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Dissertations / Theses on the topic 'Ethnographic museum collections'
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Allen, Erin Evangeline. "Hidden meanings: a search for the historical worldview in the Oberlin College Ethnographic Collection organizational systems." Oberlin College Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1323803885.
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Cummings, Catherine. "Collecting en route : an exploration of the ethnographic collection of Gertrude Emily Benham." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/3138.
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In the second half of the nineteenth century and the first decades of the twentieth century the collecting of objects from colonized countries and their subsequent display in western museums was widespread throughout Western Europe. How and why these collections were made, the processes of collection, and by whom, has only recently begun to be addressed. This thesis is an exploration of the ethnographic collection of Gertrude Emily Benham (1867-1938) who made eight voyages independently around the world from 1904 until 1938, during which time she amassed a collection of approximately eight hundred objects, which she donated to Plymouth City Museum and Art Gallery in 1935. It considers how and why she formed her collection and how, as a an amateur and marginalised collector, she can be located within discourses on ethnographic collecting. The thesis is organised by geographical regions in order to address the different contact zones of colonialism as well as to contextualise Benham within the cultural milieu in which she collected and the global collection of objects that she collected. An interdisciplinary perspective was employed to create a dialogue between anthropology, geography, museology, postcolonial and feminist theory to address the complex issues of colonial collecting. Benham is located within a range of intersecting histories: colonialism, travel, collecting, and gender. This study is the first in-depth examination of Benham as a collector and adds to the knowledge and understanding of Benham and her collection in Plymouth City Museum and Art Gallery. It contributes to the discourse on ethnographic collectors and collecting and in doing so it acknowledges the agency and contribution of marginal collectors to resituate them as a central and intrinsic component in the formation of the ethnographic museum. In addition, and central to this, is the agency and role of indigenous people in forming ethnographic collections. The thesis offers a foundation for further research into women ethnographic collectors and a more nuanced and inclusive account of ethnographic collecting.
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Lawson, Barbara. "Collected ethnographic objects as cultural representations Rev. Robertson's collection from the New Hebrides (Vanuatu) /." Thesis, McGill University, 1990. http://catalog.hathitrust.org/api/volumes/oclc/29415579.html.
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Thesis (M.A.)--McGill University, 1909.Summary in French. "This study compares a collection of decontextualized objects in McGill's Redpath Museum." Includes bliographical references (leaves 203-227).
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Ayres, Sara Craig. "Hidden histories and multiple meanings : the Richard Dennett collection at the Royal Albert Memorial Museum, Exeter." Thesis, University of Plymouth, 2012. http://hdl.handle.net/10026.1/1039.
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Ethnographic collections in western museums such as the Royal Albert Memorial Museum (RAMM) carry many meanings, but by definition, they represent an intercultural encounter. This history of this encounter is often lost, overlooked, or obscured, and yet it has bearing on how the objects in the collection have been interpreted and understood. This thesis uncovers the hidden history of one particular collection in the RAMM and examines the multiple meanings that have been attributed to the objects in the collection over time. The Richard Dennett Collection was made in Africa in the years when European powers began to colonise the Congo basin. Richard Edward Dennett (1857-1921) worked as a trader in the Lower Congo between 1879 and 1902. The collection was accessioned by the RAMM in 1889. The research contextualises the collection by making a close analysis of primary source material which was produced by the collector and by his contemporaries, and includes publications, correspondence, photographs and illustrations which have been studied in museums and archives in Europe and North America. Dennett was personally involved with key events in the colonial history of this part of Africa but he also studied the indigenous BaKongo community, recording his observations about their political and material culture. As a result he became involved in the institutions of anthropology and folklore in Britain which were attempting to explain, classify and interpret such cultures. Through examining Dennett’s history this research has been able to explore the Congo context, the indigenous society, and those European institutions which collected and interpreted BaKongo collections. The research has added considerably to the museum’s knowledge about this collection and its collector, and the study responds to the practical imperative implicit in a Collaborative Doctoral Project, by proposing a small temporary exhibition in the RAMM to explore these histories and meanings. In making this proposal the research considers the current curatorial debate concerning responsible approaches to colonial collections, and assesses some of the strategies that are being employed in museums today.
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Berry, Jessica, and n/a. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art." Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.151934.
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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.
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Ashmore, Nicola L. "Art and identity : interpretation and ethnographic collections in regional museums, Britain, 1997-2010." Thesis, University of Brighton, 2011. https://research.brighton.ac.uk/en/studentTheses/cd9be436-9f81-4f8b-a1ce-3c7125a3d21e.
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This doctorate examines the redevelopment of ethnographic collections between 1997 and 2010. The collection and interpretation of ethnographic objects has been the subject of much debate between, anthropologists, museum studies scholars and curators who have sought, on the one hand, to reveal and, on the other, to resist colonial representations in contemporary museums. These debates, as well as the longstanding concern about the purpose of the museum itself, informs this research, which focuses upon the period of the New Labour administration (1997- 2010) and the impact of its cultural diversity agendas upon regional museums. It investigates how regional museums have responded to the shifting demands of cultural policies and, in particular, how specific ethnographic collections have been redisplayed and reinterpreted, and the use of art commissions and artists to do so.
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Angel, G. "In the skin : an ethnographic-historical approach to a museum collection of preserved tattoos." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1416295/.
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This thesis deals with a collection of 300 preserved tattooed human skin fragments held in storage at the Science Museum, London. Historically part of the Wellcome medical collections, these skins are of European origin and date from c.1850-1920. The collection was purchased in 1929 on behalf of Sir Henry Wellcome from a Parisian physician, and is exemplary with respect to its size and coherence. The thesis argues for the significance of such collections for the understanding of the material culture of medicine. As little archival material relating to this particular collection survives, it is contextualised both in relation to the contemporary museum setting, and within nineteenth-century medical and criminological discourses surrounding the tattoo. Through the adoption of a combined auto-ethnographic and historiographical approach, this thesis sets out to explore all aspects of the collection. The structure of the thesis demonstrates this method and reflects my working process: The project is first situated within the contemporary museum context, and framed within an ethical and political field in which human remains have been problematised. This context underpins a theoretical approach that redefines these remains as hybrid entities, and informs a multi-sensory, auto-ethnographic working method within the museum environment. A close visio-material analysis of the tattooed skins then explores both their substance and iconography in some detail. The collection of skins is then situated within the broader historical contexts of flaying; nineteenth-century collecting practices and medical and criminological discourses on the tattoo; an analysis of historical procedures and contexts of skin preservation and display; and a visual analysis of the iconography of the tattoos and critical discussion of their reading. Through this approach, I demonstrate that the tattoo was a highly ambiguous and frequently stigmatised sign in the late nineteenth century, whose polysemic and fugitive meaning eluded criminologists who sought to assimilate them into taxonomies of deviance. Similarly, as contemporary museum artefacts, they resist simple categorisation and interpretation, necessitating an interdisciplinary, ethnographical-historical approach, which enables a multi-faceted understanding of their substance, significance and origins.
