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Grewcock, Duncan. "Disrupting the museum : doing museology differently." Thesis, University College London (University of London), 2009. http://eprints.kingston.ac.uk/19814/.
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Simmonds, Caldas Patricia Catalina. "¿Es necesario el mundo precolombino? Colombia, un ejemplo a tener en cuenta." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/399723.
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El mundo precolombino vinculado en el pasado con el Museo del Oro, interviene en el pensamiento académico, intelectual y artístico que se da en la segunda mitad del siglo XX en Colombia; en la actualidad continúa haciéndolo pero solo bajo los auspicios de entidades como los Museos Arqueológicos Musa o la Facultad de Artes de la Universidad Nacional. Situación que contrasta con su uso habitual como parte del lenguaje cotidiano, en el que se valora especialmente sus formas visuales. Descartado casi por completo por el pensamiento científico, que aboga por la necesidad de proteger y reconocer el patrimonio de la nación, su importancia se ve cuestionada; circunstancia que obliga a adentrarse en su identidad, en sus herencias y pertenencias, así como en sus significados y estéticas enraizados en la cultura y el pensamiento occidental. Frente al mundo precolombino, como bien patrimonial adquirido y producto social, este trabajo concluye que las razones visuales, artísticas y conceptuales de lo precolombino, son necesarias, crean y fomentan identidad. Por lo tanto ignorar el mundo precolombino es ignorar, entre muchos otros aspectos, una identidad universal que proporciona la Historia del Arte, lo que descartaría la posibilidad de una lectura enriquecedora sobre el pasado y presente del país.The pre-Columbian world, linked in its past to Museo del Oro, has impacted academic, intellectual, and artistic thinking in Colombia since the second half of the Twentieth century. Even today, it continues to do so under the auspices of centers such as Musa Archeological Museum or the Arts Faculty at Universidad Nacional. This situation comes in contrast with its daily use as part of the common language, in which its visual forms are specially valued. Written off almost completely by scientific thinking, fixed on the necessity of protecting and acknowledging the patrimony of the nation, its importance is being questioned. This circumstance thus obliges to immerse in its identities, its heritages, and its belongings, as well as in its meanings and esthetics, which are intertwined in the thinking and culture of the Western World. Regarding the pre-Columbian world, an acquired heritage and social product, this work concludes that its visual, artistic, and conceptual reasons are necessary because they create and foment our identity. Therefore, ignoring the pre-Columbian world amount to ignoring, among many other aspects, a universal identity provided by the History of Art, thus missing an enriching reading in the country’s past and present.
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Moncunill, Piñas Mariona. "Amateur museum practices: leisure, myth, and ritual. Seven case studies from Catalonia and a contrast case from Colombia." Doctoral thesis, Universitat Oberta de Catalunya, 2017. http://hdl.handle.net/10803/460808.
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Els museus amateur són museus practicats com a lleure pels seus fundadors. Malgrat que la museologia no ha prestat gaire atenció a aquesta tipologia de museus, ens ofereixen l'oportunitat de qüestionar temes importants sobre el museu com a institució, els objectius de les seves pràctiques, la manera amb què els individus s'hi poden relacionar i el paper que poden tenir en les nostres societats. M’aproximo a les pràctiques de museus amateur mitjançant una recerca qualitativa basada en la teoria fonamentada (grounded theory). Set casos d’estudi de Catalunya i un cas de contrast de Medellín (Colòmbia) conformen el corpus d’aquesta recerca. Han estat aproximats per mitjà d’observació participant, entrevistes en profunditat i revisió de documentació. El marc teòric i la construcció teòrica que resulta d’aquesta recerca es basen especialment en la teoria de la pràctica de Bourdieu i en la concepció de consum cultural de de Certeau, així com en els estudis de lleure i les teories sobre mite i ritual.Los museos amateur son museos practicados como ocio por sus fundadores. A pesar de que la museología no ha prestado mucha atención a esta tipología de museos, nos dan la oportunidad de cuestionar temas importantes sobre el museo como institución, los objetivos de sus prácticas, la forma en la que los individuos pueden relacionarse con ellos y el papel que pueden tener en nuestras sociedades. Me aproximo a las prácticas de museos amateur mediante una investigación cualitativa basada en la teoría fundamentada (grounded theory). Siete casos de estudio de Cataluña y un caso de contraste de Medellín (Colombia) conforman el corpus de esta investigación. Han sido aproximados por medio de observación participante, entrevistas en profundidad y revisión de documentación. El marco teórico y la construcción teórica que resulta de esta investigación se basan especialmente en la teoría de la práctica de Bourdieu y en la concepción de consumo cultural de De Certeau, así como en los estudios de ocio y las teorías sobre mito y ritual.
Amateur museums are museums that are run as leisure pursuits by their makers. These museums have generally been omitted from current museology research. However, because of their specificities, they give us the opportunity to question relevant issues about the museum as an institution, the aim of its practices, the way in which individuals can relate to museums and the role that they might have in our societies. I approach amateur museum practices through a qualitative methodology based on the grounded theory. Seven case studies from Catalonia and a contrast case from Medellin (Colombia) comprise the corpus of this research. All cases have been approached through participant observation, in-depth interviews and documental analysis.
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Baroni, Giuliano Amadeu 1990. "O Parque de esculturas Museu Felícia Leirner." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285229.
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Orientador: Maria de Fátima Morethy CoutoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa objetiva investigar a vida e a obra da escultora Felícia Leirner, estabelecendo relações entre sua produção e a de outros artistas nacionais e internacionais do século XX bem como as relações presentes entre sua produção e os principais eventos culturais desenvolvidos na São Paulo do século XX. Também investigamos a história dos parques de escultura pelo mundo, em especial no cenário norte americano e pesquisamos sobre a cidade de Campos do Jordão - SP, onde se localiza o Museu Felícia Leirner, para, posteriormente, uma investigação mais a fundo sobre o surgimento e os aspectos museográficos deste parque de esculturas
Abstract: This research aims to investigate the life and work of sculptress Felicia Leirner and connect her production with the ones from other national and international artists of the twentieth century as well as the relationships present between her production and major cultural events held at the São Paulo of the twentieth century. We also investigated the history of sculpture parks around the world, especially in North American scene and research about the city of Campos do Jordão - SP, where is located the Felicia Leirner Museum, to then investigate more about the emergence and museographic aspects of this sculpture park
Mestrado
Artes Visuais
Mestre em Artes Visuais
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Casellato, Cristiana Serrão. "Arquitetura de Museus." Universidade de São Paulo, 1998. http://www.teses.usp.br/teses/disponiveis/16/16131/tde-12122014-145321/.
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Como toda Dissertação de Mestrado este trabalho não visou chegar a nenhuma comprovação e sim a uma verificação dos requisitos básicos para a criação de um programa adequado dentro das necessidades básicas da nossa cidade na área de museus assim como da Arte Brasileira e suas manifestações artísticas, acarretando um aprofundamento no conhecimento da arquitetura de museus e da arquitetura como um todo, através de uma atualização das correntes arquitetônicas, das novas tecnologias, dos novos materiais e de um novo sistema museológico, evidenciando um novo papel do museu e da arquitetura de museu no mundo atual. Espero ter demonstrado, através dos trabalhos programados realizados entre 1994 e 1995 e da proposta de um museu para a exposição de arte contemporânea no segmento das instalações e propostas interativas realizado entre 1996 e 1997, o conhecimento adquirido e modestamente poder ter contribuído com o aprendizado nesta área. Assim a Dissertação intitulada \"Arquitetura de Museus\" foi dividida em duas partes: Pesquisa e Projeto. A Pesquisa denominada \"Arquitetura de Museus - A Produção Mundial Arquitetônica em Exposição\" foi dividida em quatro partes; 1. \'O Mundo dos Museus\' com uma abordagem evolutiva da história dos museus no mundo. 2. \'O Museu e seus Visitantes\' trata das relações do museu com seu usuário, as partes integrantes do museu e sua estruturação dentro de um programa proposto. 3. \'1970-1995\' apresenta um painel da produção mundial da arquitetura de museus e finalizando com a relação de 15 projetos divididos em 5 áreas, a saber; Reestruturação, Anexos e Ampliações, Projetos Completos, Galerias e projetos. 4. \'Conclusão\' visa salientar os pontos positivos subsequêntes desta corrida arquitetônica e evolução museológica observada nos últimos 25 anos, bem como suas causas. O Projeto derivou da constatação da necessidade de um museu para a cidade de São Paulo dentro dos padrões museológicos atuais e mundial, visando preencher uma lacuna existente no segmento das instalações e artes interativas como modo de expressão artística, além de um espaço urbano destinado à arte como um centro de atividades múltiplas, comerciais educacionais e de lazer. É muito importante destacar que o intuito, tanto da pesquisa como do projeto não foi, em momento nenhum, fixar um paradigma de museu. O que ocorreu, isto sim, foi a verificação da possibilidade de idealidade de um museu para com o seu programa, seu tema e seu caráter previamente propostos.This paper, as every Dissertation of Master\'s Degree, has not a purpose to confirm, but only to verify the necessary basic qualifications to the creation of a suitable programm for the basic necessities of our town concerning Museums having as subject Brasilian Art and its artistical manifestations, leading to an improvement of the knowledge of museum architecture and of architecture as a whole, by the means of modernization of architectural currents, of new technologies, of new materials and of new systems for museums, showing clearly a new role of the museums and a new role of the museum architecture in the contemporary world. I hope to have been able to prove through the Established Works done between 1994-1995 and through the proposal of a museum built to exhibit contemporary art in the section about installation and interactive proposals done between 1996-1997, the acquired knowledge and humbly hope to have been able to contribute to apprenticeship in the area. In this way the Dissertation under the title \"Museum Architecture\" was divided in two parts: Research and Project. The research named \"Museum Architecture - The World Architectural Production Explaned\" was divided into 4 parts: 1. \'The World of Museums\' with an evolution approach of the history of museums all over the world. 2. \'Museums and its Visitors\' deals with the relations between the museum and its visitors, the components parts of the museum and its structures within a suggested programm. 3. \'1970 - 1995\' - presents a picture of the architectural world production of museuns ending with a list of 15 projects divided in 5 areas as: Restructure, Annex and Enlargement, Complete Projects, Galleries and Projects. 4. \'Conclusion\' it intends to print out the positive aspects of this architectural run and museological evolution observed in the last 25 years, as well its causes. The Project derived from the verification of the necessity of a museum for the city of São Paulo, within the actual and worldly accepted museological standards, trying to fill up a gap existing between the segment of interative art and installation as a mean of artistic expression, beyond that a city space devoted to art as a center of multiples activities, shoppings and leisure. Its very important to accentuate that the purpose of the research as well of the project, was not, at any moment, to establish a model of museum, but indeed, a verification of the possibility of idealizing a museum with its own programm, own theme and own character, previously proposed.
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de, la Rocha Mille Raymond. "Museums without walls : the museology of Georges Henri Riviere." Thesis, City University London, 2011. http://openaccess.city.ac.uk/2154/.
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This thesis explores important aspects of the debates and practices that since the First World War have both extended the meaning of museums and museology, and renovated what was seen by many as a stagnated 19th century model of museum policy and communication. For the purpose of illustrating the manifold nature of these debates this thesis examines the life and work of French museologist and innovator of modern French ethnographical practice, Georges Henri Rivière (1897 – 1985). It draws on the conceptual distinction made in some international museum literature between museology and museums. This distinction stems from the different assumptions introduced by two long term projects of cultural development: the 18th century projects of enlightenment and the 20th century promotion of an anthropological conception of culture. The former is closely related to the European system of fine art understood as a system of promotion and popularization of the arts. The latter is part of the efforts of the human and social sciences to insert museums in the society they serve and/or to give a democratic representation to the variety of cultures existing in a society at large. The consequence was the development, in the course of the 20th Century, of two often opposing managerial policies and cultures, one inwards looking, aiming at modernization and professionalization of internal museum functions, the other focusing on closing the relationship of museology and its natural and social environment. The first was essentially administrative and scholar-based, and has thrived with the adoption of a culture of mass consumption and multiplied its functions according to an ever-dominant division of labour. The second is proactive and externally driven, a policy and managerial culture aiming at the management of processes and resources, and at the identifications and development of the living cultures existing in a society. In this line of thought this research explores the museology of Rivet-Rivière’s Musée-Laboratoire as part of a national project of cultural development aiming at changing the relationship of French citizens to their material culture and heritage. As the museological embodiment of the myth of primitivism, Rivet-Rivière’s ‘structural museology’ was shaped by the convergence of avant-garde movements in contemporary arts with the object-based ethnology of Marcel Mauss. It eventually led not only to Rivière’s most famous concept, the Ecomusée, but also to a ‘museology without walls’ and to the diversification and multiplication of local museological practices by which every activity existing in a territory could be given museographical expression. As cultural activist, Rivière was at the crossroads of major events and personalities of his time, and his museological talent was placed at the service of their concerns and expectations, particularly through his long involvement with the UNESCO-linked International Council of Museums (ICOM). Furthermore, his privileged positions in the culture of its time made him a significant witness, not just of the debate about museums, but of 20th century French cultural life.
