Academic literature on the topic 'Museum workers'
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Journal articles on the topic "Museum workers"
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Grishina, Natalia V. "THE STRUCTURE OF THE STAFFING THE MUSEUM AS AN OBJECT OF INFORMATIZATION." RSUH/RGGU Bulletin. Series Information Science. Information Security. Mathematics, no. 3 (2021): 74–81. http://dx.doi.org/10.28995/2686-679x-2021-3-74-81.
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As a result of the use of information technologies in their work, museums have acquired qualitatively new opportunities for the registration of exhibits, the preservation of electronic copies of the documents and exhibits, as well as the mode of access to exhibits. Museums strive to become interesting, fashionable, interactive, educational. The modern museum can be fully called an object of informatization. In order to realize all modern possibilities, museums must be staffed with modern personnel. A modern museum worker is not just an art critic with relevant knowledge. A modern museum worker must confidently master the information technologies and use them in the practice. The article analyzes the dynamics of changes in the staff of museum workers over the past six years. It presents the diagram of the distribution of museum workers by the age groups and shows the distribution of museum workers according to their experience. There is an analysis in ratio of the number of men and women among museum workers. The paper analyzes some aspects of staffing the museum as an object of informatization.
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Muravska, Svitlana, and Iryna Hnidyk. "Ukrainian Museums' Exhibitions and Educational Programmes During the First Six Months of War." Museum and Society 21, no. 2 (July 24, 2023): 33–39. http://dx.doi.org/10.29311/mas.v21i2.4295.
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The extraordinary and brave work of Ukrainian museum workers to protect collections and to continue activities in the face of war exemplifies the possibilities for similar institutions in conflict situations. This paper illustrates some of the main activities of Ukrainian museums from the period of the outbreak of war on 24 February 2022 through to August of the same year, focusing especially on exhibitions, educational programmes, and events, both online and on-site. This research is based on thematic and chronological approaches, using data from descriptions of educational projects on museum websites and social media. The article analyzes museum exhibitions on Russian aggression as well as museum programmes more broadly. The organization of online and offline museum events, projects, excursions, exhibitions, classes for children and refugees, museum workers’ meetings on Museum Day (May 2022), the opening of a new museum, actions in support of the armed forces of Ukraine, and volunteer activities of museum workers in Ukraine are briefly presented. While this article can touch on these broad and diverse topics only briefly, it underlines the value and necessity of further studies focused on the adaptation mechanisms of museums in the challenging conditions of war.
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LIVEROVSKAYA, Tatyana, and Marina PIKULENKO. "SCIENCE AND SOCIETY INTERACTION IN NATURAL SCIENCE MUSEUMS IN USA." LIFE OF THE EARTH 42, no. 4 (November 25, 2020): 451–64. http://dx.doi.org/10.29003/m1774.0514-7468.2020_42_4/451-464.
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Currently, modern museums activity has not only common trends but features connected with national, social and state development. Using the example of the two oldest museums in Texas and Colorado (Museum of Natural Sciences in Houston, Texas, Museum of Natural History of the University of Colorado in Boulder, Colorado), the authors analyze the characteristic features of USA natural science museums formation as cultural and educational centers. The development of the American museum concept as a multifaceted processes of interaction integrator between scientific organizations with the widest segments of the population is also analyzed. The results of the museums work are summarized, features of their activity and emergence are emphasized. It allows Russian museum workers to adapt and apply the foreign experience under domestic conditions.
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Kristinsdóttir, AlmaDís, and Sigurjón Baldur Hafsteinsson. "Organizational structures and the museum’s educative function. Empty options at the Reykjavík Art Museum." Nordisk Museologi 26, no. 2 (December 6, 2019): 77–94. http://dx.doi.org/10.5617/nm.7478.
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Museum education is a field in flux that faces continuous theoretical and practical challenges. We argue that formal museum organizational structures, the informal, and experiences of museum workers should be intertwined. We also argue that the influence of museum educators on shaping policies is relevant. Formal organizational structures in museums should be acknowledged and systematically embedded in the shaping and governance of sustainable museum education practices if museums are to succeed as learning institutions. We contend that museum organizational structures disempower the development of museum education as a profession, serving other purposes more rigorously. We interviewed twelve museum staff members for this paper. They all worked at the Reykjavík Art Museum’s (RAM) education department as full-time and/or part-time employees from 1991 to 2018. Multiple meetings with the participants occurred from June 2011 until June 2018, resulting in twenty semi-structured interviews.
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Irina Anatol’evna, Kuklinova. "The problems of museography in French periodicals of the 1930s." Vestnik of Saint Petersburg State University of Culture, no. 2 (51) (2022): 90–98. http://dx.doi.org/10.30725/2619-0303-2022-2-90-98.
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The 1930s are of special importance for establishing museum theory and practice. The paper emphasizes the understanding of the term museography, thus allowing the author to characterize innovations in the development of many trends in museum activities during this period. Displays and exhibitions in museums of all kinds could boast of considerable achievements. Among other things, they are explained by the development of another trend in museum practice – interaction with visitors, including a completely new public, including the working class. Museography development is analyzed based on French periodical publications, in which prominent figures in the fields of culture, the arts and museums presented their views and ideas. This material is introduced for the first time into scholarly discourse in Russian. The parallel development of European and Soviet museums in the 1930s seems important, evaluations by French museum workers of the museum experience in the USSR matter a lot for the history of Russian museum affairs and studies.
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Sevastyanov, Alexander V. "From the history of museum work in Crimea: Activities of the Russian Society for the Study of the Crimea — Society for the Study of the Crimea (1922–1932)." Issues of Museology 13, no. 1 (2022): 39–56. http://dx.doi.org/10.21638/spbu27.2022.103.
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The article deals with the museum direction in the popularization and research activities of the Russian Society for the Study of Crimea — the Society for the Study of Crimea against the background of the active development of the local history movement in the USSR in the 1920s and early 1930s. Three main forms of cooperation between the public scientific organization and the museum institutions in the region are traced: the participation of the Society members in the work of museums, and in creating new museums of local history (in Alushta and Kerch); publications of employees of Crimean museums about the profile work of institutions on the pages of the Society’s printed organ — the scientific journal “Krym”; author’s methodological articles of members of the Society on museum topics on the pages of the journal “Krym” (K.E.Grinevich, V.G.Opalov). Consideration of the plots of cooperation between amateur local historians, professional historians, archaeologists, ethnographers and museum workers allows us to form a comprehensive picture of the atmosphere and moods that were decisive in the scientific and social movement of the first decades of Soviet power. The dynamics of local history initiatives, the change of priorities in popularizing work helps to trace the patterns of transformation of the local history movement by the beginning of the 1930s. This was fully reflected in museum work, particularly in the leveling of any creative independence of museum teams and their incorporation into the structure of state ideological apparatus. This led to a crisis in the local history and museum movement and contributed to the unleashing of harassment and repression against local Soviet historians and museum workers, both at the all-Union and regional levels.
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Muravska, Svitlana, and Oksana Hodovanska. "Organization of museums of western Ukraine after the full-scale invasion of the Russian Federation." Museologica Brunensia, no. 2 (2023): 12–19. http://dx.doi.org/10.5817/mub2023-2-2.
