No description available.

Texte remanié de: Doct. diss.--University of Amsterdam, 1988.

As an academic discipline, the earth sciences generate, use, and retain vast quantities of objects. This ‘material archive’ exists, first and foremost, as a functional scientific resource; the objects that it contains were never intended to express culture. Since the earth sciences rely heavily on claims that its objects of study remain the same as they were in nature, it follows that the specimens contained in university earth science collections are treated as objective scientific evidence. In this sense, the material that is collected, used and retained by earth scientists may appear to be devoid of culture – passive, inert and neutral.This thesis sets out to challenge these assumptions by treating university earth science objects and collections as material culture. In material culture studies, geological materials appear in a variety of different forms and contexts, however, such work has tended to focus on either their occurrence in the landscape, or their use as raw materials from which objects are made. Thus, while the earth sciences provide an abundant source of ‘material’ for material culture studies, rarely (if at all) do they seem to provide the culture. Furthermore, while the treatment of ‘natural’ objects as cultural artefacts has become increasingly popular in museology, much of this work has concentrated on the processes and practices that are enacted on these things in museums. Museology has therefore tended to consider these things in what effectively corresponds to their retirement, meaning that with few exceptions, little attention has been paid to their active use as functional scientific objects. This research explores the implications of treating university earth science objects and collections as material culture through the empirical investigation of contemporary object-related practices in UK earth science departments and university museums. As such this thesis addresses questions surrounding the relevance of existing theories and methods, in both material culture studies and museology, for exploring natural scientific objects and collections. These questions are approached through four thematic chapters concerned with the coming into being of earth science objects, their transformation into collection items, their functions, and their mobility.

This thesis is focused on the management part of the American and Taiwan university arts center.

Die Universität Leipzig unterhält drei Museen und zahlreiche Sammlungen, wobei auch letztere teilweise für die interessierte Öffentlichkeit zugänglich sind. Universitäre Sammlungen zeichnen sich dadurch aus, dass sie neben den klassischen Museumsaufgaben des Sammelns, Bewahrens, Erschließens, Präsentierens vordringlich Lehre und Forschung dienen. Bei der Ausbildung der Studenten ermöglichen Sammlungsstücke ein Begreifen im doppelten Sinne. Trotz moderner Wissensvermittlung auf audiovisuellem Weg kann in vielen Fachgebieten auf ein Lehren, Lernen und Forschen anhand konkreter Sammlungsobjekte nicht verzichtet werden. Die Stücke in unseren Museen und Sammlungen sind nicht totes Inventar, sondern Anschauungsobjekte, die ihre Geschichte und Geschichten erzählen.:Ägyptisches Museum; Museum für Musikinstrumente; Antikenmuseum Kustodie; Sondersammlungen der Universitätsbibliothek; Herbarium Botanischer Garten; Sammlung Ur- und Frühgeschichte; Sammlung am Altorientalischen Institut; Sammlung am Institut für Zoologie; Sammlung am Institut für Anatomie; Sammlung am Institut für Rechtsmedizin; Sammlung am Institut für Pathologie; Medizinhistorische Sammlung am Karl-Sudhoff-Institut; Sammlung an der Poliklinik für Zahnärztliche Prothetik und Werkstoffkunde; Mineralogisch-Petrographische Sammlung; Geologisch-Paläontologische Sammlung; Veterinär-Anatomische Sammlung; Veterinärmedizinhistorische Sammlung

In this dissertation, a high-level management strategy was developed for the museums and collections of the University of Pretoria. Specific areas where improvements to the current operations of the University museums can be made, were identified and solutions proposed. This analysis was based on a survey of the current operations of the University museums, as well as an analysis of the needs of all stakeholder groups. Proposals to improve the operation of the University museums include the following: - Rationalising collections to ensure that available technical and organisational resources are focused on the most valuable collections; - Improving the use and maintenance of collections to ensure that the needs of stakeholders are met; - Ensuring that sufficient financial and organisational resources are mobilised to support the operations of the museums. A brief overview of the steps needed to implement these proposals and to adjust the management strategy on an ongoing basis, is given. The author believes that the implementation of the proposals outlined in this report can contribute towards ensuring that the museums of the University of Pretoria help to fulfil the overall mission and vision of the University of Pretoria. / Dissertation (MA)--University of Pretoria, 2001. / Historical and Heritage Studies / unrestricted

No description available.

