Academic literature on the topic 'Critical heritage, museum and archive studies'
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Journal articles on the topic "Critical heritage, museum and archive studies"
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Damian, Michelle M. "A retrospective on the Asia-Pacific Regional Conference on Underwater Cultural Heritage." International Journal of Asia Pacific Studies 17, no. 2 (July 30, 2021): 169–92. http://dx.doi.org/10.21315/ijaps2021.17.2.7.
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November 8th to 12th, 2011, marked the first targeted gathering of people involved in researching, managing, and developing underwater cultural heritage (UCH) in the Asia-Pacific region. Since then, the Asia-Pacific Regional Conference on Underwater Cultural Heritage (APCONF) has been convened every three years, providing a unique opportunity to bring together members of government agencies, universities, non-governmental organisations (NGOs), intergovernmental organisations (IGOs), museums, the private sector, and the wider community. Participants from over 35 countries have attended the conference, making it a truly international endeavour. The APCONF was created in part to promote awareness of UCH on a wider scale. As such, one of the primary directives of the inaugural conference was to ensure that all papers presented would be recorded in full in the official conference proceedings, so as to establish an ongoing archive of the critical work being done in this region. This article will examine the wider benefits of creating this regional network through the APCONF, arguing that it provides an important venue for face-to-face networking that can lead to additional collaborations, and contributes to the understanding of how the conference may evolve in the future. The fact that the APCONF is not tied to a specific membership base provides not only unusual flexibility but also financial and infrastructural unsurety. The conference is organised by a group of dedicated volunteers and funded almost entirely by donations. As we stop to consider the first decade of the APCONF’s achievements, we also need to determine the best ways to ensure its sustainable future success.
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Orlova, Keemya V. "Российские фондохранилища документального наследия монгольских народов." Монголоведение (Монгол судлал) 13, no. 2 (November 30, 2021): 366–81. http://dx.doi.org/10.22162/2500-1523-2021-2-366-381.
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Introduction. The present review article is devoted to written Mongolian collections from repositories in different regions of Russia, which were formed thanks to the selfless work of brilliant Orientalists. At present, there is an urgent need in systematization, analysis, search for information, and distant access to archival records and written sources, which will give researchers more opportunities for distant work with sources. Accordingly, perspectives of using information technologies will fascilitate the coordination and wider cooperation, as well as greater openness in the academic environment, the urgency of which is quite obvious. It is the right moment, too, because, first of all, the data on written sources is still scattered in a variety of publications; secondly, 2018 saw the launch of a grandiose project ”World Heritage of Mongolians”, which is primarily designed to create a uniform inventory of historical-documentary heritage of Mongolian peoples. The project plans include the publication of twenty volumes to present collections of written monuments dispersed in various countries of the world: Russia, Japan, China, the USA, France, Denmark, Hungary, etc. Three volumes will be devoted to Mongolian sources from Russian repositories. The purpose of the present article is to give an overview of the repositories of the documentary heritage of the Mongolian peoples in different regions of Russia. Results. The largest collections of Mongolian written sources are stored in St Petersburg (Scientific Library of St Petersburg University, Institute of Oriental Manuscripts of the Russian Academy of Sciences, State Museum for the History of Religion, National Library of Russia), in Buryatia (Center for Oriental Manuscripts and Xylographs, Institute for Mongolian, Buddhist and Tibetan Studies of the Siberian Branch of the RAS; V. A. Obruchev Kyakhta Museum for Local Studies), in Tyva (Aldan-Maadyr National Museum of the Republic of Tyva, Scientific Archive of the Tyva Institute for Studies in the Humanities and Applied Socio-Economics), in the Republic of Tatarstan (National Archive of the Republic of Tatarstan), and in Kalmykia (Scientific Archive of the Kalmyk Scientific Center of the Russian Academy of Sciences, National Archive of the Republic of Kalmykia, N.N. Pal´mov Kalmyk Museum of Local Studies); these comprise representative collections, including rare and unique monuments of Mongolian written literature. Some of these collections have been studied to a degree, but there are still many to be introduced into scientific circulation. That is why it is of urgent importance to represent written Mongolian sources, their significant part kept in Russian repositories. Further work on identifying and describing the documentary heritage of the Mongolian peoples will contribute to our knowledge of the field that still needs to be investigated.
