Готові списки джерел за темами / MuCEM

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Добірка наукової літератури з теми "MuCEM"

Автор: Grafiati

Опубліковано: 15 березня 2025

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Статті в журналах з теми "MuCEM"

Tissier, Gianna. "Exposition. MUCEM. Marseille, www.mucem.org." Le Carnet PSY N° 177, no. 1 (January 16, 2014): V. http://dx.doi.org/10.3917/lcp.177.0012e.

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Kim, Yong-Woo. "A Mediterraneanism of the MuCEM." History & the World 54 (December 31, 2018): 93–118. http://dx.doi.org/10.17857/hw.2018.12.54.93.

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Conte, Charles. "Mucem, le retour aux sources." Humanisme N° 343, no. 2 (April 24, 2024): 105–6. http://dx.doi.org/10.3917/huma.343.0107.

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Chougnet, Jean-François. "Marseille, le Mucem et ses publics." L'Observatoire N°56, no. 2 (2020): 61. http://dx.doi.org/10.3917/lobs.056.0061.

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Chevallier, Denis. "Collecter, exposer le contemporain au mucem." Ethnologie française 38, no. 4 (2008): 631. http://dx.doi.org/10.3917/ethn.084.0631.

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Buslacchi, Maria Elena. "<em>Nous Sommes Foot</em>, MuCEM - Musée des civilisations de l’Europe et de la Méditerranée, Marsiglia - 11 ottobre 2017 - 4 febbraio 2018." Anuac 7, no. 1 (July 24, 2018): 275–78. http://dx.doi.org/10.7340/anuac2239-625x-3397.

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Tedeschi, Federica. "<em>Food: Produire, Manger, Consommer</em>, MuCEM (Musée des Civilisations de l’Europe et de la Méditerranée), Marsiglia, 29 ottobre 2014 – 23 febbraio 2015." Anuac 4, no. 1 (July 27, 2015): 212–14. http://dx.doi.org/10.7340/anuac2239-625x-1885.

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Segalen, Martine. "Des atp au mucem : exposer le social." Ethnologie française 38, no. 4 (2008): 639. http://dx.doi.org/10.3917/ethn.084.0639.

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Texier, Bruno. "Au Mucem, une convergence d’objectifs avant tout." Archimag 378, no. 8 (October 9, 2024): 19. http://dx.doi.org/10.3917/arma.378.0019.

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Blima-Barru, Martine Sin, and Pascal Riviale. "Les sources ethnomusicologiques des Arts et Traditions Populaires aux Archives nationales, valorisation numérique d’un patrimoine unique." Études, no. 30 (March 4, 2019): 77–89. http://dx.doi.org/10.7202/1056921ar.

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Анотація:

Pendant cinq décennies Claudie Marcel-Dubois et Maguy Andral, figures incontournables de l’ethnomusicologie au Musée des Arts et Traditions populaires, collectent un matériel d’étude d’une grande richesse et d’une grande diversité, abordant les pratiques musicales, la facture et l’organologie sur la presque totalité du territoire métropolitain français et dans certaines terres d’outre-mer. À la veille de redéployer ses collections à Marseille, le Musée des Arts et Traditions populaires (devenu MuCEM en 2005) lance une vaste opération de sauvegarde des archives. L’article apporte un éclairage particulier sur les archives ethnomusicologiques qui tiennent, dans cet ensemble, une place éminente. Dans le cadre d’un partenariat entre les Archives nationales, une équipe du IIAC (laboratoire d’anthropologie CNRS-EHESS) et MuCEM, la numérisation des archives écrites, des photographies et des enregistrements sonores, est en voie d’achèvement, prochainement accessibles sur Internet. L’éventail des possibilités d’interrogation et d’exploitation qu’ouvrira la dématérialisation d’un fonds sans équivalent pour l’ethnomusicologie en France est très vaste.

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Дисертації з теми "MuCEM"

Alfonso, Romero Rebeca. "Enjeux politiques de la création/rénovation des musées nationaux de société. Étude comparative : le Musée de la civilisation de Québec, le Musée des civilisations de l'Europe et de la Méditerranée (MuCEM) de Marseille et le Tropenmuseum d'Amsterdam." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL154.

