UCL I
A
G191: E
P
0.5
REDITS
2015-2016
Science of Spying exhibition mock-up, Science Museum
Course co-ordinator:
Theano Moussouri
E: t.moussouri@ucl.ac.uk
T: 020 7679 4938
Internal ext.: 24938
R109

This course consists of two parts. One part involves a group project that the students will need to develop and deliver by working in group, and runs from January through to beginning of May. This is driven and created by the full-time students who take the
Exhibition Project course. Part-time students can work on an individual project related to their work. This is done in consultation with the course co-ordinator. The other part is the taught part of the course which is usually run in museums and covers topics that directly relate to project development.
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Session 1 14 Jan
Session 2 21 Jan
Session 3 28 Jan
Project management basics
Managing an interpretative project
Developing & delivering public engagement events
Session 4 11 Feb Exhibition project design: designing for meaningful interpretation
Reading week 15-19 February ± no teaching
Session 5 i) 24 Feb & ii) 6 or 7 April (tbc)
Communicating through text and images
± part I & part II
Session 6 25 Feb
Session 7 28 April (tbc)
Digital learning and interpretation
Project self-assessment
Coxal, H. (1991) Museum text: accessibility and relevance, Journal of Education in Museums,
12, 9-10.
&R[DO+µ5HDGLQJEHWZHHQWKHOLQHV¶(QYLURQPHQWDO,QWHUSUHWDWLRQ -7.
(NDUY-µ&RPEDWLQJUHGXQGDQF\ZULWLQJODEHOVIRUH[KLELWLRQV¶,Q+RRSHU -Greenhill, E. (ed)
The educational role of the museum . (second edition) Routledge, London.
([KLELWLRQLVWµ6 triving for excellence in exhibitions, National Association for Museum
Exhibitions , AAM, Vol. 20, No. 1.
1 This is for the taught part of the course. A detailed timetable which includes project-related meetings and seminars see page 10 of this coursebook.
2

([KLELWLRQLVWµ)RUPDOL]LQJH[KLELWLRQGHYHORSPHQW National Association for Museum
Exhibitions , AAM, Vol. 21, No. 1.
Harrison, R. (1991) Project management. In Lord, B & Lord G D Manual of Museum Planning .
HMSO, London: 247-54 MC 1 Qto LOR
Høg Hansen, A. and Moussouri, T. (2004 µ´)X]]\´ boundaries: communities of practice and exhibition teams in E XURSHDQ QDWXUDO KLVWRU\ PXVHXPV¶ , Museum & Society , Vol 2/3, 35-68, available on-line at: http://www.le.ac.uk/museumstudies/m&s/HansenMoussouri.pdf
Jacob. G. (2009). Museum Design: The Future. North Charleston: Booksurge.
Managing successful projects with PRINCE2 / OGC. (2005), 4th ed. London: Stationery
Office.
McManus, P. M. (1989) µ Oh yes they do! How visitors read labels and interact with exhibit texts ¶ Curator 32 (2): 174-189.
McManus, P.M. (2000) Written communications for museums and heritage sites. Pp97-114 in
McManus, P.M
. Archaeological Displays and the Public.
Second Edition, London, Achtype
Press.
Paris, S. (ed) (2002) Perspectives on object-centered learning in Museums, Lawrence
Erlbaum Associates, Mahwah, NJ.
Serrell, B. (2006). Judging Exhibitions: A Framework For Assessing Excellence . Oxford: Berg
Publishers.
Serrell, B. (1988) Making Exhibit Labels: A step-by-step guide . Nashville, Tennessee,
American Association for State and Local History. MF 2 SER. Browse.
Serrell, B. (1996 ) Exhibit labels: An interpretive approach . Altamira Press. ME3SER
This course is assessed by means of a total of approximately 4,500 words of coursework, divided into one individual project report of 1,500 words and one portfolio. The portfolio will include a 5,000 word project brief (part of group effort) and any appendices. The project portfolio will be assessed along with the product(s) of the project. If students are unclear about the nature of an assignment, they should contact the Course Co-ordinator. The Course
Co-ordinator will be willing to discuss an outline of their approach to the assessment, provided this is planned suitably in advance of the submission date.
The target for return of course work to students is three weeks from submission. Returned and marked course work for the first assignment should be returned for second marking within two weeks of receipt by students. Two copies of the report for the second assignment should be submitted so that one copy can be returned to the student while the other goes for second marking ± this is because this assignment is submitted close to the end of the academic year.
3

