Suchergebnisse

Cadernos de Sociomuseologia ; a gestation du mouvement, étendue sur une période cruciale de treize années environ (l972, Santiago et l'Ecomusée – 1985, fondation du Mouvement, à Lisbonne) s'est inscrite au coeur du changement des sociétés, de la rénovation du discours muséologique, qu'il fut de droite ou de gauche, dans la transformation radicale du musée, entré dans l'ère des communications, fut il communautaire ou spectaculaire. Le Mouvement véhicule dès lors, la contestation de l'ordre établi, cherchant à l' enrichir de nouvelles propositions, notamment sur le plan social, éducatif et politique, sous-entendant l'entièreté de ses interventions. Bien qu'il ne prétende pas se présenter comme un front unitaire, mais tributaire des multiples tendances progressistes qui s'y côtoient, s'y entrecroisent, s'y entrechoquent, le mouvement trouve en premier lieu sa meilleure expression, conciliatrice, dans le concept révolutionnaire de l'Ecomusée. L'Ècomuséologie, telle qu'entendue à son origine, reprenant à son compte les acquis de la vie démocratique et de la libération collective, refuse la contrainte de la règle, les cloisonnements imposés. Le musée est ainsi collectivisé.

Cadernos de Sociomuseologia ; "TRAINING FOR THE UNIVERSAL MUSEUM" addresses a theme of our time. A Canadian, Marshall McLuhan, coined the phrase "global village" for this age which has witnessed mass travel, mass communications, even mass credit. Are we now about to see the "mass museum", a museum presumably homogenized and popularized for whatever constitutes the greatest cohort of global visitor which might arrive on the doorsteps of every-museum, every-where? The contributors to this volume think not. But there is in these papers some evidence of worry that we as individuals and institutions responsible for the education and professional development of museum workers are failing to consider seriously the impacts of the "global" forces at work in modern societies. Angelica Ruge discusses how the Germans are re-organizing museum training into a cohesive scheme, searching out the best elements from the former two states that now comprise the new German state. Margaret Greeves and Chris Newbery document the British search for a value free (and universally applicable?) set of museological skills which will underpin performance standards in the workplace. Both of these papers offer a response to the redefinition of the post-modern national state which as we watch, is redrawing political boundaries on every continent, and emphasizing the portability of skills and learning for the itinerant knowledge-industry worker.

[EN] What we would like to achieve is a "estado de la cuestión" about new methodologies that are being used in the museums to create a link between the observer and the piece, which tools and methods are used, though analysis and observation. We are facing an important search of information, to update some of the old concepts about how to expose via impartial investigation ; [ES] Lo que queremos conseguir es un estado de la cuestión sobre las nuevas metodologías que se emplean en los museos para conectar al espectador con la obra, qué herramientas usan y qué medios disponen para ello, a través del análisis y la observación. Nos enfrentamos pues, a una búsqueda relevante de información, que actualice algunos de los conceptos desfasados sobre cómo exponer a través de la investigación objetiva. ; González Ceballos, S. (2016). Nuevas metodologías expositivas en museos. Culturas. Revista de Gestión Cultural. 3(2):37-53. doi:10.4995/cs.2016.6806 ; SWORD ; 37 ; 53 ; 3 ; 2 ; Alonso, L., 2010. Museología y museografía. Barcelona: Ediciones del Serbal. ; Alonso, L.; García, I., 2010. Dise-o de exposiciones: concepto, instalación y montaje. Madrid: Alianza. ; Azuar, R., 2013. Museos, arqueología, democracia y crisis. Asturias: Trea. ; Burcaw, G. E. 1983. Introduction to Museum Work. Nashville: American Association for State and Local History. ; Forteza, M., 2012. The role of museums in the social networks. Biblios: Revista electrónica de bibliotecología, archivología y museologia Arte [en línea], 48, pp.31-40. ISSN-e 1562-4730. ; García, A., 1999. La exposición un medio de comunicación. Madrid: Akal. ; Hernández, G. M., et al., 2005. La memoria construida. Patrimonio cultural y modernidad. Valencia: Tirant Lo Blanch. ; Lorente, J.; Almazán, D., 2003. Museología crítica y arte contemporáneo. Zaragoza: Prensas Universitarias Zaragoza. ; Lorente, J., 2008. Los Museos de arte contemporáneo: noción y desarrollo histórico. Gijón: Trea. ; Eidelman, J., et al., 2014. El museo y sus públicos: el visitante tiene la palabra. ...