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Анотація:

Le musée national est défini comme pilier de la construction de l'imaginaire national de l'État moderne. Parmi ces musées, les musées de société abritent des collections (ethnologiques, historiques, d'art populaire) et élaborent des discours qui sont le reflet des valeurs légitimes de la vie en société. Depuis les années 1990, un phénomène de création/rénovation de musées se développe dans le cadre de la haute mondialisation et de l'évolution administrative et politique des États. Notre recherche analyse trois processus récents de création/ rénovation de musées nationaux de société : le Musée de la civilisation de Québec, Canada ; le Musée des civilisations de l'Europe et de la Méditerranée (MuCEM) de Marseille, France ; et le Tropenmuseum d'Amsterdam, Pays-Bas. Nous comparons ces processus en nous appuyant sur l'étude des archives nationales et selon quatre axes : historique, attributs politiques, dynamiques spatiales, rénovation/création. Nous proposons trois nouvelles approches de la construction de l'imaginaire national : patrimonial, stratégique ou symbolique
National museum is defined as a pillar in the construction of the national imaginary of the modern State. Among these museums, museums of society take in charge collections (ethnological, historic, folk art) and develop discourses that reflect the legitimate values of society. Since the 1990s, a phenomenon of museum creation/renovation has been developing in the context of Late Globalisation and the administrative/political evolution of the State. Our research analyses three recent processes of creation/renovation of national museums of society: the Museum of civilization in Quebec, Canada; the Museum of European and Mediterranean Civilizations (MuCEM) in Marseille, France; and the Tropenmuseum in Amsterdam, in the Netherlands. We compare these processes on the base of the study of national archives and following four axes (history, political issues, spatial dynamics renovation/creations). We propose three new approaches of the construction of the national imaginary (patrimonial, strategic or symbolic)

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Timm, Elisabeth. "Partizipation." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-172654.

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Im Kuratieren von kulturhistorischen Museen, aber auch in den Häusern anderer Sparten haben sich seit den 1970er Jahren die Ideale und Formen des Ausstellens vom repräsentativen zum relationalen Arbeiten gewandelt. „Performing the museum“ [Garoian 2001] lautet dieses Modell und Programm einer neuen, offener angelegten Kontaktnahme von Museum und Publikum. Dabei fungieren Praxis, Performanz, Bewegung und Partizipation als Formen der Begegnung von Publikum, Institution und Exponaten in Museen und Ausstellungen oft per se als kritische/s Form/at, als Irritation von Hegemonie, als Attacke auf mächtige Repräsentationen, als entblößende Strategie gegen die falsche Allgemeinheit von fixiertem Wissen.

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Timm, Elisabeth. "Partizipation: Publikumsbewegungen im modernen Museum." map - media archive performance ; 2014/5 (E-Journal, URL: http://www.perfomap.de, ISSN 2191-0901), 2014. https://slub.qucosa.de/id/qucosa%3A5471.

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Al, Hafez Abdul Munem [Verfasser], H. J. [Akademischer Betreuer] Feren, Matthias [Akademischer Betreuer] Liess, and Gunter [Akademischer Betreuer] Reuter. "Subletale Wirkungen von Fenvalerat auf Non-Target-Insekten nach Kurzzeitexposition : morphologische und physiologische Effekte bei Drosophila melanogaster Meigen (1830) / Abdul Munem Al Hafez. Betreuer: H.-J. Feren ; Matthias Liess ; Gunter Reuter." Halle, Saale : Universitäts- und Landesbibliothek Sachsen-Anhalt, 2013. http://d-nb.info/104265722X/34.

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Pagani, C. "POLITICHE DI RICONOSCIMENTO NEI MUSEI DI ETNOGRAFIA E DELLE CULTURE NEL XXI SECOLO." Doctoral thesis, Università degli Studi di Milano, 2014. http://hdl.handle.net/2434/237459.

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Анотація:

