Este trabalho se propôs a refletir sobre a história do Museu Histórico Nacional através da dimensão educativa que se fez presente nas práticas institucionais, bem como verificar, sob a perspectiva da História da Educação, a importância do Curso de Museus na construção de representações relacionadas ao caráter educativo da instituição. Compreendeu os anos de 1922 a 1958, período que abrange desde a fundação do museu e as primeiras investidas para a concretização de um curso direcionado para as suas necessidades, até a realização do Seminário Regional da UNESCO Função Educativa dos Museus, bem como as publicações de diplomados do Curso de Museus que tiveram como temática central a educação em museus. A investigação foi realizada utilizando-se a metodologia da análise de textos, percorrendo a trajetória do Museu Histórico Nacional por meio de documentos oficiais produzidos pelo museu; matérias de jornais; livros, artigos, relatórios e entrevista de antigos funcionários da instituição; e publicações de formados pelo Curso de Museus. Para o embasamento teórico do trabalho três áreas do conhecimento tiveram destaque: História da Educação, História Cultural e História dos Museus, dialogando com diversos autores, tais como Antonio Viñao Frago, Moysés Kuhlmann Júnior, Paulo Knauss, Roger Chartier, Pierre Nora, Ulpiano Bezerra de Meneses, Mário Chagas, Aline Montenegro Magalhães. O trabalho ressaltou que desde sua fundação o Museu Histórico Nacional teve definida sua dimensão educativa, condição subsidiada por projetos desenvolvidos pelo corpo funcional da instituição, tendo em destaque o idealizador e primeiro diretor Gustavo Barroso, personagem que fortaleceu a relevância desse museu por meio de evocações como o mote “O Culto da Saudade”. Finalizou ao afirmar que um desses projetos, o do Curso de Museus, em seu processo de consolidação foi capaz de desenvolver uma matriz intelectual no cenário museológico brasileiro tornando-se, por meio dos multiplicadores, um difusor das representações do Museu Histórico Nacional para o País. / This study aimed to reflect about the history of the National Historical Museum through educational dimension that is made present in its institutional practices, as well as verify, under the perspective of the History of Education, the importance of Course of Museums in building representations related to the educational character of the institution. It encompassed the years 1922 through 1958, a period that covers from the foundation of the Museum and the first attempts at achieving a course directed to its needs, to the UNESCO’s Regional Seminar on the Educational Role of Museums, as well as publications of Course of Museums graduates that had as its central theme the museum education. The research was conducted using the analysis of texts methodology, covering the history of the National Historical Museum through official documents produced by the Museum; newspaper articles, books, articles, reports and interviews of former employees of the Institution, and publications by graduates of the Course of Museums. For the theoretical foundation of the work, three areas of knowledge were highlighted: History of Education, Cultural History and Museum’s History, dialoguing with many authors such as Antonio Viñao Frago, Moyses Kuhlmann Jr., Paul Knauss, Roger Chartier, Pierre Nora, Ulpian Bezerra Meneses, Mário Chagas, Aline Montenegro Magalhães. The study emphasized that since its inception the National History Museum had its educational dimension defined, condition subsidized by projects developed by the institution’s functional body, featuring the founder and first director Gustavo Barroso, a character that strengthened the relevance of this Museum through evocations as the motto "O Culto da Saudade." Concluded by stating that one of these projects, the Course of Museums, in its consolidation process was able to develop an intellectual matrix in the Brazilian museum’s scenery becoming, due to multipliers, a diffuser of the representations of the National History Museum for the Country.