The course is taught via lectures by senior museum professionals, as well as workshops, practical exercises and study visits. The latter aim to give students greater familiarity with the material/methods and techniques covered in the course. The course is evaluated by students on completion of the interpretative project.
In addition to a minimum of 30 hours of lectures and project supervisions, students are expected to attend project sessions and the visits that are arranged. Students are also expected to spend 20 hours on the assignments and reports, and 100 hours on private reading and/or group work. Project preparation may cut into the Easter break. Project team meetings are held every Wednesday, starting from Wednesday 15 January 2014. In addition to the weekly project meetings, you are expected to participate in five two-hour practical seminars on developing exhibitions at UCL, exhibition design, programming and on label writing and mounting. The workload for this course can be very heavy, depending on how much work students are prepared to invest in their project.
All students must have attended Museum Communication before taking this course.
This course aims: x to apply the general principles of effective communication with visitors and other stakeholders presented in the Museum Commun LFDWLRQFRXUVHWKURXJKVWXGHQWV¶ involvement in an interpretative project; x to encourage students to develop and exchange knowledge through working in a group; and x to encourage students to take responsibility for their own learning through the provision of supportive practical projects and assessments.
On successful completion of this course you should be able to: x apply theories of communication and learning to inform the development of the interpretative project; x understand how museums can communicate with visitors through exhibition planning and design; x understand how museums can communicate with visitors through programme and other activity planning and design;
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x actively consider and use various media and interpretive techniques to communication with the target audiences effectively; x conduct visitor studies and evaluation in the development of exhibitions and other services; x recognise the need for educational facilities, programmes and resources for different visitor groups and communities; x utilise current examples of good practice in the development of spaces and services that communicate effectively and foster a wide range of learning experiences; x consider the opportunities and limitation afforded by different physical exhibition spaces; x reflect on how you, as individual, work in a team and to consider team functioning as an activity.
On successful completion of this course you should be able to demonstrate: x a critical awareness and use of the principles of communication with audiences in informal learning environments internationally; x the development of intellectually satisfying and employable skills which will have a positive effect on communication with audiences in museums;. x the development of confident and independent thought through exposure to practical situations.
2.4.1 Assessment tasks
1. A 1,425-1,575-word individual report on a group exhibition development project, which forms an important component of the Exhibition Project course. Each student must contribute a copy of an individual report. Please structure your report under the following headings:
1. Context for your project and your users
2. Purpose of the project
3. Approach you used and why
4. Project development/progress and delivery
5. Personal contribution to the project (this includes management of your part of the project, time management, meeting deadlines, completing tasks and cooperating with others as appropriate, advocacy & dissemination)
6. Personal learning/benefits
7. References
8. Appendices (optional)
The individual report makes up 50% of the course marks.
Individual report submission date: Friday 13 May, 2016.
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Students must include the title of the course, their name, report title, date of submission, and number of words in the front page of their report.
2. In addition, the work of each individual and the team is recorded in a joint file ± the project portfolio - related to the project process, to be produced by each project team. The portfolio should be 5,000 words (excluding the appendices) and it should include:
9. Executive summary (overview of the project)
10. Project brief
11. A record of work on the project (project progress)
12. Appendices (i.e. content research, evaluation reports, text, design material/sketches, marketing material etc)
The products of the finished interpretive project makes up 25% of the course marks , while the contribution of each sub-team (i.e. content, management, evaluation, final object list, etc) to the project portfolio make up another 25% of the course marks.
Group project, teams and further details will be announced Wednesday 13 January 2016 in
RB13.
Friday 6 May 2016, projects and project portfolios completed by 5pm.
2.4.2 Word-length
The following should not be included in the word-count: bibliography, appendices, and tables, graphs and illustrations and their captions.
Penalties will only be imposed if you exceed the upper figure in the range. There is no penalty for using fewer words than the lower figure in the range: the lower figure is simply for your guidance to indicate the sort of length that is expected.
Please note:
1. Students are required to enter on all coursework coversheets both the official word limit, and the actual wordcount.
2. There is no need to submitted coursework for this course to Turnitin
If students are unclear about the nature of an assignment, they should discuss this with the
Course Co-ordinator.
S tudents are not permitted to re-write and re-submit essays in order to try to improve their marks. However, students may be permitted, in advance of the deadline for a given assignment, to submit for comment a brief outline of the assignment.
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Session
Project meeting
1
Session topic
Kick-off meeting
Seminar
2
3
Project meeting
Seminar
Project management basics
Communication awareness (IoA exhibition space)
Managing an interpretative project
Developing & delivering public engagement events
1 st panel meeting
4
Barriers to access for visitors with cognitive and sensory impairments
Exhibition project design ± designing for interpretation
5 (part I)
6
Project meeting
5 (part II) ii) Textual interpretation ± part
II
Date
13 Jan
14 Jan
20 Jan
21 Jan
28 Jan
10 Feb
10 Feb
11 Feb
Time
2.00-4.00
10.00-12.30 R612
2.00-4.00 B13
10.00-12.00 Dana Centre
(Dana studio)
10-12.00 R612
2.00-4.00
4.00-5.00
10.00-1.00 interpretation
Reading week: 15-19 February i) Textual interpretation ± part I
Digital learning and
2 nd panel meeting
24 Feb
(whole team)
25 Feb
2 March
2.00-5.00
12.00-2.00
2.00-4.00 tbc
Place
B13
B13
B13
R612
BM
British Library
R612 tbc
Seminar Label writing and mounting workshop
Event title, picture and 40 word text for webpage
3 rd panel meeting
6 or 7 April
± tbc
(content & digital team)
16 March
Early March
(tbc)
23 March
2.00-5.00
By 5.00pm
2.00-4.00
B13
Pippa Hough
(via email)
B13
Event deliverable
Project meeting
Event deliverable
Project meeting
Event delivery
7
150-200 word text for the webpage
4 th panel meeting
Late April event
Project-self assessment
End of project Project products & portfolio delivery
Early April
(tbc)
20 April
27 April
28 April
(tbc)
6 May
By 5.00pm
2.00-4.00
6.30-
10.00pm
(tbc)
10.00-12.00
(tbc)
5.00pm
Pippa Hough
(via email)
B13
Science
Museum tbc
IOA
7