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Silva, Aramís Luis. "Mapa de viagem de uma coleção etnográfica- a aldeia bororo nos museus salesianos e o museu salesiano na aldeia bororo." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-13042012-141111/.
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Convidamos os leitores a nos seguir numa viagem pelo tempo e pelo espaço para observarmos o percurso realizado por um conjunto de artefatos bororo colocados em trânsito pelos padres salesianos há mais de 80 anos. Levados para Itália para serem exibidos em exposições missionárias, esses objetos foram repatriados em 2001 para serem expostos no então recém-inaugurado centro de cultura da aldeia indígena de Meruri, Estado do Mato Grosso, Brasil. Ao colocarmos essa coleção em foco, observaremos, em um só tempo, os processos sociais que a constituíram, assim como as transformações nas trajetórias de pessoas, coletividades e instituições que gravitam em seu entorno. Antes de tomá-los de partida como elementos de uma determinada coleção etnográfica bororo sob guarda da missão salesiana, interessa-nos compreender sua produção enquanto tal. Distante de uma perspectiva que os referenciam a uma escala cultural fixa, nossa viagem transforma tal coleção em um fio condutor para adentrarmos em um emaranhado de relações sociais e simbólicas, das quais essas peças emergem como signos moventes entre variados sistemas de significaçãoWe invite readers to follow us on a journey through time and space, in order to observe the path taken by a number of bororo artefacts set in motion by Salesian priests more than 80 years ago. Taken to Italy to be displayed in missionary exhibitions, these objects were repatriated in 2001 to be shown at the just then inaugurated cultural center of the Meruri indian village, in Brazils Mato Grosso State. By highlighting this collection, we will observe, at once, the social processes that have constituted it, as well as the transformations of peoples trajectories, of collectivities and institutions that gravitate around it. Before assuming these artefacts as elements of a specific bororo ethnographic collection under control of a Salesian mission, our interest is to understand its production as such. Far from a perspective that makes reference to a fixed cultural scale, our journey transforms such collection into a thread that penetrates in a tangle of social and symbolic relations, from which these pieces emerge as moving signs among variable systems of meanings.
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Galani, Areti. "Far away is close at hand : an ethnographic investigation of social conduct in mixed reality museum visits." Thesis, University of Glasgow, 2005. http://theses.gla.ac.uk/3918/.
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This thesis investigates how museum companions organise their conduct regarding their engagement with the exhibition and their social interaction with each other in the course of a visit. The main objectives of the thesis are the empirical investigation of social conduct in casual group museum visits and the exploration and understanding of social conduct in real-time distributed museum visits through mobile mixed reality technology. A third area of interest is the application of qualitative methodology, based on ethnomethodology and ethnographic methods, for the fulfilment of the above objectives. In particular this thesis presents and discusses fieldwork of collocated casual group visits alongside video recording and interviews collected in distributed museum visits during trial sessions in the Mack Room mixed reality museum environment. Drawing on vignettes of activity among collocated and distributed participants, the thesis develops discussion around three themes: the collaborative exploration of museum artefacts, aspects of the collaborative management of shared museum visits and the constitution of the visiting ‘order’ in and through social conduct. Among others, issues of collaborative alignment, awareness, indication of engagement and disengagement and conflicting accountabilities are discussed. The contribution of this thesis in current research in museum studies, CSCW and social science is explored. Findings reported in this thesis extend current visitor studies research to include the study of social conduct in the management of collocated visits and the constitution of visiting order. They also suggest that studies of sociality among distributed visitors may open opportunities for museums to support mutually complementing local and distributed experiences. With regard to understanding asymmetries in mobile mixed reality environments, the thesis points out that asymmetries could be better understood with reference to the activity in context rather than the technological features themselves. This thesis also makes a contribution to social studies research with regard to exploring the changing character of talk in distributed collaborative settings. Future research with respect to mixed reality applications for museum visits is also outlined.
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Rio, Gaëlle. "Le musée national de la Marine : histoire d'une institution et de ses collections (1748-1998)." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL178.
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Figurant parmi les grands musées nationaux, le musée de la Marine est le plus ancien musée d’histoire maritime en France, dont les origines remontent au milieu du XVIIIe siècle. Fondé à partir de la collection de modèles de bateaux donnée au roi Louis XV par l’académicien Henri Louis Duhamel du Monceau en 1748, le musée Dauphin ouvre au Louvre en 1827 sous Charles X, à destination avant tout des élèves de l’école d’ingénieurs constructeurs de la Marine dans une finalité d’instruction. L’approche monographique et institutionnelle permet de mettre en évidence trois grands moments de l’histoire de ce musée : la lente genèse du musée naval (1748-1827) dans le contexte des Lumières et d’une culture scientifique et technique ; la longue période du musée naval au palais du Louvre (1827-1939) au cours de laquelle se forge l’identité de l’institution autour de collections techniques et ethnographiques à vocation pédagogique ; le transfert du musée au palais de Chaillot et son expansion au XXe siècle avec la modernisation du site parisien, l’extension de ses collections aux cinq marines et la constitution d’un réseau des musées des ports (1939-1971). Devenu établissement public administratif en 1971, le musée national de la Marine se transforme à la fin du XXe siècle pour devenir le grand musée maritime du XXIe siècle. Cette étude s’attache à cerner les enjeux sociaux, culturels et idéologiques qui ont présidé à la création et au développement de ce musée, à interroger le statut de ses collections, entre technique, art et instrument de propagande ou de communication, et enfin à analyser la question plus large du rôle du musée dans la société française, d’un lieu de représentation du pouvoir à un espace au service du publicOne of the major national museums, The Marine Museum is the oldest museum of maritime history in France, whose origins date back to the mid-eighteenth century. Founded from the collection of boat models given to king Louis XV by the Academician Henri Louis Duhamel du Monceau in 1748, the Dauphin Museum (as it was called) opened in the Louvre in 1827 under the reign of Charles X ; primarily intended for teaching purposes to the construction engineers of the Navy. The monographic and institutioal approach highlights three major moments in the history of this museum : the slow genesis of the naval museum (1748-1827) in the context of the Enlightenment and of the development of scientific and technical culture ; the long period of the naval museum at the Louvre Palace (1827-1939), during which the identity of the institution is based on technical and ethnographic collections for educational purposes ; the transfer of the museum to the Palais de Chaillot and its expansion in the 20th century with the modernization of the Paris site, the extension of its collections to the five Navies and the creation of a network of port museums (1939-1971). Having become a public administrative institution in 1971, the National Marine Museum was transformed at the end of the 20th century into the great maritime museum of the 21st century, as it is now. This study seeks to identify the social, cultural and ideological issues that led to the creation and the development of this museum, to question the status of its collections, between technique, art and propaganda or communication instrument, and finally, to analyze the broader question of the museum's role in French society, from a place of representation of power to a space in the service of the public
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Bernardot, Hélène. "Representing ethnography and history, interacting with heritage : analysing museological practices at the Huron-Wendat Museum." Master's thesis, Université Laval, 2020. http://hdl.handle.net/20.500.11794/67005.
