Journal articles on the topic 'Museums – Philosophy'
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Abd Jalal, Ahmad Farid, Rahimin Affandi Abdul Rahim, and Muhd Imran Abd Razak. "Etika Muzium dalam Disiplin Muzium Semasa berdasarkan Etika Muzium ICOM dan Perspektif Islam (Museum Ethics in Current Museum Discipline Based on ICOM’s Museum Ethics and Islamic Perspective)." UMRAN - International Journal of Islamic and Civilizational Studies 9, no. 2 (June 28, 2022): 1–17. http://dx.doi.org/10.11113/umran2022.9n2.550.
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Museums is one of the important institutions in the modern world that serve to preserve, treat, research, educate and exhibit the historical heritage of a society. The International Council of Museum (ICOM) is an organization responsible for caring for museums around the world. It has set the ethics and Statutes of museums for reference of museums all around the world. This is done to ensure that the vision, philosophy, journey, and modus operandi of a museum run uniformly in accordance with the philosophy of ICOM. This study critically examines every detail of museum ethics set by ICOM, whether it is in accordance with Islamic rules or vice versa. Hence all study data depended entirely on library data. They were analysed with inductive and deductive methods. At the end of the study, we clarified that museum ethics are certainly in line with the principles of Islamic rules.
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Abd Jalal, Ahmad Farid, Rahimin Affandi Abdul Rahim, Mohamad Hilmi Mat Said, and Awang Azman Awang Pawi. "IMPAK FALSAFAH PASCA-KOLONIALISM TERHADAP MUZIUM: SATU ANALISIS KRITIKAL." International Journal of Humanities Technology and Civilization 7, no. 2 (December 16, 2022): 1–9. http://dx.doi.org/10.15282/ijhtc.v7i2.8787.
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Abstract: The museum discipline can be considered a dynamic modern institution. This one, among other things, stems from the openness of this institution with the philosophy of post-colonialism. It is a modern humanitarian philosophy that challenges many flaws of past scientific theories. This study will use library research methods that will examine the influence of post-colonial philosophy in the field of museums. The results of this study found that there are three main things about the impact of post-colonial philosophy in the field of museums, namely the emergence of New Museum Awareness, the universal issue of museums and the issue of decolonization from the influence of colonial museums. Abstrak: Disiplin muzium dapat dianggap sebagai institusi moden yang dinamik. Hal ini antara lainnya berpunca daripada keterbukaan institusi ini dengan falsafah pasca kolonialism. Ia adalah suatu falsafah kemanusiaan moden yang banyak mencabar kepincangan teori keilmuan silam. Kajian ini akan menggunakan kaedah penyelidikan perpustakaan yang bakal meneliti pengaruh falsafah pasca kolonialism dalam bidang muzium. Hasil kajian ini mendapati bahawa pengaruh falsafah pasca kolonialism dalam bidang muzium dapat dikesan dalam tiga perkara utama iaitu kemunculan Kesedaran Muzium Baru, isu universal muzium dan isu dekolonialisasi daripada pengaruh muzium kolonial.
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Taliaferro, Charles. "The Open Museum and its Enemies: An Essay in the Philosophy of Museums." Royal Institute of Philosophy Supplement 79 (October 2016): 35–53. http://dx.doi.org/10.1017/s1358246116000060.
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AbstractBorrowing from the title and some of the content of Karl Popper's The Open Society and its Enemies (1945), it is argued that museums have great value as sites for what may be called a philosophical culture. A philosophical culture is one in which members or citizens engage in (ideally) fair-minded debate and shared reflection, presenting and evaluating reasons for different positions particularly as these have relevance for matters of governance. In a philosophical culture, persuasion is almost always a matter of seeking to provide reasonable grounds for adopting some position without resorting to violence or physical force (though, of course, force may be necessary to constrain those who themselves resort to violence).A philosophical culture is, in turn, an important foundation for a democratic culture and republic. A philosophy of museums emerges, a model we shall call the Philosophical Culture Museum Model. This concept is stipulative and ideal in the sense that it presents a paradigm of a museum with great virtue and promise. It must be confessed, however, that, historically, this is an emerging concept of the role of museums and one not evident in many of the museums in the early modern era or today. Reasons are offered as to why the time may be right to recognize the philosophy of museums as a particular sub-field in the overall practice of philosophy.
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Lord, Beth. "‘A Sudden Surprise of the Soul’: Wonder in Museums and Early Modern Philosophy." Royal Institute of Philosophy Supplement 79 (October 2016): 95–116. http://dx.doi.org/10.1017/s1358246116000096.
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AbstractRecent museum practice has seen a return to ‘wonder’ as a governing principle for display and visitor engagement. Wonder has long been a contentious topic in aesthetics, literary studies, and philosophy of religion, but its adoption in the museum world has been predominantly uncritical. Here I will suggest that museums draw on a concept of wonder that is largely unchanged from seventeenth-century philosophy, yet without taking account of early modern doubts about wonder's efficacy for knowledge. In this paper I look at Descartes' and Spinoza's views about wonder and the uses and disadvantages of wonder as a learning tool. This examination is extended to consider Descartes' and Spinoza's likely views about ‘museums’, in the sense of spaces that link objects both to feeling and to knowing. Finally, I suggest that there are resources in Spinoza's philosophy for bringing knowledge-enhancing feelings into the museum without resorting to the problematic concept of wonder.
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Jagodzińska, Katarzyna. "PARTICIPATION OF THE PUBLIC IN POLISH MUSEUMS." Muzealnictwo 62 (August 9, 2021): 189–97. http://dx.doi.org/10.5604/01.3001.0015.1742.
