<p> An Egyptian archaeological textile, accessioned in the American Museum of Natural History (AMNH) (Cat.No. 95/2444), from the Tomb of Hatnofer and Ramose, Eighteenth Dynasty (1550-1295 B.C.), Western Thebes was studied, with two textiles (Cat.Nos. 95/2443 and 95/2445) from the same tomb used as comparanda. The textile&rsquo;s finely spun fibers, plain-weave balanced structure with selvedge fringes and lower edge fringes, and with various weavers&rsquo; marks, stains, and losses, provide invaluable historical data about finely woven, royal linens of Eighteenth Dynasty Egypt. </p><p> Scientific analysis used for this study include: visual annotations, polarized light microscopy (PLM), scanning electron microscopy (SEM) including fiber diameter measurements, and carbon-14 dating. Closely examining a textile and its fibers can provide information about the condition of the textile, linen quality, weaving techniques, and the life of the textile itself. While the linen fibers in the Study Textile (Cat.No. 95/2444) and the Comparanda Textile #1 (Cat.No.95/2443) have been identified, it is still uncertain whether or not the fibers in the Comparanda Textile #2 (Cat.No.95/2445) are of a different quality linen or of a different plant material which is very similar to linen within the bast fiber family. Further studies would be required to answer this and several other questions that remain.</p><p>

O presente trabalho resultou de um estudo antropológico sobre o Museu Severina Paraíso da Silva, dedicado à história e às tradições do grupo de candomblé da nação Xambá, cujo diferencial é estar instalado dentro de uma casa de culto afro brasileiro, o Terreiro de Santa Bárbara Ylê Axé Oyá Meguê, em Olinda, Pernambuco, Brasil. Este é um exemplo de Museu que representa a memória de um grupo social minoritário, criado por seus membros, com o objetivo de preservar seu patrimônio étnico-cultural, o qual é utilizado como categoria política para obtenção de reconhecimento perante a sociedade. Foram analisadas, neste estudo, as inter-relações em torno do Museu, observando-se aspectos como sua criação pelos próprios membros; coleta e utilização dos objetos; público-alvo; espaço físico e objetos, em especial os que não perderam seu poder simbólico, embora expostos no Museu e, principalmente, as mensagens transmitidas para a sociedade. Tais aspectos são importantes fios condutores para entender a postura dos membros do grupo em relação à sociedade e à formação de suas autoconsciências individuais e coletivas, ou seja, como eles elaboram e interpretam a identidade como grupo através do Museu; e entender também a importância do Museu na construção da memória e preservação da identidade étnica do grupo Xambá e da cultura negra em Pernambuco. A questão principal, porém, foi verificar se o Memorial e o Museu, como espaços de preservação, criam em seus membros um sentimento de pertencimento. Para a pesquisa foram coletados dados bibliográficos, documentais, no site do terreiro, na cartilha do grupo, em vídeos, plantas, em entrevistas formais com os criadores do museu e informais com outros membros do grupo, mas principalmente através da observação participante nas visitas dirigidas ao Museu e nos toques. Durante a pesquisa verificou-se que uma parte do grupo se destaca pela busca de sua visibilidade como estratégia de reivindicação de direitos sociais. Busca esta que procura legitimar a tradição usando categorias como autenticidade e pureza e pela presença de pesquisadores e pessoas ilustres, além da afirmação da importância do Museu para a construção do patrimônio cultural do negro no Estado. Um ganho substancial nesta busca