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1
Horsley, G. H. R. "The Mysteries of Artemis Ephesia in Pisidia: a New Inscribed Relief." Anatolian Studies 42 (December 1992): 119–50. http://dx.doi.org/10.2307/3642955.
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Of the roughly 160 inscriptions currently held in the Archaeological Museum at Burdur, only a fraction has been published hitherto. The following articles have published monuments from the Museum:1. G. E. Bean, “Sculptured and inscribed stones at Burdur”, Belleten 18 (1954) 469–88 (Turkish version: 489–510); inscribed stones: nos. 3–5, 8, 9, 13, 14, 17–22 (SEG 14.797–809), of which nos. 8, 13, 19–22 seem no longer to be located in the Museum or the adjacent garden (it should be mentioned that Bean wrote before the Museum was formally established).2. Id., “Notes and inscriptions from Pisidia, I”, AS 9 (1959) 67–117; inscriptions from Burdur: nos. 1, 2, 3a, 3b, 4–9, 21, 87 (SEG 19.734–42, 753, 819), of which nos. 4 (at the Lycée in 1959) and 6 (at Aşkış in 1959) have not been located.3. Id., “Notes and inscriptions from Pisidia, II”, AS 10 (I960) 43–82, no. 135 (SEG 19.802). A photograph of this monument is included in the present article as Pl. XXXII (b); see further, pp. 126, 127, 131–32 below.4. S. Mitchell, “Requisitioned transport in the Roman Empire: a new inscription from Pisidia”, JRS 66 (1976) 106–31 (AE [1976] 653; SEG 26.1392); redated to early under Tiberius by E. A. Judge, “The regional kanon for requisitioned transport”, in G. H. R. Horsley, New Documents Illustrating Early Christianity, I. A Review of the Greek Inscriptions and Papyri published in 1976 (North Ryde, 1981) 36–45 no. 9 (SEG 31.1286); the date accepted with further refinement by Mitchell in Chiron 16 (1986) 25–27 (SEG 36.1208).
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Puchberger, Magdalena, and Nina Szogs. "Curating soya. Trying, testing and tasting (for) a sustainable museum." Nordisk Museologi 30, no. 3 (February 19, 2021): 45. http://dx.doi.org/10.5617/nm.8630.
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The Volkskundemuseum Vienna has been subject to large conceptual changes and now focuses on its social role and contribution to an inclusive and democratic society. The soya project came to the museum coincidentally when a hidden historical conjuncture was revealed and offered an intriguing way to include the topic of climate change into the museum’s agenda. The analogue and digital interactive formats in the soya project deal with the global contexts of climate change by analysing the social, economic and cultural role of the soya bean in our everyday lives. The authors present and discuss the inclusive museum approach, multisensory social programmes and the idea of a digital add-on exhibition on a small budget.
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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.
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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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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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Hillström,, Magdalena. "Contested Boundaries: Nation, People and Cultural History Museums in Sweden and Norway 1862–1909." Culture Unbound 2, no. 5 (December 17, 2010): 583–607. http://dx.doi.org/10.3384/cu.2000.1525.10234583.
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It has become commonplace to assert that museums embody, perform and negotiate national identities. Many researches in museum history have stressed a close relationship between nation building and the origin and formation of the modern public museum. Museums, it is argued, contributes to the construction and representation of the ethnical and historical distinctiveness of the nation’s self’. This article explores the ambiguities of the concept when applied to the establishment of cultural history museums in Sweden and Norway during the latter half of the 19th century. It shows that the relation between nation building and early museum building in the Scandinavian context was more intricate than earlier has been assumed. Museum founders like Artur Hazelius, who opened the Scandinavian-Ethnographic Collection in 1873 (renamed Nordiska museet 1880), was deeply influenced by Scandinavianism, a strong cultural and political force during the 19th century. Union politics played an important role for museum politics, as did the transitions of the concepts of “ethnography” and “nation”. At the very end of the 19th century the original concept of “nation” meaning people and culture gradually was subordinated to the concept of “nation” as state and political territory. In early 20th century museum ideology cultural history museums were strongly connected with “nations” in the modern sense. Consequently, efforts to “nationalise” the folk-culture museum were made both in Norway and Sweden. A contributory force was, naturally, the dissolution of the Swedish-Norwegian union in 1905.
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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.
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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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Vieira, Ana Carolina Maciel, Mariana Gonzalez Leandro Novaes, Juliana Da Silva Matos, Ana Carolina Gelmini Faria, Deusana Maria da Costa Machado, and Luiza Corral Martins de Oliveira Ponciano. "A contribuição dos museus para a institucionalização e difusão da paleontologia." Anuário do Instituto de Geociências 30, no. 1 (January 1, 2007): 158–67. http://dx.doi.org/10.11137/2007_1_158-167.
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Since the calls "cabinets of curiosities", the essence of natural history was consolidating itself with the birth of the museums and the development of the Museums of Natural History. This consolidation was reached through following activities: expeditions, field trips, collection classification works, catalogues of diffusion of scientific knowledge, educativ activities and expositions. The present paper intends to discuss the importance of the museal institutions for the studies of Paleontology; since the museums of Natural History had exerted a pioneering paper in the institutionalization of certain areas of knowledge, as Palaeontology, Anthropology and Experimental Physiology, in Brazil. The Paleontological studies in museums had collaborated in the specialization and modernization of the appearance of "new museum idea". As this new concept the museum is a space of diffusion of scientific knowledge, represented as an object that reflects the identity of the society without an obligator linking with physical constructions. However, the Brazilian museums have been sufficiently obsolete, with problems that involve acquisition and maintenance of collections to production of temporary or permanent exhibitions. When the Brazilian institutions of natural history are analyzed they are not organized on the new museum conception and the digital age as the North American and European ones. Despite the difficulties found by the Museums since its birth as Institution in the 18th century, the contemporary development of Museology and Palaeontology as Science had contributed for the consolidation and institutionalization of both, helping the diffusion of scientific knowledge.
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Getashvili, N. V. "Private Collections as the Core of Picasso Art Museums: The Problem of Selection and Exposition, Intentions and Reality." Art & Culture Studies, no. 2 (June 2021): 88–103. http://dx.doi.org/10.51678/2226-0072-2021-2-88-103.
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The article reviews the history of several Picasso public museums, which have been based around private art collections. It examines the personal motivations and social conditions that accompanied the conception and realization of the projects. The records of Museu Picasso in Barcelona contain evidence highlighting Picasso’s lasting close friendship with Jaume Sabartés, who donated his private collection to the museum. These documents reveal the dramatic context surrounding Picasso’s citizenship, his persona non grata status, as well as the latent Catalan opposition to state authority. In addition, the article utilizes the case of Picasso museums to highlight and discuss a series of problematic issues related to adapting the modernist artworks, which have been installed within historic buildings and cultural heritage sites.
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Burgess, Chris. "The Development of Labor History in UK Museums and the People's History Museum." International Labor and Working-Class History 76, no. 1 (2009): 26–35. http://dx.doi.org/10.1017/s0147547909990044.