Seguendo un approccio genealogico e alla luce delle teorie sul multiculturalismo, questo lavoro analizza il museo in quanto istituzione pubblica nazionale, fabbrica di identità, strumento dello Stato-nazione e luogo di esercizio delle politiche di riconoscimento. Oggetto di tale ricerca è il museo di etnografia e delle culture che dagli anni ’80 è testimone di numerose critiche e di una crisi di identità, dovuta alla sua eredità coloniale e alla sua missione anacronistica in un contesto postcoloniale e globalizzato. In seguito ai movimenti dei popoli indigeni e allo sviluppo di norme internazionali relative alla diversità culturale e alla restituzione dei beni culturali promosse dalle agenzie delle Nazioni Unite quali l’UNESCO e dalle istituzioni europee, i musei di etnografia sono diventati teatri in cui si negoziano e si costruiscono le identità e in cui si mediano le domande di riconoscimento. Si sono così adottate delle nuove strategie istituzionali per superare il modello etnografico e la chiave di lettura essenziale per interpretare e comprendere questo cambiamento di paradigma è il principio di riconoscimento. Seguendo una prospettiva pluridisciplinare e attraverso casi studio in Europa e negli Stati Uniti, questo lavoro intende costruire un ponte tra la filosofia politica e la museologia. Propone così un’analisi di differenti istituzioni secondo quattro principi di riconoscimento concernenti il caso dei popoli indigeni, il rapporto all’universalismo, la relazione alla storia coloniale e la globalizzazione.
Through a genealogical approach and in the context of theories on multiculturalism, this work intends to analyse museums as public institutions, builders of identity, nation-state instruments and venues for the exercise of politics of recognition. The following research focuses on ethnographic and cultural museums, which have subject to criticism since the 1980's due to their colonial legacy and anachronic mission in today's global and post-colonial world. Thanks to indigenous people movements and the development by European institutions and UN agencies such as UNESCO of international norms on cultural diversity and return of cultural property, museums have turned into theatres where indentities are built and claims for recognition are negotiated. As a result, new institutional strategies have been adopted in order to go beyond the ethnographic approach. The principle of recognition is key to understand this paradigm shift. Following a pluridisciplinary approach and through case studies in Europe and in the United States, this work aims at building a bridge between political philosophy and museum studies. It proposes an analysis of various institutions based on four principles of recognition in relation to indigeneous peoples, universalism, colonial history and globalisation.
À partir d’une approche généalogique et à la lumière des théories sur le multiculturalisme, ce travail analyse le musée en tant qu’institution publique nationale, fabrique d’identités, instrument de l’État-nation et lieu d’exercice des politiques de reconnaissance. L’objet de cette recherche est le musée d’ethnographie et des cultures qui depuis les années ’80 a été témoin de nombreuses critiques et d’une crise d’identité, du fait notamment de son héritage colonial et de sa mission anachronique dans le contexte du monde postcolonial et globalisé d’aujourd’hui. Suite aux mouvements des peuples autochtones et au développement des normes internationales relatives à la diversité culturelle et au retour des biens culturels promues par différentes agences des Nations Unies comme l’UNESCO ainsi que par les institutions européennes, les musées d’ethnographie sont devenus des théâtres où se négocient et se construisent des identités et où s’arbitrent les demandes de reconnaissance. De nouvelles stratégies institutionnelles ont ainsi été adoptées afin de dépasser le modèle ethnographique. Le principe de reconnaissance est notamment une clé de lecture essentielle pour interpréter et comprendre ce changement de paradigme. En suivant une perspective pluridisciplinaire et à travers des études de cas en Europe et aux États-Unis, ce travail vise à établir une passerelle entre la philosophie politique et la muséologie. Il propose ainsi une analyse de différentes institutions selon quatre principes de reconnaissance concernant le cas des peuples autochtones, le rapport à l’universalisme, la relation à l’histoire coloniale et la globalisation.

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Wu, Li-Yun, and 吳莉筠. "The Influence of Art Musem Vistor’s Motivations and Leisure Constraints On Participation Willingness." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/j6r84d.

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碩士
臺中技術學院
流通管理系碩士班
99
Purpose: This research aims to study how the leisure motivations and constraints of visitors to National Taiwan Museum of Fine Arts would influence the participation willingness”. Design/methodology/approach: The principal component analysis was made to find the factors of visitor’s motivations and leisure constraints. In addition, the binary regression was employed to analyze the influence of vistor’s motivations and leisure constraints on participation willingness. Findings: The visitor’s leisure motivations include developing interpersonal relationships, the museum’s attraction, the artistic atmosphere, and the provision of physical and mental relaxation. The leisure constraints include lacking companionship, having no time, the museum’s inconvenient location, and bad experiences in the past. The research results reveal that both of leisure motivations and constraints have significant influences on the participation willingness. Specially, the significant factors of motivations are museum’s attraction, the artistic atmosphere, and the provision of physical and mental relaxation; and the one of leisure constraints is lacking companionship. Besides, the influence of personal attributes on participation willingness is trivial. Originality/value: This research would serve as a reference for future researchers regarding “how the visitor’s motivations and leisure constraints would influence the participation willingness”. In addition, this thesis could help the museum in adjusting the plans of future promotional activities.

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Brzobohatá, Dana. "Přátelství mezi heterosexuální ženou a homosexuálním mužem a jeho vliv na sociální konstrukci identit." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-321898.