abstract: This dissertation examines a practice of scientific museums in the 19th and early 20th centuries: the exchange of their duplicate specimens. Specimen exchange facilitated the rise of universal museums while creating a transnational network through which objects, knowledge, and museum practitioners circulated. My primary focus concerns the exchange of anthropological duplicate specimens at the Smithsonian Institution from 1880 to 1920. Specimen exchange was implemented as a strategic measure to quell the growth of scientific collections curated by the Smithsonian prior garnering to the broad political support needed to fund a national museum. My analysis examines how its practice was connected to both anthropological knowledge production, particularly in terms of diversifying the scope of museum collections, and knowledge dissemination. The latter includes an examination of how anthropological duplicates were used to illustrate competing explanations of culture change and generate interest in anthropological subject matter for non-specialist audiences. I examine the influence of natural history classification systems on museum-based anthropology by analyzing how the notion of duplicate was applied to collections of material culture. As the movement of museum objects are of particular concern to anthropologists involved in repatriation practices, I use specimen exchange to demonstrate that while keeping objects is a definitive function of the museum, an understanding of why and how museum objects have been kept or not kept in the past, particularly in terms of the intentions and value systems of curators, is critical in developing an ethically oriented dialogue about disposition of museum objects in the future. / Dissertation/Thesis / Ph.D. Anthropology 2014

abstract: The general field of interest of this study was art education in the context of art museums in the United States. The vehicle of a mixed method, descriptive research design was used to investigate whether museum educator and curator participants had tendencies to use personal or communal approaches (Barrett, 2000) to teaching art interpretation to adult visitors. While the personal approach to art interpretation focused on individuals' responses to artworks, the communal approach emphasized the community of art scholars' shared understandings of artworks. Understanding the communities of practice of the participants was integral to the discovery of meaning in the study's findings. Wenger (1998) introduced the theory of community of practice to explain how individuals, who are united in a particular context, shared similar perspectives, learned socially from each other, and gained a sense of identity through their routines and interactions. The study examined how museum educators' and curators' separate communities of practice influenced their members' teaching approaches through the development of distinct teacher personae. Teacher personae reflected the educational values and priorities of museum educators' and curators' communities of practice. And, teacher personae had tendencies to adopt personal or communal approaches to art interpretation. / Dissertation/Thesis / Doctoral Dissertation Curriculum and Instruction 2014

Esta pesquisa apresenta um processo de investigação, a partir das teorias da Comunicação e do campo de pesquisa e ação social da Educomunicação, sobre usos, sentidos e potencialidades de mediação e participação dos públicos em relação aos museus. Para tanto, nosso cenário foi o Museu da Imigração do Estado de São Paulo, território de convergências de histórias, múltiplas identidades e desafios que se colocam em evidência para os museus na atualidade. Utilizamos especialmente os aportes da teoria latino-americana das mediações e da Educomunicação para desenvolver uma pesquisa qualitativa com estudantes e professores do 5° ao 9° ano do Ensino Fundamental, perpassando nosso olhar também pelas comunidades de imigrantes e descendentes que fazem parte dos públicos e parceiros da Instituição. Observamos visitas educativas realizadas por grupos de estudantes objetivando a compreensão das mediações envolvidas no acesso ao Museu; aplicamos um questionário para esses grupos e analisamos documentos da Instituição, tais como o Plano Museológico e relatórios de avaliações aplicadas a esses grupos. A apreensão das mediações que perpassam o contato de estudantes e professores com o Museu e seus acervos, bem como a escuta desses públicos, fecundou possibilidades para uma gestão educomunicativa das ações museológicas, abarcando potencialidades de apropriação e participação na relação entre museus e públicos, as quais encontram lastro nas discussões sobre a função social dos museus oriundas da Museologia desde os anos 1970. / This research presents an investigation process from the theories of communication and from the search field and social action of Educommunication about uses, directions and mediation potentialities and public participation in relation to museums. Therefore, our setting was the Museum of Immigration of São Paulo State, territory of convergences stories, multiple identities and challenges placed in evidence for museums nowadays. We especially use contributions of Latin American theory of mediations and of Educommunication to develop a qualitative research with students and teachers of the 5th up to the 9th grades of elementary school, looking over communities of immigrants and descendants who are part of the public and partners of this institution. We observe educational visits carried out by students groups aiming at understanding the mediations that are concerned in access to this Museum; we applied a questionnaire to these groups and analyzed of institutional documents, such as the Museum Plan and assessment reports applied to these groups. The seizure of mediations that permeate the contact of students and teachers with the Museum and its collections, as well as listening to these audiences, created possibilities for an educommunication management of museum actions, covering potentialities of ownership and participation in the relationship between museums and audiences, which are backed in discussions about the social duty of museums originated from Museology, since the 1970s.