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Kalibani, Mèhèza. "The less considered part: Contextualizing immaterial heritage from German colonial contexts in the restitution debate." International Journal of Cultural Property 28, no. 1 (February 2021): 43–53. http://dx.doi.org/10.1017/s0940739120000296.
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AbstractSince the publication of the “restitution report” by Felwine Sarr and Bénédicte Savoy in November 2018, the debate around the restitution of African artifacts inherited from German colonialism in German museums has become increasingly intense. While the restitution debate in Germany is generally focused on “material cultural heritage” and human remains, this reflection attempts to contextualize the “immaterial heritage” (museum collections inventory data, photographs, movies, sound recordings, and digital archive documents) from German colonialism and plead for its consideration in this debate. It claims that the first step of restitution consists of German ethnological museums being transparent about their possessions of artifacts from colonial contexts, which means providing all available information about museum collections from colonial contexts and making them easily accessible to the people from the former German colonies.
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Chaparro, Maria Gabriela. "Demandas comunitarias, respuestas articuladas. Una propuesta de gestión para un museo local en Argentina." PASOS. Revista de Turismo y Patrimonio Cultural 21, no. 1 (2023): 161–76. http://dx.doi.org/10.25145/j.pasos.2023.21.011.
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This work presents an experience of heritage management in the Museum and Historical Archive of Sierras Bayas as the result of community demand. In order to promote actions that would reverse the institu‑ tion’s state of deterioration, it was necessary to create a collaborative network between different social and insti‑ tutional actors. From its formation, a management plan was developed that prioritised the identification of the stakeholders involved throughout its history, a survey of the general state of the heritage and the elaboration of a situational diagnosis, as a basis for preparing a project toward enhancing its value. This museum was created by residents of Sierras Bayas, as a space with a strong social vocation, hence the importance of its safeguarding, in a town that recognises itself as a mining community and that plans to include its industrial heritage in tourism.
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Jamieson, Kirstie, Marta Discepoli, and Ella Leith. "The Deaf Heritage Collective: Collaboration with Critical Intent." Journal of Ethnology and Folkloristics 15, no. 1 (June 1, 2021): 1–26. http://dx.doi.org/10.2478/jef-2021-0002.
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Abstract The paper reflects upon the Deaf Heritage Collective, a collaborative project led by Edinburgh Napier University’s Design for Heritage team and Heriot Watt’s Centre for Translation And Interpreting Studies. The project aimed to advance discussion around the British Sign Language Act (Scottish Government 2015) and bring into being a network of Deaf communities and cultural heritage organisations committed to promoting BSL in public life. The aim of this paper is to contextualise the project and its creative approach within the distinctly Scottish context, and the ideals of critical heritage, critical design and the museum activist movement. This paper presents the context and creative processes by which we engaged participants in debate and the struggles we encountered. We describe these processes and the primacy of collaborative making as a mode of inquiry. We argue that by curating a workshop space where different types of knowledge were valorised and where participants were encouraged to “think with” materials (Rockwell and Mactavish 2004) we were able to challenge the balance of power between heritage professionals and members of the Deaf community. By harnessing the explanatory power of collaborative making we debated the assemblages of epistemic inequality, and the imagined futures of Deaf heritage in Scotland.
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McGrady, Conor. "An Interview with Topher Campbell." Radical History Review 2022, no. 142 (January 1, 2022): 111–18. http://dx.doi.org/10.1215/01636545-9397086.
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Abstract This Curated Spaces features an interview with Topher Campbell of rukus! archive. The rukus! archive was founded in 2005 by photographer Ajamu X and filmmaker and theatre director Topher Campbell. The archive is dedicated to collecting, preserving, and making available artistic, social, and cultural histories related to Black LGBTQ+ communities in the United Kingdom. Its intellectual origins reside in the work of Stuart Hall and British cultural studies, and the critical dialogue it establishes with both mainstream heritage practices and dominant Black and queer identity discourses.
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Cerqueira, Taís Bravo, and Luciana Di Leone. "O que pode um arquivo feminista?" Elyra, no. 18 (2021): 11–27. http://dx.doi.org/10.21747/2182-8954/ely18a1.
