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1
Cury, Marilia Xavier. "Lições indígenas para a descolonização dos museus: processos comunicacionais em discussão / Indigenous people's lessons for decolonizing museums: communication processes under discussion." Cadernos CIMEAC 7, no. 1 (July 11, 2017): 184. http://dx.doi.org/10.18554/cimeac.v7i1.2199.
Повний текст джерелаАнотація:
Os museus passam por transformações, novas funções se reorganizam e novos desafios são levados a essa instituição. Após anos de crítica da sociedade e academia ao museu, pela forma fechada como operava e interpretava coleções, há um movimento de transformação. Os processos de descolonização do museu etnográfico vêm trazendo grandes avanços, também porque essa categoria de museu passa pelo processo de indigenização. A comunicação museológica tem papel preponderante tanto na descolonização quanto na indigenização, pois promove o diálogo entre profissionais de museus e indígenas. O artigo apresenta situações em que o museu, em fase de transição entre modelos, é analisado pela Comunicação, considerando o deslocamento dos meios para as mediações, ou seja, do museu para a cultura, no caso tratado as culturas Kaingang, Terena e Guarani Nhandeva, tendo como locus o oeste do estado de São Paulo. Os resultados da ação de comunicação museológica revelam dois aspectos a serem aprofundados pelo museu: a política de gestão de acervo e a ressacralização do museu.Palavras-chave: Indígenas no Oeste Paulista; Políticas museais; Descolonização dos museus. ABSTRACT: Museums are undergoing changes, new roles are created for, and new challenges are posed to those institutions. After years of criticism levelled by society and academia at museums for the closed manner in which they ran and interpreted collections, a transformation is now underway. The decolonization of ethnographic museums has made major advances, especially because this type of museum is currently being indigenized. Museal communication plays a key role both in decolonization and indigenization, because it fosters dialogue between museum professionals and indigenous people. The article describes situations where museums, which are undergoing a transition between different models, are analyzed by Communication, considering the move from the means to mediation, in other words, from museums to culture, specifically the cultures of the Kaingang, Terenaand and Guarani Nhandeva indigenous people who live in the west of the state of São Paulo. The results of the museal communication initiative show two aspects to be explored by museums: The collection management policy and the renewed sacralization of museums.Keywords: Indigenous people in the west of the state of São Paulo; Museum policies; Decolonizing Museums.
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Borges, Priscila Lopes d'Avila. "Museu Imperial: narrar entre as reticências da memória e as exclamações da História." Revista Discente Ofícios de Clio 5, no. 8 (October 14, 2020): 187. http://dx.doi.org/10.15210/clio.v5i8.19023.
Повний текст джерелаАнотація:
O presente trabalho propõe a análise dos discursos produzidos na visita guiada do Museu Imperial (Petrópolis-RJ), bem como o estudo de elementos materiais da exposição permanente da instituição. A composição hegemônica formulada pelo museu, como retrato da sociedade oitocentista, promove silenciamentos ensurdecedores acerca de temas sensíveis da história do Brasil, restringindo a percepção dos visitantes. O artigo indica alguns desafios do uso pedagógico de museus históricos. Em seguida, apresenta dados coletados em visitas observadas em pesquisa de campo, entre os anos de 2017 e 2018, com o objetivo de esclarecer a natureza hegemônica das narrativas do setor educativo e da exposição permanente do museu. Finalmente, aborda dificuldades cognitivas do público escolar, decorrentes da atual relação social com o tempo, no uso do patrimônio material e memória coletiva reforçada por museus históricos, superando as fronteiras expográficas.Palavras-chave: Ensino de história; Museus históricos; Educação museal; Museu Imperial.Abstract The present article proposes an analysis of the speeches produced in the guided tour of the Museu Imperial (Petrópolis-RJ), as well as the study of the material elements of the permanent exhibition of the institution. The hegemonic composition formulated by the museum, as a portrait of 19th century society, promotes deafening silences about sensitive themes in the history of Brazil, restricting the perception of visitors. The article indicates some challenges of the pedagogical use of historical museums. After that, it presents some data collected in visits observed in field research, between the years 2017 and 2018, in order to clarify the hegemonic nature of the narratives of the museum's educational sector and permanent exhibition of the museum. Finally, it approaches cognitive difficulties of the school public arising from the current social relationship with time, in the use of material patrimony and collective memory reinforced by historical museums, overcoming expographic boundaries.Keywords: History teaching; Historical museum; Museum education; Museu Imperial.
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Teixeira de Vargas, Márcia Isabel, and Andréia Von Hausen Bederode Becker. "POLÍTICA NACIONAL DE EDUCAÇÃO MUSEAL – PNEM: MUSEUS, EDUCAÇÃO E REDES." Revista Docência e Cibercultura 3, no. 2 (September 1, 2019): 176–98. http://dx.doi.org/10.12957/redoc.2019.44362.
Повний текст джерелаАнотація:
ResumoEste artigo apresenta uma análise do cenário emergido com a efetivação da Política de Educação Museal (PNEM), temática principal, e a participação das Redes de Educadores em Museus, vivenciadas pelos sujeitos da dinâmica educacional em instituições culturais desde a sua concepção. Relata a participação da Rede de Educadores em Museus do Rio Grande do Sul (REM-RS), na elaboração compartilhada do Programa de Educação Museal, no período de 2012 a 2017. Tem o objetivo de evidenciar tensões experimentadas pelo museu, a escola e por seus agentes nas atividades do setor educacional museológico. Sugere que as ações empreendidas para fomentar a incorporação da PNEM às instituições museológicas sejam efetivadas de forma articulada e com indispensável reconfiguração de acordo com os princípios e diretrizes da política pública voltada aos museus brasileiros, enquanto referencial para o setor. Destaca a Carta de Petrópolis, a Carta de Belém e a Carta de Porto Alegre documentos que demonstram a participação e as discussões, presenciais e em rede, geradas pelos profissionais efetivamente envolvidos nos processos de construção que resultaram na referida política. Conclui com relatos de experiências e atividades na formação docente no espaço museológico como forma de adequar o trabalho educacional em museus ao PNEM.Palavras-chave: Educação Museal. Redes. Rede de Educadores em Museus. Formação docente. NATIONAL POLICY OF MUSEAL EDUCATION - PNEM:Museums, Education and Networks Abstract This article presents an analysis of the emerged scenario with the implementation of the Museum Education Policy (PNEM), the main theme, and the participation of the Educator Networks in Museums, experienced by the subjects of the educational dynamics in cultural institutions from their conception. It reports on the participation of the Network of Educators in Museums of Rio Grande do Sul (REM-RS), in the shared elaboration of the Museum Education Program, from 2012 to 2017. Its objective is to tensions experienced by the museum, the school and its agents in the activities of the museum educational sector. It suggests that the actions undertaken to promote the incorporation of PNEM to museological institutions should be carried out in an articulated manner and with an indispensable reconfiguration in accordance with the principles and guidelines of the public policy focused on Brazilian museums, as a reference for the sector. The Petrópolis Charter, the Belém Charter and the Porto Alegre Charter emphasize the documents that demonstrate the participation and the discussions, both in person and in a network, generated by the professionals effectively involved in the construction processes that resulted in this policy. Concludes with reports of experiences and activities in teacher training in the museum space as a way to adapt the educational work in museums to the PNEM. Key words: Museum Education. Networks. Educators Network in Museums. Teacher training.
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Ferraro, José Luís Schifino, Adam Goldwater, Caroline McDonald, Melissa Guerra Simões Pires, Janet Stott, Jessica A. Suess, and M. Paul Smith. "Connecting Museums: a case study in leadership, innovation and education in university science museums leading internationalisation projects." Educação 42, no. 1 (May 6, 2019): 77. http://dx.doi.org/10.15448/1981-2582.2019.1.29526.
Повний текст джерелаАнотація:
This article reports on Connecting Museums: leadership, innovation and education in Science Museums, an international conference involving three university museums: Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), the Great North Museum: Hancock (GNM), at Newcastle University (NU), and the Oxford University Museum of Natural History (OUMNH). The partnership started with a project to develop a joint exhibition on the theme of evolution organised by MCT-PUCRS and GNM, supported by the British Council’s Newton Fund (Institutional Skills 2016). The two museums shared the project at the UK University Museums Group (UMG) conference in 2016, where it came to the attention of colleagues at OUMNH. Following the UMG conference, the leadership and education teams of the three museums opened a dialogue to exchange knowledge and experience on leadership, innovation and education in science museums. This culminated in the first Connecting Museums conference in Porto Alegre, Brazil in October 2017. The conference was attended by 81 professionals, researchers, undergraduate and graduate students with interests in museology, the natural sciences and related areas. *** Connecting Museums: um estudo de caso sobre liderança, inovação e educação em museus de ciências universitários liderando projetos de internacionalização ***Este artigo constitui-se de um relato sobre o Connecting Museums: liderança, inovação e educação em Museus de Ciências, uma conferência internacional envolvendo três museus universitários: o Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), o Great North Museum: Hancock (GNM), da Newcastle University (NU) e o Oxford University Museum of Natural History (OUMNH). A parceria entre as instituições iniciou-se a partir de um projeto para o desenvolvimento de uma exposição conjunta, organizada pelo MCT-PUCRS e pelo GNM financiada pelo Newton Fund por meio do edital Institutional Skills 2016 promovido pelo British Council. Os dois museus apresentaram o projeto na conferência do University Museum Group (UMG) em 2016 no Reino Unido, despertando a atenção de colegas do OUMNH. Após a conferência, as equipes de gestão e de educação dos três museus iniciaram um diálogo que culminou na troca de conhecimentos e experiências nas áreas de liderança, inovação e educação em museus de ciências. Este diálogo resultou na primeira edição da conferência Connecting Museums em Porto Alegre, Brasil, em outubro de 2017. Participaram do evento 81 profissionais, entre pesquisadores e alunos de graduação e pós-graduação, cujo interesse estava relacionado à museologia, ciências naturais e áreas correlatas.Palavras-chave: Museus de ciência. Liderança. Inovação. Educação em ciências. Internacionalização.
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Hanif, Asyharudin, Ihfadz Lucky Alfa Saputra Lucky Alfa Saputra, Dewi Putri Mardiana Putri Mardiana, and Rangga Primadasa. "PERBANDINGAN SERVICE QUALITY MUSEUM KRETEK DENGAN MUSEUM JENANG KUDUS." Journal of Industrial Engineering and Technology 1, no. 1 (December 30, 2020): 18–24. http://dx.doi.org/10.24176/jointtech.v1i1.5619.