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During the war Russian troops are carrying out a targeted and systematic destruction of cultural and religious monuments of Ukraine with the help of various types of weapons and aviation. UNESCO World Heritage sites in Ukraine are under threat of destruction. In the course of modern war, the entire territory of Ukraine is in danger. At the same time, the western Ukrainian regions are considered to be a relatively safe territory. The population from the front-line areas, museum collections are evacuated here. One of the first initiatives to save Ukrainian museums was the Museum Crisis Center, the Heritage Emergency Response Initiative and the Western Ukrainian Union of Museums is based on substantial international assistance. Foremost due to international support, it was possible to receive grants for generators, power banks, as well as the purchase of personal protective equipment for museum workers in case of chemical and nuclear attacks. The activity of Western Ukraine museums was focused on two main directions. Firstly, on financial assistance to colleagues and organizing the evacuation of museum collections from the zone of hostilities or occupation. And secondly, on the preservation of museum valuables in the museums of Western Ukraine by digitizing them and filling the museum funds with the necessary amount of packaging materials. On the other hand, as it follows from the short field study of the master’s degree students, there were only minor fears or worries about possible military actions of the Russian Federation in the museum environment. At the same time there were no government instructions, explanations or warnings about the preparation for the possible evacuation of museum valuables or their more reliable storage. Unfortunately, letters from the Ministry of Culture and Information Policy of Ukraine belatedly responded to the current situation after February 2022 having left the main initiative to non-governmental unions and organizations. In the museum environment after the full-scale invasion of the Russian Federation only personal initiatives were the most efficient in forming support and assistance for museum workers.
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Düisenova, N. K., and B. Q. Smagulov. "SOME ASPECTS OF THE DEVELOPMENT OF THE MUSEUM SPHEREIN KAZAKHSTAN IN THE 1930S – 1950S." edu.e-history.kz 31, no. 3 (October 20, 2022): 173–83. http://dx.doi.org/10.51943/2710-3994_2022_31_3_173-183.
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The article analyzes the process of formation and development of museum institutions of Kazakhstan in the 1930-1950s. On the basis of archival sources, the history of museum activity is traced, the problems of the development of an interitative museum affair are characterized. On the example of museums, the field of museum work, the state of museums, the role, place, the stages of development, the specifics of the “Soviet” model of the museum, the problems of the personnel of museum workers, difficulties infinancing and organizing museum institutions of the republic are considered. The influence of political factors on changing the standards of museum affairs in the 1930s in Kazakhstan is also noted. The analysis of the processes in the museum of Kazakhstan is given in connection with the next political repression in the USSR in the late 1940s. In particular, the influence of political repressions is considered, which was subjected to a famous historian Yermukhan Bekmakhanov, to the fate of A.M. Jirenshin, who for many years headed the Central State Museum.
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Ludvigsen, Peter. "History of the Workers' Museum in Denmark." International Labor and Working-Class History 76, no. 1 (2009): 44–53. http://dx.doi.org/10.1017/s0147547909990068.
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The Workers' Museum in Copenhagen was formally inaugurated on April 12, 1982, at a meeting held at the historic Workers' Assembly Hall at Rømersgade in Copenhagen, the prime location near the Royal Gardens and Rosenborg Palace where the museum is located. At that time the museum had a governing board with representatives of The National Museum, The Museum of Copenhagen, The Library and Archives of the Danish Labour Movement, The University of Copenhagen, the National College of the Danish Confederation of Trade Unions (LO), the Friends of the Workers' Museum, and the General Council of the Federation of Trade Unions.
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Nye, David E. "The Workers' Museum in Copenhagen." Technology and Culture 29, no. 4 (October 1988): 909. http://dx.doi.org/10.2307/3105051.
Full textDissertations / Theses on the topic "Museum workers"
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McCall, Vikki. "The 'chalkface' of cultural services : exploring museum workers' perspectives on policy." Thesis, University of Stirling, 2012. http://hdl.handle.net/1893/9798.
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The difficulties faced by services in the cultural sector have been immediate and challenging. Public services that are cultural in nature have faced funding cuts, closures and redundancies. Museum services are low in political importance and unable to provide clear evidence of their policy impact. Despite these challenges, there has been limited evidence about the policy process at ground-level. This thesis builds on theoretical and empirical ideas in social and cultural policy to present museum workers’ perspectives within a cultural theory framework. Following Lipsky’s (1980) work on street-level bureaucrats, this thesis presents an analysis of street-level workers’ roles in delivering social and cultural policy. Museum workers’ perspectives are presented through a series of case studies (drawing on qualitative interviews and observations) from three local-authority museum services in England, Scotland and Wales. The findings showed evidence that top-down cultural and social policies have had an influence on workers actions, but service-level workers’ understandings were central to the policy process. Museum workers actively shaped museum policy through ground-level interactions with visitors and groups. Workers experienced policy in the cultural sector as fragmented, vague and difficult to engage with at the ground-level. Workers mainly viewed policy as meaningless rhetoric. Despite this, those working at ground-level often utilised policy rhetoric effectively to gain funding and manipulate activities towards their own needs and interpretations. Policy evaluation was also fragmented and underdeveloped within the services studied. Workers found themselves under pressure to fulfil policy objectives but were unable to show how they did this. Furthermore, there was a perceived distance from managers and local authority structures. This allowed a space for workers to implement and shape policy towards their own professional and personal ideals. Vague policies and a lack of formal mechanisms for evaluation led to high levels of worker discretion at ground-level. Economic policy expectations were resisted by workers, who tended to have more egalitarian views. Museum workers effectively managed policy expectations through a mixture of discretion and policy manipulation. Delivery at the ground-level was seen as effective – despite, not because of, cultural sector policies.
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Sanger, Amanda. "REVEALING LIVES: excavating, mapping and interrogating life histories of women clothing workers from District Six (1940 - present)." Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/78698.
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This study is a contribution to the programme of memorializing District Six through the site-specific stories that are shared in research, education, and the co-curated spaces of the District Six Museum. When buildings, streets, street names and place names are erased from a landscape; when cultural, economic, religious, and educational spaces are shut down; then people’s connections to place are disrupted, diverted, reimagined, often lost to future linked generations. These connections, however, continue to live on in people’s memories - individual and collective, sometimes lying dormant waiting to be triggered into wakefulness and visibility. In the case of District Six, these memories have lived on as nostalgia about a recent past with the trauma, often, edited out. Consequently, District Six has frequently been rendered as a stereotype - a friendly, unproblematic, tolerant, kanala place, where grand narrative re-enactments provide a sense of closure for some or evokes a sense of renewed anger about the stories not told and the unfulfilled restitution process. The stories of women factory workers are a case in point, where the closing down of factories and the subsequent loss of livelihoods are remembered in two ways. Firstly, through a lens of nostalgia premised on the idea that the past was a better place when we had jobs and could feed our families. Secondly, this recent past is also remembered with a sense of unresolved anger that people are less important than profit margins and real estate - a mentality that resulted in the export of cheap labour factories overseas and gentrification. This study explores the stories of two women clothing workers from District Six. I mapped out the important clothing factories contained in the stories of the two women I interviewed like, for example, the Ensign Factory that was in a section of District Six now rezoned as part of Woodstock. The site and its surroundings have taken on a new corporate brand but still lives with the spectral traces of the old District Six. I make these and other District Six fragments more visible through the stories of Ruth Rosa Phala-Jeftha and Farahnaaz Gilfelleon, using the District Six Museum’s oral history methodology – one steeped in a critical pedagogy where the storytellers have agency and are invited into a co-curated sense-making and interpretive process.Dissertation (MSocSci)--University of Pretoria, 2020.
Historical and Heritage Studies
MSocSci
Unrestricted
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Tramposch, William Joseph. "A matter of degree : mid-career professional training for museum workers in the United States & Great Britain." W&M ScholarWorks, 1985. https://scholarworks.wm.edu/etd/1539618305.