Theano Moussouri & Mira Vogel
Session outline: x Effective project management: team work, roles and responsibilities, communication, milestones, tasks, deliverables, keeping deadlines and budgets x Ensuring that intended communications are made x Choosing an online collaborative project management software
Session objectives: x To be aware of some professional standards that can help with the development of an exhibition project x To be aware of best practice in exhibition development and management, including available softare x To conceptualise how you might go about developing the management and communication structure of your project
Reading:
Høg Hansen, A. and Moussouri, T. (2004 µ´)X]]\´ boundaries: communities of practice and exhibition teams in E XURSHDQ QDWXUDO KLVWRU\ PXVHXPV¶ , Museum & Society , Vol 2/3, 35-68, available on-line at: http://www.le.ac.uk/museumstudies/m&s/HansenMoussouri.pdf
Catmull, E. with Wallace, A. (2014) Creativity, Inc.: Overcoming the Unseen Forces That
Stand in the Way of True Inspiration , Random House .
([KLELWLRQLVWµ&RQYHUVDWLRQWLSVIRUGHVLJQHUVDQGHYDOXDWRUV¶ National Association for
Museum Exhibitions , AAM, Vol. 17, No. 2.
([KLELWLRQLVWµ&ULWLTXLQJH[KLELWVPHDQLQJVDQGUHDOLWLHV¶ National Association for
Museum Exhibitions , AAM, Vol. 19, No. 2.
([KLELWLRQLVWµ6WULYLQJIRUH[FHOOHQFHLQH[KLELWLRQV National Association for Museum
Exhibitions , AAM, Vol. 20, No. 1.
([KLELWLRQLVWµ)RUPDOL]LQJH[KLELWLRQGHYHORSPHQW National Association for Museum
Exhibitions , AAM, Vol. 21, No. 1.
8

