Bibliografías temáticas / Museums – Philosophy

Literatura académica sobre el tema "Museums – Philosophy"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 30 de enero de 2023

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Artículos de revistas sobre el tema "Museums – Philosophy"

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Abd Jalal, Ahmad Farid, Rahimin Affandi Abdul Rahim y 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, n.º 2 (28 de junio de 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 y Awang Azman Awang Pawi. "IMPAK FALSAFAH PASCA-KOLONIALISM TERHADAP MUZIUM: SATU ANALISIS KRITIKAL". International Journal of Humanities Technology and Civilization 7, n.º 2 (16 de diciembre de 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 (octubre de 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 (octubre de 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 (9 de agosto de 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 y Ma José Garrido. "Fostering Innovation in Cultural Contexts". Journal of Service Research 15, n.º 1 (23 de septiembre de 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 y Steven Donatelle. "Encoding Memory through Multimodality in Modern-Day Memorial Museums". HERMES - Journal of Language and Communication in Business, n.º 62 (12 de diciembre de 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 y Javiera Atenas. "Building Relationships between Museums and Schools: Reggio Emilia as a Bridge to Educate Children about Heritage". Sustainability 13, n.º 7 (26 de marzo de 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, n.º 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, n.º 6 (26 de noviembre de 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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Tesis sobre el tema "Museums – Philosophy"

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Edmundson, Jane y University of Lethbridge Faculty of Fine Arts. "Dr. Soanes' Odditorium of Wonders : the 19th century dime museum in a contemporary context". Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Arts, c2013, 2013. http://hdl.handle.net/10133/3426.

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19th century dime museums were a North American phenomenon that flourished in urban centres from the mid- to late-1800s. Named thusly due to their low admission cost, dime museums provided democratic entertainment that was promoted to all classes as affordable and respectable. The resulting facilities were crammed with art, artifacts, rarities, living human curiosities, theatre performances, menageries, and technological marvels. The exhibition Dr. Soanes’ Odditorium of Wonders strives to recapture the spirit and aesthetic of the dime museum to invoke wonder in the viewer and to combine art, artifacts, and oddities to provoke questions about the boundary between education and amusement. Both the academic and curatorial texts utilize a mix of methodological approaches appropriate to museology, art history and cultural history: theoretical research into historiographical issues concerning theories of display and spectacle; archival research and discourse analysis of historical documents, and material culture analysis (including the semiotics of display).
iv, 60 leaves : ill. ; 29 cm
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Roberts, Randy C. "Museums as Sites of "Being in Conversation": A Hermeneutic Phenomenological Study". Antioch University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1373833371.

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Chung, Y. S. S. "Transitions : the history and philosophy of County Archaeological Society museums in mid-nineteenth-century England". Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.597689.

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As a link between academia and the public, museums are institutions that produce and exhibit knowledge. The significance of this knowledge lies in that it forms what is regarded as collective knowledge. Museums have always created this significance through the three functions of preservation, research, and communication of objects. It is of particular interest in this dissertation to see the process in which museums began to emerge as agents in creating collective knowledge. Like museums, prehistoric archaeology as a distinct scientific field of investigation comes to the foreground in England during the mid-nineteenth century. The connection between both the growth of museums and prehistoric archaeology during this period provides an appropriate example of the production and sustenance of collective knowledge. Public museums, as opposed to private collections, already existed since the seventeenth century (e.g., Ashmolean Museum). Learned society museums were established in the late eighteenth century, but the new phenomenon of what was called the county archaeological society museum happened during the mid-nineteenth century. The transition towards congealing into a county archaeological society museum is demonstrated in the art of collecting archaeological objects in order to complete the history of the individual counties. Another transition is visible when archaeological society members try to overcome antiquarianism (particularly, in its dependence on textual data), through the functioning of Temporary Museums, network research, excavations, and two-dimensional sources, such as photographs. The application of relative chronology and the Three-Age System were two more signs that showed the crystallisation process of county archaeological society museums into a more scientific setting during the mid-nineteenth century. The process in which county archaeological society museums formed as public institutions and how they communicated collective knowledge of prehistoric archaeological objects are not matter-of-fact. Various factors such as political, cultural, and scientific are intertwined in these processes. This dissertation explores this network and aims to make a contribution to the history and philosophy of museums and archaeology.
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McGhie, Lisa-Maree. "Archaeology and authenticity in select South African museums, and public entertainment spaces". Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-02072007-130253.

