Academic literature on the topic 'Relational museology'
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Journal articles on the topic "Relational museology"
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Kobielska, Maria. "INVENTING A RELATIONAL MUSEUM." Muzealnictwo 63 (September 7, 2022): 128–33. http://dx.doi.org/10.5604/01.3001.0015.9810.
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The paper is a review of the book by Janusz Byszewski and Beata Nessel-Łukasik Muzeum relacyjne. Przed progiem / za progiem [Relational Museum. Before the Threshold / Beyond the Threshold] inaugurating the ‘Museology: New Places’ series. It discusses in more detail the title project and the assumed relational museum which in its authors’ understanding is characterized by the focus on the relations of a museum as an institution with the local community, based on a rich social programme, co-created with museum’s external actors on an equal-footing basis. Both the volume’s content and its experimental stylistic, with a special focus on its graphic layout are discussed.
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Hall, Gwendolyn Midlo. "Africa and Africans in the African Diaspora: The Uses of Relational Databases." American Historical Review 115, no. 1 (February 2010): 136–50. http://dx.doi.org/10.1086/ahr.115.1.136.
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Herle, Anita. "Relational Objects: Connecting People and Things Through Pasifika Styles." International Journal of Cultural Property 15, no. 2 (May 2008): 159–79. http://dx.doi.org/10.1017/s0940739108080090.
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Debates around cultural properties tend to focus on law and ethics, on appropriation and ownership, with media representations often producing stereotypes that reinforce and polarize the terms of the debate. The common, typically polemical, notion is that rapacious museums are merely a final resting point for captive static objects, with repatriation viewed as simply restorative compensation. A robust challenge to this view was developed in the Declaration on the Importance and Value of Universal Museums signed in 2002 by the directors of 19 leading museums in Europe and North America. The concept of the universal museum asserts that objects are cared for and held in trust for the world, overriding shifting political and ethnic boundaries and enabling the visitor to see “different parts of the world as indissolubly linked.” Although many would be in sympathy with the rhetorical position asserted, critics have argued that the declaration is a thinly veiled attempt to bolster immunity to repatriation claims. On both sides of the debate, the hegemonic position of many museums remains unsettling.
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Betts, Matthew w., Mari Hardenberg, and Ian Stirling. "How Animals Create Human History: Relational Ecology and the Dorset–Polar Bear Connection." American Antiquity 80, no. 1 (January 2015): 89–112. http://dx.doi.org/10.7183/0002-7316.79.4.89.
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AbstractCarvings that represent polar bears (Ursus maritimus) are commonly found in Dorset Paleo-Eskimo archaeological sites across the eastern Arctic. Relational ecology, combined with Amerindian perspectivism, provides an integrated framework within which to comprehensively assess the connections between Dorset and polar bears. By considering the representational aspects of the objects, we reveal an ethology of polar bears encoded within the carvings’ various forms. Reconstructing the experiences and perceptions of Dorset as they routinely interacted with these creatures, and placing these interactions in socioeconomic, environmental, and historical context, permits us to decode a symbolic ecology inherent in the effigies. To the Dorset, these carvings were simultaneously tools and mnemonics (symbols). As tools, they were used to directly access the predatory and spiritual abilities of bears or, more prosaically, to teach and remind of the variety of proper hunting techniques available for capturing seals. As symbols, however, they were far more powerful, signaling how Dorset people conceptualized themselves and their place in the universe. Symbolic of an ice-edge way of life, the effigies expose the role that this special relationship with polar bears played in the creation of Dorset histories and identities.
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Decker, Corrie. "A Feminist Methodology of Age-Grading and History in Africa." American Historical Review 125, no. 2 (April 1, 2020): 418–26. http://dx.doi.org/10.1093/ahr/rhaa170.
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Abstract Age is an essential category of analysis for African history. For over a century, social scientists have emphasized the central role of age-grading in African cultures. Whereas most people in precolonial African societies assessed age in relative terms (juniors vs. seniors), European colonialism expanded the legal importance of chronological age. Gender mattered to both definitions of age. Faced with two incommensurable systems for understanding life stages—one based on relational (male) seniority and the other on chronological age—African women growing up during the colonial period found new ways to assert a sense of belonging among generations of women. I argue in favor of a feminist methodology that recognizes the broader trend among a generation of young women in Africa who employed conflicts over age to assert their maturity, and in doing so located themselves in their own histories. Identifying female age sets and generations thus offers new perspectives on how African girls and women make and remake history.