([KLELWLRQLVWµ'HYHORSLQJJXLGHOLQHVIRUWUDYHOOLQJH[KLE its in Europe: the CASTEX
SURMHFW¶ National Association for Museum Exhibitions , AAM, Vol. 23, No. 2, 37-40.
Franklin-Wallis, O. (2015) How Pixar embraced a crisis to save 'The Good Dinosaur', Wired
Magazine - http://www.wired.co.uk/magazine/archive/2015/12/features/pixar-embraces-crisisthe-good-dinosaur
Harrison, R. (1991) Project management. In Lord, B & Lord G D Manual of Museum Planning .
HMSO, London: 247-54 MC 1 Qto LOR
Lawrie, A. (1996) The complete guide to creating and managing new projects for Charities and Voluntary organisations , The Directory of Social Change, London.
Lock, D. (1996) The essentials of project management , Gower, Aldershot,1.
Managing successful projects with PRINCE2 / OGC. (2005), 4th ed. London: Stationery
Office.
0DUWLQ'Dµ:RUNLQJZLWKGHVLJQHUVJHWWLQJVWDUWHG¶ Museums Journal , 4, 32-34 &
37-38.
0DUWLQ'Eµ:RUNLQJZLWKGHVLJQHUVNHHSLQJFRQWURO¶ Museums Journal , 6, 29-33 &
35-36.
Marti Q'Fµ:RUNLQJZLWKGHVLJQHUVFRQVWUXFWLYHUROHV¶ Museums Journal , 6, 33-37
& 39-40.
Paine, C. (2006) Using Museum Consultants. AIM, Focus 5 (2 nd Edition) , available on-line: http://www.aim-museums.co.uk/downloads/d6a0e039-dd79-11e1-bdfc-001999b209eb.pdf
Roberts, L. (1997). From knowledge to narrative . Washington, DC: Smithsonian Institution.
Serrell, B. (2006). Judging Exhibitions: A Framework For Assessing Excellence . Oxford: Berg
Publishers.
Spencer, H. (1991). An overview of the exhibition planning process. In Lord, B & Lord G D
Manual of Museum Planning . HMSO, London: 79-83 MC 1 Qto LOR
7RSSLQ*µ3URMHFWPDQDJHPHQWKRZWRNHHSPDMRUSURMHFWVXQGHUFRQWURO¶ Museum
Development , March, 20-24.
Velarde, G. (1988) Designing exhibitions . London: The Design council.
On site learning. Visit to the Dana Centre (Dana Studio)
Lecturers: Lucy Trench, Head of Interpretation, Science Museum
9

& Bradford Jessica, Interpretation Manager, Science Museum
Session 1 & 2 share the same objectives and readings (see session 1 above). Session 2 is a more applied version, using examples from the Medicine and Mathematics exhibitions
(currently under development) at the Science Museum, London.
Guest Lecturer: Pippa Hough, Content Developer, Science Museum
Session outline: x Engagement policies and strategies x Services for adults x On- and off-line services and resources
Session objectives: x To be able to conceptualise how public engagement provision is planned and delivered x To be aware of different strategies used to target and meeting the needs of an adult audience x To recognise the need for face-to-face provision
Essential reading:
Durbin, G. (ed) (1996) Developing Museum Exhibitions for Lifelong Learning.
The Stationery
Office, London.
Escobar, O. (2011) Public Dialogue and Deliberation. A communication perspective for public engagement practitioners , Edinburgh: Edinburgh Beltane -UK Beacons for Public
Engagement. (REPRINTED IN APRIL 2012) http://www.academia.edu/1131712/Public_Dialogue_and_Deliberation_A_Communicatio n_Perspective_for_Public_Engagement_Practitioners
Hooper-Greenhill, E. (ed) (1999) The educational role of the museum . (second edition)
Routledge, London.
Hooper-Greenhill, E. (1996) Writing a museum education policy. London, Museums and
Galleries commission.
10