pela visibilidade foi a concessão do título de Quilombo Urbano, alguns anos após a criação do Museu, sugerindo que este contribuiu para o reconhecimento do local como espaço de preservação de práticas culturais de descendentes de africanos. Há outros elementos que representam vitórias, na luta pelo reconhecimento, ou seja, um empoderamento para o grupo, como o nome de Xambá, dado ao Terminal Integrado de Passageiros construído próximo ao terreiro dentro do perímetro do Quilombo. Além da visibilidade para o grupo, o Museu trouxe outros ganhos, ele cria uma coesão entre seus membros, que passam a se ver como um grupo, como uma nação. / The present work steamed from an anthropological study on the Severina Paraíso da Silva Museum, which is dedicated to the history and traditions of the candomblé group of Xamba Nation. It is remarkable that it is located within an african-brasilian worship house, the Terreiro de Santa Bárbara Ylê Axé Oyá Meguê, in Olinda, state of Pernambuco, Brasil. This is an example of a museum that represents the memory of a minority social group, created by its members in order to preserve their ethnic cultural heritage, and used as a political category for obtaining recognition by the current society. The study analysed the interrelations surrounding the museum, observing aspects such as its creation by its members; collection and usage of the objects; target audience; physical space and objects, especially those that have not lost their symbolic power, despite being exhibited in the museum; and the messages that were transmitted to society. Such aspects are an important thread to the understanding of the attitudes of the group members towards society and the formation of their individual and collective self-awareness, i.e., how they develop and interpret their identity as a group through the museum; as well as, to the understanding of the importance of the Museum in the construction of memory and the preservation of the ethnic identity of the Xamba group and of the black culture in Pernambuco. The main issue, however, was to determine whether the memorial and the museum, as spaces of preservation, produce in their members a sense of belonging. The research material included literature, documents and Museums publications, in-site observation at the Terreiro, videos, blueprints, formal and informal interviews with the creators of the Museum and with other group members, but mainly participant observation during visits to the Museum and during ceremonies (toques). The research revealed a section of the group that stands out due to a search for visibility as a strategy of demand for social rights. In order to legitimate their tradition, such effort makes use of categories such as authenticity and purity, benefits from the presence of researchers and celebrities, and asserts the importance of the Museum for the construction of the black cultural heritage in the State of Pernambuco. A substantial milestone in that search for visibility was the concession of the title of Urban Quilombo, a few years after the creation of the Museum, suggesting that it contributed to the recognition as the place as a space of preservation of cultural practices of African descent in Brazil. There are other elements that represent victories in the struggle for recognition, i.e., an empowerment for the group, such as the naming of the passengers terminal which was built near the perimeter of the Terreiro and within the Quilombo as Xambá. Besides the visibility for the group, the Museum brought along other gains: it creates cohesion among its members who begin to see themselves as a group, as a nation.