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Labor history in UK museums is constantly in a state of change. A hundred-year-old tradition of displaying and interpreting the history of the common people has seen a shift from the folk life museum to a much more all-encompassing model. The academic trend for and acceptance of working-class history began this process, and museums followed, albeit at a much slower pace. Young curators actively involved in the History Workshop, Oral History, and Women's History movements brought their new philosophies into the museum sphere. This internally driven change in museums has been matched with demand for change from above. Museums have been given a central role in the current Labour government's wide-ranging strategies to promote an understanding of diversity, citizenship, cultural identity, and lifelong learning as part of a broader social inclusion policy. The zenith of this plan would be a museum devoted to British national history, though whether this will take place is yet to be seen. The transformation of the People's History Museum makes an interesting case study. The museum, originally an institution on the fringes of academic labor history and actively outside the museum community, is now at the forefront of labor history display, interpretation, textile conservation, and working-class historical research.
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Eler, Denise. "As práticas museológicas emergentes na Internet e as tecnologias que as viabilizam." Txt: Leituras Transdisciplinares de Telas e Textos 4, no. 8 (December 31, 2008): 18. http://dx.doi.org/10.17851/1809-8150.4.8.18-28.
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<p><strong>Resumo</strong>: Historicamente, os museus têm sido flexíveis na adoção de posturas e configurações favoráveis ao desenvolvimento social e humano, refletindo os contextos socioculturais em que estão inseridos. Este artigo lista e descreve algumas práticas museológicas emergentes, bem como as tecnologias que as viabilizam.</p><p><strong>Abstract</strong>: Historically, museums have been flexible in adopting practices and settings which are advantageous to social and human development. This article lists and describes both some emergent museum practices and the technologies that make them possible.</p><p><strong>Keywords</strong>: cyberculture; museums; Web 2.0; Semantic Web.</p>
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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.
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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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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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Murawska, Agnieszka, Jarosław M. Fraś, Ewa Frąckowiak, and Andrzej Rybicki. "PROFESSION OF A ‘MUSEUM CURATOR’. ON LEGAL CHANGES IN THE CONTEXT OF THE EROSION OF THE ROLE PLAYED BY MUSEUM CURATORS." Muzealnictwo 61 (July 24, 2020): 145–53. http://dx.doi.org/10.5604/01.3001.0014.3323.
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Changes in the legislation related to museum curators and museology, introduced with small steps in harmony with the Overton Window concept, are discussed; they are leading away from the letter and spirit of the Act on Museums of 21 Nov 1996 and the traditions of Polish museology based on creating collections of museum objects and working on them in various manners. Regulations and legal opinions on the museum curator profession are presented, pointing to the fact that the initially cohesive definitions and provisions are becoming blurred, to the extent of losing their initial sense, and threatening the identity of this professional group, as well as the identity of museums as heritage-preserving organizations. Furthermore, attempts to extend the concept of museum curator to encompass also the institution’s executives or the entire museum staff undertaken in order to depreciate this professional group and deprive it of the impact on the institution’s management have been signalled. A tendency has been observed to deprive the employees fulfilling the museum’s basic activity, museum curators included, of the influence on shaping state policies with respect to museology, this clearly illustrated by the composition of the Council for Museums and National Memorial Sites. Provisions of the labour legislation as regards professions of public trust museum curators aspire to join have been quoted. Mention has also been made of certain activities they have undertaken to prevent the process of de-professionalising the profession of a museum curator in the museum-related legislation, and to subsequently reverse it. The 2016 Bill on Museum Collections and on Museums prepared by the National Section for Museums and Institutions for the Preservation of Historical Monuments of the Solidarity Trade Union has been presented. The main demands of the Bill have been pointed to: the consolidation of the status of museum collections as the main purpose of the museum’s raison d’être, the status of a museum curator as a profession of public trust, and the shift in museum management from technocratic (New Public Management) to modern, aiming to serve the national heritage and people in harmony with the principles of the New Public Service.
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Poehls, Kerstin. "Europe, Blurred: Migration, Margins and the Museum." Culture Unbound 3, no. 3 (October 25, 2011): 337–53. http://dx.doi.org/10.3384/cu.2000.1525.113337.
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More and more museums all over Europe are discovering migration as a topic for exhibitions. These exhibitions on migration question notions of objectivity or of European universalism. This article looks at a broad range of recent exhibitions and museums that address the topic of migration. Taking into consideration their varying scope and institutional context, this text argues that exhibitions on migration tell several stories at once: Firstly, they present stories of migration in a certain city, region or nation, and within a particular period of time. For this purpose, curators make extensive use of maps – with the peculiar effect that these maps blur what seems to be the clear-cut entity of reference of the museum itself or the exhibition. To a stronger degree than other phenomena that turn into museal topics, ’migration’ unveils the constructed character of geographic or political entities such as the nation or the European Union. It shows how, hidden below the norm of settledness, mobilities are and have always been omnipresent in and fundamental for European societies. Secondly and related to this, exhibitions on migration add a new chapter to the meta-narrative of museums: implicitly, they challenge the relevance of the nation - specifically, of both the historical idea that initiated the invention of the public museum (cf. e.g. Bennett 1999) and the political fundament of European integration today. They provoke questions of settledness, citizenship, or contemporary globalisation phenomena that are equally implicitly put on display. The consequent effect is a blurring of the concept of the nationstate. Finally, migration as a museal topic conveys a view on how the institution of the ’museum’ relates to such a fuzzy thing as mobility, thus provoking questions for further research.
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Timasheva, Irina. "An open library in an open museum." Art Libraries Journal 24, no. 4 (1999): 29–30. http://dx.doi.org/10.1017/s0307472200019787.
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Should museums open their libraries to the general public? This is a delicate question, widely discussed within and outside the museum community. The lack of a consensus on this topic made it one of the key points at the Libraries in museums – museums in libraries conference, held in Moscow in May 1999. While the recently-established ‘Open Museum’ Association in Russia aims to make all museum activities open to the public, and to develop interactive communication with both real and virtual museum visitors, libraries are not yet one of its priorities. However Irina Timasheva firmly advocates changing the role and mission of museum libraries, as has been done at the Samara Museum, and demonstrates the benefits to both museum and local community. Even if this ‘first swallow is not yet a Spring’, there is already a quite noticeable trend towards the open museum library in Russia.
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Czop, Janusz. "CENTRAL STORAGE FACILITY FOR MUSEUM COLLECTIONS: A NEW TASK FOR THE NATIONAL INSTITUTE FOR MUSEUMS AND PUBLIC COLLECTIONS." Muzealnictwo 60 (June 28, 2019): 92–102. http://dx.doi.org/10.5604/01.3001.0013.2614.
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Museum is collections. Their safe and appropriate storage has always been and will remain the basic statutory activity of every museum. As can be found in both domestic and international sources, merely a fraction of museums’ collections is on permanent display, while their remaining part is kept in museums’ storerooms. Therefore, the priority goal of every museum, of its management, and organizer, should be the availability of an adequate storage area. Regrettably, history and praxis demonstrate that it is precisely within this field that museums have always had and continue having the greatest needs. Worldwide museology faces the ongoing challenge of museum collection storage, and this is the challenge that Polish museums face as well. Fortunately, for over two decades a process of actual transformation in this respect has been occurring, the latter resulting in modern storage facilities being built. These, complying with the latest standards, shall guarantee high-quality protection to the collections, as well as a low-budget construction, and low energy consumption in the course of operations. Poland, too, has been participating in these changes. Recently, the topic of museum storage areas has entered the list of priority tasks of the Ministry of Culture and National Heritage, which in 2016 commissioned the National Institute for Museums and Public Collections (NIMOZ) to provide appropriate reports, analyses, and concepts, while in 2018 it formally assigned the Construction of the Central Storage Facility for Museum Collections Project (CMZM) to NIMOZ. A new position of the Director’s Proxy for the Central Storage Facility for Museum Collections has been created. This means that a major development in the history of Polish museology has taken place: at the Ministry of Culture and National Heritage and its subordinate cultural institution definite steps have formally been taken in order to resolve the problems of museum collection storage in Poland. The assumption has been made that CMZM will be a pilot and model solution that can be followed by subsequent storage facilities for museums in Poland’s other regions.