Повний текст джерелаАнотація:
In Kudus district, has two museums which Museum Kretek and Museum Jenang Kudus. In 2018 the number of visitors to the Museum Kretek reached 102,998 visitors, while the total visitors to the Musuem Jenang Kudus reached 397,625. The difference reaching 294,627 raises the question of how the service quality between the two museums. This study used the SERVQUAL Model method to determine the service quality of the two Musuem as well as a comparison of the service quality of the Museum Kretek and the Museum Jenang Kudus. The results of the study revealed that of the 100 reapondents who had visited the Museum Kretek and the Museum Jenang Kudus, the Museum Jenang Kudus had a better perception of service quality according to respondents. Based on the results of this study, we suggest that both museums improve service quality, especially in service quality items that get a low perception of respondents
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Silva, Rodrigo da. "Museus nas universidades ou museus universitários?: uma breve análise comparativa entre o Museu Paulista da Universidade de São Paulo (Brasil), o Pitt Rivers Museum da University of Oxford (Inglaterra) e o Museum Of Anthopology da University of British Columbia (Canadá)." Revista CPC 16, no. 32 (December 12, 2021): 9–35. http://dx.doi.org/10.11606/issn.1980-4466.v16i32p9-35.
Повний текст джерелаАнотація:
Este artigo busca comparar três museus universitários (o Museu Paulista da Universidade de São Paulo/Brasil, o Museum of Anthropology da University of British Columbia/Canadá e o Pitt Rivers Museum da University of Oxford/Inglaterra) a partir de algumas de suas dimensões: perfil institucional, modelos de gestão, financiamento e desafios presentes. O objetivo deste estudo comparativo é buscar um denominador comum que permita compreendê-los dentro da categoria “museus universitários” para além do fato de comporem estruturas universitárias. A base para este debate foi construída durante o seminário internacional Designing the Future: Management and Sustainability in Museums realizado em 2019 pelo Museu Paulista da Universidade de São Paulo em parceria com o SESC Ipiranga, no qual os três museus citados compuseram uma mesa de debate dedicada ao tema dos modelos de sustentabilidade aplicados aos museus universitários.
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Marques, Walter Rodrigues. "MEDIAÇÃO CULTURAL E ARTE/EDUCAÇÃO NÃO-FORMAL NA CAFUA DAS MERCÊS = CULTURAL MEDIATION AND NON-FORMAL ART / EDUCATION IN CAFUA DAS MERCÊS." Revista Bibliomar 20, no. 2 (December 30, 2021): 113. http://dx.doi.org/10.18764/2526-6160v20n2.2021.19.
Повний текст джерелаАнотація:
O artigo objetiva a reflexão sobre educação não-formal em espaço museológico, no sentido de desenvolver habilidades de leitura de imagens, contextualizando-as e, elaborar propostas poéticas embasadas na educação museal (não-formal) e arte/educação por meio da mediação cultural no Museu Cafua das Mercês (Museu do Negro).Tem por finalidade descrever a proposição de práticas educacionais não-formais em mediação cultural na Cafua das Mercês, integrante do complexo MHAM (Museu Artístico e Histórico do Maranhão) embasando-se na educação museal e arte/educação. A educação não-formal contribui para o crescimento cognitivo, emocional e social dos indivíduos como sujeitos de pertencimento identitário, como o que preconiza a Lei n.10.639/2003 sobre o ensino de história e cultura afro-brasileira e africana. Utilizou-se como aporte teórico, Barbosa (2009), tendo o museu como melhor possibilidade de aprendizagem do que a escola; Gohn (2015), ensino de arte não-formal; Selbach (2010), didáticas do ensino de arte; Cury (2005); Chagas (2005), espaços museológicos e a legislação pertinente ao tema. A proposição metodológica é a de realizar-se visitas mediadas aos museus e a produção de reflexão crítica por parte dos educandos e docentes. Espera-se que a partir das visitas ao Museu do Negro, haja ressignificação da visão quanto ao escravizado.AbstractThe article aims to reflect on non-formal education in a museum space, in order to develop skills in reading images, contextualizing them and developing poeticproposals based on museum education (non-formal) and art/education throughcultural mediation in the Cafua das Mercês Museum (Negro Museum). Its purpose is to describe the proposition of non-formal educational practices in cultural mediation in Cafua das Mercês, part of the MHAM complex (Artistic and Historical Museum of Maranhão) based on museum education and art/education. Non-formal education contributes to the cognitive, emotional and social growth of individuals as subjects of identity belonging, as advocated by Law n.10.639/2003 on the teaching of AfroBrazilian and African history and culture. It was used as theoretical support, Barbosa (2009), with the museum as a better learning possibility than the school; Gohn (2015), non-formal art teaching; Selbach (2010), didactics of art education; Cury (2005); Chagas (2005), museum spaces and legislation relevant to the theme. The methodological proposition is to carry out mediated visits to museums and the production of critical reflection by students and teachers. It is expected that from the visits to the Museu do Negro, there will be a redefinition of the vision regarding the enslaved.
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Bruno, Joana Sarmet Cunha. "O Museu de Arte Contemporânea de Niterói, RJ: uma estratégia de promoção da imagem da cidade." Revista Brasileira de Estudos Urbanos e Regionais 4, no. 1/2 (May 31, 2002): 91. http://dx.doi.org/10.22296/2317-1529.2002v4n1-2p91.
Повний текст джерелаАнотація:
Esse artigo discute o papel da cultura nos atuais projetos de renovação urbana, analisando o uso contemporâneo dos novos museus na tentativa de promover uma imagem positiva para as cidades. Trata-se de estudar o papel dos equipamentos culturais no desenvolvimento urbano, visando uma elevação geral no prestígio e no capital simbólico das cidades, bem como na auto-estima e no sentimento de pertencimento da população local. Para tal, analisaremos um dos casos mais paradigmáticos em que o museu se torna símbolo, “marca registrada” da cidade em que ele foi construído: o Museu de Arte Contemporânea de Niterói, RJ. Assim, o estudo está voltado para os efeitos do MAC sobre a cidade de Niterói, abordando a relação entre urbanismo e cultura.Palavras-chave: planejamento urbano; marketing de cidades; produção de imagens; políticas culturais; novos museus. The Museum of Contemporary Art of Niterói, RJ, Brazil: A Promotion Strategy of the City ImageAbstract: This article proposes the discussion about the role of culture in the late urban renovation projects, analyzing the contemporary use of new museums in the attempt to promote a positive image to the cities. We will study the role of cultural equipment on urban development, objecting a promotion on the cities' prestige and symbolic capital, as well as on it's inhabitants self-esteem and feeling of belonging. We will analyze one on the most paradigmatic cases in which a museum becomes the symbol or the 'registered trademark' of the city it was built: the Museum of Contemporary Art of Niterói, RJ, Brazil. So, the study focuses the effects of this museum on the city of Niterói, approaching the relation between urbanism and culture.Keywords: urban planning; city marketing; image-making; cultural politics; new museums.
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Figueiró, Belisa. "Museus e ciência: revisão dos estudos históricos e das instituições na Espanha." Transições 1, no. 2 (December 14, 2020): 195–214. http://dx.doi.org/10.56344/2675-4398.v1n2a202010.
Повний текст джерелаАнотація:
Este artigo propõe uma análise dos estudos históricos de pesquisadores espanhóis sobre a criação dos museus científicos na Espanha. Como método, aplica a revisão bibliográfica dos trabalhos publicados pela revista Arbor, os quais examinam o papel da ciência e da tecnologia não apenas no propósito de instauração das próprias instituições, mas também na restauração de obras e peças museológicas, com especial atenção ao Museu de Ciência e Tecnologia de Madri e ao Instituto San Isidro. Da mesma forma, este texto aborda a interação entre o público e os museus espanhóis, reconhecendo a perspectiva da museologia crítica como uma possibilidade de aproximação entre as escolas, os visitantes e os museus.
Abstract: This article analyzes the historical studies of Spanish researchers on the creation of science museums in Spain. As a method, it applies the bibliographic review of the works published by Arbor scientific journal, which examine the role of science and technology not only in the purpose of establishing this kind of institutions, but also in the restoration of works and museum pieces, with special attention on the National Museum of Science and Technology (Madrid) and San Isidro Institute. Likewise, this text talks about the interaction between the museums and its audience, recognizing the critical museology perspective as a possibility of bringing schools, visitors and museums together.
Keywords: Science museums. Critical museology. Spain. Restoration. History.
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Ferraro, José Luís Schifino, Caroline McDonald, and Paul Smith. "Connecting museums." Revista Internacional de Educação Superior 7 (April 11, 2020): e021009. http://dx.doi.org/10.20396/riesup.v7i0.8658203.
Повний текст джерелаАнотація:
O presente ensaio se constitui em um relato sobre a experiência de internacionalização entre o Museu de Ciências e Tecnologia da Pontifícia Universidade Católica do Rio Grande do Sul (MCT-PUCRS), o Great North Museum: John Hancock (GNM), da Newcastle University, e o Oxford University Museum of Natural History (OUMNH), da University of Oxford. Trata-se da constituição de uma rede entre estas instituições que discute educação, gestão e liderança em museus universitários de ciências. Desde a criação desta rede, denominada Connecting Museums, em 2016, foram realizados encontros internacionais entre pesquisadores, profissionais da área e público interessado. Como ações da rede em ensino, pesquisa e extensão – desde então –, foram organizadas formações para professores de escolas públicas e privadas em ciências, bem como a troca de expertise entre profissionais da área no que tange a gestão de museus universitários de ciências. Publicações como artigos, trabalhos científicos apresentados em conferências nacionais e internacionais e, ainda, um livro são os primeiros frutos do Connecting Museums. Todas as atividades foram fomentadas e tiveram apoio do British Council. A ampliação da rede inicia-se este ano com uma mudança na configuração do tradicional evento que leva seu nome, que pela primeira vez ocorrerá fora do MCT-PUCRS em Porto Alegre, com atividades planejadas e orientadas pelo Museum Leaders’ Report, produzido pela Saïd Business School, da University of Oxford, visando a formação de futuros líderes para os museus brasileiros.
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Teles, Nuno, and Maria João Fonseca. "A IMPORTÂNCIA DO MICROSCÓPIO ÓTICO NA REVOLUÇÃO CIENTÍFICA - DAS PRÁTICAS EDUCACIONAIS À REPRESENTAÇÃO MUSEOLÓGICA." História da Ciência e Ensino: construindo interfaces 20 (December 29, 2019): 126–40. http://dx.doi.org/10.23925/2178-2911.2019v20espp126-140.
Повний текст джерелаАнотація:
ResumoNeste artigo é apresentada uma reflexão sobre os museus de ciência a partir da sua vertente educativa ligada às questões da representação museológica. Em discussão está a importância do microscópio como objeto de destaque museológico aliada ao seu contributo para o ensino das ciências. Numa primeira abordagem é feita uma contextualização histórica sobre a descoberta, desenvolvimento e importância deste instrumento, seguida de uma contextualização científica sobre a sua utilização como ferramenta de investigação e educação. Numa segunda abordagem serão apresentados os campos de aplicação deste equipamento como instrumento educativo ao longo do século XIX até ao século XXI. Como exemplos serão referidos três museus nacionais de ciência: Museu de História Natural e da Ciência da Universidade do Porto; Museu da Ciência da Universidade de Coimbra; e Museu Nacional de História Natural e da Ciência da Universidade de Lisboa. Palavras-chave: microscópio; educação; museologia; história da ciência. Abstract This article presents a reflection on the role played by science museums from an educational point of view in connection with issues pertaining to museological representation. In discussion is the importance of the microscope as an object of museological prominence allied to its contribution for science teaching. In a first approach, a historical contextualization on the discovery, development and importance of this instrument will be provided, followed by a scientific contextualization on its use as an educational and research tool. In a second approach the fields of application of the microscope as an educational instrument from the 19th century to the 21st century will be outlined. Three science museums in Portugal will be used as examples: the Natural History and Science Museum of the University of Porto, the Science Museum of the University of Coimbra and the National Museum of Natural History and Science of the University of Lisbon.Keywords: microscope; education; museology; history of science.