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Ce mémoire de maîtrise propose une réflexion sur les choix et mesures pris en termes de représentation et d'interaction dans les musées ethnographiques à partir d’une étude de cas, le Musée Huron-Wendat à Wendake, au Québec. L'objectif est d'analyser et comprendre ces pratiques muséologiques destinées à exprimer une identité autochtone locale. L’étude souhaite également démontrer comment les publics s’identifient et interagissent avec les discours culturels et politiques spécifiques du musée. Une attention particulière est accordée à l'étude du changement de paradigme muséal d'un espace d'autorité à un lieu inclusif. La mission des professionnels du musée concernant le concept de représentation sera analysée, ainsi que leur travail sur les notions d'accessibilité et de participation avec et pour le public. En se basant sur l'étude de terrain et la littérature scientifique, ce mémoire s'engage à questionner les notions prédominantes d'identité, de continuité et d'unité, dans le contexte de la nouvelle muséologie et du postcolonialisme.This master thesis is an analysis of the current specific actions on representation and interaction taken in contemporary ethnographic museums. The aim is to highlight museology pathways used to represent local Indigenous culture and to explore how the public is involved with and relates to these specific discourses on heritage. Special attention will be devoted to the study of the shift of museums from authoritative places of education to socially inclusive spaces. The mission of heritage professionals in terms of representation will be analysed, as well as their work on the notions of accessibility and involvement for and with the public. The Huron-Wendat Museum in Wendake, Québec, serves to investigate these museum practices. Drawing from thorough fieldwork and extensive secondary literature, this master thesis will further probe the prevailing notions of identity, continuity and unity of the new museology in a postcolonial context.
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Ponte, Maria Ines. "Crafted 'children' : an ethnography of making and collecting dolls in Southwest Angola." Thesis, University of Manchester, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.654868.
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Grounded in multi-sited fieldwork within an agro-pastoralist highland village in Southwest Angola and in ethnology museums in Europe, Angola and Namibia, my research interweaves an ethnographic and a historical approach to better understand the meanings and social relationships generated by what I call “elusive dolls”: dolls that are difficult to find and slippery when encountered. The study explores postcolonial significances of African dolls, made by agro-pastoralist people, which have been sparsely collected for display in museums since colonial times. Using multiple field methods such as participant observation, archival research, photo-elicitation, and filmmaking, I trace the social relationships involved in the making of dolls in Southwest Angola and in the housing of the same kind of dolls in ethnology museums, paying particular attention to the material and social networks established around the practices of making and collecting them. Following the logic of local languages (olunyaneka, oshikwanyama), I use the notion of “crafted ‘children’” to define handcrafted dolls made of different materials, and address the meanings these dolls embody for makers, collectors and museum curators. I take a historical perspective to examine the dimensions of storage, research and display and address contrasting curatorial approaches to dolls in museums. While most curators have tended to focus on dolls and their supposed functions, a few have engaged with dolls in relation to other domains of the lifeworlds of rural makers and their skilled practices. Examining the limits of historical ethnographic research about local doll-usage, I build upon these alternative approaches by curators and ethnographically explore the relational dimensions of these dolls in two worlds in which they have material and social lives: Southwest Angola and ethnology museums. Firstly, I examine the regional diversity of these dolls, as crafted “children”, in the rural context through a situated understanding of ethnic and ecological diversity and rural-urban relations. Secondly, I explore the twofold notion of labour – that is, the labour in crafting and the labour in making a living - in the regional domestic economy of agro-pastoralist populations, showing how a resilient rural lifestyle, local and urban resources, seasonal demands, and personal skills linked to age and sociality generate and shape the practices of doll-making. Finally, I examine drawing and photography in published and unpublished material about dolls and show how the visual connects the worlds of curators, field-collectors, makers and ethnographers. A large part of the literature on ethnology museum collections tends to focus on “repatriation”, discussing relations between museums and “source communities”. By contrast, an analytical framework connecting doll-making and collecting, the regional conditions of a crafting practice and its local immersion in rural everyday life, appears only marginally in the literature - this is where my research makes a significant contribution. My thesis contributes to critical museology research, Africanist studies, and visual anthropology and engages with debates on materiality and skill. The film that accompanies the thesis, Making a Living in the Dry Season, is grounded in a long-term stay in a village, and examines the twofold notion of labour mentioned above through the practice of doll-making. I recommend first reading the thesis up until Chapter three, followed by watching the film, and then turning to the remaining chapters.
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Beltrame, Tiziana. "Ethnographie de la patrimonialisation : numériser, inventorier et classer la collection du musée du quai Branly." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100188.