I detta kandidatarbete undersöker vi hur man med medieteknik kan levandegöra och väcka liv i ett museum där utvecklingen idag nästintill står still. Barn och ungdomar har en bristfällig interaktion med museet idag och därför blev vår utmaning att se till hur vi, med deras hjälp, kan väcka deras intresse och med medietekniken som verktyg knyta nya och starkare relationer däremellan. Museet har en begränsad budget vilket utmanade oss att hitta en lösning som är hållbar och klarar att överleva på sikt utan pengar som stöd. Vi undersöker vägar att ta oss fram genom design workshops där vi skapar tillsammans med barnen och ungdomarna för att skapa ett “happy place”. Vi undersöker teknik, såsom Parallax Scrolling, att arbeta med och som kan vara passande för att skapa nytt liv. Vi ger utrymme för ett nytt sätt att tänka och idéer som kan gynna i flera led. Nyckelord: Barnens museum, medieteknik, webbplats, designworkshop, parallax scrolling.

Art dans l’espace public, art public, art à ciel ouvert, art in situ, Land art ou encore musée sans murs, autant de termes polysémiques qui désignent un champ artistique souvent au coeur des polémiques mais finalement peu documenté. Cette thèse en esthétique s’inscrivant dans le mouvement des humanités numériques est consacrée à la problématique de l’inventaire, de la cartographie et de la visualisation des oeuvres d’art dans l’espace public. Le projet de recherche est constitué de deux volets : une plateforme numérique - le site Wiki et l’application mobile Atlasmuseum - et la thèse. L’examen de plusieurs initiatives, nationales et internationales, de cartographie d’oeuvres d’art public, de projets pionniers d’inventaires numériques et de collections institutionnelles sur le Web s’est opéré à partir d’une question centrale : comment concevoir une instance muséale pour des oeuvres situées précisément en dehors du périmètre du musée ? Et de manière corollaire : comment modéliser un « musée réticulaire » dans le contexte de l’ouverture, de l’interopérabilité des données culturelles et du Web sémantique ? Partant du constat de l’hétérogénéité et de l’incommensurabilité constitutive du corpus d’oeuvres ainsi qu’à travers la lecture rapprochée et distanciée d’une sélection d’oeuvres d’art public contemporain (issues notamment du « 1% artistique » et de la commande publique entre 1951 et 2016), la thèse est construite autour de la conception d’une instance muséale reliant à travers leurs notices plusieurs centaines d’oeuvres, d’artistes et des lieux. La plateforme Atlasmuseum est un dispositif à la fois curatorial, muséologique et muséographique qui regroupe selon un mode contributif curators, conservateurs, amateurs d’art, artistes, informaticiens, historiens de l’art, documentalistes, enseignants et étudiants ; elle repose sur le logiciel Mediawiki enrichi de l’extension SemanticMediawiki. A l’intersection de la cartographie, de la muséologie critique et de l’anthropologie de l’art, la thèse est structurée en quatre parties. La première est consacrée à la carte comme médiation entre les oeuvres et les lieux. La carte y est examinée selon différents points de vue afin d’esquisser les grandes lignes d’un outil d’inventaire potentiel pour les oeuvres d’art public. La deuxième partie de la thèse consiste à prolonger les premières hypothèses en opérant un double changement d’échelle, de la carte à l’atlas et symétriquement de l’inventaire au musée. Suit la partie « centrale » de la thèse, qui constitue une version « papier » de la plateforme Atlasmuseum dans ses deux formats (Web et mobile) et dans ses quatre dimensions (exploration, contribution, recherche et sémantisation). Dans la quatrième partie est proposée une lecture « à distance » des données récoltées et des hypothèses explorées dans les parties précédentes, notamment à travers la constitution d’un corpus d’oeuvres restreint. L’hypothèse explorée dans cette partie est celle de la visualisation ontologique des notices d’oeuvres à travers une modélisation et une spatialisation spécifique des données et des métadonnées (selon le modèle CIDOC CRM ). Il s’agit ainsi au fil de la thèse d’opérer plusieurs glissements de terrain successifs et rétroactifs, de la théorie à la pratique, du curating artistique vers la curation de données, de la carte vers l’inventaire, de l’atlas vers le musée, du diagramme vers le réseau. / Public art, site specific, in situ art, Land art or museum without walls, various polysemic terms are used to designate the field of art in public space, much commentated but finally little documented. This thesis in Aesthetics and Digital humanities aims to account to the modeling process of a “reticular museum” for public art. The research project consists of two parts: a digital platform - the Atlasmuseum wiki site and mobile application - The application and the thesis itself. A review of several, national