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What are the differences between the continuing education programs for museum workers in the United States and Great Britain, and what do these distinctions reveal about the ways in which the role of the museum worker is perceived in these respective countries?;This study will: (1) analyze the literature surrounding these questions, literature ranging in topics from the sociology of professions to descriptions of mid-career training options, (2) compare and contrast the museums, museum studies programs, and continued learning schemes for museologists, and, finally, (3) examine the differences and similarities between two representative programs, one for each country: the Seminar for Historical Administration and the Diploma Scheme of the Museums Association in Great Britain. From these comparisons both general and specific, the investigation will conclude with an interpretation of the differences in so far as they shed light on the varying perceptions of the museum worker in the United States and Great Britain.;In the United States, museum workers are exposed to a seemingly unlimited array of mid-career training options, a veritable smorgasbord of professional learning opportunities of varying quality and usually offered by agencies quite independent of the academy. "Contest" mobility prevails. The programs are responsive to an ever-changing market. While, in Great Britain, only a few options are available, most notable is the diploma scheme with its university affiliations. When compared to the American system, a semblance of "sponsored" mobility prevails, and one is struck by the limited, single-level and insulated nature of the programs available. This dissertation identifies these distinctions and expands on their significances as they pertain to current perceptions of the museum workers in each country.
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Clapis, Pacheco Chaves Maria Luiza. "Le Musée du Mouvement des Sans Terre au Brésil : l'émergence d'un nouveau type de musée et d'une nouvelle muséologie." Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30027.
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Dans ce travail, il s’agira tout d’abord de concevoir un musée du Mouvement des Travailleurs Ruraux Sans Terre au Brésil. La lutte des sans terre est l’un des phénomènes sociaux et politiques les plus importants de notre histoire. Le Mouvement des Sans Terres (MST), pilier de la mobilisation populaire au Brésil, est la plus importante référence dans la lutte contre l’inégalité sociale et le néolibéralisme dans la mesure où celui-ci conduit à un approfondissement du processus de concentration de richesse, inhérent au système capitaliste, et des inégalités socio-économiques. Dans un premier temps, nous analyserons la conception de ce musée, ses caractéristiques, ses objectifs, son importance pour le développement social, économique et politique du Brésil et les possibilités de sa création dans ce pays. Nous verrons que le Musée du MST que nous concevons est un nouveau type de musée, que nous avons défini comme un Musée de Lutte, avec une nouvelle muséologie que nous dénommions de Muséologie de la Contemporanéité. Celle-ci suggère la nécessité d’adéquation ou d’actualisation des objectifs des musées sociaux, issus du mouvement de la Nouvelle Muséologie des années 1970-80, prenant en compte les problèmes et les aspirations collectives de notre temps. Nous essaierons de comprendre pourquoi les musées de la Nouvelle Muséologie sont devenus inefficaces du point du vu de leurs objectifs initiaux et comment la Muséologie de la Contemporanéité peut les aider à sortir de l’inertie et à les faire jouer de manière plus effective leur rôle de levier social et politique. Enfin, nous espérons, avec la conception du Musée de Lutte et de sa Muséologie de la Contemporanéité, ouvrir des nouvelles perspectives pour le développement de la muséologie sociale, dans laquelle il s’inscrit. Une muséologie politiquement engagée, au service de la construction d’un monde meilleur, de la dignité humaine, de l’égalité et de la justice socialeIn the present work, we aim, first and foremost, to conceive a museum of the Landless Rural Workers Mouvement (MST) in Brazil. The struggle of the landless is one of the most important social and political phenomena in the history of this country. The Mouvement, mainstay of the popular mobilisation in Brasil, is the main reference in the figth against social inequality and neoliberalism, a force that leads to a strengthening in the concentration of wealth, inherent to the capitalist system, and socioeconomic disparities. First, we analyse the conception of this museum, its feautures, objectives, its importance for the social, economic and political development of Brazil and the feasibility of its implementation. We will see that the MST Museum presents a new kind of museum, one we define as a Struggle Museum, within de contexte of a new museology designated as Museology of Contemporaneity. This new museology highlights the need to adapt or update the objectives of social museums, wich were stablished by the New Museology mouvement of 1970-1980, in order to take into account the problems and collective aspirations of ours time. We will try to understand why the museums of New Museology have become ineffective relative to their original goals and how the Museology of Contemporaneity can provide a way out of a situation of inertia and help them play their role as social and political levers more effectively. Finally, with the conception of the Struggle Museum and its Museologie of Contemporaneity, we hope to open up new perspectives for the development of social museology, wherein it operates ; a politically-engaged museology in service of the creation of a better world, of human dignity, equality and social justice
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El-Amin, Cheryl W. "Personal and professional spirituality: Muslim social workers' perspectives." ScholarWorks, 2009. https://scholarworks.waldenu.edu/dissertations/676.
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Research in the area of religion and spirituality in social work practice is lacking minority practitioner representation. This phenomenological study explored the questions of how American Muslim social workers define and experience the religious/spiritual, and perceive the propriety of integrating either, in practice. Ibn Khaldun and Durkheim, early social theorists, suggested that group feeling and affiliation impact personal and professional perception and decision making. American societal views of Muslims are often negative and uninformed. A group of 15 Muslim practitioners with bachelor's or more advanced degrees in social work were recruited through a survey administered via an Internet survey site. In depth telephone interviews were conducted that clarified personal and professional descriptions and experiences of the religious/spiritual. Transcript statements were critically reviewed for range of meaning (horizonalization) and reduced to their thematic essences following the phenomenological thematic analysis paradigm. Trustworthiness of the study was verified through ongoing bracketing of the researcher's assumptions and maintenance of a data collection journal. Findings indicated that participants favored a client-centered approach based on the social work standard of self determination. Most participants differentiated and acknowledged the value of spirituality more than religion in practice. Practitioners, cognizant of possible negative interpretations of Muslims and Islam, rely on the client to initiate religious themes in therapy. This finding suggests the need for future study of client views. Implications for social change are evidenced in the clients' assurance that Muslim practitioners' professional integration of the religious/spiritual is client driven and bound by competent social work ethical practice.
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Tolley, Rebecca. "Review of Art Museum Image Gallery." Digital Commons @ East Tennessee State University, 2006. https://dc.etsu.edu/etsu-works/5631.
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Edwards, Deborah. "Understanding the organization of volunteers at visitor attractions." View thesis, 2005. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20050927.114921/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2005.A thesis submitted to the University of Western Sydney in partial fulfilment of requirements for the degree of Doctor of Philosophy from the College of Law and Business. Includes bibliography.
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Blanco, Maria Cristina. "Museu casa da xilogravura de Campos do Jordão: colaboração para formação inicial de professores de artes." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-27092017-115108/.