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Cette thèse étudie la patrimonialisation de la collection du musée du quai Branly à travers l’analyse de la numérisation des fiches d’objets et des données documentaires. Les collections extra-européennes du musée de l’Homme ont été reconfigurées au sein de la nouvelle institution : autrefois objet de science, l’artefact est devenu objet « d’art et de civilisation », un objet patrimonial, enregistré au Service des Musées de France. Les données documentaires, naguère fixées sur des supports papiers, ont été saisies dans un nouveau système de classification, la base de données « TMS objets », conçue ici comme lieu social et lieu de savoir partagé par les différentes communautés de pratiques. Le maniement du numérique permet de nouveaux modi operandi de fabrication de l’inventaire, source de discontinuité dans l’histoire des collections, notamment de nouvelles réassociations entre données, qui font émerger des possibilités de rapprochements inédits entre objets isolés et collections. Les logiques informatiques et de conservation, la logistique et la politique institutionnelle se conjuguent pour constituer une nouvelle organisation documentaire lisible non seulement dans la base de données mais aussi dans les espaces de stockage des collections. L’analyse de la création du thésaurus catégories d’objets selon l’usage montre comment un processus technique instaure de nouveaux liens entre personnes, objets et données. La parcellisation des tâches, en principe commune à tous, se heurte cependant aux bugs et aux affects. Elle reste donc inachevéeThis thesis explores the cultural heritage preservation of the collection of the Quai Branly Museum through the analysis of the digitisation of the object cards and background data. Non-European collections of the Museum of Man have been reconfigured in the new institution: while it used to be perceived as an object of science, the artefact became an object of "art and culture", an object of heritage registered with the Museum Service France. Documentary data, once set on paper media, entered into a new classification system, the database "TMS objects". This database is conceived as social space and a space of knowledge shared by different communities of practice. The digital technology allows new modi operandi for the creation of the catalogue. This is the source of discontinuities in the history of collections. It leads to new associations between data, from which spring up opportunities for unprecedented connections between individual items and collections. The IT logic, the logic of preservation, logistics and institutional policy combine to form a new documentary organization, readable not only in the database but also in the collections storage areas. The analysis of the creation of thesaurus categories of objects by use shows how a technical process establishes new connections between people, objects and data. The division of tasks, which should be in principle common to all, faces however bugs and affects. Therefore, it remains unfinished
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Hoffmann, Marie. "Les collections océaniennes des musées du Nord - Pas-de-Calais : étude comparée de la mise en place des collections ethnographiques régionales à partir de celle du Musée de Boulogne-sur-Mer." Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H010/document.
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L’histoire des collections est une thématique majeure de la muséologie, toutefois, force est de constater que malgré l’inventaire des collections océaniennes réalisé dans les années 1980, la constitution des fonds régionaux est méconnue. Le passé mouvementé des inventaires et de la gestion des collections explique la perte des données. Objets sans numéro, étiquettes orphelines, multiplication des numérotations successives, etc. sont des plaies bien connues des conservateurs et responsables des collections. Mais peut-on vraiment exposer un artefact pour lui-même ? N’est-il pas important d’envisager son histoire et l’origine de sa présence dans l’institution pour mieux le présenter ? Notre objectif est donc de retracer, au travers des archives, le parcours de ces objets depuis l’Océanie jusque dans les musées du Nord et du Pas-de-Calais. Ce focus régional s’explique par la richesse du fonds océanien. Nous nous sommes part iculièrement penchée sur les contributeurs – les donateurs et vendeurs – dont l’action, liée à des phénomènes de sociabilités notariales, est indissociable de l’histoire de ces artefacts. Notre but est de révéler la façon dont ces objets ont intégré les établissements, leur réception non seulement par les membres des administrations muséales mais aussi par le public, ainsi que les procédés mis en œuvre pour exposer ces artefacts. Deux établissements dominent largement notre ouvrage, les musées de Boulogne-sur-Mer et celui de la Chartreuse de Douai. La profusion de la documentation conservée, ainsi que le destin tragique du second, explique cette prééminence. Les autres institutions concernées sont le musée de l’Hôtel Sandelin de Saint-Omer, le musée de Beaux-Arts de Dunkerque et le Muséum d’Histoire Naturelle de Lille. Notre étude se concentre particulièrement sur le XIXe siècle, depuis la création du premier musée en 1825 à Boulogne-sur-MerThe history of the collections has been a main focus in the Museum Studies since the late 20th century. However, despite having been inventoried in the 1980s, the past of pacific collections is still mainly undiscovered, the process of their incorporation into the museum unkown. It is mostly due to the eventful history of inventories and collection managments. Museum curators often encounter objects unumbered, labels unconnected to any artifact, several numbers for the same object... But is displaying an object detached from any historical background a viable option ? Or should we always consider its history and the way it became a museum piece ? Our goal is to relate the pacific collections past, looking through the archives, unraveling the steps these artifacts took from the Pacific to Northern France. The diversity and profusion of pacific material in the North and Pas-de-Calais departments account for our regional focus. Our main point of interest is the collectors and donators, men and women who took part to the history of the artifacts, in the contexte of the notable socialibity. We highlight the way these objects came to enter the inventory of the museum, the way they were perceived by the administrations and the public, but also the way they were displayed. The two main institutions in our study are the Museums of Boulogne-sur-Mer and Douai. Both are rich in archives material and the tragic destiny of the second warrant this pre- eminence. The Hôtel Sandelin of Saint-Omer, Dunkerque Fine Arts and Lille Natural History Museums are the three other study cases presented in our thesis. Our time frame is mainly set on the 19th century, with a starting point at the creation of the first institution, the Boulogne- sur-Mer Museum
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Daugeron, Bertrand. "Apparition-Disparition des Nouveaux mondes en histoire naturelle : Enregistrement-Epuisement des collections scientifiques (1763-1830)." Paris, EHESS, 2007. http://www.theses.fr/2007EHES0071.
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La compréhension de la liquidation des artefacts humains des collections du Muséum d'Histoire naturelle (1797) nécessite de relier objets et savoirs. Il s'agira de voir en quoi les conditions de production politique des objets scientifiques, mises au jour dans les expéditions maritimes et les saisies révolutionnaires, affectent les classifications naturalistes. Pour cela, deux séries correspondent : d'une part celle de la dimension cognitive des collections autour des questions de méthode, pour un savoir naturaliste qui classe avec et au travers d'objets, et d'autre part, un entre-deux colonial, depuis la perte des possessions de l'Amérique jusqu'à la prise d'Alger qui explore le Pacifique et l'annexe. Exclure les objets des Autres ordonnerait le temps long de l'histoire de la nature, tout en reléguant le primitif aux marges de l'Histoire, voué à disparaître ou à être colonisé. Car derrière ce grand partage d'expulsion, le regard sur l'Autre se renverse, passant du sauvage au primitifThe comprehension of the relegation of the human artifacts from the collections of the Museum d'Histoire naturelle (1797) requires connecting objects and knowledge. This issue understands better how the conditions of political production of scientific objects, revealed during the maritime expeditions and the revolutionary seizures, affect classifications. Two series will be connected : on the one hand the cognitive dimension of the collections raised by methodological problems, from a naturalist point of view which classifies through objects and, on the other hand, from the loss of the American possessions until the catch of Algiers, a colonial interval, which explores the Pacific and colonize it. The exclusion of the man-made objects would structure the deep time of the history of nature, while relegating the primitive in the margins of History, condemned to vanish or to be colonized. Behind this relegation, the vision of the Other changes turning from the savage into the primitive
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Rawson, Helen C. "Treasures of the University : an examination of the identification, presentation and responses to artefacts of significance at the University of St Andrews, from 1410 to the mid-19th century, with an additional consideration of the development of the portrait collection to the early 21st century." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/990.
