Throughout the process of trying to manage decisions and objects coming together in a designated area of the city, questions are faced that are generated by more than one set of circumstances, the many histories of a place, its geology and typology and topology, the balance of pragmatism and idealism — the issue of whether or not to even engage in these dialogues... In the end the project must be for and about the citizenry — in all their many shapes and sizes — here are more issues and less clarity! It seems to me now that such a project must be run through a succession of cycles of construction and destruction, and I say this having watched this project settle a bit more with each rewrite and rehearsal. It also became painstakingly clear that the architectural idea that is to undergo this many washings needs to be a solid one. The overarching question engaged in the project and the one that remains is, simply, what does it mean to build in this city? I look forward to be able to try to answer it again and again. / Master of Architecture

The inspiration for the development of this project - The Museum for the Human Body in Georgetown, Washington D.C. - was based on a study of the anatomy of movement and its Relationship to space. 'A Journey from the mind to the soul’ is the connective experience linking the spaces of the project (body, mind and soul). This study is inspired by ideas from the early Chinese, Egyptian and Aristotelian philosophies as well as the drawings of Leonardo da Vinci in searching for the 'sensus communis' as the location of the soul within the body. / Master of Architecture

Community-based museums in British Columbia are testaments to the importance of belonging and social identity. Three case studies, the Saanich Pioneer Museum, the Kamloops Museum Association and the Langley Centennial Museum in Fort Langley demonstrate how community identity was the focus of collective memory construction. Museum buildings were also iconographic sites. This research draws on museum society minutes, records, journals and displays, and personal interviews. It examines the role of earlier groups and events, from agricultural fairs to fraternal organizations in these museums' origins. The influence of provincial and federal government policies and funding, Centennial celebrations, and umbrella organizations such as the British Columbia Museums Association are also analysed. Socialization, interaction, memorabilia, commemorations and celebrations were all part of the creation of collective memory, and demonstrate how belonging was vital to these museums' creation and histories. / Graduate

The aim of this study is to give a historical view upon and examine the development of local and regional cultural history museums in Norway as a topic in Norwegian cultural policy 1900 – circa 1970. The present thesis is divided into four main parts: In part one data sources and theoretical perspectives are presented. The thesis is written in museology and this is the background for a perspective where of local and regional museums arose as a subject requiring development of public politics. The theoretical perspective is how development of politics frequently appears as a choice between various alternatives based on available contemporary material and ideological suppositions. Local and regional museums appear in this perspective as a cultural phenomenon in their own age, a phenomenon to which Stortinget, the Ministry and the museum profession attached both interpretations and conceptions. In part two, entitled “Concern over a group of museums” the parallelism between museum growth and policymaking from 1900 – 1920 is analyzed. Development of politics in these years can be considered as a process where the formation of clearly defined guiding principles for practice by the authorities took place. In the centre of this development of politics was the regulation on governmental subsidy based on a political framework the need to conform to norms related to calculability and equal treatment. At the same time it does appeared the legitimacy to carry out disciplinary measures was nourished by a conception of local and regional museums as unruly and an image of them as a type of “freely growing” institution. In part three, “A formative recognition”, deals with the growing cooperation between The Norwegian Museums Assosiation and the Ministry in the field of local and regional museum and how it influenced the work in this museum. Cooperation with the museum society ensured that a competent apparatus was available to the Ministry. This led gradually to development of a new administrative regime, more specifically a move toward something which can be described as a professional administration. Part four “Consolidation of the politics” examines the development 1945 – circa 1970. The new tendencies would turn out to reflect an increasing awareness of the educational opportunities for future museum personnel, different solutions for establishing good professional guidance for the unmanned museums and, in parallel within the professional museum milieu, an emerging debate on the museums’ role in society. Common for all these initiatives is that they demonstrate what one could characterise as an increasing degree of professionalism. Part four end with the Proposal from the Museum Committee of 1967. This white paper was presented by the Ministry of Churches and Education in 1972. The document was the first of its kind and was intended to be recognised as a comprehensive plan.  The most tangible result of the white paper was the arrangement for subsidies to semi-public museums which was introduced in 1975.