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Pastor, Juanita. "Archaeology, museology and education : a case-study at Vergelegen." Master's thesis, University of Cape Town, 1993. http://hdl.handle.net/11427/21842.
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Bibliography: pages 107-117.The following thesis focuses on the relationship between archaeologists, museologists and the broader community, in terms of educational programmes. It consists of a case-study comprising an educational project based on theoretical ideas of People's Archaeology as influenced by theories of Freirean education. The process of the educational project is illustrated through the description of interviews and workshops. The case-study indicates that there is a gap between academic and community percpetions of the role of archaeology and museums. Results from interpretations indicate that much more research emphasising the constitution, situation and perceptions of specific communities, especially those which have previously been marginalised by broader society, is needed in order to improve the educational services which museums and archaeologists offer to the community.
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Almeida, Nilo Mattos de. "Casa do Olhar, Museu de Santo André e Sabina: possibilidades para um plano de gestão de acervo em rede." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-27102015-120303/.
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Esta pesquisa propõe uma abordagem de gestão de acervos em rede para três instituições públicas na cidade de Santo André, a saber: Museu de Santo André Dr. Octaviano Armando Gaiarsa, Casa do Olhar Luiz Sacilotto e Sabina Parque Escola do Conhecimento. O ponto de partida que determinou a seleção destes equipamentos culturais para que na relação entre eles pudesse se aplicar o objeto de estudo desta pesquisa foi o fato de, em comum, todos servirem à população da cidade de Santo André e possuírem acervos que necessitam de procedimentos museológicos. Qual o papel da gestão e da cadeia operatória museológica para estes acervos? Como resposta a esta pergunta se propõe a hipótese que a adoção da prática da gestão museológica, articulada em rede, respeitando a autonomia das instituições, garantiria sua preservação, asseguraria a execução adequada de recursos e o acesso público ampliado. Também uma premissa que deve ser posta é o fato de uma instituição possuidora de acervo gerar uma demanda pela gestão museológica do mesmo, o que justifica a inclusão da Casa do Olhar Luiz Sacilotto e da Sabina Parque Escola do Conhecimento na pesquisa. Por fim, pela sua natureza, a linha de pesquisa que orienta o projeto é a de Teoria e Método da Gestão Patrimonial e dos Processos Museológicos.This research proposes a network management approach for collections of three public institutions in the city of Santo André, namely: Museu de Santo André Dr. Octaviano Armando Gaiarsa, Casa do Olhar Luiz Sacilotto and Sabina Parque Escola do Conhecimento. The starting point which determined the selection of these cultural facilities and apply them the object of study was the fact that, in common, all serve the population of the city of Santo André and have collections that require Museum procedures. What is the role of museum management and operative chain for these collections? In response to this question proposes the hypothesis that the adoption of the practice of museum management, articulated in the network, while respecting the autonomy of the institutions, would guarantee their preservation, would ensure the proper implementation of resources and public access. Also a premise that should be made is the fact that an institution be possessor of acquis generates a demand for museological management of same, what justifies the inclusion of Casa do Olhar Luiz Sacilotto and Sabina Parque Escola do Conhecimento in research. Finally, by its nature, the line of research that guides the project is the Theory and Method of Asset Management and Museological Processes.
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Settle, Lora Elizabeth. "Museums That "Matter": An Analysis of Four History Museums." Thesis, Virginia Tech, 2010. http://hdl.handle.net/10919/42715.
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Museums have, in recent years, experienced an increasing amount of pressure to fulfill their role as public institutions for both education and entertainment. For museums to ensure their success in this role, they must constantly investigate their operations in order to maximize their effectiveness. Common museological theories and literature are shared by museum professionals across the globe, roughly forming an ideal standard for museums. This study argues, however, against an ideal standard in favor of museums being evaluated in their own right. Elements of Stephen E. Weil's system of evaluation described in Making Museums Matter (2002) â and specifically his four evaluative criteria of purposiveness, capability, effectiveness, and efficiency â are employed in this study in order to evaluate four history museums â the building for the protection of the royal tombs of Vergina, Greece, the Museum of Byzantine Culture in Thessaloniki, Greece, the Archaearium at Historic Jamestowne, Virginia, and the Museum of the Confederacy in Richmond, Virginia. The use of these four criteria allows for a basic understanding of the ways in which the museums in this study have become successful despite their variance from an ideal standard.Master of Arts
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Barnes, Erin M. "Community museums in Mexico : local identitiy, national citizenship and global museology." Thesis, University of East Anglia, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396725.
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The focus of this study is Mexico's Programa Nacional de Museos Comunitarios y Ecomuseos, a national programme of community-based museums that aims to strengthen the relationship between civil society and its patrimony. This study examines the claims made of the community museum as a federal programme and as an expression of new museology, and compares them to the actual state of the museums in their communities. It also approaches the museums as a group of institutions participating in regional, national and global networks, whose objectives extend beyond the community, aiming to change how patrimony is constructed, portrayed and managed. Community museums, which base themselves in an "authenticity" attributed to the community, endeavour to reverse the museum's top-down structure and expand its social role, strengthening local identity and community cohesion by basing themselves in people and their greater environment, not in objects. I illustrate that in Mexico the museums have largely been unable to live up to the ambitious goals set for them, and that while they succeed in expanding museum audiences they show limited evidence of widescale community engagement and largely function as "traditional" object-based institutions. I argue that this does not mean the failure of the community museum, stressing that community museologists must move away from their elaborate theoretical discourse and focus more on providing communities with the necessary resources to create and maintain more dynamic exhibitions. Furthermore, as a national programme the museums have an important symbolic value, serving as evidence of a new multicultural image of "the Mexican, " and through networks community museums have expanded their scope, forming a power base that enables them to work towards shared objectives.
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Mason, Rhiannon. "Reading museums and heritage sites : towards a poststructuralist and postmodern museology." Thesis, Cardiff University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250514.
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Meiri, Shmuel. "The museology of dinosaurs : in search of the authentic museum dinosaur." Thesis, University of Leicester, 2004. http://hdl.handle.net/2381/31147.
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Dinosaur museums aspire to communicate authenticity to their visitors by displaying 'authentic dinosaurs' or what they perceive as 'authentic representations' of dinosaurs. The museums do this by employing a varied arsenal of objects, from bones still embedded in the rocks in which they were found to mounted skeletons, murals and computer-controlled life-size models. These same museums however, neglect to explicitly define what authenticity is, and fail to specify the criteria by which this quality might be defined.;Two distinct perspectives were revealed while exploring the vocabulary of authenticity and adapting it to the case of dinosaurs and museums: the museum's perspective and that of the visitor. This work focuses on the museum's perspective, one, which exists in a combination of needs, obligations, restraints, beliefs, and demands, some of which derive from forces within the museums while others are a reflection of influences from outside.;Using museum visits and written sources, mainly the ephemera produced by museums, this work demonstrates how the notion of authenticity is constructed by museums. The concept of authenticity and its theoretical understanding was examined in the museums context as well as in the often parallel worlds of private collectors, commercial manufacturers, the movie industry, and other agents of popular culture.;A considerable variety of techniques and materials have been used to create a sense of the dinosaur but in variable degrees the sense of authenticity they generate is governed by the following four criteria; Composition , Provenance, (degree of) Intervention and (scientific) Accuracy. Most of these are fairly static criteria; only a notion of scientific accuracy changes rapidly over time as a result of new knowledge superseding old, and old knowledge being perceived as inaccurate (wrong).
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Ho, Louis Kin Chung. "Musing new museology : politics of the Hong Kong Museum of Art." HKBU Institutional Repository, 2013. https://repository.hkbu.edu.hk/etd_ra/1502.
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Lima, Zamana Brisa Souza. "Museu do Alto Sertão da Bahia: diálogos entre museu de território e culturas digitais." Faculdade de Filosofia e Ciências Humanas, 2016. http://repositorio.ufba.br/ri/handle/ri/22646.
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Esta dissertação se associa à iniciativa de criação do Museu do Alto Sertão da Bahia (MASB), no território que dá nome a essa instituição, com sede em Caetité - Bahia - Brasil, e analisa as relações entre museus, Museologia e a cultura digital. Nesse sentido, expõe reflexões sobre a importância de aproximar o MASB, como projeto pioneiro voltado para um território específico, das novas tecnologias da informação e comunicação (TICs), principalmente em relação à Internet. Dessa forma, fundamenta-se em estudos que facilitem a compreensão do espaço em que essa instituição está inserida, o Alto Sertão, e mais especificamente a cidade de Caetité, que é o recorte espacial geográfico desta pesquisa. Além disso, a pesquisa aborda a ideia de virtual, traçando conexões com a Museologia, e dialoga com a Internet como meio que qualifica ou legitima os chamados "museus virtuais". Assim, ancorada no vocabulário filosófico, a pesquisa defende que o virtual é um processo abrangente a todo e qualquer museu, independentemente de sua tipologia. Além disso, a dissertação aborda a questão da desterritorialização de um museu de território em processos de virtualização que, na verdade, independem da Internet, podendo esta, entretanto, ser um agente impulsionador de mudanças e potencializador de acesso. Acredita-se que os processos de virtualização possam fazer do MASB um museu virtual e que as TICs atuem como mediadores no processo de comunicar o patrimônio de maneira integrada e multidisciplinar, trazendo para essa instituição uma perspectiva de dinamização e expansão.
This dissertation associates the initiative of creation of the Museum of the High Interior of Bahia (MASB), in the territory that gives name to that institution, with thirst in Caetité - Bahia - Brazil, and it analyzes the relationships among museums, Museology and the digital culture. Then, it exposes reflections on the importance of approaching MASB, while I project pioneer gone back to a specific territory, of the new technologies of the information and communication (TICs), mainly in relation to the Internet. This way, it is based in studies that facilitate the understanding of the space in that institution is inserted, the High Interior of Bahia, and more specifically the city of Caetité, the geographical space cutting of this research. This way, the research approaches the idea of virtual tracing connections with Museology and dialogues with the Internet while half that qualifies or it legitimates them called "virtual museums". Like this, anchored in the philosophical vocabulary, the research defends that the virtual is an including process to whole and any museum, independent of its typology. Besides, the dissertation approaches the subject of the deterritorialization of a territory museum in virtualization processes that, actually, independent of the Internet, being able to not this, however, to be an agents booster of changes and access potentiator. It is believed that the virtualization processes can do a virtual museum of MASB and that TICs acts as mediators in the process of communicating the patrimony in an integrated way and multidisciplinary, bringing for this institution a dynamics perspective and expansion.
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Lin, Chung-Hung. "Establishing a development process for science museum exhibition design." Thesis, Birmingham City University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.272155.
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As museum exhibition design becomes technically complex and design teams more specialised and fragmented, the need to plan, co-ordinate and increase the quality of the design process is becoming more important. According to a preliminary analysis of science museums, multi-disciplinary, targeted, technology-based exhibits are replacing traditional object based displays; therefore, a specifically multi-disciplinary model is necessary to develop a workable museum exhibitiond design process (MEDP) model. This research explores the theoryo of design processes and museum exhibitions as a means of developing an MEDP model and takes a comprehensive look at how design process models are currently used in developing museum exhibitions. It aims at establishin ga process model specifically for inter-disciplinary exhibition design work in science museums, which is theory-base and can be used as a prescriptive design aid to enhance the effective use of design information. Research methods comprise an exploratory study of literature and collected data, the development of surveys and case studies and their analysis in terms of MEDP methodology. The research examines theoretical (architectural, product and exhibition) models and develops a small number of case studies showing how design concepts are managed in real-world practice. A live case 'The Discovery Centre at Millennium Point' was used to observe two exhibition design projects in progress and to provide an overview of practical processs in design development. In addition, other case studies of `completed' museum exhibition design projects were developed by physical site surveys, questionnaires and interviews. The MEDP model is constructed from data flow diagrams generically representing the tasks involved and the associated information flows in a consistent manner and was evaluated for its concept development capability by designers and curators. Future development is also considered in relation to museology, design management and project management.
