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Följande arbete är en kandidatuppsats inom medieteknik som ämnar att förstå möjligheterna med hybridupplevelser inom naturhistoriska och historiska museer utifrån designbyråer och museers erfarenheter, samt öka kunskapen om hur en engagerande hybridupplevelse skapas. Det användes en induktiv ansats tillsammans med semistrukturerade intervjuer av två museer och två designbyråer inom fältet hybrida upplevelser. Empirin analyserades sedan med hjälp av tematisk analys där tre teman med vardera delteman identifierades. Uppsatsen refererar till tidigare forskning om hybridupplevelser inom museisektorn där fokuset ligger på utställningar med både fysiska och digitala komponenter, samt att besökarna befinner sig fysiskt på plats. Utifrån analys och diskussion av uppsatsens resultat drogs slutsatserna att en engagerande hybridupplevelse måste innehålla digitala och fysiska element, samt integrera teknik, design och berättande på ett balanserat sätt. Tekniken, såsom projiceringskartläggning, ger liv åt fysiska ytor och föremål för att skapa autentiska upplevelser. Designen av utställningen och dess fysiska utformning är avgörande för interaktionen mellan besökare och föremål samt för att främja diskussioner och samtal. Digitala verktyg förstärker berättelsen och de interaktiva elementen bidrar till att besökaren uppslukas av berättelsen. / The following work is a Bachelor level thesis on Media Technology aimed at understanding the possibilities of hybrid experiences within natural history and historical museums based on the experiences of design agencies and museums, as well as increasing knowledge of how an engaging hybrid experience is created. An inductive approach was used together with semi-structured interviews of two museums and two design agencies in the field of hybrid experiences. The empirical data was then analyzed using thematic analysis, identifying three main themes with respective subthemes. The thesis refers to previous research on hybrid experiences within the museum industry, focusing on exhibitions incorporating both physical and digital components, with guests physically visiting the museum. Based on the analysis and discussion of the thesis results, the conclusion was drawn that an engaging hybrid experience must include digital and physical elements, and integrate technology, design, and storytelling in a balanced manner. Technology, such as projection mapping, brings physical spaces and objects to life to create authentic experiences. The design of the exhibition and its physical layout are crucial for interaction between visitors and objects, as well as for promoting discussions and conversations. Digital tools enhance the storytelling, and interactive elements contribute to immersing the visitor in the narrative.

[ES] La presente investigación de doctorado tiene como objetivo reivindicar una mayor importancia para la actividad del conservador de las instituciones museológicas, partiendo de un cambio de paradigma que coloque al conservador en el centro de las discusiones referentes a la toma de decisiones relacionadas con las obras de arte pertenecientes a colecciones de estas instituciones. Partiendo del presupuesto de que es posible, por analogía, comparar a la institución museo con un ecosistema, es decir como un sistema mayor formado por varios sistemas menores, se pretende examinar como tienen lugar las relaciones entre los conservadores, que actúan en un subsistema específico, y los diversos agentes que actúan en otros subsistemas. Los museos, como otros campos sociales, son espacios de relación en los cuales estructuras jerárquicas de poder pueden generar conflictos entre los agentes que allí actúan. Esta constatación expone problemas variados que pueden afectar a las obras de arte, desde la adquisición, pasando por la conservación y guarda y por la restauración propiamente dicha, hasta llegar a la exhibición entre otros. El entendimiento del conservador como gestor se propone como una alternativa, que busca dar respuesta a los diversos problemas relacionados al proceso de toma de decisiones en beneficio de las obras de arte. La hipótesis defendida es la de que el conservador, como agente poseedor de las prerrogativas para operar como interlocutor político en la interfaz entre los diversos subsistemas del sistema museo, es el agente que puede conducir las discusiones y opinar sobre los diversos aspectos relacionados a los objetos que confieren identidad a la institución museo. De esta manera, el cambio de paradigma propuesto puede contribuir para el equilibrio del ecosistema museo, en favor de todos los que allí comparten relaciones de trabajo buscando el bien común. / [CA] La present investigación de doctorat té com a objectiu reivindicar una major importància per a l'activitat del conservador de les institucions museològiques, partint d'un canvi de paradigma que col.loque al conservador en el centre de les discussions referents a la pressa de decisions relacionades amb les obres d'art pertanyents a col.leccions d'aquestes institucions. Partint del pressupost que és possible, per analogía, comparar a la institució museu amb un ecosistema, és a dir com un sistema major format per diversos sistemes menors, es pretén examinar com tenen lloc les relacions entre els