Digitalisering genomsyrar flera delar av vårt samtida, digitalt mogna samhälle, inklusive den offentliga sektorn, näringslivet och människors fritid. Digitaliseringen samspelar också med intresset för kulturarv och museer i Sverige. Hur ser relationen mellan digitalisering och museiverksamhet ut? Följande arbete är en kandidatuppsats inom medieteknik som syftar till att kartlägga digitaliseringsprocess på ett museum med hjälp av fallstudiemetodik. Datainsamlingen skedde genom intervju med två medarbetare från den digitala beredningsgruppen på Malmö Museer. Studien refererar till tidigare forskning om digitalisering på museer med fokus på digital arkivering, digitala verktyg och redskap. Teoretisk grund för arbetet är Andreé Malraux teori om Le Musée Imaginaire (museet utan väggar). Uppsatsen visar att Malmö Museer är ett museum som aktivt arbetar med att införa digitala inslag i sin mycket omfattande verksamhet. Digitaliseringen vid Malmö Museer sker medvetet och i överenstämmelse med den digitala utvecklingen i samhället. / Digitalization permeates multiple parts of our contemporary, digitally mature society, including the public sector, business, and people’s leisure time. Also, digitalization intersects with the interest in cultural heritage and museums in Sweden. What does the relationship between digitalization and museum activities look like? The following work is a Bachelor level thesis on Media Technology that aims to map the digitalization process following a case study methodology. Data collection took place through interview with two employees from the Digital Evaluation group at Malmö Museer. The study references previous research concerning digitalization in museums focusing on digital archiving, tools and implements. Andree Malraux’s theory of Le Musée Imaginaire (The Museum without Walls) is used as the theoretical basis. The thesis shows that Malmö Museer works actively with the implementation of digital features in its very extensive work. The research showed that digitalization at Malmö Museer intentionally takes place in accord with the digital development in society.

The purpose of this thesis is to study and analyse collections of outsider art in two Swedish Medical History Museums, Medicinhistoriska museet in Uppsala and Mentalvårdsmuseet in Säter. The work explores how the history of the museums, how art collections were established, the outsider artist as well as how the two museums work the collections today. The empirical part of the study is based on the fieldwork that the author conducted at the Medicinhistoriska museet in Uppsala and Mentalvårdsmuseet in Säter during two separate days in the winter/spring of 2022. Both observations of the museum room were made, as well as interviews with the two curators in charge of the art collections. Attentive observations and systematic notes from constitute the basis for the description of the material and immaterial features of the museum. For the chapters on the historical and cultural context concerning outsider art, art brut, psychiatric care and how the hospitals became museums, literary sources were used.  The result of the study shows that outsider art made in a hospital is a very specific part of outsider art and art brut because of the very special conditions of an often locked psychiatric care unit. It implies that outsider art made in psychiatric care have not been seen as real art, not been viewed as interesting for the public. There has existed an authorised heritage discourse (“AHD”) in the hospitals and well as in the later museums which has led to the collections not been correctly taken care of, and research about the patients has not been made. Instead, the patients work has been stored incorrectly in attics, basements and in un-locked storage areas with only a few ”aesthetically pleasing” works showed in the museum.      Further, the study shows how the art collections in the two medical hospitals correctly used and worked with, can be a part of removing the stigma around mental disease and people living with it.  The conclusions to be drawn from this are that the complexity of the art collections of outsider art made in psychiatric care lie in the fact that mental illness, psychiatric hospitals, and outsider art have been under a stigma, as well as the fact that the patients’ stories being stories from the margin. This is a two-years master’s thesis in Museum and Cultural Heritage Studies.