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Carter, John C. "The evolution of museums as centres for learning : chapters in Canadian museology." Thesis, University of Leicester, 2000. http://hdl.handle.net/2381/27746.
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An important part of change in the role of museums in society, is related to the educational mandate and public learning function of these institutions. Existing scholarship has identified education as a central museum activity, and has substantiated the importance of the educational function and the learning potential of museums. What were the factors and the history behind the changes which contributed to, and influenced the evolution of Canadian museums as centres for learning? The intent of this thesis is to address this question, to add to the body of knowledge on Canadian museology in general, and specifically to provide information on Canadian museums, education and learning. Change, as well as a connection to the past, have been constant influences in the evolution of Canadian museums as centres for learning. These and other salient issues have influenced events of the past. They will continue to make an impact into the future and will remain important in the ongoing evolution of Canadian museums as centres for learning as they enter the 21st century.
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Brzeski, Marina Kateri Carleton University Dissertation Journalism and Communication. "The communicative ethos: from epistemology to functionalism - shifting discursive practices in museology." Ottawa, 1994.
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Ferreira, Ferreira José Miguel Santos Cardoso José Miguel Santos Cardoso. "A nova museologia como impulsionadora da reabilitação do património arquitetónico." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2020. http://hdl.handle.net/10400.5/21781.
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Dissertação de Mestrado Integrado com a especialização em ArquiteturaO objetivo deste trabalho centra-se no estudo das práticas da Nova Museologia aplicadas a um projeto de Arquitetura. Os principais elementos deste são o novo museu para Coruche, o redesenho do espaço público da frente ribeirinha e a reabilitação de uma habitação do séc. XIX localizada entre o novo edifício e o museu existente. Este projeto visa complementar o Museu Municipal de Coruche e revitalizar a zona histórica da vila, dada a sua importância na paisagem local. Os problemas identificados nesta área urbana incluem, entre outros, uma pobre vivência com o rio e a margem oposta, quer do ponto de vista de fruição, quer do ponto de vista de simples observação. A pré-existência de alguns elementos arquitetónicos, necessários noutros tempos, têm limitado a permeabilidade e a facilidade em experienciar a Avenida Luís de Camões a nível pedonal. Do ponto de vista de projeto, a nível urbano, elaborou-se uma solução que visa resolver os percursos pedonais e a fruição do rio e da paisagem. Relativamente ao edifício projetado, tem como objetivo suprir as necessidades da vila para as quais o atual museu não tem capacidade de resposta por si só. À luz das práticas da Nova Museologia, um museu é mais do que uma simples coleção, devendo englobar outros tipos de cultura, como exposições temporárias, salas multimédia e atividades lúdicas ou outras mais próximas da comunidade. No que diz respeito à reabilitação, as alterações propostas à casa do séc. XIX, doravante denominada Casa do Rio, têm na sua génese a intenção de serem complementares ao edifício proposto, assim como ao Museu Municipal, tornando-se um espaço destinado a exposições temporárias.
The goal of this work is focused on the study of the practices of the New Museology applied to an architecture project. Its main elements are the new museum for Coruche, the redesign of the public space in the riverside and the rehabilitation of a XIX century house between the new building and the existing museum. This project aims to complement the Museu Municipal de Coruche and to revitalize the historical area of the town, given its importance in the local landscape. The identified problems in this urban area include, among others, a poor living with the river and the opposite riverside, either from the standpoint of fruition or simple observation. The pre-existence of some architectonic elements, necessary in the past, have been limiting the permeability and the easiness to experiment the Luís de Camões Avenue on a pedestrian level. From the project point of view, on an urban level, a solution was elaborated aiming to solve the pedestrian courses and the fruition of the river and the landscape. The goal of the projected building is to supply the needs of the town which the current museum has no ability of answering on its own. In the light of the practices of the New Museology, a museum is more than a simple collection and should encompass other kinds of culture, such as temporary exhibitions, multimedia rooms and ludic activities or others closer to the community. Regarding rehabilitation, the proposed changes to the XIX century house, from now on referred to as Casa do Rio, have in their genesis the intention of being complementary to the proposed building, as to the Municipal Museum, in order to become a space destined to temporary exhibitions.
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Britto, Clovis Carvalho. "Gramática expositiva das coisas: a poética alquímica dos Museus Casas de Cora Coralina e Maria Bonita." Faculdade de Filosofia e Ciências Humanas, 2016. http://repositorio.ufba.br/ri/handle/ri/20961.
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A pesquisa analisa as exposições dos Museus-Casas de Cora Coralina e Maria Bonita tendo como objetivo compreender alguns aspectos da poética oriunda da “narrativa das coisas”. Partindo das categorias “imaginação museal”, de Mario Chagas (2003), “produção da crença”, de Pierre Bourdieu (2002) e “fabricação da imortalidade”, de Regina Abreu (1996), problematiza o modo como as casas e os objetos musealizados se tornam suporte para a musealização da trajetória e do legado do patrono das casas-museus. Reconhecendo a articulação entre o imóvel, os objetos e o anfitrião do espaço, a pesquisa investiga os objetos biográficos, o deslocamento dos acervos pessoais para o espaço público, os trânsitos entre essas duas dimensões e o exercício de dramaturgias de memória a partir da manipulação dos repertórios expográficos. Utilizando um conjunto diverso de fontes (depoimentos, fotografias, documentação museológica, objetos biográficos, produção intelectual etc.), descortina a poética e a política existente na musealização, entendida como uma atitude metapoética. O estudo da trajetória de musealização de determinados objetos e espaços contribui para a visualização das interconexões entre os gêneros (lírico, épico e dramático) fruto das imagens acionadas pela exposição museológica. Entendidas como textos ficcionais, as exposições são analisadas a partir dos conceitos fundamentais de poética estudados por Emil Staiger (1997). A pesquisa sublinha a faceta épica da “imaginação museal” que, ao mesmo tempo, cria uma tensão com a subjetividade lírica. Ao estabelecer uma leitura interessada de determinados fatos do passado, acionando lembranças e esquecimentos coletivos, proporciona à herança lírica um enraizamento épico que, por sua vez, gera uma tensão marcada por uma dramaturgia construída a partir da “linguagem das coisas”. Questões aprofundadas na investigação da poética do espaço nas casas-museus, evidenciadas na musealização (concebida enquanto linguagem) da linguagem (literária) nos museus-casas de literatura; ou na instituição de um epilírico associado à fabricação do heroísmo poético nas trajetórias dos anfitriões das casasmuseus, com destaque para a musealização de objetos e personagens relacionados à saga do cangaço. Esses exemplos pretendem demonstrar as plurissignificações da poética nos museuscasas, especialmente as confluências entre a herança lírica, a expressão do épico e a tensão dramática, acentuadas no viés do trágico (mas que em outras experiências também podem ser marcadas pela comicidade).
The research analyzes the exhibits of House Museums of Cora Coralina and Maria Bonita, from the examination of the "poetic language of things". Starting of the "museum imagination", Mario Chagas (2003), "production of belief" by Pierre Bourdieu (2002) and 'manufacture of immortality" by Regina Abreu (1996), discusses how the houses and objects musealized become support for musealization trajectory and legacy of the patron. Recognizing the link between the property, objects and the host space, the research discusses the biographical objects, the displacement of personal collections to the public space, the transits between these two dimensions and the exercise of memory dramaturgy in the manipulation of the expography. Using a diverse set of sources (testimony, photographs, museum documentation, biographical objects, intellectual production etc.), reveals the poetic and the politics of musealization, understood as a meta-poetic attitude. The study of trajectory's musealization of certain objects and spaces helps to visualize the interconnections between genres (lyrical, epic and dramatic) fruit of the images triggered by the museum exhibition. Understood as fictional texts, exposures are analyzed from the basic concepts of poetic studied by Emil Staiger (1997). This research stresses the epic facet in the "museum imagination" at the same time creates a tension with the lyric subjectivity. By establishing an interested reading of certain facts from the past, memories and collective forgetfulness, provides the lyrical heritage an epic roots which, in turn, triggers a tension marked by a drama constructed from the "language of things". These questions on the poetics of space in the house museums, are evidenced in the musealization (conceived as a language) of the language (literary) in the literature houses museum; or in establishing a epic and lyric associated with the manufacture of poetic heroism in the trajectories of the personages of the house museums, especially the musealization of the objects and characters related to cangaço. These examples are intended to demonstrate the plurissignificação of the poetic in house museums, especially the confluences between the lyrical heritage, the expression of the epic and the dramatic tension, marked for the tragic bias (but in other experiences can also be marked by humor).
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Bai, Wenwen. "Participatory museology in 21st century China: a case study of the Shenzhen Museum." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/27436.
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Museology – the study of the history, social role and activities of museums - originated in the Western world and evolved across the 20th century into various specialisations, alongside changes in society, culture, economic circumstances and technological developments. New museology appeared in the late 20th century, leading researchers to conduct studies in museums with a focus on their visitors. This trend can also be found in China, as the nation experiences a boom in museums.
Since the beginning of the 21st century, the public reach of museums has been strongly influenced by the ubiquity of the Internet and the advent of participatory culture, which creates the potential for people to generate and share content independently of traditional communication institutions. To what extent have museums in China embraced these trends?
By reviewing relevant developments in participatory museology theory across different language-speaking literatures, this thesis identifies gaps between empirical and theoretical research regarding audience participation, especially in China, where relevant studies lag behind Western countries. Then, through case study analysis of the Shenzhen Museum, this study applies a mixed-methods research design to evaluate the degree to which Chinese museums have incorporated participatory museology theories into their practices. Based on empirical insights, the thesis concludes that there is significant unrealised potential for further engagement between Chinese museological research and concepts of audience participation and interactivity. This points to the promise of ongoing research in China, but also for greater communication and collaboration between museum researchers in China and the West, so that different scholarly communities can build understanding of each other’s development and knowledge on the theme of audience studies in museums.
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McFarlane, Donna Elaine. "Representing Blackness : Marcus Garvey and the politics of museology in post-colonial Jamaica." Thesis, University of Leicester, 2013. http://hdl.handle.net/2381/28232.
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Historically Black people in the Western Hemisphere have lacked power to represent their stories to themselves, from their perspective in museums. In spite of the fact that African Universities, like 14th century Djenne University in Timbuktu, with thousands of volumes of books and manuscripts, existed before the rise of Western civilizations; Black children in the Western Hemisphere learn that Africans did not have a written history justifying the burden of Europeans to write Africa’s history. African history books from the perspective of enlightened Black scholarship have been written for centuries but are not widely known in Black communities and are not routinely a part of the curricula in western educational systems. The result is wide scale historical amnesia among Black people about their ancient histories. Through extensive desk research and exploration of issues of self-identity in the course of my work as Director of Liberty Hall, I am able to pose answers to the questions of where and how do we make a start at stimulating memory, and in representation of these memories in museums? This study explores the historical bases upon which representation of Black histories have been made in the educational system and in museums in post-colonial Jamaica; and proposes that when representation draws on the work of enlightened scholarship it reveals a historical legacy of strength, innovation, and resilience that makes a powerful contribution to Black education and to that of others. More importantly, it affects and reinforces positive self-identity, one of the cornerstones of modern museology. The Marcus Mosiah Garvey Multimedia Museum is an exercise in memory, modern museology, and in involvement of the surrounding communities in charting the museums’ developmental course. Reinterpretation of Liberty Hall, a national monument, facilitates a comprehensive approach to representation of ‘our’ story, with the museum as its central educational tool.
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Silva, Regina ClÃudia Oliveira da. "THE EDUCATIONAL ACTION AND CULTURAL LEGACY OF GUSTAVO BARROSO FOR MODERN BRAZILIAN MUSEOLOGY." Universidade Federal do CearÃ, 2014. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=12703.
