Typescript. Includes bibliographical references (leaves 96-99).

Thesis (Ph.D.)--Ohio University, March, 2006. / Includes bibliographical references (leaves 148-154)

No description available.

Thesis (Ph. D.)--Columbia college. / Vita. List of books quoted.

Mém. de maîtrise--Histoire de l'art--Paris 4, [1999]. / Bibliogr. p. 106-112.

At the beginning of the twenty-first century, cultural policy in Scotland was dominated by the political ideas and priorities of New Labour. Post-devolution government in Scotland, in line with wider British policy, encouraged a new role for the heritage and culture sector, with a new insistence on the language and implementation of a ‘social inclusion’ agenda. However, more than a decade after devolution, changes in government and economic crisis have reconfigured the priorities of the Scottish museum sector. Central questions posed in this thesis are: Has the Scottish museum’s societal role (as promulgated by Labour) been disrupted and altered by recent political and economic shifts and by the threat of future upheavals? And if so, how? What is the current direction of reform within the Scottish museum sector? What are the current narratives of education promulgated within the sector? What symbolic traits are projected by the contemporary museum in Scotland? Building on previous research and theory in museological studies, this thesis offers a fresh perspective on the educational and social role of the contemporary museum in Scotland. Following on from Hewison (1987), I argue that museums in Scotland are responding to post-industrial malaise and fear of decline. Unlike Hewison, however, I argue that this response carries little nostalgia or naïve adoration of the past, but instead seeks to position the museum as an exemplar of stability, business sense and creative thinking in a context of societal anxiety. The National Galleries of Scotland provides an appropriate case study to explore the role and response of the Scottish museum sector to the economic and political uncertainty of the modern era. NGS is one of Scotland’s most prominent and oldest ‘heritage’ institutions, attracting over one million visitors a year. It is also a multisited, national institution, directly supported by government and closely aligned to official cultural policy. This thesis uses archival research and ethnographic methods such as interviews and observation to reveal shifts in educational and reform narratives within the Scottish museum sector as well as underlying ideas that shape these narratives. Conducted over the course of three years, from 2011 to 2013, this research is situated at an interesting time for the Scottish museum sector, as Scottish society wrestles with the economic uncertainty of the early twenty-first century.

<p> Stereotypes of Indigenous peoples, formed according to Western notions of cultural hierarchy, as savage, exotic, and only existing in a distant past, are still prevalent in the popular imaginary. These stem from misunderstandings and misrepresentations of Indigenous peoples that developed after contact between Indigenous peoples and European settler communities, and exist in concepts such as the noble savage, the wild heathen, or the vanishing Indian. In this thesis I argue that contemporary artist Gregg Deal (Pyramid Lake Paiute) successfully challenges and disrupts such stereotypes by re-channeling their power and reappropriating them through his strategic use of humor and irony in performances, paintings, and murals. Through these tools, Deal is able to attract audiences, disarm them, and destabilize their assumptions about Indigenous peoples. I frame Deal&rsquo;s use of humor and irony outside the trickster paradigm, drawing instead on Don Kelly&rsquo;s (Ojibway) theorization of humor as a communicative tool for making difficult topics accessible, and Linda Hutcheon&rsquo;s theorization of irony as a discursive strategy for simultaneously presenting and subverting something that is familiar. </p><p> In a second line of argument, I foreground Deal&rsquo;s agency as an artist through analysis of his strategies to reach audiences and gain visibility for his art. Contemporary Indigenous artists are often excluded from mainstream art institutions, and can struggle to find venues to exhibit their work. I argue that Deal&rsquo;s strategic use of public space and the internet to show and publicize his art is significant. It has helped him to reach audiences and gain recognition for his work. He now exhibits and performs in university and state museums. I argue that the authority of museum space, in turn, gives him a greater opportunity to disrupt stereotypes and educate people about misperceptions of Indigenous peoples.</p><p>

abstract: This research paper examines the close relationships between the visual arts and music and the implications of curatorial practice upon the work of conductors. While some conductors consider suitability the prime (or only) factor in determining which music to perform, curators use many more criteria. Five elements of exhibition design are particularly germane to musicians including setting, subject matter, visual weight, compositional direction, and narrative. Each of these five elements is discussed in terms of its impact on concert design with a goal of providing additional criteria to the conductor when planning concerts. Three concert experiences, designed with these principles in mind, are presented as examples. Upon consideration of the elements of exhibition design separately and corporately, one arrives at a new appreciation of the concert as a unified experience--capable of being much more than the sum of its parts. The aim of effective concert design is to eliminate unintentional communication--to present music in the most complimentary manner possible. To this end, this study has implications for conductors at all levels. / Dissertation/Thesis / D.M.A. Music 2012

<p> Recent advancements in the cost, availability, and capability of augmented reality (AR) and virtual reality (VR) devices and software are spurring their mass distribution to the public. This fundamental shift in the use of AR and VR predominantly from military and academic research laboratories to the public presents new opportunities and challenges for the design of instructional technology. While studies of AR and VR have been conducted to inform the design of individual instructional products, few studies have focused on computer-supported collaborative learning (CSCL) products in which AR and VR learners work together toward shared learning goals. </p><p> The museum education industry possesses unique and inherent characteristics that position it as a strong candidate for the development and deployment of CSCL-ARVR products. Tourism locations, such as museums, provide an exemplary environment for advanced learning technology experimentation in which information technology infrastructure and programs of instruction are often already in place and in which many tourists already possess smartphones and or tablets that may be used to mediate location-based educational experiences. </p><p> The goal was to conduct formative research to develop a tentative instructional design theory that can be used to guide the creation of CSCL-ARVR instructional products. Instructional design theory and software engineering practices were applied to guide the design of a CSCL-ARVR instructional product prototype to support museum education. The prototype, named Co-Tour, was designed and developed to enable remotely-located VR participants to collaborate with AR participants located within a tourism location to jointly navigate the location, examine exhibits and answer questions about exhibits related to a problem-based learning instance. Formative data were collected and analyzed, and the results were used to develop a tentative instructional design theory. </p><p> Mixed Reality Museum Co-Visit Theory is proposed to inform the design and development of CSCL-ARVR co-visitation experiences for museums. A theoretical framework was developed and was informed by CSCL, game-based learning, social constructivist theory, flow theory, and the construct of camaraderie. Five values supporting the goal were elaborated to guide theory methods production including fostering of collaboration, leveraging of informal learning activities, incorporation of motivational elements, favoring of loose organization, and provision an effective user interface. Future research should focus upon replication towards validation and generalizability of results and upon the broader museum going population.</p><p>

ix, 95 p. : ill., maps. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This thesis examines an unstudied pair of eight-paneled Japanese rakuchurakugaizu screens donated by Dr. Robert H. Shiomi to the Jordan Schnitzer Museum of Art (JSMA). Rakuchu-rakugaizu (Scenes in and Out of the Capital) was a popular painting genre that developed over the late sixteenth to seventeenth centuries. In contrast to most accepted scholarly views of this genre, I believe the Shiomi screens are void of political intentions and function as souvenirs. Closely comparing the visual traits to other known examples and contemporary travel guides demonstrates the shift in focus to entertainment and famous sites in the capital available to Kyoto's citizens and visitors alike. Kyoto's history, the prevalence of travel that came with a reunified Japan during the Tokugawa hegemony, and the identification of activities, temples, and shrines within the screens solidifies this argument. This facilitates a nuanced understanding of this painting genre and demonstrates alternative approaches for its study. / Committee in Charge: Akiko Walley, Chair; Charles Lachman; Andrew Edmund Goble