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In the 21<sup>st</sup> century, participation is one of the key words related to the operations of museums and debate around them. The public are encouraged to co-create museum projects: exhibitions, programmes that accompany exhibitions, studies; they play the role of consultants and advisors (youth councils, clubs, consultancy teams). Museums are more and more widely ‘opening’ to embrace the public. Never before has the position of visitors been as significant. An overview of participatory programmes in Polish museums is provided. They are classified and characterized by the Author who places them within the philosophy of museum operations, particularly with respect to the altering role of museums, currently debated over within ICOM, with the context of the new museum definition in mind; furthermore, she presents the initial conclusions drawn from the implementation of such projects for museums. In the paper the material from interviews conducted as part of the Atlas of Museum Participation Project implemented with a grant from the Ministry of Culture and National Heritage has been used.
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Camarero, Carmen, and Ma José Garrido. "Fostering Innovation in Cultural Contexts." Journal of Service Research 15, no. 1 (September 23, 2011): 39–58. http://dx.doi.org/10.1177/1094670511419648.
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Many museums are committed to market orientation as the underlying philosophy for their strategies. This orientation has to be coordinated with a service orientation focused on quality and custody in order to fulfill the museum’s mission. In the current work, the authors analyze the different impact of market orientation and service orientation on organizational and technological innovations implemented by museums. The hypotheses posited are examined for a sample of 491 British, French, Italian, and Spanish museums. Findings suggest that visitor and donor orientation are two key market orientation dimensions for technological and organizational innovation in museums, whereas interfunctional coordination and collaboration with competitors do not act directly, although they do boost the effect of visitor orientation. Further, quality orientation is also central to innovation. The present work thus concludes the existence of two interrelated routes that lead to technological and organizational innovation in museums, a business approach based on market orientation and a cultural approach based on service orientation.
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Ghazaryan, Grigor, and Steven Donatelle. "Encoding Memory through Multimodality in Modern-Day Memorial Museums." HERMES - Journal of Language and Communication in Business, no. 62 (December 12, 2022): 107–25. http://dx.doi.org/10.7146/hjlcb.vi62.127015.
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The article is devoted to the use of technology in memorial museums, particularly in those related to genocide.
The authors use a multidisciplinary theoretical framework using a diverse toolkit from Semiotics, Communication Studies, and Philosophy to explain the benefits and dangers of implementing technology in a memorial museum. The framework makes particular use of Peirce’s idea of unlimited semiosis, Eco’s considerations about the multiplicity of meanings and the “open text”, the existence of not one but two narratives in museums—especially in memorial museums—and Heidegger’s writings on technology especially enframing and revealing which are invoked in order to explain the interplay between technology and memory.
Being based in Yerevan, Armenia, the authors formulate their ideas with the Armenian Genocide Museum Institute (AGMI) in mind. This results in practical recommendations of how technology could be implemented in modern-day memorial museums, and identifies the benefits and dangers that must be kept in mind when doing so.
The specific subject matter of the AGMI plays a part in how this discourse evolves and the framework is assembled through an exploration of the term genocide, the historical events and artifacts that are presented in the museum and the current setup of the museum.
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Feliu-Torruella, Maria, Mercè Fernández-Santín, and Javiera Atenas. "Building Relationships between Museums and Schools: Reggio Emilia as a Bridge to Educate Children about Heritage." Sustainability 13, no. 7 (March 26, 2021): 3713. http://dx.doi.org/10.3390/su13073713.
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Schools and museums represent essential spaces for the development of learning and understanding of the world surrounding us through the arts and heritage. One of the things learned in the COVID crisis is that it is key to build bridges between schools and museums to support their educational activities, regardless of the possibility to access these spaces in person. School teachers and museum educators have the opportunity to develop a critical and creative citizenry by collaborating in the design of learning activities that can bring the museums to schools and schools to the museum by adopting the Reggio Emilia approach. The results of the study arise from a triangulation of data, as we contrasted the literature about the Reggio Emilia approach with the practices of museums that use such a philosophy and with the analysis of a series of interviews with experts in early childhood education and Reggio Emilia in order to identify a series of good practices, which we used to delineate recommendations to foster the adoption of this model and establish relationships between schools and museums, enhancing the opportunities to develop critical and creative thinking throughout activities and to understand the heritage and the arts, thus fostering citizenship from an early childhood.
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Jagodzińska, Katarzyna. "O istocie muzeum, czyli Justyny Żak W kręgu muzealnych przedmiotów." Przegląd Kulturoznawczy, no. 3 (45) (2020): 312–20. http://dx.doi.org/10.4467/20843860pk.20.030.12590.
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About the nature of museums, the review of the book W kręgu muzealnych przedmiotów by Justyna Żak The review concerns the book W kręgu muzealnych przedmiotów by Justyna Żak, published in 2020 by the Wydawnictwo Uniwersytetu Warszawskiego. The book deals with the nature of museum objects and objects that fill museum rooms and do not have the status of museum objects, being elements of arrangement, reproductions or reconstructions. In a broader sense it is a reflection on the nature of museums, in which the notion of authenticity is of key importance. The book’s asset is a broad perspective of an object in a museum –its status, value, meaning – from theoretical reflection in the field of philosophy, sociology and aesthetics, to case studies and museum practice, supported by quotations from belles-lettres, however, the author fell into the trap of a superficiality that was difficult to avoid.
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Noy, Chaim. "Gestures of closure: A small stories approach to museumgoers' texts." Text & Talk 40, no. 6 (November 26, 2020): 733–53. http://dx.doi.org/10.1515/text-2020-2076.
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AbstractMuseums are familiar public institutions whose primary mode of mediation is narration. They are geared toward narrating collective stories that are authoritative, linear, and grand in scope. Yet with the historical turn museums have recently taken from collection-centered to audience-centered institutions – coupled with a participatory mode of mediation – more than ever museumgoers are now invited to participate in these grand narrations. This article examines the institutional interaction between museums and museumgoers, and the texts that the latter produce in situ. It analyzes over 3000 texts that visitors wrote at the Florida Holocaust Museum, between 2012 and 2015. It employs the “small stories” framework to explore the interactional narrative structure and features within which museumgoers' written comments are elicited and displayed in museums. The analysis highlights the narrative functions and authorial roles that museumgoers are ascribed institutionally, and whether and how they discursively occupy them. Three main narrative strategies of/for participation are discerned, through which museumgoers variously perform gestures of closure of their visit. These narrative gestures index ways, in which visitors signal the approaching end of the museum's narration, employing diverse discursive resources, while adding a coda or a resolution to the institutional narrative.