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O presente trabalho tem como foco principal estudar o Museu Casa da Xilogravura da cidade do Campos do Jordão. Uma questão foi desenvolvida a partir da colaboração da Arte/educação nas ações educativas do Museu: Quais as possibilidades educativas do Museu Casa da Xilogravura para a formação inicial de professores de Arte Visuais? Resgataram-se informações sobre o Festival de Inverno de Campos do Jordão, como medida para reestabelecer relações com as ações contemporâneas sugeridas nesta pesquisa: a ligação da formação de professores em Artes Visuais com a cidade de Campos do Jordão, como também com suas cercanias. Outros assuntos pertinentes ao trabalho foram desenvolvidos como, por exemplo, os estudos sobre a abordagem do ensino superior, elaborados pelos professores Paulo Freire e Thierry De Duve, que embasaram a discussão sobre a formação inicial de professores de artes. Breve estudo sobre a legislação no ensino da arte foi escrito para reflexões sobre as políticas públicas no Ensino Superior. Um recorte de estudo sobre a importância do trabalho educativo dos museus como formação de um conceito, bem como um recorte histórico do Educativo dos primeiros museus paulistas, também consta deste trabalho. Foram desenvolvidos estudos sobre Curadoria Educativa e museu, e acervos digitais, devido às suas relações com a proposta da tese. Foi feito um levantamento de trabalhos com bases no Projeto Observatório da Formação de Professores que versavam a respeito da Educação em Museus no âmbito da graduação, que por sinal notou-se uma quantia bem pequena na pesquisa. Um pequeno histórico a respeito da formação do acervo do Museu Casa da Xilogravura foi realizado, por meio de informação bibliográfica, documental e depoimentos orais. Foram atualizados os dados quantitativos referentes às visitações presenciais dos estudantes de Ensino Básico ao Museu, assim como a maneira pela qual o visitante espontâneo acessa as informações sobre a Instituição. Um aprofundamento a respeito da Leitura da Obra de Arte, no âmbito da Abordagem Triangular do Ensino da Arte de Ana Mae Barbosa, e o Desenvolvimento Estético foi pensado sob à luz dos conceitos de quatro pesquisadores: Edmund B. Feldman, Robert W. Ott, Michael J. Parsons e Abigail Housen. Construiu-se um modelo autônomo, porém com bases nessas teorias, que levou a uma proposta de Material de Apoio ao professor em Artes Visuais, a ser oferecida às Instituições de Ensino Superior das regiões do Vale do Paraíba, sul de Minas Gerais e Rio de Janeiro. Este material apresenta a obra de Lasar Segall, chamada \"Casal no Mangue\", de 1929, xilogravura impressa em papel, que faz parte do acervo do Museu Casa da Xilogravura.The current dissertation focuses mainly on studying the Woodcutting House Museum in the town of Campos do Jordão. A question was raised regarding the Arts/Education cooperation related to the teaching activities of this museum: \"What are the educational possibilities of the Casa da Xilogravura Museum for the initial training of Visual Art teachers?\". Information was gathered on the Festival de Inverno de Campos do Jordão (Winter Festival of Campos do Jordão) as parameters to reestablishing the relationships with current actions in which we suggest in this research a link between the visual arts teacher training and the town of Campos do Jordão, as well as its surroundings. Other pertinent issues were also considered, such as the approach to advanced studies elaborated by the professors Paulo Freire and Thierry De Duve as the basis for the discussion about the initial training of arts teachers. Brief study on legislation in the teaching of art was written for reflections on public policies in Higher Education. This paper comprises a cross section of the importance of the teaching work of the museums as basis of a concept, as well as a historic cross section on the teaching aspect of the first museums of the State of São Paulo. Studies on Educational Curatorship and Museum and digital collections were developed based on the relations we suggest on this thesis. A survey was carried out on the basis of the Observatory Project for Teacher Training, which dealt with the Education in Museums within the scope of graduation, which, by the way, was a very small amount in the research. A brief record on the development of the collection belonging to the Casa da Xilogravura Museum was made using bibliographic, documental and oral statement information; and we updated the quantitative data regarding personal visits of Fundamental School students to the Museum, as well as how the spontaneous visitor accesses the existing information on it. The study thoroughly contemplates the reading of the works-of-arts within the scope of the Triangular Approach of Arts Teaching by Ana Mae Barbosa; also, the Aesthetic Development was regarded in the light of the concepts of four researchers: Edmund B. Feldman, Robert W. Ott, Michael J. Parsons and Abigail Housen. We built an autonomous model based on these theories, which led us to propose Support Materials to the Visual Arts teacher which should be offered to the Colleges of the regions of Vale do Paraíba, South of Minas Gerais and South of Rio de Janeiro. This material presents the work of Lasar Segall, called \"Couple in the Mangue\", 1929, woodcut printed on paper, which is part of the collection of the Casa da Xilogravura Museum.
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Edwards, Deborah. "Understanding the organization of volunteers at visitor attractions." Thesis, View thesis, 2005. http://handle.uws.edu.au:8081/1959.7/30804.
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This thesis investigates how volunteers are organized at visitor attractions. It focuses on museums and art museums; non-profit institutions that manage large volunteer programs. The study addresses five important issues : 1/ in what context do museums and art museums operate; 2/ why people are motivated to volunteer for these institutions; 3/ what is the extent to which the institution interacts with its external environment and how this affects organizing routines of volunteers; 4/ what is the relationship between volunteer motivation, interest dissatisfaction and value commitments; and 5/ how this understanding can result in the better management of volunteers. Two attractions in New South Wales and one in the Australian Capital Territory were investigated. The author collected data on field activities of volunteer managers and coordinators, and administered a questionnaire to the total population of volunteers in these three attractions. The thesis contributes to a more holistic understanding of volunteers that offers a critical theoretical extension to tourism, institutional and neo-institutional literature.
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Loury, Sharon D. "History of Nursing and Partnership with the Museum at Mtn. Home." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/8191.
Full textBooks on the topic "Museum workers"
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Seppovaara, Juhani. The Amuri Museum of workers' housing. Helsinki: Rakennusalan Kustantajat Rak, 2000.
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Heaton, David. Museums among friends: The wider museum community. London: HMSO, 1992.
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Society, Ontario Historical. Let's get organized!: Everything you ever wanted to know about operating an historical museum, but were afraid to ask. [s.l: Ontario Historical Society, 1985.
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DeWald, Louise. Heard Museum Guild history, 1958-1997. Phoenix, Ariz: Heard Museum, 1998.
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Hagman, Jean Cassels. Museum volunteers: The fourth dimension. [S.l.]: Museum Information Services, 1985.
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Royal Ontario Museum. Dept. of Museum Volunteers. Value of volunteer activities: Analysis for 2004-2005. [Toronto]: Royal Ontario Museum, Dept. of Museum Volunteers, 2006.
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Iley, Sarah J. E. Befriending museums: A handbook. [Toronto]: Council for Business and the Arts in Canada, 1992.
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American Association for Museum Volunteers. Directory of Museum Volunteer Programs. Washington, D.C: American Association for Museum Volunteers, 1988.
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Museum, Glenbow. Laying the foundation: Policies and procedures for volunteer programs : a model manual from the Glenbow Museum, Art Gallery, Library and Archives. Calgary, AB: Glenbow Museum, 1996.
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United States Holocaust Memorial Museum., ed. Memorable moments. [Washington, D.C.]: United States Holocaust Memorial Museum, 2003.
Find full textBook chapters on the topic "Museum workers"
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Needlman, Grace, and Jeremy Kreusch. "Good Morning Museum Workers." In Institutional Change for Museums, 90–95. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003365280-11.
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Hlongwane, Ali Khangela, and Sifiso Mxolisi Ndlovu. "Workers’ History in the Post-Apartheid Memory/Heritage Complex: Public Art and the Workers’ Museum in Johannesburg." In Public History and Culture in South Africa, 43–75. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14749-5_2.
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Gurian, Elaine Heumann. "How Mentoring Works." In Centering the Museum, 259–66. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003096221-21.
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Papoulias, Evangelos, and Theoklis-Petros Zounis. "Artists and the University Heritage: The Case of the Athens University History Museum and the Exhibition “Opy Zouni: In First Person”." In Strategic Innovative Marketing and Tourism, 817–25. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-51038-0_88.
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AbstractThe university museums protect, conserve and present the cultural heritage related to education. The paper presents the initiative of the Athens University History Museum of the National and Kapodistrian University of Athens (NKUA), a university museum that organizes for the first time in a university space a temporary exhibition dedicated to Opy Zouni, a painter with international recognition in the contemporary art of geometric abstraction. The exhibition “Opy Zouni: in first person” presented selected works by Opy Zouni with the main purpose of attributing the artistic dimension of the creator through the interpretation and analysis of her works by herself in the first person. The idea was conceived on the occasion of the tenth anniversary of the loss of the internationally renowned painter Opy Zouni with the consent of the family for a cultural event that would give the public a different perspective of her work. The paper presents a good example (useful for art curators and art managers) of a temporary exhibition of a university museum which connecting the contemporary art with the university heritage.
