A Bit is an individual media element that you share with your peers. It might be a photo you take of an inspiring exhibit element or design approach, or it could be a prototype you’d like people to comment on — anything you can illustrate with a photo, video, or audio file. You can also just post a question if you’re looking for help from others.

Along with support for uploaded files, you can embed flickr photos or YouTube videos. We will be adding support for PDF documents and audio files in coming weeks. The custom-developed Bits feature and the site itself was developed using Ruby on Rails.

You can try it out at: www.exhibitfiles.org/bits.

There’s more on the Bits launch on the ExhibitFiles blog and Paul Orselli’s ExhibiTrick blog. You can learn more about the ExhibitFiles site development in the Ideum portfolio (A custom-built community site for exhibit developers).

—

So, today, on Monday February 8 (or on Tuesday February 9 for any readers in alternative time zones)  Step out of your office.  Go up into the galleries and look at a work of art, an exhibition, an experiment, a quoll.  Call your best friend, your spouse,  a friend and make arrangements to grab a coffee/a beer/a bite of dinner after work.  Take a half day tomorrow and treat your kids to ice cream before dinner.   Read a book.  Listen to a favorite c.d. Watch a favorite d.v.d. Enjoy the scenery.

The idea originated with Jim Richardson at Museum Marketing who was disappointed to see that Bill Gate had attracted so many followers in such a short time.

But this raises a question. Should museums follow you back? If you think you know, Mia Ridge has posted a quick survey. (I’ll try to report back here if results are shared).

It’s a timely question as I’m participating in a panel at this week’s iSchools conference about social media. Also timely was Clive Thompson’s latest column in Wired “In Praise of Online Obscurity.” While I’m not nearly as famous as the tweeters mentioned in the article, my raft of followers is approaching 1,000. I’m feeling a little hemmed in and often wonder what all those people find interesting about my tweets. But more than anything it’s made me very conscious that I’m not just tweeting to a few friends: it’s an audience.

So what does this mean for museums? If social doesn’t scale what happens to your twitter feed? Does it fracture? What if I’ve done a nice job cultivating a great community around my museums tweets? What happens to the social space when @BillGates and his 400,000 followers crash the party? How could #followamuseum day change the way your museum tweets?

Thompson suggests that “there is value in obscurity.” But there is also value in exclusivity. I wonder how long before museums start special “members only” twitter accounts that only allow paying members to follow.
Update: Mia has posted the results of her “Friendly or Weird” survey.

This first post is an introduction to Balboa Park San Diego and some of the history leading up to the creation of BPOC.  Additional posts will describe the primary funders, how the project is put together, what the plan is and how we are progressing on that plan.

Balboa Park

In 1868, Alonzo Horton set aside a tract of land for a public park, one that would grow over the next 140 years into one of the most significant urban parks in America, with a third more land than Central Park and the perhaps the highest concentration of cultural organizations in one place in the US except the National Mall in Washington, D.C..

In the years leading up to 1915, after many years of public enjoyment, several Spanish Colonial Revival buildings and structures were built for the Panama-California Exposition, a huge fair commemorating the completion of the Panama Canal, transforming an urban wilderness into the national historic landmark we know today. Over the next 20 years, the San Diego Zoo, San Diego Museum of Art, and the San Diego Natural History Museum all opened their doors in the park. In 1935 and 1936, Balboa Park hosted the California-Pacific International Exposition, adding a replica of London’s 16th-century Elizabethan Globe Theater. Other park structures followed, including the opening of the Timken Museum of Art and the Reuben H. Fleet Science Center, officially making Balboa Park the cultural center of the city.

Today, Balboa Park represents the center of the thriving San Diego metropolis, housing a rich cultural tradition in an unparalleled setting. Spread out over 1,200 acres, the park is home to 85 cultural, conservation and recreation organizations and attracts more than 10 million visitors a year.  According to the Trust for Public Land, Balboa Park is the fourth most visited city park in the country, attracting more visitors annually than the National Mall and nearly three times as many visitors annually as the Grand Canyon.

Nevertheless, looking beyond the Spanish architecture, important cultural destinations, and incredible collections, the park is in fact facing huge challenges.   Over the last decade, organizations in Balboa Park have started to look to collaborative solutions to solve problems. In 2001, 24 institutions joined together to form the Balboa Park Cultural Partnership (BPCP), including such nonprofit organizations as the San Diego Zoo, the Timken Museum of Art, The Old Globe Theatre, the House of Hospitality, and the San Diego Museum of Art.  BPCP takes a leading role in park advocacy, joint purchasing agreements, sustainability projects, management and facilitation of some park wide projects, and has created a learning institute for museum professionals, areas where collective strengths and resources make the organizations stronger together than they can be individually.