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nÃo hÃAs discussÃes nessa narrativa tratam-se da aÃÃo educacional e do legado cultural de Gustavo Barroso para a Moderna Museologia Brasileira. Vincula-se ao grande tema da histÃria e memÃria da educaÃÃo brasileira, especialmente à histÃria e memÃria das instituiÃÃes escolares e culturais. A pesquisa busca a compreensÃo e interpretaÃÃo da aÃÃo social do sujeito Gustavo Barroso, nas distintas matÃrias da Museologia no Brasil, por meio de sua aÃÃo educacional, a partir, nomeadamente, da trÃade Museu HistÃrico Nacional (1922), Curso de Museus (1932) e Inspetoria de Monumentos Nacionais (1934), bem como de seu debate sobre folclore sertanejo, principalmente cearense, vinculado à sua proposta de museu ergolÃgico (1944). Utilizamos o conceito de modernidade sustentado nas apreciaÃÃes de Max Weber a respeito do tema. Na pesquisa recorreram-se a documentos institucionais, à revisÃo bibliogrÃfica de outros trabalhos sobre o assunto e à entrevista de ex-alunos do Curso de Museus, em que se buscava saber sobre suas memÃrias (Ricoeur) no tocante ao Curso de Museus e à sua experiÃncia de convivÃncia e/ou trabalho no MHN. O objetivo fundamental à apresentar uma interpretaÃÃo falseÃvel (Popper) de que Gustavo Barroso, a partir da trÃade retrocitada, contribuiu para a preservaÃÃo da memÃria nacional, na medida em que iniciou uma cultura de preocupaÃÃo do poder pÃblico com nossa histÃria educacional e nosso patrimÃnio cultural, ou seja, instalou-se uma nova concepÃÃo de Museologia no Brasil, justificadora de sua prÃpria visÃo de histÃria e conservadorismo. A fundaÃÃo do MHN foi em 1922, ano emblemÃtico para a HistÃria do Brasil, marcado por diversos acontecimentos polÃticos e culturais, ano que tambÃm correspondia ao centenÃrio da IndependÃncia do Brasil, em que se vivia grande crise de popularidade e aceitaÃÃo do governo de EpitÃcio Pessoa. O MHN resultou em um libelo nacionalista e ufanista, necessÃrio para clamar ao povo o amor pela naÃÃo e a salvaguarda das relÃquias das elites imperiais na jovem repÃblica, jà na condiÃÃo de repÃblica velha. Concluiu-se que o projeto museolÃgico de Gustavo Barroso teve imensurÃvel contribuiÃÃo para a formaÃÃo de uma museologia moderna no Brasil, porque inaugurou um museu exclusivamente histÃrico, o primeiro curso de museus e ainda a primeira instituiÃÃo de salvaguarda do patrimÃnio do paÃs, de carÃter nacional, ligada à administraÃÃo federal.
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Araújo, Léa Blezer. "A tecitura de uma Museologia paulista: tramas do ensino pós-graduado em São Paulo." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-17102017-121614/.
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O presente trabalho busca percorrer as tramas do pensamento museológico que se constituiu e conduziu dois cursos de Pós Graduação em Museologia no Estado de São Paulo. Tomamos, para isto, como contexto histórico o do ensino de Museologia no Brasil, e as respectivas especificidades paulistas ali inseridas, especialmente em relação à pós-graduação neste estado. Se São Paulo possui, por um lado, uma lacuna expressa na ausência de graduação em Museologia, também há, por outro, especificidades criadas pela opção pelo ensino pós-graduado. Buscamos, portanto, entender, sob o viés do ensino pós-graduado de Museologia, como este pensamento museológico se constituiu, percorrendo para isto as tramas em torno dos cursos que formam nosso objeto de estudo: Curso de Museologia da Fundação Escola de Sociologia e Política de São Paulo -FESP; e Curso de Especialização em Museologia do Museu de Arqueologia e Etnologia da Universidade de São Paulo -CEMMAE-USP. Para desenvolvermos o projeto de pesquisa, utilizamos análises bibliográficas e documentais em nossa metodologia. Recorremos, para isto, a fontes de pesquisa e referência dos conjuntos documentais relacionados aos dois cursos estudados. As análises destes corpos documentais foram cruzadas posteriormente com fontes orais, através de entrevistas realizadas com os ex alunos e docentes dos respectivos cursos. Este esforço consiste em uma tentativa de desvendar nosso principal objetivo: entender as características e especificidades do pensamento museológico paulista, sob o viés do ensino de pós-graduação, percorrendo para isto as tramas contidas nos conceitos de Museologia abordados nessas duas instâncias de aprendizagem.This research attempts to scroll through the tissue of the museological thinking that led to two graduate courses in São Paulo, considering the contextual overview of Museology teaching in Brazil and the specificities from the state of São Paulo that are inserted in this scenario. On the one hand, if São Paulo has a lack in the teaching of Museology, caused by the absence of a local undergraduate course, on the other hand, a choice for the teaching of Museology on a graduate level brings about certain singularities. Therefore, we aim to understand how this museological outlook was originally formulated by examining the contents of both of the graduate courses elected as our objects of study: Curso de Museologia da Fundação Escola de Sociologia e Política de São Paulo - FESP; and Curso de Especialização em Museologia do Museu de Arqueologia e Etnologia da Universidade de São Paulo - CEMMAE USP. To develop this research, we first analyzed documents from bibliographic and documental sources related to the graduate courses in question, to later compare the interpretations found in them to written and oral sources provided by interviews with alumni and professors from the same courses. In a nutshell, the present work represents an effort to uncover possible particularities in the museological thinking formed in São Paulo, in the light of the Museology tissue woven by the graduate courses in their syllabus.
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Silva, Jocenaide Maria Rossetto. "Do museu como espaço ao museu como lugar de múltiplas interlocuções: os museus universitários e as coleções do povo Bororo." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/12814.
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Previous issue date: 2013-12-10Conselho Nacional de Desenvolvimento Científico e Tecnológico
The pages of history I propose to build are located in the dimensions of Social and Cultural History, in their fields related to museums, as the theories of history become integrated to interdisciplinary dialogues with other theories (museology and communication). For that, both the research approaches and the methodologies of analysis fit into material culture, imagetic and textual sources, having as field of observation and investigation (in loco and virtual) the museological spaces (technical reserve, exhibition and educational sector), in the Museum of Archaeology and Ethnology - University of São Paulo - USP (São Paulo, SP), in Dom Bosco Museum of Cultures Dom Bosco Catholic University-UCDB (Campo Grande, MS); in the Cultural Center Padre Rodolfo Lunkenbein Aldeia de Meruri , connected to Dom Bosco Museum of Cultures Dom Bosco Catholic University-UCDB (Campo Grande, MS); and in Rondon Museum in the Federal University of Mato Grosso - UFMT (Cuiabá, MT). This thesis discusses the expectations for museum modernization by means of new information technologies, announcing new paradigms that characterize contemporary times. Thus, I argue that such changes unfold themselves and resignify the space-museum. The communicational relations which I refer to were investigated into three dimensions: 1) in the context of the museum and its surroundings (community, city and Indian settlement); 2) in the context of the multiple technologies which set new paradigms to information, and 3) to whom the museums represent in their collections, of which I opt for the sampling of the Bororo Indian s collections of artifacts. The arguments put and results are presented in three parts, Part I being related to the social and cultural history of the surveyed university museums of ethnology, emphasizing the composition of the Bororo s collections of artifacts, their conservation, exhibitions and communicational perspectives. Part II concerns to the museal planned action for Bororo s culture communication, through museological and patrimonial education; in Part III, I consider tangible culture, i.e., the objects kept exhibited in university museums and, from them, I extend researches to intangible cultural references, as a way to contribute to the Bororo s written, social and cultural history. I conclude my thesis by arguing for changing the notion of space-museum by the one of place-museum, by means of communication and integration of new technologies, in particular the World Wide Web
As páginas da história que me proponho construir se localizam nas dimensões da História Social e da História Cultural, em seus domínios relacionados aos museus, à medida que as teorias da história se integram a diálogos interdisciplinares com outras teorias (museologia e comunicação). Para tanto, as abordagens de pesquisa e as metodologias de análise se inscrevem em fontes da cultura material, imagéticas e textuais, tendo como campo de observação e investigação (in loco e virtual) os espaços museológicos (reserva técnica, exposição, setor educativo) no Museu de Arqueologia e Etnologia Universidade de São Paulo - USP (São Paulo, SP); no Museu das Culturas Dom Bosco Universidade Católica Dom Bosco-UCDB (Campo Grande, MS); no Centro Cultural Padre Rodolfo Lunkenbein Aldeia de Meruri, ligado ao Museu das Culturas Dom Bosco Universidade Católica Dom Bosco-UCDB (Campo Grande, MS) e; no Museu Rondon Universidade Federal de Mato Grosso - UFMT (Cuiabá, MT). A tese discute as expectativas de modernização dos museus, por meio das novas tecnologias informacionais, anunciando novos paradigmas, característicos da contemporaneidade. Assim, argumento que estas mudanças desdobram-se e ressignificam o espaço-museu em lugar-museu. As relações comunicacionais a que me reporto foram investigadas em três dimensões: 1) no contexto do museu e seu entorno (comunidade, cidade e aldeia); 2) no contexto das múltiplas tecnologias que estabelecem novos paradigmas à informação; e, 3) a quem os museus representam em suas coleções, das quais opto pela amostragem das coleções de artefatos dos índios bororo. Os argumentos e resultados são apresentados em três partes, sendo a Parte I dedicada à história social e cultural dos museus universitários de etnologia pesquisados, enfatizando a composição das coleções de artefatos bororo, a conservação, as exposições e perspectivas comunicacionais. A Parte II é dedicada à ação museal planejada para a comunicação da cultura Bororo, por meio da educação patrimonial e museológica; na Parte III, detenho-me na cultura material, ou seja, nos objetos mantidos nas exposições dos museus universitários e, a partir destes, amplio as pesquisas para as referências culturais imateriais, como forma de contribuição para a escrita da história social e cultural do povo Bororo. Concluo a tese apresentando argumentos para que a noção de espaço-museu se torne lugar-museu, por meio da comunicação e inserção das novas tecnologias, em especial a rede mundial de computadores
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Hillman, Thomas. "The physical context of hands-on interactive museum exhibits: Identification and categorization of pedagogically relevant concepts." Thesis, University of Ottawa (Canada), 2006. http://hdl.handle.net/10393/27371.
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Many options are available to designers when creating museum exhibitions. One particular option that can be chosen is the inclusion of exhibits that can be touched and manipulated, a style of exhibit often referred to as hands-on or interactive (Adams and Moussouri, 2002). Within this subset of exhibits, designers also have a multitude of choices to make that can affect the experiences visitors will have. The goal of this study is to help the transfer of research findings about learning and hands-on interactive exhibits to designers so that more-informed choices may be made. With this goal in mind, the exhibits within three exhibitions at the Montreal Science Centre are examined from a pedagogical perspective. Falk and Dierking's Contextual Model of Learning (2000) is employed as a conceptual framework, and one of its contexts is specifically addressed. Since exhibition designers act upon the objects that form exhibits, and only have direct influence on their physical nature, the physical context of Falk and Dierking's model is chosen as a lens through which to investigate the exhibits. Emergent concepts from the physical context of those exhibits are collected and then categorized. To relate the emergent concepts to a pedagogical perspective, the categories are then associated to the pedagogical triangle (Houssaye, 1988; Moore, 1989), which allows them to be organised following the roles and interactions present in that model. This study, therefore, presents a structure and common language through which the physical context of hands-on interactive museum exhibits can be understood from a pedagogical perspective.
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Langlais, Dominique. "La cybermuséologie: Défis face à la protection at la diffusion du patrimoine culturel." Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27526.