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Moura, Elaine Cristine Luz Santos de. "CONHECENDO O MUSEU JOSÉ ANTÔNIO PEREIRA: um patrimônio histórico de Campo Grande-MS." Revista Foco 10, no. 2 (June 11, 2017): 167. http://dx.doi.org/10.28950/1981-223x_revistafocoadm/2017.v10i2.350.
Повний текст джерелаАнотація:
O presente trabalho pretende apresentar ao leitor a importância do Museu José Antônio Pereira como patrimônio histórico e cultural de Campo Grande, Mato Grosso do Sul. Partiu-se do pressuposto de que os museus devem colocar-se como locais para a formulação de um pensamento crítico (RAMOS, 2008). Para isso, foram realizadas observações durante o estágio não-obrigatório da graduação em Licenciatura em História pela Universidade Federal de Mato Grosso do Sul. Observou-se a potencialidade do museu em dialogar com o público realizando atrelamentos entre a educação reflexiva e o lazer. Este trabalho almeja promover a salvaguarda dos acervos e a valorização das ações educativas nos museus. The present work intends to present to the reader the importance of the Museum José Antônio Pereira as historical and cultural patrimony of Campo Grande, Mato Grosso do Sul. It was assumed that museums should be placed as places for the formulation of critical thinking (RAMOS, 2008). For this, observations were made during the non-compulsory stage of the undergraduate degree in History by the Federal University of Mato Grosso do Sul. It was observed the potentiality of the museum in dialoguing with the public performing attitudes between reflexive education and leisure. This work aims to promote the safeguarding of collections and the valuation of educational actions in museums.
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Santos, Edmea, Frieda Marti, and Rosemary dos Santos. "O MUSEU COMO ESPAÇO MULTIRREFERENCIAL DE APRENDIZAGEM: RASTROS DE APRENDIZAGENS UBÍQUAS NA CIBERCULTURA." Revista Observatório 5, no. 1 (January 14, 2019): 182–201. http://dx.doi.org/10.20873/uft.2447-4266.2019v5n1p182.
Повний текст джерелаАнотація:
As novas relações que se estabelecem entre a técnica e a vida social geram novas formas de comunicação, de produção cultural e fenômenos sociotécnicos, desenvolvendo uma nova cultura contemporânea, a cibercultura. Diante desse novo contexto sociotécnico, os museus passaram a fazer uso das tecnologias digitais em rede e móveis, visando potencializar a experiência comunicacional e educacional de/com seus visitantes. Este artigo tem como objetivo discutir o espaço museal na cibercultura, apresentando-o como rede educativa e espaço multirreferencial de aprendizagem, e mostrar exemplos de usos das tecnologias digitais em rede por parte dos museus na contemporaneidade.
PALAVRAS-CHAVE: cibercultura; educação museal; aprendizagem ubíqua; ciberpesquisa-formação; espaços multirreferenciais;
ABSTRACT
The new relations established between technique and social life have generated new forms of communication, cultural production and sociotechnical phenomena, developing a new contemporary culture, cyberculture. Faced with this new sociotechnical context, museums began to make use of mobile and online digital technologies, aiming at enhancing the communicational and educational experiences of/with their visitors. This article aims to discuss the museum space in cyberculture, presenting it as an educational network and a multi-referential learning space, and to show examples of use of online digital technologies by museums in the contemporary world.
KEYWORDS: cyberculture; museum education; ubiquitous learning; cyber research-training; multi-referential spaces.
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Castro, Laura. "João Allen: Collecting the World: An Exhibition and Case Study of the First Private Museum in Portugal." Collections: A Journal for Museum and Archives Professionals 16, no. 3 (July 15, 2020): 279–97. http://dx.doi.org/10.1177/1550190620939975.
Повний текст джерелаАнотація:
João Allen (1781–1848) was a business man who collected antiques, curiosities, natural history, numismatics, archeological pieces, and fine arts. A trip to Italy in 1826–1827 was fundamental to his collection building, to the opening of the first private museum in Portugal, the Allen Museum in Porto (1837), and to the identity of one of Portugal’s most important museums, the Museu Nacional de Soares dos Reis created in 1833 under a different designation. Allen’s Grand Tour of Italy and his eclecticism were the cornerstone of the exhibition that took place in this museum in 2018. This article addresses the way in which the exhibition reflects the museum itself and recalls the formation of collections which are of great importance for the history of European museums due to what they reveal about the political and cultural circumstances of their times. Finally, we point out some possible developments concerning the permanent exhibition of the museum.
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Studart, Denise C. "Museus e famílias: percepções e comportamentos de crianças e seus familiares em exposições para o público infantil." História, Ciências, Saúde-Manguinhos 12, suppl (2005): 55–77. http://dx.doi.org/10.1590/s0104-59702005000400004.
Повний текст джерелаАнотація:
Este artigo apresenta resultados de pesquisa de doutorado realizada em três exposições interativas, planejadas para o público infantil e famílias. Duas delas ocorreram em museus londrinos: All Hands Gallery, no National Maritime Museum e Launch Pad, no Science Museum. "Me & My Body", foi montada no Eureka! The Museum for Children, na cidade de Halifax. A metodologia adotada e os achados obtidos são uma contribuição para o estudo de público de família em museus e serve como referência e base de comparação para estudos na área desenvolvidos em outros países. No Brasil, são ainda poucas as pesquisas realizadas em museus que tenham buscado 'conhecer' o público composto por grupos familiares que visitam essas instituições. A investigação demonstrou que tais ambientes são um importante produto cultural e educativo do museu para o público infantil e de famílias.
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Resiyani, Wulan. "Potensi Open Air Museum Di Kawasan Sebarang Kota Jambi." Innovative: Journal Of Social Science Research 3, no. 5 (November 11, 2023): 9449–65. http://dx.doi.org/10.31004/innovative.v3i5.6024.
Повний текст джерелаАнотація:
Latar belakang penelitian ini yaitu Kawasan Sebrang Kota Jambi merupakan wilayah yang merepresentasikan pemukiman tradisional Jambi asli yang masih bertahan hingga saat ini. Ketertarikan peneliti terhadap Kawasan Sebrang Kota Jambi yang memiliki tinggalan historis sezaman yaitu masa Islam serta banyaknya bangunan bersejarah menjadi potensi tersendiri untuk penerapan konsep new museology yaitu konsep open air museum di kawasan tersebut. Open air mseum atau museum terbuka merupakan museum outdoor, yang koleksinya berupa bangunan, fitur, lansekap.Tujuan penelitian meliputi identifikasi tinggalan budaya tangible (nyata) dan intangible di Kawasan Sebrang Kota Jambi, memberikan alternatif pengelolaan Kawasan Sebrang Kota Jambi yaitu konsep open air museum dalam rangka pemanfaatan dan pelestarian tinggalan budaya. Metode penelitian ini meliputi tahap pengumpulan data yaitu data primer dan sekunder/studi pustaka mengenai kawasan Sebrang Kota Jambi, pengolahan data, analisis data dan kesimpulan. Hasil Penelitian yaitu Kawasan Sebrang Kota Jambi berpotensi untuk dijadikan Open Air Museum karena koleksi museum berupa bangunan terletak berdekatan dan memiliki keterkaitan satu dengan lainnya. Langkah langkah penerapan Open Air Museum di Kawasan Sebrang Kota Jambi, meliputi : 1.Penyiapan Lembaga Musuem; 2.Perencanaan museum terdiri dari : aksesibilitas museum, penentuan visi dan misi museum, perekrutan tenaga kerja, pembentukan paguyuban masyarakat, pembuatan program edukasi museum,pembauatan storyline /alur cerita yang menarik di museum, pembuatan strategi pemasaran museuem melalui sosial media dan program museum masuk sekolah, dan melibatakan masyarkat dalam pengelolaan museum/partisipasi masyarakat; 3.Evaluasi dan monitoring oleh lembaga independen.
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Soraya, Ayu, and Yusup Sigit Martyastiadi. "Aesthetics of Virtual: The Development Opportunities of Virtual Museums in Indonesia." International Journal of Creative and Arts Studies 8, no. 1 (June 28, 2021): 25–33. http://dx.doi.org/10.24821/ijcas.v8i1.5346.
Повний текст джерелаАнотація:
The Covid-19 pandemic requires us to carry out physical and social distancing. It is undeniable, this also has an impact on government policy to close tourist destinations, including museums. Currently, sophisticated 3D visualization technology provides the potential for the development of virtual museums. The virtual museums were developed for giving the experience of the visiting museum in the digital world as a distance learning. This application can provide immersion through interactivity while exploring virtual museums. Basically, this article explains the aesthetic investigations in some virtual museums. The researchers describe the aesthetic of each sampled virtual museums projects. The literature synthesis of several virtual museums projects is expected to be able to give an idea of the potential development of virtual museums in Indonesia. The aesthetics of virtual elements could be used as a recommendation for museum conservator for the development of prospective Indonesian virtual museums. Furthermore, the aesthetics of virtual in digital museums provide opportunities to present virtual museums exploration experiences. Estetika Virtual: Peluang Perkembangan Museum Virtual di IndonesiaAbstrakPandemi Covid-19 mengharuskan kita melakukan jarak fisik dan sosial. Tak bisa dipungkiri, hal ini juga berdampak pada kebijakan pemerintah untuk menutup destinasi wisata, termasuk museum. Saat ini, teknologi visualisasi 3D yang canggih memberikan potensi untuk pengembangan museum virtual. Museum virtual dikembangkan untuk memberikan pengalaman mengunjungi museum di dunia digital sebagai pembelajaran jarak jauh. Aplikasi ini dapat memberikan immersion melalui interaktivitas sambil menjelajahi museum virtual. Pada dasarnya, artikel ini menjelaskan investigasi estetika di beberapa museum virtual. Para peneliti mendeskripsikan estetika dari setiap proyek museum virtual yang dijadikan contoh. Sintesis literatur dari beberapa proyek museum virtual diharapkan dapat memberikan gambaran tentang potensi perkembangan museum virtual di Indonesia. Estetika unsur virtual dapat dijadikan sebagai rekomendasi bagi konservator museum untuk pengembangan museum virtual Indonesia yang akan datang. Selain itu, estetika virtual dalam museum digital memberikan peluang untuk menghadirkan pengalaman eksplorasi museum virtual.