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Suciu, Silvia. "De la muzeul-templlu la muzeul forum - evoluția muzeului în spațiul public." Anuarul Muzeului Etnograif al Transilvaniei 31 (December 20, 2017): 224–44. http://dx.doi.org/10.47802/amet.2017.31.12.
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A nu arăta o operă de artă înseamnă a nu-i permite să fiinţeze. (Boris Groys) Museums and their public haven’t always been as we know them today. In 17th century, curiosity cabinets (mirabilia) have been realized by nobles and aristocrats; the only public of these cabinets was the collector and his fellows, belonging to the same social class. The first museums as public institutions appear in 18th century, continuing to develop during 19th century, but their image and accessibility is very different from nowadays. The situation changes after the World War II, when appear a lot of theoretical studies about museums and their public. The Museum-Temple is transforming into Museum-Forum, where every member of the community must feel represented. In the second part of the article we realized a classification of the museums and a description of each specific class which form this cultural diversity: art museums, history museums, anthropology museum, natural history museums, technical museums, monetary museums. Historical and contemporary examples of museums can be found through this study.
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Panciroli, Chiara, and Anita Macauda. "University museums and the Third Mission: the project “Young people for culture” in the Museum Laboratory of Education of Bologna University." Research on Education and Media 8, no. 2 (December 1, 2016): 10–18. http://dx.doi.org/10.1515/rem-2016-0013.
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Abstract The university has been called to run a Third mission of a socio-entrepreneurial nature that deals with the interaction in communities favouring the use of knowledge to contribute to social, cultural and economic development in society. This study case can fit in the main objectives of the mission in which public and local assets, such as museums, become accessible to everyone. The ModE project - the Musueum Laboratory of Education of Bologna University - has been included in this context with reference to the widespread diffusion of the teaching of cultural heritage. Summing up, the aim of the project “I giovani per la cultura” is to prepare and strengthen the professional profiles of cultural heritage, in particular by museum educators, cultural mediators and teachers, who, according to a training plan “domino effect”, become educators themselves and, along with young people, achieve high-quality experiences with our wealth of museums.
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Mandelsham, M. Yu. "S. L. Wood, Bark and Ambrosia Beetles of South America (Coleoptera: Scolytidae) (Monte L. Bean Life Science Museum, Brigham Young University, Provo, 2007), 900 p." Entomological Review 89, no. 2 (April 2009): 245–46. http://dx.doi.org/10.1134/s001387380902016x.
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Reidla, Jana. "Curators With and Without Collections : A Comparative Study of Changes in the Curator’s Work at National Museums in Finland and in the Baltic States." Journal of Ethnology and Folkloristics 12, no. 2 (December 1, 2018): 115–38. http://dx.doi.org/10.2478/jef-2018-0014.
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Abstract Traditionally, the curator’s work has been in close connection with the main functions of the museum - preservation, research, and communication. The changes that have occurred at museums over the past few decades have also influenced the profession of curator. Specialisation has taken place inside the museum, and so the curator’s functions have also changed. This article focuses on the curator’s field of work at national museums in Finland and in the Baltic states. The analysis is mainly based on interviews conducted with curators and other museum professionals at the Estonian National Museum, the Estonian History Museum, the National History Museum of Latvia, the National Museum of Lithuania, and the National Museum of Finland. Emanating from the PRC model provided by the Reinwardt Academy as well as the global changes induced by the new museology, the focus is on the curator’s connection with museum collections. The analysis shows that the curator’s role is not similar in all the museums under discussion; there are regional differences in structure, curatorial duties, and priorities. While at some museums the curator is regarded as a collection keeper who can also do some research, at others they are rather researchers and have only infrequent contact with collections.
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Danek, Jan, B. Shaushekova, and E. Ibrayeva. "Advantages of joint work of school with organizations of supplementary education at different historical stages." Bulletin of the Karaganda University. Pedagogy series 101, no. 1 (March 29, 2021): 66–72. http://dx.doi.org/10.31489/2021ped1/66-72.
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Article deals with the problem of interaction of the museum and school from the early ages. Authors give thoroughly full images of joint work of museums and schools in developed countries and analyze their experiences in conducting this way of cooperation. In the article there were listed the problems of interaction between the museum and the school and features of interaction at different historical stages. Authors describe the promising models of cooperation and the answers to question ‘How the problem of “museum and school” is solved abroad?’ Work of museums with students have been discussed in details, i.e. work with preschoolers and younger students, middle and high school students. Authors gave classification of museums of educational institutions: university museums, school museums, pedagogical museums. They have considered pedagogical museums in the period of origin and prosperity, the evolution of pedagogical museums, museums of the history of education and children's museums. Authors have analyzed the prospective of having museumschool partnership.
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Jagodzińska, Katarzyna. "PARTICIPATION OF THE PUBLIC IN POLISH MUSEUMS." Muzealnictwo 62 (August 9, 2021): 189–97. http://dx.doi.org/10.5604/01.3001.0015.1742.
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In the 21<sup>st</sup> century, participation is one of the key words related to the operations of museums and debate around them. The public are encouraged to co-create museum projects: exhibitions, programmes that accompany exhibitions, studies; they play the role of consultants and advisors (youth councils, clubs, consultancy teams). Museums are more and more widely ‘opening’ to embrace the public. Never before has the position of visitors been as significant. An overview of participatory programmes in Polish museums is provided. They are classified and characterized by the Author who places them within the philosophy of museum operations, particularly with respect to the altering role of museums, currently debated over within ICOM, with the context of the new museum definition in mind; furthermore, she presents the initial conclusions drawn from the implementation of such projects for museums. In the paper the material from interviews conducted as part of the Atlas of Museum Participation Project implemented with a grant from the Ministry of Culture and National Heritage has been used.
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Cvjetićanin, Tatjana. "Objects or Narratives. Archaeological Exhibitions in Serbia: Foundations of Museum Archaeology." Issues in Ethnology and Anthropology 9, no. 3 (February 26, 2016): 575. http://dx.doi.org/10.21301/eap.v9i3.2.
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Although every local museum or parts of national museums keep archaeological finds, museums in general play a very limited role on the archaeological scene, often being passive and marginalized. Well-grounded investigation into the archaeological objects kept in museum collections and, above all, the public domain of museums, the nature of collections and exhibitions, both permanent and occasional, have not been adequately recognized, discussed or considered. In spite of the fact that museum exhibitions legitimize the dominant social and political norms of the present, museums remain marginalized, separated from the currents of various pertinent disciplines, and not prepared for the necessary changes. Archaeological theory, shaping the archaeological practice of museums as well, is not understood as its constituent part, and the interpretive context in which exhibitions are created, contents and nature of interpretation are not considered. The analysis of the exhibitions of the National Museum in Belgrade, being the paradigm of museum archaeology in Serbia up to the middle of the 20th century, has shown that the culture-historical approach, the idea of continuity and dynamic artistic presentations of alienated past have marked this public presence of museums. The Museum has developed from the storage space and knowledge presentation, over exhibition space to an ideal museum, dominated by estheticized expositions, establishing various official representations of the past. The changes in the theory of museology, somewhat coinciding with the changes in archaeological theory, have posed a new challenge to museum archaeology, that may be defined in short as the need for the new interpretation of the past.