Pearce, S. (1993) Museums, Objects and Collections: A Cultural Study , Routledge, London.
(chapter 8)
Further reading:
Anderson, D. (1997) A commonwealth: Museums and learning in the United Kingdom .
London, Department of National Heritage
Bauer, M W, Allum, N, and Miller, S, 2007 What Can We Learn from 25 Years of PUS Survey
Research? Liberating and Expanding the Agenda, Public Understanding of Science 16, 79 ± 95
Carcasson, M, 2009 Beginning with the End in Mind: A Call for Goal-Driven Deliberative
Practice, Public Agenda Occasional papers, no 2, Center for Public Deliberation and Public
Agenda [on-line], retrieved from: http://www.publicagenda.org/files/pdf/PA_CAPE_Paper2_Beginning_SinglePgs_Rev.pdf
[30
October 2012]
Delli Caprini, M X, Cook, F L, and Jacobs, L R, 2004 Public Deliberation, Discursive
Participation, and Citizen Engagement: A Review of the Empirical Literature, Annual Review of Political Science 7, 315-344
Hooper-Greenhill, E. (1997) Museums and their Visitors , Routledge.
Howe, K, & Ashcraft, C, 2005 Deliberative Democratic Evaluation: Successes and Limitations of an Evaluation of School Choice, Teachers College Record 107 /10, 2274-2297
Hughes, C. (1998) Museum theatre: communicating with visitors through drama. Heinemann,
Portsmouth, New Hampshire.
McCallie, E L, Bell, L, Lohwater, T, Falk, J H, Lehr, J L, Lewenstein, B, 2009 Many Experts,
Many Audiences: Public Engagement with Science and Informal Science Education, A CAISE
Inquiry Group report, Washington DC
Paris, S. (ed) (2002) Perspectives on object-centered learning in Museums, Lawrence
Erlbaum Associates, Mahwah, NJ.
Pearce, S. (1994) Interpreting Objects and Collections.
Leicester Readers in Museum Studies,
Leicester.
Web sites
National Coordination Centre for Public Engagement http://www.publicengagement.ac.uk/what/purposes-of-engagement
UCL Public Engagement Unit http://www.ucl.ac.uk/public-engagement
Public Engagement ± Wellcome Trust http://www.wellcome.ac.uk/Funding/Public-engagement/
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Guest speaker: Richard Glassborow of Glassborow Associates, Interpretive & interactive consultancy & design
Session outline:
This session focuses on the design of environments for purposeful communication. It looks at exhibition development, in particular, through the design process.
Further detail and resources will be provided by the guest speaker.
Reading:
+¡J+DQVHQ$DQG0RXVVRXUL7µ´)X]]\´ERXQGDULHVFRPPXQLWLHVRISUDFWLFHDQG
H[KLELWLRQ WHDPV LQ (XURSHDQ QDWXUDO KLVWRU\ PXVHXPV¶ Museum & Society , Vol 2/3, 35-68, available on-line at: http://www.le.ac.uk/museumstudies/m&s/HansenMoussouri.pdf
Lawrie, A. (1996) The complete guide to creating and managing new projects for Charities and Voluntary organisations , The Directory of Social Change, London.
Lock, D. (1996) The essentials of project management , Gower, Aldershot,1.
Lord, B & Lord G D Manual of Museum Planning . HMSO, London: 79-83 MC 1 Qto LOR
0DUWLQ'Dµ:RUNLQJZLWKGHVLJQHUVJHWWLQJVWDUWHG¶ Museums Journal , 4, 32-34 &
37-38.
0DUWLQ'Eµ:RUNLQJZLWKGHVLJQHUVNHHSLQJFRQWURO¶ Museums Journal , 6, 29-33 &
35-36.
0DUWLQ'Fµ:RUNLQJZLWKGHVLJQHUVFRQVWUXFWLYHUROHV¶ Museums Journal , 6, 33-37
& 39-40.
12