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Prabowo, Mohammad Rikaz, and Supardi Supardi. "Pemanfaatan Museum dan Situs Cagar Budaya di Pontianak Sebagai Sumber Belajar Sejarah Indonesia." Criksetra: Jurnal Pendidikan Sejarah 11, no. 1 (February 26, 2022): 1–14. http://dx.doi.org/10.36706/jc.v11i1.14704.
Повний текст джерелаАнотація:
Abstrak: Pembelajaran sejarah akan lebih bermakna jika peserta didik dapat merasakan langsung pengalaman belajarnya. Salah satunya dengan melakukan edukasi di museum. Permasalahan penelitian ini yaitu bagaimana pemanfaatan museum dan cagar budaya di Pontianak. Adapun tujuan penelitian ini untuk mendeskripsikan pemanfaatan museum dan cagar budaya serta kesesuaiannya dalam materi pada mata pelajaran sejarah. Metode yang digunakan yaitu deskriptif kualitatif melalui studi kepustakaan yang berkaitan dengan topik yang dipilih. Hasil penelitian yaitu Pertama, museum dapat menambah wawasan pengetahuan dan perjalanan bangsa, rasa cinta tanah air, serta patriotisme peserta didik. Musuem dan cagar budaya sebagai sumber belajar alternatif, mengimbangi keterbatasan belajar di kelas. Keduanya dapat membuka cakrawala peserta didik melihat dan menghayati kehidupan serta peninggalan sejarah di masa lalu secara nyata. Kedua, museum dan cagar budata di Pontianak yang dapat dijadikan sumber belajar sejarah antara lain Museum Provinsi Kalimantan Barat dan Keraton Kadriyah Kesultanan Pontianak. Ketiga, pada Museum Provinsi terdapat koleksi geologikan, arkeologika, historika, dan benda-benda bersejarah hasil kebudayaan pra-aksara hingga masa islam. Hal ini mendukung sebagai sumber belajar sejarah dan berkorelasi dengan materi. Sedangkan Keraton Kadriyah keberadaannya dapat memperdalam khazanah keilmuan peserta didik mengenai materi pada masa kesultanan-kesultanan Islam di Kalimantan. Terdapat pula Masjid Jami’ yang memadukan gaya arsitektur rumah melayu dan timur tengah sebagai hasil kebudayaan bangunan masa Islam.Kata Kunci: Museum, Cagar Budaya, Sumber Belajar, Pontianak.Abstract: Historical learning will be more meaningful if learners can feel the learning experience directly. One of them is by doing education in the museum. The problem of this research is how to use museums and cultural reserves in Pontianak. The purpose of this study is to describe the use of museums and cultural reserves and their suitability in materials in historical subjects. The method used is qualitative descriptive through literature studies related to the chosen topic. The results of the research are first, the museum can add insight into the knowledge and journey of the nation, the love of the homeland, and the patriotism of learners. Musuem and cultural heritage as alternative learning resources, offsetting the limitations of learning in the classroom. Both can open the horizons of learners to see and live life and historical relics in the past for real. Second, budata museums and reserves in Pontianak that can be used as sources of historical learning include the West Kalimantan Provincial Museum and the Kadriyah Palace of the Pontianak Sultanate. Third, in the Provincial Museum there is a collection of geology, archaeology, history, and historical objects produced by pre-script culture until the islamic period. It is supportive as a source of historical learning and correlates with matter. While the Kadriyah Palace its existence can deepen the scientific treasures of learners about the material during the Islamic sultanates in Kalimantan. There is also Jami' Mosque which combines the architectural style of Malay and Middle Eastern houses as a result of Islamic building culture. Keywords: Museums, Cultural Heritage, Learning Resources, Pontianak.
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Jokanović, Milena. "Perspectives on Virtual Museum Tours." INSAM Journal of Contemporary Music, Art and Technology, no. 5 (December 15, 2020): 46–57. http://dx.doi.org/10.51191/issn.2637-1898.2020.3.5.46.
Повний текст джерелаАнотація:
As a number of world museums have closed their doors for the public due to pandemic of the new Corona virus, curators are thinking of alternative ways of audience outreach: 3D virtual galleries are increasingly created, video guided tours shared, digitized collections put online. The new circumstances unquestionably bring potentials for growth, but carry numerous risks and inconsideration, as well. Many theoreticians argue that the crisis of this scale will undoubtedly fasten the digital transformation in museum and arts sector and consequently, in a much more wide sense influence the identity rethinking. However, the research of audience interest to virtual museum tours show there was a peak of just 3 days visiting these, massively followed by a fast decrease even the social isolation was globally still present and museum buildings still locked. Turning back to the genesis of the virtual museums, in the following paper, we will question why there is no interest to virtual museum content. Do tours answer the needs of the contemporary digital-born audience? Do these represent just a copy of settings from physical galleries or use potentials and logic of the new spaces? Will museums finally transform and enter into so many times nowadays mentioned digital shift answering the need of the new, transmedia perception of audience?
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Skalska-Cimer, Beata, and Andrzej Kadłuczka. "Virtual Museum. Museum of the Future?" Technical Transactions 2022 (2022): 1–6. http://dx.doi.org/10.37705/techtrans/e2022004.
Повний текст джерелаАнотація:
The following article discusses examples of museums that implement virtual reality in presentations of exhibits and museum objects. Trends that shape contemporary museums are discussed. The aim of the article is to familiarise the reader with the possibilities of modern applications in museum exhibition presentations.
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Ferreira, Leonardo Gonçalves. "A EXPOSIÇÃO “GRAFITTI: NEW YORK MEETS THE DAM” DO MUSEU DE AMSTERDÃ ENQUANTO UMA ZONA DE CONTATO." Revista Pós Ciências Sociais 17, no. 33 (January 24, 2020): 275. http://dx.doi.org/10.18764/2236-9473.v17n33p275-296.
Повний текст джерелаАнотація:
O presente artigo objetiva analisar a exposição Graffti: New York meets the Dam, do Museu de Amsterdã, enquanto uma zona de contato (CLIFFORD, 2016). Esta exposição foi realizada entre 2015 e 2016, em parceria com o Museu da cidade de Nova York, uma vez que no início da década de 1980, ocorreu um encontro, em Amsterdã, entre grafteiros estadunidenses e holandeses, o que modifcou profundamente o grafte produzido na cidade. O propósito, assim sendo, é analisar, a partir da exposição, se as representações das assimetrias e dos confrontos do encontro entre grafteiros de Amsterdã e de Nova York estão presentes na construção narrativa da exposição e conferem a mesma o caráter de uma zona de contato.Palavras-chave: Museus. Exposição. Zona de contato. Grafite.“GRAFITTI: NEW YORK MEETS THE DAM” EXHIBITION AT AMSTERDAM MUSEUM AS A CONTACT ZONESummaryThis article aims to analyze the Graffiti exhibition: New York meets the Dam, of the Amsterdam Museum, as a contact zone (CLIFFORD, 2016). This exhibition was held between 2015 and 2016 in partnership withthe New York City Museum, since the early 1980s there was a meeting between American and Dutch graffiti artists in Amsterdam, which profoundly changed the graffiti produced in the city. The purpose, therefore,is to analyze, taking the exhibition as a starting point, if the representations of the asymmetries and the confrontations of themeeting between graffiti artists of Amsterdam and New York are present in the narrative construction of the exhibition and confer to it the character of a contact zone.Keywords: Museums. Exhibition. Contact zone. Graffiti.
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Kellner, Alexander Wilhelm Armin. "Museus e a divulgação científica no campo da paleontologia." Anuário do Instituto de Geociências 28, no. 1 (June 1, 2005): 116–30. http://dx.doi.org/10.11137/2005_1_116-130.
Повний текст джерелаАнотація:
Museums are generally regarded as having high potential for science communication. In Brazil, however, those institutions are still far away from accomplishing this mission, particularly regarding paleontology. Here we discuss several aspects regarding science communication and museums. The three main activities associated to museums are research, repositories of collections and exhibitions. The collections of the Brazilian museums and the exhibits tend to be poor when compared with similar European and North American institutions, causing a distance between museum and society. Among the attempts of changing this picture, the Museu Nacional/UFRJ, in collaboration with the Museu de Ciência da Terra (DNPM), has organized in 1999 the temporary exhibition THE TIME OF THE DINOSAURS, which turned out to be the most visited exposition regarding fossils organized in the country so far. Among the several benefits of this exhibit was to increase the interest of the population regarding paleontology. This experience has shown that the museum must interact more strongly with the society in order to fully develop its potential of science communication.
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Klapchuk, O. "Description of museums and museum displays of the Lviv region and their estimation for the aims of tourism." Visnyk of the Lviv University. Series Geography, no. 38 (December 15, 2010): 149–57. http://dx.doi.org/10.30970/vgg.2010.38.2242.
Повний текст джерелаАнотація:
Description of museums of the Lviv region is pointed, the problems of research, maintenance and fill up the museums are described. Coefficient of cognitive value of museums and museum displays in every district and the city of Lviv is determined, that enabled to divide museum establishments with a purpose to use them in tourist industry. Key words: museum, skansen, museum display, museum collection, coefficient of cognitive value.
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Folga-Januszewska, Dorota. "HISTORY OF THE MUSEUM CONCEPT AND CONTEMPORARY CHALLENGES: INTRODUCTION INTO THE DEBATE ON THE NEW ICOM MUSEUM DEFINITION." Muzealnictwo 61 (April 17, 2020): 39–57. http://dx.doi.org/10.5604/01.3001.0014.1129.
Повний текст джерелаАнотація:
The topic discussed in the paper is the change and evolution the concept of museum (Greek: museion, Latin: musaeum) has been undergoing for over 2500 years, as well as many of its different meanings: from the definition of a spot in space, including a place of worship, up to the name of learning form, research and knowledge centre, collection of texts and poetry, music and theatre festival, synonyms of a dictionary and encyclopaedia, library and a secluded study spot, up to large institutions co-creating culture and educating socially. Once museums had become social institutions, the process of defining their organizational form and their mission limits began. The International Council of Museums (ICOM), as an organization grouping museum employees and museologists, namely both practitioners and theoreticians, ever since its establishment in 1946 has on a number of occasions initiated works on a shared definition of museum. The paper assembles all the ICOM-proposed definitions in 1946–2007 presented both in English and Polish. The latest proposal submitted at the Kyoto ICOM General Conference on 7 September 2019 (Annex 1), however, for the first time aroused a heated debate and was not finally voted on by the ICOM General Assembly; instead, the debate has continued on the proposed phrasing since. The historical overview of the museum concept and the history of the ICOM museum definition presented against the opinions of invited Polish museum professionals is the ‘record of time’, documenting the considerations on the role and tasks of museum in contemporary society.