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Butts, David James. "Maori and museums : the politics of indigenous recognition : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Museum Studies at Massey University, Palmerston North". Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/251.

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As a result of colonialism indigenous peoples have been marginalised within their own customary territories. In an analysis of the politics of cultural recognition Tully (1995) proposes the reconceptualisation of the 'common ground': sites, including public museums, within which different cultures negotiate their relationships within the modern nation-state, where the rights of indigenous peoples can be recognised on the basis of the principles of mutual recognition, continuity and consent. This thesis examines the impact of the politics of indigenous recognition on the evolving relationships between Mäori and museums, focusing on Mäori participation in the governance of regional charitable trust museums in New Zealand.The international context is explored through an investigation of indigenous strategies of resistance to museum practices at the international, national and local levels. The national context within which Mäori resistance to museum practices has evolved, and subsequent changes in practice are then outlined.Two case studies of regional charitable trust museums, which began to renegotiate Mäori participation in their governance structures in the late 1990s, are examined. The different governance models adopted by Whanganui Regional Museum, Whanganui, and Tairawhiti Museum, Gisborne, both effected major shifts from the historical pattern of limited Mäori participation in the museums to the representation of all tangata whenua iwi on the new trust boards. The governance negotiation processes and the responses of interested parties are analysed. The case studies demonstrate the importance of understanding the historical context within which public institutions are embedded and the forces that lead to contemporary adjustments in power relationships.Both new governance models have resulted in genuine power sharing partnerships between tangata whenua and the museums. Finally, the extent to which the two institutions have subsequently moved towards becoming 'common ground' where the recognition of the rights of indigenous peoples can be realised is analysed.
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Sippel, Elizabeth. "The role of memory, museums and memorials in reconciling the past : the Apartheid Museum and Red Location Museum as case studies". Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1005773.

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When South Africa became a democracy, many of its cultural institutions were tainted by the stigma of having been tools for the production and propagation of apartheid ideology. This thesis examines two key facets of post-apartheid museums and memorials. Firstly, how they have repositioned themselves as institutions of cultural and social standing. Secondly, their role as tools of nation building, social change, and creators of national collective memory within the new democratic South Africa. Through an analysis of cultural memory theory pertaining to museology, this study elaborates on the methods employed by museums to incorporate memory into their narratives and in turn, transfer collective memory to their viewers. This thesis provides a comparative study of the architectural, memorial and museological strategies of two post-apartheid museums; the Red Location Museum and the Apartbeid Museum. It examines the contributions of both museums to the introduction of new museological strategies for the successful creation and transmission of South African collective memory. Through this analysis, both the invaluable contributions and the drawbacks of post-apartheid museums as tools for the promotion of new democratic ideologies and philosophies are considered. This thesis does not resolve the arguments and questions which have surfaced regarding cultural institutions as tools for the promotion of reconciliation and the construction of national collective memory within South Africa. As the current climate of memorialisation is one of change and paradox, it is presently impossible to fully quantify post-apartheid museums' roles within South Africa's move toward reconciliation and social change. However, the examination of both the Red Location Museum and the Apartheid Museum reveals the extraordinary change that South African cultural institutions have undergone in addition to their potential to become institutions which facilitate active reconciliation as well as social and cultural growth.
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Cheung, Chi-wai y 張志偉. "Museum of Chinese Science and Technology". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31982712.