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Baker, Jade Tangiāhua. "Te Pahitauā: Border Negotiators." International Journal of Cultural Property 15, no. 2 (May 2008): 141–57. http://dx.doi.org/10.1017/s0940739108080120.
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Objects were and still are pivotal in configuring intertribal relationships; and equally, they played a crucial role in negotiating the borders between early colonial situations and Māori, the indigenous people of Aotearoa New Zealand. This article explores the notion of object efficacy through discussing further relational values such as place, oral and written histories, visionary leadership, and political and culturally defined imperatives, particularly as they contribute to reviving an object's embedded knowledge, in this case the entangled agencies of taonga.
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Lemay-Perreault, Rébéca. "L’Educational Turn. L’éducation comme média artistique: À la recherche d’une interactivité nouvelle." Canadian Review of Art Education: Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 43, no. 1 (October 17, 2016): 40. http://dx.doi.org/10.26443/crae.v43i1.16.
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Abstract: “Educational Turn”, an expression used for a decade by museology and various contemporary art environments, by artists as well as curators (Rogoff, 2008; O’Neill & Wilson (Eds.), 2010; Wilson & O’Neill, 2010; Wesseling (Ed.), 2011). Derived from artistic avant-garde tendencies of the second half of the 20th Century, including institutional critique and relational aesthetics, it immediately brings forward the issues of interactive modalities of the exhibited artwork, public participation, and knowledge dissemination. But this expression actually goes further since the concept of “educational turn” is not only rooted in the artwork as a mediation tool, but to cite Podesva (2007), in education as an artistic medium, fudging the disciplinary limits of art, museology, and museum education. What is new about this turn and how does it transform museum practices? This essay aims to define a new interaction mode embodied by these productions by analyzing the historiographical corpus theorizing the movement. KEYWORDS: Educational Turn; contemporary art; interactivity; museum; postmodernismRésumé: « Educational turn », un terme qui, depuis dix ans, a su se faire connaître dans différents milieux de l’art contemporain et de la muséologie, tant chez les artistes que chez les conservateurs (Rogoff, 2008; O’Neill & Wilson (Eds.), 2010; Wilson & O’Neill, 2010; Wesseling (Ed.), 2011). Issu des avant-gardes artistiques de la deuxième moitié du 20e siècle, notamment de la critique institutionnelle et de l’esthétique relationnelle, il pose d’emblée la question des modalités d’interactivité de l’objet d’exposition, de la participation des publics et de la transmission des savoirs. Mais l’expression va plus loin puisque l’idée d’un « educational turn » prend non seulement ancrage dans une conception de l’œuvre d’art comme dispositif de médiation, mais aussi, pour reprendre l’expression de Podesva (2007), de l’éducation comme un médium artistique, brouillant les frontières disciplinaires de l’art, de la muséologie et de l’éducation muséale. En quoi ce tournant est-il nouveau et quelles transformations apporte-il à la pratique muséale ? À travers une analyse du corpus historiographique théorisant le mouvement, cet essai vise définir un nouveau mode d’interactivité incarné dans ces productions.MOTS CLES: Eductional Turn; art contemporain; interactivité; musée; postmodernité
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Morphy, Howard, Jason M. Gibson, and Alison K. Brown. "Special Section." Museum Worlds 10, no. 1 (July 1, 2022): 218–29. http://dx.doi.org/10.3167/armw.2022.100119.