conservadors, que actuen en un subsitema específic, i els diversos agents que actuen en altres subsistemes. Els museus, com altres camps socials, són espais de relació en els quals estructures jeràrquiques de poder poden generar conflictes entre els agents que allí actuen. Aquesta constatació exposa problemes variats que poden afectar les obres d'art, des de l'adquisició, passant per la conservación i guarda i per la restauració pròpiament dita, fins a arribar a l'exhibició entre altres. L'enteniment del conservador com a gestor es proposa com una alternativa, que busca donar resposta als diversos problemes relacionats amb el procés de presa de decisions en benefici de les obres d'art. La hipòtesi defensada és la que el conservador, com a agent poseeïdor de les prerrogativas per a operar com a interlocutor polític en la interfície entre els diversos subsistemes del sistema museu, és l'agent que pot conduir les discussions i opinar sobre els diversos aspectes relacionats amb els objectes que confereixen identitat a la institució museu. D'aquesta manera, el canvi de paradigma proposat pot contribuir per a l'equilibri de l'ecosistema museu, en favor de tots els que allí comparteixen relacions de treball buscant el bé comú. / [EN] The aim of this doctoral research is to assert that the activity of the conservator of museological institutions is of great importance, emanating from a paradigm shift that places the conservator at the centre of discussions regarding decision-making on works of art belonging to the collections of these institutions. Starting from the presupposition that it is possible, by analogy, to compare the museum institution to an ecosystem, that is, as a larger system made up of several minor systems, it is intended to examine the relationships between conservators, acting within a specific subsystem, and various individuals acting within other subsystems. Museums, like other social fields, are spaces of social interaction in which hierarchical structures of power can generate conflicts between the individuals who participate in them. The acknowledgement of this exposes various problems that can affect works of art, from acquisition, through to conservation and storage and restoration itself, and even the exhibition of these works, amongst other things. As an alternative, it is proposed that the conservator must be recognised as a kind of manager, who seeks to react to the various problems related to the decision-making process for the benefit of the works of art. The hypothesis asserts that the conservator, as an individual possessing the power to operate as a political interlocutor at the interface between the various subsystems of the museum system, is the person best-placed to lead discussions and give opinions on the various aspects related to the objects that confer an identity upon the museum institution. Thus, the proposed paradigm shift can contribute to the balance of the museum ecosystem, to the benefit of all those who share working relationships there, in search of the common good. / Farias De Carvalho, H. (2022). El conservador como gestor: posibilidad de acción política en la interfaz institucional [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/190097

Följande arbetes syfte har varit att titta närmare på förindustriell militaria i nutida utställningar. i huvudsak granskas europeiska rustningar men övrig militaria nämns till mindre utsträckning i arbetet. De tre institutioner som granskas i arbetet är följande: The Wallace Collection, Livrustkammaren samt Skoklosters slott. Här återges en tidslinje från rustningars tid som kroppsskydd och maktsymboler, nygotikens påverkan på ett ökat intresse för rustningar och medeltiden, och den roll rustningar kom att spela. Detta åtföljs av proveniensens och rustningsmedernas stämplar. Många av rustningarna som granskats bär stämplar som kan identifiera dem. Sedan lyfts bevarande av förindustriell militaria. Sista frågeställningen jämför tillgänglighet av objekt i visningssalen, hur ”krigsbyten” i samlingar idag begrundas mer öppet om exempelvis accession och ursprung, samt hur en uppställning kan se ut i praktiken och vad som har förändrats. Avslutningsvis granskas frågan rörande autentiska ”original” och hur ovanligt detta är för rustningar. De flesta rustningar skapades för aktiv användning, hur hanteras då de ”trasiga” delarna? / The following work examines pre-industrial arms and armour in present-day exhibits. The focus leans mostly towards European armour, arms are mentioned but to a lesser extent. The three institutions chosen for this are as following: The Wallace Collection, The Royal armouries of Stockholm and Skokloster Castle. Here a timeline is given to explain armours role as body armour and symbols of power during the medieval and the renaissance period. How the gothic revival during the 19th century created a demand for pre-industrial arms and armour. After that provenance and armourers’ marks are examined for their importance in identifying the armours history. This is followed by an examination of preservation in present-day exhibits. Lastly this work examines things like items on available display, acknowledgements to trophies of war, how a modern exhibit could be set up and lastly the concept of “original” and how rare that can be for armour.