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Miller, Zoë, and Anke Moerland. "Is Trust Enforceable? The Conservation of Contemporary Artworks from a Socio-legal Perspective." In Conservation of Contemporary Art, 365–83. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-42357-4_18.
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AbstractThe conservation of works of contemporary art is a complex endeavour and involves a variety of actors. As well as the artist, museums, collectors, gallerists and conservators are involved in activities relating to conservation. It is not self-evident that all of them will have the same interests when dealing with a contemporary artwork. Conflicts can occur in relation to the conditions of ownership, access, display, and integrity of the artwork. In order to manage a divergence of expectations, it is essential for parties to trust that they will work according to shared values and beliefs. This chapter explores the relationship between artists and museums in terms of trust and control and considers the role that contracts can play to manage expectations of artists and museums, and to regulate aspects of the conservation of contemporary artwork currently not addressed by copyright law. Drawing on literature from the fields of sociology and art, we explore how trust and control influence the relationship between the artist and the museum. Legal doctrinal methods help us to explain how copyright law applies to aspects of the conservation of contemporary art, and what provisions contracts could include to address parties’ expectations.
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Rangel, Bárbara, José Manuel Amorim Faria, and João Pedro Poças Martins. "Display of Technique in Paulo Mendes Rocha Works." In Museum Technology and Architecture, 49–79. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-76172-5_6.
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Schatzki, Theodore. "Artworks in Art Museums." In Conservation of Contemporary Art, 17–32. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-42357-4_2.
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AbstractThis essay gives an overview of what is involved in using practices to analyze art in art museums. It begins by discussing the general use of theories of practices in this context, drawing a contrast with actor-network theory. The essay then conceptualizes art and art museums as parts of material arrangements, which people encounter as they carry on certain practices. Topics considered include the polysemy of art works, their contributions to spatiality, the multiple relations that link practices and art works, and the materiality of the works (including the contribution this materiality makes to their identity). A final section examines art works in relation to social change. It argues that, although art works of the sorts found in museums only rarely are directly responsible for social change—art in this regard is a conserving force—, they can importantly contribute indirectly to social change by altering minds.
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Laurenson, Pip. "Making Time." In Conservation of Contemporary Art, 385–401. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-42357-4_19.
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AbstractThis chapter considers the different temporalities within the contemporary art museum and explores how externally funded research affords thicker care time to enable an engagement with works that challenge the structures, systems and temporalities of the museum. Drawing on the idea of a “timescape” introduced by the sociologist Barbara Adam, it considers the “timescapes” of conservation practice and thinking, of the museum and of artworks, and how these different and sometimes conflicting temporalities impact our practices of care.
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Bravi, Luca. "Luoghi e memorialistica. Aspetti didattici del Memoriale degli italiani di Auschwitz tra passato e presente." In Raccontare la Resistenza a scuola, 115–24. Florence: Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-650-6.16.
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The Memorial for the Italian died in nazi camps is an artistic masterpiece commissioned in 1979 by the National Association Former Prisoneers in nazi camp. It was inagurated in 1980 in the National Auschwitz Museum as permanent Italian exhibition. In 2008, the museum board launched a complain about the italian exhibition: its complexion was full of echoes about the Italian Resistance. Hence, it was judged ununderstandable but also politically dangerous as Poland changed regime after 1989. In 2011, the Museum closed the italian exhibition and the National Association moved it in Florence. The paper describe how the exhibition was opened and how it worked as a tool for present time.
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"Training Museum Workers." In Museum Origins, 265–68. Routledge, 2016. http://dx.doi.org/10.4324/9781315424019-55.
Full textConference papers on the topic "Museum workers"
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Bartseva, A. A., A. G. Shakhparunyants, A. Sh Chernyak, R. I. Stolyarevskaya, and E. I. Rozovskiy. "DEVELOPMENT OF NEW STANDARDS FOR MUSEUM LIGHTING." In CIE 2021 Conference. International Commission on Illumination, CIE, 2021. http://dx.doi.org/10.25039/x48.2021.po48.
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The new standards for museum lighting development was based on data collection by means of questionnaires, processing and analysis of subjective assessments of art historians, museum workers, research results of restorers and expert visitors, along with objective, physical measurements of photometric parameters of lighting installations in selected exhibition halls of the most famous museums in Russia. Based on the studies performed, national standards of both permanent and preliminary nature were prepared and introduced in 2020 by institute VNISI named after S.I. Vavilov.
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Makos, K., and G. Burroughs. "86. Exposure Surveillance of Museum Workers to Residual Pesticides on Collections." In AIHce 2001. AIHA, 2001. http://dx.doi.org/10.3320/1.2765998.
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PASQUIER, Florent, and Mariana THIERIOT LOISEL. "The Museum Visit: Art and Transdisciplinarity." In For an international transdisciplinary chair. ADJURIS – International Academic Publisher, 2024. http://dx.doi.org/10.62768/adjuris/2024/2/13.
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Abstract: The article explores the critical need for contemporary organizations to foster a democratic and meaningful dialogue about life, emphasizing the importance of conscience in career paths and senior management research. It advocates for museums as spaces of reflection, offering an escape from the mechanistic and docile tendencies fostered by technological mediation in human relations. The text highlights the widening gap between management and workers, exacerbated by inequalities and miscommunication, and calls for transdisciplinary scientific research to address these issues. It underscores the impact of unintentional attitudes in pedagogical relationships, both formal and non-formal, and their role in transmitting cultural values and knowledge.
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Некрашевич, Анна Тадеушевна. "LIDA CASTLE: PROBLEMS OF RESTORATION AND MUSEUM IFICATION." In Международная научно-практическая конференция «Музеефикация фортификационных сооружений. проблемы и пути их решения». Crossref, 2023. http://dx.doi.org/10.54016/svitok.2023.38.25.005.
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В докладе рассказывается о музеефикации замка в городе Лида (Гродненская область, Республика Беларусь). Лидский замок является уникальным архитектурным памятником. Построенный по приказу Великого князя Витовта в XIV в., за свою долгую историю он стал свидетелем многих войн. К концу XX в. понес множество утрат. Несмотря на неоднократные попытки реставрации, остановить процесс его разрушения не удавалось до наступления нового тысячелетия. В начале ХХІ века была разработана концепция консервации и реставрации замка. Постепенное воплощение её в жизнь совместными усилиями власти, музейных работников и общественности должно превратить Лидский замок в один из лучших туристических объектов Беларуси. The report tells about the museumification of the castle in the city of Lida (Grodno region, Republic of Belarus). Lida Castle is a unique architectural monument. Built by the order of the Grand Duke Vytautas in the 14th century, during its long history it has witnessed many wars. By the end of the XX century. suffered many losses. Despite repeated attempts to restore it, it was not possible to stop the process of its destruction until the new millennium. At the beginning of the 21st century, the concept of conservation and restoration of the castle was developed. Its gradual implementation by the joint efforts of the authorities, museum workers and the public should turn the Lida Castle into one of the best tourist sites in Belarus.
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Granados González, Jerónimo. "Captando la mirada. Publicidad y reclamo en el espacio expositivo de Le Corbusier." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.699.