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Morakinyo, Olusegun Nelson. "A historical and conceptual analysis of the African Programme in Museum and Heritage Studies (APMHS)". Thesis, University of the Western Cape, 2011. http://etd.uwc.ac.za/index.php?module=etd&action=viewtitle&id=gen8Srv25Nme4_5648_1346401876.

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In 1998 the University of the Western Cape together with the University of Cape Town, and the Robben Island Museum introduced a Post-graduate Diploma in Museum and Heritage Studies. This programme was innovative in that not only did it bring together two universities in a programme where the inequalities of resources derived from their apartheid legacies was recognised, but it also formally incorporated an institution of public culture that was seeking to make a substantial imprint in the post-apartheid heritage sphere as part of its structure. In 2003 this programme attracted substantial funding from the Rockefeller Foundation and was rebranded as the African Program in Museum and Heritage Studies (APMHS). While this rebranding of the programme might seem to be innocently unproblematic and commendable as part of the effort at re-insertion of South Africa into Africa after the isolation of apartheid, an analysis of the concepts employed in the rebranding raises serious theoretical, conceptual, and disciplinary questions for heritage studies as an academic discipline and for its connections with other fields, especially the interdisciplinary study of Africa. What are the implications of a programme that brings together the concepts of ʹAfrican-Heritage-Studiesʹ? Does the rebranding signify a major epistemological positioning in the study of Africa or has it chosen to ignore debates on the problematic of the conjunction of the concepts? This study address these issues through a historical and philosophical analysis of the programme, exploring how it was developed both in relation to ideas of heritage and heritage studies in Africa and, most importantly by re-locating it in debates on the changing meaning of 
ʹAfricaʹ in African studies.

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Lauer, John. "The war and race museum : adding African-American history to the Cyclorama". Thesis, Georgia Institute of Technology, 1994. http://hdl.handle.net/1853/23097.

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Hansen, Paul. "The Immaculate Perception project : exhibition creation and reception in a New Zealand regional art museum : thesis presented in partial fulfilment of the requirements for the degree of Master of Philosophy in Museum Studies, Massey University, Palmerston North, New Zealand". Massey University. School of Maori Studies, 2003. http://hdl.handle.net/10179/249.

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Internationally, museums have increasingly come under review since Bourdieu's (1969) research focused on art gallery visiting patterns and cultural codes. Museums exist within a post-modern milieu that demands a more democratic approach to defining their cultural and educational role within society. Over the last decade in particular, art museums, criticised for being elitist and insular within their communities, have been challenged to be more inclusive, accessible and relevant to their local communities.The literature suggests that a review of the core mission and the culture of museums is required to provide the catalyst for change. However, there is little evidence or few models offered as to how such re-visioning could be implemented. New Zealand art museums have been slow in responding to the issues, or to conducting research involving either their visitors or their communities. These emergent issues provided the context for this study, which is focused on the creation and reception of a community based exhibition within a contemporary regional art museum.This exhibition project brought together community participants and established artists, and the study evaluates the responses of the exhibition creators and the exhibition audience. In line with action research methodology, evaluation surveys and observational data were collected during the distinct phases of the project and resulted in a number of findings that have implications for regional art museums.The findings from this present study indicate that curators working alongside the community with an action research methodology, while developing exhibition projects, can produce positive outcomes for the participants, the audience and the museum. Creative partnerships can be established that enhance life-long-learning opportunities and contribute to the relevance of museums within their communities.The present study also proposes that museums re-vision their mission to become 'learning organisations' (Senge, 1994, 2000) and provides a model that could be appropriate for museums intent on enriching their organisational culture and enhancing their significance and profile within their community.
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Libros sobre el tema "Museums – Philosophy"

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Schofield, Kate. Design museums: A critical view. London: University of London, Institute of Education, Department of Art & Design, 1993.