Full textAbstract:
Since its foundation between 1410 and 1414 the University of St Andrews has acquired what can be considered to be ‘artefacts of significance’. This somewhat nebulous phrase is used to denote items that have, for a variety of reasons, been deemed to have some special import by the University, and have been displayed or otherwise presented in a context in which this status has been made apparent. The types of artefacts in which particular meaning has been vested during the centuries under consideration include items of silver and gold (including the maces, sacramental vessels of the Collegiate Church of St Salvator, collegiate plate and relics of the Silver Arrow archery competition); church and college furnishings; artworks (particularly portraits); sculpture; and ethnographic specimens and other items described in University records as ‘curiosities’ held in the University Library from c. 1700-1838. The identification of particular artefacts as significant for certain reasons in certain periods, and their presentation and display, may to some extent reflect the University's values, preoccupations and aspirations in these periods, and, to some degree, its identity. Consciously or subconsciously, the objects can be employed or operate as signifiers of meaning, representing or reflecting matters such as the status, authority and history of the University, its breadth of learning and its interest and influence in spheres from science, art and world cultures to national affairs. This thesis provides a comprehensive examination of the growth and development of the University's holdings of 'artefacts of significance' from its foundation to the mid-19th century, and in some cases (especially portraits) beyond this date. It also offers insights into how the University viewed and presented these items and what this reveals about the University of St Andrews, its identity, which changed and developed as the living institution evolved, and the impressions that it wished to project.
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Barrkman, Joanna. "Return to Baguia: an ethnographic museum collection on the edge of living memory." Phd thesis, 2018. http://hdl.handle.net/1885/143956.
Full textAbstract:
The question of what significance ethnographic museum collections
might hold for source communities in the current era,
particularly when collections sit on the edge of living memory,
is explored in this thesis through a case-study of the Baguia
Collection and its virtual return to the Makasae people of Baguia
Sub-district, Timor-Leste, in 2014.
The Baguia Collection was acquired by Dr Alfred Bühler on behalf
of the Museum der Kulturen Basel, Switzerland, in 1935 using
salvage ethnology methodologies. This diasporic collection now
exists in Switzerland as a record of Bühler's accomplishments
and of Swiss ethnographic history, and as a time capsule of
Makasae heritage.
This research explores an initial phase of engagement between the
residents of Baguia and the Baguia Collection. Makasae responses
to this Collection, which consists of 691 material culture
objects and over 300 historical photos, raise issues pertinent to
contemporary museology practice as it seeks to identify
appropriate relational processes in collaborating with source
communities. The research findings support proposals for the
flexible, pro-technological access and digital return of museum
collections to source communities, yet considers the inherent
limitations and complexities in this methodology as well.
I argue that the Baguia Collection has shared heritage values and
that digital access arrangements will enhance the restitution of
cultural knowledge and its subsequent inter-generational
transmission in Baguia while also providing the Museum der
Kulturen Basel with more updated and relevant information about
the Collection. My project demonstrates that access to digital
images of the Collection has enabled residents of Baguia to
assert their cultural authority over the Collection, and that
with further digital access they would activate the Collection to
meet their own development agendas. By animating the Collection
through 'acts of transfer' the Baguia community illustrated the
potential for the Collection to become a source of metacultural
production that reinvigorates contemporary Makasae identity and
develops Makasae social and cultural capital, while ultimately
enhancing their capacity to aspire.
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Andrews, Jilda Alice. "Encountering cultural material in museum collections: An Indigenous perspective." Phd thesis, 2018. http://hdl.handle.net/1885/159276.
Full textAbstract:
Navigating cultural collections in museums can be a particular
and challenging task. Indigenous cultural objects in museum
collections all over the world are widely understood as having
been removed from their Indigenous contexts and placed within new
structures, given new meanings, within new hierarchies of value
in systems associated with the colonial imperative. Therefore,
for Indigenous Australians, the continuing consequences of such
histories, ensure that encounters with cultural material from
their communities are also encounters with these different
hierarchies of value; they are encounters with uneven
relationships of power in which they find themselves or their
families implicated, and possibly even encounters with a
contemporary reluctance to engage with difficult histories.
This thesis critically examines my encounters with collected
cultural material associated with my country—Yuwaalaraay
country, the inland freshwater region of north western New South
Wales. These encounters are explored in relation to key
postcolonial frameworks including museums as contact zones (Pratt
1992; Clifford 1997), as well as cultural interface theory
(Nakata 2002, 2007). Through these lenses, and by drawing on an
adapted form of autoethnography, I explore sites of agency and
potential, as well as probe limitations brought about by
persistently defining the relationships between museums and
source communities as dichotomous–the ultimate colonial legacy
of the ‘self’ and the ‘other’. Finally, inspired by
European studies of folklife, my research invites a
reconsideration of historical Indigenous cultural material in
collections not as relics of the past, but as products of
everyday life and experience, fundamentally grounded by a
uniquely Indigenous Australian consideration of the concept of
‘country’.
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Pereira, Bebiana Raquel Freitas. "Intervenientes, formas e obstáculos na preservação do património etnográfico em museus: o caso do Museu Municipal de Penafiel." Master's thesis, 2018. http://hdl.handle.net/1822/59683.
Full textAbstract:
Relatório de estágio de mestrado em Património CulturalCriado em 1948, por Abílio Miranda, o museu municipal de Penafiel foi ao longo das décadas traçando um caminho, nem sempre fácil, até alcançar um patamar de destaque a nível nacional através da sua vertente etnográfica e arqueológica. O museu municipal de Penafiel, faz parte do grupo de museus que surgiram, em grande medida, graças ao impulso da sociedade civil e que se desenvolveram com o apoio dos respetivos municípios. Considera-se que museus como o de Penafiel propiciam uma maior consciencialização da população em relação ao seu património, devido ao facto de serem organismos que se constituem como referência local de salvaguarda desse mesmo património. Numa cidade de pequenas dimensões como é o caso de Penafiel, é de interesse analisar a forma como o museu municipal tem procedido ao longo das décadas à aquisição, preservação e valorização do seu espólio etnográfico, através de uma abordagem em torno dos intervenientes, formas e por vezes obstáculos.