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The thesis deals with a friendship between heterosexual woman and homosexual man, the way it is created, the way it is maintained and the threats it has to face. The thesis defines the meaning of essential theoretical concepts such as gender, sexuality, friendship or intimacy and trust. It is based on ten semi-structured interview with women who define the relationship with their gay friends as a close one. It reflects ways, how gender and sexual identities are negotiated in the friendship, puts friendship with a gay man into a broader context of friendly relationships in a heteronormative society and traditional binary oppositions of feminine and masculine. The thesis also looks into strategies of how the informants construct their own identity, identity of their gay friend ad where they place the boundaries of this relationship.

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Bednaříková, Petra. "Pojetí vztahů mezi mužem a ženou v mravněvýchovném prozaickém cyklu Šimona Lomnického z Budče." Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-336712.

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This diploma thesis deals with life and work of a pre-White Mountain period poet, prosaist and dramatist Šimon Lomnický of Budeč, taking the period criticism into account. The thesis focuses on his ethical series, especially the work Kupidova střela, whose central motive is the relationship between a man and a woman. With regard to Lomnický's frequent use of exempla, this term is defined, along with the brief historical development of exemplum. Next the thesis deals with the exemplum in the context of the given ethical series. The key chapter called The Approach to Relationships between Man and Woman depicts Lomnický's conception of marriage, incest, sodomic sin and a revenge as well. Within this chapter the typology of men's and women's characters is given, those who appear in Kupidova střela.

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Chuang, Hsiao-Yi, and 莊小逸. "Main Strength of Human Resource in a Local Musem: A Case Study of Museum Volunteer in Peng-hu County." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/48872096369673771325.

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碩士
國立臺南藝術大學
博物館學研究所
94
Abstract Most of the local museums in Taiwan have been produced through the cultural policy of the government. We can trace back to the Cultural Project added into the Plan of 12 National Constructive Projects in 1977. This first and unique cultural policy ever happened for local people in Taiwan has established a cultural center for each county, and it started a new model of public local museums which has continued until the latest 6-year Project of “Local Cultural Museum” in 2002. This happening of a local museum in Taiwan is not building on the needs of local residents, and the handling of these museums is under control through one of the public employees in its local government, and the financial supports are received mainly from central government and partial from local government. The situation in lack of the professional technique and knowledge is easier to make up by some local enthusiastic scholars and residents, in addition to the local knowledge of its residents. In this case study, we expect that the engagement of civil right as volunteers in local museums, can be helpful for the practice of local museums in Penghu. This is the philosophy that I intended to discuss about the problems led from the process of volunteer training program for Peng-hu local museums. They are following: 1. Relationship between museums and volunteers; 2. Limitation that local museums encountered during the developing of volunteer policy; 3. Role of a professional manager of volunteers between the museums and the volunteers. Through this case study, three purposes are expecting: 1. Rethinking the attitude toward the policy, recruit, and management of volunteer; 2. Defining position and job-description of a museum professional working as a volunteer manager in local museums; 3. Providing consultation and self-learning chances in a volunteer’s projects. A continuing courses of professional training has being held by the Bureau of Culture of Peng-hu for volunteers from 2003 to 2005. My participation started from the very beginning of investigation, training program, and I turned out as being a volunteer manager in the Bureau. This chance formed the experience and the methodology of my participant research in this case. I divided the discovery of this case study into three parts: 1. Resources of a local museum: participation of local cultural groups, school teachers, retired technicians as museum volunteers will enhance local identity. 2. Professional technique and knowledge of a volunteer manager will influence the policy, recruit, and management of volunteer; 3. Examining the different needs of volunteers in the process of recruiting and training, it will be helpful for maintaining the supports from local volunteers. There are some suggestions at the end of this thesis. Besides to set up a higher standard of excellent performance by an evaluation system in local museums and a volunteer training program suitable for local knowledge, it needs to take a further consideration on the meaning of civil engagement in local museum.

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Řezanková, Jana. "Realismus a impresionismus v románu Hermana Banga U cesty (1886) a nový realismus v románu Helle Helleové Představa o nekomplikovaném životě s mužem (2002). Proměny realistické metody se zvláštním důrazem na vypravěče." Master's thesis, 2008. http://www.nusl.cz/ntk/nusl-294037.