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A l'ère de l'économie de la connaissance, les musées se tournent vers la numérisation et les technologies de l'information et de la communication afin de rendre accessible leur collection en ligne. Cette nouvelle pratique que nous nommons cybermuséologie permetelle de protéger et de diffuser de façon novatrice le patrimoine immatériel, c'est-à-dire l'héritage culturel? Comparable à la connaissance tacite, la transmission des savoirs culturels fait face aux problèmes de reproduction et de codification. Une démarche exploratoire nous a permis d'approfondir ce nouveau phénomène du point de vue de la diffusion. Ainsi, la triangulation des résultats de l'observation des sites Internet de deux musées canadiens d'envergure internationale, d'entrevues avec leur responsable respectif et d'une entrevue avec le directeur d'une entreprise de conception privée oeuvrant dans le domaine s'est révélée des plus pertinentes. La cybermuséologie permet en effet le transfert de certains savoirs et de savoir-faire, mais d'une façon limitée. Toutefois, plusieurs limites pourraient éclater grâce à l'intégration prochaine de nouvelles technologies favorisant la participation des usagers. Ce portrait de deux institutions canadiennes, nous permet de mieux comprendre ce qu'est la cybermuséologie et d'anticiper son développement.
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Rohkea, Seija Sisko. "When contemporary design constructs new narratives| A look at the art of the ancient Americas installation at the Los Angeles County Museum of Art." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523246.
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In 2008, the Los Angeles County Museum of Art's collection of pre-Columbian artifacts was re-installed in a gallery designed by contemporary artist, Jorge Pardo. The history of these ancient objects dates back over three thousand years, but new meanings emerged and critical issues unfolded when these culturally displaced objects were staged within Pardo's flamboyant design. This collision of indigenous and contemporary cultural narratives is examined on three levels: the problems inherent in the constructed knowledge of ancient objects; the changes that have taken place in systems of ethnographic display; and the critical reception of Pardo's design and its implications in terms of a politics of display. This thesis argues for the need to respect cultural patrimony, but the value of critical awareness raised by Pardo's design intervention is also acknowledged.
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Isolan, Fiorela Bugatti. "A formação em Museologia nas universidades brasileiras: reflexões sobre o ensino da gestão e do planejamento sob a ótica da Museologia." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-17102017-110303/.
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A oferta de cursos universitários em Museologia se expandiu de maneira significativa ao longo das duas últimas décadas no Brasil. Se até princípios dos anos 2000 o país contava com apenas dois cursos de Bacharelado ativos - o da Universidade Federal do Estado do Rio de janeiro (UNIRIO) e o da Universidade Federal da Bahia (UFBA) -, atualmente, encontram-se cadastrados no Ministério da Educação (MEC) dezesseis cursos voltados para essa área de formação, o que evidencia a dinamização e crescimento do setor museológico no cenário brasileiro. Não obstante, este processo de ampliação das perspectivas de formação profissional suscita uma série de questões e desafios, devendo ser objeto de análises que colaborem para a proposição de diretrizes comuns para a capacitação profissional, com vistas ao fortalecimento do campo disciplinar da Museologia. Sendo assim, no intuito de contribuir para as discussões voltadas à capacitação na área - principalmente no que se refere ao ensino das noções de gestão e de planejamento, sob a perspectiva desta disciplina - a presente pesquisa teve como finalidade mapear o perfil da oferta formativa que caracteriza os cursos de Bacharelado em Museologia atualmente em funcionamento e, mais especificamente, verificar como as ideias de gestão e planejamento aparecem nos currículos dos referidos cursos. Para o seu desenvolvimento, nos valemos de métodos qualitativos de análise, como levantamento bibliográfico sobre a consolidação da Museologia enquanto campo disciplinar independente e sobre a trajetória do ensino na área dentro do contexto brasileiro; além da consulta das diretrizes nacionais para formação na área e dos programas pedagógicos dos cursos, com suas respectivas matrizes curriculares e ementários das disciplinas. A sistematização e posterior análise dos dados permitiu identificarmos que houve avanços no âmbito da formação profissional em nível de graduação em Museologia no Brasil não só em termos quantitativos, como também em termos qualitativos, o que, sem dúvida, vem contribuindo para a consolidação deste campo disciplinar. Com relação à gestão e ao planejamento, o protagonismo alcançado por estes temas junto ao universo museológico fez com que, na atualidade, sejamos levados a tratá-la como uma função do museu, para além das tradicionais funções de salvaguarda, pesquisa e comunicação (DESVALLÉES; MAIRESSE, 2013). De fato, esta centralidade se reflete na configuração da oferta formativa em vigor no país, que dispõe de componentes curriculares que abordam questões relacionadas a estas noções. Entretanto, sinalizamos para a importância de pensarmos a gestão desde uma perspectiva museológica, que dialoga com as dimensões teóricas e práticas do campo, contribuindo para a consolidação da Teoria Museológica e para a conformação daquilo que Maria Cristina Oliveira Bruno (2015a) identifica como olhar museológico - olhar este que se fundamenta em contraposição às visões fragmentadas e tecnicistas que tendem a compreender as experimentações no campo de modo compartimentado, o que impossibilita o entendimento de sua totalidade dentro de uma perspectiva processual.The offer of courses in Museology in universities has expanded significantly in the last two decades in Brazil. If until the early 2000s the country had only two active bachelor\'s degrees courses -the Federal University of the State of Rio de Janeiro (UNIRIO) and the Federal University of Bahia (UFBA) -today there are currently registered in the Ministry of Education (MEC) sixteen courses connected to this area of training, which evidences the dynamization and growth of the museological sector in the Brazilian scenario. Nonetheless, this process of the expansion of the perspectives on professional training raises a number of issues and challenges and should be the subject of analyzes that contribute to the proposal of common guidelines for professional training, aiming to strengthening the disciplinary field of Museology. Therefore, in order to contribute to the discussions focused on training in the area -mainly in relation to the teaching of management and planning concepts from the perspective of this discipline -the present research had the purpose of mapping the profile of the training offer that characterizes the bachelor courses in Museology currently in operation and, more specifically, to verify how the ideas of management and planning appear in the curricula of the same courses. For its development, we use qualitative methods of analysis, such as a bibliographical survey on the consolidation of Museology as an independent disciplinary field and on the trajectory of teaching in the area within the Brazilian context; besides the consultation of the national guidelines for training in the area and the pedagogical programs of the courses, with their respective curricular matrices and courses of the disciplines. The systematization and subsequent analysis of the data allowed us to identify that there has been progress in the field of professional training at the undergraduate level in Museology in Brazil, not only in quantitative terms, but also in qualitative terms, which undoubtedly has contributed to the consolidation of this disciplinary field. With regard to management and planning, the protagonism achieved by these themes in the museological universe has made us nowadays treat it as a function of the museum, in addition to the traditional functions of preservation, research and communication (DESVALLÉES; MAIRESSE, 2013). In fact, this centrality is reflected in the configuration of the training offer now operated in the country, which has curricular components that addresses issues related to these notions. However, we point out the importance of thinking about management from a museological perspective, which dialogues with the theoretical and practical dimensions of the field, contributing to the consolidation of the Museological Theory and to the conformation of what Maria Cristina Oliveira Bruno (2015a) identifies as a museological view(olhar museológico) -which is based in opposition to the fragmented and technicist visions that tend to understand the experiments in the field in a compartmentalized way, which makes it impossible to understand its totality in a processual perspective.
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Cerqueira, Vera Lúcia Cardim de. "De Mário de Andrade ao Pavilhão das Culturas Brasileiras: mudanças nas práticas institucionais de guarda da cultura popular." Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/18790.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The purpose of this research is to investigate the process of transformations undergone in contemporary society in regard to the recognition of cultural diversity and plurality amongst institutions that house popular culture collections. Through the historic trajectory of the collections of the Folklore Research Mission of 1938, conceived by Mário de Andrade, and of the Folklore Museum, established by Rossini Tavares de Lima, both belonging to the municipality of São Paulo, the replacement of the use of the concept of folklore for that of popular culture (or popular cultures) as well as alterations in the field of Museology were examined. For this purpose, the experiences that served as guidelines for the Brazilian theorization in this field were analyzed, specifically the work of Georges Henri Rivière, the trajectory of the National Museum of Popular Arts and Traditions in Paris and the idea of social museology. The conclusion of this study ascertains that there is an ambiguity between the treatment of the collections and the contemporary discourse in which cultural diversity is recognized and celebrated, even in specific public policies. This research confirms the hypothesis that, despite the establishment of new institutions, such as the Pavilion of Brazilian Cultures, the process of valuing popular culture in places that house collections is characterized more by an appropriation and an alignment of discourse rather than by an effective rupture of boundaries or a reorganization of the field of work
Este trabalho de pesquisa se propôs a investigar os desdobramentos das transformações ocorridas na sociedade contemporânea em relação ao reconhecimento da pluralidade e diversidade cultural no âmbito de instituições voltadas à guarda de coleções de cultura popular. Por meio do percurso histórico das coleções da Missão de Pesquisas Folclóricas de 1938, idealizada por Mário de Andrade, e do Museu de Folclore, constituído por Rossini Tavares de Lima, ambas pertencentes ao município de São Paulo, examinou-se a substituição do uso do conceito de folclore para o de cultura popular (ou culturas populares) e as alterações no campo da Museologia. Para tanto, foram analisadas as experiências que serviram de parâmetro para o pensamento brasileiro nesse universo temático, especificamente o trabalho de Georges Henri Rivière, a trajetória do Museu Nacional de Artes e Tradições Populares de Paris e a ideia de museologia social. Após o estudo, verificou-se uma ambiguidade entre o tratamento das coleções e o discurso contemporâneo em que a diversidade cultural é reconhecida e celebrada, inclusive, por meio de políticas públicas específicas. Mostrou-se acertada a hipótese de que, apesar da constituição de novas instituições, como o Pavilhão das Culturas Brasileiras, o processo de valorização da cultura popular nos espaços de guarda se caracteriza mais por uma apropriação e adequação de discurso do que por um rompimento efetivo de fronteiras ou de uma reorganização do campo de atuação
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Nemeth, Jeanne. "Examining passionate pursuits a case study of the collections of an art teacher and her students and their implications for art education /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3274255.
Full textAbstract:
Thesis (Ph.D.)--Indiana University, Dept. of Curriculum and Instruction, 2007.Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 2767. Adviser: Enid Zimmerman. Title from dissertation home page (viewed Apr. 9, 2008).
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Benton, Gregory M. "Assessment of four goals in National Park Service cultural interpretive programs." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3274914.
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Thesis (Ph.D.)--Indiana University, School of Health, Physical Education and Recreation, 2007.Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 3143. Adviser: Doug Knapp. Title from dissertation home page (viewed Apr. 14, 2008).
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Bernal, Elaine. "Ethnographic research of emergent cultural themes from technology-based informal education in a museum." Thesis, California State University, Long Beach, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1523337.
Full textAbstract:
Culturally contextualized, technology-based informal learning in settings such as museums, science centers, zoos, and aquariums is a sustainable method that facilitates a community's learning needs. However, the lack of research about where technology-based informal education and culture intersect presents an issue in having sound, evidence based information to use in further developing such opportunities. The purpose of this ethnographic study is to investigate processes in technology-based informal education and explore the cultural dimensions in which it takes place. This ethnographic research can provide better understanding into how and why to create technology-based informal learning opportunities. The cultural contexts that enable those processes are primarily social and relationship-based dimensions that allow for as many participants as possible contribute and be involved in creating unique learning opportunities. In regards to a technological platform, it is shown that social media is the most conducive technology in the informal learning process.
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Finan, Barbara. ""In South Barre, we're all Americans|" An immigrant mill village becomes Americanized, 1900-1950." Thesis, University of New Hampshire, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3581196.
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South Barre was a model mill village designed by Francis C. Willey, a multinational entrepreneur from "Worstedopolis," the woolen capital of the world in Bradford, England. The site for South Barre had the resources of clear water for scouring wool fleece, and railroad connections to Boston for raw materials and the product, worsted tops, to customers in nearby Lawrence, Massachusetts and Woonsocket, Rhode Island. Willey recruited skilled workers from Bradford, and unskilled laborers came from southern and eastern Europe. The company-controlled housing in the village was divided into sections by language groups: English, Italian, Lithuanian, and Polish. Living under segregated housing and labor market segmentation, workers responded to the company's paternalism collectively by union activity and individually by home and business ownership and by advancing the education of their children. Using a variety of sources – public documents, biographies, interviews and World War II letters – this research covers the first half of the twentieth century through the upheavals of two world wars, the depths of the Great Depression and the rise of union influence in the New Deal, and culminates in the infectious patriotism of World War II and the post-war prosperity. This investigation follows immigrant families front their initial entry into the Barre Wool through to the third generation. The term Americanization is employed in both senses: in fact, by birth or naturalization, and by desire, as the immigrants perceived what it meant to be "American." This study moves beyond the reductive dichotomies of assimilation and cultural pluralism, and found that individual immigrants, their children and their grandchildren, demonstrated multiple identities, expressed within the context of the prevailing times.