Created in 1948 by Abílio Miranda, the municipal museum of Penafiel was, throughout the decade, tracing a path that was not always easy, until it reached a landmark of national prominence through its ethnographic and archaeological aspects. The municipal museum of Penafiel is part of the group of museums that emerged, to a large extent, thanks to the impulse of civil society and that developed with the support of the respective municipalities.It is considered that museums such as Penafiel provide greater awareness of the population in relation to their heritage, due to the fact that they are organisms that are constituted as a local reference point for safeguarding this heritage. In a city of small dimensions such as Penafiel, it is interesting to analyze the way in which the municipal museum has proceeded over the decades to acquire, preserve and valorize its ethnographic heritage, through an approach based on actors, forms and, at times, obstacles.
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Fagundo, Diogo Filipe Mendes. "História com Objectos – Versão Animada do Berço Hindu." Master's thesis, 2017. http://hdl.handle.net/10316/83009.
Full textAbstract:
Dissertação de Mestrado em Design e Multimédia apresentada à Faculdade de Ciências e TecnologiaO espaço museológico pode constituir-se não só como um meio de transmissão de conhecimento mas também como um meio de transmissão de narrativas. O Museu da Ciência da Universidade de Coimbra possui colecções etnográficas em situação de reserva visitável de acesso limitado, albergando nas mesmas artefactos de elevada antiguidade e valor. Aqui podem ser encontradas colecções angolanas (com existência de artefactos relativos a escultura, metalurgia, instrumentos musicais, cestaria e esteiraria, cerâmica, tecidos, entre outros), máscaras brasileiras pertencentes à tribo dos Índios Jurupixuna (tribo actualmente extinta) e outros objectos provenientes de território colonial português. Dadas estas características, não podem ser manuseados pelo que a sua história e contexto são desconhecidos de grande parte do público que visita as exposições deste museu.Deste espólio faz parte um Berço originário de Goa que não se insere em nenhuma colecção em particular, existindo necessidade de divulgação científica por parte desta instituição. O Berço possui ilustrações nas suas quatro faces de reduzida dimensão mas elevado grau de detalhe que facilmente podem escapar à vista.O recurso a Animação como uma forma de narrativa cinematográfica oferece potencial de dar a conhecer o objecto em si, bem como dar a conhecer detalhes que estariam limitados a um estudo mais cuidado do mesmo. Não podendo o artefacto ser manuseado, este meio de comunicação serve como forma de leitura e de o dar a conhecer a um público mais alargado.Esta dissertação debruça-se sobre o Berço Hindu, a sua origem, significados relativos à religião Hindu e ao processo de construção de uma animação em formato digital de carácter documental que dê a conhecer os episódios representados nas suas ilustrações.
The museum space can be seen not only as a knowledge transfer medium, but as well as a manner of narrative transfer. The Science Museum of the University of Coimbra is home to ethnographical reserved, and limited access collections, both valuable and antique. In there, one may find collections from Angola (composed by artefacts related to sculpture, metalwork, music instruments, basketry, ceramics, fabrics, among others), Brazilian masks owned by the Indian tribe Jurupixuna (extinct), such as other objects originating from Portuguese colonial territories. Due to these characteristics, the handling of these items is not allowed, leading that their history and meaning are unknown to most visitors of the museum. Within this legacy, one can find a Cradle, originating from Goa, that does not fit in any of the museum’s collections, therefore creating a need of scientific promotion, from the institution. In the Cradle one can find illustrations that, despite their small dimension, are very rich in terms of detail, and can, therefore go under noticed. Resorting to Animation, as a narrative cinematographic technique, offers the possibility of getting to know the art piece, and details that would be limited to a deeper study of it. The impossibility of handling the artefact, this communication method is important, since it present the art piece to a wider audience. This dissertation focuses on the “Hindu Cradle”, its origins, and meaning relates to the Hindu religion, and the process of building a digital animation documentary-style, that illustrates the episodes represented on its artwork.
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Tavares, Diana Costa. "Conceção do plano de conservação preventiva aplicado a uma coleção etnográfica do Museu de Berlim : Museu de História Natural e da Ciência da Universidade do Porto." Master's thesis, 2019. http://hdl.handle.net/10400.14/36943.
Full textAbstract:
O presente relatório descreve a atividade de estágio realizada na área de Conservação e Restauro, aplicada à vertente de Etnografia no Museu de História Natural e da Ciência da Universidade do Porto. O objetivo incidiu sobre o estudo e conservação preventiva de uma coleção composta por 216 peças, iniciado pela investigação histórica e cultural, pelo levantamento do estado de conservação com base nos registos de inventário e numa análise descritiva com o auxílio de métodos de exame e análise. Da coleção foram selecionadas três peças distintas para realização de tratamentos de conservação. Posteriormente foi levada a cabo uma descrição técnica e material de toda a coleção, e concretizada uma memória descritiva das intervenções de conservação executadas, bem como de aspetos relativos à reserva da coleção. A realização destas tarefas contribuiu de forma significativa para uma perceção e consciencialização da instituição para o estado de conservação em que a coleção se encontra, assim como a execução e apresentação de documentos de conservação e restauro de extrema utilidade no estudo de coleções museológicas. Um estudo aprofundado sobre as condições ambientais, materiais, disposição e organização espacial de uma reserva de coleções de cariz etnográfico e de antropologia biológica, forneceram informações que até ao momento não tinham sido consideradas de forma tão concreta. A desenvoltura deste trabalho em contexto de estágio não só colaborou para o avanço e conhecimento de metodologias e considerações a ter em atenção por parte de uma entidade museológica no que respeita à conservação preventiva de uma coleção etnográfica, como instruiu o estagiário num modo profissional, colocando-o em situações e dificuldades reais que têm de ser resolvidas da melhor forma, respeitando sempre os princípios e valores de cada peça e de cada museu regente. A aprendizagem obtida através de uma experiência deste caráter não se aplica somente ao conhecimento técnico alcançado, mas também a uma evolução pessoal no que diz respeito ao trabalho de grupo, multidisciplinar e de interajuda entre os profissionais das várias áreas científicas.This report describes the internship activity carried out in the area of Conservation and Restoration, applied to Ethnography in the Natural History and Science Museum of the University of Porto. The objective was to study and preventive conservation of a 216 piece collection, initiated by historical and cultural research, survey of conservation status based on inventory records and a descriptive analysis with the aid of examination and analysis methods. From the collection, three different pieces were selected for conservation treatments. Posteriorly, a technical and material description of the entire collection was carried out, and a descriptive memory of the conservation interventions carried out, as well as aspects relating to the collection reserve, was made. The accomplishment of these tasks contributed significantly to the institution's perception and awareness of the state of conservation of the collection, as well as the execution and presentation of extremely useful conservation and restoration documents in the study of museum collections. An in-depth study of the ambiental conditions, materials, arrangement, and spatial organization of a reserve of ethnographic and biological anthropology collections provided information that had not been so concretely considered. The resourcefulness of this work in an internship context not only contributed to the advancement and knowledge of methodologies and considerations to be taken into consideration by a museological entity regarding the preventive conservation of an ethnographic collection, but also instructed the intern in a professional way, placing him in real situations and difficulties that have to be solved in the best way, always respecting the principles and values of each piece and of each regent museum. The learning gained through an experience of this character not only applies to the technical knowledge achieved, but also to a personal evolution regarding group work, multidisciplinary and inter-help between professionals from various scientific areas.