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Pojem realismus obsahuje velké množství významů. To je dáno především tím, že se jeho defmice zakládají na velmi vágních a jen obtížně vymezitelných výrazech, jako jsou pravda, objektivní nebo skutečnost. Tradičně je realismus vnímán jako obecně estetický pojem a spojován právě s objektivitou, pravdivostí a věrností skutečnosti. Důležitou úlohu v něm tedy sehrává i mimese, tj. napodobení skutečnosti. S realismem je spojována metonymická metoda zobrazení. Literární historici jako realismus vymezují buď jednotlivá období v dějinách, kdy se v literatuře uplatňuje realismus jako obecně estetický princip, nebo realismem rozumí pouze období 19. století, v němž vrcholí snaha o co největší objektivitu ve zobrazení současného života a osob celého společenského spektra. Jeho zástupcem je právě Herman Bang. Oproti tomuto realismu 19. století se pak pomocí různých přívlastků vymezují období ve 20. století, kdy v literatuře opět převládá snaha o objektivní, pravdivé zobrazení skutečnosti. V Dánsku je to např. nový realismus (nyrealisme) devadesátých let 20. století a prvního desetiletí 21. století s představitelkou Helle Helleovou.

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Книги з теми "MuCEM"

Musée des civilisations de l'Europe et de la Méditerranée à Marseille, ed. Document bilingue: Réserves & collections, un autre Mucem. Paris: Manuella éditions, 2017.

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Roland, Carta, and Ricciotti Lisa, eds. Le MuCEM: Musée des civilisations de l'Europe et de la Méditerranée. Marseille: Frère, 2013.

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Arnold, Françoise. Musée des civilisations de l'Europe et de la Méditerranée - MuCEM: Rudy Ricciotti architecte. Paris: Archibooks + Sautereau éditeur, 2013.

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Baptiste, Brun, Marquette Isabelle, Musée des civilisations de l'Europe et de la Méditerranée à Marseille, Musée d'ethnographie de la ville de Genève, and Institut Valencià d'Art Modern, eds. Jean Dubuffet, un barbare en Europe: Mucem de Marseille, MEG Genève, IVAM de Valence. Paris: Société française de promotion artistique, 2019.

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Colloque international "Villes en Méditerranée au Moyen Âge et à l'époque moderne" (2014 Aix-en-Provence, France; Marseille, France). Entre deux rives: Villes en Méditerranée au Moyen Âge et à l'époque moderne : actes du colloque international, Aix-Marseille (MMSH-MuCEM), 24-27 septembre 2014. Aix-en-Provence: Presses universitaires de Provence, 2018.

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Zygmunt, Wichrowski, and Mikołajczyk Mirosław, eds. Świat murem nie oddzielony. Szczecin: Szczecińskie Wydawn. Archidiecezjalne "Ottonianum", 2001.

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Wyzina, Wojciech. Kierków: Zabytek za kamiennym murem. Chrzanów: Muzeum w Chrzanowie, 2005.

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Zagórna, Teresa. Jak jest za tym murem? Warszawa: Wydawn. Prawnicze, 1987.

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Bojić, Lazar. Pami︠a︡tnik ̋mužem ̋ slaveno-serbskom ̋ knižestvu slavnym ̋. Novi Sad: Prometej, 1994.

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Palma, Gerardo Pasos. Joaquín Mucel y el constitucionalismo en Campeche. Campeche, México: Gobierno del Estado de Campeche, Comité Organizador de la Conmemoración del Bicentenario del Inicio del Movimiento de Independencia Nacional y del Centenario del Inicio de la Revolución Mexicana, 2010.

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Більше джерел

Частини книг з теми "MuCEM"

Gameiro, José. "MuCEM – Museum of European and Mediterranean Civilisations." In Revisiting Museums of Influence, 165–68. Abingdon, Oxon ; New York : Routledge, [2021]: Routledge, 2020. http://dx.doi.org/10.4324/9781003003977-37.

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Gazon, Gérard. "Museum of European and Mediterranean Civilizations (MuCEM): The Owner's Ambition." In Designing and Building with UHPFRC, 481–86. Hoboken, NJ USA: John Wiley & Sons, Inc., 2013. http://dx.doi.org/10.1002/9781118557839.ch32.

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Ricciotti, Rudy, Jacques Portelatine, and Florence Nicolas. "Museum of European and Mediterranean Civilizations (MuCEM): High UHPFRC Content Structure Design." In Designing and Building with UHPFRC, 487–500. Hoboken, NJ USA: John Wiley & Sons, Inc., 2013. http://dx.doi.org/10.1002/9781118557839.ch33.

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Rivillon, Philippe, Jacques Portelatine, and Florence Nicolas. "Museum of European and Mediterranean Civilizations (MuCEM) : Experimentation and Modeling of Straight and Y-shaped UHPFRC Prestressed Columns Under the Action of an Off-Centered Vertical Load." In Designing and Building with UHPFRC, 501–28. Hoboken, NJ USA: John Wiley & Sons, Inc., 2013. http://dx.doi.org/10.1002/9781118557839.ch34.