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In what consists an idea of archive through a feminist reading? The question that moves this essay arises from the perception that the word “archive” is not common within a certain feminist bi-bliography, however, the idea of archive or the idea about the power of archiving is present in a feminist thought through words such as “scarcity”, “survival”, “memory” and “heritage”. In this way, the critical and poetic thinking of the writers Adrienne Rich, Cecília Floresta and bell hooks are used as case studies to reflect on the formats and tensions involved in a possible feminist idea of archive
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Lieza, Louw. "St Cuthbert’s Mission Station: Fragments of living heritage, the archive and documentary filmmaking – ‘the future of the past’." Missionalia 50 (2022): 18–30. http://dx.doi.org/10.7832/50-0-321.
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This paper offers a reflection on a research project undertaken over a period of nearly five years at the St Cuthbert’s Anglican community near Tsolo in the Eastern Cape, South Africa. St Cuthbert’ was established by Father Bransby Key, an Anglican missionary in the nineteenth century. On a site visit with art historian professor Anitra Nettleton, we met elders who still remembered the missionaries and could relate to lay-worker Frank Cornner who collected beadwork made by the amaMpondomise even though the missionaries discouraged these practices. Cornner’s collections are housed at the Iziko South African Museum in Cape Town, the British Museum in London and at Pit Rivers in Oxford, in the United Kingdom. The importance of recording testimonies of elders underlines the value of ‘living heritage’ as an added research tool in attempts to contribute to the existing archive, especially as many of the elders have since passed away. The elders recall their experiences with fondness and it was only at a later stage that the researcher encountered dichotomous reactions to the missionary project in the area. For the researcher / documentary filmmaker this tension presented a dilemma as the value of the testimonies could in no way whatsoever be undermined despite the challenges faced by practitioners at this time in the history of our country. My research does, however, point to the importance of constantly adding to existing archival collections of historical records by recording the lived experiences of relevant individuals.
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Çaylı, Eray. "Field as Archive / Archive as Field." International Journal of Islamic Architecture 9, no. 2 (July 1, 2020): 251–61. http://dx.doi.org/10.1386/ijia_00013_2.
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Abstract This article introduces the special issue 'Field as Archive / Archive as Field': a set of critical reflections on archival research and fieldwork in academic studies focused on space. The special issue asks, how might the experience of carrying out research in the archive and the field, with all its contingencies and errancies, be taken seriously as empirical material in its own right? In other words, rather than reducing the research process to an empirically insignificant instrument through which to access useable data, how could scholars and practitioners of architecture treat this work as the very stuff of the histories, theories, criticisms, and/or practices they produce? In raising these questions that remain relatively underexplored, especially in architectural research, this special issue works from the contemporary historical juncture that is marked by an increasing visibility of rhetorical and physical hostility throughout social and political affairs. Probing how this historical juncture might impact and be impacted by spatial research, contributors to the special issue explore these impacts through the markedly urban and architectural registers in which they take place, including heritage, infrastructure, displacement, housing, and protest. They, moreover, do so through a variety of contexts relevant to the journal's scope: Egypt, Zanzibar, Turkey, Greece, Iran, and Israel/Palestine.
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Bogdanova, Galina, Todor Todorov, and Nikolay Noev. "Development, Annotation and Protection of Digital Archive “Bulgarian Folklore Heritage”." Digital Presentation and Preservation of Cultural and Scientific Heritage 1 (September 30, 2011): 181. http://dx.doi.org/10.55630/dipp.2011.1.23.
