fields composed in the 19th century are examined chronologically. In this process of development, the works of Osman Hamdi Bey were forming an important part of this thesis.

The goals of museum collaboration are several, as are its intended beneficiaries. Assuming the success of the practice, local communities can gain the opportunity for self-representation and self-determination, museums can contribute to the creation and dissemination of new kinds of knowledge, and visitors can take home better understandings of cultural difference. While these are the ideals of collaboration, they frequently go unrealized, in large part because, as research indicates, the visiting public fails to recognize the active involvement of communities at museums. This raises the question as to whether, in the absence of this audience awareness, museum collaboration can fully contribute to the realization of the tolerant society that it purports to support. The purpose of this research is to examine the role of museum visitors in achieving the goals of museum collaboration, as well as to consider why this public has difficulty recognizing community involvement at museums and how this may be remedied. “A Partnership of Peoples” is an extensive renewal project underway at the Museum of Anthropology (MOA) at the University of British Columbia (UBC), designed to facilitate collaborative research at the museum. It also serves as a case study for my consideration of the relationship between museums and the visiting public as a part of the collaborative process. By speaking with both MOA staff and visitors, I gained insight into the intended goals of the renewal project with respect to the museum’s relationship with communities and the general public, as well as visitor understandings of collaboration. With this fieldwork, in addition to a literature review, I found that the significance of collaboration rests in the personal interactions that occur between individuals. As the majority of visitors do not benefit from these interactions during their time at the museum, they are at a disadvantage when it comes to recognizing the engagement of others in the creation of displays or the facilitation of research. The task for museums, then, is to make contemporary peoples visible and audible, connecting objects to communities and increasing opportunities for visitors to experience these personal meanings.

Disertacijoje, remiantis XIX a. Lietuvoje kolekcionuotų rinkinių ir jų raiškos analize, siekiama apibendrinti to meto visuomenės požiūrį į istorijos ir kultūros paveldą bei rekonstruoti jo sampratą ir reikšmes. Darbe tiriama, kaip ir kokius konkrečius savos praeities ir savos tapatybės vaizdinius kūrė XIX a. Lietuvos visuomenė, interpretuodama kaupiamą kultūros paveldą; kokios reikšmės buvo suteikiamos paveldo objektams; kaip šie mentaliniai konceptai keitėsi. Kolekcionavimas kaip reiškinys Europoje ypač išpopuliarėjo nuo XVIII a. II pusės. Šis procesas neaplenkė ir Lietuvos, kur XIX a. radosi privatūs ir vieši rinkiniai, formavosi antikvarinė rinka, o spaudoje apie paveldo objektus, jų rinkinius gyvai diskutavo, dalinosi informacija ir mokslininkai, ir kolekcininkai. XIX a. rinkiniuose kaupti istorijos ir kultūros paveldo objektai pavieniui atliko tik ženklo ar simbolio funkciją, o kaip visuma bylojo apie juos rinkusių asmenų pasaulėžiūrą, perteikė jų kurtus idėjinius naratyvus. Visuomenės dalyvavimas, kaupiant praeities objektus kaip kultūrinės savasties ir tradicijos dalį, tuo pačiu skatino pažinti ir interpretuoti šį paveldą, tokiu būdu išreiškiant bendrumo jausmą, konstruojant ir puoselėjant kolektyvinę atmintį, kuriant bendrą tapatybę. / The aim of dissertation – on the basis of the analysis of the collections compiled in the 19th century Lithuania and their expression, to generalise the perspectives of the society on the cultural heritage and to reconstruct perceptions about it and associated meanings. The research analyses how and what specific images of its past and its identity the society was creating through the interpretation of the cultural heritage, what changes these mental constructs had undergone over time, and what meanings were attached to the items of the relevant cultural heritage. As a European phenomenon, collecting became popular from the second half of the 18th century. Lithuania was also part of this process, where the compilation of both private and public collections, the formation of the antiquities market started in the 19th century. In the collections of the 19th century, the objects of cultural heritage, taken individually, performed only the function of the sign or symbol. Taken as a whole, they cast light on the worldview of their compilers, and recounted their ideological narratives. Conscious participation of the society in the accumulation of objects of the past as part of their cultural identity and tradition encouraged one to familiarise oneself and to interpret this heritage, thereby expressing the feeling of commonality in the construction and cherishing of the collective memory while creating a common identity.