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Bondarets, Oksana. "Museums: Preserving Heritage, Comprehending Past, Forming Identity." NaUKMA Research Papers. History and Theory of Culture 4 (June 15, 2021): 106–12. http://dx.doi.org/10.18523/2617-8907.2021.4.106-112.
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Perception of museums as space of co-operation between public and collections is rethought constantly, with primarily taking into account a sociocultural situation. It is reflected on the specifics of the direction of activity and determination of the mission of different museums. Nowadays, scientists interpret the museum space as social space and regard museums as institutes of social memory (historical memory or cultural memory). Communication, interactivity, and participation are considered to be the main components determining the development of the modern museum. The aim of this study is to analyse the strategy of determination of priority directions of the museum activity and the place and role of museums in the processes of memory. Museums accumulate and translate the experience of a certain culture and the way they present this experience; it is a part of the complicated process of formation of the nation identity. Museum professionals often say that an important task now is to choose one and only line among the events and to create a common collective experience that in turn influences the self-identity of an individual. First, every museum must choose the educational strategy and define the priority directions of their activity. The sharpest discussions in Ukraine concern the direction of the national museums. If a museum considers the priority direction of the activity organization of leisure, then the question is whether it can have the status of national. The function of leisure is important but cannot be basic; in fact, the essence of the museum is the function of cognition. A special attention should be paid to the fact that a tendency of “walls without the museum,” that is the museum without traditional collections, now undergoes substantial changes. Such museums afterwards begin to complete their own collection. It is presently impossible to ignore such an important theme as the maintenance of the cultural heritage and digital transformation. Museums actively use multimedia technologies for the maintenance and popularization of the heritage. But a specific feature of the museum as an institution of storage, study, andtranslation of subject forms of culture has not been lost. Museum objects themselves are the basis of adaptive and inculturation possibilities of the museum. In the epoch of globalization, a museum can create optimal terms for the cultural identification. Presently our task is not consideration of certain historic events and their influence on forming the historic memory of the Ukrainian people. It is important to mark that potential of museums as grounds of proceeding in the national memory and Ukrainian identity considerable enough, but not exposed, and not only by regional museums. The study and use of experience of the creation of complex narratives on difficult questions of history in the museums of the world are important enough for Ukrainian museum professionals. Modern museums, while developing projects related to traumatic remembrances, questions of firmness, dialogue, problems of reconciliation in conflict periods of history, run into numerous problems but must not forget that these projects will assist a reflection among the public.
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Satubaldin, Abay, and Kunikey Sakhiyeva. "The Museum System of Modern Kazakhstan: Classification and Typology of Museums." Muzeológia a kultúrne dedičstvo 9, no. 2 (2021): 79–89. http://dx.doi.org/10.46284/mkd.2021.9.2.5.
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This article discusses the museum system of modern Kazakhstan and offers, for the first time ever, a classification and typology of the country’s museums.In recent years in independent Kazakhstan, on the basis of the Soviet system, a modern museum network has been formed which currently lists 250 museums. Among them are 17 national-level museums, 54 at the regional level, 73 at the provincial level, 103 branches of regional- and district-level museums and four private museums.The purpose of this article is to analyse the museum system of modern Kazakhstan and develop a classification and typology of the country’s museums.In the course of the study, conducted in 2017–2018, data was collected on the activities of museums at the national, regional and district levels over the past seven years. From the results of this investigation, the museums of Kazakhstan were systematized according to the subject or topic of the museum (e.g. history, art, scientific), its affiliation (national, regional district), and by size, measured by number of employees.
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Fairchild, Charles. "Understanding the Exhibitionary Characteristics of Popular Music Museums." Museum and Society 15, no. 1 (June 9, 2017): 87–99. http://dx.doi.org/10.29311/mas.v15i1.664.
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The literature on the popular music museum has primarily focused on the study of heritage and cultural memory with a secondary focus on tourism. Given the unprecedented expansion of the museum sector worldwide in recent decades, which has produced an increasing number of major museums dedicated to popular music, it is an opportune time to expand this range of analytical concerns. Specifically, the development of popular music museums has not yet been closely examined within the broader historical trajectory of the so-called ‘new museum.’ This article seeks to outline the range of exhibitionary types commonly used in a range of high-profile popular music museums in pursuit of this line of inquiry. The goal is not simply to produce a generic survey or typology of displays, but to place the use of different forms of museum display within the specific historical trajectory that has produced steadily larger numbers of these kinds of museums in recent years. I organize these exhibitionary types into two broad streams of museum exhibition practice implied in the historical survey presented here: a populist-vernacular stream of museum display and an institutional-educational one. I seek to place the exhibitionary practices of contemporary popular music museums in a broader and longer trajectory of similar practices in order to get a more grounded sense of the more important characteristics of these kinds of museums.
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Tjahjono, Baskoro Daru. "Memimpikan Museum yang Menarik Pengunjung." Berkala Arkeologi Sangkhakala 13, no. 26 (January 6, 2018): 166–75. http://dx.doi.org/10.24832/bas.v13i26.167.
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AbstractActually, the presence of museums in Indonesia has been quite a long time. From time to time, the museum has been progressing, both qualitatively and quantitatively. The main purpose of the museum is for fun and learning for the community. But until now, most of the museums in Indonesia have not been able to attract many visitors. In general, the Indonesian people are still as consumers or spectators. Therefore, to attract visitors, the museum should be made as attractive as possible, building, exhibition layout, lighting, equipment room and the attractions.
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Busse, Mark. "Museums and the Things in Them Should Be Alive." International Journal of Cultural Property 15, no. 2 (May 2008): 189–200. http://dx.doi.org/10.1017/s0940739108080132.
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Over the last 20 years, museums have attracted unprecedented academic attention. For the first time in their history, museums as institutions have been the subject of theorizing as well as intense academic and public debates about their place in the contemporary world. Much of the theoretical work has taken place in the context of the New Museology, a critical goal of which has been to rethink the manifold and complex relationships between museums and the societies in which they exist. Advocates of the New Museology have prominently sought ways to make museums less elitist but more inclusive, that is more directly and democratically involved with their various constituencies such as the people who create and use the objects that museums collect or the audiences who visit museum exhibitions and participate in museum programs. Unfortunately, the New Museology has been rather long on theory and rather short on detailed explorations or accounts of the implications of its theoretical formulations for museum practice, that is for the day-to-day activities and interactions comprising the work that goes on in and around museums.
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STANKOVA, Maria, and Simana MARKOVSKA. "THE FUTURE OF SCIENTIFIC PERIODICALS IN BULGARIAN MUSEUMS – THE SCIENTIFIC-AND-APPLIED ASPECT." Ezikov Svyat volume 19 issue 2, ezs.swu.v19i2 (May 1, 2021): 120–26. http://dx.doi.org/10.37708/ezs.swu.bg.v19i2.15.