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Anthropology, Art, and Ethnographic Collections: A Conversation with Howard MorphyJason M. Gibson (JG): In your book Museums, Infinity and the Culture of Protocols: Ethnographic Collections and Source Communities (Morphy 2020), you begin with an anecdote of visiting the Pitt Rivers Museum as a young child. Did museums play a part in sparking an interest in humanity, and its diversity, or were you fascinated by the Other?Book Review: Museums, Societies and the Creation of Value, Howard Morphy and Robyn McKenzie, eds. (London: Routledge, 2022)What does value mean within and beyond museum contexts? What are the processes through which value is manifested? How might a deeper understanding of these processes contribute to the practice of museum anthropology? These questions are explored in Museums, Societies and the Creation of Value, which looks at collaborative work in museums using ethnographic collections as a focus. Most of the chapters involve collections from Australia and the Pacific—reflecting the origins of many of them in two conferences associated with the project “The Relational Museum and Its Objects,” funded by the Australian Research Council and the Australian National University and led by Howard Morphy. Bringing together early career researchers, as well as museum-based scholars who have many years of thinking through and learning with community-based research partners, makes evident how the processual shifts in museum anthropology toward a more collaboratively grounded practice have become normalized, but crucially also highlights the value of “slow museology,” as the editors note in their introduction (3), acknowledging Raymond Silverman’s (2015) term. While the editors caution that the core values of ethnographic collections and museums are not universal, the inclusion of chapters from beyond the Australia/Pacific region highlights that the foundational underpinning values and aspirations for cross-cultural work—“the desire for understanding” and “the desire to be understood” (22) are shaping much of the innovative museum-based work currently being carried out worldwide. Examples include Gwyneira Isaac’s chapter on 3D technologies of reproduction and their value for Tlingit of Alaska, and Henrietta Lidchi and Nicole Hartwell’s examination of how materiality and memory intersect in collections associated with nineteenth-century British military campaigns.
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Perczel, Júlia. "Is Structure Context or Content? A Data-Driven Method of Comparing Museum Collections." Život umjetnosti, no. 105 (December 31, 2019): 76–109. http://dx.doi.org/10.31664/zu.2019.105.04.
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This paper presents a method which depicts a museum collection as a relational venue structure. This venue structure is constructed from the exhibition history of the artists acquired by the museum, in such a way that it uniquely characterizes the collection. Such a structure can be conceived as a historical fingerprint of a collection. The paper compares such derived historical fingerprints of three canonical museum collections: that of the Tate Collection in the UK, the Centre Pompidou in Paris and the Museum of Modern Art in New York. The goal is to develop the understanding of the way they represent the art of the Central-East European region. The research shows that the representation formed by the three museums on the region relies on specific venues and connections among them. Furthermore, the analysis has identified patterns within these structures that contribute to the formation of the representations in typical ways. As a result, the agency of museums is tackled from a data-driven perspective highlighting the social embeddedness of representations, and a method is introduced that enables comparison of collections built through distinctive acquisition histories.
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Sexton, Anna, and Dolly Sen. "More voice, less ventriloquism– exploring the relational dynamics in a participatory archive of mental health recovery." International Journal of Heritage Studies 24, no. 8 (June 16, 2017): 874–88. http://dx.doi.org/10.1080/13527258.2017.1339109.
Full textDissertations / Theses on the topic "Relational museology"
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Samuelsson, Anna. "I naturens teater : Kultur- och miljösociologiska analyser av naturhistoriska utställningar och filmer." Doctoral thesis, Uppsala universitet, Sociologiska institutionen, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-9336.
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This thesis is a study of constructions of reality in visual and textual representations in current exhibitions in the Swedish Museum of Natural History in Stockholm with comparisons to the Natural History Museum in Gothenburg and minor excursions to other museums. The study also includes seven giant screen films in Cosmonova: an IMAX theatre which is part of the Swedish Museum of Natural History. The study consists of three parts: I. Historical and theoretical contextualisation: The emergence of museums is understood as an aspect of modernity and nature, and analytical concepts from semiotics, deconstruction and discourse analysis are presented and discussed. This part also includes a discussion of anthropomorphism and andropocentric stereotyping and a study of the emergence of the environmental question in society, science, museums and in the disciplines of sociology and cultural studies. II. Empirical analysis: Starting with questions what stories modern exhibitions in museums of natural history tell and how animals, bodies, humans and the environment are represented in the exhibitions and films I discuss different aspects of the dualism of nature and culture in relation to other dualisms such as animal/human, nature/society and ecology/economy. The dualism nature/culture that is expressed in exclusions of conventional signs for human culture is problematic from an environmental perspective. I pose the question of whether or not the marginalized phenomenon of the cabinet of curiosity that combine both “naturalia” and “artificialia” and displays phenomena classified as abnormal, can provide a key to narratives about co-evolution, environmental issues and variations in morphology and behaviour. III. Discussion: The potential for transcending the dualism of nature and culture, both theoretically-and practically-speaking, and particularly in relation to the environmental question, is discussed, as is the possibility that museums can be(come) reflexive sub-political arenas for dialogues between politics, science and people.