Disertacijoje, remiantis XIX a. Lietuvoje kolekcionuotų rinkinių ir jų raiškos analize, siekiama apibendrinti to meto visuomenės požiūrį į istorijos ir kultūros paveldą bei rekonstruoti jo sampratą ir reikšmes. Darbe tiriama, kaip ir kokius konkrečius savos praeities ir savos tapatybės vaizdinius kūrė XIX a. Lietuvos visuomenė, interpretuodama kaupiamą kultūros paveldą; kokios reikšmės buvo suteikiamos paveldo objektams; kaip šie mentaliniai konceptai keitėsi. Kolekcionavimas kaip reiškinys Europoje ypač išpopuliarėjo nuo XVIII a. II pusės. Šis procesas neaplenkė ir Lietuvos, kur XIX a. radosi privatūs ir vieši rinkiniai, formavosi antikvarinė rinka, o spaudoje apie paveldo objektus, jų rinkinius gyvai diskutavo, dalinosi informacija ir mokslininkai, ir kolekcininkai. XIX a. rinkiniuose kaupti istorijos ir kultūros paveldo objektai pavieniui atliko tik ženklo ar simbolio funkciją, o kaip visuma bylojo apie juos rinkusių asmenų pasaulėžiūrą, perteikė jų kurtus idėjinius naratyvus. Visuomenės dalyvavimas, kaupiant praeities objektus kaip kultūrinės savasties ir tradicijos dalį, tuo pačiu skatino pažinti ir interpretuoti šį paveldą, tokiu būdu išreiškiant bendrumo jausmą, konstruojant ir puoselėjant kolektyvinę atmintį, kuriant bendrą tapatybę. / The aim of dissertation – on the basis of the analysis of the collections compiled in the 19th century Lithuania and their expression, to generalise the perspectives of the society on the cultural heritage and to reconstruct perceptions about it and associated meanings. The research analyses how and what specific images of its past and its identity the society was creating through the interpretation of the cultural heritage, what changes these mental constructs had undergone over time, and what meanings were attached to the items of the relevant cultural heritage. As a European phenomenon, collecting became popular from the second half of the 18th century. Lithuania was also part of this process, where the compilation of both private and public collections, the formation of the antiquities market started in the 19th century. In the collections of the 19th century, the objects of cultural heritage, taken individually, performed only the function of the sign or symbol. Taken as a whole, they cast light on the worldview of their compilers, and recounted their ideological narratives. Conscious participation of the society in the accumulation of objects of the past as part of their cultural identity and tradition encouraged one to familiarise oneself and to interpret this heritage, thereby expressing the feeling of commonality in the construction and cherishing of the collective memory while creating a common identity.

This thesis is a study of pottery in the museum world. Throughout the study, questions along the lines of how, why and what we exhibit are brought up and answered. The study is done through observations and interviews with seven different museums, four of which are located in Sweden and three in Italy. The author has also used museological literature and theories in order to strengthen the essay and show that the issues brought up in the observations are known since before in the field, but still exist in the museums today.The exhibiting of pottery comes with several issues, such as overcrowding of displays, requirements of pre-knowledge from the visitors, aesthetical problems with broken, coarse or fine pottery and epistemological prob-lems. Epistemology is a subject that seems to be partly ignored in the observed museums, despite it being general knowledge that fewer visitors will read the text the longer it is. Other epistemological problems that are brought up are the issues of text placement, vocabulary and actual mediated information. These problems are brought up throughout the essay and explained, with a smaller section that discusses possible improvements to them, which have been brought up by researchers in the field.In interviews with curators of the museums, thoughts about what the visitors see and understand compared to what the museums want them the see are presented. Also their views on the possibilities of interaction with pottery as a mediator and whether they focus primarily on aesthetics or learning in the exhibitions are shown. This essay is not meant to be a decider between what is right or wrong concerning the exhibiting of pottery, but could be used as a stepping-stone towards such studies. This is a two years master’s thesis in Archive, Library and Museum studies. / Den här uppsatsen är en studie av krukor i museivärlden. Genomgående i studien kommer frågor som hur, varför och vad vi ställer ut tas upp och besvaras. Studien har gjorts genom observationer och intervjuer med sju olika museer, fyra belägna i Sverige och tre i Italien. Författaren har också använt sig av museologisk litteratur och museologiska teorier för att stärka uppsatsen och visa att de problem som tagits upp i observationerna är kända sedan tidigare inom fältet, men trots det existerar i museer idag.Utställande av krukor medför flera problem, såsom överfulla montrar, krav på förkunskaper hos besökarna, estetiska problem med trasig, bruks- eller finkeramik samt epistemologiska problem. Epistemologi verkar vara ett ämne som delvis ignoreras i de observerade museerna, trots att det är allmänt känt att färre besökare kommer att läsa texten ju längre den är. Andra epistemologiska problem som behandlas är sådana som textplacering, vokabu-lär och faktiskt förmedlad kunskap. Dessa problem tas upp och förklaras i uppsatsen med en mindre sektion som diskuterar möjliga förbättringar av dem, baserat på idéer från forskare inom fältet.I intervjuerna med curatorer från museerna presenteras deras tankar om vad besökarna ser och förstår jäm-fört med vad museerna vill att de ska förstå. Också deras syn på möjligheterna av interaktion genom krukor och huruvida de fokuserar främst på det estetiska eller pedagogiska i utställningarna visas. Den här uppsatsen är inte menad att skilja mellan rätt och fel vid utställandet av krukor, men kan användas som ett avstamp mot sådana studier. Det här är en två-årig masteruppsats i Arkiv-, Biblioteks- och Museivetenskap.