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The key to prosperity in today's world is access to digital content and skills to create new content. Investigations of folklore artifacts is the topic of this article, presenting research related to the national program „K nowledge Technologies for Creation of Digital Presentation and Significant Repositories of Folklore Heritage” (FolkKnow). FolkKnow aims to build a digital multimedia archive "Bulgarian Folklore Heritage” (BFH) and virtual information portal with folk medi a library of digitized multimedia objects from a selected collection of the fund of Institute of Ethnology and Folklore Studies with Ethnographic Museum (IEFSEM) of the Bulgarian Academy of Science (BAS). The realization of the project FolkKnow gives opportunity for wide social applications of the multimedia collections, for the purposes of Interactive distance learning/self-learning, research activities in the field of Bulgarian traditional culture and for the cultural and ethno-tourism. We study, analyze and implement techniques and methods for digitization of multimedia objects and their annotation. In the paper are discussed specifics approaches used to building and protect a digital archive with multimedia content. Tasks can be systematized in the following guidelines: Digitization of the selected samples Analysis of the objects in order to determine the metadata of selected artifacts from selected collections and problem areas Digital multimedia archive Socially-oriented applications and virtual exhibitions artery Frequency dictionary tool for texts with folklore themes A method of modern technologies of protecting intellectual property and copyrights on digital content developed for use in digital exposures
Dissertations / Theses on the topic "Critical heritage, museum and archive studies"
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Schottländer, Anna. "Universitetets normala museer : En undersökning om hbtq och Uppsala universitetsmuseer." Thesis, Uppsala universitet, Institutionen för ABM, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-296962.
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This master thesis in Museum and Cultural Heritage Studies is written as part of the final examination of the Master Program in Archive, Library and Museum and Cultural Heritage Studies at Uppsala university. The study is also done within the framework of the Kulturarvet som högskolepedagogisk resurs vid Uppsala universitet project at Uppsala university.The thesis focus on the university museums in Uppsala and their relationships to LGBTQ. The main theoretical framework consists of queer theory and critical cultural heritage theory. The qualitative methods used are interviews and close reading. The study aims to analyze the way the Uppsala university museum managers talk about museums and LGBTQ and study the legal framework and the political climate in Sweden in regards to LGBTQ-issues at university museums.A central conclusion is a problematic framework surrounding the university museums and LGBTQ. The university museums exist in a gray area between being museums and parts of the university. This means specific laws, regulations, recommendations and guidelines about LGBTQ-issues at museums and universities are hard to apply at the university museums. The Uppsala university museum managers give voice to a situation where the museums lack the recourses and the incentive to deal with the complex issue of LGBTQ representation and perspectives. The close relationship between specific academic fields and the university museums also reflects in the way the museums deal with LGBTQ. This affects the way the museums interact with the university and the public since the museums unintentionally reproduce old heteronormative narratives.I takt med att föreställningar och attityder i samhället förändras händer även något med museers verksamhet. Både sett till vad museer väljer att fokusera på och vad samhället förväntar sig av verksamheterna. Hbtq har kommit att bli allt mer aktuellt för de svenska museerna under de senaste åren. Denna studie har tittat på hur Uppsala universitetsmuseer förhåller sig till hbtq-perspektiv och -frågor. Studien utgår från kvalitativa intervjuer med museichefer från de fyra universitetsmuseerna som finns i Uppsala. De berörda museerna är Evolutions-museet, Museum Gustavianum, Uppsala linneanska trädgårdar och Medicin-historiska museet. Vad museicheferna berättar och hur de resonerar kring hbtq i relation till sina respektive verksamheter studeras. Likaså omfattar studien en närläsning av Uppsala universitets policydokument och verksamhetsmål, relevant lagstiftning samt kultur- och utbildningspolitiska dokument. I grunden finns ett teoretiskt perspektiv som tar utgång ur queerteori och kritiska kulturarvsstudier. Ett återkommande tema är den komplexa kontexten universitetsmuseerna befinner sig i. Bristen på direktiv och applicerbar lagstiftning innebär att hbtq inte integrerats i universitetsmuseernas verksamhet. Trots att museicheferna visade intresse för frågorna gav de även uttryck för upplevda svårigheter med att integrera och arbeta med hbtq i verksamheterna, vilket återspeglas i avsaknaden av satsningar. Detta kan ses som ett resultat av bortprioritering av frågorna inom Uppsala universitetet bl.a. som följd av en heteronormativt syn inom akademiska fält. Problematiken i relation till detta är att det påverkar vad museerna förmedlar till allmänheten och studenter samt vilka möjligheter det finns att inkludera universitetsmuseer i Uppsala universitets undervisning och forskning.
Kulturarvet som högskolepedagogisk resurs på Uppsala universitet
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Proffitt, Rebecca J. "The Old Deery Inn & Museum: An Ethnographic Case Study." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3241.