This thesis is a qualitative case study of a 5th grade field trip program at the Georgia Museum of Art in Athens, Georgia. The value – educational, social, and otherwise – of direct experiences with artworks in the museum setting has been demonstrated in numerous studies (Adams & Sibille, 2005; Burchenal & Grohe, 2007; Burchenal & Lasser, 2007; Henry, 1992; Hubard, 2007), and the single-visit field trip program has been a staple of educational programming at many art museums across the United States. However, much of the recent literature in art education focuses on the benefits of multiple-visit field trip programming (Burchenal & Grohe, 2007; Burchenal & Lasser, 2007), in effect “abandoning” the single-visit program. Given that the single-visit field trip remains a standard in the field, this study sought to explore the ways museum educators can maximize the value of the one-shot field trip model in art museums. Through observations of a 5th grade class on their field trip to the Georgia Museum of Art, interviews with program stakeholders (including museum educators, museum director, the school art teacher, and program donor), and collecting the students’ perspective through written questionnaires, this study revealed insight into the one-visit field trip. An analysis of the various issues and perspectives involved with this type of programming substantiated the hypothesis that there is valuable information to be learned from looking closer at the single-visit program. The findings suggest that by situating itself authentically in its own community, the art museum can make single-visit field trip programs more relevant to students’ lives by employing culturally responsive teaching practices. / text

Prior studies on museum visitors are extensively centred on national museums, the studies on regional museums are scarce. To fill in the academic gap, a research is proposed concerning the visitors of Dalarna Museum, a regional museum in Sweden. With an aim to profile visitors’ demographic characteristics and investigate the motivational factors that influence visitors’ frequency of visits, a face-to-face questionnaire survey was implemented at Dalarna Museum. To get visitors’ demographic characteristics, a few closed and open questions are devised to profile visitors’ gender, age, occupation, income, education, number of children and residence place. To investigate the motivational factors that influence visitors’ frequency of visits, a seven-point Likert questionnaire is employed with 17 motivational factors included. During a 12-day data collection, 372 visitors were invited to participate in the questionnaire survey, whereof 357 had filled in the questionnaire, generating a response rate that is as high as 96 percent. After data cleansing, there are 355 completed and valid responses in total. According to the results, some of visitors’ demographic characteristics are similar including gender, age, occupation, income, and number of children. However, the characteristics regarding visitors’ residence places and educational attainments are different comparing the frequent visitors to occasional visitors. Through running a multiple regression analysis, 13 out of the 17 motivational factors are detected having significant influences on visitors’ frequency of visits to Dalarna Museum, of which the most influential one is visitors’ day-outs with their friends and relatives.

Thesis (M.A.)--Baylor University, 2007. / Includes bibliographical references (p. 77-81).

Univ., Diss.-2001 u.d.T.: Wehnert, Stefanie: Möglichkeiten und Probleme der musealen Vermittlung von Literatur--Kiel, 2000. / Literaturverz. S. 235 - 249. Nebent.: Möglichkeiten und Probleme der musealen Vermittlung von Literatur.

Fribourg, Univ., Diss., 2005. / Buchhandelsausg. der Diss. Univ. Fribourg, 2005. Literaturverz.

abstract: The Maricopa produce one of the most recognizable types of pottery made in Arizona. Since the late nineteenth century, the ware has been manufactured for sale, and a small number of individuals continue to produce the pottery today. Over the past forty years, the amount of pottery in museum and private collections has increased dramatically. Studying these new collections changes the way in which developments in the pottery are understood. Previous scholarship identified three phases of development, including a pottery revival in the late 1930s during which the involvement of government and museum personnel resulted in the improvement of the ware and a change in style. An analysis of expanded pottery collections shows that this period was not a revival, but rather part of a more gradual continuum. Hindsight shows that the activities of the 1930s served to publicize Maricopa potters, resulting in an increasingly collectible pottery. One collector, Adele Cheatham of Laveen, Arizona, compiled a collection that helps to shed light on developments in the 1960s and 1970s demonstrating that there were relationships between the potters' community and residents of Laveen. This indicates that for women in these settlements the manufacture and sale of Maricopa pottery was a common interest and created deeper bonds, some of which developed into close friendships. The eight different potters represented in the Cheatham Collection highlight a shift in generations within the potter community, showing the importance of teaching and family relationships in transmitting the knowledge of the craft to the next generation. These relationships have continued to change as the number of potters has dwindled, and instruction of the craft has transitioned from one that was learned in a home setting to one that is increasingly introduced in a classroom. At the same time, this historically female associated craft has shifted to one where men are actively producing pottery. Changes in teaching style, the people producing the pottery and decorative techniques indicate that Maricopa pottery is an art in transition. / Dissertation/Thesis / M.A. History 2010