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The current research opens a discussion about the status of the scientific periodicals in Bulgarian museums in view of the opportunities for its future enrichment in terms of content and fields of application. The focus is on presenting the initiatives of Bulgarian Regional Museums, with an accent on the Regional Historical Museum of Kyustendil. On the basis of a thorough review of its publications and their thematic range, the potential of museum periodicals has been explored in relation to the dual character of the museum – as an institution which collects, studies, keeps and preserves heritage, and at the same time presents it to various audiences. The main research goal has been set towards the identification of various practices for transforming the effect of the periodicals from purely scientific into scientific-and-applied, encouraging the promotion of the museum activities and improving the interaction with museum audiences. In terms of methodology, the team has worked with traditional approaches such as analysis and synthesis, comparison, abstraction, induction and deduction, summarization, and building presumptions. Conclusions have been drawn concerning the character of the periodicals published by Bulgarian museums, in view of involving more actively museum audiences in the future.
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Sacha, Magdalena Izabella. "MUSEUMS OF THE LOST “GERMAN EAST”. THE CONDITIONS OF OPERATING AND THE EVOLUTION OF EXHIBITIONS IN THE POLISH-GERMAN CONTEXT." Muzealnictwo 59 (May 31, 2018): 68–78. http://dx.doi.org/10.5604/01.3001.0012.0741.
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In the article, the so-called eastern German museums and the way they operate is discussed in view of a document ratified by Bundestag in 2016. The document concerned the further action plan for implementing the provisions of paragraph 96 of the Federal Expellee Law of 1953, popularly referred to as a “cultural paragraph”. The term “German East” bears reference to the historic territories of German settlement prior to 1945, whose heritage is a focus of attention for museums as well as science and culture institutions in contemporary Germany. Those eastern German museums have been reviewed herein, whose interest lies, inter alia, in territories presently belonging to Poland: the East Prussian State Museum (Ostpreuβisches Landesmuseum) in Lüneburg, the West Prussian State Museum (Westpreuβisches Landesmuseum) in Warendorf, the State Museum of Pomerania (Pommersches Landesmuseum) in Greifswald, the Silesian Museum (Schlesisches Museum) in Görlitz.
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Laszlo Klemar, Kosjenka, and Željka Miklošević. "Educational Museum Action – Characteristics and Possibilities of Development." Etnološka istraživanja, no. 25 (December 3, 2020): 51–68. http://dx.doi.org/10.32458/ei.25.10.
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On the occasion of observing International Museum Day, Croatian museums carry out the Educational Museum Action (EMA) by conducting educational activities - most often workshops, guided tours and didactic exhibitions - on a specific topic set by a museum-leader. Ethnographic museums in Croatia have participated in the Action from the very beginning; in 2000 and 2010, Ethnographic Museum in Zagreb was the leader of the Educational Museum Action. This paper presents a research of EMA features as an educational museum action conducted by analysis of printed booklets as the Action program publications and by responses of museum experts who took part in the organization and implementation of the Action, obtained as a result of a survey. The research points out the discrepancy between the name and features of the organized activity, upon which a state and potentials of the Action development, as well as the museum’s educational activities have been questioned. Curators of ethnographic collections and museum educators in Croatian ethnographic museums, having participated in the research, gave their contribution to determination of issues related to museum educational programs and to determination of their development potentials.
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Trabskaia, Iuliia, Iuliia Shuliateva, Rebecca Abushena, Valery Gordin, and Mariya Dedova. "City branding and museum souvenirs: towards improving the St. Petersburg city brand." Journal of Place Management and Development 12, no. 4 (October 14, 2019): 529–44. http://dx.doi.org/10.1108/jpmd-06-2017-0049.
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PurposeThe purpose of this paper is to identify ways to develop museum shop product, which will possess competitive advantage, and to recommend what should be done to develop such product so that it has a positive impact on the city brand of St. Petersburg.Design/methodology/approachIn total, 76 museums have been studied through the observation method to describe their shops’ inventory in terms of percentages of each product. Mostly St. Petersburg museums were included in the analysis. The observation method enabled the researchers to analyse the inventory of the museum souvenir shops. The findings of the analysis enabled the researchers to reach conclusions about museums’ strategies of product development.FindingsThe research allowed to make the conclusion that although the museum shops in St.Petersburg demonstrate positive tendencies in the development of competitive stores’ products a lot of work is still to be done. Not all museums are characterised by availability of clear strategy for product development. They offer souvenirs (if any) which do not differ from those existing on the market according to topics and functions which are characteristic for them. Recommendations on how to make the product of museum shops more competitive were proposed.Practical implicationsCities need new and fresh ways to create and promote their brands. Museums can contribute to this significantly with the help of souvenirs production. This research will provide insight into the process of how museums can do this by developing their shops’ inventory strategies. Recommendations to improve strategies for creation of competitive product were offered in the paper.Originality/valueIn today’s competitive conditions, museums are creating augmented products and create museum shops. Nevertheless, the role of museum shops in brand creation is underexplored. Museum shops have a high potential for creating high-quality products that may influence the museum and city brand in a positive way, as souvenirs and visual images of museum artifacts play an essential role in making an impression on tourists.
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Nimmo, Evelyn R. "Approaching Archaeological Museum Collections through the Concept of Assemblage: The Case Study of the Jesuit Mission San Ignacio Miní (1610–1631)." Latin American Antiquity 31, no. 3 (July 8, 2020): 615–31. http://dx.doi.org/10.1017/laq.2020.47.
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In Brazil, as in most countries, history and natural history museums are the repositories of rich collections of excavated archaeological material. One of the major challenges in working with these collections is the paucity of information available regarding the original excavations, which raises important questions that archaeologists and museum studies professionals have been grappling with for several decades: what interpretive value do these collections have without any contextual information, and are they worth maintaining in museum archives that are facing continuing crises in space and resources? This article uses the concepts of entanglement and assemblage to discuss a collection of ceramics excavated from one of the first Spanish Jesuit missions in colonial Paraguay, San Ignacio Miní (1610–1631), and housed at the Museu Paranaense in Curitiba, Brazil. Despite the lack of contextual information from the 1963 excavation, we can begin to explore the entangled pasts, present, and future of these objects by tracing the trajectory of the collection from the initial formation through excavation and contemporary analysis. Innovative approaches are needed to address methodological and theoretical concerns in analyzing archaeological museum collections to ensure that the knowledge and potential insights entangled in these collections are not lost.
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Jagodzińska, Katarzyna. "MUSEUMS BEYOND WALLS IN THE CONTEXT OF THE THIRD PLACE’S CONCEPT." Muzealnictwo 59 (July 17, 2018): 123–31. http://dx.doi.org/10.5604/01.3001.0012.1965.
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The article focuses on museums’ activity that reaches beyond the walls of their premises in the context of a concept of the so-called third place. The third place – as a gathering place which is neither one’s home, i.e. first place, nor workplace, i.e. second place – was described by an American sociologist Ray Oldenburg in 1999 in his book The Great Good Place: Cafes, Coffee Shops, Bookstores, Bars, Hair Salons, and Other Hangouts at the Heart of a Community. Three study cases have been used in the article: Museum Forum (project carried out by the National Museum in Kraków), Bródno Sculpture Park (project co-conducted by the Museum of Modern Art in Warsaw), and the method of work implemented by the Ethnographic Museum in Kraków, including in particular the project Dzikie Planty (Wild “Planty” Park). I discuss assumptions the projects have been based on, how they fit in an overall strategy of the museums, and reasons why they have been undertaken. Finally, I wonder whether having been conducted in a fully accessible public space and conducive to users’ interaction make it justified to categorise them as the third places in the meaning given by Oldenburg. Although Oldenburg’s concept has been regarded by museum theorists as not applicable to museums, I have come to the conclusion that projects conducted by museums in a non-committal context of an open space meet the conditions the third places do.