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Resumen: Dentro de la obra de Le Corbusier, el espacio expositivo fue un tema ampliamente desarrollado. La idea de generar un prototipo teórico de museo, por ejemplo, fue recurrente a lo largo de toda su obra, como una idea latente, en gestación, a la espera del momento para ser llevada a la realidad de la construcción. En el caso concreto del museo de crecimiento ilimitado, desarrollado teóricamente a lo largo de la década de 1930, los pocos ejemplos construidos son ejecutados a partir de los años cincuenta. Al realizar una compilación de los ejemplos de espacios expositivos proyectados por Le Corbusier, siguiendo líneas tipológicas similares, en donde se incluyan no solo museos, sino también, pabellones y salas de exposición, montajes expositivos e, incluso, propuestas comerciales (donde lo expuesto es una mercancía), se constata que el número total de obras supera las ochenta, abarcando proyectos desde 1910 (la sala de exposiciones del Taller de artistas) hasta la muerte de Le Corbusier en 1965, con el último ejemplo proyectado: el museo del siglo XX en Nanterre. A la hora de analizar las distintas estrategias proyectuales empleadas por el maestro a la hora de enfocar la arquitectura expositiva, un punto interesante es el reclamo publicitario, la propaganda y la captación del interés de los visitantes, la relación con el diseño gráfico y la publicidad, el empleo del color, el grafismo o la cartelería. Todos estos aspectos son especialmente relevantes en el caso de pabellones de exposición y pabellones para marcas comerciales. Abstract: Within the work of Le Corbusier, the exhibition space was a theme widely developed. For example, the idea of a theoretical prototype of the museum was recurrent throughout his work, as a latent idea, waiting for the time to be taken to the reality of construction. In the case of the museum of unlimited growth, theoretically developed throughout the 1930s, the few built examples are executed from the fifties. In carrying out a compilation of examples of exhibition spaces designed by Le Corbusier, following similar typological lines, where not only museums but also pavilions, exhibition halls, expositions and even commercial proposals are included, we find that the total number of works exceeds eighty, covering projects since 1910 (the exhibition hall of the Ateliers d’Artistes) to the death of Le Corbusier in 1965, with the final example: the Museum of the 20th Century in Nanterre. When analyzing the different design strategies employed by the Master at the exhibition architecture, an interesting point is the study of advertising, propaganda (attracting the interest of visitors), the relationship with graphic design, and the use of color, graphics and signage. All these aspects are especially relevant in the case of exhibition halls and pavilions for trademarks. Palabras clave: pabellones; exposiciones; museos; publicidad. Keywords: pavilions; exhibitions; museums; advertising. DOI: http://dx.doi.org/10.4995/LC2015.2015.699
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Willeart, Saskia. "Digitizing collections of musical instruments in Africa." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.1.05.
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In 2013–2014 the Musical Instruments Museum (mim) in Brussels worked with Musée de la Musique (MMO) in Ouagadougou, Burkina Faso, and the Musée Panafricain de la Musique (MPM) in Brazzaville, the Republic of the Congo to build digital inventories of their musical instrument collections. The purpose of this digitization campaign has been to provide a more complete view of musical world heritage by incorporating not only African instruments but also the African terminology that describes these instruments, into international research databases. The cooperative digitization work has helped bring attention to valuable but not easily accessible collections. Both the musical patrimony held in African museums and the metadata they provide are proving to be valuable sources for understanding musical world heritage.
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Schimerl, Nicolas, Pia Patrizia Weber, and Thomas Stöllner. "RETHINKING THE ANALOGUE – FROM VIRTUAL ARCHAEOLOGY TO A DIGITAL EXHIBITION." In VIRTUAL ARCHAEOLOGY. SIBERIAN FEDERAL UNIVERSITY, 2021. http://dx.doi.org/10.17516/sibvirarch-003.
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In 1993, workers discovered a mummified human head during exploitation in the salt mine of Chehrābād, Province of Zanjān, Iran (Vatandoust 1998). This find marks the beginning of more than 20 years of international and interdisciplinary research. The mummified head dates to Sassanian times and is known to the world today as “Salt Man 1”. The salt extraction in Chehrābād continued until 2009 and led to the discovery of further mummified human remains, which were, in accordance to the first find, named “Salt Men of Zanjān”. These salt mummies as well as the site are a unique cultural heritage for humankind. In 2004, archaeologists made an exceptional discovery during a rescue excavation. This find, the mummy of a 15 to 16-year-old youth, is – to date – the best-preserved salt mummy known worldwide (Aali 2005). In 2007 an international research project started, co-headed by the German Mining Museum Bochum and the Zanjān Saltman and Archaeological Museum. All these efforts led to the halt of the commercial exploitation of the salt mine in 2009. Subsequently, the salt mine was declared a cultural heritage site (Aali et al. 2012). In multiple excavation campaigns not only the salt mine itself, but also its surrounding area were studied thoroughly. The results of these joint efforts were published in two monographs (Aali, Stöllner 2015; Stöllner, Aali, Bagherpour Kashani 2020) and various further articles (e.g. Aali et al. 2012;Öhrström et al. 2016; Pollard et al. 2008; Ramaroli et al. 2010; Vahdati Nasab et al. 2019)
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Strizhkova, Natalia. "Museum as an Institutional Form of Personal & Social Experiments: Project of Russian Avantgardism Artists." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-10.
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Museums as cultural institutions certainly reflect the sociocultural transformations of the new era and are changing with the new reality. Except for that, a museum is, by definition, an institution of memory, a keeper of history, it is based on adoption: the collection, successiveness and actualisation of past experience. What is perceived as innovation by contemporary society may have historical roots and be an actualisation of innovations of a bygone era. Modern museum development recalls a global project undertaken by Russian avant-garde artists in the early 20th century, and implying the institutional modernisation of museums. This study addresses a project taken on by avant-garde artists for the modernisation of museums in the context of general cultural construction, in cooperation with the Soviet Government. The research methodology is based on a conjunction of a historical study and culturological analysis, primarily the concept of the institutional approach. The study consisted in looking through archival documents: The Fund of the People’s Commissariat for Education and its departments (declarations, provisions, resolutions, decrees, minutes of meetings, correspondence, protocols and statements of estimates, inventory books of the State Museum Fund etc.), personal funds of artists and cultural figures, their theoretical works, articles, correspondence. A holistic inter-disciplinary approach combining historical and culturological analysis with prospects for contemporary sociocultural development and the role of museums is seen as a promising novelty of the research. Russian avantgardism as an artistic and sociocultural phenomenon has remained of great interest for a century. Different studies shed light only on separate aspects of this vast topic in different scientific contexts. The examination of the museum project by avant-garde artists under this study allows us to conclude that they were the first to undertake the institutional modernisation of museums by considering them in the focus of new demands of time and society, innovative programmes as forms of personal initiatives and experiments expressed in the broad public space of artistic culture.
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Dumont d'Ayot, Catherine. "Machines à exposer." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1025.