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This thesis uses qualitative ethnographic research methods to present a case study that explores the multiplicity of meanings and representations that are attached to the Old Deery Inn & Museum in Blountville, Tennessee. Within the community, the Inn functions as a center for cultural memory, with the physical structure itself acting as an artifact that holds community identity. This community narrative contrasts with the official narrative used by tourism entities that markets the Inn as a part of the Appalachian region, situating the Inn within a complex and intricately constructed identity of place that is shaped by lived experiences as well as perceived cultural markers. By unraveling the narratives, this study unpacks the ways that the Inn’s various identities figure into the development of current interpretation and management efforts, and the way that this locally important historical site fits into the larger narrative of tourism marketing in East Tennessee.
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Rosen, Kristina. "Bernhard Schmidts kvarlåtenskap och det globala kulturarvet." Thesis, Uppsala universitet, Institutionen för ABM, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-354013.
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This master thesis is about the Estonian-Swedish astro-optician Bernhard Schmidt (1879-1935) and his legacy. He was born on the island of Nargö outside Tallinn in Estonia. In 1930 he invented a special optical system for telescopes called the Schmidt telescope or Schmidt camera. At that time Bernhard Schmidt was working as a freelance at the Bergedorf observatory outside Hamburg in Germany. His invention contributed to astronomical research which changed our view of the sky and of the universe. The time he was living in was politically turbulent and science was flourishing. The written sources about Bernhard Schmidt and his telescope are mainly published in German, Russian, Estonian and English. Almost nothing is published in Swedish. The sources to his personal history and the archive material concerning him are partly scattered and it is difficult to assemble a complete picture. The purpose is to find and to map out what kind of archive material is preserved about him. The aim is also to find out who is in charge of it and how accessible it is. Is there global access to the material? Observatories, museums and archives in Sweden, Germany and Estonia were visited to map his legacy. The theories of James Cuno (2008) and the triad or three principles of management: preservation, knowledge and access were used in the analysis of the findings. Most material is kept and preserved at the Hamburg Bergedorf observatory, University of Hamburg. This is also the place where Bernhard Schmidt spent the last years of his life and it is here we can find his burial site. At the Hamburg Bergedorf observatory today there is a Bernhard Schmidt archive, a Schmidt museum with the first prototype of his telescope and an archive of photographic plates with photographic pictures of the stars and other astronomical objects. The two archives are in a digitalizing process and when completed they will be globally accessible and a part of our global heritage.
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Mårdh, Hedvig. "A Century of Swedish Gustavian Style : Art History, Cultural Heritage and Neoclassical Revivals from the 1890s to the 1990s." Doctoral thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-317856.
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This is a study of the intersection between art historical theory and practice, and cultural heritage, where the revivals and mediations of the neoclassical Gustavian style have been used as a platform for further exploration. In relation to this, the use and changing meanings of the concepts authenticity and style have been examined. The research has a historiographical and multidisciplinary character, drawing on the fields of art history, critical heritage studies and design history. The study shows how the Gustavian style has been routinely used when Swedish culture has been staged, nationally and internationally, but also when shaping ideas of the ideal home and good taste. The focus is placed on three periods – the 1890s, the 1930s-40s and the 1990s – during which the Gustavian style was defined, revived and mediated in different modes of representation such as textbooks, exhibitions, period furniture and historically informed performances. In the study we meet the actors, human and non-human, that have contributed to the resilient position of the Gustavian style in the public consciousness and in a commercial context. The Gustavian style, perhaps like no other, has been systematically embraced by the official heritage institutions in Sweden, including the academic discipline of art history, which has been an important influence on the way the past has been presented, valued, categorised, preserved and re-used. The author argues that the style has been able to maintain its relevance due to its ability to embody many different prevailing aspects across the 20th century, for example tradition and modernity, nationalism and internationalism, but also the past, present and visions of retro-utopia.
Books on the topic "Critical heritage, museum and archive studies"
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Duindam, David. Fragments of the Holocaust. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462986886.
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Why do we attach so much value to sites of Holocaust memory, if all we ever encounter are fragments of a past that can never be fully comprehended? David Duindam examines how the Hollandsche Schouwburg, a former theater in Amsterdam used for the registration and deportation of nearly 50,000 Jews, fell into disrepair after World War II before it became the first Holocaust memorial museum of the Netherlands. Fragments of the Holocaust: The Amsterdam Hollandsche Schouwburg as a Site of Memory combines a detailed historical study of the postwar period of this site with a critical analysis of its contemporary presentation by placing it within international debates concerning memory, emotionally fraught heritage and museum studies. A case is made for the continued importance of the Hollandsche Schouwburg and other comparable sites, arguing that these will remain important in the future as indexical fragments where new generations can engage with the memory of the Holocaust on a personal and affective level.