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Morris, Wendy Ann. "Both temple and tomb: difference, desire and death in the sculptures of the Royal museum of central Africa." Diss., 2003. http://hdl.handle.net/10500/1181.
Full textAbstract:
Both Temple and Tomb is a dissertation in two parts. The first part is an examination and analysis of a collection of 'colonial' sculptures on permanent display in the Royal Museum of Central Africa in Tervuren Belgium. The second part is a reflection on the author's own paintings, drawings and film and an examination of the critical potential of these images in challenging the colonial narratives of the RMCA.
Part I presents two arguments. The first is that European aesthetic codes have been used to legitimize the conquest of the Congo and to award sanction to a voyeuristic gaze. The second is that the organization of the sculptures of Africans (and European females) into carefully managed spaces and relationships results in the creation of erotically-charged formations that are intended to afford pleasure to male European spectators.
Part II examines the strategies used in Re-Turning the Shadows to disrupt (neo)colonial patterns of viewing that have become ritual and 'naturalized'. Against RMCA narratives that pay homage to the objectivity of science and research, the paintings and film present images that explore multiple subjectivities, mythologizing impulses, and metaphoric allusions.Art History, Visual Arts & Musicology
M.A. (Visual Arts)
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Boulos, Valentina. "A importância da digitalização do património cultural para os museus: um exemplo prático do Museu Nacional Etnográfico de Sofia na época do Covid-19." Master's thesis, 2021. http://hdl.handle.net/10316/97050.
Full textAbstract:
Relatório de Estágio do Mestrado em Património Cultural e Museologia apresentado à Faculdade de LetrasDesde os anos 90 do séc. XX, assistimos a um fenómeno de incremento das tecnologias digitais em museus e instituições culturais; o objetivo deste relatório é de analisar como os museus começaram a utilizar as tecnologias digitais, quais têm sido as necessidades e quais são as dificuldades relacionadas com estas. Embora o processo de digitalização tenha começado muito mais cedo nos Estados Unidos do que nos museus europeus, a União Europeia está a investir fortemente na digitalização do património para torná-la acessível a todos. Com o advento da pandemia do Covid-19 em 2020 e o encerramento dos museus por razões sanitárias, houve um aumento exponencial na utilização dos meios digitais para manter um diálogo com o público e preservar as coleções. A iniciativa do Museu Nacional Etnográfico de Sófia foi a de criar uma página web, onde as exposições dos salões do museu pudessem ser apresentadas em versão digital. O projeto de estágio consistiu em contribuir para a valorização e digitalização das coleções do museu através da organização de uma exposição online que pode ser visitada no novo site do museu, numa tentativa de reagir e reinventar-se num momento de crise. O objetivo da exposição é divulgar e promover algumas celebrações do calendário búlgaro através das coleções do museu. A exposição também pretende ser uma pesquisa de campo, que visa analisar e dar voz ao ponto de vista das novas gerações sobre as suas festividades e tradições locais. Considerando que a coleção tratada no museu é etnográfica, será abordado o tema da história dos museus etnográficos; desde o nascimento das coleções privadas no XVI século, até os atuais museus do século XIX, quando na Europa instaurou-se um processo de incorporação de objetos tradicionais das colónias não pertencentes a cultura ocidental. Estes objetos foram submetidos a classificações de arte ocidental e interpretados e associados a uma arte chamada "primitiva". Nos últimos anos, muitas coleções etnográficas na Europa têm sido criticadas por ainda serem eurocêntricas e intrinsecamente ligadas ao passado colonial, o que levou os museus a revisitarem o significado dos objetos. A situação é diferente nos Estados Unidos, onde alguns museus são geridos pelos povos indígenas, que são para todos os efeitos porta-vozes da sua própria cultura. Da mesma forma, o Museu Nacional Etnográfico de Sofia é um exemplo de autorrepresentação, sendo os curadores o próprio povo búlgaro.
Since the 90s, there has been an exponential increase in the use of digital technologies in museums and cultural institutions; the attempt of this project is indeed to analyze how museums started to use digital technologies, what have been the needs and what are the difficulties related to them. Although the process of digitization started much earlier in the United States than in European museums, the European Union is highly investing in digitizing the culture and to make it accessible to everyone. With the advent of Covid-19 pandemic in 2020 and the closure of museums due to the restrictions, there has been an urgent need in the use of digital technologies to maintain a dialogue with the public and to preserve collections. The initiative of the National Ethnographic Museum of Sofia was to create a website where the exhibits in the museum halls could be digitized. The goal of the internship was to contribute to the valorization and digitization of the museum's collections by organizing an online exhibition that can be visited on the new website of the National Ethnographic Museum in Sofia. The aim of the exhibition is to publicize and promote some celebrations of the Bulgarian calendar through the objects of the collections. The exhibition also intends to be field research, which aims to analyze and give voice to the new generations about their local festivities and traditions. Considering that the collections in the museum are ethnographic, the history of ethnographic museums is addressed; from the advent of private collections in the 16th century to the current museums in the 19th century, when in Europe started a process of incorporation of traditional objects from the colonies. These objects were subjected to Western art classifications and interpreted and associated with a so-called "primitive" art. In recent years, many ethnographic collections in Europe have been criticized for still being Eurocentric and intrinsically associated with the colonial past, which has led museums to revisit the meaning of the objects. The situation is different, especially in the United States, where some museums are run by indigenous peoples, who are spokespersons for their own culture. Similarly, the National Ethnographic Museum in Sofia is an example of self-representation, with the exhibitors being the people themselves within the Bulgarian culture.