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Teixeira, Maria Inês. "Pasts returned: archaeological heritage repatriation policy in Turkey and the plans for a future nation." Master's thesis, 2015. http://hdl.handle.net/10071/11054.
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Archaeological heritage repatriation remains a critical topic in international media and raises complex
questions surrounding national identity and notions of rightful ownership. Repatriation is defined as
the return of an artefact to its country of origin after having been kept under the stewardship of a foreign
museum. Over the last decade, Turkey played a central role due to its high number of requests for
museums to return artefacts found in the Turkish soil. The case of the request for a Hittite sphinx from
the Pergamon Museum in Berlin caused particular distress among European museums, largely because
the strategy of the Turkish government to recover the artefact was based on threatening measures,
rather than a predisposition for cooperation. This dissertation extends prior work written about the
Hittite sphinx case, by shedding light on one particular aspect: the dream for a future Turkey rather
than past conflict with Europe. I argue that Turkish archaeological heritage repatriation policy is a
crucial tool for the construction of a future nation, and that the Hittite sphinx case is particularly useful
for understanding the Turkish dream of acquiring autonomy in the international arena.A repatriação de património arqueológico representa um tema crítico nos media internacionais e levanta questões complexas sobre identidades nacionais e a noção de legítima propriedade. Repatriação define-se como a devolução de um artefacto ao seu país de origem após ter estado sob o cuidado de um museu estrangeiro. Ao longo da última década, a Turquia ocupou o núcleo da discussão devido ao seu elevado número de pedidos de restituição de artefactos de origem turca, actualmente expostos em museus de todo o mundo. O caso da devolução de uma esfinge Hitita pelo Museu Pergamon em Berlim causou particular agitação entre os museus europeus, uma vez que a estratégia por parte do governo turco foi largamente baseada em medidas ameaçadoras, não numa predisposição para cooperação. Este estudo dá continuidade a investigação anterior sobre o caso da esfinge Hitita, focando um aspecto particular: o sonho de uma futura Turquia, não de um passado conflituoso com a Europa. Esta dissertação argumenta que as políticas turcas de repatriação de património arqueológico são uma ferramenta crucial para a construção de uma futura nação, e que o caso da esfinge Hitita é particularmente útil para entender o sonho turco de adquirir autonomia na arena internacional
Books on the topic "Relational museology"
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Penton, James M. Event zieht - Inhalt bindet. Transcript Verlag, 2004.
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Shaw, Ian, and Elizabeth Bloxam, eds. The Oxford Handbook of Egyptology. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199271870.001.0001.
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The Oxford Handbook of Egyptology presents a series of articles by colleagues working across the many archaeological, philological and cultural subdisciplines within the study of ancient Egypt from prehistory through to the end of the Roman Period. The volume seeks to place Egyptology within its theoretical, methodological, and historical contexts, both indicating how the subject has evolved and discussing its distinctive contemporary problems, issues and potential. Transcending conventional boundaries between archaeological and ancient textual analysis, it stresses the need for Egyptology to seek multidisciplinary methods and broader collaborations if it is to remain contemporary and relevant. It therefore serves as a reference work not only for those working within the discipline, but also as a gateway into Egyptology for archaeologists, anthropologists, sociologists and linguists. The book is organized into ten parts, the first of which examines the many different historical and geographical perspectives that have influenced the development and current characteristics of the discipline. Part II addresses the various environmental aspects of the subject: landscapes, climate, flora, fauna and the mineral world. Part III considers a variety of practical aspects of the ways in which Egyptologists survey, characterize and manage landscapes. Part IV discusses materials and technology, from domestic architecture and artefacts through to religious and funerary items. Part V deals with Egypt’s relations with neighbouring regions and peoples, while Part VI explores the sources and interpretive frameworks that characterize different phases of ancient Egyptian history. Part VII is concerned with textual and iconographic approaches to Egyptian culture, and Part VIII comprises discussions of the key aspects of ancient Egyptian scripts and philology. Part IX presents summaries of the current state of the subject in relation to a variety of textual genres, from letters and autobiographies to socio-economic, magical and mathematical texts. The final section covers different aspects of museology and conservation.