Bakgrund: I museivärlden har man i skyddande syfte fram till 1980-talet behandlat fågel- och djurskinn med arsenikföreningar som har cancerframkallande egenskaper. Torkade museiväxter har behandlats mot ohyra med kvicksilverdiklorid, som succesivt förångas till reproduktionstoxiskt kvicksilver. På ett svenskt museum i Stockholm vill man kartlägga hur stor andel av museisamlingarna behandlades med de äldre bekämpningsmetoderna. Syfte: Målet med examensarbetet är att bedöma om risker förknippade med hantering av kvicksilver- och arsenikinnehållande objekt i museisamlingar varierar beroende på tidsepok eller typ av museiföremål. Ett annat syfte att se över om det behövs särskilda skyddsåtgärder för museipersonalen som arbetar med samlingarna. Metod:54 torkade växter och mossor valdes ut, liksom 40 skinnlagda eller monterade fåglar och däggdjur, samt 16 insektslådor. De valda objekten fick representera 1700- och 2000-talet. Även damm samlades in från respektive samling. Alla prover undersöktes med direktvisande, handhållen och icke-förstörande röntgenfluorescensteknik (XRF) för innehåll av arsenik och kvicksilver. Objekten riskvärderades utifrån ämnenas hälsofarliga egenskaper, exponerings-vägarna och tiden för hantering av objekt. Resultat:Av de 54 analyserade växterna innehöll 91% kvicksilver. I genomsnitt innehöll växterna 700 ppm kvicksilver, vilket innebär 0,07 viktprocent. Pappersarken som växterna är fästa på innehöll en tiondel av kvicksilverhalter i jämförelsen med analyserade växter. Växterna var som mest behandlade på 1800- och 1900-talet. Sju växter innehöll även arsenik. Alla testade fågelobjekt innehöll arsenik i fjäderdräkten, även de från 2000-talet. Fågelobjekt från 1800-talet verkar innehålla mest arsenik. I snitt innehöll fågelobjekten 0,7% arsenik i fjäderdräkten, medan pälsen i gnagare och andra däggdjur innehöll 0,5% arsenik. Damm insamlat i muséets samlingar återspeglade i stort objektens innehåll. I dammet hittades även bly, mest i de zoologiska samlingarna. Diskussion: Den kvicksilverdioxid som växter har varit behandlade med har akuttoxiska effekter, men det är förångning till kvicksilverånga med sina reproduktionstoxiska egenskaper som är bekymmersam. Den teoretiska exponeringen via luft understiger 1% av ämnets nivågränsvärden, och exponeringen anses vara begränsad. En särskilt utsatt grupp anses dock vara gravida och ammande, med omplacering som möjlig åtgärd. Möjliga arsenikföreningar i fågelfjädrar och skinn i däggdjur förknippas med akuttoxiska och cancerframkallande egenskaper, ger anledning till åtgärder för en säker hantering. Riskbedömning för hantering av museiobjekt visade att preventivt arbete bör vidtas i zoologiska muséets samlingar vid hantering av samlingsobjekten. Samlingarnas damminnehåll av bly ger behöver ytterligare utförligare riskbedömning, då bly är reproduktionstoxiskt. Slutsatser: Tekniska skyddande åtgärder mot exponering av arsenik, arsenikarsenit/arseniktrioxid med akuta toxiska effekt i zoologiska objekt behövs. Såväl individen som organisationen en betydande del i att kemikaliernas skador begränsas. / Background: Chemical exposure due to historical treatments with insecticides is of interest to a Swedish museum in Stockholm. In zoological collections skins have been treated with cancerogenic arsenic compounds, while herbs in botanical collections were treated with mercury dichloride (sublimate). The latter may still evaporate reprotoxic mercury. Aim: The aim of this project is to survey the risks of handling object at the museum, and investigate if the risk vary depending on the type of objects as well as the preparation date of the objects. Methods: A handheld XRF instrument was used to test 54 dried herbs and mosses, as well as 40 specimens of vertebrates, for arsenic and mercury. Even 16 insect boxes, and dust from the floors were tested. The objects represented the 18th-21th century. Measures were suggested after considering normal handling of the objects (exposure and duration of the exposure), the risk of suffering and the consequence from being exposed to chemicals. Results: 91% of the 54 tested herbs contained mercury. The herbs contained 700 ppm mercury. On average, the sheets of paper that the herbs are fastened on contained 1/10 of the level in the herbs. The herbs from the 19th-20th century contained most mercury. All tested bird objects contained arsenic in the feathers, even those representing the 21st century, with a peak in treatment in the 19th century. On average, the feathers contained 0.7% of arsenic. The fur of the vertebrates contained 0.5%. The treatment of rodents and other mammals peaked in the 18th century. Tested dust from the collections showed similar results to the content of the objects. Lead was also found, mostly in the zoological collections. Discussion: Herbs treated with mercury dichloride release reprotoxic mercury vapour, but the theoretical concentrations in the air is assumed to be below 1% of the occupational limit values, and the exposure is assumed to be limited. Pregnant and breastfeeding women are considered to be an extra vulnerable group. Arsenic compounds on feathers, furs and skins have acute toxic and cancerogenic properties. By approximation of exposure (probability) and toxic health consequences of the compounds, it was concluded that precautionary measures need to be taken at the museum. The lead with reprotoxic properties that was found in dust needs an extra risk assessment. Conclusion: Precautionary technical measures are needed to protect against exposure to cancerogenic and reprotoxic chemicals. Measures should be taken at organisational, as well as on individual level.