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Giovanangeli, Angela. "Shaping Mediterranean Geographies." In Urban Bridges, Global Capital(s), 101–20. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789628111.003.0007.

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This chapter discusses the Musée des Civilisations de l'Europe et de la Méditerranée (MuCEM) shaping the narratives of Mediterranean countries and cultures. The national museum's opening continued the ongoing dialogue on practices and people of the Mediterranean region. The MuCEM focuses on the connection of the Mediterranean to Europe. The rise of European museums covering transnational narratives also coincides with the European Union's political, economic, and social developments. Additionally, present-day urban strategies invest in building a local identity in Marseille as proof that a modern economic city is locally linked to its inhabitants. The museum presented the Mediterranean as a region with a parochial outlook valuing the locals.

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"MuCEM in Marseille – Haut und Knochen aus ultrahochfestem Beton / MuCEM in Marseille – Diaphanous and Structural Applications of UHPC." In Best of Detail: Beton/Concrete, 50–57. DETAIL, 2016. http://dx.doi.org/10.11129/9783955532871-010.

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"Vom MNATP zum MuCEM. Von Paris nach Marseille." In Jahrbuch für Europäische Ethnologie. Dritte Folge 6- 2011, 9–18. Verlag Ferdinand Schöningh, 2011. http://dx.doi.org/10.30965/9783657773305_003.

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Winter, Bronwyn. "A Mediterranean Bazaar." In Making Waves, 141–54. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620429.003.0010.

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Marseille, France’s second largest city, was one of the two European ‘capitals of culture’ in 2013. The MuCEM, a museum dedicated to the idea of ‘The Mediterranean’ and its diverse cultures, opened on 7 June 2013 as one of the centrepiece’s of Marseille’s capital of culture stint. One of the MuCEM’s two inaugural temporary exhibitions was “Au Bazar du Genre” (at the Gender Bazaar). It was dedicated to exploring the recent history of feminist—and LGBT—challenges to the order of male domination in the twenty-one countries that surround the Mediterranean Sea. The expression ‘bazar’ is ambiguous in French. It calls up a mythified popular culture of the Mediterranean at the same time as it refers, in familiar parlance, to a mess or an assemblage of paraphernalia. This double entendre is surely deliberate, as ‘messing with gender’ is an explicit brief of the exhibition. At the same time, the choice of title leaves the curators of the exhibition open to the critique of bittiness. This chapter discusses these various facets of the exhibition and reactions to it in France, as an example of a certain institutionalisation of feminist memory that has both salutary and problematic aspects.

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"Collecting Contemporary Items to Study and Exhibit Social Issues Experiences of the MuCEM, Marseilles, France." In What’s Missing?, edited by Iris Edenheiser, Elisabeth Tietmeyer, and Susanne Boersma, 84–91. Dietrich Reimer Verlag, 2020. http://dx.doi.org/10.5771/9783496030430-84.

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Deramond, Julie, and Nolwenn Pianezza. "Exhibiting the Mediterranean Diet in a French Museum: The Case of Le Grand Mezzé at the Mucem." In The Bloomsbury Handbook of Food and Material Cultures. Bloomsbury Academic, 2023. http://dx.doi.org/10.5040/9781350148338.ch-013.

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Тези доповідей конференцій з теми "MuCEM"

Rolland-Villemot, Bénédicte. "Les éphémères dans le catalogue des collections du Musées des civilisations de l'Europe et de la Méditerranée (MuCEM)." In Les éphémères, un patrimoine à construire. Fabula, 2015. http://dx.doi.org/10.58282/colloques.2898.

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Fischnaller, Franz. "Virtual journey through the history of Fort Saint Jean, Marseille (VJ-FSJ Project) : Case Study: New Media exhibit at the Musée des civilisations de L’Europe et de la Méditerranée (MuCEM)." In 2018 3rd Digital Heritage International Congress (Digital Heritage) held jointly with 2018 24th International Conference on Virtual Systems & Multimedia (VSMM 2018). IEEE, 2018. http://dx.doi.org/10.1109/digitalheritage.2018.8810134.

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Kishimoto Pinillos, Jorge Manuel, and Claudia Stephanie Sánchez Salazar. "La mediación cultural digital en el ámbito educativo: Los programas educativos del MUCEN como un recurso pedagógico en tiempos de pandemia." In Congreso CIMED - I Congreso Internacional de Museos y Estrategias Digitales. Valencia: Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/cimed21.2021.12462.