O presente trabalho resultou de um estudo antropológico sobre o Museu Severina Paraíso da Silva, dedicado à história e às tradições do grupo de candomblé da nação Xambá, cujo diferencial é estar instalado dentro de uma casa de culto afro brasileiro, o Terreiro de Santa Bárbara Ylê Axé Oyá Meguê, em Olinda, Pernambuco, Brasil. Este é um exemplo de Museu que representa a memória de um grupo social minoritário, criado por seus membros, com o objetivo de preservar seu patrimônio étnico-cultural, o qual é utilizado como categoria política para obtenção de reconhecimento perante a sociedade. Foram analisadas, neste estudo, as inter-relações em torno do Museu, observando-se aspectos como sua criação pelos próprios membros; coleta e utilização dos objetos; público-alvo; espaço físico e objetos, em especial os que não perderam seu poder simbólico, embora expostos no Museu e, principalmente, as mensagens transmitidas para a sociedade. Tais aspectos são importantes fios condutores para entender a postura dos membros do grupo em relação à sociedade e à formação de suas autoconsciências individuais e coletivas, ou seja, como eles elaboram e interpretam a identidade como grupo através do Museu; e entender também a importância do Museu na construção da memória e preservação da identidade étnica do grupo Xambá e da cultura negra em Pernambuco. A questão principal, porém, foi verificar se o Memorial e o Museu, como espaços de preservação, criam em seus membros um sentimento de pertencimento. Para a pesquisa foram coletados dados bibliográficos, documentais, no site do terreiro, na cartilha do grupo, em vídeos, plantas, em entrevistas formais com os criadores do museu e informais com outros membros do grupo, mas principalmente através da observação participante nas visitas dirigidas ao Museu e nos toques. Durante a pesquisa verificou-se que uma parte do grupo se destaca pela busca de sua visibilidade como estratégia de reivindicação de direitos sociais. Busca esta que procura legitimar a tradição usando categorias como autenticidade e pureza e pela presença de pesquisadores e pessoas ilustres, além da afirmação da importância do Museu para a construção do patrimônio cultural do negro no Estado. Um ganho substancial nesta busca pela visibilidade foi a concessão do título de Quilombo Urbano, alguns anos após a criação do Museu, sugerindo que este contribuiu para o reconhecimento do local como espaço de preservação de práticas culturais de descendentes de africanos. Há outros elementos que representam vitórias, na luta pelo reconhecimento, ou seja, um empoderamento para o grupo, como o nome de Xambá, dado ao Terminal Integrado de Passageiros construído próximo ao terreiro dentro do perímetro do Quilombo. Além da visibilidade para o grupo, o Museu trouxe outros ganhos, ele cria uma coesão entre seus membros, que passam a se ver como um grupo, como uma nação. / The present work steamed from an anthropological study on the Severina Paraíso da Silva Museum, which is dedicated to the history and traditions of the candomblé group of Xamba Nation. It is remarkable that it is located within an african-brasilian worship house, the Terreiro de Santa Bárbara Ylê Axé Oyá Meguê, in Olinda, state of Pernambuco, Brasil. This is an example of a museum that represents the memory of a minority social group, created by its members in order to preserve their ethnic cultural heritage, and used as a political category for obtaining recognition by the current society. The study analysed the interrelations surrounding the museum, observing aspects such as its creation by its members; collection and usage of the objects; target audience; physical space and objects, especially those that have not lost their symbolic power, despite being exhibited in the museum; and the messages that were transmitted to society. Such aspects are an important thread to the understanding of the attitudes of the group members towards society and the formation of their individual and collective self-awareness, i.e., how they develop and interpret their identity as a group through the museum; as well as, to the understanding of the importance of the Museum in the construction of memory and the preservation of the ethnic identity of the Xamba group and of the black culture in Pernambuco. The main issue, however, was to determine whether the memorial and the museum, as spaces of preservation, produce in their members a sense of belonging. The research material included literature, documents and Museums publications, in-site observation at the Terreiro, videos, blueprints, formal and informal interviews with the creators of the Museum and with other group members, but mainly participant observation during visits to the Museum and during ceremonies (toques). The research revealed a section of the group that stands out due to a search for visibility as a strategy of demand for social rights. In order to legitimate their tradition, such effort makes use of categories such as authenticity and purity, benefits from the presence of researchers and celebrities, and asserts the importance of the Museum for the construction of the black cultural heritage in the State of Pernambuco. A substantial milestone in that search for visibility was the concession of the title of Urban Quilombo, a few years after the creation of the Museum, suggesting that it contributed to the recognition as the place as a space of preservation of cultural practices of African descent in Brazil. There are other elements that represent victories in the struggle for recognition, i.e., an empowerment for the group, such as the naming of the passengers terminal which was built near the perimeter of the Terreiro and within the Quilombo as Xambá. Besides the visibility for the group, the Museum brought along other gains: it creates cohesion among its members who begin to see themselves as a group, as a nation.