Diese Dissertation hat die institutionalisierte Form des Sammelns in europäischen Museen zum Gegenstand. Mit dieser Arbeit analysiere ich die Auswirkungen des Einsatzes digitaler soziotechnischer Systeme für die Dokumentation von Museumssammlungen. Dafür kombiniere ich eine dezidiert theoretisch-kulturwissenschaftliche mit einer praxisorientierten Perspektive, die von der kritischen Museologie, der Human-Computer Interaction (HCI) und der Visualisierungsforschung informiert ist. Die zugrunde liegende Hypothese lautet, dass weder der Einsatz digitaler soziotechnischer Systeme zur Museumsdokumentation noch die daran anschließenden Formen der Veröffentlichung und Zugänglichmachung von Museumssammlungen zu einer »digitalen Transformation« des musealen Sammelns geführt haben. Diese Hypothese basiert auf der Beschreibung des musealen Sammelns als Kulturtechnik. Aufbauend auf diesem theoretischen Konzept betone ich das symmetrisch gedachte Zusammenspiel der technisch-medialen und der symbolischen Dimension kulturhervorbringender Praktiken. Um meine Hypothese zu überprüfen, analysiere ich Artikel, Handreichungen, Klassifzierungsstandards, technische Berichte und Software-Evaluierungen, die für und von Museumsfachleuten geschrieben wurden. Meine Analyse zeigt, dass die symbolische Dimension der Kulturtechnik des Sammelns - konkret die mit Sammlungen hergestellten und abgebildeten »epistemischen Ordnungen« - trotz der Nutzung von digitalen Technologien von Kontinuität geprägt ist. Die epistemischen Ordnungen werden bisher insbesondere durch die Dominanz und Priorisierung von standardisierter Wissensrepräsentation stabilisiert. Aufbauend auf diesen Erkenntnissen gehe ich der Frage nach, ob und wie digitale soziotechnische Systeme und algorithmische Verfahren im Kontext des musealen Sammelns so gestaltet werden können, dass sie der Destabilisierung und Pluralisierung von Museumsordnungen dienen und somit »Transformationsimpulse« verstärken oder auslösen können. / This dissertation is concerned with the institutionalised form of collecting in European museums. In this work, I analyse the effects of using digital socio-technical systems for documenting museum collections. For this, I combine a theoretical approach grounded in cultural studies with a practice-oriented perspective informed by critical museology, Human-Computer Interaction (HCI), and visualisation research. My guiding hypothesis is that neither the use of digital socio-technical systems for museum documentation nor the subsequent forms of publishing and access to museum collections have led to a »digital transformation« of museum collecting. This hypothesis is based on the description of museum collecting as a cultural technique (Kulturtechnik). Building on this theoretical concept, I emphasise the symmetrical interplay of the technological and the symbolic dimensions of culture-producing practices. To test my hypothesis, I analyse articles, guidelines, classification standards, technical reports, and software evaluations written for and by museum professionals. My analysis shows that the symbolic dimension of the cultural technique of collecting - specifically the »epistemic orders« produced and represented with collections - is characterised by continuity despite the use of digital technologies. The epistemic orders are stabilised, particularly by the dominance and prioritisation of standardised knowledge representation. Building on these findings, I explore the question of whether and in what way digital socio-technical systems and algorithmic processes can be designed in such a way that they serve to destabilise and pluralise museum orders and consequently can contribute to amplifying or triggering »transformation impulses« in the context of museum collecting.