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Gonzalez, Ana Maria Sosa, and Evylin KoligosKi da Silva. "Cultura material dos escravizados e expografia: um estudo do Museu de Porto Alegre Joaquim Felizardo." Cadernos do LEPAARQ (UFPEL) 17, no. 33 (May 9, 2020): 104–25. http://dx.doi.org/10.15210/lepaarq.v17i33.18493.
Повний текст джерелаАнотація:
O presente artigo tem como objetivo compreender a maneira como os museus trabalham com os objetos arqueológicos referentes à cultura material dos escravizados em sua expografia e acervo. Para tal foi realizado uma análise do acervo arqueológico e expográfico do Museu de Porto Alegre Joaquim Felizardo (criado em 1979) a fim de entender como os objetos relacionados à cultura material dos escravizados estavam expostos e sua relação com os demais objetos. A partir de aí questiona-se a maneira como são tratadas as memórias desse passado colonial violento vinculado à escravidão. Através de uma abordagem metodológica qualitativa com observação das visitas guiadas e entrevistas a funcionárias do museu, percebeu-se a importância da mediação para a compreensão da expografia e demais aspectos do museu assim como possíveis maneiras de trabalhar essas memórias para conhecer o passado e conscientizar ao público a partir dos objetos dos escravizados.Abstract: The purpose of this article is to understand how museums work with archaeological objects related to the material culture of the enslaved in their expografia and collection. For that, an analysis of the archaeological and expographic collection of the Porto Alegre Museum Joaquim Felizardo (created in 1979) was carried out in order to understand how the objects related to the material culture of the enslaved were exposed and their relation with the other objects. From there, one questions the way in which the memories of this violent colonial past linked to slavery are treated. Through a qualitative methodological approach with observation of the guided tours and interviews with museum employees, the importance of mediation for the understanding of the expografia and other aspects of the museum as well as possible ways of working these memories to know the pastand to make the public aware of the objects of the enslaved.
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Mulyana, Eldi, Alni Dahlena, and Slamet Nopharipaldi Rohman. "Strengthening Social Studies Learning Sources through Culture And History Of Yogyakarta Ulen Sentalu Museum." Journal Civics and Social Studies 6, no. 1 (June 6, 2022): 9–15. http://dx.doi.org/10.31980/civicos.v6i1.1600.
Повний текст джерелаАнотація:
AbstractThe existence of culture and history in the museum as a place to store a collection of historical objects often gives the impression that the museum is an ancient, dark and unkempt building. Meanwhile, the new paradigm in museum management is that museums are no longer just a place to store historical objects, but need to present collections in attractive packaging so that visitors are interested in coming back to the museum. This research method is a qualitative method with interview data collection techniques, observation and documentation studies. Data analysis techniques include data collection, data presentation, data reduction and data verification. The results of this study are (1) the cultural and historical values of the ulen sentalu museum in attaching existing philosophical values, (2) cultural and historical values related to the rules of conduct in the museu ulen sentalu used as a source of social studies learning. Thus, it can be used as culture and history contained in the Ulen Sentalu museum and used as a source of social studies learning as part of educational literacy.Keywords : Ulen Sentalu Museum, Culture and History, Social Studies Learning Resource
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Kosiewski, Piotr. "MUSEUMS – VIEW FROM THE INSIDE." Muzealnictwo 58, no. 1 (August 7, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.2669.
Повний текст джерелаАнотація:
The publication Museums, exhibits, museum professionals complements our knowledge of how museums functioned in the Communist period and their situation after 1989. The book includes discussions or memoirs by eleven people vital to Polish museology, who were connected with National Museums (in Cracow, Poznań and Wrocław), museum-residences (the Wawel Museum, the Royal Castle in Warsaw), specialised museums (the National Maritime Museum in Gdańsk, the Museum of Literature in Warsaw, the Jagiellonian University Museum), ethnographic museums (in Cracow and Toruń) and the Tatra Museum, which is an example of an important regional museum in Poland. Among the people are Zofia Gołubiew, Mariusz Hermansdofer, Jerzy Litwin, Janusz Odrowąż-Pieniążek, Jan Ostrowski, Andrzej Rottermund and Stanisław Waltoś. The book presents the image of Polish museology in a scattershot but interesting way. It also mentions more detailed aspects, such as how particular museums were founded or developed in the Communist period, and the individual role of museum professionals in founding and developing the establishments they managed. However, the most attention is paid to issues regarding the state of museums after 1989. The most important of these include the contemporary functions and tasks of those establishments and the challenges they will face in the future, and the role of a musealium and its place in a contemporary museum. The observations regarding internal changes in museum institutions, in the “master-disciple” relation in the past and today, the appearance of new specialities, and the change of their status and role in institutions (for example, of people responsible for education) are also noteworthy. Another significant thread is the discussion on the definition of a “museum professional” and which museum employees may use this title.
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Santos, Raquel, Ana Claro, Ana Serrano, Maria João Ferreira, and Jessica Hallett. "Textiles, Trade & Taste—Portugal and the World: A Project on the Global Circulation of Textiles and Dyes." Textile Museum Journal 47, no. 1 (2020): 187–95. http://dx.doi.org/10.1353/tmj.2020.a932820.
Повний текст джерелаАнотація:
Abstract: Textiles, Trade & Taste: Portugal and the World (TTT) is a project that aspires to bring new synergies to the field of textile studies by promoting different connections and interdisciplinary approaches involving art history, materials science, and conservation. The TTT research network is based at the Center for Humanities in the School of Social Sciences and Humanities at the Universidade NOVA de Lisboa and organizes workshops, conferences, tours, and lectures in museums and research institutions. The network’s artistic and historical research has ranged from collating archival material to stylistic and iconographic studies, with the aim of placing textile objects in their historical, artistic, technological, and sociocultural contexts. Chemical analysis and characterization of dyes, textile fibers, and precious metal threads have provided important evidence for identifying the origins of raw materials and finished textiles, and for developing improved conservation treatments for their preservation for future generations. Recent research has examined the global circulation of dyes in the early modern period, especially reds, and also reconstructed the production and consumption of Indian, Chinese, and Portuguese embroideries and Islamic carpets. In 2011, TTT’s work led to the classification of three “Salting” carpets as national treasures in Portugal. The team members have collaborated with national and international museums, including Museu Nacional de Arte Antiga and Calouste Gulbenkian Museum (Lisbon), as well as Abegg-Stiftung (Riggisberg), The Metropolitan Museum of Art (New York), Musée des Tissus, (Lyon), Museum für Islamische Kunst (Berlin), Museum für angewandte Kunst (MAK) (Vienna), Rietberg Museum (Zürich), Rijksmuseum (Amsterdam), George Washington University Museum and The Textile Museum (Washington, D.C.), National Gallery of Art (Washington, D.C.), and Victoria and Albert Museum (London). The team’s art historians contributed to the platform “Museum With No Frontiers” to develop the online exhibition Discover Carpet Art involving Portuguese museums. TTT’s scientists have strong links with the Freer Gallery of Art and Arthur M. Sackler Gallery (National Museum of Asian Art, Washington, D.C.), University of Zaragoza (Spain), Rijksdienst voor het Cultureel Erfgoed (Cultural Heritage Agency of the Netherlands, Amersfoort), and the University of Amsterdam. We have been encouraged by the positive response of the international community to the results of our initial research projects.
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Serafini, Frank, and Danielle Rylak. "Representations of Museums and Museum Visits in Narrative Picturebooks." Libri et liberi 10, no. 1 (August 31, 2021): 45–62. http://dx.doi.org/10.21066/carcl.libri.10.1.3.
Повний текст джерелаАнотація:
Drawing on a range of theoretical frameworks to illuminate various aspects of visual and textual representations, this study analyses the ways museums, museum visits, and museum exhibits and activities are represented in contemporary narrative picturebooks featuring a child character going to a museum for a variety of reasons. Analysis of approximately fifty museum picturebooks using a multimodal content analysis tool led to the construction of findings in the following themes: representations of museums; representations of museum exhibits; museum visitors; reasons for museum visits; museum activities and events; children’s attitudes while visiting museums; and metaleptic transgressions in picturebook representations. The findings suggest the potential implications of these multimodal texts in the hands of teachers and young readers.
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Wang (王苍柏), Cangbai. "Diaspora Museum." Journal of Chinese Overseas 18, no. 1 (March 18, 2022): 62–89. http://dx.doi.org/10.1163/17932548-12341456.
Повний текст джерелаАнотація:
Abstract The existing research on Tan Kah Kee’s museum practices focuses mainly on how he developed museums as an educational institute to modernize China. This paper re-examines his contributions to China’s museum development from a longitudinal perspective and by adopting a transnational view. By contextualizing Tan’s museum exercises in his life experience as a Chinese migrant in British Malaya and through analyzing the architecture design, collection and audiences of his museums, it conceptualizes the museums built by Tan as “diaspora museum,” defined as a heritage-making space constructed through the interactions between Chinese diasporas and the Chinese homeland, produced by and producing a de-territorialized vision of nation and identity. In addition, based on this case study it argues that overseas Chinese opened up an alternative route to transmitting museology to China. Instead of transferring museum directly from Western countries, they acquired a knowledge of museum through encounters with mediated Western modernity in colonial Southeast Asia and then transmitted it (indirectly) to China. Tan’s museum endeavors laid the foundation of a “diasporic heritage-building” tradition that has had a long-lasting impact on museum development in China today and among the overseas Chinese communities.
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Garduño, Ana. "Biografía de una institución cultural: el INBA de México. Red museal y praxis coleccionística." Revista Grafía- Cuaderno de trabajo de los profesores de la Facultad de Ciencias Humanas. Universidad Autónoma de Colombia 10, no. 1 (January 15, 2013): 9. http://dx.doi.org/10.26564/16926250.348.