On site learning: British Museum
Lecturer: David Francis, Interpretation Officer, BM & PhD candidate IoA
Session outline: x Interpretation framework and hierarchy. x Written language: how people read labels in museums and heritage sites. x Scripto-visual communications: labels, diagrams, cartoons & models. x Thematic and object based exhibitions and the relationship between object and text. x Practical session devoted to display skills (labels mounting etc) (tbc)
Session objectives: x To be aware of the issues surrounding the writing of exhibition text x To be able to recognise the importance of planning for specific audiences x To be able to understand the importance of creating an interpretive framework for exhibitions x To be able to understand the value of layered information and easy to read labels x To be aware of a range of other support material
Essential reading:
V&A blog on text writing: http://www.vam.ac.uk/b/blog/creating-new-europe-1600-1800-galleries/labels-gallery-text
Blais, A (ed) (1995) Text in the Exhibition Medium . La Societe des Musées Quebecois &
Musée de la Civilisation. ME 3 BLA. Especially chapters by Jacobi & Poli, Blais (2 papers),
Samson, Lamarche, Marquart & Anctil.
Coxal, H. (1991) Museum text: accessibility and relevance, Journal of Education in Museums,
12, 9-10.
&R[DO+µ5HDGLQJEHWZHHQWKHOLQHV¶(QYLURQPHQWDO,QWHUSUHWDWLRQ -7.
McManus, P. M. (1989) µ Oh yes they do! How visitors read labels and interact with exhibit texts ¶ Curator 32 (2): 174-189.
13

McManus, P.M. (2000) Written communications for museums and heritage sites. Pp97-114 in
McManus, P.M
. Archaeological Displays and the Public.
Second Edition, London, Achtype
Press.
Further reading:
&DUWHU-µ+RZROGLVWKLVWH[W"¶,Q+RRSHU -Greenhill, E. (ed) The educational role of the museum . (second edition) Routledge, London.
Devenish, D. (1990) Labelling in museum displays: a survey and practical guide, Museum
Management and Curatorship, 9, 63-72.
Durbin, G. (ed) (1996) Developing Museum Exhibitions for Lifelong Learning.
The Stationery
Office, London. (section on text)
(NDUY-µ&RPEDWLQJUHGXQGDQF\ZULWLQJODEHOVIRUH[KLELWLRQV¶,Q+RRSHU -Greenhill, E. (ed)
The educational role of the museum . (second edition) Routledge, London.
Fairclough, N. (1989) Language and power . Longman, London and NY.
Fairclough, N. (1989) Critical language awareness . Longman, London and NY.
.LQJ5µ3RUWUDLWLQIRFXVODEHOOLQJIRUILQHDUW¶ Museum Practice , 11, 42-43.
Museums Association (1999) Design a label: guidelines on labelling for museums.
Serrell, B. (1988) Making Exhibit Labels: A step-by-step guide . Nashville, Tennessee,
American Association for State and Local History. MF 2 SER. Browse.
Serrell, B. (1996 ) Exhibit labels: An interpretive approach . Altamira Press. ME3SER
Visitor Behaviour, 4 (3) Fall, 1989, Special Issue on Exhibit Labelling.
14