and international initiatives of public art maps, pioneering projects of digital inventories and online institutional collections has been conducted from a central question: how to design a museum structure for artworks located precisely outside the museum traditional perimeter? And consequently: how to model a contributory inventory tool in the context of cultural linked open data and the Semantic Web? Taking account of the immeasurable and heterogeneous corpus of public artworks, and through close and distant readings of a selection of contemporary public artworks (“1% for art in architecture” and public art commissions in France between 1951 and 2016), the thesis is built around the concept of a “reticular museum” connecting through their records hundreds of art pieces, artists and sites. Dedicated to public art inventory, through specifically designed notices, maps, atlases and visualizations, the Atlasmuseum platform aims to reunite on a contributory basis, curators, artists, computer scientists, art historians, librarians, art lovers, teachers and students. Atlasmuseum is based on the MediaWiki software enriched with the Semantic MediaWiki extension. It is a curatorial as well as a museological and museographical project. At the intersection of critical cartography, critical museology and anthropology of art, the thesis is structured in four parts. The first is devoted to the map as mediation between artworks and their sites. The map is examined from different points of view in order to sketch the outlines of a potential inventory tool for public art. The second part of the thesis aims to extend the initial assumptions by working a double shift of scale, from the map to the atlas and symmetrically from the inventory to the museum. Follows the “central” part of the thesis, which is a “printed” version of the Atlasmuseum platform in both formats (Web and mobile) and its four dimensions (exploration, contribution, research and semantization). In the fourth part, a close and distant reading of a specific collection of artworks (art pieces created for the tramway networks in France) is conducted through data visualizations. The hypothesis is that an ontological data visualization (using the CIDOC CRM model) can offer a new form of perception and apprehension of these artworks within their environment and context. Thus the thesis operates successive and retroactive landslides, from theory to practice, from artistic curating to data curation, from the map to the inventory, from the atlas to the museum and from the diagram to the network.

The goals of museum collaboration are several, as are its intended beneficiaries. Assuming the success of the practice, local communities can gain the opportunity for self-representation and self-determination, museums can contribute to the creation and dissemination of new kinds of knowledge, and visitors can take home better understandings of cultural difference. While these are the ideals of collaboration, they frequently go unrealized, in large part because, as research indicates, the visiting public fails to recognize the active involvement of communities at museums. This raises the question as to whether, in the absence of this audience awareness, museum collaboration can fully contribute to the realization of the tolerant society that it purports to support. The purpose of this research is to examine the role of museum visitors in achieving the goals of museum collaboration, as well as to consider why this public has difficulty recognizing community involvement at museums and how this may be remedied. “A Partnership of Peoples” is an extensive renewal project underway at the Museum of Anthropology (MOA) at the University of British Columbia (UBC), designed to facilitate collaborative research at the museum. It also serves as a case study for my consideration of the relationship between museums and the visiting public as a part of the collaborative process. By speaking with both MOA staff and visitors, I gained insight into the intended goals of the renewal project with respect to the museum’s relationship with communities and the general public, as well as visitor understandings of collaboration. With this fieldwork, in addition to a literature review, I found that the significance of collaboration rests in the personal interactions that occur between individuals. As the majority of visitors do not benefit from these interactions during their time at the museum, they are at a disadvantage when it comes to recognizing the engagement of others in the creation of displays or the facilitation of research. The task for museums, then, is to make contemporary peoples visible and audible, connecting objects to communities and increasing opportunities for visitors to experience these personal meanings. / Arts, Faculty of / Anthropology, Department of / Graduate

