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master narratives. It also became apparent that much more time needs to be spent on research and re-interpretation of objects regarding new issues and topics, in order to leave traditional perspectives behind. With regard to the synaesthetic realisation of exhibition contents, particular- ly project partner Uwe Brückner’s examples for the Mapping Process provided ideas which can be categorised and developed for the future project work. To sum up, with regard to the results of the COP 1, it can be stated that EMEE enters a relatively new  eld of research and the ap- proach to interpret objects in a trans-regional, multiperspective way has not yet found widespread use in museums and exhibitions.
COP 2: CHANGE OF PERSPECTIVE BETWEEN
MUSEUM EXPERTS AND VISITORS
Overall, the Mapping Process showed that participatory approaches – regarding exhibitions that include the visitor in the process of curating – have been tested in  agship projects, but the majority of the muse- ums did not implement participatory elements yet. In contrast, research literature offers relatively comprehensive information on this possibility but the literature reviewed and the best practice examples evaluated by EMEE revealed that the inclusion of the visitor in the sense of a ‘par- ticipatory museum’ requires high personnel expenses and other costs. Therefore, participatory museum projects are by no means a sure re success which result the visitor’s acceptance by just calling for partici- pation. However, there were rare examples in research literature which
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CHAPTER 2: EMEE OUTCOMES
CHAPTER 5 CHAPTER 4 CHAPTER 3 CHAPTER 2 CHAPTER 1


































































































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