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Suroto, Peni Zulandari, Made Handijaya Dewantara, and Aulia Ardista Wiradarmo. "THE APPLICATION OF TECHNOLOGY IN MUSEUMS." International Journal of Applied Sciences in Tourism and Events 4, no. 2 (December 30, 2020): 170–81. http://dx.doi.org/10.31940/ijaste.v4i2.1853.
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Alongside with collections in form of historical objects, as well as objects related to human culture, museums have taken an important role in providing education, especially for tourists who visiting a destination. However, at its conditions who have lack of innovation, has implications for declining number in interest of tourists to come and dig deeper into the collections in museum. This research set an objective to answer how could technology applied in museum. Research has been done through Focus Group Discussion (FGD) and depth observation conducted on January 2020, in Jakarta. Nine informants/participants involved during FGD, including 5 museums (public and private), 2 technology providers, and 1 museum users community. Research indicates that strong cooperation between museums and technology providers has been elaborated, in particular in several museums in Jakarta. Augmented Reality and Virtual Reality are two most applications applied. Meanwhile, museums have established several platforms for security and data collection purposes. Both parties will try to add more platforms through video mapping application, projection mapping, virtual tour, and internet of things (IoT) operations. Process of increasing experience and immersion encounters obstacles, to provide additional experience to visitors, so that all five senses that exist in visitors, can enjoy all museum collection. Technology could embrace interaction and immersion to add more experience value on visitors. Thus, tourism industry would be more attractive with the presences of museums.
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Jagodzińska, Katarzyna. "Historyczne mury dla nowych muzeów. Muzealna moda na początku XXI wieku." Kultura i Społeczeństwo 55, no. 4 (November 22, 2011): 171–90. http://dx.doi.org/10.35757/kis.2011.55.4.9.
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The Author considers a trend, which comes from the west, to use post-industrial developments for museums. The article includes issues concerning adaptation of post-industrial developments for museum functions, references to history and identity of the building concerned, as well as relations of an institution — which is hosted within the historical construction — with the surroundings. The museums which have been selected for the analysis are representative for a boom observed in Poland since the beginning of the 21st century — the majority of newly-established museums are located in adapted old buildings, the museums representing almost exclusively only two categories: historical museums and contemporary art museums. The Author seeks an answer to a question whether museums must follow current trends. She concludes that a quest for success translating to a good image and high attendance is and certainly shall remain an important goal of a museum. She warns, however, of dangers related with a museum trying to be a “trendy” place to attend, especially in the times of public life commercialization, which is more and more common.
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Antonenko, Volodymyr, and Volodymyr Khutkyi. "Museums as a Tourist Resource in the Conditions of the COVID-19 Pandemic: Challenges and New Opportunities." Bulletin of Kyiv National University of Culture and Arts. Series in Tourism 4, no. 1 (June 24, 2021): 54–73. http://dx.doi.org/10.31866/2616-7603.4.1.2021.235149.
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It is becoming increasingly clear that museum activities and tourism are among the sectors of culture and economy most affected by the COVID-19 pandemic. Despite the fact that museum visits and tourist travel during the pandemic have been reduced to a minimum, museums around the world are looking for a way out of the predicament, using every opportunity to recover and offer innovative museum and tourism products. For many museum institutions, the COVID-19 pandemic and its implications for the cultural sphere as a whole are a challenge that needs to be used to rethink their activities, to introduce new methods of communication with potential museum visitors and cultural heritage enthusiasts. The article presents an analysis of the main challenges of the pandemic and its consequences in the field of culture, museum activities in 2020 and the first half of 2021, considers the expected and possible changes in museum life as a result of the pandemic. The study results of the financial condition of museums as a result of quarantine during the COVID-19 pandemic are presented, the innovative practices of online content that museums offer to their visitors during quarantine are considered.
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Fjell, Tove Ingebjørg, Teemu Ryymin, and Hans-Jacob Ågotnes. "Vil man ha forskning i museene? Museumspolitiske mål og hindringer for forskningsarbeid." Nordisk Museologi 29, no. 2 (December 14, 2020): 26. http://dx.doi.org/10.5617/nm.8438.
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The Norwegian museum policy states that research is an important part of museum activities. Numerous structural and more employee-directed measures have been implemented, nationally and locally in the museums, to further and encourage research activity in the sector. Based on a survey among museum employees who have participated in continuing education courses in research and research publication at the University of Bergen, we argue that structural measures – such as research leadership systems and formal research plans – at individual museums are important, but not sufficient to further research. Individual adaptation of the working environment, where research projects are prioritised by the institution leadership and given time, is crucial for furthering of research in museums.
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Haunstrup Rathjen, Kasper Thissenius. "Museet i tidens tegn. Et tidsligt blik på museumsaktivismen." Nordisk Museologi 29, no. 2 (December 7, 2020): 4. http://dx.doi.org/10.5617/nm.8435.
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Museum activism seems to be on everyone’s lips these days. The notion of activism enters a museological scholarly and political debate that had previously been defined by questions concerning the relationship between enlightenment and entertainment, authenticity, representation, and globalization. Museum activism challenges the traditional temporal character of the museum by demanding a presentistic – part futuristic – understanding of time. The basic assumption of this article is that the traditional cultural history museums confronts the visitor with his own temporality. The fundamental problem is that museums traditionally asks questions of the temporal character of mankind, whereas activism delivers answers and demands action. This paper aims to discuss the temporal implications of museum activism.
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Deveykis, Marina. "The history of construction of St. Petersburg museums in the time of Nicholas II." OOO "Zhurnal "Voprosy Istorii" 2020, no. 12-2 (December 1, 2020): 60–68. http://dx.doi.org/10.31166/voprosyistorii202012statyi25.
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The topic is relevant, since the museum, having become a civilization achievement, has been serving the spiritual development of society for over three centuries and preserving St. Petersburg’s cultural heritage. The article considers the peculiarities of building museums in the most important region of the country, different architectural styles of museum buildings, for the first time the grouping of all created museums of St. Petersburg from 1894 to 1917 in accordance with the areas of museum architecture was carried out, the problems faced by architects in designing museum buildings of each group were highlighted, the degree of dependence between museum founders and types of buildings was determined. The methods of historicism, artistic and stylistic analysis and systematization were used in the research.
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Banjeglav, Tamara. "Exhibiting Memories of a Besieged City. The (Uncertain) Role of Museums in Constructing Public Memory of the 1992-1995 Siege of Sarajevo." Südosteuropa 67, no. 1 (March 26, 2018): 1–23. http://dx.doi.org/10.1515/soeu-2019-0001.