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Resumen:A partir de la fundación del Instituto Nacional de Bellas Artes de México, 1946, inició el proceso de formación de un acervo artístico que ha devenido fuente constitutiva de patrimonio cultural. Más aún, la edificación de una red de museos estatales garantiza la conservación, investigación y difusión de la colección heredada. Además, se han instrumentado heterogéneas estrategias de fomento del acervo. La combinación de procedencias explica el carácter híbrido de las colecciones adscritas a los museos del INBA, además de sus diferencias causadas por las circunstancias específicas que dieron origen a cada recinto. Se reflexiona sobre una genealogía específica de red museal.Palabras clave: Red museal, patrimonio artístico, colecciones estatales, exposiciones oficiales, adjudicaciones interinstitucionales, adquisiciones, legados, donaciones********************************************************* Biography of a cultural institution: the NBA of Mexico. Museum netand collectible praxisAbstract:Since the foundation of the National Institute of Arts of Mexico, 1946, it began the formation process of cultural heritage which became source of cultural patrimony. Furthermore, the construction of state museums net guarantees the conservation, research and diffusion of the inherited collection. Also, some diverse practices of heritage encouragement tools have been implemented. The combinations of different origins is explained by the hybrid character of the collections registered to the museums of INBA (National Institute of Arts), as well as de differences caused by specific circumstances present in every area. A reflection about the specific genealogical museum net is done.Key words: Museum net, artistic patrimony, state collection, official exposition, interinstitutional awarding, acquisition, legacy, donations.**********************************************************Biografia de uma instituição cultural: o INBA de México. Rede de museus e práxis de coleçãoResumo: Com a fundação do Instituto Nacional de Bellas Artes de México, em 1946, tem início o processo de formação de um acervo artístico que tem se convertido em fonte constitutiva de patrimônio cultural. Mais ainda, a edificação de uma rede de museus estatais garante a conservação, pesquisa e difusão da coleção herdada. Alem disso, foram estabelecidas heterogêneas estratégias de fomento do acervo. A combinação de procedências explica o caráter híbrido das coleções pertencentes aos museus do INBA, assim como as diferenças causadas pelas circunstâncias específicas que deram origem a cada recinto. Reflete-se sobre uma genealogia específica da rede de museus.Palavras chave: Rede de museus, patrimônio artístico, coleções estatais exposições oficiais, adjudicações interinstitucionais, aquisições, legados, doações
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Salayanti, Santi. "ANALISA POLA BUDAYA SUNDA PRIMODIAL (Pola Tiga) PADA TATA RUANG DAN BENDA PAJANG DI MUSEUM NEGERI JAWA BARAT SRI BADUGA BANDUNG." Idealog: Ide dan Dialog Desain Indonesia 2, no. 1 (February 28, 2018): 48. http://dx.doi.org/10.25124/idealog.v2i1.1176.
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Fenomena keberadaan museum yang makin berkembang, terutama di kota-kota besar seperti Jakarta, Surabaya dan beberapa kota lainnya, keduanya difungsikan sebagai sarana pendidikan dan informasi, juga dijadikan sarana rekreasi yang menarik. Di balik berkembangnya fasilitas publik museum ini ternyata kesadaran untuk berkunjung ke museum masih kurang, sehingga pemerintah membuat beberapa kampanye tentang museum seperti "ayo ke museum" dan "museum di hati" .Dari jenis jenis museum di Indonesia yang Dirilis oleh musem indonesia.net informasi resmi tentang situs tersebut sebagai museum di indonesia. Ada satu jenis museum khas yang menginformasikan tentang sejarah dan budaya daerah, yang difasilitasi oleh pemerintah, yaitu Museum Negara atau Museum Daerah, yang di Indonesia setidaknya ada 19 negara atau Museum Regional yang tersebar di seluruh Indonesia.Salah satu Museum Negara adalah Museum Sri Baduga (yang menjadi objek penelitian ini), Museum yang dikelola oleh provinsi Jawa Barat dan terletak di jalan BKR No. 185 Bandung didirikan pada tahun 1974, terdiri dari benda-benda koleksi sejarah khususnya Barat. Java area mulai koleksi geologika, Biologika hingga teknologika. Keputusan mengambil objek penelitian museum karena pentingnya memahami sejarah dan pengaruh kebijaksanaan filosofis (Sunda) dalam hal ini pola teori budaya Sunda (Tri tangtu Sunda), artefak modern dalam tata letak sistem ini. (tata letak) interior dan penempatan sistem objek koleksi sesuai dengan kategori koleksi arsitektur museum Sri Baduga Jawa Barat. Kondisi di atas merupakan objek kajian dalam penelitian, baik sebagai museum yang benar-benar menginformasikan tentang sejarah, budaya dan peradaban Sunda. Menggunakan nilai filosofis Sunda (konsep Sunda Tritangtu) dalam membuat tata letak dan mengatur objek pajangannya.Penelitian ini menggunakan penelitian deskriptif (metode penelitian deskriptif) yaitu kualitatif, dengan melihat bentuk artefak - ruang interior arsitektural. Penelitian ini ingin mengetahui penerapan tiga budaya Sunda di bagian ruang interior arsitektur Museun Sri Baduga Jawa Barat, serta untuk mengetahui pola koleksi objek koleksi ini mengikuti aturan filoosfis pola budaya atau tidak
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Amoako – Ohene, Kwasi, Nana Ama Pokua Arthur, and Samuel Nortey. "Museums: An institution for knowledge acquisition – A spotlight on the museum education in Ghana." International Journal of Technology and Management Research 5, no. 2 (July 11, 2020): 10–23. http://dx.doi.org/10.47127/ijtmr.v5i2.86.
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Museums, just like formal institutions of learning always have understood that conserving collections for study and exhibition can be an important part of the educational process. Since 1957, Ghana has established several museums under the Museums and Monument Board. These museums just like others are required to play a great deal of role in the social, educational, economic development of a nation. However, it is distressing to note that with the highly endowed museum assets of Ghana, such as the Cape Coast Castle Museum, Ghana National Museum, Fort Appolonia Museum of Nzema History and Culture, the Elmina Castle Museum, Ho Museum, Bolga Museum, Wa Museum, The Head of State Museum and Museum of Science and Technology both in Accra, there has been little contributions to Ghana’s Gross Domestic Product. Significantly, visitor experience and satisfaction is very low. In this view, this study sought to investigate educational activities of Ghana Museum and Monument Board (GMMB) and inquire into their educational activities. Employing qualitative approaches, the study used a triangulation of observations, interview and focus group discussion to assemble data from these museums. In conclusion, the museums provide some sort of education but there is no formalized educational framework serving as a guide. They mainly employ monotonous experience of guided and self-guided gallery tours, and occasionally, the museum curators and educators organize a oneoff programme such as an outreach to schools and special exhibitions as well as seminars. Recommendations to strengthening museum education in Ghana are addressed
Citation: Kwasi Amoako – Ohene, Nana Ama Pokua Arthur, and Samuel Nortey.Museums: An institution for knowledge acquisition – A spotlight on the museum education in Ghana, 2020 5 (2): 10－23. Received: March 3, 2020 Accepted: June 30, 2020
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Ditha, Risa Ayu, Danang Prasetyo, and Moch Nur Syamsu. "Pengembangan Museum Sonobudoyo Sebagai Daya Tarik Wisata Edukasi Di Era New Normal." JURNAL DESTINASI PARIWISATA 9, no. 2 (December 31, 2021): 251. http://dx.doi.org/10.24843/jdepar.2021.v09.i02.p02.
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Yogyakarta is known as the City of Students and the City of Tourism. This is due to the fact that there are many universities and also the best schools in Indonesia. Musuem is an institution or institution which is a place for storing, caring for, researching and utilizing material objects which are evidence of the results of human, natural and environmental culture with the aim of preserving culture and also for a form of protection. One of the museums which is a tourist destination that is very often visited by tourists who come to Yogyakarta is the Sonobudoyo Museum. This study aims to find out what efforts the manager made in developing the Sonobudoyo unit I museum as an educational tour in the new normal era, to know the efforts made by the government to increase visits to the Sonobudoyo museum in the new normal era, and to know the assessments and expectations of visitors regarding Sonobudoyo Museum Unit I as an object of educational tourism attraction in Yogyakarta in the new normal era. The research method used is qualitative. With 2 (two) types of data, namely primary data and secondary data which the authors get from the results of observations, interviews, questionnaires, and documentation. The data analysis used is a SWOT analysis. The results of this study indicate that the Sonobudoyo Museum can positively be used as an educational tour in the new normal era with regulatory changes and technological additions that make the Sonobudoyo Museum ready and alert in accepting tourist visits in the new normal era. Museums can be used as educational tours that can increase visitor interest in learning activities. Moreover, if the majority of visitors are students from elementary, middle school, college students can get useful knowledge when they come to the museum.
Keyword: museum, tourism attraction, edutourism, new normal
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Zeman, Ivanna. "Museum lessons as an alternat form of teaching natural sciences in basic secondary school." Visnyk of the Lviv University. Series Pedagogics, no. 36 (2022): 94–100. http://dx.doi.org/10.30970/vpe.2022.36.11556.
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The article is devoted to the issue of the museum lessons as an alternative form of teaching Natural Sciences for students in basic secondary school. It proposes the detailed analysis of the concept «natural sciences museum lessons» and explores educational activities provided by the Ukrainian museums to schoolchildren. The author of the article emphasizes the importance of the museum educational activities for both, students and teachers: while for students museum lessons are the chance to improve their knowledge, skills and abilities, for teachers, they are the opening to explain subject material in an accessible way and meet the basic curriculum. Most museums in Ukraine and abroad offer standard tours, museum lessons, lectures and educational workshops. Analysis of those activities showed that natural museums have an extremely important role in the education process of children. Natural history museums clearly realize the importance of their educational role by setting the programs for schools. They provide the interdisciplinary approach in teaching and offer natural sciences lessons to students of all educational levels. Educational activities offered by natural history museums are usually complementary to school natural sciences curriculum, which include several school subjects – biology, geography, physics, chemistry, and astronomy. It is emphasized that apart from the educational content, the museums offer a very wide choice of possibilities and new teaching methods, which require students’ active participation. The educational activities of the museums are included into the curricula of basic secondary education and provide information and communication technologies for the organization of information and educational environment of the museum. The study describes and characterizes the activity of Lviv museums, which offer museum lessons their compatibility with the core curriculum of basic secondary education. Keywords: museum lesson, museum education, natural history museum, basic secondary education, educational program, museum innovations.
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Guo, Sifan, Xuesen Zheng, and Timothy Heath. "Research on the Design of Community Museums Based on the Fuzzy Comprehensive Evaluation Method." Sustainability 14, no. 17 (August 30, 2022): 10802. http://dx.doi.org/10.3390/su141710802.
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The new museum movement of the twentieth century has driven the development of the form and function of museums around the world. Museums began to be actively open to the public, and some new concepts of museums, such as eco-museums and community museums, emerged. The aim of these museums is to build a cultural bridge between people and the city and to promote the harmonious development of society, economy, and culture. The visitors, as the service targets of the museum, will directly influence the popularity of the museum among the masses by their evaluation of the museum experience; however, at present, there is a clear gap between the design of many museums and the feedback of subsequent visitors’ experiences. Only by understanding visitors’ feelings and preferences can subsequent museum design be improved; this paper will focus on demonstrating the application of the mathematical idea of the fuzzy comprehensive evaluation method to community museums; it establishes a community museum quality evaluation system based on human-centered design principles from the perspective of urban community museums and constructs a fuzzy comprehensive evaluation model of a community museum experience. Finally, the design of a community museum in Nottingham, UK, is used as an example to make a comprehensive evaluation of its quality. According to the analysis, the fuzzy comprehensive evaluation method has practical value in scientifically evaluating the quality of urban community museums through data on the visitor experience.
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Jagodzińska, Katarzyna. "RESPONSIBLE MUSEUM? (ON THE EXAMPLE OF THE TOY MUSEUM IN CRACOW)." Muzealnictwo 63 (September 16, 2022): 150–57. http://dx.doi.org/10.5604/01.3001.0015.9923.