No description available.

Como toda Dissertação de Mestrado este trabalho não visou chegar a nenhuma comprovação e sim a uma verificação dos requisitos básicos para a criação de um programa adequado dentro das necessidades básicas da nossa cidade na área de museus assim como da Arte Brasileira e suas manifestações artísticas, acarretando um aprofundamento no conhecimento da arquitetura de museus e da arquitetura como um todo, através de uma atualização das correntes arquitetônicas, das novas tecnologias, dos novos materiais e de um novo sistema museológico, evidenciando um novo papel do museu e da arquitetura de museu no mundo atual. Espero ter demonstrado, através dos trabalhos programados realizados entre 1994 e 1995 e da proposta de um museu para a exposição de arte contemporânea no segmento das instalações e propostas interativas realizado entre 1996 e 1997, o conhecimento adquirido e modestamente poder ter contribuído com o aprendizado nesta área. Assim a Dissertação intitulada \"Arquitetura de Museus\" foi dividida em duas partes: Pesquisa e Projeto. A Pesquisa denominada \"Arquitetura de Museus - A Produção Mundial Arquitetônica em Exposição\" foi dividida em quatro partes; 1. \'O Mundo dos Museus\' com uma abordagem evolutiva da história dos museus no mundo. 2. \'O Museu e seus Visitantes\' trata das relações do museu com seu usuário, as partes integrantes do museu e sua estruturação dentro de um programa proposto. 3. \'1970-1995\' apresenta um painel da produção mundial da arquitetura de museus e finalizando com a relação de 15 projetos divididos em 5 áreas, a saber; Reestruturação, Anexos e Ampliações, Projetos Completos, Galerias e projetos. 4. \'Conclusão\' visa salientar os pontos positivos subsequêntes desta corrida arquitetônica e evolução museológica observada nos últimos 25 anos, bem como suas causas. O Projeto derivou da constatação da necessidade de um museu para a cidade de São Paulo dentro dos padrões museológicos atuais e mundial, visando preencher uma lacuna existente no segmento das instalações e artes interativas como modo de expressão artística, além de um espaço urbano destinado à arte como um centro de atividades múltiplas, comerciais educacionais e de lazer. É muito importante destacar que o intuito, tanto da pesquisa como do projeto não foi, em momento nenhum, fixar um paradigma de museu. O que ocorreu, isto sim, foi a verificação da possibilidade de idealidade de um museu para com o seu programa, seu tema e seu caráter previamente propostos. / This paper, as every Dissertation of Master\'s Degree, has not a purpose to confirm, but only to verify the necessary basic qualifications to the creation of a suitable programm for the basic necessities of our town concerning Museums having as subject Brasilian Art and its artistical manifestations, leading to an improvement of the knowledge of museum architecture and of architecture as a whole, by the means of modernization of architectural currents, of new technologies, of new materials and of new systems for museums, showing clearly a new role of the museums and a new role of the museum architecture in the contemporary world. I hope to have been able to prove through the Established Works done between 1994-1995 and through the proposal of a museum built to exhibit contemporary art in the section about installation and interactive proposals done between 1996-1997, the acquired knowledge and humbly hope to have been able to contribute to apprenticeship in the area. In this way the Dissertation under the title \"Museum Architecture\" was divided in two parts: Research and Project. The research named \"Museum Architecture - The World Architectural Production Explaned\" was divided into 4 parts: 1. \'The World of Museums\' with an evolution approach of the history of museums all over the world. 2. \'Museums and its Visitors\' deals with the relations between the museum and its visitors, the components parts of the museum and its structures within a suggested programm. 3. \'1970 - 1995\' - presents a picture of the architectural world production of museuns ending with a list of 15 projects divided in 5 areas as: Restructure, Annex and Enlargement, Complete Projects, Galleries and Projects. 4. \'Conclusion\' it intends to print out the positive aspects of this architectural run and museological evolution observed in the last 25 years, as well its causes. The Project derived from the verification of the necessity of a museum for the city of São Paulo, within the actual and worldly accepted museological standards, trying to fill up a gap existing between the segment of interative art and installation as a mean of artistic expression, beyond that a city space devoted to art as a center of multiples activities, shoppings and leisure. Its very important to accentuate that the purpose of the research as well of the project, was not, at any moment, to establish a model of museum, but indeed, a verification of the possibility of idealizing a museum with its own programm, own theme and own character, previously proposed.

O trabalho explora a questão da cultura sob o ângulo dos museus de arte, com enfoque na comunicação organizacional que estas instituições realizam. A cultura é encarada como um fator capaz de transformar o ser humano, seu entorno social e econômico, tendo os museus como importantes mediadores no processo. A comunicação é entendida como facilitadora e é trabalhada em seu conceito integrado: institucional, administrativo e mercadológico. A pesquisa de campo constou com entrevistas em profundidade com roteiros semi-estruturados realizada com profissionais de comunicação e relatórios de observação para as visitas nos museus. Foram entrevistados 6 profissionais em 5 museus da amostra, tendo como objetivos conhecer as áreas, seus processos, projetos e ações. Foram visitados 12 museus no Brasil e exterior, onde foram coletados dados que permitiram, juntamente com as entrevistas, indicar diretrizes de atuação para as áreas de comunicação, assim como realizar uma análise comparativa de ações e ferramentas em cada organização. / This work evaluates the Culture under the Museums of Art concern, foucusing in the structure of the Corporate Communication of this kind of organisation. Here, the Culture is seem as a human changing factor, capable of influence a social and economical enviroment, and the museum is contemplate as the main instrument in this process. In this situation, the communication is considered as a important agent, and it is analised on its integrated concept: institutional, intern and for the market. To complement this theorical study, it was made a practical research composed by 6 semi-structered script interviews with communications specialists in 5 museums, and on field visits in 12 museums. The interviews and the visits had as objective understand the corporate structure, the process, the projects and the tools used for each museum. The result of this research was a possibility of indicate guide lines for communications departments, as well as evaluate, in a comparative way, the actions and the tools in each organisation here in Brasil and in other 3 countries.