On site learning: British Library
Guest Lecturers: Dr Alex Whitfield, Learning and Digital Programmes Manager
& Prof. George Roussos, Computer Science, Birkbeck College
More information and resources on this session will be provided in class.
Reading:
Fisher, M. and Moses, J. (2013) Rousing the Mobile Herd: Apps that Encourage Real
Space Engagement, Museums and the Web 2013 http://mw2013.museumsandtheweb.com/paper/rousing-the-mobile-herd-apps-thatencourage-real-space-engagement/
Helal, D., Ancelet, J. and Maxson, H. (2013). Lessons Learned: Evaluating the
:KLWQH\¶V0XOW imedia Guide, Museums and the Web 2013 http://mw2013.museumsandtheweb.com/paper/lessons-learned-evaluating-thewhitneys-multimedia-guide/
Mobiles, tables and apps in museums:
Imperial War Museum: http://www.iwm.org.uk/connect/apps http://www.museumoflondon.org.uk/explore-online/museum-london-apps/
V&A: http://www.vam.ac.uk/page/v/apps/
Tate: http://www.tate.org.uk/context-comment/apps
BM: http://www.britishmuseum.org/whats_on/past_exhibitions/2013/pompeii_and_herculaneum/ap p.aspx
National Museum of Scotland: http://www.nms.ac.uk/our_museums/national_museum/museum_apps.aspx
Many Voices web site: http://tap.ummaintra.net/
Murder at the Met (for teenagers): http://www.metmuseum.org/metmedia/video/news/murder-at-the-met
6)020$¶V&RXQWU\'RJ*HQWOHPHQIRUIDPLOLHV http://www.sfmoma.org/explore/multimedia/interactive_features/81
15

Guggenheim: http://www.guggenheim.org/new-york/visit/app
American Museum of Natural History, New York: http://www.amnh.org/apps
MoMa: http://www.moma.org/explore/mobile/iphoneapp
Smithsonian: http://www.si.edu/Connect/Mobile
Lists of museum apps:
Museums Association: http://www.museumsassociation.org/museum-practice/apps
UK museums apps: https://docs.google.com/document/d/13L91JUyX1IGHphG2I0zCh9sCmSn4wuB1KAS7MgecDA/edit?pli=1
Fine Art Museum Apps: http://fineart.about.com/od/Museums/tp/Top-10-Fine-Art-Museum-
Apps-for-iPhone-iPad.htm
More detail about this session to be provided in class
16

The full UCL Institute of Archaeology coursework guidelines are given here: http://www.ucl.ac.uk/archaeology/handbook/common/marking.htm.
The full text of this handbook is available here (includes clickable links to Moodle and online reading lists if applicable) https://moodle.ucl.ac.uk/course/view.php?id=965&notifyeditingon=1.
Reading List & Moodle: this course has an on-line reading list. A Moodle course is also available.
In addition to the Library of the Institute of Archaeology, other libraries in UCL with holdings of particular relevance to this degree are:
1. Main Library http://www.ucl.ac.uk/library/main.shtml
2. Human communication Science Library http://www.ucl.ac.uk/library/hcslib.shtml
3. Environmental Studies Library (also known as the Bartlett Library) http://www.ucl.ac.uk/library/eslib.shtml
4. Royal National Institute for Deaf People Library http://www.ucl.ac.uk/library/rnidlib.shtml
Libraries outside of UCL which have holdings which may also be relevant to this degree are:
1. Science Museum / Imperial College
Imperial College Road
South Kensington
London SW7 5NH
United Kingdom.
Tel : +44 (0)20 7942 4242
Fax : +44 (0)20 7942 4243
E-mail : smlinfo@nmsi.ac.uk http://www.sciencemuseum.org.uk/library/intro.asp
2. King's College
King's Parade, CB2 1ST, United Kingdom
Tel: +44-1223-331232
Fax: +44-1223-331891
E-mail: library@kings.cam.ac.uk http://www.kings.cam.ac.uk/library/
17

INSTITUTE OF ARCHAELOGY COURSEWORK PROCEDURES
General policies and procedures concerning courses and coursework, including submission procedures, assessment criteria, and general resources, are available in your Degree
Handbook and on the following website: http://wiki.ucl.ac.uk/display/archadmin . It is essential that you read and comply with these. Note that some of the policies and procedures will be different depending on your status (e.g. undergraduate, postgraduate taught, affiliate, graduate diploma, intercollegiate, interdepartmental). If in doubt, please consult your course co-ordinator.
18