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The contemporary museum debate developing in the context of the need to change the museum definition carried out in ICOM is a debate on the role and responsibility of museums. Museums with a burden of tradition are faced with the challenge to meet contemporary contexts and expectations, while newly-established museums can enter the stage fully aware of the historical contexts, with an agenda reflecting contemporary tasks, and they can chart new perspectives from the very beginning. The case study in the paper focuses on a museum which begins its operation at the time of a heated debate on the new tasks of museums in social life: the Toy Museum in Cracow. The paper tackles several motifs of a very extensive issue, namely museums’ responsibility: who and what should museums show responsibility to? Does responsibility mean presence in the public debate and museum activism? The operation formula of the Toy Museum shows the possible way for private collectors: instead of aspiring to create a traditional place for the collection presentation, they can see how to activate the collection where the supreme goal is not just making the collection available to the public, but making it impact the museum’s environment, which could be caused by that presentation and other programmatic actions connected with the collection.
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Yuliantri, Rhoma Dwi Aria, Tular Sudarmadi, and Agus Suwignyo. "Analysis of the People’s Needs for Museum Tourism as Cultural Expressions and Freedom to Learn in the Post-Pandemic Era." MOZAIK HUMANIORA 22, no. 2 (December 30, 2022): 254–68. http://dx.doi.org/10.20473/mozaik.v22i2.34754.
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The Covid-19 pandemic has impacted people’s lives, including the tourism and education sectors such as tours in museums. This study aims to answer three questions (1) How high is the priority of the community's needs for post-pandemic museum tourism? (2) What are the museum tourism needs in terms of museum facilities, cultural activities and independent learning programs? (3) What are the public opinions on the tourism program that should be developed by the museum to respond to the priority needs of museum tourism after the pandemic? This research was conducted using quantitative methods with descriptive statistical calculations. The results of the study showed that most of the respondents strongly agreed (79.13%) and agreed (18.26%) that museum visits should be based on the spirit of finding alternative places to learn and seek new knowledge. Respondents decided to visit a museum firstly due to the programs offered by the museum. Regarding museums which employed freedom to learn program, respondents agreed (53.04%) if museums promoted various activities as learning arenas based on the government programs. Respondents’ expectations of post-pandemic museums lead to the concept of “museums for community.” This means that museum management and the development of cultural creations potential and economic activities by museums are welcomed with high interest if the people or community are involved. It is suggested that museum managements (1) organize cultural performance acitivities as part of the promotion for museum visits, and (2) engage with local communities in the creation and implementation of the activities.
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Komova, О. "DIRECTIONS OF REFORMING THE MUSEUM SECTOR IN EUROPE: EXPERIENCE FOR UKRAINE." Вісник Київського національного лінгвістичного університету. Серія Історія, економіка, філософія, no. 26 (January 9, 2023): 11–23. http://dx.doi.org/10.32589/2412-9321.26.2021.269853.
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The article research the main problems of the Ukrainian museum sector, analyzes museum reforms in the EU-member states over the last 20 years, and suggests the major vectors of museum reform in Ukraine based on the best practices of the Western European museology. The article deals with the forms and methods of activity of the museum institution within the framework of this action on successful dialogue with the public, effective use of information technologies. Communication capabilities of museums are related to their ability to communicate information with real objects directly or indirectly. The foundationof the communicative work of the museum is its foundations since the exhibition, and the educational and communicative projects organized on its basis are impossible without scientifically attributed and carefully preserved collections. Accordingly, the most effective channel of museum communication remains the exposition of the museum.Along with traditional forms and tools of museum communication, such as exhibition and exhibition, educational and educational, publishing, holding scientific conferences, the presentation of museums in the media, the new ones, connected with the development of modern information technologies, become especially important. These include museums’ websites, virtual museums, virtual tours and tours, QR codes, 3D technology, profiles of museums in social networks. It is the active development of the latter that will promote the broader communication of the museums with a broad audience of visitors, the expansion of inter-museum contacts, the integration of domestic museums into the world museum community. Methodological basis of work is a comprehensive and systematic approaches involving methods of analysis, synthesis, comparative history, descriptive methods and methods of «oral history». It was proved that at the present stage museums act as intermediaries in solving complex social problems and conflicts; projects, as an effective form of implementing social activity of museums, contribute to the adaptation of museums and the museum industry as a whole to modern conditions of socio-economic and cultural life, support and promotion of the best examples of creative museum practices in Ukrainе.
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Stefko, Mariya S. "FRENCH MUSEUMS AND SCIENCE: A NEW PHASE OF DISCUSSION." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 7 (2022): 76–85. http://dx.doi.org/10.28995/2686-7249-2022-7-76-85.
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The author examines in the context of modern museum practice the materials of the colloquium “Museum and Science”, organized by the French National Committee of ICOM in 2021. The author notes the relevance of the topic which relates to the development of a new definition of the concept of “museum” and the influence that ICOM France has in the International Council of Museums. Many of the problems considered by French museum professionals and scientists characterize the state of the museum sphere in France but are also consonant with Russian museum practice. French museum specialists stress the need to bring the relations of museums, universities and laboratories to a qualitatively new level, the importance of strategic planning of scientific work in consideration of the potential of each of the parties. Museology, as a scientific field, has taken its rightful place in the system of knowledge about museums and is recognized by the academic and museum community as an integral part of it. Scientific research, in which museums, universities and laboratories participate, can become the basis for a higher level of graduate training and their development in museum. The authors note the connection of museum science with a high level of public confidence in the museum as a source of reliable knowledge open to society
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Ivashchenko, Viktoriia. "Specifics of University Museum Cooperation in Ukraine." Journal of V. N. Karazin Kharkiv National University. Series: History, no. 59 (June 29, 2021): 8–23. http://dx.doi.org/10.26565/2220-7929-2021-59-01.
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The article discusses cooperation between university museums in Ukraine, with particular attention to the structure and operation of museum networks at different levels. At the institutional level, network ideology is manifested in the formation of museum complexes within universities. This type of close coordination makes it possible to directly influence the development strategy of universities, expands opportunities for creating innovative museum product, strengthens the position of museums within universities, and helps to draw the residents and guests of the city into the museum space. At the regional level, museum unions, based on the territorial or specialization principle, help to improve the professional skills of museum staff and protect their rights. They are also involved in the organization of community events (exhibitions, contests) and make museums more open and attractive to different categories of visitors. At present, we are witnessing the gradual development of museum associations in Ukraine, at the level of both individual universities (the museum complex of the V. N. Karazin Kharkiv National University) and cities or regions (Association of University Museum Workers of Kharkiv). At the same time, Ukraine still needs a country-wide association of university museums, which would help to legitimize and strengthen the university museum community and preserve and facilitate access to museum collections of institutions of higher education. It is also necessary to increase the representation of Ukrainian museums in international organizations, which would make it possible to formulate more clearly the mission of the university museum in modern society. The lack of a clear understanding of the mission of the university museum and the latter’s uncertain position (including legal) in the academic and museum community can lead to the loss of not only museum identity, but also museums themselves and their collections. In Ukraine, we can speak of the first steps towards such self-organization at the institutional and regional levels, as well as attempts to create a national center through formal (association) and informal (conferences) structures. However, so far these attempts have been sporadic.
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Costa, Andréa Fernandes. "Solon Leontsinis e a proposta de criação do serviço de exposições circulantes de empréstimo do Museu Nacional (1959)." ACTIO: Docência em Ciências 6, no. 2 (July 29, 2021): 1. http://dx.doi.org/10.3895/actio.v6n2.14290.
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O presente artigo apresenta uma análise do opúsculo “Da Utilização dos Mostruários de Empréstimo no Ensino de Ciências Naturais”, publicado em 1959 pelo educador Solon Leontsinis (1928-2005), que atuou no Museu Nacional (MN) entre os anos de 1950 e 1990. A publicação documenta o desejo de o MN promover a educação museal e a educação em ciências por meio da itinerância, criando para tanto o Serviço de Exposições Circulantes de Empréstimo, sob responsabilidade de sua Divisão de Educação. Essa iniciativa concebida no MN teve como importante referência o trabalho de itinerância realizado pelo Field Museum of Natural History, antigo Museu de História Natural de Chicago, e é apresentada no bojo das discussões promovidas pela UNESCO sobre o tema, em especial a partir do Seminário Regional sobre a Função Educativa dos Museus, realizado em 1958 no Rio de Janeiro. O texto de autoria de Solon Leontsinis lança mão das principais referências internacionais sobre o tema disponíveis à época, revelando a atualidade do trabalho realizado pelo setor educativo do Museu Nacional e a sua consonância com os debates internacionais acerca da função educativa dos museus. Não foram identificadas menções a essa publicação na literatura referente ao tema da itinerância e museus de ciência no Brasil. Nesse sentido, por meio deste artigo, buscamos contribuir para a ampliação do conhecimento acerca da História da Educação Museal brasileira e da itinerância de museus de ciência no contexto nacional.
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Sarkowi, Sarkowi. "Peran Generasi Milenial dalam Pemanfaatan dan Pelestarian Museum di Kota Lubuklinggau." Criksetra: Jurnal Pendidikan Sejarah 9, no. 2 (August 13, 2020): 127–41. http://dx.doi.org/10.36706/jc.v9i2.11476.
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Abstrak: Generasi milineal merupakan usia produktif yang dianggap sebagai penentu arah masa depan dalam pelestarian budaya dan kearifan yang dimiliki daerah Kota Lubuklinggau. Rumusan masalah penelitian ini adalah bagaimana urgensi generasi milineal dalam pemanfaatan dan pelestarian museum di Kota Lubuklinggau. Tujuan penelitian ini yaitu untuk mengetahui urgensi generasi milineal dalam pemanfaatan dan pelestarian musem di Kota Lubuklinggau. Metode penelitian yang digunakan yaitu metode kualitatif dengan pendekatan filosofis. Hasil penelitian menunjukkan bahwa generasi milineal merupakan ujung tombak dan aktor terdepan dalam pelestarian budaya dan kearifan lokal yang ada, termasuk museum sebagai wadah yang bertujuan mengoleksi benda cagar budaya ataupun bukan cagar budaya untuk menjamin kesinambungan pewarisan kebudayaan dan kelestarian museum di Kota Lubuklinggau.Kata Kunci: Milenial, Pemanfaatan, Pelestarian, Museum, Lubuklinggau Abstract: Millineal generation is a productive age that is considered as a determinant of the future direction in the preservation of culture and wisdom of the Lubuklinggau City area. The formulation of the problem of this research is how the urgency of the milineal generation in the utilization and preservation of museums in Lubuklinggau City. The purpose of this study is to determine the urgency of the millennial generation in the use and preservation of museums in the City of Lubuklinggau. The research method used is a qualitative method with a philosophical approach. The results showed that the millineal generation was the spearhead and the leading actor in the preservation of existing culture and local wisdom, including the museum as a forum aimed at collecting cultural heritage objects or not cultural reserves to ensure the continuity of cultural heritage and museum preservation in Lubuklinggau City.Keywords: Millennial, Utilization, Preservation, Museum, Lubuklinggau
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Yureneva, Tamara Yu. "Private Museum in the Space of Culture: Issues of Definition and Statistics." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 71 (2024): 22–33. http://dx.doi.org/10.37816/2073-9567-2024-71-22-33.