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Robin, Libby. "Museums in the Long Now: History in the Geological Age of Humans." Journal of the Philosophy of History 14, no. 3 (November 19, 2020): 359–81. http://dx.doi.org/10.1163/18722636-12341448.
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Abstract History in times of crisis is practical: future action depends on historical framing. Moving beyond “human scales” to include the evolutionary and the geological, and beyond humans to include other species, demands different approaches and new “archives” like ice-cores. This paper considers history in the Long Now, and particularly how museums and big public arts institutions develop new sorts of history through practical story-telling, taking seriously the notion that “the central role of museums [is] both an expression of cultural identity and … a powerful force for human development and education.” The museum has a particular value as “slow media”, deepening news stories in times of rapid change. The new epoch of Earth, the Anthropocene, where humans have become a geological force, poses challenges for exhibitions, but also reshapes museums themselves. Crucial to managing stories, collections and objects in Anthropocene times is the capacity to change course, to remain open to new developments, using performances, events and “pop-up” exhibitions alongside traditional museum offerings. New Museology regards stories as the fundamental unit of museums. Thus, the curation of stories is central work. No longer are museums defined solely by objects: the artistic and the ephemeral are all part of story-telling.
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Zaini, Mohd Syafiq, Mohd Sohaimi Esa, Saifulazry Mokhtar, and Sharifah Darmia Sharif Adam. "DEVELOPMENT OF EUROPEAN MUSEUM INSTITUTIONS IN AFFECTING THE EXISTENCE OF MUSEUMS IN MALAYSIA." Journal of Tourism, Hospitality and Environment Management 7, no. 29 (September 29, 2022): 260–80. http://dx.doi.org/10.35631/jthem.729018.
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Museums play an important role in preserving and conserving all artifacts related to the past history as well as the heritage and culture of a society's civilization. Malaysia as a country that consists of various races and rich in various heritages and cultures, the museum institution plays an important role in preserving the heritage of knowledge for future generations. Museum institutions have undergone changes over time in producing an excellent management in preserving knowledge of past history. The development of museums at the European level is seen to have influenced the entry of the ideology of the field of museums in Malaysia. This study uses a qualitative method by analyzing the research data on the history of the development of museums in the world until it was brought in by the British colonial to Malaysia before independence. The focus of the study focuses on how and what is the influence brought by the west in museum institutions in Malaysia. The results show that, the Renaissance philosophy practiced by Europeans around the 14th century, has urged them to sail out to the ocean and explore other regions. This indirectly led to colonization of non-European territories. In the British colonial context, their arrival to colonize Malaya was not empty handed, but brought in colonial knowledge which later became the basis for the establishment of museum institutions in Malaysia. However, the interpretation of artifacts, history, heritage and culture that is euro-centric, led to the implementation of the decolonization of museums after independence. This is so that a local history can be interpreted correctly through the point of view and knowledge of the local community.
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Ruffins, Fath Davis. "Grassroots Museums & the Changing Landscape of the Public Humanities." Daedalus 151, no. 3 (2022): 108–23. http://dx.doi.org/10.1162/daed_a_01932.
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Abstract This essay is a brief history of the development of “grassroots” or community-based museums since the 1960s. These museums pioneered new kinds of relationships with their communities that were far different from older museums and, in the process, helped fundamentally enlarge and diversify public humanities. The essay begins with a focus on three museums founded in 1967: El Museo del Barrio in New York City, the Anacostia Neighborhood Museum (Smithsonian) in Washington, D.C., and the Wing Luke Museum in Seattle. Over the last fifty years, these museums have grown and stabilized and newer, bigger museums with similar goals have developed. These changes suggest that one future for humanities scholars is to become involved in new publics outside of the academy who are seeking humanistic analysis of their distinctive, previously marginalized, community stories.
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NAIR, SAVITHRI PREETHA. "Science and the politics of colonial collecting: the case of Indian meteorites, 1856–70." British Journal for the History of Science 39, no. 1 (February 23, 2006): 97–119. http://dx.doi.org/10.1017/s0007087405007624.
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The case of Indian meteorite collections shows how, during the production of science, knowledge-making institutions such as museums were sometimes strongly linked with coercive institutions such as the police. If geological collecting in India in the Company period was mainly geared towards satisfying the demands of metropolitan science, the period after the 1850s saw a dramatic shift in the nature of collecting and the practice of colonial science, with the emergence of public museums in India. These colonial museums, represented by the Indian Museum, Calcutta, began to compete with the British Museum for the possession of locally formed collections in an effort to form an exemplary ‘Indian’ scientific collection. This resulted in conflicts which changed the very nature of colonial science. This paper shows how the 1860s marked a break with the past. A new breed of colonial scientist arrived, prepared successfully to challenge the status of the British Museum as the ‘centre of all sciences’ and to defend scientific institutions in the land of their practice, the colony. Rather than being driven by a feeling of scientific dependence or independence, or even the patriotic aspiration to build a national collection in London, it was scientific internationalism backed by the strength of local knowledge that now determined their practice.
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Fedotova, Anastasia, Tomasz Samojlik, and Piotr Daszkiewicz. "Killing for museums: European bison as a museum exhibit." Centaurus 60, no. 4 (November 2018): 315–32. http://dx.doi.org/10.1111/1600-0498.12194.
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Zaini, Mohd Syafiq, Mohd Sohaimi Esa, Saifulazry Mokhtar, and Irma Wani Othman. "BEHIND THE IDEA AND INFLUENCE OF MUSEOLOGY IN THE WORLD AND MALAYSIAN MUSEUM INSTITUTIONS." Journal of Tourism, Hospitality and Environment Management 7, no. 30 (December 15, 2022): 118–35. http://dx.doi.org/10.35631/jthem.730010.