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Cuno, James B. Museums matter: In praise of the encyclopedic museum. Chicago: University of Chicago Press, 2011.

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Museums matter: In praise of the encyclopedic museum. Chicago: University of Chicago Press, 2011.

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A, Crane Susan, ed. Museums and memory. Stanford, Calif: Stanford University Press, 2000.

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Reshetnikov, N. I. Muzeĭ i komplektovanie ego sobranii︠a︡: Uchebnoe posobie. Moskva: Moskovskiĭ gos. universitet kulʹtury i iskusstv, 2011.

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Reshetnikov, N. I. Muzeĭ i komplektovanie ego sobranii︠a︡: Uchebnoe posobie. Moskva: Moskovskiĭ gos. universitet kulʹtury i iskusstv, 2011.

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Il museo alla sua terza età: Dal territorio al museo. Bologna: Nuova Alfa editoriale, 1985.

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Wilde Museen: Zur Museologie des Amateurmuseums. Bielefeld: Transcript, 2012.

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M, Pearce Susan, ed. Objects of knowledge. London: Athlone Press, 1990.

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H, Genoways Hugh y Andrei Mary Anne, eds. Museum origins: Readings in early museum history and philosophy. Walnut Creek, Calif: Left Coast Press, 2008.

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Capítulos de libros sobre el tema "Museums – Philosophy"

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van den Dungen, Peter. "Peace Museums and Public Education". En Encyclopedia of Educational Philosophy and Theory, 1–5. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-287-532-7_587-1.

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Pietrobruno, Sheenagh. "Tales of the Viking Helmet: Narrative Shifts from Museum Exhibitions to Personalised Search Requests". En Museum Digitisations and Emerging Curatorial Agencies Online, 39–70. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-80646-0_3.

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AbstractThe stories of museum objects on YouTube can counter and support those advanced by museums. How the narratives of the Viking helmet on YouTube reflect or differ from those put forward by the Swedish History Museum’s Viking exhibitions is approached through a previous methodological study that investigated the issue of location in the personalisation of historical narratives of museum objects on YouTube search engine result pages (SERPs) (Pietrobruno 2021). This revised method combining language with location brings together two media forms—actual museum exhibitions and personalised YouTube SERPs. The philosophy behind their interconnection is rooted in how the personalised content of SERPs produce meaning and museum exhibitions employ forms of individual customisation to generate meaning by enabling visitors to personalise their exhibition experience.
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Jevnaker, Birgit Helene y Johan Olaisen. "Understanding Practices Through an Inclusive Philosophy of Experiencing: Insights from Four Art Museums". En Reimagining Sustainable Organization, 93–109. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-96210-4_5.

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AbstractThe chapter discusses the inclusive knowledge philosophy fundamental for different modes of experiencing living enterprises. We combine two related philosophical lenses to enable fundamental understanding of concerted practices and strategic accomplishments for leadership and management. The American pragmatist philosopher John Dewey pointed to the importance of restoring the continuity between the refined and intensified experiences in our practices and everyday doings. He based this restoring on “the inclusive philosophic idea”. By this idea he was acknowledging the possibilities of imagination and associations among the social, technological-physical, natural, and mental modes. Another philosopher, the Norwegian Arne Naess, also highlighted imaginative experience and the human/nature interconnectedness including its potential joy and perseverance for individuals as well as organizations. We provide examples drawing on our own studies of four art museums. Given that rich knowledge endeavours are necessary to develop arts for society, how can valuable exhibition practices be accomplished in inclusive, resourceful ways? The chapter introduces a philosophical framework for how this might work. Dynamic art, design, and innovation processes are imaginative practices where the past, the present, and the future melt together. The imaginative experiencing in each museum place might be crucial not only for its recurrent co-creation but also for the make-believe of sustainable arts thinking.
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Filippoupoliti, Anastasia y Dimitris Koliopoulos. "Informal and Non-formal Education: History of Science in Museums". En International Handbook of Research in History, Philosophy and Science Teaching, 1565–82. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7654-8_49.