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Abstract The author examines museums in Sarajevo, the capital of Bosnia and Herzegovina, and their exhibitions dealing with the city’s most traumatic event in recent history—the 1992-1995 siege. She analyses how the interpretations and re-interpretations of history in these museums have been affected by social, political, cultural, and institutional contexts, and how various ‘memory entrepreneurs’ have played a role in building the public memory of the city’s siege. The analysis focuses on, but is not limited to, three museums: the History Museum of Bosnia and Herzegovina, the Tunnel Museum, and the War Childhood Museum. This discussion is supplemented by an analysis of other museums in Sarajevo that also demonstrate how the political deadlock in the country has affected the cultural sector. The author argues that the various museums to have opened in Sarajevo in recent years indeed have the potential to become crucial public spaces where authoritative notions of history, memory, and identity can be critically examined, negotiated, and contested.
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Golat, Rafał. "AMENDMENTS TO THE ACT ON MUSEUMS." Muzealnictwo 59 (April 16, 2018): 34–38. http://dx.doi.org/10.5604/01.3001.0011.7614.
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The Act of 21 November 1996 on museums, which has been in force for over 20 years (Journal of Laws of 2017, item 972, as amended), has been amended dozen or more times. Seven of these amendments entered into force in the last two years (2016–2017). They were to a large extent of adjustment character, and concerned inter alia the competence requirements for museum professionals (Journal of Laws of 2017, item 60), removals of museum exhibits from museum inventory (Journal of Laws of 2016, item 1330, and of 2017, item 1086) and the Council of Museums being replaced by the Council of Museums and Memorial Sites (Journal of Laws of 2016, item 749). Amendments concerning the admission charges in museums were of systemic character (Journal of Laws of 2017, item 132) as well as the restitution amendments introduced in Article 57 of the Act of 25 May 2017 on restitution of the national cultural goods, including a new penal provision added to the Act on museums (Art. 34.a in a new chapter 5.a – Journal of Laws of 2017, item 1086). Apart from amendments described in this article, others ought to be mentioned – related to an informative aspect. In this context, the amendments to the Act on museums being in force since 16 June 2016, provided for in Article 29 of the Act of 25 February 2016 on the re-use of public sector information (Journal of Laws of 2016, item 352, as amended) are of great significance. References to this Act can be found in section 4 of Art. 25 and section 4 of Art. 25.a of the Act on museums, added by this amendment, which regulate introducing and charging fees for museum exhibits being prepared and made accessible for different from usual purposes, and for permitting to use their images. Article 31.a of the Act on museums added by this amendment has been repealed by the Art. 34 of the Act of 10 June 2016 on delegating customer services to employees (Journal of Laws of 2017, item 132). The latter Act added Article 30.a of the Act on museums, related in its contents to this regulation. It states that the access to information for safeguarding museum exhibits is limited for the sake of protection from fire, theft and other type of danger which could bring damage or loss of the museum collection.
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Zubar, Mykhailo, and Dmitry Panto. "The role of modern narrative museums in the urban space." Text and Image: Essential Problems in Art History, no. 2 (2020): 109–18. http://dx.doi.org/10.17721/2519-4801.2020.2.07.
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The article has examined the revision of the social functions of museums associated with changes in social structures, which began in the second half of the last century. This process caused a wide-ranging discussion about changes in the place and role of museums in society, which led to the emergence of museum institutions whose scope went beyond the gathering, study, conservation, and exhibition of collections. The authors pay attention to the role of museum institutions within the physical spaces and local communities in which the museum exists, considering it in the context of the impact on urban space. The article analyzes the process of tourism development in the second half of the twentieth century and its impact on the beginning of the "museum boom". In this context considered the process of museums transformation into tourist attractions, their formation of cultural space, and the infrastructure of settlements. Particular attention paid to the role of the modern museum in the formation of an attractive image of cities and regions. The authors presented the role of the modern museum in the revitalization of urban physical space. Also, they analyzed the experience of the Guggenheim Museum in Bilbao and its role in transforming the post-industrial depressed city into one of the centers of European and world tourism and culture. Based on the experience of Polish narrative museums, the authors examined the process of revitalization and changes in the urban space, after the emergence of a modern museum. Particular attention paid to the analysis of sociological studies that exploring the impact of modern narrative museum on tourist attractiveness, security, investment attractiveness and infrastructure development processes of modern urban space. Also, the authors paid attention to the role of the modern museum in the development of social capital, which leads to the process of transforming museums into places of leisure, building around themselves a space of values, local and global communication.
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Gibson, Lisanne. "Piazzas or Stadiums." Museum Worlds 1, no. 1 (July 1, 2013): 101–12. http://dx.doi.org/10.3167/armw.2013.010107.
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Over the last twenty-five years or so there has been a ‘cultural turn’ in urban development strategies. An analysis of the academic literature over this period reveals that the role of new museums in such developments has oft en been viewed reductively as brands of cultural distinction with economic pump priming objectives. Over the same twenty-five year period there has also been what is termed here a ‘libertarian turn’ in museum studies and museology. Counterposing discussions of the museum’s role within urban development with discussions from within the museum studies literature on the ‘post-museum’ reveals the dichotomous nature of these approaches to the museum. This article proposes instead a consideration of the phenomenotechnics of new museum developments. This approach presents a way of taking account of both technical and symbolic conditions and characteristics and in doing so, it is hoped, provides a way of analyzing the ‘realpolitik’ of the role of museums in urban development.
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Szafrański, Wojciech. "‘NATIONAL COLLECTIONS OF CONTEMPORARY ART’: PROGRAMME OF THE MINISTER OF CULTURE AND NATIONAL HERITAGE TO FINANCE PURCHASES OF CONTEMPORARY ART WORKS IN 2011–2019 PART 1. HISTORY: FINANCING." Muzealnictwo 62 (September 13, 2021): 227–35. http://dx.doi.org/10.5604/01.3001.0015.2686.
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The ‘National Collections of Contemporary Art’ Programme run by the Ministry of Culture and National Heritage (MKiDN) in 2011–2019 constituted the most important since 1989 financing scheme for purchasing works of contemporary art to create and develop museum collections. Almost PLN 57 million from the MKiDN budget were allocated by means of a competition to purchasing works for such institutions as the Museum of Modern Art in Warsaw (MSN), Museum of Art in Lodz (MSŁ), Wroclaw Contemporary Museum (MNW), Museum of Contemporary Art in Cracow (MOCAK), or the Centre of Polish Sculpture in Orońsko (CRP). The programme in question and the one called ‘Signs of the Times’ that had preceded it were to fulfil the following overall goal: to create and develop contemporary art collections meant for the already existing museums in Poland, but particularly for newly-established autonomous museums of the 20th and 21st century. The analysis of respective editions of the programmes and financing of museums as part of their implementation confirms that the genuine purpose of the Ministry’s ‘National Contemporary Art Collections’ Programme has been fulfilled.
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Aykaç, Pınar. "Musealization as an Urban Process: The Transformation of the Sultanahmet District in Istanbul’s Historic Peninsula." Journal of Urban History 45, no. 6 (June 13, 2019): 1246–72. http://dx.doi.org/10.1177/0096144219853775.
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As culture-led urban regeneration has become a widely adopted strategy for dilapidated historic cities, the museum as a concept has become a key aspect of this regeneration. With the tangible and intangible aspects of culture being presented in museums, many historic buildings are repurposed as museums, urban, or archaeological sites designated as open-air museums, and the boundaries between museums and historic cities have been dissolved. This article discusses how the museum concept expands from the boundaries of a single building into the historic city itself. Defining this expansion as musealization, this article evaluates its contribution as an urban process in the transformation of Sultanahmet in Istanbul’s historic peninsula, which has been the major subject of conservation studies from the nineteenth century until present day.