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Museology is basically a field of study referring to museum institutions. From the historical aspect as well as their basic philosophy, their goals and policies and functions either from the point of view of education, politics or even social roles. Museology can be said to be a relatively new discipline whose prevalence is largely an intellectual product of the 20th century. However, it is certain that the concept of Museology has existed at least since the 17th century, where the development of the idea of museology appears to have developed along with the early development of the museum. During that period of time, museology has helped the development of museum institutions either in terms of concept or in terms of museum management. The change of museums from institutions that are only focused on the conservation and restoration of artefact collections, now they are community-oriented (community-oriented), becoming exhibition spaces and platforms for dialogue and communication in general with visitors. This study uses a qualitative method by analysing the data of studies on the development of museology in the field of museology. The focus of the study focuses on the definition, background and what is the significance and influence of museology in museum institutions in Malaysia. The results of the study show that the museum provides significant theoretical and practical museum aspects. Practical practice is a priority in the management of museum work to produce professionals in the field of museums while the existing theoretical will play a role as criticism needed to implement improvements and guidance to museum management because the museum's function as a treasure heritage institution can be implemented well. In addition, museology has also applied critical thinking to social and political issues. In the context of Malaysia, museology has called for the removal of all colonial influences in museum institutions through the implementation of decolonization after the country achieved independence. Then it changed the museum from colonialism, now it has been used as a tool for nation building in uniting a multi-ethnic and cultural society.
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O. Apata, Gabriel. "Review: African Art and the Transformational Role of Museums." Theory, Culture & Society 38, no. 7-8 (November 11, 2021): 359–66. http://dx.doi.org/10.1177/02632764211052080.
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There was a time when Africa was thought to have no history, no philosophy, no civilizational culture and no artistic creativity or aesthetic sensibilities. This new book, African Art Reframed: Reflections and Dialogues on Museum Cultures by Bennetta Jules-Rosette and J.R. Osborn, re-evaluates this perception and argues that African art has come a long way in the last few decades, taking the reader through the transformational process that African art has undergone in that period, including the role of the museums and the collaborative work of agents across different sectors in the reframing of African art.
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Putcha, Rumya S. "Yoga and White Public Space." Religions 11, no. 12 (December 14, 2020): 669. http://dx.doi.org/10.3390/rel11120669.
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This article connects recent work in critical race studies, museum studies, and performance studies to larger conversations happening across the humanities and social sciences on the role of performance in white public spaces. Specifically, I examine the recent trend of museums such as the Natural History Museum of London, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts in Boston, to name but a few, offering meditation and wellness classes that purport to “mirror the aesthetics or philosophy of their collections.” Through critical ethnography and discursive analysis I examine and unpack this logic, exposing the role of cultural materialism and the residue of European imperialism in the affective economy of the museum. I not only analyze the use of sound and bodily practices packaged as “yoga” but also interrogate how “yoga” cultivates a sense of space and place for museum-goers. I argue that museum yoga programs exhibit a form of somatic orientalism, a sensory mechanism which traces its roots to U.S. American cultural-capitalist formations and other institutionalized forms of racism. By locating yoga in museums within broader and longer processes of racialization I offer a critical race and feminist lens to view these sorts of performances.
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Cerdá Bertoméu, María José, Susana H. Soler Beresaluze, and Guillermo Pérez Sansano. "El museo fuera del museo. Un nuevo concepto territorial y relacional para el Museo del Mar de Santa Pola y su marca destino." Atlántida Revista Canaria de Ciencias Sociales, no. 12 (2021): 197–222. http://dx.doi.org/10.25145/j.atlantid.2021.12.10.
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Santa Pola (Costa Blanca, Alicante, Spain) is a classic, mature destination, and a popular choice for residential sun and beach holidays. Faced with the need to maintain its value promise and add to and diversify its product, this article explores opportunities and experiences based on heritage tourism. To achieve this, we propose a new way of managing local heritage (cultural and natural) based on a territorial-museum philosophy to be developed by the Museum of the Sea, as an official museum that forms part of the Valencia region’s museum network. In this framework, it is suggested that museums should be authentic tourism agents, focused on conserving heritage, creating heritage-tourism experiences, enhancing the destination’s image and territorial development.
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Lamokhina, Natalya. "Philosophical foundations and interpretation of technical heritage in museum space." KANT 37, no. 4 (December 2020): 271–77. http://dx.doi.org/10.24923/2222-243x.2020-37.57.
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The article is devoted to the issues of preservation of technology in the museum space and its conceptual understanding on the example of interpretation. The purpose of the article is to identify possible methods of interpreting technology through the study of concepts of philosophy of technology and interdisciplinary museum projects. The article provides examples of interdisciplinary and inter-museum projects, during the implementation of which the possibilities for interpreting both the printed instrument and the legacy of the industrial era were identified. As a result, the illuminated approaches to the consideration of technology can be used to create museum projects. Technical museums can generate new meanings, initiate intercultural dialogue, attract specialists of various profiles and museum visitors themselves to preserve technology through updating and interpretation.
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Abd Jalal, Ahmad Farid, Rahimin Affandi Abdul Rahim, and Muhammad Jumaidy Abdul Manap. "Perkembangan Institusi Memori (LAM) pada Era British di Tanah Melayu." SEJARAH 31, no. 1 (June 30, 2022): 34–64. http://dx.doi.org/10.22452/sejarah.vol31no1.3.
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This paper aims to examine the development ofLAM memory institutions (Library, Archive, Museum) or libraries, archives,and museums during the British colonial era in Malaya. This study is using qualitative methods that involve the collection and evaluation of primary sources from National Archive and Museum. The findings of the study show that the efforts of usingLAM in Europe based on the philosophy of the Enlightenment have been applied by the British in the colonization of Malaya. This reality can be seen from the British writings on Malaya before independence. Among them was the role of Islamic jurisprudence that has been denied and census information, mapping and museum frameworks that are in favor of British interests.