This thesis explores the application of vision-based augmented reality in formal and informal educational environments. It focuses on the common practices, concerns, and priorities that developers and content creators in each environment frequently encounter, offering insights into how these experiences are changing with the incorporation of new digital media technologies and the hardware platforms that support them. The research outlined in this thesis uses qualitative methods, assembled around a series of twelve hour-long interviews with highly-experienced educators, developers, researchers, and designers, and analyzed using a grounded theory approach. This thesis introduces original research about the role of computer vision-based augmented reality as an educational medium, a topical discussion in information studies, museum studies, learning sciences, and a number of other fields, and makes a theoretical commitment to addressing the ways that material and virtual objects come to interact meaningfully in a variety of learning environments.

The goals of museum collaboration are several, as are its intended beneficiaries. Assuming the success of the practice, local communities can gain the opportunity for self-representation and self-determination, museums can contribute to the creation and dissemination of new kinds of knowledge, and visitors can take home better understandings of cultural difference. While these are the ideals of collaboration, they frequently go unrealized, in large part because, as research indicates, the visiting public fails to recognize the active involvement of communities at museums. This raises the question as to whether, in the absence of this audience awareness, museum collaboration can fully contribute to the realization of the tolerant society that it purports to support. The purpose of this research is to examine the role of museum visitors in achieving the goals of museum collaboration, as well as to consider why this public has difficulty recognizing community involvement at museums and how this may be remedied. “A Partnership of Peoples” is an extensive renewal project underway at the Museum of Anthropology (MOA) at the University of British Columbia (UBC), designed to facilitate collaborative research at the museum. It also serves as a case study for my consideration of the relationship between museums and the visiting public as a part of the collaborative process. By speaking with both MOA staff and visitors, I gained insight into the intended goals of the renewal project with respect to the museum’s relationship with communities and the general public, as well as visitor understandings of collaboration. With this fieldwork, in addition to a literature review, I found that the significance of collaboration rests in the personal interactions that occur between individuals. As the majority of visitors do not benefit from these interactions during their time at the museum, they are at a disadvantage when it comes to recognizing the engagement of others in the creation of displays or the facilitation of research. The task for museums, then, is to make contemporary peoples visible and audible, connecting objects to communities and increasing opportunities for visitors to experience these personal meanings.

This thesis explores the rich and provocative fields of interaction between Australian artists and museums from 1975 to 2002. Artists have investigated and engaged with museums of art, social history and natural science during this period. Despite the museum being a major source of exploration for artists, the subject has rarely been examined in the literature. This thesis redresses this gap. It identifies and examines four prevailing approaches of Australian contemporary art to museums in this period: oppositional critique, figurative representation, intervention and collaboration. / The study asserts that a general progression from oppositional critique in the seventies through to collaboration in the late nineties can be charted. It explores the work of three artists who have epitomised these approaches to the museum. Peter Cripps developed an oppositional critique of the museum and was intimately involved with the art museum politics in Melbourne during the mid-seventies. Fiona Hall figuratively represented the museum. Her approach documented and catalogued museum tropes of a bygone era. Narelle Jubelin’s work intervened with Australian museums. Her work has curatorial capacities and has had real effect within Australian museums. These differing artistic approaches to the museum have the effect of contesting history and expanding narrative within museums. / Curators collaborated with artists and used artistic methods to create exhibits in Australian museums during the 1990s. Artistic approaches are a major methodology of museums seeking to contest traditional modes of history and expand narrative in their exhibits. Contemporary art has played a vital, curatorial, role in the Hyde Park Barracks, Museum of Sydney, Melbourne Museum and Ian Potter Centre: NGV Australia, amongst other museums. While in earlier years artists were well known for their resistive approach to the art museum, this thesis shows that artists have increasingly participated in new forms of representation within art, social history, and natural history museums. I argue that the role of contemporary art within “new” museums is emblematic of new approaches to history, space, narrative and design within the museum. (For complete abstract open document)