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CANGEMI, Marina. "La gestione delle collezioni dei musei scientifici e storico naturalistici mediante applicazione di tecnologie di infomobilità." Doctoral thesis, Università degli studi di Ferrara, 2015. http://hdl.handle.net/11392/2389110.
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Scientific and Natural History Museums play an important role of telling science evolution and the conservation of biodiversity, through the study, preservation and dissemination of the cultural heritage. Not always, they are able to control the phases of documentation and logistics, endangering the real consistency of the heritage, and the control of its tracking inside and outside the museum. This PhD works aims at developing new procedures for the collection management, using devices for automatic identification. The considered technologies are those frequently used both for the supply chain of large, medium and small businesses, which require a continuous control of the storage and inventory of goods, and for the traceability of food. These devices are RFId tags (Radio Frequency Identification), which are integrated to the logistics and management of museum storage, and facilitate planning and controlling loans flows and collections storage. The RFId tags allows to trace the goods, to have a full knowledge of the collections, of their state of inventory and cataloguing, replacing paper catalogues with database server, simplifying and reducing operating time for information use.
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Davies, Andrea Jane. "Modelling goes to museums : experiential consumption, the Theory of Planned Behaviour and old and new museology." Thesis, Open University, 1999. http://oro.open.ac.uk/57947/.
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This study adopts a two-stage structural equation modelling approach to demonstrate the nomological validity and utility of The Theory of Planned Behaviour to both predict and to explain the visiting intentions of middle-class residents to social history museums within the next 12 months. Working within an 'experience-based management approach' the present study provides both a descriptive contribution, in terms of identifying and providing significant improvements in the measurement of museum anticipated experiences and resource facilitators and constraints, as well as a predictive contribution, in terms of assessing the ability of The Theory of Planned Behaviour, and in particular, the relative contribution of attitudes, subjective norms and perceived behavioural control modelled with complex summated- interactive antecedents, to explain museum visiting intentions. Particular attention is given to the neglected role of belief evaluation in previous museum and heritage studies in describing the structure and structural dynamics of anticipated museum experience opportunities. Furthermore, attention is given to the potential contribution of perceived behavioural control, and an understanding of an individual's resource constraints, to the experience-based management approach. A two-stage development of a summated interactive- complex model is shown to overcome methodological and conceptual deficiencies which have been noted in previous expectancy-value attitude studies. In addition, this study examines the impact of the anticipated interpretative environment (physical designed space) on the museum experiential opportunities, control and social influences perceived by individuals, and compares the interpretative orientation of The New Museology (idea-based museum) to traditional mixes of museum interpretative media (object-based museum) in this respect. A qualitative-quantitative research design was employed. Thirty extended qualitative interviews formed the basis of the study by providing a 'real lived' understanding of common consumption experiences at heritage attractions, the resource problems associated with museum visits and the influences of social referents. Four hundred quantitative interviews with respondents from middle-class households formed the main focus of the study. Interviews were conducted using a systematic random sampling method applied in two spatially and demographically contrasting electoral wards of Edinburgh, Scotland. Across the spatial wards, respondents were randomly divided in two sub-groups (n=200). In each sub-group respondents were asked to evaluate a pictorial collage designed to capture the interpretative orientation of either the New Museology or traditional approach to museum interpretative mixes. The study highlights the superiority of interpretative media mixes common to The New Museology in raising the instrumental and experiential-process value individuals anticipate from this style of museum attraction. In doing so, the study finds support for the continued application of The Manning-Haas Hierarchy of Demand, where the importance of 'setting' in managing the consumption experiences of consumers is explicitly recognised. However, due to the 'egalitarian' objective of The New Museology, and the expected 'levelling' or increasing homogeneity observed between visitors and non-visitors to idea-based (The New Museology) in terms of anticipated experiential benefits and costs perceived in this museum environment, the present study finds the predictive ability of attitudes in The Theory of Planned Behaviour is reduced. For the idea-based museum, these findings raise some questions regarding the ability of the Manning-Haas Hierarchy, which is based on expectancy-value theory, to operate as a predictive modd of motivation as it was intended. However, the present study does support the use of the Manning-Haas Hierarchy as a descriptive heuristic for product development alone. Subjective norms were not found to increase our understanding of museum visiting intentions, while the explanatory ability of perceived behavioural control was limited to idea-based museum attractions. Further, based on the significant contribution for past expereince to explain visiting intentions to the idea based museum, the present study calls for further research to identify potential 'deficiencies' in explanatory variables needed to more fully understand the motivations of individuals to visit idea-based museums associated with The New Museology. Finally, the present study demonstrates the importance of both sub-group analysis in the Theory of Planned Behaviour in order to identify the moderating impact of past experience and gender on the relative impact of attitude, subjective norms and perceived behaviour control on museum visiting intentions.
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Einarsson, Christopher. "Pottery in Museums : How, Why and What do we exhibit?" Thesis, Uppsala universitet, Institutionen för ABM, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-225575.
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This thesis is a study of pottery in the museum world. Throughout the study, questions along the lines of how, why and what we exhibit are brought up and answered. The study is done through observations and interviews with seven different museums, four of which are located in Sweden and three in Italy. The author has also used museological literature and theories in order to strengthen the essay and show that the issues brought up in the observations are known since before in the field, but still exist in the museums today.The exhibiting of pottery comes with several issues, such as overcrowding of displays, requirements of pre-knowledge from the visitors, aesthetical problems with broken, coarse or fine pottery and epistemological prob-lems. Epistemology is a subject that seems to be partly ignored in the observed museums, despite it being general knowledge that fewer visitors will read the text the longer it is. Other epistemological problems that are brought up are the issues of text placement, vocabulary and actual mediated information. These problems are brought up throughout the essay and explained, with a smaller section that discusses possible improvements to them, which have been brought up by researchers in the field.In interviews with curators of the museums, thoughts about what the visitors see and understand compared to what the museums want them the see are presented. Also their views on the possibilities of interaction with pottery as a mediator and whether they focus primarily on aesthetics or learning in the exhibitions are shown. This essay is not meant to be a decider between what is right or wrong concerning the exhibiting of pottery, but could be used as a stepping-stone towards such studies. This is a two years master’s thesis in Archive, Library and Museum studies.Den här uppsatsen är en studie av krukor i museivärlden. Genomgående i studien kommer frågor som hur, varför och vad vi ställer ut tas upp och besvaras. Studien har gjorts genom observationer och intervjuer med sju olika museer, fyra belägna i Sverige och tre i Italien. Författaren har också använt sig av museologisk litteratur och museologiska teorier för att stärka uppsatsen och visa att de problem som tagits upp i observationerna är kända sedan tidigare inom fältet, men trots det existerar i museer idag.Utställande av krukor medför flera problem, såsom överfulla montrar, krav på förkunskaper hos besökarna, estetiska problem med trasig, bruks- eller finkeramik samt epistemologiska problem. Epistemologi verkar vara ett ämne som delvis ignoreras i de observerade museerna, trots att det är allmänt känt att färre besökare kommer att läsa texten ju längre den är. Andra epistemologiska problem som behandlas är sådana som textplacering, vokabu-lär och faktiskt förmedlad kunskap. Dessa problem tas upp och förklaras i uppsatsen med en mindre sektion som diskuterar möjliga förbättringar av dem, baserat på idéer från forskare inom fältet.I intervjuerna med curatorer från museerna presenteras deras tankar om vad besökarna ser och förstår jäm-fört med vad museerna vill att de ska förstå. Också deras syn på möjligheterna av interaktion genom krukor och huruvida de fokuserar främst på det estetiska eller pedagogiska i utställningarna visas. Den här uppsatsen är inte menad att skilja mellan rätt och fel vid utställandet av krukor, men kan användas som ett avstamp mot sådana studier. Det här är en två-årig masteruppsats i Arkiv-, Biblioteks- och Museivetenskap.
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Renner, Nancy Owens. "Free to explore a museum| Embodied inquiry and multimodal expression of meaning." Thesis, University of California, San Diego, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3604190.
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In the complexity and idiosyncrasies of everyday human activity, social scientists seek patterns--first to describe, then to explain the organization of thought and action. In a natural history museum, a setting of complex activity, video-based research addresses fundamental questions: How do children use museum exhibits? How do they make sense of experience when confronted with a rich array of resources, including natural objects, environments, models, digital and mechanical interactives, static and moving images, text and sound? How does design constrain and afford different forms of engagement and meaning-making? Theories of cognition--as embodied, situated, and distributed--informed methods of analysis focused on multimodal interaction. A detailed behavioral coding scheme, applied to video of six multilingual fourth-grade children, highlights when they look, touch, talk, and gesture with exhibits. Quantitative analyses focus on behavioral frequencies and sequences. Qualitative analyses describe the forms and cognitive functions of the children's multimodal engagements. In this cognitive ecosystem, the diversity, abundance, and distribution of modes of interaction permit inferences about the role of the environment, consequences of design and the potential for learning. Children's self-directed explorations of the museum clustered around themes: objects, action, and representation. The children's activity embodied inquiry. They asked, explicitly and implicitly, What is it? What can I do? What does it mean? Children used multiple sensorimotor and expressive modalities for different functions, and they distributed and integrated cognitive labor across modalities and individuals. When children manipulated objects in the museum--opportunities for interaction that they actively sought--they achieved feats of cognitive complexity. They tested cause-and-effect relations in the physical world, created layers of narrative interpretation, and filled conceptual gaps in exhibits with their own expressions of meaning. Guided by children's behavioral and cognitive inclinations, museums and schools can, and should, create environments for meaningful exploration, imagination and expression.
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Heller, Sorin. "Shaping the identity of peripheral art museums in Israel during the nineties." Thesis, Anglia Ruskin University, 2010. http://arro.anglia.ac.uk/122647/.
Full textAbstract:
The aim of this study is to explore the process that shaped the identity of peripheral art museums in Israel during decade the 1990s. This process is examined though the eyes of the curators who artistically guided and directed two of these museums, the Janco Dada Museum in Ein Hod and the Ein Harod Museum of Art at Kibbutz Ein Harod. Both museums are non-profit organizations and this study is the first to seek to understand the identity of these two small but significant art museums located in villages in the north of Israel. The research examines the meaning of the identity of the museums by drawing upon theories of museology, centre and periphery, personal and group identity and organization identity. This research is based on knowledge that is personal, unique and subjective. It is conducted using an inductive approach towards gathering, analysing and interpreting data. The research utilizes a case study approach in order to provide an explanation for the cultural organization of the museum and for the attitude of the curators. This is documentary research that is based on only one source, the museum's archives which are examined according to multi- method procedures for gathering data. The evidence showed that in both cases the process of constructing the identity of the art museums links the personal views as well as the professional aims of the curators and their activities. These activities link the identity of the art museum to the natural setting. In addition, these activities, in both cases, link the identity of the museum to the relationship of the centre and periphery. In addition, both curators wished to differentiate their museum from the centre. In the research process new links were created between diverse scientific disciplines such as museology and social science and theories derived from different fields such as art history, sociology, and centre and periphery studies. These links, contribute new insights into our understanding of museology.
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Heller, Sorin. "Shaping the identity of peripheral art museums in Israel during the nineties." Thesis, Anglia Ruskin University, 2010. https://arro.anglia.ac.uk/id/eprint/122647/1/Sorin-PHD-Binder-4.pdf.