Diese Arbeit geht der Frage nach den bildungstheoretischen Absichten der Sammlungspraktiken zweier außerordentlicher Kunstkennerinnen und -sammlerinnen der Renaissance nach, Isabella d''Este und Margarethe von Österreich. Ihre Sammlungen formten einen neuen Wissenstypus, indem sie mittels Strukturierung und Visualisierung deutende Ordnungen der Welt erstellten. In den Studioli von Isabella d''Este und von Margarethe von Österreich, die zu Marksteinen einer Entwicklung wurden, die in Nordeuropa erst in der zweiten Hälfte des 16. Jahrhunderts zu ihrer Entfaltung kam, dienen Kunstverständnis, Kunstförderung und Kunsterwerb der höfischen Selbstdarstellung. Mit ihrer Ausstattung repräsentieren sie darüber hinaus die Frühform eines Sammlungsraumes, in dem zukunftsweisende Bildungsprozesse stattfinden. Die vorliegende Arbeit versteht sich somit als Rekonstruktion und Analyse eines impliziten Bildungsprogramms. / The study compares the history of two Renaissance collections, the "studiolo" of Isabella d’Este (1474-1539) and the "petit cabinet" of Margaret of Austria (1480-1530), two extraordinary art experts and collectors sixteenth century. They modelled a new type of knowledge by their method of acquisition as they created an interpretative classification of the world through the use of structure and visualisation. The work focuses on the concepts of knowledge inscribed into the visual structure of those two collections and the pedagogical approaches they enacted. Isabella d’Este’s and Margaret of Austria’s collection rooms became a landmark in a development, which only came into being in northern Europe in the second half of the sixteenth century. This is, in part, due to the fact that the understanding, promotion and acquisition of art became an important aspect of courtly self representation. Furthermore, their collection represents an early form of collection space which created the foundation for future educational processes. Therefore, this work is aims to be a historiography of an educational process as well as the reconstruction and analysis of an implicit pedagogical program. Following an interdisciplinary approach, the research is designed to systematically and historically reconstruct the order, production and representation of knowledge within its social context. The comparative approach aims to grasp the specific pedagogical perspective of each collection. Furthermore it focuses on parallels of their concern of transformation and the functionality of such extraordinary collection activities. Analytical categories such as space, time and hierarchies are used in the analysis of the primary sources. In this way, the collections and corresponding materials will be analysed in order to explain how the implicit educational program can be understood as a forerunner of an educational theory.

In the English museums sector, an impetus for impact assessment stems from an internal ethos towards producing positive impacts for the public. Furthermore, as institutions largely dependent on national and local government funding, museums have increasingly been called to demonstrate their impacts to policy makers. Economic impact and valuation procedures are employed to help meet these demands. However, consideration of non-economic impacts has not kept pace. Reasons include the contested priorities in the sector, a fluctuating policy landscape and too exclusive a focus on theoretical debates rather than empirical research. Indeed, a great deal of attention and time has already been allocated to impact assessment with little accumulation of evidence at a museum-specific or national level. Accordingly, this research set out to reveal a detailed understanding of socio-cultural impacts of museums for their local communities. A thorough meta-synthesis of nineteen academic and non-academic sources, revealed the limitations of previous studies. These limitations relate to sampling, method choice, sophistication of analysis and transparency in reporting. Often, only potential impacts have amounted. The Royal Albert Memorial Museum (RAMM), in the southwest city of Exeter offered a suitable research site for this large-scale study. Drop and Collect administered household surveys ensured the elicitation of views from residents across the city. A range of statistical analysis techniques were applied to cross-sectional samples (n=435, n=384). The main contribution of this research is to demonstrate a replicable approach to eliciting views from the public regarding the impacts of their local museum. Future evaluation can follow this model which is neither focused upon economic impacts, nor arrives at a monetised valuation. Cluster Analysis proves a preferable way of grouping the public rather than traditional segmentations pertaining to socio-demographic or behavioural characteristics. Furthermore, socio-cultural impacts are effectively assessed, monitored and prioritised through Gap Analysis. Factor Analysis reveals latent constructs of Personal-fulfilment, Objects and their Surrounding Narratives, Self-actualisation, Learning and Networked Leisure drive these impacts. Therefore, this research meets the museum management challenge of finding a suitable design for assessment of impacts in relation to different communities.

Master of Science / Department of Communications Studies / Gregory Paul / This report investigates how American art museums have adopted interactive technologies on their websites. The use of such technologies brings to the forefront a tension regarding authority over visitors’ experience of and interpretation of art both in person and online. Interactive tools on 15 art museum websites were coded as enabling one of three types of interaction: human-to-computer, human-to-human and human-to-content. Human-to-computer interactive features were most prevalent on museum websites, followed by human-to-human and human-to-content interactive technologies respectively. The findings demonstrate a tension between the goals of art museums in wanting to engage visitors in co-creation of meaning about art on the one hand and wanting to maintain their traditional authority over that meaning on the other. The report concludes by offering recommendations for how museums can use interactive technologies more effectively in order to maintain their role as centers of social and cultural life.