No description available.

Essa tese trata do perfil dos museus universitários - sua origem, desenvolvimento e perfil atual -, com ênfase para os museus de arte. Procura definir o que seria um museu universitário modelo e busca identificar o quanto desse modelo existe na prática. Descreve a formação e as características dos museus da Universidade de São Paulo e dos museus universitários de arte no Brasil. Analisa a coleção e o museu de arte da Universidade de São Paulo - Coleção de Artes Visuais do Instituto de Estudos Brasileiros e Museu de Arte Contemporânea - diante do modelo proposto para museus universitários. E finalmente, discute a necessidade da Universidade de São Paulo possuir ou não essas coleções de arte. / This thesis addresses the profile of university museums - their origin, development and current profile– with emphasis on art museums. It attempts to define what a model university museum should be and to compare it to the existing situation. It describes the foundation and characteristics of the University of São Paulo museums and of university art museums in Brazil. It analyses the art collection and the University of São Paulo art museum - Visual Arts Collection of the Brazilian Studies Institute and the Contemporary Art Museum - in comparison to the university museum model proposed. And finally it discusses the need for those art collections in the University of São Paulo.

This paper presents the study of guided tours at the University Museum of Art (MUnA) between 1998 and 2011. The study is based on the memories reported by the tour guides, who are students and teachers of the Visual Art course of Federal University of Uberlandia. The tour guides reports were important methodological tools in analyzing the goals, dynamics and strategies employed in the educational practices of communication between the visitor and the art. The author selected relevant episodes in the educational path of MUnA, through which it is possible to identify MUnA s development. Its development showed that despite changing tour guides and different administrative attitudes, MUnA created activities around its public space; for example, the exhibition gallery, auditorium and courtyard and studio. On these three spaces, throughout thirteen years, a variety of tours occurred. First, in the gallery was appreciation and interaction with the art work. Secondly, in the auditorium and courtyard was exhibition theme reflection and Museum rules. Finally, in the studio was hands on plastic creativity. In conclusion, this research is intended to identify and analyze the guided tours and suggest ideas to assist in developing new plans and strategies for MUnA. / O presente trabalho apresenta o estudo das práticas de mediação em exposições realizadas no MUnA (Museu Universitário de Arte), entre os anos de 1998 a 2011. Para a pesquisa foram utilizadas as memórias relatadas dos mediadores, obtidas através de entrevistas, artigos, relatórios e projetos. Os relatos utilizados na pesquisa foram importantes ferramentas metodológicas para analisar os objetivos, as dinâmicas e as estratégias empregados nas práticas educativas de comunicação entre o visitante e a arte exposta. O estudo aborda alguns episódios relevantes na trajetória das práticas do educativo do MUnA, a partir dos quais é possível identificar o seu desenvolvimento perante a constante rotatividade dos discentes e dos docentes e também as atitudes das distintas gestões administrativas. Apesar dessas variações, foi observado que as atividades sempre se desenvolveram em torno do próprio espaço em que o MUnA disponibiliza para o público, como: galeria de exposição, auditório, oficina e pátio. As diversas mediações realizadas ao longo desses treze anos têm como característica principal a distinção de ações para cada um destes espaços. Na galeria de exposição, prevê-se a leitura e a interação com as produções artísticas. No auditório ou no pátio, supõe-se a reflexão sobre a temática expositiva e a introdução sobre a história e as normas do Museu. A oficina sugere a criação plástica. O resultado final desta pesquisa não é apenas identificar e analisar as mediações em exposição, mas sugerir ideias e proporcionar reflexões que possam auxiliar no desenvolvimento de novos planos e estratégias. / Mestre em Artes