There are reasons why archival material used by museums as sources for information in their exhibitions, rarely is shown as such for the museum visitor. Some limitations lie in the physical nature of the archives themselves; others could easily be avoided. The purpose of this essay is to shed light on how archives can collaborate with museums to be seen in their exhibitions. This has been done, among other things, by investigating what the driving forces are for collaboration. Theoretical starting points for the study have been Bourdieu's cultural capital and organizational theories about why institutions tend to mimic each other. Themes within an extensive literature review highlight the extent of the complexity of the subject, and case studies of four already converged archives in museums, clearly indicate that collaboration has not given the archives the visibility they seek. They have invested their cultural capital without receiving sufficient reward in exchange.  This is a two years master's thesis in Archival science.

Syftet med denna studie är att analysera diskursens förändring i frågan om återlämnande av föremål från svenska museer till sina ursprungliga ägare. Huvudämnet i studien är den nuvarande repatrieringen av Benin-bronserna från Statens museer för världskultur till den nigerianska staten. Genom analys av nyhetsartiklar, som behandlat tidigare återlämningsärenden, har det gått att komma fram till att det finns en tydlig förändring kring diskursen för återlämnande av museiföremål som kan ha bidragit till det plötsliga beslutet om att själva begära att återlämna Benin-bronserna. Utöver detta inkluderar studien intervjuer med tre informanter som arbetar inom olika myndigheter, som behandlar återlämningen av Beninbronserna. Där kan det konstateras att målet för samtliga parter är att bidra till avkoloniseringen vare sig det handlar om den egna verksamheten (Sverige) eller sin egna historia (Nigeria).

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Traditionellt ges information på museum ut skriftligt, dock i vårt arbete belyser vi hur man kan visualisera samma information med hjälp av filmteknik. Vi undersöker olika alternativ gällande berättande där en händelse från förr blandas med nutid. Hur kan information förmedlas genomt ett visuellt perspektiv? Denna undersökningen har använt en kvalitativa metod då vi inte strävar efter ett mätbart resultat utan experimenterar inom ett visst område. Som hjälp inom vår utforskning av områden så används “The Good Eye” som en analysmetod och litteraturstudier samt en semistrukturerad intervju. Enligt våra genomförda intervjuer blev resultatet att visuell information förmedlas tydligare till åskådaren gentemot textlig, men löper risken att åskådaren går miste om viktig kontextuell information som inte går att visa visuellt på en plats, exempelvist karaktärsbakgrund och föremåls information. Dock föredrog majoriteten att presenteras med något visuellt gentemot textligt. / In the traditional sense, information at museums is published in writing. In our work we shed light on how to visualize the same information with the help of film technology. We explore different alternatives regarding storytelling where an event from the past is mixed with the present day. How can information be conveyed through a visual perspective? This study has used a qualitative method as we do not strive for a measurable result but experiment in a specific area. To help in our exploration of areas, “The Good Eye” is used as an analysis method and literature studies as well as a semi-structured interview method. According to our interviews, the result was that visual information is conveyed more clearly to the viewer in relation to text, but there is a risk that the spectator misses important contextual information that cannot be displayed visually in a place, such as character background and object information. However, the majority preferred to be presented with something visual versus textual.

Emotions are sometimes thought of as human universals, biological facts shared by everyone due to the place of emotions as a function of evolution. A competing theory of emotion has been developed in the field of the history of emotions, where emotions instead are thought of as less unstable historically variable categories. The field of history of emotions has contributed to a heightened interest in emotions in general, including in the places of emotions within museums and museum discourse. Emotions are not only thought of as instrumental in the service of a museum’s pedagogical or political goal but are also subjects of exhibitions in their own right. A first principle for the following work has been that museum exhibitions are discursive acts with narrative form. In this masters thesis, I have wanted to examine the ways in which museums exhibit emotions and their histories and to what extent exhibited emotion require certain curatorial considerations to function as meaningful narratives within the context of the history of emotions. Throughout, theoretical approaches are borrowed from the study of literature and from cultural studies to work toward this goal. Two case studies are carried out in which I consider the poetics of exhibition and the role this poetic plays for the interpretation of the two narratives as wholes. An exhibition about the role of the ultras type of football supporters in the uprisings of the Arab Spring was found to centrally place emotions as catalysts for ultras’ political action. The style of narrative was found to be contributing to the sharp division between implicit audience and the culture depicted that ultimately, it was argued, gave this exhibition a place within the discourse of Orientalism. The second case study was of an exhibition about the history of love, and analysis revealed a confusion of two theoretically competing meta-narratives of love within the narrative. A universal and ahistorical metanarrative of emotion was found to work against the foundation of the exhibition as historical narrative. From these two case studies, I draw the conclusion that curators wishing to exhibit emotions must carefully consider the structure of their narratives, both because of the role of emotion in self-understanding and because of the demands on a historical narrative of emotion. This is a two-year master’s thesis in Museum and Cultural Heritage Studies.