Full textAbstract:
The aim of this study is to explore the process that shaped the identity of peripheral art museums in Israel during decade the 1990s. This process is examined though the eyes of the curators who artistically guided and directed two of these museums, the Janco Dada Museum in Ein Hod and the Ein Harod Museum of Art at Kibbutz Ein Harod. Both museums are non-profit organizations and this study is the first to seek to understand the identity of these two small but significant art museums located in villages in the north of Israel. The research examines the meaning of the identity of the museums by drawing upon theories of museology, centre and periphery, personal and group identity and organization identity. This research is based on knowledge that is personal, unique and subjective. It is conducted using an inductive approach towards gathering, analysing and interpreting data. The research utilizes a case study approach in order to provide an explanation for the cultural organization of the museum and for the attitude of the curators. This is documentary research that is based on only one source, the museum's archives which are examined according to multi- method procedures for gathering data. The evidence showed that in both cases the process of constructing the identity of the art museums links the personal views as well as the professional aims of the curators and their activities. These activities link the identity of the art museum to the natural setting. In addition, these activities, in both cases, link the identity of the museum to the relationship of the centre and periphery. In addition, both curators wished to differentiate their museum from the centre. In the research process new links were created between diverse scientific disciplines such as museology and social science and theories derived from different fields such as art history, sociology, and centre and periphery studies. These links, contribute new insights into our understanding of museology.
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Edwards, Alison Jane. "Grassroots Social Action and the National Museum of the American Indian." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:16461039.
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Museums are educational institutions that, historically, have often reflected dominant-culture biases in their treatment of religious artifacts and human remains from Native societies (Bal, 1996; Bieder, 1986, 1996; Bilosi & Zimmerman, 1997; Bray, 1995; Cornell, 1988; Edwards & Sullivan, 2004).
In 1989, the National Museum of the American Indian Act became law after years of sustained activism to protect basic human, cultural and civil rights for Native peoples, including the rights to religious freedom and equal protections for the sanctity of Native graves and Native dead. The Act established the Smithsonian National Museum of the American Indian (NMAI), recognized Native rights to specific categories of sensitive materials, and required Native participation and agency in the new organization, whose mission includes supporting the health and vitality of contemporary Native cultures.
This dissertation is a case study of the grassroots social action of Native Americans that uses Charles Vert Willie’s theory of grassroots social action to illuminate how and why the grassroots social action of Native Americans was successful in fulfilling the goal to reform museum practice through the enactment of federal law (Willie, Ridini, & Willard, 2008). My overarching research interest is how public educational institutions can transform themselves in response to the legislative demands and court orders for social justice initiated by grassroots population groups.
This historic case, examined through the lens of a well-formulated theory and involving the agency of grassroots social action and the transformation of museum policy, is of value and interest to many types of grassroots movements, both in education and in other social systems. In particular, knowledge of what obstacles activists faced and may continue to face, what strategies have successfully been employed to meet these obstacles, and what lessons have been learned by those involved in this unique case, can be of value to others who similarly seek to transform institutions in order to promote civil and human rights.Learning and Teaching
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Costa, Luciana Ferreira da. "Museologia no Brasil, século XXI: atores, instituições, produção científica e estratégias." Doctoral thesis, Universidade de Évora, 2017. http://hdl.handle.net/10174/21966.
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Esta tese tem como objetivo analisar a produção científica gerada no âmbito dos
Programas de Pós-Graduação Stricto Sensu em Museologia no Brasil, a partir dos
artigos de periódicos científicos de acesso aberto no arco cronológico compreendido
entre 2006 e 2016, de modo a obter um panorama atual da área na contemporaneidade.
Trata-se de uma investigação quantitativa e qualitativa que se utiliza de técnicas
bibliométricas, da análise de conteúdo por categorias temáticas e da análise de redes
sociais. O corpus de análise é composto por 188 artigos registrados no Currículo Lattes
de 37 docentes/pesquisadores do núcleo permanente dos Programas de Pós-Graduação
em Museologia. Constata que a produção científica em acesso aberto analisada se
apresenta publicada, em sua maioria, em periódicos nacionais classificados no Qualis
Periódicos da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior com
estrato indicativo de qualidade; a produção científica se desenvolve com pouca
diferença entre a autoria única e múltipla; a produção científica com coautores nacionais
e internacionais é representativa de redes de colaboração intrainstitucional e
interinstitucional; e que a produção científica traz referências à autores reconhecidos e
influentes no domínio da Museologia, incluindo pesquisadores da área no Brasil.
Identifica que a produção científica se enquadra em 18 categorias temáticas no escopo
da Museologia, sendo as agendas de investigação mais incidentes
Objeto/Coleção/Acervo, Exposição Museológica, e Preservação e Conservação do
Patrimônio de Ciência e Tecnologia. Conclui que a produção científica analisada se
guia por questões que se encaixam no Quadro Geral da Disciplina Museológica
delineado pelo Comitê Internacional para a Museologia do Conselho Internacional de
Museus, mas que também se apresenta em compasso com as tendências centrais da
Museologia do século XXI; ABSTRACT:
The Brazilian Museology in the 21st century:
actors, institutions, scientific production and strategies
This thesis is aimed to analyze the scientific production generated in the scope of the
Stricto Sensu Graduate Programs in Museology in Brazil, from the papers of scientific
journals with open access in the chronologic period from 2006 to 2016, in a way of
obtaining a current panorama of this area in the contemporaneity. It is a quantitative and
qualitative investigation that uses bibliometric techniques, of the content analysis by
thematic categories and of the analysis of social networks. The corpus is composed by
188 papers registered in the Lattes Curriculum of 37 professors/researchers of the
permanent nucleus of the Graduate Programs. It is noted that the scientific production in
open access which was analyzed is mostly published in Brazilian journals that are
classified in the Qualis Journals of the Coordination of Personnel‟s of Superior Level
Improvement with an indicative stratum of quality. The scientific production is
developed in unique and multiple authorship. Also, the scientific production with
national and international coauthors is representative of networks of institutional and
inter-institutional cooperation. Moreover, the scientific production brings quotations to
recognized and influent authors in the domain of Museology, including Brazilian
researchers of this area. The research identifies that the scientific production is included
in 18 thematic categories in the scope of Museology, and the most incident investigation
agendas are Object/Collection/Acquis, Museological Exposition, and Preservation and
Conservation of the Science and Technology Patrimony. It is concluded that the
analyzed scientific production is guided by questions that fit in the General Chart of
Museological Discipline, outlined by the International Committee for Museology of the
International Council of Museums, but it is also presented in accordance with the
central tendencies of the Museology of the 21st century.
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Meliande, Clara de Souza Rocha. "Design à mostra: o projeto de museus temáticos." Universidade do Estado do Rio de Janeiro, 2013. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=5812.
Full textAbstract:
Fundação de Amparo à Pesquisa do Estado do Rio de JaneiroO objetivo desse trabalho é compreender como o design é utilizado no espaço expositivo para construir contexto, conteúdo e linguagem. Entender quais estratégias são usadas para projetar ambientes atraentes à visitação em vista a proporcionar experiências coletivas e individuais, contemplativas, espaciais (imersivas), sensoriais e interativas. Para tal analisamos a mudança do papel dos museus ao longo do tempo e montamos um panorama das instituições museológicas no Brasil nas últimas décadas. Selecionamos padrões de exibição instituídos historicamente em termos mundiais, já que o Brasil sofreu enorme influência cultural da Europa e dos Estados Unidos. Estabelecemos uma base de conceitos que envolvem a linguagem do projeto de exposições e museus temáticos, considerando aspectos como formas de aprendizagem do público, comportamento deste em relação ao objeto exposto, produção de conteúdo, produção de sentido, escolha de linguagem, intencionalidade, construção de experiência, mediação e interface. Analisamos como estudo de caso, o projeto de dois museus temáticos contemporâneos, o Museu da Língua Portuguesa e o Museu do Futebol, com a intenção de construir uma crítica ao projeto espacial-visual, entendendo as relações estabelecidas entre os objetos (previamente existentes ou projetados produtos, textos, imagens, vídeos), a forma como eles são expostos e as características do local escolhido para abrigar a exposição.
The aim of this work is to understand how design is used in exhibitions for building context, content and language. Understand which strategies are used to project environments that are attractive to visitors in order to provide individual and collective, contemplative, spacial (immersive), sensorial and interactive experiences. For these we analyzed the changing role of museums throughout the time and set up an overview of museum institutions in Brazil in the last decades. We have selected historically established exhibition display standards that spread globally, since Brazil has undergone enormous cultural influence of Europe and the USA. Also, we have established a background of language concepts at the base of exhibition projects and thematic museums, considering aspects such as the way public learns, public behavior in relation with an exposed object, content production, production of meaning, choice of languages, intentionality, experience building, mediation and interface, among other things. As a study case, we have analyzed two contemporary thematic museums (Museu da Língua Portuguesa and Museu do Futebol), trying to build a critical view to the visual-spatial project, understanding the relations between objects (pre-existing or projected - products, texts, images, videos), the way they are exposed and the characteristics of the site chosen to host the exhibition.
43
Santos, Suzy da Silva. "Ecomuseus e Museus Comunitários no Brasil: estudo exploratório de possibilidades museológicas." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/103/103131/tde-13122017-091321/.
Full textAbstract:
A partir da década de 1960, com o surgimento do novo paradigma da democracia sociocultural, diversas críticas direcionaram-se aos museus e à museologia e deram base para o surgimento de um movimento museológico internacional denominado Nova Museologia, oficializado em 1984 no I Atelier Internacional Ecomuseus/Nova Museologia, realizado em Québec (Canadá). A Nova Museologia enfatizou a vocação social dos museus e propôs diversas renovações teóricas e metodológicas ao campo museológico estabelecido. No Brasil, observamos repercussões desse movimento principalmente a partir da década de 1980, com a redemocratização do país. Paralelamente à renovação de museus já consolidados, surgem novas iniciativas, denominadas majoritariamente ecomuseus e museus comunitários, que objetivam, através de uma curadoria coletiva e da promoção de práticas ativas, populares, participativas, comunitárias e experimentais, a valorização, preservação e difusão dos patrimônios locais (Natural, Cultural, Material e Imaterial), garantir que o museu atue como espaço de representação e promova, a partir da contextualização do patrimônio, a compreensão, o questionamento, a conscientização e a transformação da realidade. O atual projeto de pesquisa teve como objetivos: revisar termos e conceitos ligados à Nova Museologia e a essa nova tipologia de museus em bibliografia pertinente ao tema, relacionando e confrontando autores diversos; realizar um mapeamento dos museus comunitários, ecomuseus e demais iniciativas de memória e patrimônio de base comunitária que se compreendem enquanto museus no contexto brasileiro; elaborar um panorama-síntese para uma melhor compreensão da diversidade dessa tipologia de museus.Since the 1960\'s, with the emergence of the new paradigm of socio-cultural democracy, several criticisms were directed at Museums and Museology and this process triggered the emergence of an international museological movement called New Museology, made official in 1984 at the I Atelier International Ecomuseums / New Museology, held in Quebec (Canada). The New Museology emphasized the social vocation of museums and proposed several theoretical and methodological renewals to the established museological field. It is possible to observe repercussions of this movement in Brazil mainly from the decade of 1980, with the redemocratization of the country. Parallel to the renovation of already consolidated museums, new museological experiences are emerging, mainly called museums community and ecomuseums, which aim, through collective curation and the promotion of active, popular, participatory, community and experimental practices, the valorization, preservation and diffusion of local Heritage (Natural, Cultural, Material and Immaterial), to ensure that the museum acts as a space for representation and to promote, from the contextualisation of heritage, understanding, questioning, awareness and transformation of reality. The current research project aimed: revise terms and concepts related to New Museology and this new typology of museums in relevant bibliography, relating and confronting diverse authors; to carry out a cartography of community museums, ecomuseums and initiatives of memory and community-based heritage that is understood as a museum in the Brazilian context; elaborate a panorama synthesis for a better understanding of the diversity of this typology of museums.
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Vial, Andréa Dias. "Patrimônio integrado e a prática museológica." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-09102015-140001/.
Full textAbstract:
O interesse e o conceito de patrimônio vem aumentando em diferentes partes do mundo e também no Brasil. Há um crescimento vertiginoso nas ações de patrimonialização de bens culturais e naturais, aspecto que já vem sendo discutido por diversos autores e que discutiremos no primeiro capítulo. Esse processo de expansão engloba tanto o interesse pelo tema patrimônio, como a sua implementação e gestão, isto é, as práticas envolvidas nesse processo, seja por meio do seu reconhecimento legal, como também, pelo seu emprego em ações de preservação, que frequentemente estão vinculadas à defesa de territórios e de manifestações culturais. Buscamos neste trabalho identificar nesse processo de interesse crescente por elementos que representem traços significativos de um passado, transformações no seu entendimento e aplicação que permitam entender a passagem de um processo de valorização de elementos isolados identificados por critérios de excepcionalidade, raridade, beleza por propostas que tragam para o centro do debate sobre o patrimônio como fenômeno social e consequentemente a ideia de ações de transformação social, econômica e política que podem ser implantadas e alcançadas a partir da sua identificação.The concept of heritage has been widening in different parts of the world and in Brazil too. Moreover, there is a huge expansion of the creation of new forms of heritage including cultural as well as natural goods, which has been discussed by several authors. This debate includes aspects of implementation and management, legal recognition, and preservation, which is often linked to the safeguard of territories and cultural manifestations. In this work we examine those issues, focusing on the process through which they assume the role of promoting social, economic and political transformation.