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Lopes, Maria Margaret. "Brazilian Museums of Natural History and International Exchanges in the Transition to the 20th Century". En Boston Studies in the Philosophy of Science, 193–200. Dordrecht: Springer Netherlands, 1992. http://dx.doi.org/10.1007/978-94-011-2594-9_20.

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Lütticken, Sven. "From Re- to Pre- and Back Again". En Cultural Inquiry, 1–16. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_02.

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Tracing the complex history of the term ‘reenactment’, back to R.G. Collingwood’s philosophy of history, on the one hand, and popular practices of war reenactments and living history museums, on the other, a survey of its current contribution in art and museum practices highlights the importance of historicity — a category the postmodern was supposed to have vacated — in a wide range of examples, from Rod Dickinson and Jeremey Deller to Alexandra Pirici, Manuel Pelmuş, and Milo Rau. Performance reenactments, in particular, are premised on performance art having become historical, but also threaten to digest history in favour of a mere productivist mobilization for the needs of current attention economies. An alternative could be the attempt to counter historical with dramatic time in order to unlock unrealized possibilities and futures, as the term preenactment promises.
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Vaiani, Elena. "Museum, Renaissance". En Encyclopedia of Renaissance Philosophy, 1–2. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-319-02848-4_676-1.

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Vaiani, Elena. "Museum, Renaissance". En Encyclopedia of Renaissance Philosophy, 2284–85. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-319-14169-5_676.

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Zeleny, Karin. "Giorgiones drei Philosophen: eine philologische Identifizierung". En Museums at the Crossroads, 191–98. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.mac-eb.3.1835.

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Vierck, Alke. "ERSTMAL AUFREGEN. Kunst, Philosophie und selbstmotiviertes Lernen im Museum". En Außerschulische Lernorte, Erlebnispädagogik und philosophische Bildung, 195–212. Stuttgart: J.B. Metzler, 2021. http://dx.doi.org/10.1007/978-3-476-05770-9_10.

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Actas de conferencias sobre el tema "Museums – Philosophy"

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Allmon, Warren, Gregory P. Dietl, Gregory P. Dietl, Robert M. Ross y Robert M. Ross. "MUSEUM COLLECTIONS AND THE PHILOSOPHY OF PALEONTOLOGY". En GSA Annual Meeting in Denver, Colorado, USA - 2016. Geological Society of America, 2016. http://dx.doi.org/10.1130/abs/2016am-284743.

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Elisafenko, M. K., G. A. Kruglikova y E. E. Protasova. "Museum as an Educational Resource". En International Scientific Conference on Philosophy of Education, Law and Science in the Era of Globalization (PELSEG 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200723.024.

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Canto, Aylana y Ana Helena da Silva Delfino. "The MASP online: the educational strategies from the museum in the pandemic". En 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.
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Hofbauer, John y Joseph Hofbauer. "Philosophy and Evolution of Wayside Signals". En 2018 Joint Rail Conference. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/jrc2018-6267.

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This paper begins with examining the fundamental nature of wayside signals and considers the first know signaling practices used to communicate the condition of the track ahead to the train engineer. The principle of wayside signals is to keep trains separated and to provide knowledge of the conditions ahead; speed and routing information. Most railways have gone through many different evolutions of signals and practices some driven by railway mergers which drove the operating rules. This consistently required changes within the training of locomotive engineers assigned operate trains within their territory. This paper will focus on a few transitions between signal types, the specific makeups and effectiveness of wayside signals since the beginning of railway signals in the early 1830s. Starting with the term “High Ball” not related to a popular drink known today, but a raising of a large ball into the air that could be seen from afar instructing a train his status to train operating schedule. Later, signals were developed to provide the train engineer the status of the track ahead by dividing the track into short sections. This allowed the track section to be labeled as “occupied” a train present or “un-occupied”, train not present within the track section. Wayside signals continued to be advanced such that today’s standards, aspects (mimicking the wayside signals) are displayed within the operating cab providing the indication directly to the engineer. As we continue forward, wayside signals have been reduced and in the future, they may be only in a museum next to the cassette player.
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Le Sun. "Un-built Yi Lanzhai Museum interpretation of Kisho Kurokawa's final philosophy in China". En 2011 International Conference on Electric Technology and Civil Engineering (ICETCE). IEEE, 2011. http://dx.doi.org/10.1109/icetce.2011.5775971.