Il contributo è l'esito a stampa di una ricerca del 2007 relativamente all'assetto museologico del Regio Museo dell'Università di Palermo in rapporto al profondo cambiamento di impostazione e obiettivi che avverrà con l'unità d'Italia. Viene presa in analisi la formazione del Regio Museo dell'Università e la sua evoluzione sulla base dell'orientamento politico, e di politica culturale, che ha consentito l'arricchimento delle sue collezioni anche con donazioni da parte dei sovrani Borbone. Proprio queste mettono in evidenza il ruolo cui era destinato il museo, almeno secondo le iniziali intenzioni degli amministratori e dei rappresentanti del Governo, che prevedevano incameramenti "spontanei" dalle congregazioni religiose, che in effetti avvennero. Una sorta di piattaforma prudente che ebbe ben altri esiti con le leggi eversive del 1866 dello stato unitario.

Orientação: Mário Moutinho ; co-orientação: Luís Sousa Martins ; A tese que defendo inscreve-se no âmbito da Sociomuseología e tem como eixo central de referência o conceito de Património Cultural Imaterial definido pela UNESCO em 2003: um conceito onde as dimensões material e imaterial do nosso Património coexistem e são trabalhadas de forma indissociável. Tomando como ponto de partida o panorama museológico português, realizo um estudo em torno da função do inventário, tendo como objectivo demonstrar a forma como lhe é atribuído um lugar central na construção social da nossa herança cultural e da nossa memória colectiva. De acordo com esta perspectiva, abordo a história e o processo de evolução do conceito de inventário desde o século XIV até à atualidade; descrevo a experiência de um projecto internacional de desenvolvimento cultural centrado no inventário participativo e na intervenção das comunidades locais; analiso os procedimentos de elaboração do inventário, a figura do inventariante e o circuito de inventariação em onze museus portugueses. Finalmente, procedo a uma reflexão de carácter essencialmente teórico acerca do papel e da dimensão da participação local enquanto eixo de construção do inventário museológico e cenário de democratização da memória. ; Esta tesis se desarrolla en el ámbito de la Sociomuseología tomando como eje central de referencia el concepto de Patrimonio Cultural Inmaterial definido por la UNESCO en 2003: un concepto moderno en el que lo material y lo inmaterial se manifiestan y abordan de forma indisociable. Partiendo del panorama museológico portugués, realizo un estudio de la función del inventario con el objetivo de demostrar que, en la actualidad, está llamado a ocupar un lugar central en la construcción social de nuestra herencia cultural y de nuestra memoria colectiva. De acuerdo con esto y a través de una mirada retrospectiva, abordo la historia y evolución del inventario desde el siglo XIV hasta nuestros días, describo la experiencia del inventario participativo realizada en el contexto de un proyecto internacional de desarrollo cultural con las comunidades locales, y analizo el proceso de inventario, la figura del inventariante1 y el circuito de inventariación en 11 museos portugueses. Finalmente presento una reflexión teórica sobre el papel y la dimensión de la participación en el seno de la construcción del inventario museológico, como escenario de democratización de la memoria. ; This thesis is developed within the field of Sociomuseology, focusing on the concept of Intangible Cultural Heritage defined by UNESCO in 2003, which defines the notion of both Tangible and Intangible Cultural Heritages being perceived as one. Taking the portuguese museums scenario as a starting point, I developed studies on the functions of the inventory demonstrating its central role on the social construction of our cultural inheritance and collective memory. With this perspective in mind, I approach the history and evolution process of the concept of inventory, from the XIV century until the present time; I describe the experience of inventory as a participatory process in the context of an international cultural development project focused on local communities; I analyze the procedures of the inventory itself, of the inventory maker and of the inventory circuit in eleven portuguese museums. Finally I present a more theoretical analysis on the role and dimension of the participatory processes as the construction base of the museum inventory and place for the democratization of our collective memory.

Cadernos de Sociomuseologia ; The City is a tomography of the present, indicating to the future, strata of past times. Nowadays city growth averages one million people every week; while back in 1950 there were eighty six cities with more than one million inhabitants, today they are four hundred all over the world. However the most significant effect of the urban process is, doubtless, the explosion of megacities. It took one century for the urban population – around three point four billion inhabitants – to surpass the number of people in the country, but United Nations projections indicate that by 2025, urban population will reach 61% of the total. Creating a new city museum in São Paulo requires that, in a first analysis, one should consider as geographic area of study some fifteen hundred square kilometres corresponding to the patrimonial intervention area. That is the area of the Municipality, politically divided into ninety six districts where eleven million people live, while approximately twenty million people live in the metropolitan area