45
Faria, Ana Carolina Gelmini de. "O caráter educativo do Museu Histórico Nacional : o curso de museus e a construção de uma matriz intelectual para os museus brasileiros (Rio de Janeiro, 1922-1958)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/72139.
Full textAbstract:
Este trabalho se propôs a refletir sobre a história do Museu Histórico Nacional através da dimensão educativa que se fez presente nas práticas institucionais, bem como verificar, sob a perspectiva da História da Educação, a importância do Curso de Museus na construção de representações relacionadas ao caráter educativo da instituição. Compreendeu os anos de 1922 a 1958, período que abrange desde a fundação do museu e as primeiras investidas para a concretização de um curso direcionado para as suas necessidades, até a realização do Seminário Regional da UNESCO Função Educativa dos Museus, bem como as publicações de diplomados do Curso de Museus que tiveram como temática central a educação em museus. A investigação foi realizada utilizando-se a metodologia da análise de textos, percorrendo a trajetória do Museu Histórico Nacional por meio de documentos oficiais produzidos pelo museu; matérias de jornais; livros, artigos, relatórios e entrevista de antigos funcionários da instituição; e publicações de formados pelo Curso de Museus. Para o embasamento teórico do trabalho três áreas do conhecimento tiveram destaque: História da Educação, História Cultural e História dos Museus, dialogando com diversos autores, tais como Antonio Viñao Frago, Moysés Kuhlmann Júnior, Paulo Knauss, Roger Chartier, Pierre Nora, Ulpiano Bezerra de Meneses, Mário Chagas, Aline Montenegro Magalhães. O trabalho ressaltou que desde sua fundação o Museu Histórico Nacional teve definida sua dimensão educativa, condição subsidiada por projetos desenvolvidos pelo corpo funcional da instituição, tendo em destaque o idealizador e primeiro diretor Gustavo Barroso, personagem que fortaleceu a relevância desse museu por meio de evocações como o mote “O Culto da Saudade”. Finalizou ao afirmar que um desses projetos, o do Curso de Museus, em seu processo de consolidação foi capaz de desenvolver uma matriz intelectual no cenário museológico brasileiro tornando-se, por meio dos multiplicadores, um difusor das representações do Museu Histórico Nacional para o País.This study aimed to reflect about the history of the National Historical Museum through educational dimension that is made present in its institutional practices, as well as verify, under the perspective of the History of Education, the importance of Course of Museums in building representations related to the educational character of the institution. It encompassed the years 1922 through 1958, a period that covers from the foundation of the Museum and the first attempts at achieving a course directed to its needs, to the UNESCO’s Regional Seminar on the Educational Role of Museums, as well as publications of Course of Museums graduates that had as its central theme the museum education. The research was conducted using the analysis of texts methodology, covering the history of the National Historical Museum through official documents produced by the Museum; newspaper articles, books, articles, reports and interviews of former employees of the Institution, and publications by graduates of the Course of Museums. For the theoretical foundation of the work, three areas of knowledge were highlighted: History of Education, Cultural History and Museum’s History, dialoguing with many authors such as Antonio Viñao Frago, Moyses Kuhlmann Jr., Paul Knauss, Roger Chartier, Pierre Nora, Ulpian Bezerra Meneses, Mário Chagas, Aline Montenegro Magalhães. The study emphasized that since its inception the National History Museum had its educational dimension defined, condition subsidized by projects developed by the institution’s functional body, featuring the founder and first director Gustavo Barroso, a character that strengthened the relevance of this Museum through evocations as the motto "O Culto da Saudade." Concluded by stating that one of these projects, the Course of Museums, in its consolidation process was able to develop an intellectual matrix in the Brazilian museum’s scenery becoming, due to multipliers, a diffuser of the representations of the National History Museum for the Country.
46
Vasconcelos, Arménio dos Santos. "Museu do território do Vale da Paiva e Serras (em terras de Arouca, Castro Daire, São Pedro do Sul e Vila Nova de Paiva)." Master's thesis, Universidade de Évora, 2009. http://hdl.handle.net/10174/19040.
Full textAbstract:
O Museu do Território, descentralizado e polinucleado, sediado no Museu Maria da Fontinha, compreende 50 núcleos, de diversificados patrimónios: geológico (Geoparque de Arouca), arqueológico (castros, dólmens ou orcas) religioso (mosteiros, igrejas e ermidas), histórico, gastronómico, paisagístico, artístico, musical e do "saber fazer". Pretende-se a preservação de identidades, memórias, patrimónios, tangíveis e intangíveis, garantindo a auto-estima das populações abrangidas, buscando sempre um desenvolvimento, um ambiente e um turismo sustentáveis, para acréscimo da melhoria económica e social. Respeitar-se-ão sempre os princípios da museologia. O presente trabalho/dissertação descreve com algum pormenor a transformação da Casa-Museu Maria da Fontinha, com 26 anos de existência, em Museu Maria da Fontinha. O Museu abrange territórios de 28 freguesias dos Municípios de Arouca, Castro Daire, São Pedro do Sul e Vila Nova de Paiva. ABSTRACT: The Museum of the Territory, decentralized and polynucleated, based in the Museum of Maria da Fontinha, includes 50 centres of diverse heritages: geological (Geoparque of Arouca), archaeological (castors, dolmens or orcas), religious (monasteries, churches and hermitages), history, food, landscape, artistic, musical and know-how. It wishes the protection of identities, memories and tangible and intangible heritages, and thus ensuring the self-esteem of the populations concerned, proceeding with the development, the environment and the sustainable tourism, to achieve better economic and social improvement, always respecting the museology principles. The principales of museology will always be respected. The present work thesis describes in detail the transformation of CasaMuseu Maria da Fontinha, with its 26 years of existence, into Museu Maria da Fontinha. The Museum covers areas of 28 parishes of the Arouca, Castro Daire, São Pedro do Sul and Vila Nova de Paiva Municipalities.
47
Pinto, Meg. "Reconciliation in Canadian museums." Thesis, University of East Anglia (United Kingdom), 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3708258.
Full textAbstract:
Since the late 1980s, Canadian museum personnel have been actively engaged in collaboration with Aboriginal communities on issues to do with exhibition design and collections management. Despite these collaborative successes, tensions between museum employees and Aboriginal community members are commonplace, indicating that problems still remain within the relationships that have developed.
This thesis examines the implications of the Truth and Reconciliation Commission of Canada for the future of museum practice. It argues that unresolved colonial trauma is preventing those in the museum field from moving past an initial phase of relationshipbuilding to a successful era of partnership. When viewed through the lens of trauma, the museum field is heavily influenced by denial on the part of museum personnel as to the extent of violence committed against Aboriginal peoples at Indian Residential Schools and the resulting level of dysfunction present in current relationships between Aboriginal communities and non-Aboriginal museum employees. I provide a revised account of Canadian history, which includes the aspects of colonialism that are most often censored, in order to situate these problems as part of the historical trauma that is deeply embedded in Canadian society itself.
John Ralston Saul’s concept of the Métis nation is used as a framework for reconciliation, portraying Canada as a country that is heavily influenced by its Aboriginal origins despite the majority belief that the national culture has been derived from European social values. As a response to this proposition, the Circle is presented as the primary Canadian philosophical tenet that should guide both museum practice and Canadian society in the future.
48
Hise, Beth. "Making the new museology work." Thesis, 1994. http://hdl.handle.net/2429/5356.
Full textAbstract:
Australian museums, encouraged to promote the value of cultural
diversity by Australian government mulitculturalism policies and
the many critics calling for change in museums, are re
evaluating many of their cultural programs and introducing new
initiatives. They are implementing community participation
schemes, improving access to their collections and programs and
becoming more responsive to the needs, demands and desires of
their constituencies. But are these new programs and changes in
museums really meeting the lofty objectives of fostering
equality and promoting the benefits of diversity? This thesis
will analyse the impact and potential long-term effects of
community-oriented museum programs and access strategies by
focusing on the interaction between policy and practice in
exhibition development at the Australian Museum, a large museum
in Sydney devoted to the natural environment and cultural
heritage of Australia. A case study of two cultural exhibitions
and their development reveals the problematic nature of museum
and “community” relationships and the wide gulf that exists
between exhibition objectives and their final outcome.
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Rocha, Ana Karina Calmon de Oliveira. "Construção e disputas do campo Museologia no Brasil : os fóruns nordestinos 1988 - 1996." Doctoral thesis, 2020. http://hdl.handle.net/10437/11803.
Full textAbstract:
Orientação: Maria das Graças de Souza TeixeiraEntre os anos de 1988 e 1996 ocorreram os Fóruns Nordestinos de Museologia. Esse movimento de irrupção, que denuncia o rompimento com a museologia praticada por parte do Sudeste do país produziu Manifestos e uma gama de documentos que registram a memória de oito encontros nordestinos de Museologia. Através deles, foi possível investigar de que modo aconteceram/acontecem as relações de asserção e reconhecimento entre o Nordeste e o Sudeste na construção sociológica do campo Museologia no Brasil. Por meio do uso da análise do discurso como recurso metodológico, problematizei o campo museológico brasileiro, suas narrativas, bem como investiguei a produção e participação dos agentes nordestinos na construção do campo científico e cultural do Brasil. A hipótese, que se confirmou, foi que, na luta pelo capital científico houve ações que invisibilizaram a importância das realizações do Nordeste que culminaram no apagamento dos trabalhos da UFBA, da FUNDAJ e demais instituições museais do Nordeste na consolidação do campo.
Between the years 1988 and 1996 the Northeastern Museology Forums were held. This irruption movement, which denounces a rupture with the museology practiced by part of the southern region of the country, produced the Manifests and an array of papers that document the memory of eight northeastern Museology meetings. Throughout those, it was possible to investigate how the assertion and recognition relations between the Northeast and Southeast have happened in the sociological construction of the Brazilian Museology field. Using discourse analysis as a methodology resource, I problematized the Brazilian museology field and its narrative, as well as investigated the production and participation of northeastern agents in the construction of the scientific and cultural fields in Brazil. The hypothesis, which was confirmed, was that in the dispute for scientific capital, there were actions that dimmed the importance of the northeastern achievements, culminating in the erasing of research papers from UFBA, FUNDAJ, and other museum institutions of the Northeast in the consolidation of the field.
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Cheng, Chingchin, and 鄭靚勤. "Making history, making museum：the Losheng preservation movement and its museology." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/90830978718570737827.
Full textAbstract:
碩士輔仁大學
博物館學研究所碩士班
100
The purpose of this study is to examine the practice of Lo-Sheng conservation movement launched by some young people with an attempt to defense the rights of land for patients affected Hansen ’s Disease (PAHD), and to represent and communicate their history and memory in New Taipei City from 1929 to Today. Based on the notion that “Museum” has an truly honest to face the difficulty history and a strategy for preserving Lo-sheng sanatorium, a multi-method design including participation observation, interviews and documentary analysis was conducted from 2007 in 2009. The transition of museum making on the site of Lo-sheng can be divided into two separate but more or less continuous stages. The first dated 2007, that was object-centered -- the museum mostly served political, cultural and social purposes through recollection and exhibition. The second stage began in2008; the museum functioned towards pedagogy which emphasized emotional learning through body engagement, either for patients or public, or both. Put it specifically, the memory work was based on drama and “emotional performance” in order to bring the participants to talk and share their life history. At the end of the study, I propose that “difficult memory” has been the critical issue for Lo-sheng Museum/Lo-sheng Story-house Museum. Dealing with difficult memories, not only empower the conservation movement to reveal the hidden history of PAHD, but also created a platform for communities to interact and to reflect on issues of morality and ethics. This research is a journey of reflecting on the social role of museum, and also be an open-question for itself.