This thesis is a report concerning the practical aspects on exhibition techniques. During an internship at the National History Museum in Stockholm I participated in the work with their new, temporary exhibition Gränslöst - en global utställning på Historiska museet [Boundless - a global voyage of discovery at the National Historical Museum]. I was part of a small project team of museum staff. The purpose of this exhibition was to show how cultures have met and influenced each other throughout history. The National Historical Museum has in its collections and exhibitions several examples of objects that has been imported from or inspired by other cultural areas.

The purpose with this thesis is to study how the arranging of archaeological objects in permanent exhibitions has changed over time. To find out about this I have been analysing three museums with prehistorical permanent exhibitions. The exhibition at Statens Historiska museum was produced in 2005, Nationalmuseum in Köpenhamn was produced in 1972 with additions from 1988 and 1995 and, finally, Malmö Museer exhibition which was produced in 1977. These exhibitions have been compared to analyse developments during the last 30 years. The result shows that there are different ideals within the exhibitions.

The topic of this essay is how art exhibitions can be made available for - and conveyed to ? a visually impaired audience. Two visual impairment-displays and one available museum will be analyzed in this essay. They will be shown during the time period 2006 ? 2007 and focus on exhibitions in Sweden.Complex of problems that arises when art exhibitions are to be conveyed for those without eyesight is how you choose what can be conveyed and how this shall be conveyed.

Shaping visual stories - content in exhibitions is an essay on how content has been shaped in the two exhibitions "Memento mori" and "Hästen - tyglad, piskad, älskad". The study focuses on how exhibitions can be defined through their content as well as how the exhibitors'different intentions towards the exhibition affect the working process as well as the result. This is put in relation to theoretical models and discussions on ideals in the field of exhibition and what impels these to find an answer to the question: What makes an exhibition?.

Purpose/Aim: Exhibitions in cultural-historical museums have traditionally been object-centered and associated with one-way communication. The aim of this thesis is to gain knowledge about how exhibition producers ? and educationalists at swedish cultural-historical museums today relate to communication in exhibitions from a communication scientific perspective.Material/Method: The method of the thesis is interviews exhibition producers ? and educationalists at five swedish cultural-historical museums about how they work with communication issues in exhibitions. The empiricism gained from the interviews have been analyzed from a communication scientific angle, using two communication theories as idealtypes for communication processes; Shannon and Weaver´s model and Stuart Hall´s encoding/decoding-theory.Main results: Communication in exhibitions have developed, much due to the use of more channels for communicating with the visitors and the acknowledgement of the visitor as an active subject in interpreting the exhibitions and their message.Despite this development, communication in exhibitions still have features of a one-way communication. The main feature is the lack of possibilities for visitors to communicate their interpretations and point of views of the exhibition back to the exhibition producers.

This bachelor?s thesis examines the ideas behind the phenomenon art exhibitions in public libraries. My interest is to see if and how the art exhibitions can support the libraries in being a public sphere in Jürgen Habermas? sense, open for all citizens and their opinions. My study therefore has two purposes.

This essay examine how temporal claims (past, present and future) are used in two Official Government Reports (SOU) in Sweden considering rape and sexual assault. The Official Government Reports constitute an important and particular system for long-term planning, and the reports are used as an instrument to achieve desirable changes within the nation. The temporal pretensions in SOU 1976:9 Sexual offences: proposed new wording of Penal provisions against virtue, and SOU 1982:61 Rape and other sexual assaults, are analyzed in relation to the concepts realization of the possible and actualization of the virtual, in order to see how the concepts correspond to the process of desirable change in the reports. The temporal claims are used in a spatially sense where space is assimilated to the concept of time which in return create notions of spatio-temporal images of the past, the present and the future. This is partly a problem for the reports in their aspiration to transform old norms and create innovatory values and ideals..