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Stevenson, Alice, ed. The Oxford Handbook of Museum Archaeology. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780198847526.001.0001.
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Abstract This Handbook provides a transnational reference point for critical engagements with the legacies of, and futures for, global archaeological collections. It challenges the common misconception that museum archaeology is simply a set of procedures for managing and exhibiting assemblages. Instead, this volume advances museum archaeology as an area of reflexive research and practice, addressing the critical issues of what gets prioritized by and researched in museums, by whom, how, and why. Through 28 newly commissioned chapters, authors problematize and suggest new ways of thinking about historic, contemporary, and future relationships between archaeological fieldwork and museums, as well as the array of institutional and cultural paradigms through which archaeological enquiries are mediated. Case studies embrace not just archaeological finds, but also archival field notes, photographic media, archaeological samples, and replicas. Throughout, museum activities are put into dialogue with other aspects of archaeological practice, with the aim of situating museum work within a more holistic archaeology, one that does not privilege excavation or field survey above other aspects of disciplinary engagement. These concerns are grounded in the realities of museums internationally, including those in Latin America, Africa, Asia, Oceania, North America, and Europe. In so doing, the common heritage sector refrain ‘best practice’ is not be assumed to solely emanate from developed countries or European philosophies, but will instead be considered as emerging from, and being accommodated within, local concerns and diverse museum cultures.
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College, Centennial, and Phaedra Livingstone. Student Program Handbook Museum and Cultural Management Postgraduate Program, Fall 2022. eCampusOntario Open Authoring Platform, 2021.
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Butler, Beverley. Return to Alexandria: An Ethnography of Cultural Heritage Revivalism and Museum Memory (Critical Perspectives on Cultural Heritage Studies Series). Left Coast Press, Inc., 2007.
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Return to Alexandria: An Ethnography of Cultural Heritage Revivalism and Museum Memory (Critical Perspectives on Cultural Heritage). Left Coast Press, Inc., 2007.
Find full textBook chapters on the topic "Critical heritage, museum and archive studies"
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Sabatini, Desirée. "Possible Methodologies for the Restoration of Digital Media." In Advances in Religious and Cultural Studies, 196–211. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-6936-7.ch009.
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This chapter stems from an urgent problem that has developed internationally in recent years regarding the safeguard of Italian cinematic and audiovisual cultural and scientific heritage which is in danger of extinction due to the difficulty of preserving celluloid, an important historical and artistic asset for our country, and electronic formats, the most numerous in the archive. In order to recuperate this cultural heritage, it is essential to carry out a broad process of recuperation, restoration and digitalization of the film and audiovisual material, but at the same time it is necessary to form a careful critical analysis of the methodology used and of the typologies of intervention by the universities and by the film archives and museums.
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Regis, Amber K. "Charlotte Brontë on stage: 1930s biodrama and the archive/museum performed." In Charlotte Brontë. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784992460.003.0006.
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This chapter explores dramatic representations of the Brontës during the early 1930s in the broader context of heritage, tourism and scholarly editing. Following the public opening of the Parsonage Museum in 1928, and contemporary with the serial publication of the Shakespeare Head Brontë between 1931 and 1938, increasing numbers of playwrights and theatre makers turned their attention to the lives and work of the Brontë family. The resulting biodramas set their scene in the family home turned museum, filling their stages with prop replicas of personal possessions turned museum objects and weaving dialogue from lines extracted from the Brontë corpus. This chapter focuses upon two case studies(Alfred Sangster’s The Brontës and Rachel Ferguson’s Charlotte Brontë (to examine how biodrama engages with archival and curatorial evidence, exposing contingencies and exploring how textual and material remained are used to sustain biographical ‘myths’—traditions that supply a lack within, or counter the historical record. Biodrama is critical in its praxis: these plays dramatise the problems of performing the museum and archive, where objects and documents can be made to speak variously, sometimes falsely.