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Résumé: Ateliers d’artistes, appartements et villas de collectionneurs, pavillons, scénographies et musées : l’exposition est un fil rouge de l’œuvre de Le Corbusier. Le rapport que l’homme entretient à l’œuvre d’art et les modalités de ce rapport sont des éléments fondateurs de son architecture et occupent une position primordiale dans sa vision de la ville. De la ziggourat du Musée mondial en 1929, jusqu’aux projets des années 1960 comme le Centre d’Art international à Erlenbach ou le Musée du XXe siècle pour Nanterre, les musées sont des pièces incontournables des ses grands plans d’urbanisme. Les projets de musées et de pavillons d’exposition entre 1929 et 1965 et les concepts des différentes expositions qu’il organise évoluent en parallèle de sa manière d’envisager le rapport à l’œuvre, que ce soit celui de l’artiste, du spectateur initié ou du novice. Les esquisses préparatoires des différents projets de musées et de pavillons retracent cette évolution. La critique du projet du Mundaneum par Karel Teige assume un rôle clé dans la transformation décisive du concept du musée qui a lieu entre le Musée Mondial en 1929 et le projet de Le Corbusier pour le Musée à croissance illimitée en 1930. C’est un changement séminal qui est décisif pour les projets futurs. L’architecture et la relation à l’œuvre d’art ne sont plus déterminées par le recours à une forme, mais par un mécanisme fonctionnel et organique: la croissance, à la fois image et symbole de l’évolution positiviste de l’humanité. Abstract: Exhibitions, museums, pavilions, artist ateliers, apartments and collectors’ villas: exposition runs like a red thread through Le Corbusier’s work. Man’s relationship to art is a fundamental element of architectural dispositifs. Art influences his vision of society as a whole, and museums are central to his major urban plans, from the ziggurat of the Musée Mondial in Geneva, to the museums in Ahmadabad, Tokyo or Chandigarh, to projects he realized in the late 1960s, such as the Museum of the 20th Century in Nanterre. The evolution of museum design between 1929 and 1965 and of the concepts Le Corbusier developed for the different exhibitions of his own œuvre are in keeping with his way of understanding the relationship to works of art, whether by the artist, a knowledgeable public or those encountering art for the first time. The sketches for the different museums and pavilions retrace this evolution. Karel Teige’s critique of the Mundaneum project assumes a key role in the transformation of the museum concept that occurred between the Musée Mondial of 1929 and Le Corbusier’s first designs for a Museum with Unlimited Growth in 1930. The architecture and the place for art in society are no longer determined by the use of a form but through a functional mechanism. Growth is understood as an image of the positive evolution of mankind. This seminal change is a key to the later projects.Mots clés: musée, exposition, fonctionnalisme. Keywords: museum, exhibition, functionalism. DOI: http://dx.doi.org/10.4995/LC2015.2015.1025
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Benente, Michela, Valeria Minucciani, and Annamaria Berti. "Neurosciences and museum - Museum visit as inclusive, embodied and transformative experience." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003333.
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Following their previous writings and research works, Authors describe very recent experimentations at Museo Nazionale Etrusco di Villa Giulia (Rome) devoted to study the visitors’ behavour and to verify the effectiveness of inclusive and multisensorial communication.Starting from the assumption that access and accessibility to Cultural Heritage are not simply intended as physical approach, and they happen when individuals “appropriate” and “transform” cultural contents, this paper shortly discusses the “Emotion Museology” principles, according to which what moved visitors will be particularly remembered by them, processed and transformed, becoming a very personal asset.Emotions, although difficult to define, are an important element in cognitive processes and are inclusive, as each visitor can empathise with objects and stories. The innovative experiment described by Authors has been conducted in a museum environment with the aid of techniques for detecting the neurophysiological factors of visitors during a visit: a number of experiments have been carried out in recent years on perception mechanisms of a neuro aesthetic nature, but not to indagate the spatial cognition and the role of “atmospherical” conditions.Searching for what all audiences have in common, and not what divides and differentiates them, emotions answer to objects, spaces and communicative stimuli proposed by museums (captions, context, relations). Conversely, differences have also to be considered and “celebrated” as a humanity’s treasure. Then, emotional stimuli can originate very different responses, assuring intimate and individual appropriation processes. From this point of view, the research team aims to relate unconscious responses with cognitive processing of contents: pre visit expectations and “bias” and post visit feedback can support an integrate interpretation of data.In this perspective, and following the seven “Design for All” principles, can be updated referring to cultural accessibility and inclusion, overcoming and abandoning the unrealistic goal of guaranteeing the same experience for different publics, but rather aiming to ensure a fulfilling, lasting and transformative experience for all.
Reports on the topic "Museum workers"
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Butyrina, Maria, and Valentina Ryvlina. MEDIATIZATION OF ART: VIRTUAL MUSEUM AS MASS MEDIA. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11075.
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The research is devoted to the study of the phenomenon of mediatization of art on the example of virtual museums. Main objective of the study is to give communication characteristics of the mediatized socio-cultural institutions. The subject of the research is forms, directions and communication features of virtual museums. Methodology. In the process of study, the method of communication analysis, which allowed to identify and characterize the main factors of the museum’s functioning as a communication system, was used. Among them, special emphasis is put on receptive and metalinguistic functions. Results / findings and conclusions. The need to be competitive in the information space determines the gradual transformation of socio-cultural institutions into mass media, which is reflected in the content and forms of dialogue with recipients. When cultural institutions begin to function as media, they take on the features of media structures that create a communication environment localized by the functions of communicators and audience expectations. Museums function in such a way that along with the real art space they form a virtual space, which puts the recipients into the reality of the exhibitions based on the principle of immersion. Mediaization of art on the example of virtual museum institutions allows us to talk about: expanding of the perceptual capabilities of the audience; improvement of the exposition function of mediatized museums with the help of Internet technologies; interactivity of museum expositions; providing broad contextual background knowledge necessary for a deep understanding of the content of works of art; the possibility to have a delayed viewing of works of art; absence of thematic, time and space restrictions; possibility of communication between visitors; a huge target audience. Significance. The study of the mediatized forms of communication between museums and visitors as well as the directions of their transformation into media are certainly of interest to the scientific field of “Social Communications”.
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Rieger, Oya Y., Roger Schonfeld, and Liam Sweeney. The Effectiveness and Durability of Digital Preservation and Curation Systems. Ithaka S+R, July 2022. http://dx.doi.org/10.18665/sr.316990.
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In August 2020, with funding from the Institute of Library and Museum Services (IMLS), Ithaka S+R launched an 18-month research project to examine and assess the sustainability of these third-party digital preservation systems. In addition to a broad examination of the landscape, we more closely studied eight systems: APTrust, Archivematica, Arkivum, Islandora, LIBNOVA, MetaArchive, Samvera and Preservica. Specifically, we assessed what works well and the challenges and risk factors these systems face in their ability to continue to successfully serve their mission and the needs of the market. In scoping this project and selecting these organizations, we intentionally included a combination of profit-seeking and not-for-profit initiatives, focusing on third-party preservation platforms rather than programmatic preservation. Because so many heritage organizations pursue the preservation imperative for their collections with increasingly limited resources, we examine not only the sustainability of the providers but also the decision-making processes of heritage organizations and the challenges they face in working with the providers.
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Moreno Mejía, Luis Alberto, and Iván Duque Márquez. Contemporary Uruguayan Artists: An Uruguayan Presence in the About Change Exhibition. Inter-American Development Bank, February 2012. http://dx.doi.org/10.18235/0006209.
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Contemporary Uruguayan Artists is part of About Change: Art from Latin America and the Caribbean, a project of the World Bank Art Program in cooperation with the Cultural Center of the Inter-American Development Bank and AMA | Art Museum of the Americas at the Organization of American States. The initiative comprises a series of exhibitions of art from Latin America and the Caribbean being offered in various venues in Washington during 2011-12. The exhibition is presented In honor of Uruguay and the City of Montevideo, site of the 53rd Annual Meeting of the Board of Governors of the IDB. The works selected for the exhibition offer a panorama of contemporary Uruguayan creativity. These pieces revisit history, explore memory, examine changes that have transformed culture and the environment, and rethink traditions. It includes painting, print, sculpture, mixed media, and photography, by 13 artists: Santiago Aldabalde, Ana Campanella, Muriel Cardoso, Gerardo Carella, Federico Meneses, Ernesto Rizzo, Jacqueline Lacasa, Gabriel Lema, Daniel Machado, Cecilia Mattos, Diego Velazco, Santiago Velazco, and Diego Villalba.
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Sequeira, Dora María, Ileana Alvarado V., and Félix Angel. Young Costa Rican Artists: Nine Proposals. Inter-American Development Bank, August 2007. http://dx.doi.org/10.18235/0006438.