This dissertation explores narratives that emerge from a community-museum collaboration while working with refugees in relation to Trinh T. Minh-ha’s (2011) concept of the boundary event. Within this study the boundary event is explored as moments of overlap where identity, experiences, knowledge, and processes are continuously being negotiated; by embracing or leaning into these moments, community-museum programs can develop multivocal narratives—where no single voice is heard as distinctly clear or separate. These co-created museum narratives stand in contrast to educational and engagement strategies that aim to instill knowledge and elevate community with the museum as the expert. In this dissertation 16 participant voices– of 15 refugees and one museum educator– mingle, coalesce, and complicate museum narratives. These narratives are participant-created (data presentation) as well as researcher-constructed (analysis and interpretation). Using the methodological lens of narrative inquiry and decolonization I investigated data collected from over a two-year period (summer 2013-summer 2015) including: content and wall labels collected from two exhibitions, one marks the beginning of the study in 2013 and the second in 2015 concludes the study; gallery activities collected over the course of the two-year study; and educator field notes from the 28 individual sessions. Ultimately, I argue that multivocal narratives, and embracing moments defined as the boundary event, complicate traditional hierarchy and expected stories of refugees and new migrants illustrating how difference can positively disrupt linear, static, and authoritative institutional narratives.

<p> This study examined how adult guests to the California Science Center engage with a specific conservation education topic: sustainable seafood. Sustainable seafood is a common education message delivered in informal science institutions. This study also investigated whether engaging in an activity about sustainable seafood while simultaneously viewing live fish species would have a greater impact on guests than participating in the same activity while viewing a laboratory space. </p><p> The data showed that guests who participated in a hands-on activity about sustainable seafood knew more about conservation-related topics and were more likely to adopt behaviors conducive to sustainable seafood consumption than guests who participated in a different hands-on activity. The data also showed that the settings in which guests participate in this Sustainable Seafood activity do not influence their knowledge or behavior. This indicates that this Sustainable Seafood activity is effective in educating adult guests, regardless of the setting.</p><p>

Magister Artium - MA / This mini-thesis seeks to interrogate the interplay between memory and documentation in the process of exhibition-making by a looking at the preparation for and mounting of the exhibition, Museum. This will be achieved by looking at the institutional methodologies employed by the Museum in dealing with ex-residents of District Six, their memories and artefacts in the heritage practice of a Museum as a forum. This practice was put into effect as the District Six Museum engaged ex-residents of other locations of removal.

The task of this project is to design a visitor-orientated museum using contemporary museum design models and state-of-the-art display technologies and link them with other international museum organizations so as to put Pretoria on the global museum map. Such a facility will also provide the people of Pretoria with a wealth of freely available and accredited information from local, national and international sources, as well as recreation and enjoyment. The museum could fit into the existing urban fabric, to contribute to the city’s cultural and economic status. The Global Museum could then be a building tying museum-related information into a contemporary visitor-orientated display using digital and cyberspace technology to allow both dynamic and visitor-specific displays, allowing each individual visitor to be a curator for his/her own cultural landscape. The museum should focus on commercial, recreational, and visitor enjoyment activities to promote museum popularity and privatize/de-politicize the museum. The museum should also cater for mass-information availability, interactive visitor experience and social functions as well as any personal agenda the visitor might have that would lead to a museum activity a person would take for granted. (Falk H. and Dierking LD. 1990) “The visitor’s personal context is perhaps the single greatest influence on the visitors museum experience … is important for museum professionals to understand the significance of visitors’ agendas and to recognize that they can be manipulated by the museum” (Falk H. and Dierking LD. 1990:37) An architectural problem we are faced with today is the integration of physical and virtual space with the medium through which people view and perceive the digital. While databases, information networks and internet-related information sources are primarily Information Technology (IT) problems, the interface/medium between these and humans are architectural in nature. / Dissertation (MArch (Prof))--University of Pretoria, 2007. / Architecture / Unrestricted