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Private museums play an important role in the modern cultural space of Russia; their activities make a significant contribution to the preservation and actualization of cultural heritage. The study of private museums as a special typological group that developed in the post-Soviet period has a number of terminological and statistical issues. In the context of the legal insecurity of the name “museum” and the lack of licensing of museum activities, many private organizations call themselves museums, but at the same time they do not meet the definition of a museum in the Russian legislation and the definition of the International Council of Museums (ICOM). Despite carrying out some functions of a museum and practicing some types of activities characteristic of museums, they are not museums, but museum-type institutions — creative workshops, recreational or play centers, shops, etc. There is no term “private museum” in the legislation, and the measurement uncertainty of this category of institutions remains in the statistics. An analysis of the statistical reports of a number of European countries shows that the category of “private museum” in different countries has different content. In Russia, due to the peculiarities of conducting statistical monitoring of the museum sphere, private museums are not taken into account by means of state statistics. The problem of terminological uncertainty of a private museum also exists in museology: there is no single interpretation of this group of institutions, and its specific features and essential characteristics need further study and definition.
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Misbah, M. Ma'ruf, and Faizal Arifin. "Doing Historical Research in Museum and Digital Museum." Socio Historica: Journal of Islamic Social History 1, no. 2 (December 26, 2022): 188–206. http://dx.doi.org/10.15408/sh.v1i2.26075.
Повний текст джерелаАнотація:
This article discusses the role of museums and digital museums as scientific research destinations in history. Not only physical visits to museums but the Covid-19 pandemic has also accelerated the transformation of scientific destinations through digital museums. This study aimed to identify the role and contribution of the museum and digital museum as a destination for historical researchers to carry out scientific research activities in the field of history by analyzing material culture as a historical source collected by the museum. The Rijksmuseum is an example of a digital museum provider that provides a huge collection of museums for historical research. This article used qualitative research methods with historical science approaches, especially historical research methods, archaeological approaches, and sociocultural approaches. The results indicate that there are opportunities for historical researchers to write history comprehensively, which are not only based on historical sources in oral and written form but can also be supplemented with historical information obtained from analysis of historical sources in the form of material culture which is a legacy from the past collected by the museum and digital museum. Thus, it appears that the museum which collects material culture has a significant role significant research destination in the field of history. As an impact of the existence of this material culture, historical researchers can obtain historical information from the analysis of that material culture to complement historical information obtained from the analysis of historical sources in other forms.Artikel ini membahas tentang peran museum sebagai tujuan penelitian ilmiah di bidang sejarah. Bukan hanya kunjungan fisik ke museum, pandemi Covid-19, mempercepat transformasi destinasi ilmiah sejarah melalui museum digital. Tujuan dari penelitian ini adalah untuk mengidentifikasi peran dan kontribusi museum serta museum digital sebagai tujuan peneliti sejarah untuk melakukan kegiatan penelitian ilmiah di bidang sejarah dengan menganalisis budaya material sebagai sumber sejarah yang dikumpulkan oleh museum. Rijksmuseum merupakan contoh penyedia digital museum yang menyajikan banyak koleksi museum bagi penelitian sejarah. Artikel ini menggunakan metode penelitian kualitatif dengan pendekatan ilmu sejarah, khususnya mengenai metode penelitian sejarah, pendekatan arkeologi, dan pendekatan sosiokultural. Hasil penelitian menunjukkan bahwa terdapat peluang bagi peneliti sejarah untuk menulis sejarah secara komprehensif, yang tidak hanya didasarkan pada sumber sejarah dalam bentuk lisan dan tulisan tetapi juga dapat dilengkapi dengan informasi sejarah yang diperoleh dari analisis sumber sejarah berupa kebudayaan material yang warisan dari masa lalu yang dikumpulkan oleh museum. Dengan demikian, tampak bahwa museum yang mengkoleksi material memiliki peran yang signifikan sebagai tujuan penelitian di bidang sejarah. Sebagai dampak dari keberadaan kebudayaan material ini, peneliti sejarah dapat memperoleh informasi sejarah dari analisis budaya material tersebut untuk melengkapi informasi sejarah yang diperoleh dari analisis sumber sejarah dalam bentuk lain.
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Wallace, Paulette. "Book Review Essay." Museum Worlds 8, no. 1 (July 1, 2020): 229–34. http://dx.doi.org/10.3167/armw.2020.080117.
Повний текст джерелаАнотація:
Paul Ashton and Alex Trapeznik, eds. What Is Public History Globally? Working with the Past in the Present. London: Bloomsbury, 2019.Kylie Message. The Disobedient Museum: Writing at the Edge. Museums in Focus series. London: Routledge, 2018.Susan L. T. Ashley. A Museum in Public: Revisioning Canada’s Royal Ontario Museum. Museums in Focus series. London: Routledge, 2020.Adrian Franklin. Anti-Museum. Museums in Focus series. London: Routledge, 2020.Kylie Message. Collecting Activism, Archiving Occupy Wall Street. Museums in Focus series. London: Routledge, 2019.
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Hu, Wangming, Hyunsuk Han, Gulong Wang, Tao Peng, and Zhiqiang Yang. "Interactive Design and Implementation of a Digital Museum under the Background of AR and Blockchain Technology." Applied Sciences 13, no. 8 (April 8, 2023): 4714. http://dx.doi.org/10.3390/app13084714.
Повний текст джерелаАнотація:
A museum is the destination of the crystallization of history and culture, and a museum is the center for the development of heritage culture. The display and exhibition of historical relics can promote the harmonious development of society. However, there are many defects in traditional museums. The collection in the museum is scattered. The exhibition needs a specific time and place to open, and the exhibition mode is boring and lacks entertainment, which seriously limits the museum’s dissemination of history and culture. In order to improve the public’s number of visits, museums need to keep pace with the times. Using augmented reality technology can digitize the information in the museum and integrate it with the user’s real environment, which solves the limitation of time and space for most users to visit the museum, and greatly increases the entertainment of users to visit the museum. In addition, the application of blockchain technology in digital museums can effectively ensure the security of museum cultural relics data and quickly restore the lost cultural relics information. The digital museum can help tourists realize cross-region viewing. Through multimedia software and hardware, it can greatly stimulate tourists’ interest and attract tourists of different ages to visit. This article uses digital technology to present physical museums in a digital form on the network, but it is difficult for digital museums to conduct targeted analysis on tourists of different ages. This article will analyze the attraction ability of digital museums to tourists of different ages, thereby attracting tourists of different ages to visit. This paper compared traditional museums with digital museums based on augmented reality technology and blockchain technology. The experimental results showed that from the perspective of young people, the average interactivity of traditional museums and digital museums was 47.20% and 78.20%, respectively; from the perspective of the elderly, the average interactivity of traditional museums and digital museums was 59.04% and 70.36%, respectively. Therefore, the digital museum built by using augmented reality technology and blockchain technology can effectively improve the interaction with users. The digital museum can improve the interaction with tourists of different ages, attract a large number of tourists for virtual visits, and improve the cultural transmission and economic development of the digital museum.
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Sabloff, J. A. "MUSEUMS: Whither the Museum?" Science 298, no. 5594 (October 25, 2002): 755–56. http://dx.doi.org/10.1126/science.1074068.
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Sizova, Irina A. "Museum as an Active Participant in Continuing Education." Vestnik Tomskogo gosudarstvennogo universiteta, no. 464 (2021): 225–31. http://dx.doi.org/10.17223/15617793/464/25.
Повний текст джерелаАнотація:
The article presents a qualitative analysis of museum educational products. These products have been studied in terms of the possibility of their use in formal, non-formal and informal education. Thus, the role of the museum as an actor of continuing education has been determined. The role of continuing education in the educational process is becoming more obvious for most participants, and informal education plays a huge role in this process. It is urgent now to develop high-quality educational environment. Due to museums and their offline and online educational products, it is possible to get success. The author analyzed educational activities of leading Russian and foreign museums. As a result, the possibilities of museums as an educational institution for formal, non-formal and informal education were determined. Formal education is characterized by the network interaction of educational organizations and museums when the museum educational resources are included in the educational process. The largest number of museum educational products in traditional and innovative forms is made for non-formal or supplementary education. The traditional forms of museum educational resources include excursions, game formats for acquaintance with the exposition/exhibition (quests), museum master classes, interactive classes, as well as offline continuing education programs for a professional audience. The innovative forms include intra-museum programs, for example, performances, thematic classes within the museum’s profile, and Internet resources such as pages of official museum sites, online academies of museums, museum groups on social media, official museum channels on YouTube, webinars, virtual museums. Thus, non-formal educations could be in onsite or online training forms. Informal education can apply the museum’s resources both in traditional forms and in an innovative one. The museum online resources such as online museum games, massive open online courses (MOOC), and podcasts have the highest priority in this area. Museums and universities cooperate to get high-quality competitive educational online resources. In conclusion, it is possible to speak about a new stage in the development of museum educational activity. This stage is characterized by increasing attention to professional education by adding formal and non-formal (supplementary) educational programs, and, simultaneously, increasing the role of informal education due to online technology. It should be emphasized that museum staff could develop museum educational products for formal and non-formal education independently, but it is advisable for museums to intensify cooperation with universities to enter the online education market.
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Amelkina, Daria V. "GEOGRAPHY OF MUSEUMS AND PROSPECTS OF THE MUSEUM TOURISM DEVELOPMENT IN THE SAMARA REGION." Географический вестник = Geographical bulletin, no. 1 (56) (2021): 133–48. http://dx.doi.org/10.17072/2079-7877-2021-1-133-148.
Повний текст джерелаАнотація:
Due to the growing socio-cultural significance and economic activity, museums are arousing research interest of specialists from various scientific fields. Close interaction of museum organizations with the tourism and recreation sphere gives relevance to research into the role that modern museum forms play in the formation of certain types of tourism, into regional features of museum placement, the impact that museums have on the economy and spatial organization of territories. A comprehensive study of the regional set of museums and the museum tourism development in the Samara region shows that the current state of museums, the lack of major museum destinations and funding for new high attractions do not allow the region to compete successfully for cruise tourists and in the framework of the interregional tourist project The Great Volga River Route. In the placement of Samara museums, one can trace the influence of agglomeration processes occurring in the region. This is manifested both in the concentration of museum activities in the center of the agglomeration and in the weak use of museum resources, growing risks of losing monuments on the boundaries. Under the existing conditions, the creation of new museum offers and the development of museum tourism in the Samara region is supposed to involve the following: the use of positive effects of agglomeration and overcoming of infrastructure constraints; increased readiness to compete on the basis of clustering and transfer of modern museum technologies from the central federal museums represented in Samara to regional museums, and from those to municipal and rural ones; innovative search for effective development models, integrated solutions and financing mechanisms.