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Rychkova, Ekaterina А. "THE HANDICRAFTS MUSEUM AS AN ACTUAL FORM OF MUSEUM ACTIVITY IN THE SECOND HALF OF THE XIX - THE FIRST THIRD OF THE XX CENTURIES (ON THE EXAMPLE OF THE MOSCOW HANDICRAFTS MUSEUM)." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 40 (2020): 273–78. http://dx.doi.org/10.17223/22220836/40/25.
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The development of folk crafts in Russia was closely connected with the formation of handicrafts museums that performed complex tasks of preserving, studying and promoting folk art. The study of their history today is one of the problems that have not yet been sufficiently studied in museology. Handicrafts museums were considered by researchers primarily in the general historical context of the influence of state policy and provincial zemstvos on the development of handicraft industry in Russia. However, the phenomenon of handicrafts museums remains insufficiently studied from the point of view of history and the theory of museum work. The type of the handicrafts museum has not yet been singled out as an actual form of the museum institution of the last quarter of the XIX – the first third of the XX centuries, which spread in several provinces of the Russian Empire. The purpose of the article is to review the main activities of the Moscow Handicrafts Museum - an example of the formation of new types of museums in Russia and their influence on the development of folk crafts in the second half of the 19th century – the first third of the 20th centuries. Moscow Handicrafts Museum opened in 1885. His task was to fully promote the development of folk art and the implementation of handicrafts. One of the main features and goals of creating the Handicrafts Museums in the Russian Empire was the formation of an established system of state patronage over the peasants who were freed from serfdom and promotion of their involvement in the new sector of the economy. The museum staff formed the museum collection, actively participated in organizing the training of folk craftsmen, arranging production workshops, became intermediaries in the art market, and was engaged in active exhibition work around the world, especially at large industrial fairs. In the 1890–1910s, the case started in Moscow spread quickly to almost the whole country. Handicrafts museums immediately arose in several provinces of Russia. One of the program documents of that period was the concept of the development of the Handicrafts Museum, proposed in a report of Sergey Morozov in 1910. Thus, at the beginning of the twentieth century in Moscow, the structure of an effective museum was formed, aimed at systematic work with folk crafts and successfully involving a wide range of partners: artists and scientists, merchants and foreign industrialists. Thanks to the assistance of handicrafts museums in Russia in the late XIX – early XX centuries traditional folk crafts were able to survive and be adequately represented throughout the world. The aesthetic significance of folk art has been recognized. The study of folk art has become an important subject of scientific research. All aspects of the multifaceted history of the formation and development of handicrafts museums and their role in the socio-economic and cultural development of Russia are of great scientific interest and require careful further study.
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Settimini, Elena. "Kate Hill, Women and Museums, 1850-1914: Modernity and the Gendering of Knowledge, Machester: Manchester University Press, 2016, ppxi+255." Museum and Society 15, no. 3 (January 10, 2018): 352–54. http://dx.doi.org/10.29311/mas.v15i3.2545.
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The discussion on gender representation within the museum space has been a challenging one during the last four decades, opening a debate on the gendering of museum roles and the use of feminist narratives and museology (Deepwell 2006). This book traces the origin of the multifaceted relationship between museums and women, analyzing the period from 1850 to 1914 in the English context, a crucial moment both for museums and women’s engagement with a changing society.
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Sandy, Dwi Kurnia, and Kusumastuti Salma Fitri. "MUSEUM BAWAH AIR M. V. BOELONGAN: SEBUAH GAGASAN PEMBAHARUAN MUSEUM." JURNAL WALENNAE 17, no. 1 (July 1, 2019): 1. http://dx.doi.org/10.24832/wln.v17i1.363.
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Museum is not only a place for storing various artifacts, but also as a media of learning. However, the current management of museums in Indonesia is still not serving visitors well. Museum is not only located on the land, but there are also underwater museums. The plan of build an underwater museum has been discussed by museum practitioners and academics. Many locations and objects that could be used as underwater museums in Indonesia, one of that is the M.V Boelongan Shipwreck. This ship was sunk by Japanese Army during the Second World War. Nowadays, M.V. Boelongan has been an attractive destination for tourism activities, such as diving. To make it more benefit, not only in economic, but also in education and preservation, build and design this shipwreck as museum is one of the best solution. It could give the chance to everyone to see the shipwreck without diving. This museum should be plan to have a modern design, easier to educate and entertain the visitors, and also to preserve it as a heritage. M.V Boelongan is a part of Indonesian maritime history, the important values should be preserved and published to the public. Selain menjadi tempat penyimpanan berbagai artefak, museum juga menjadi media pembelajaran. Namun, saat ini pengelolaan museum di Indonesia masih kurang melayani pengunjung. Museum terdapat di darat dan di perairan. Isu pembuatan museum bawah air sudah menjadi pembahasan di kalangan pecinta museum. Banyak lokasi dan objek dapat dijadikan museum bawah air di Indonesia, salah satunya adalah Kapal M.V. Boelongan. Keberadaan M.V. Boelongan menjadi sebuah daya tarik pariwisata, diantaranya wisata selam. Pembuatan museum bawah air adalah salah satu alternatif yang dapat memberikan manfaat di bidang ekonomi, pendidikan dan pelestarian. Museum Bawah Air M.V. Boelongan memungkinkan pengunjung yang tidak dapat menyelam tetap dapat menyaksikan keberadaan M.V. Boelongan di bawah air. Museum akan dirancang sesuai dengan perkembangan zaman, baik dari sisi pengelolaan maupun perancangan. Hal ini sejalan dengan paradigma museum yang sejak lama digadang-gadang, yaitu membuat museum yang mengedukasi sekaligus memberikan hiburan bagi pengunjungnya. Selain itu, dengan adanya museum dapat melindungi keberadaan bangkai kapal dan menjadi salah satu cara untuk menjaga kelestarian M.V. Boelongan. M.V Boelongan adalah bagian dari sejarah kemaritiman di Indonesia. Tinggalan budaya materi ini patut dilestarikan dan disampaikan nilai-nilainya
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Mason, Rhiannon. "National Museums, Globalization, and Postnationalism." Museum Worlds 1, no. 1 (July 1, 2013): 40–64. http://dx.doi.org/10.3167/armw.2013.010104.
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In recent years it has been asked whether it is time to move ‘beyond the national museum’. This article takes issue with this assertion on the grounds that it misunderstands not only museums as cultural phenomenon but also the ways in which globalization, nationalism, and localism are always enmeshed and co-constitutive. The article begins by considering theories of globalization, postnationalism, and cosmopolitanism and their relevance for national museums in the European context. Specific theories of cosmopolitanism are subsequently further explored in relation to two museum examples drawn from the National Museum of Scotland in Edinburgh and the Museum of European Cultures in Berlin. In different ways both examples demonstrate the potential for museums to engage visitors with ideas of cosmopolitanism, globalization, and postnationalism by revisiting, reframing, and reinterpreting existing national collections and displays. In the process the article makes the case for the merits of a nationally situated approach to cosmopolitanism in European museums. At the same time it acknowledges some of the potential limits to such endeavors. The article concludes by imagining what a ‘cosmopolitan museology’ would offer in terms of practice, politics, and ethics.