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Chambino, Eddy Nelson de Barros. "Objectos de pastor: do objecto património ao paradoxo da sua insignificância." Master's thesis, 2009. http://hdl.handle.net/10071/2783.
Full textAbstract:
O fundamento desta investigação é o de uma colecção espúria de objectos de pastor. À semelhança de inúmeras outras colecções etnográficas disseminadas por todo país, sem projecto e sem contexto de proveniência, inteiramente subjugadas à dimensão material e à condição de mero testemunho histórico de um passado recente. No presente estudo, essa materialidade dos objectos serviu-nos de problematização e de veículo para chegarmos até essa dimensão imaterial tantas vezes descurada e esquecida dentro dos museus. Neste sentido, partimos assim da basilar questão: como se documenta uma colecção espúria? A partir desta problematização fomos ao encontro do sentido dos objectos. Esse sentido remeteu-nos para o mundo dos pastores e para o sistema pastoril do território, com as suas especificidades próprias adstritas tal como para a revisitação do terreno de proveniência dos objectos. Desta forma esta colecção espúria permitiu-nos perceber e problematizar o contexto específico de proveniência da colecção, seus trâmites e procedimentos. A colecção espúria constitui-se assim, enquadrada nestas dinâmicas, como um forte catalisador de histórias de vida e de memórias relacionadas com o universo pastoril da região. Confirmando-se a componente biográfica e menmónica associada aos objectos, reforçando deste modo a ideia de que os objectos são excelentes motivos para pôr as pessoas a contar histórias.The purpose of this investigation is the spurious collection of shepherd´s objects. As similar to several other ethnographic collections disseminated all over the country with no project or sources, dependant of material size and historical testimony of a recent past. In this current study this materiality of objects helped us to define the problem and to get to that immaterial dimension which is often neglected and forgotten in museums. Thus, we formulated the question: How can we document a spurious collection? From this problem statement we got to the meaning of the objects. This led us to the world of the shepherds and the pastoral system of the territory with its own specific features such as attached to the return of land to the origin of the objects. As a result, this spurious collection allowed us to understand and state the specific context of the source of the collection, its procedures and specifics. The spurious collection is formed in this manner and framed in these dynamics as a strong catalyst life stories and memories regarding the world of the pastoral region. The biographical component and mnemonic related to the objects, reinforces the idea that objects are excellent to get people to tell stories.
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Soares, Maria Filipa Reis. "Património digital, hoje: uma abordagem em ambiente museológico: o Museu Calouste Gulbenkian: coleção do fundador." Doctoral thesis, 2017. http://hdl.handle.net/10071/15616.
Full textAbstract:
Tendo como base teórica o estudo entre as novas tecnologias e o modo como os museus gerem a informação, apresentam e divulgam o conhecimento, e entendendo o património digital
como área de prática e tema de estudo, pretende-se utilizar o campo museológico para pensar
a sociedade e a produção do conhecimento humano. Através da etnografia multi-localizada,
que se estende para além do campo físico do Museu Calouste Gulbenkian - Coleção do Fundador, a presente investigação propõe pensar os museus na era da informação, abarcando duas
dimensões: 1) interna - Qual o papel do património digital nos museus? Em que medida o recurso às novas tecnologias digitais no contexto museológico introduzem alterações nas funções de inventariação, gestão de coleções e curadoria?; e 2) externa: Como se apropriou o
museu das tecnologias digitais para a apresentação e divulgação da sua coleção? O tema dos
média digitais no museu, enquanto campo de atuação independente mas inevitavelmente integrado na sociedade, desembocará numa reflexão sobre os museus na era da informação e globalização cultural, onde se analisam os meandros em que se processa a produção e a divulgação do conhecimento, pautadas pelas políticas sociais, culturais, económicas, a nível nacional
e internacional.Based on the topic of new technologies and the way museums manage their information, present and disseminate knowledge, and taking digital heritage as an area of practice and subject of study, I intend to use the museological field to discuss society and the production of human knowledge. This analysis uses multi-sited ethnography, as Calouste Gulbenkian Museum - Founder´s Collection, takes part of a comprehensive fieldwork. This research seeks to explore museums in the information age, whose exercise encompasses two dimensions: 1) internal - what is the role played by digital heritage in museums today? To what extent digital technologies change museum´s functions of inventory, collection management and curatorship?; 2) external: how do museums rely on digital technologies to present and disseminate their collections? Analyzing digital media in museum, as an institution integrated into the society, will lead us to a theoretical reflection on cultural globalization and museums in the information era. Social, cultural and economic policies, both at national and international level, will be scrutinized.
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Massola, Catherine Anna. "Living the heritage, not curating the past: a study of lirrgarn, agency & art in the Warmun Community." Phd thesis, 2016. http://hdl.handle.net/1885/101039.
Full textAbstract:
This thesis is an historical and contemporary examination of the
creative, social and cultural world of the Warmun community in
Western Australia. It focuses on how the community as a whole,
and as individuals, exert agency and maintain their values and
priorities when situated within larger, sometimes more powerful,
structures and frameworks that differ from their own.
Through the prism of art, the research examines the community's
engagement with and value of the Warmun Community Collection,
their history of adjustment, the unofficial roles of the Warmun
Art Centre and how the Warmun Art Centre supports and enables
informal learning. The thesis connects these four themes through
a socio-historical analysis of the experiences of Warrmarn
people, ethnographic and visual descriptions of their actions and
a visual examination of the manifestations of their
actions—objects of creative practice or, artworks.
In doing so, the thesis reveals several overlapping matters: it
tracks the development of a museum in an Aboriginal community; it
brings to light the hidden roles of the Warmun Art Centre; it
contributes to the developing field of informal learning; it
reveals how people express agency in daily life; it unveils the
proprietorial relationship people have with objects; and finally,
it lays bare the purpose, use and interpretations of objects,
which has at times made Warmun residents, and their sites of
cultural production, tangential to the objects they make. The
research finds that Warrmarn people live their heritage rather
than curate their past.