The past two decades posed some challenges for the museum world. Questions about the production of meaning, museum relationships with community groups, and the politics of representation in exhibitions, occupy both museum practitioners and scholars. These questions are further related to the general issues that are at the forefront of contemporary society, which include problems of social inclusion, cultural diversity and social equity (Sandell, 2002; 2007). Most of the discussion has been framed around racial, ethnic and cultural communities and their access to and participation in museum programming. Gender relations and feminist issues have been largely overlooked (Conlan and Levin, 2010: 308). This study considers the representation of women’s work in museums. In particular, I examine portrayals of “culture” and “work” in women’s textile production. Museum literature has documented the subordination (or absence) of women and their work in exhibitions and the hegemonic, patriarchal approach within which they were represented (Porter, 1996; Levin, 2010). Using an ethnographic case study of a museum dedicated to textile collection, I suggest seeing this museum as a potential challenge to mainstream museums’ traditional approach and silence on the women’s work that has created most textiles on display. I examine the meanings that are produced in relation to the textiles, the organization and dissemination of these meanings through exhibitions and the ways in which the public (visitors and members) responds to these exhibitions. In order to explore these questions, Hall’s communication model (1993) was applied to trace the process of encoding and decoding meanings at the museum. My approach to meaning production is realized through observations of the museum’s committee meetings. The second stage is the circulation of meanings in exhibitions. I examine this through an analysis of exhibitions’ texts and docent tours. Decoding these meanings is realized through surveys of museum members and visitors together with short interviews. My findings suggest that initially, the museum offered some oppositional elements in exhibiting practices. However, a shift occurred towards a dominant, hegemonic view of museum work and re-effacing of women’s work with the departure of the founders.

Denna uppsats behandlar hur multimedia för lärande designas och används på allmänna kunskapsinstitutioner som museum och Science Centers i Sverige. Syftet med studien var att kartlägga designers förhållningssätt till designprocessen samt till aspekter som lärande, upplevelse och multimedia när en multimedial applikation utformas. Ytterligare syften var att identifiera problem och avslutningsvis utforma och presentera riktlinjer för design av multimedia för allmänna kunskapsinstitutioner. Studien, som antog en kvalitativ ansats, initierades med inledande intervjuer med en extern designer och två utställningsdesigners. Dessa intervjuer vägledde sedan frågeställningarnas utformning till de sex huvudintervjuerna, som hade en semistrukturerad prägel. Det har framgått i studien bland annat att utställningsdesign är en komplex uppgift som sätter höga krav på designgruppen och dess kompetens, och att det från Science Centers sida krävs en högre grad av involvering från discipliner som ny teknik och multimedia men även från interaktionsdesign, IKT och pedagogik. Sammanfattningsvis visar studien att designers ofta tar problemområdet för givet och designar utifrån sina egna intressen och sällan involverar besökaren eller användaren.

In recent year, the maintenances of cultural assets become world-wide trends. There are not only cultural heritages involved but also stories and beauties about the land where the residents live. Cultures exist everywhere without boundaries and bring out the resident characteristics which can draw other people in. This would be the chance for old community to refresh and be internationalized. The thesis is expected to observe the cultural development and management through the perspective of Eco-museums. After the Hamasen Community was determined, the observation and in-depth interviews with the older as the first-hand data compared to secondary dada are employed. After analyzing them, the comparison with two other cases (Lan Yang Museum and Ironbridge Gorge) is used to propose the suggestions for future development of Hamasen Community. Hence, three insights are concluded as the followings, 1. The residents think they should be involved in community activities. But due to lack of incentives, community identity is usually hard to be kept. However, it is in search of community identity through the process of implementing the concepts of eco museums & involvement of residents. 2. The concepts of local management & self financing can be executed in Hamasen Community. Local management also means assets should be locally kept & maintained and this will involve various cultures and knowledge incorporation which needs the specialists to transfer their knowledge to the residents to get them able to manage their community by themselves. 3. The outsiders who are the audiences as well in the museum interact with actors (residents) periodically. This makes Hamasen Community transferred into a famous sightseeing place. Within plenty of modern coffee shops along with the harbor, it is getting ancient & modern architectures betweens. And the newly developed appearances should be captured & sensed by residents.

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Daylight has a deteriorating effect on the museum objects. For this reason, usually museums totally block the daylight. This research is the part of restoration works of Kuwait National Museum (KNM), which was destroyed during the Gulf War in 1990. The purpose of this research is to investigate the lighting performance of the top lighting and side shading devices in KNM. This research will cover daylighting systems for Building 3 and 4 of the KNM. Daylighting systems are evaluated by using the scale model and Desktop RADIANCE, a lighting simulation program. This research will present how to make use of daylight in museum buildings while protecting museum objects from the harmful portion of daylight.

Museums provide many functions, such as collection, preservation, research, exhibition, education, propagation, information, recreation and etc. However, the highlighting of museums varies with time. The functions of modern museums have gradually evolved from collection, preservation, exhibition in the past to the current recreation, education and entertainment. Compared with functions in the past, the quality of service offered by a modern museum becomes essential. There is ongoing interaction between the need of the public and the growth of the museum. Plain exhibition can no longer attract audience in the trend of recreation-oriented modern life style. A manager of a museum needs to recognize the need of the audience. A museum in itself is not any more an institution merely for passing on knowledge. A new feature has been attached to the museum. It becomes a place that accepts various opinions, and looks after the need of audience in aspects of emotion and sensation. In other words, modern museum uses its service as a stage and its exhibition as the props to let audience involved, and hence, personal experience emerged. The displayed collections are visible, the services are perceptible but the experiences are memorable. In this study, literature was analyzed to explore the establishment of a military museum from the viewpoint of experience economy. In the process, a different element ¡§how to create experience¡¨ was added into it. Starting from the perceptions of the audience and digging into their need, the study tried to understand audience¡¦s experiences of visiting a museum. Through this process, factors that impact the experiences of audience can be identified to offer strategies in providing audience experiences after the establishment of a military museum. Base on the results of the study, suggestions and future research directions were proposed to the government to facilitate planning of setting up a military museum.

Diss.--Berlin--Humboldt-Universität. / Bibliogr. p. 320-355. Notes bibliogr. Index.

Zugl.: Leipzig, HTWK, Diplomarbeit, 2007

Bound with: British Museum. A guide to the exhibition galleries. 1879. / Signed: Nevil Story-Maskelyne, Nov. 1, 1877.