Cadernos de Sociomuseologia ; The ideas on which this paper is based are drawn from my thesis "Interactivity in Museums. A Relationship Building Perspective" written in 2007 for the fulfillment of the Master Degree in Museology at the Reinwardt Academy in Amsterdam. The main arguments are that the notion of Interactivity conceptualized within a technological orientation coupled with the pedagogic approach of mere information transmission need to be reconsidered; that Interactivity in museums is a conception both misinterpreted and under-implemented; and that the problems of understanding Interactivity will resolve by identifying the aspects which define Interactivity and most importantly focus on why they matter in a broader socio-cultural context within museums. Without an intention to attribute all the developments and advances associated with new museological practice, in some deterministic way, solely to politics and economic change, I argue that the new strategies adopted by museums towards progression and broader accessibility –at least regarding interactivity, seem to be linked more with a dominant commercialization of culture and education, than with a belief towards an effect on social change through the promotion of social interaction within a pluralistic and multicultural society, acknowledging the diversity of nature, opinion and practices, which can be combined instead of contrasting each other.

Cadernos de Sociomuseologia ; POPULATION = Terme générique pour désigner l'adhésion d'une population, ou d'un groupe significatif de citoyens d'un territoire d'appartenance, au projet de muséologie sociale. Celle-ci se mesure par le degré de participation, d'implication et de vision partagée, d'interaction au sein de la collectivité territoriale, son fief. PARTICIPANTS = Sont les acteurs actifs au sein de la population adhérante, partie prenante au projet de muséologie social. La participation se mesure selon le degré d'implication dans le projet et de compréhension de celui-ci (Intérêt, gestion partagée, militance, volonté de capacitation.) COOPÉRANT = Par solidarité, par engagement, il s'insère dans le système de l'action ccopérative, possédant ses règles propres, offrant sa contribution à l'unité de production conciliant la dimension sociale (de la muséologie), son idée au regroupement de personnes désireuses de contribuer à la production commune de biens de qualité au service de la population dont ils sont issus.

Cadernos de Sociomuseologia ; Que España ha arrastrado un atraso secular respecto a los países de su entorno es un lugar común a la hora de caracterizar un desarrollo histórico singular. Que ese atraso se remonta, probablemente, al momento en que comienza el declive del imperio colonial español es una suposición a la que cabría hacer múltiples matizaciones. Que las consecuencias de ese atraso se vieron agravadas en el siglo XX, hasta el punto de suscitar la frase de Unamuno –en la que juegan a partes iguales el sarcasmo y la reivindicación de lo singular, teñido todo ello de un pesimismo muy del gusto tenebrista-, es algo que cualquier observador imparcial –o cualquiera que haya vivido un buen trecho de ese siglo XX- jamás pondría en duda. Máxime, quien conozca el impacto de la sublevación militar de 1936 que condujo, tras una cruenta guerra civil (1936-39), al triunfo del General Franco y a la instauración de una dictadura que habría de sobrevivir durante varias décadas.

O presente trabalho traça uma discussão sobre o Acervo audiovisual
do Laboratório de Antropologia Visual (LAV), vinculado ao
Departamento de Antropologia e Museologia da Universidade Federal
de Pernambuco a partir da perspectiva da memória, do patrimônio e da
salvaguarda. Abordamos em conjunto a antropologia visual e a
museologia, detendo-se na elaboração de uma analise sobre o acervo
audiovisual do LAV-UFPE enquanto patrimônio cultural acadêmico,
objetivando traçar uma proposta para salvaguardar este patrimônio.
Destacamos neste trabalho a importância da coleção como meio de
transmissão de conhecimentos acerca das atividades de ensino e
pesquisas da instituição, e expressões culturais e artísticas.

Until the second half of the XX century museums were institutions with the main role of preserving and demonstrating their own collection. Over the past few decades, the situation has changed as museums acquired new functions. Nowadays, museums have to be a platform for social interaction, social experimentation and discovery and with the advent of Social Media, changes have peaked and lagging museums are running a dreadful risk of slowly becoming invisible. Social Media is now quite inevitable as many of us are participating in this social arena through a variety of methods and through several devices (the smart phones today are an example of this high popularity), but unfortunately a lot of museums, especially in Russia, have not kept pace with the evolution in this social interaction and communication field. This study reflects precisely the importance of Social Media for the museum and looks more into detail at the development and implementation of such a transition using a concrete example of named, medium-size museums in Russia. The intended result is a dialogue mechanism that allows for multi-vocal engagement between the museum and its visitors and consumers via community engagement and democratized access to information. These services can range from high profile platforms (for example Facebook and Twitter) to meet-groups, forums and knowledge banks. This study is the result of focusing on leading authors and their views, following leading companies online and my personal work at a museum in Russia where I went through the steps of implementing the transformation processes of moving the museum into a new era. We investigated deeply the museum, its characteristics, its collections and objectives, also analyzing the public and relating these data with other museums in Russia. We found out that although the museum is much visited, it did not have the desired visibility and interaction with the public. It is for this purpose a technical/practical dissertation type which will allow developing and testing the ...