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Moreno, María-José. "Art Museums and Socioeconomic Forces: The Case of a Community Museum." Review of Radical Political Economics 36, no. 4 (December 2004): 506–27. http://dx.doi.org/10.1177/0486613404269781.
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Moens, Bart G. "Aesthetic Experience in Virtual Museums: A Postphenomenological Perspective." Studies in Digital Heritage 2, no. 1 (September 26, 2018): 68–79. http://dx.doi.org/10.14434/sdh.v2i1.24468.
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This article explores the impact of the digitization of traditional works of art on the aesthetic experience from a philosophical point of view. Presenting and making use of a recent approach in the philosophy of technology, initiated by the American philosopher Don Ihde, called postphenomenology. This hybrid form of phenomenology builds on traditional phenomenology and combines it with a pragmatic approach in order to focus on the mediating roles of technology. Concrete technologies and applications such as screens and virtual museums are the starting point for our examination of the specific character of these digital media, which are then compared with their physical referents. Following Ihde’s arguments, we show that digital image technologies, and digital images themselves, are not merely functional, but shape perceptions and experiences. Although currently the positive effects and opportunities of these new applications are emphasized in the field – for collection management, the democratization and accessibility of art, possibilities to interact and intervene in the image, efficient marketing, etc. – they do have a significant impact on the way in which art is experienced.
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Sharpe, T., S. R. Howe, and C. Howells. "Setting the standard? The Earth Science Galleries at the Natural History Museum, London." Geological Curator 6, no. 10 (December 1998): 395–403. http://dx.doi.org/10.55468/gc483.
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The second phase of the new Earth Galleries at the Natural History Museum (NHM) was opened in July 1998, marking the complete re-display of the former Geological Museum at a cost in excess of 12 million. The Geological Museum had pioneered a new style of geology display in the early 1970s, and set a standard emulated by other national and local museums. While the Geological Museum exhibitions contained a wealth of specimens, those produced at about the same time by the NHM were often criticised for their lack of real objects. The Geological Museum passed to the control of the NHM in 1985 and is now known as the Earth Galleries. The new displays in the Earth Galleries are the latest product of the NHM's exhibition philosophy, and despite some shortcomings, do represent a new standard for the display of geological material.
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Jaśczak, Radosław. "FRANCISZEK CEMKA – A FRIEND AND ADVOCATE OF MUSEOLOGY." Muzealnictwo 60 (March 28, 2019): 39–41. http://dx.doi.org/10.5604/01.3001.0013.1459.
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On 12 October 2018, Jan Franciszek Cemka passed away. Born in Tuchola in 1946, he was an archaeologist, graduate from the Department of Philosophy and History of the University of Lodz, an expert on museology, a civil servant, Director of the Museum Department, and later of the Department of National Heritage at the Ministry of Culture and National Heritage, a Minister’s adviser, mentor of young administration officials. Resorting to his expertise, Director Franciszek Cemka actively participated in the transformation processes of Polish museology, e.g. he coordinated the implementation of the Archaeological Photo of Poland Project; as an expert, he coauthored the Act on Museums of 1996; he also contributed to organizing the International Auschwitz Council. As the head of the Ministry Department for Museums in Poland, he actively participated in numerous bodies related to this sphere of culture. Moreover, he authored many papers on museology published in professional periodicals. For his longstanding work and civil service, Franciszek Cemka was given many state and professional decorations.
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Deloria, Philip J. "The New World of the Indigenous Museum." Daedalus 147, no. 2 (March 2018): 106–15. http://dx.doi.org/10.1162/daed_a_00494.
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Museums have long offered simplistic representations of American Indians, even as they served as repositories for Indigenous human remains and cultural patrimony. Two critical interventions–the founding of the National Museum of the American Indian (1989) and the passage of the Native American Graves Protection and Repatriation Act (1990)–helped transform museum practice. The decades following this legislation saw an explosion of excellent tribal museums and an increase in tribal capacity in both repatriation and cultural affairs. As the National Museum of the American Indian refreshes its permanent galleries over the next five years, it will explicitly argue for Native people's centrality in the American story, and insist not only on survival narratives, but also on Indigenous futurity.
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Burke, Verity, and Will Tattersdill. "Introduction: Museums in Science Fiction, Science Fiction in Museums." Configurations 30, no. 3 (June 2022): 247–56. http://dx.doi.org/10.1353/con.2022.0016.
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Hein, George E. "John Dewey's “Wholly Original Philosophy” and Its Significance for Museums." Curator: The Museum Journal 49, no. 2 (April 2006): 181–203. http://dx.doi.org/10.1111/j.2151-6952.2006.tb00211.x.
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Marie, Caroline. "Virginia Woolf's Imaginary Museum of the Medieval in ‘The Journal of Mistress Joan Martyn’." Victoriographies 11, no. 2 (July 2021): 165–84. http://dx.doi.org/10.3366/vic.2021.0421.
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This article shows that the Middle Ages Virginia Woolf imagines in her 1906 short story ‘The Journal of Mistress Joan Martyn’ are influenced by the staging of the medieval in late-Victorian museums and reflects late-Victorian medievalism. From the perspective of material culture studies, Woolf's tale reflects the representation and fabrication of the medieval by the British Museum and the South Kensington Museum and shapes a similar narrative of the Middle Ages. Relying on Michel Foucault's definitions of ‘heterotopia’ as well as on Tony Bennett's analysis of Victorian museums, this article argues that Woolf's fictionalisation of the medieval evidences a new, complex temporality of knowledge and consciousness of the past which also defines late-Victorian curatorial philosophy and practices. It analyses each regime of that new temporality: first, the archaeological gaze and its contribution to the grand national narrative via the literary canon and, second, the theatrical gaze, with its focus on spectacularly displayed artefacts, that partakes of an image's mystique. In temporal terms, this results in a tension between the tangible remains of a past clearly separated from the present and the mystical fusion of past and present reinscribing Woolf's poetics of the moment within a sense of history.