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Nine artists, all living in Costa Rica, were selected out of thirty-four who responded to an open call to present portfolios. The selection criteria is to be forty years of age or younger, have had at least one individual show, and have participated in a minimum of three group exhibitions. The exhibition has been organized by the IDB Cultural Center in collaboration with the Foundation of the Central Bank Museums of Costa Rica. Works include installations and interactive digital art, digital graphics, conventional photography, ceramics, painting, wire drawing and design objects manufactured with recycled materials. Artists include Víctor Agüero Gutiérrez, Jorge Albán Dobles, Tamara Ávalos León, Paco Cervilla Cartín, Carolina Guillermet Dejuk, José Alberto Hernández Campos, Sebastián Mello Salaberry, Francisco Munguía Villalta, and Guillermo Vargas Jiménez (a.k.a. Habacuc). The exhibit was part of the IDB Cultural Center¿s 15th anniversary celebration (1992-2007).
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HEFNER, Robert. IHSAN ETHICS AND POLITICAL REVITALIZATION Appreciating Muqtedar Khan’s Islam and Good Governance. IIIT, October 2020. http://dx.doi.org/10.47816/01.001.20.
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Ours is an age of pervasive political turbulence, and the scale of the challenge requires new thinking on politics as well as public ethics for our world. In Western countries, the specter of Islamophobia, alt-right populism, along with racialized violence has shaken public confidence in long-secure assumptions rooted in democracy, diversity, and citizenship. The tragic denouement of so many of the Arab uprisings together with the ascendance of apocalyptic extremists like Daesh and Boko Haram have caused an even greater sense of alarm in large parts of the Muslim-majority world. It is against this backdrop that M.A. Muqtedar Khan has written a book of breathtaking range and ethical beauty. The author explores the history and sociology of the Muslim world, both classic and contemporary. He does so, however, not merely to chronicle the phases of its development, but to explore just why the message of compassion, mercy, and ethical beauty so prominent in the Quran and Sunna of the Prophet came over time to be displaced by a narrow legalism that emphasized jurisprudence, punishment, and social control. In the modern era, Western Orientalists and Islamists alike have pushed the juridification and interpretive reification of Islamic ethical traditions even further. Each group has asserted that the essence of Islam lies in jurisprudence (fiqh), and both have tended to imagine this legal heritage on the model of Western positive law, according to which law is authorized, codified, and enforced by a leviathan state. “Reification of Shariah and equating of Islam and Shariah has a rather emaciating effect on Islam,” Khan rightly argues. It leads its proponents to overlook “the depth and heights of Islamic faith, mysticism, philosophy or even emotions such as divine love (Muhabba)” (13). As the sociologist of Islamic law, Sami Zubaida, has similarly observed, in all these developments one sees evidence, not of a traditionalist reassertion of Muslim values, but a “triumph of Western models” of religion and state (Zubaida 2003:135). To counteract these impoverishing trends, Khan presents a far-reaching analysis that “seeks to move away from the now failed vision of Islamic states without demanding radical secularization” (2). He does so by positioning himself squarely within the ethical and mystical legacy of the Qur’an and traditions of the Prophet. As the book’s title makes clear, the key to this effort of religious recovery is “the cosmology of Ihsan and the worldview of Al-Tasawwuf, the science of Islamic mysticism” (1-2). For Islamist activists whose models of Islam have more to do with contemporary identity politics than a deep reading of Islamic traditions, Khan’s foregrounding of Ihsan may seem unfamiliar or baffling. But one of the many achievements of this book is the skill with which it plumbs the depth of scripture, classical commentaries, and tasawwuf practices to recover and confirm the ethic that lies at their heart. “The Quran promises that God is with those who do beautiful things,” the author reminds us (Khan 2019:1). The concept of Ihsan appears 191 times in 175 verses in the Quran (110). The concept is given its richest elaboration, Khan explains, in the famous hadith of the Angel Gabriel. This tradition recounts that when Gabriel appeared before the Prophet he asked, “What is Ihsan?” Both Gabriel’s question and the Prophet’s response make clear that Ihsan is an ideal at the center of the Qur’an and Sunna of the Prophet, and that it enjoins “perfection, goodness, to better, to do beautiful things and to do righteous deeds” (3). It is this cosmological ethic that Khan argues must be restored and implemented “to develop a political philosophy … that emphasizes love over law” (2). In its expansive exploration of Islamic ethics and civilization, Khan’s Islam and Good Governance will remind some readers of the late Shahab Ahmed’s remarkable book, What is Islam? The Importance of Being Islamic (Ahmed 2016). Both are works of impressive range and spiritual depth. But whereas Ahmed stood in the humanities wing of Islamic studies, Khan is an intellectual polymath who moves easily across the Islamic sciences, social theory, and comparative politics. He brings the full weight of his effort to conclusion with policy recommendations for how “to combine Sufism with political theory” (6), and to do so in a way that recommends specific “Islamic principles that encourage good governance, and politics in pursuit of goodness” (8).
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A Beautiful Horizon: The Arts of Minas Gerais, Brazil. Inter-American Development Bank, February 2006. http://dx.doi.org/10.18235/0006396.
Full textAbstract:
The exhibition comprises 56 objects that unites Baroque oratórios, folk and popular art, applied arts and works by contemporary artists representing a variety of artistic expressions from the State of Minas Gerais and its capital city, Belo Horizonte, site of the IDB¿s 47th Annual Meeting of Governors in April 2006, showing the interrelationships that exist in Brazilian society. The pieces were borrowed from the Museu do Oratório, Instituto Cultural Flávio Gutierrez, Museum de Arte da Pampulha Museu Histórico Abílio Barreto, Fundação Municipal de Cultura, Casa de Guignard Museum, and private collectors from the Minas Gerais and Belo Horizonte.
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What a Time It Was: Life and Culture in Buenos Aires. Inter-American Development Bank, February 1996. http://dx.doi.org/10.18235/0006437.
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Eighty-four works from the collections of the City Museum of Buenos Aires, the Isaac Fernández Blanco Museum, the Eduardo Sívori Museum, the National Museum of Decorative Arts, and the National Museum of Fine Arts in Buenos Aires, Argentina. The exhibition honored the 37th Annual Meeting of the IDB Board of Governors in Buenos Aires.
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Figari's Montevideo: 1861 - 1938. Inter-American Development Bank, September 1995. http://dx.doi.org/10.18235/0006406.
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Thirty-eight works including drawings, photographs and paintings that illustrate the life and times of artist Pedro Figari in Montevideo, Uruguay; from Montevideo's National Library, the Juan Manuel Blanes Municipal Museum, the National Museum of Visual Arts, the National History Museum, as well as several private collections.
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50 Years, 50 Works: The Art of Latin America and the Caribbean in the 20th Century. Information Bulletin No. 108. Inter-American Development Bank, June 2009. http://dx.doi.org/10.18235/0008282.
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Selections from the exhibit presented at the Museo de Antioquia, in Medellín, Colombia (from March 16 to May 17, 2009), on occasion of the 50th Anniversary of the Inter-American Development Bank, and the celebration of the 50th Annual Meeting of Governors of the IDB. The Cultural Center of the Inter-American Development Bank (IDB), has scheduled this same exhibition gathering selected artworks from the art collections of the Inter-American Development Bank (IDB) and the Art Museum of the Americas of the Organization of American States (OAS) - both in Washington, D.C. The exhibit represents, to a great extent, the development of the arts in the Region throughout the 20th century.
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Graphics from Latin America and the Caribbean: September 10 - November 15, 2002. Inter-American Development Bank, September 2002. http://dx.doi.org/10.18235/0005919.
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20 lithographs, etchings, linocuts, woodcuts, silkscreens and other works in various graphic techniques by artists from the Americas were presented at the Robert V. Fullerton Art Museum, California State University, San Bernardino, California. This is the first group exhibition organized by the museum of works on paper by some of the most recognized artists of the 20th century from Latin America and the Caribbean. It includes graphics by José Clemente Orozco, Diego Rivera, David Alfaro Siqueiros; Roberto Sebastián Matta; Enrique Grau, and others.