The main purpose of this master thesis is to give the reader a picture of the experience of art and of its room in the public libraries, but above all to examine the phenomenon temporary art exhibitions in public libraries in the county of Östergötland. The study is limited to a specific activity of art, namely temporary exhibitions in libraries. Geographically, the investigation is limited to the public libraries and their branch libraries in Östergötland. Time concentrates on the present situation in 2000 and 2001. Methodologies are partly observations in some libraries, partly qualitative questionnaires to all primary libraries and their affiliates in Östergötland.

SummaryIt is inspiring to see museum visitors evolve and develop through art exhibitions. Great potential lay in facilitating the learning experience by art exhibitions, and the possibility of designing exhibitions that make visitors attracted to learn. The purpose of the present work is to study the means of creating favorable conditions for lifelong and enjoyable learning in art exhibitions. The concept of learning has multiple definitions, and several have been used effectively in various ways in preceding works. The underlying principle of this work is that visitors learn by actively processing information in their own minds and through experiences. The term lifelong learning is often associated with employability and adaptability.

This essay tries to show how The Swedish Museum of Architecture, Stockholm, with the exibition Architecture in Sweden - Function, Design and Aesthetic through the Ages, presents and represents architecture. It is stated that this is done in a multi-perspectival, multimedial fashion, with the aid of, for example, photography, models and mixed material surrounding the wide concept of ?architecture?. One chapter discusses the relationships between the exhibition on site, the exhibition catalog and the museum´s website. Another chapter argues that there can be no essential or perfect representation of architecture, although this utopian wish most certainly exists even today.

This thesis explores how art produced in the former GDR has been looked upon, handled and exhibited after the reunification of Germany in 1990. Swedish Art History has paid little attention to art in the GDR. The debate starting in the 50s between the spokesmen for abstract art and the defenders of figuration restrained for a long period the ability to look upon art from the GDR without prejudices. This led to a rejection of all figurative art in the GDR and sweeping judgmental attitudes, like it´s all ?kitsch?.

The purpose of this master thesis is to investigate whether exhibitions and silent pedagogy can be used to develop more inspiring environments in the public library. Silent pedagogy is a term from the field of museum education describing the silent communication with visitors that takes place in exhibitions through introduction and orientation, layout and installation, as well as signage. In the 1980s, articles in a Swedish library magazine discussed the pedagogical importance of library exhibits and how they make the patrons aware of the library?s resources. This led us to museum education and a desire to investigate whether its theories were transferrable to the library context.

This thesis explores the conditions of painting artists in the former GDR. The conclusion after studying rather many artists excepted paintings is, that they had a very personal style within the figuration, considering the official prescription of Social realism. The main objective for the study is common motives and changes over time. It showed a development against greater freedom in expression. A closer analyse of one painter´s work (Susanne Kandt-Horn) and of the exhibitions in Rostock Art Museum during the 80´s illustrates the circumstances under which the artists lived..

AimThe aim of the study was to develop a method for the survey of play movement demands and temporal patterns in order to enable a descriptive study of the defensive players in American Football. The overall aim was to  improve the understanding of how American Football is played to create opportunities for enhancement of current or developing new training methods to better suit football.MethodFifty plays from a Division 3 college football game on video from 2005 was divided into sequences of action for one player each from the defensive line, linebackers and defensive backs and analyzed with the video analyzing software cSwing. Every players sequence of action was recorded in a spreadsheet and noted on a scaled football field where distances were measured and together with time stamps from cSwing velocity was calculated.ResultsUsing this method it was possible to describe the play movement demands and temporal patterns which was the main task of the study. The defensive end worked on an average 4.61 seconds per play, the distance was 12.4 meters and average speed 2.5 m×s-1. The linebacker worked on an average 4.35 s per play, 13.7 m and at a mean speed of 3.0 m×s-1.

This thesis explores how art produced in the former GDR has been looked upon, handled and exhibited after the reunification of Germany in 1990. Swedish Art History has paid little attention to art in the GDR. The debate starting in the 50s between the spokesmen for abstract art and the defenders of figuration restrained for a long period the ability to look upon art from the GDR without prejudices. This led to a rejection of all figurative art in the GDR and sweeping judgmental attitudes, like it´s all ?kitsch?.