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Canadelli, Elena. ""Scientific Peep Show" The Human Body in Contemporary Science Museums." Nuncius 26, no. 1 (2011): 159–84. http://dx.doi.org/10.1163/182539111x569801.
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AbstractThe essay focuses on the discourse about the human body developed by contemporary science museums with educational and instructive purposes directed at the general public. These museums aim mostly at mediating concepts such as health and prevention. The current scenario is linked with two examples of past museums: the popular anatomical museums which emerged during the 19th century and the health museums thrived between 1910 and 1940. On the museological path about the human body self-care we went from the emotionally involving anatomical Venuses to the inexpressive Transparent Man, from anatomical specimens of ill organs and deformed subjects to the mechanical and electronic models of the healthy body. Today the body is made transparent by the new medical diagnostics and by the latest discoveries of endoscopy. The way museums and science centers presently display the human body involves computers, 3D animation, digital technologies, hands-on models of large size human parts.
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Williams, M. R. "Museums and Archives." IEEE Annals of the History of Computing 10, no. 4 (October 1988): 305–29. http://dx.doi.org/10.1109/mahc.1988.10040.
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Williams, Michael R. "Museums and Archives." IEEE Annals of the History of Computing 11, no. 4 (October 1989): 313–19. http://dx.doi.org/10.1109/mahc.1989.10041.
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Williams, Michael. "Museums and Archives." IEEE Annals of the History of Computing 12, no. 4 (October 1990): 287–90. http://dx.doi.org/10.1109/mahc.1990.10034.
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Allison, David. "Museums and Archives." IEEE Annals of the History of Computing 13, no. 4 (October 1991): 351–53. http://dx.doi.org/10.1109/mahc.1991.10039.
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Lopes, Maria. "C. F. Hartt's Contribution to Brazilian Museums of Natural History." Earth Sciences History 13, no. 2 (January 1, 1994): 174–79. http://dx.doi.org/10.17704/eshi.13.2.v747x4571u0472k5.
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Charles Frederic Hartt (1840-1878), a geologist who took part in Louis Agassiz's Thayer Expedition in 1865, returned to Brazil several times during his life: a solo trip in 1867, two of his own expeditions (while he was professor of geology at Cornell University), the Morgan Expeditions of 1870 and 1871, and his final voyage, which started in 1874. Hartt is known for his opposition to Agassiz's glacial theory of the Amazon River basin, for his contributions to Brazilian geological knowledge, and for his rôle in the Geological Commission of Brazil. Lesser known are his contributions and links to Brazilian Natural History Museums, institutions which played an important and lasting role in the development of geological sciences in Barizl. In Brazil, Hartt combined enthnographical work with his geological explorations, and he continued the ethnographical work initiated by Domingos Soares Ferreira Penna, a naturalist from Rio de Janeiro Museu Nacional who later became the director of Museu Paraense. When the Museu Paraense opened in 1871, Hartt donated books and what became the museum's first geological collections: both North American samples and samples which Hartt had collected in the Amazon region, some of which were sent to the United States to be classified and then returned to Brazil. From 1876 to 1877, Hartt was employed by the Museu Nacional as head of the 3rd Section-Physical Sciences, Mineralogy, Geology and Paleontology, a position which enhanced his research, collecting, and his conferences. Even though Hartt had a three-year contract, he resigned after one year to devote all of his energies to the Comissão Geológica do Imperio do Brasil, the geological survey of Brazil which he directed. Despite his short official connection with the museum in Rio, Hartt's activities with Brazilian museums provide insight into the issues relating to the transfer and adaptation of institutional models from one country to another.
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Ebers, Thomas. "Philosophy and Cultural Heritage. An Approach to Philosophy in Museal Contexts." Monograma Revista Iberoamericana de Cultura y Pensamiento, no. 10 (December 15, 2021): 55–75. http://dx.doi.org/10.36008/monograma.2022.10.0353.
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The following considerations form a philosophical approach to the meaning of cultural heritage. They are an attempt to answer the question, which position and task philosophy holds or may hold for this heritage. In a first section it is shown that there is no escape from the cultural heritage. For this purpose, it is resorted to the juxtaposition of «to have or to be» by the social psychologist Erich Fromm. Following this distinction, two basic approaches are sketched that precisely fail to do justice to the cultural heritage and to the way of dealing with it that is necessary for one’s own location in the world. These sketches serve as a background against which the significance of philosophy in and for the cultural heritage is discussed, in order to be able to grasp the appropriate approach to philosophy in museal contexts. As a result, museums are proving to be part of the philosophical heritage, at least in terms of possibility.
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Gaskell, Ivan. "Museums and Philosophy - Of Art, and Many Other Things Part II." Philosophy Compass 7, no. 2 (February 2012): 85–102. http://dx.doi.org/10.1111/j.1747-9991.2011.00469.x.
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Gaskell, Ivan. "Museums and Philosophy - Of Art, and Many Other Things Part I." Philosophy Compass 7, no. 2 (February 2012): 74–84. http://dx.doi.org/10.1111/j.1747-9991.2011.00470.x.
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CALISI, MARINELLA. "L'ORIGINE DELLE COLLEZIONI SCIENTIFICHE DEL MUSEO ASTRONOMICO E COPERNICANO IN ROMA ALLA FINE DEL XIX SECOLO." Nuncius 4, no. 2 (1989): 249–63. http://dx.doi.org/10.1163/182539189x00941.
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Abstracttitle SUMMARY /title In the years following 1820, when the town became part of the Kingdom of Italy, Rome was seeking to forge its new identity. The scientific culture of the town is a little known feature of this process, and yet it offers important insights into the economic planning and the cultural policy of those years. These features are also at the basis of today's roman scientific museums. In 1873, on the occasion of the celebration of the fourth centenary of Copernicus' birth, it was proposed to establish a Museo Astronomico e Copernicano. The original proposal for a museum devoted to collecting documents and memorabilia of Copernicus' italian period, soon became the project for a more ambitious Museum.