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Cuno, James. Who Owns Antiquity?: Museums and the Battle over Our Ancient Heritage. Princeton University Press, 2010.
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Cuno, James. Who Owns Antiquity?: Museums and the Battle over Our Ancient Heritage. Princeton University Press, 2010.
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Cuno, James. Who Owns Antiquity?: Museums and the Battle over Our Ancient Heritage. Princeton University Press, 2010.
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Who Owns Antiquity?: Museums and the Battle over Our Ancient Heritage. Princeton University Press, 2008.
Find full textConference papers on the topic "Relational museology"
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Cheng, Peinan, Wenxuan Zhang, and Yanning Huang. "Constructing National and Local Identity in the Third World: New Museology Movement and Its Challenges." In 2021 International Conference on Public Relations and Social Sciences (ICPRSS 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211020.288.
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Canto, Aylana, and Ana Helena da Silva Delfino. "The MASP online: the educational strategies from the museum in the pandemic." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.69.
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This article has the target sharing the current research of master degree circumscribed into the Program of Post-graduation in Museology from Federal University of Bahia (PPGMuseum/UFBA) oriented by Ph.d Ana Helena da S. Duarte. In our research we make inquiries into the action of cultural mediation proposed and done by the Museu de Arte de Sao Paolo – MASP during the COVID-19 pandemic. In such a way specially, though, on the Instagram Social Media this Museum interchanged and instigated your audience to learn, to interact and to produce with art objects from your collection. Therefore, through the educational strategies we consider Triangular Approach and Online Educational Museum foundation of your path. As mentioned previously the way to introduce the reader, in our research we investigated the online educational actions did it by the Museu de Arte de Sao Paolo MASP, at the moment of COVID-19 pandemic. The investigation pursues and explores the educational strategies elaborated, designed and done by the MASP and your team for your audience in the virtual place, i.e, the online mode. While theories reference, our base, it is three fundamental axis: Educational Theory of Paulo Freire(Educator and Brazilian Philosopher), and the influence into the Brazilian Educational Museum, Triangular Approach used firstly by Ana Mae Barbosa (educator, pioneer in art-education because of her systematization of the Triangular Approach) and the Greimassian’s Semiotic Theory (Research line of Semiotic study the relation among plans of text circumscribed in relationship through the languages, created by Algirdas Julien Greimas, this theory made possible the investigation of the texts). Combined, brings to light the analysis of the production of the sense from the MASP’s audience. Through of the discourses and texts produced by the Museum Educational team, mediated for Cultural Mediation in a constant dialogue with the concept of Online Educational Museum (OEM) proposed by the Researcher Frieda Marti (Ph.D from the Program of Post-Graduation Education College in the University of the State of Rio de Janeiro - PROPED/UERJ). In this logic, the methodological procedure of the research is based on theory approach and bibliography (theoretical instrumentalisation of concepts for the research) and the analytics investigation in a study case (the analysis of discourses of Online Cultural Mediation from MASP during the pandemic). Our highlight, our general objective, is set a relation between educational actions and the methodologic strategies in Online Cultural Mediation developed by MASP, mediated by analysis of the production made for the audience in this process, assumed the action in the virtual as a contribution for the Brazilian Educational Museum, in context of the pandemic and social isolation – from March 2020 to August 2021. For this purpose, our research problem is to think of the Educational Museum in the pandemic. Indeed our path is in the direction to enrich the Educational Museum, therefore one of the main objectives is reflecting and creating a healthy environment to debate the Educational Museum in the context of pandemic and social isolation in Brazil.