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El Museo Central (MUCEN) es la red de museos del Banco Central de Reserva del Perú, la cual cuenta con cinco sucursales a nivel nacional. El MUCEN es un espacio cultural, que busca contribuir al fortalecimiento de la ciudadanía a través de su enfoque pedagógico y cuyos programas educativos, desarrollados para las sucursales de Lima, han beneficiado a más de 28.000 estudiantes de escuelas públicas y privadas en el año 2019.La pandemia de la COVID-19 transformó las dinámicas entre los museos y sus comunidades permitiendo la creación de nuevos espacios de interacción y encuentro desde lo digital. En este contexto, el MUCEN realizó un diagnóstico a través de una encuesta para fortalecer sus vínculos con la comunidad docente y así responder a las necesidades de recursos educativos digitales para afrontar la complejidad de la educación en remoto.La presente comunicación explorará los casos de digitalización de los programas educativos del Museo Central que respondieron al desafío de la interacción digital. Esta propuesta educativa integral está vinculada al Currículo Nacional de la Educación Básica y consta de una serie de recursos audiovisuales que buscan incentivar el diálogo, la creación y los nuevos aprendizajes, así como herramientas y materiales pedagógicos (guía docente y fichas educativas) diseñados para que los docentes asuman el rol de mediadores culturales en clase.Los contenidos de estos materiales han sido desarrollados utilizando las herramientas de la mediación cultural y las metodologías pedagógicas del aprendizaje basado en objetos y la formulación de preguntas. Estas permitieron la adaptación y reestructuración de los programas educativos existentes y la creación de nuevos recursos.En el año 2020, se desarrollaron los programas educativos “Cosmovisiones” y “Nuestra vestimenta”. Estos invitan a recorrer el museo y explorar obras de arte peruano de la colección del MUCEN a través de una serie de videos. Ambas propuestas fomentan el respeto y la valoración a la diversidad cultural con el objetivo de construir una ciudadanía intercultural.Finalmente, se comentará a partir de la experiencia en el desarrollo y aplicación de estos programas, datos preliminares del alcance, las oportunidades y los aspectos claves en el proceso de renovación y digitalización pedagógica.

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Mishra, Rahul, Piyush Yadav, Remi Calizzano, and Markus Leippold. "MuSeM: Detecting Incongruent News Headlines using Mutual Attentive Semantic Matching." In 2020 19th IEEE International Conference on Machine Learning and Applications (ICMLA). IEEE, 2020. http://dx.doi.org/10.1109/icmla51294.2020.00116.

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Taylor, B., C. Underwood, A. Dyer, C. Ashton, S. Rason, and J. Browning. "The micro radiation environment monitor (MuREM) and SSTL radiation monitor (SSTL RM) on TechDemoSat-1." In 2011 12th European Conference on Radiation and Its Effects on Components and Systems (RADECS). IEEE, 2011. http://dx.doi.org/10.1109/radecs.2011.6131428.

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Underwood, C., B. Taylor, A. Dyer, A. Hands, K. Ryden, W. Avison, and D. Bamber. "Development of miniaturised radiation environment monitors for commercial spaceflight: Flight results from the MuREM/RM payloads." In 2016 16th European Conference on Radiation and Its Effects on Components and Systems (RADECS). IEEE, 2016. http://dx.doi.org/10.1109/radecs.2016.8093160.

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Feng, Ziling, and Peng Ji. "Cognitive friction measurement: Interaction assessment of interface information in complex information systems." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003587.

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The level of Cognitive Load (CL), which is used to react to the level of cognitive friction, is typically utilized in the study of user cognitive friction. Complex Information System (CIS) interactions include both informational and operational interaction behaviors, and Information interaction is regarded as a critical aspect in defining the quality and efficacy of system functionality. TIn order to assess Cognitive Friction (CF) and inform ensuing interface design improvement, this paper integrates numerous CL assessment aspects. First, a conceptual framework for the method is built by examining measuring metric differences and integrating them through literature research, which is then combined with the user research process in design. Second, using this framework as a reference, a comparative experiment on user CF measurement was carried out by fusing eye tracking with the cause and assessment factors of CL. Ultimately, the user was provided with the CF index under the multidimensional dimension using the Fuzzy Comprehensive Evaluation (FCE). The findings demonstrate that the Multidimensional User Cognitive Friction Measuring (MUCFM) approach may more accurately capture the degree of CF in the information interaction of CIS interfaces. The viability of the comparative integration method is confirmed by eye tracking tests.