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Camodeca, Renato, Alex Almici, and M. Cristina Vannini. "The Economic Impact of Universal Design on Cultural Heritage Contribution to SDGs: Evidence from Italian Museums." In Studies in Health Technology and Informatics. IOS Press, 2022. http://dx.doi.org/10.3233/shti220878.
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United Nations’ Agenda 2030 highlights the need to “make cities and human settlements inclusive, safe, resilient and sustainable” (SDG 11) and reduce inequalities (SDG 10) for the good health and well-being (SDG 3) of the citizens. Although most Italian museums have been forced to comply with the rules for accessibility in public spaces since 1971 following Law 30/3/1971 n. 118 and, more recently, Legislative Decree 81/2008, in this context, Universal Design can contribute to the achievement of these goals by improving accessibility to spaces, services, and the community’s well-being on the one hand, along with providing a deeper comprehension and awareness of the informational processes on the other hand. In this regard, museum organizations play a critical role in enhancing the quality of life and society’s education by preserving and distributing cultural heritage over time. Despite the large number of studies focused on museum organizations, there is little research that takes into account Universal Design and its macro-and firm-level economic benefits on museum institutions (not-for-profit, public, and private). Considering this research gap, this study’s aim is twofold: 1) to explore how some Italian museums have actually improved their facilities and services according to Universal Design principles and 2) to assess the economic museum accessibility. A qualitative methodology was applied using a questionnaire delivered to eight Italian museum, and collected data was compared. The findings underline how museums’ investments in Universal Design may produce relevant economic benefits, both on the macroeconomic and firm levels, providing guidelines for public policies concerning welfare, transport, environment, education, and well-being. Universal Design principles can lead museums to an increasing convergence toward Sustainable Development Goals, improving their overall economic performance as well as strengthening their role in a more aware and participative society. This study has several relevant implications in terms of both policy and management. Policymakers should promote Universal Design investments in museums in order to ensure accessibility to a greater number of visitors, and cultural institutions should consider accessibility as a specific key management dimension to be monitored and improved.
Conference papers on the topic "Critical heritage, museum and archive studies"
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Benente, Michela, Valeria Minucciani, and Gianluca D'Agostino. "Contents accessibility in archaeological museums and sites: a proposal for a neuropsychological approach." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001881.
Full textAbstract:
With specific reference to the issue of accessibility to cultural content and the inclusion of different audiences, the Authors point out an overview where museums usually tend to create educational activities and support assistive devices dedicated to specific audiences, rather than integrated solutions, that can “be usable by all people, to the greatest extent possible", as stated in the United Nations Convention on the Rights of Persons with Disabilities (2006).On the basis of previous studies on cultural accessibility and emotional appropriation, the Authors have recently carried out a survey focused in particular on archaeological museums audiences, considering their expectations, their reactions, and their prejudices. At the same time, they have conducted an extensive series of online interviews with Curators and Directors of many archaeological museums and sites in Europe and worldwide, including some in-depth site visits too. The investigations and surveys carried out have strengthened the awareness that museum spaces generate not only cognitive, but also physical and emotional reactions, and that the various publics react to cultural stimuli in very different ways. Therefore it is necessary, in designing museum communication, a disciplinary contamination involving in particular the field of neuropsychology. Such involvement would provide scientific support for the critical assessment of the effects that the environment and the cultural mediation trigger on the different publics.In particular, the Authors believe that the physical arrangement and the atmosphere are usually underestimated in the overall design of museums: on the contrary these two elements combined would allow each visitor to grasp the signals that best suit him or her, according to his/her senses and understanding. In other words, the atmosphere can play a key role in being an immersive communicative medium, in a truly inclusive way where everyone has the opportunity to "feel" and learn something.The Authors are developing a series of experiments that will be carried out first in the laboratory and then in some archaeological museums, in collaboration with a team of Neuropsychologists from the University of Turin and with the support of archaeological consultants and communication experts. By illustrating the current research and describing a series of examples (including best practices, problematic cases, ongoing projects), the paper aims at highlighting how the "design for all" in museums is a field in continuous development. Requiring an evolution in its approach, it also, and above all, represents a challenge in relation to the communication of particularly difficult cultural content, such as those related to the archaeological heritage.