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Cummins, Alissandra. "Caribbean Museums and National Identity." History Workshop Journal 58, no. 1 (2004): 224–45. http://dx.doi.org/10.1093/hwj/58.1.224.
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Lazzeretti, Cecilia, and Marina Bondi. "‘A hypnotic viewing experience’. promotional features in the language of exhibition press announcements." Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 22, no. 4 (December 1, 2012): 567–89. http://dx.doi.org/10.1075/prag.22.4.02laz.
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Museums have become fully active cultural agents, pursuing educational aims but also trying to attract the largest number of visitors. Exhibition press announcements (EPAs) issued by museums reflect this tendency and address journalists as if they were ‘customers’ in a very competitive market. Building on Bhatia’s work on promotional genres (1993, 2004) and recent corpus-based studies devoted to press releases (Catenaccio 2008; Lindholm 2008; McLaren and Gurâu 2005), this paper investigates lexico-grammatical forms typical of EPAs with the aim to demonstrate that they carry a strong promotional intent and reflect the value-system of the professional communities involved, i.e. art journalists and museum professionals. The study was carried out on a corpus of contemporary Anglo-American EPAs and shows the recurrent use of linguistic features that express positive evaluation of the exhibition, especially with regard to the semantic areas of novelty, quality, extensiveness and exclusiveness. Emotional linguistic features are also used in order to create ‘news value’ and excite curiosity around the artists and their artworks.
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Paliokas, Ioannis. "Serious Games Classification for Digital Heritage." International Journal of Computational Methods in Heritage Science 3, no. 2 (July 2019): 58–72. http://dx.doi.org/10.4018/ijcmhs.2019070104.
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Gamification mechanics have been introduced in the philosophy of many modern user experience (UE) systems, including those used in museums, cultural sites and various other kinds of digital heritage (DH) applications. Gamified user experiences include on-site navigation, playful interaction with museum artefacts, virtual tours in ancient or modern times using virtual reality (VR) applications and more. Although the gamification principles have been well adopted in the DH domain, a common language used to describe and classify serious games (SG) and gamified applications in DH is still under development. The current work aims to discuss first the complementarity of existing classification approaches along their possible limitations and finally to propose a classification schema for SGs and game-like environments used in museum, galleries and other organizations of cultural and touristic interest. The proposed classification system is being presented with respect to the entertaining, informational and educational characteristics of the SGs under study.
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Morrison-Low, A. D. "Geomagnetic instruments at National Museums Scotland." Notes and Records: the Royal Society Journal of the History of Science 73, no. 2 (October 17, 2018): 243–57. http://dx.doi.org/10.1098/rsnr.2018.0035.
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In 1981, the sole book about historic geomagnetic instruments was by Anita McConnell. Using it as a timeline, the Royal Scottish Museum's temporary exhibition ‘The Earth is a Magnet’, was put on to coincide with an international congress held in Edinburgh that year. The curators were aware that this important story could be told only with borrowed material from a number of other collections and that, in some cases, crucial items no longer existed. Locating and borrowing such objects before the Internet proved tricky and time-consuming, but helped to form thinking about how the collections might grow. The paper will look at what there is, and something of what there is not, in the Scottish national collections.
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Muñoz, Pedro Felipe N. de. "From Dresden to the world: images of the German Hygiene Museum’s relations with Latin America, 1911-1933." História, Ciências, Saúde-Manguinhos 29, no. 1 (March 2022): 195–214. http://dx.doi.org/10.1590/s0104-59702022000100011.
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Abstract As of the nineteenth century, the number of world fairs and hygiene exhibitions grew significantly. This phenomenon was linked to the experience of modernity and the emergence of bacteriology, when different cities were sanitized with the aim of combating urban diseases and epidemics. For the purpose of sanitary education and hygiene propaganda, many objects and pictures were displayed in hygiene exhibitions and museums, such as the International Hygiene Exhibition of 1911 and the German Hygiene Museum, both in Dresden. The goal of this article is to analyze a chapter of the international history of health through images that portray the connections between the German Hygiene Museum and Latin American countries between 1911 and 1933.
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ZOTOVA, TATIANA. "«REVITALIZATION» OF HISTORY AS ONE OF THE TRENDS IN THE DEVELOPMENT OF CONTEMPORARY HISTORICAL AND MILITARY-HISTORICAL MUSEUMS-PRESERVES IN RUSSIA." Культурный код, no. 2022-3 (2022): 36–48. http://dx.doi.org/10.36945/2658-3852-2022-3-36-48.
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The article discusses the methodological features of living history as a special form of museum actualization of cultural heritage. Based on the historical and cultural approach, the author briefly presents the genesis of this concept, foreign approaches to its understanding, as well as the experience of implementation in domestic museums. The empirical basis of the research is the projects of the Borodinskoe pole Museum-preserve, the Kulikovo pole Museum-preserve, the Mikhailovskoye Museum-preserve, etc.
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ALBUQUERQUE, SARA, and SILVIA FIGUEIRÔA. "DEPICTING THE INVISIBLE: WELWITSCH'S MAP OF TRAVELLERS IN AFRICA." Earth Sciences History 37, no. 1 (January 1, 2018): 109–29. http://dx.doi.org/10.17704/1944-6178-37.1.109.
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ABSTRACT This paper addresses a nineteenth century African manuscript map which has hitherto remained ‘invisible’. This manuscript was produced by Friedrich Welwitsch (1806–1872), an Austrian botanist in the service of the Portuguese government, and held by the National Museum of Natural History and Science, University of Lisbon Museums/Museu Nacional de História Natural e da Ciência, Museus da Universidade de Lisboa, Portugal (MUHNAC). This historical document contains names of several travellers, many of them ‘invisible’ explorers, located in different parts of the African continent, depicting the relationships in both a visual and geographical way with notes and relevant historical observations. Welwitsch, as so many contemporary fellow botanists, was in contact with many scientists, exchanging not only correspondence but knowledge and collections. This map is a key document, a true hub of Welwitsch's network of knowledge in which the scientific networks, the types of actors, interactions, methodologies and practices of botany are revealed, providing insights into the botanical exchanges that contributed to the making of Welwitsch's African collections.