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Ulisses, Isabella Feitosa Pita, Amanda Santiago Moura, Amanda Viana Ferreira, and Silvia Fernandes Ribeiro da Silva. "A CONSEQUÊNCIA DA PANDEMIA NOS HÁBITOS SAUDÁVEIS DOS BRASILEIROS." In I Congresso Brasileiro de Saúde Pública On-line: Uma abordagem Multiprofissional. Revista Multidisciplinar em Saúde, 2022. http://dx.doi.org/10.51161/rems/3308.

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Introdução: Nos últimos dois anos, a população brasileira teve que se adequar a um novo estilo de vida para evitar a transmissibilidade do SARS-CoV-2 e minimizar a alta taxa de mortalidade da COVID-19, que vitimou cerca de 642 mil brasileiros. Objetivo: Analisar a influência da pandemia no contexto da qualidade de vida dos brasileiros. Métodos: Revisão de literatura a partir da busca ativa de artigos publicados em 2020 e 2021 nas plataformas Scielo e PubMed, que abordassem a alteração no estilo de vida, hábitos saudáveis da população durante a pandemia da COVID-19. Foram utilizados 4 artigos para a presente revisão. Resultados: Os estudos mostram que houve uma mudança súbita e significativa no estilo de vida das populações em decorrência das medidas de distanciamento social, lockdown, educação on-line e home office. Foi observado redução de 18,1% da prática de atividades físicas devido ao fechamento das academias e a inacessibilidade da população à equipamentos de ginástica em praças públicas e praias. Como consequência, cerca de 52% dos brasileiros aumentaram de peso durante a pandemia. A ansiedade, o estresse e a apatia mental foram também fatores preponderantes na mudança dos hábitos saudáveis, uma vez que houve aumento de 17,6% e 34% do consumo de bebidas alcoólicas e tabaco, respectivamente. Além disso, o ócio instalado durante o distanciamento social e a fragilidade emocional influenciaram o hábito alimentar saudável, devido a diminuição da ingestão de hortaliças e aumento do consumo de alimentos ultraprocessados. Ao contrário do Brasil, na Itália houve aumento de 93,7% no consumo de verduras, onde buscou-se alimentos saudáveis diante das complicações da COVID-19 na população. As atividades trabalhistas e estudantis foram reestruturadas para a forma remota, o que aumentou, principalmente entre adultos jovens, o tempo diante de computadores e celulares, com consequente aumento do estresse e ansiedade. Conclusão: Houve um agravo significativo na qualidade de vida da população brasileira durante a pandemia. Diante dessa evidência, faz-se necessário implantar medidas que mudem os maus hábitos adquiridos para evitar o colapso futuro de doenças crônicas.

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Borsotti, Marco. "From the invisible from the everyday, the unmentionable towards narrative strategies to explain, understand, remember. New Perspectives on Cultural Preservation." In Systems & Design: Beyond Processes and Thinking. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/ifdp.2016.3211.

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This proposal takes into consideration three categories of unusual narrative, connected to human life - the invisible, the everyday and the unmentionable - often placed in the outer fringe of our attention or completely ignored. The invisible: that which inhabits our world and often influences our lives, even though escaping our awareness because active in dimensions that we cannot see or do not know to guess. The everyday: what accompanies us in every moment of our lives and that produces in us a habit that makes it obvious (and then again, but otherwise invisible). The unmentionable: what happened at some time and somewhere, and the memory of which, for convenience, hypocrisy or convenience, has been removed or put on the edge of our life (and therefore to the visible limits), These categories have been chosen because of paradigmatic of new experiences on Cultural Preservation. The comprehension of the fundamental value of intangible cultural heritage, which came less than ten years ago to be part of the definition of "museum" written by ICOM (International Council of Museums), indeed, has opened new perspectives in the field of curating and of exhibition design, often destabilizing and unexpectedly coincident. Therefore we needs updated languages, more interactive and interdisciplinary towards the construction of a real design of the intangible cultures, able to reflect (and make reflect) on at first sight marginal phenomena, preserving their value of social and historical testimony and making it comprehensible to an audience as broad as possible. The new methods of staging these tales turn the apparent immateriality of knowledge of their socio-cultural values into occasion of development solutions, in form of exhibition design products and related services. We will examine as case studies, among others: for the invisible - l’Amterdam Micropia Musem (ART+COM studios), the World Water Museum (Keti Haliori), the Water Museum (P-06 atelier); for the everyday - the Museum of Broken Relationships (Vištica and Grubišić), the Museum of Obsolete Objects (Jung von Matt), The Museum of Everyday Life (Tidens Samling) for the unmentionable - the Museo Laboratorio della Mente (Studio Azzurro), the Memoria y Tolerancia Museum (Arditti+RDT).DOI: http://dx.doi.org/10.4995/IFDP.2016.3211

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