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Macken, Jared. "The Stranger in the Architectural Project on the City". En Schools of Thought Conference. University of Oklahoma, 2020. http://dx.doi.org/10.15763/11244/335078.

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This paper presents the project “Two Strangers Meet in a Parking Lot” and associated research studios as a case study of decolonized architecture pedagogy. The project conceptualizes the stranger as an alternative architectural user, creating a dialectical conversation with the users and architectural visions from architectural history. This dialogue encourages new pedagogical research methodologies related to the topic of city design. The case study uses these methodologies to recuperate lost cultural histories of Tennessee Town, an overlooked neighborhood in Topeka, Kansas, with an important connection to the Harlem Renaissance. According to Kwame Anthony Appiah, strangers transgress and challenge cultural boundaries by creating conversations at the edges of these borders, yet strangers counterintuitively utilize the environments in the city that are initially foreign to them to produce alternative cultural knowledge. This interaction between stranger and entities in the city provides a model for how disciplines can communicate across their own boundaries. The strangers’ conversation, when transferred to the architectural studio setting, becomes what Mark Linder calls “transdisciplinary” discourse, which occurs at the borders of adjacent disciplines. The resulting knowledge intentionally highlights overlooked and misinterpreted cultural moments in the city while creating an alternative to traditional interdisciplinary modes of working, which the philosopher Homi Bhabha says is essential if disciplinary fields are to progress with the global city. The “Two Strangers” case study consists of built structures that were designed, first, to transform people into strangers and, then, to instigate conversations between them. As a result, strangers become acquaintances and exchange new knowledge. The architectural studio course explored this idea further by taking students outside of the classroom where they engaged with the community through conversations with city archivists, community leaders, city council persons, urban planners, and museum directors.
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Informes sobre el tema "Museums – Philosophy"

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van der Steina, Aija, Agita Lūse, Liene Rācene, Nadežda Pazuhina y Diāna Popova. Mindful Tourism Services for People with Mental Impairment. Situation Scan: Latvia, 2021. Institute of Philosophy and Sociology of the University of Latvia, septiembre de 2021. http://dx.doi.org/10.22364/mtspmi.2021.

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The report is part of the EU Erasmus + funded project “Mindful tourism services for mentally disordered people” (MindTour). The project aims to promote and support tourism entrepreneurs to value mentally disordered clients and their families as persons and customers and help them design mindful tourism services accessible for mentally disordered people. The project is implemented in cooperation with Estonian, Belgian and Latvian higher education institutions – University of Tartu, Pärnu College (Estonia), Thomas More Mechelen-Antwerpen (Belgium), University of Latvia (Latvia), as well as leisure and tourism service providers - Pärnu Museum (Estonia), Museum Dr Guislain (Belgium) and SIA Zeit Hotel (Latvia). This report reveals the current situation in the use and accessibility of tourism services for people with mental impairment in Latvia. Researchers of the Institute of Philosophy and Sociology of the University of Latvia Agita Lūse, Liene Rācene, Diāna Popova, Nadezhda Pazuhina and Aija van der Steina researched in the autumn and spring semesters of the academic year 2020/2021, using both secondary data sources and gathering primary data through interviews with social service providers and tourism service providers, as well as participant observation and mapping of services, involving people with GRT in the consumption of tourism services.
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