This thesis provides a description and analysis of the process of developing a museum education programme at the UBC Museum of Anthropology (MOA). The programme Debra Sparrow: Weaving Two Worlds Together was developed collaboratively with Musqueam weaver, artist, and educator Debra Sparrow and myself, Jill Baird. At the time, I was temporary Education Coordinator at MOA between December 1993 and June 1995. The case study of this collaboration process is presented from the perspective of myself and Debra Sparrow and examines the working relationships and different individual cultural assumptions which we experienced in our collaboration. It also explores the evolving relationships between collaborators, and the institutions and communities each represents. The thesis contributes to the gap in the literature on museum and education collaborations by documenting the process, integrating theory and praxis, and stimulating the discussion within the discourses of museology and education on collaboration and change. More importantly, it illustrates that First Nations and non-First Nations museum workers can work together in a way which respects each other's world views. / Education, Faculty of / Graduate

Museums and libraries are considered large repositories of human knowledge and human culture. They have similar missions and goals in distributing accumulated knowledge to society. Current digitization projects allow both, museums and libraries to reach a broader audience, share their resources with a variety of users. While studies of information seeking behavior, retrieval systems and metadata in library science have a long history; such research studies in museum environments are at their early experimental stage. There are few studies concerning information seeking behavior and needs of virtual museum visitors, especially with the use of images in the museums' collections available on the Web. The current study identifies preferences of a variety of user groups about the information specifics on current exhibits, museum collections metadata information, and the use of multimedia. The study of information seeking behavior of users groups of museum digital collections or cultural collections allows examination and analysis of users' information needs, and the organization of cultural information, including descriptive metadata and the quantity of information that may be required. In addition, the study delineates information needs that different categories of users may have in common: teachers in high schools, students in colleges and universities, museum professionals, art historians and researchers, and the general public. This research also compares informational and educational needs of real visitors with the needs of virtual visitors. Educational needs of real visitors are based on various studies conducted and summarized by Falk and Dierking (2000), and an evaluation of the art museum websites previously conducted to support the current study.

This essay is about children's rooms and playrooms at museums. It is a study comparing and examining the envi-ronments of three museums. The museums and play-environments that have been examined are Sjöhistoriska museet with the playroom Blubb, Historiska museet with the playroom Arkeoteket and Upplandsmuseet with the playroom Lilla Kvarn. The selected museums are all located in larger citiesand have free admission. All muse-ums are historically oriented.The main methodsused in the thesis is observation and interviews. Interviewstook place with relevant mu-seum staff who were linked to the design and execution of the playroom. Observations were made on two occa-sions, one before and one after the interview. This was so information granted in the interview could be integrat-ed in thelater observation. Actor-network theory or ANT is the theoretical foundation in the work together with similar theoretical reasoning as knowledge theory. Literature relevant to the topic has also been used as discussion material.The purpose of the essay has been to highlight the importance of playroom at the museum. The questions under investigation were: Is playroom at museums part of the exhibition? To answer this,additional questions were added: What is the purpose of the room/ space? Who is the target audience? How is the space designed and on what grounds? Does the room have educational purposes? How does the room work in practice? The results of observation and interview have shown that playrooms are a way for museums to reachthe younger  visitors. Young visitors are often neglected in exhibitions. The playroom offers a break from the remaining exhibitions with the opportunity to play, learn but also rest.The examined museums have several similar themes as they approach in different ways. For example, a reading corner with place to rest. The overall theme has also been "escape from reality" where the playroom's themes have been underwater, underground and "the past". This is a two years master ́s thesis in Museum and Cultural Heritage Studies.