O trabalho analisa o Museu Integral (ou Museu Total) como questão no campo da Museologia, bem como as diferentes abordagens e os discursos que sobre ele se desenvolvem. Partindo da ideia de Museu como fenômeno, estabelece as convergências e divergências entre as matrizes teóricas que fundamentam os conceitos de 'museu integral', 'museu comunitário' e 'ecomuseu', e as propostas e realizações de uma prática museológica voltada para o social. Comenta sobre a tendência à mitificação da Carta de Santiago como matriz ideológica e propõe uma revisão do papel e do significado da Mesa de Santiago e das recomendações nela consignadas para a teoria e a prática da Museologia, analisando o seu desdobramento e a sua aplicabilidade nas políticas e diretrizes da Museologia - em âmbito mundial e, especialmente, na América Latina. Recomenda que se desenvolvam pesquisas e análises mais aprofundadas sobre as relações entre teoria e prática museológica na América Latina, recolocando os mencionados conceitos à luz da epistème contemporânea e das diretrizes mundiais para a cultura, o patrimônio e o desenvolvimento. Finalmente, apresenta o conceito de Museu Inclusivo - matriz teórica sintonizada com o pensamento e a ética de museus na atualidade.

The region of Laguna Blanca, to the north of the department Belén (Puna catamarqueña, Argentina), is currently "protected" by some 120 domestic units, distributed along the 10,000 km² of the District. In the current regional context, deeply marked by the successive colonizing and neo-colonial waves that continue to affect Latin American indigenous populations, we claim the social utility of the production of scientific and archaeological knowledge and the necessary political and social positioning of museological practice. We seek, therefore, from our practice, to generate the conditions and space in an interaction with the peasants and indigenous people as historical subjects, to allow a process of restoration of the subalternized and subjugated knowledge. ; La región de Laguna Blanca, al norte del departamento Belén (Puna catamarqueña, Argentina), es actualmente "amparada" por unas 120 unidades domésticas, repartidas a lo largo de los 10.000 km² del Distrito. En el contexto regional actual, profundamente marcado por las sucesivas olas colonizadoras y neo-colonializadoras que siguen afectando a las poblaciones autóctonas latinoamericanas, reivindicamos la utilidad social de la producción de conocimiento científico y arqueológico y el necesario posicionamiento político y social de la práctica museológica. Buscamos por lo tanto, desde nuestra práctica, generar las condiciones y el espacio en una interacción con los campesinos e indígenas como sujetos históricos, para permitir un proceso de restauración de los saberes sometidos y subalternizados.

En politique rien ne semble possible sans références culturelles, sans la mobilisation d'un imaginaire collectif. Avec la déclaration de nombreux Etats de leur caractère multiculturel au cours de la seconde moitié du XXe siècle, qui reconnurent l'existence de différences culturelles au sein de la Nation, conjointement à une vague de patrimonialisation de nouveaux référents communs « multiculturels », les musées intégrèrent progressivement ce discours au sein de leurs expositions et de leurs collections. Ce sera tout particulièrement le cas des musées ethnologiques des « Autres », créés en lien avec l'affirmation de la Modernité et donnant lieu à la consolidation de l'Anthropologie, la science de « l'Autre ». Alors que ce multiculturalisme fait partie d'un nouveau paradigme, inauguré au cours des années 1970, basé sur une perception culturalisante de la structuration des sociétés, ces musées, créés pour la plupart entre le dernier quart du XIXe siècle et le premier quart du XXe siècle, intégrèrent en effet plus que n'importe quels autres cette réflexion au sein de laquelle ils étaient censés jouer un rôle important au travers de la mise en place de nouvelles pratiques. Ainsi, alors qu'ils étaient plongés dans une profonde crise depuis les années 1960-1970, cette intégration du multiculturalisme engendra la rénovation de la plupart d'entre eux en Europe, entre les années 2000 et 2010, donnant lieu à d'immenses projets muséaux vantant la modernité des villes et pays les accueillant, ouverts sur le monde et ses différences culturelles. A partir d'une conception anthropologique de l'institution muséale en tant que lieu de diffusion de valeurs, symboliquement et culturellement construit et ayant des effets sociaux sur la conceptualisation du monde, cette thèse traite de l'intégration de ce multiculturalisme dans les musées ethnologiques et leur rénovation, fondamentalement européens, en se concentrant sur ses effets muséologiques et sur l'évolution des politiques de collections. Pour ce faire, elle se base sur une ...