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Писарев, Александр Александрович. "STS AND THE POSSIBLE FUTURE OF THE SCIENCE MUSEUM: TOWARDS A NEW KUNSTKAMMER." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 4(30) (October 28, 2021): 131–85. http://dx.doi.org/10.23951/2312-7899-2021-4-131-185.
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В статье обсуждается репрезентация науки в музеях и центрах науки и техники и очерчивается возможная концепция музея технонауки, который бы восполнял ограничения и умолчания этой реперзентации. В отличие от этих институций музей технонауки посвящен не тому, что ученые знают о природе, а тому, как они получают это знание, как оно существует и применяется, то есть, метанаучным вопросам. Для решения этой задачи новый музей должен опираться на идеи и результаты исследований науки и техники (STS), а также истории и философии науки. Вполне возможно, что сегодня путь разума к совершеннолетию должен проходить не только через научное просвещение, но и через критическое метанаучное просвещение. В первой части статьи описывается общая логика и контекст репрезентации науки и техники в современных музеях и центрах науки и техники. Их основные задачи — способствовать повышению понимания науки обществом и привлекательности профессий научно-технической области. Обычно это достигается за счет акцента на чистой науке в ущерб прикладной: ядром музеев и центров являются экспозиции, представляющие результаты научного познания, систематизированные в научную картину мира. О технике говорится скорее как о непроблематичном «применении» знания или комплексе утилитарных функций: мало внимания уделяется сложному устройству инженерии и создаваемому техникой социальному порядку. Об устройстве самой науки говорится мало, в основном о научном методе. Этот подход подвергается критическому анализу. Помимо прочего критикуется акцент на чистой науке в ущерб прикладной, натурализация и идеализация знания за счет устранения контекстов его производства, существования и применения. В силу двойной невидимости авторства (науки — по отношению к знанию, музея — по отношению к экспозиции) и трансляции знания в режиме безальтернативности и полноты («парадигма Псафона», П. Бурдье) музеи науки функционируют как музеи-храмы (Д. Кэмерон). Приводятся доводы в пользу обращения к обсуждению устройства науки и техники с опорой на результаты исследований науки и техники. Оно предполагает создание музея или экспозиции, которые дополняли бы существующие музеи и центры. Его рабочее название — музей технонауки. Во второй части обсуждается его возможная концепция. Приводятся примеры тематики, раскрываются некоторые принципы организации: двойное видение, пересборка предмета, собственной позиции и аудитории, музей-бриколер, музей-форум. Эти принципы сближают музей технонауки с кунсткамерой в противовес модерным музеям науки. В качестве одного из возможных подходов построения экспозиции обсуждается историзация существующих форм науки и техники. Ориентирами из истории выставок могут служить Les Immatériaux (1985) под кураторством Ж.-Ф. Лиотара и Iconoclash: Beyond the Image Wars in Science, Religion and Art (2002) под кураторством Б. Латура. В заключение концепция музея технонауки резюмируются в своде ценностей: продуктивное незнание, критика, разнообразие, дискуссионность. The article analyzes the representation of science in science and technology museums and centers, and outlines the possible concept of a museum of technoscience that would compensate their limitations and omissions. In contrast, the museum of technoscience is not dedicated to what scientists know about nature, but to how they get this knowledge, how it exists and is applied, that is, to metascientific issues. To meet this challenge, the new museum should be based on the ideas of Science and Technology Studies (STS), and of the History and Philosophy of Science. It is likely that today the path of reason to maturity should pass not only through scientific education, but also through metascientific education, that is, through STS and the History and Philosophy of Science. The first part of the article describes the general logic and context of the representation of science and technology in actual science and technology museums and centers. The main aims of such museums and centers are to contribute to increasing the public understanding of science and the attractiveness of professions in the STEM field. These aims are usually achieved by focusing on pure science at the expense of applied science and engineering. Technology is represented as an unproblematized “application” of knowledge. There is also little talk about the structure of scientific production of knowledge, mainly the scientific method is communicated. This approach is being critically analyzed. Among other issues, the naturalization and idealization of knowledge, double invisibility of authorship (science in relation to knowledge, museum in relation to the exhibition) are criticized. Arguments are given in favor of the desirability of addressing the discussion of the structure of science and technology based on the results of science and technology studies. It involves the creation of a museum or exhibition that would complement existing museums and science centers. Its working name is the museum of technoscience. The second part of the article describes the possible conception of the technoscience museum. Examples of topics are given, some principles of the organization are revealed: double vision, reassembling of the subject, museum position and audience, museum as a bricoleur, museum as a forum. These principles bring the museum of technoscience closer to the kunstkammer in contrast to modern museums of science. The historization of existing forms of science and technology is discussed as one of the possible approaches to the construction of the exposition. Les Immatériaux (1985) by J.-F. Lyotard and Iconoclash: Beyond the Image Wars in Science, Religion and Art (2002) by B. Latour can serve as landmarks from the history of exhibitions. In conclusion, the conception of the museum of technoscience is summarized in a set of values: productive ignorance, criticism, diversity, controversiality.
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Lane, James B. "Oral History and Industrial Heritage Museums." Journal of American History 80, no. 2 (September 1993): 607. http://dx.doi.org/10.2307/2079874.
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Harris, Neil. "Museums and Controversy: Some Introductory Reflections." Journal of American History 82, no. 3 (December 1995): 1102. http://dx.doi.org/10.2307/2945115.
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Crownshaw, Rick. "Photography and memory in Holocaust museums." Mortality 12, no. 2 (April 25, 2007): 176–92. http://dx.doi.org/10.1080/13576270701255156.
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