More recently 17 of the same organizations partnered with a local foundation to form the Balboa Park Online Collaborative… more about that and the foundation in my next post.

A Kunstpedia, um site que encontrei a partir deste link do Erfgoed 2.0 (não deixem de visitar. Embora esteja em Alemão é um excelente blog), é descrita como sendo “the knowledge base on fine- and applied arts, popularly stated arts and antiques, with the exception of contemporary art” publica um ranking de popularidade dos sites dos museus em todo o mundo. Pelo que percebo apenas são tidos em conta museus em que o site utiliza um domínio próprio e não aqueles em que o site é baseado num domínio de tutela, por exemplo, uma vez que a comparação entre acessos aos vários sites só assim é credível. Para além disso apenas museus de Arte e relacionados estão aqui incluídos.

Este ranking que pode ser consultado aqui ou aqui, caso pretendam ver a classificação por país, tem como top 10 os seguintes excelentes exemplos (todos com características diferentes, mas comuns em muitos aspectos):

1.Museum of Modern Art (MoMA)
2.Metropolitan Museum of Art
3.Musée du Louvre
4.National Gallery of Art
5.Victoria and Albert Museum
6.J. Paul Getty Museum
7.Deutsches Historisches Museum
8.Los Angeles County Museum of Art (LACMA)
9.State Hermitage Museum
10.Brooklyn Museum of Art

Para além de ser um ranking muito útil (podemos encontrar vários sites de museus bastante interessantes e feitos com muito cuidado e atenção a pormenores), este tipo de iniciativas permite-nos perceber porque é que alguns museus têm sucesso na sua experiência online e outros têm mais dificuldade em comunicar neste meio imenso e cheio de possibilidades que é a internet. Claro que poderão dizer que os 10 primeiros são sites de museus com bastantes meios (recursos humanos e financeiros), mas eu contraporia que tirando a questão do investimento em construção/criação de conteúdos (a fatia mais cara, penso eu, mas que faz parte da missão de cada museu, segundo o ICOM) que o museu pode utilizar também para outros fins, a tecnologia à disposição hoje em dia permite fazer algo semelhante a um custo bastante acessível.

Outro dado que me chamou a atenção foi a presença neste top 10 de 6 museus dos Estados Unidos da América (é o país que me parece ter mais peso na longa lista disponível), contra apenas 1 francês, um inglês, um alemão e outro russo. Parece exagerado se tivermos em conta a diferença de “idade” entre EUA e a Europa, mas certamente é explicado com a enorme apetência existente em todos os sectores culturais norte-americanos para uma comunicação eficiente e vasta.

Por fim apenas uma menção aos dois museus presentes na lista: o MNAA e o Museu Gulbenkian. Não se encontram disponíveis no ranking global(?), mas podem encontrá-los no ranking por países, o que é de todo uma surpresa para mim. Embora não sendo os melhores sites que conheço, são bastante melhores do que alguns que se encontram no ranking. Sofrem por estar num país pequeno (com poucos milhões de pessoas a visitar os seus endereços) e o MNAA soferá por não ter uma versão em inglês? Não penso que haja uma resposta simples, mas penso que seria de pensar no assunto.

Em todo o caso, cada um dos dez primeiros vale uma visita com atenção.

For the second year in a row, Paul Lacey and I will be hosting a workshop entitled Make it Multitouch at the Museums and the Web conference. Normally, I try to avoid sequels and over the last few years I have delivered one-time workshops on RSS, mashups, and even online video editing. Multitouch is different. As emergent technology, it has the potential to fundamentally change the way visitors interactive with exhibits and eventually the Web itself.

This year Paul and I will have a few new things to share. Most notably, we will show a new experimental LCD multitouch table table (a potential successor to the MT-5o multitouch table)  and provide a peek under the hood of this new high-resolution device. I hope to see some of you at the Museums and the Web conference this year in Denver. The workshop will be held on April 14th. Here’s the description…

Multitouch and multiuser exhibits are changing the ways in which visitors interact with computer-based exhibits in museums. Multitouch exhibits allow designers to move away from traditional graphical user-interfaces and incorporate more natural and intuitive controls. Additionally, multiuser exhibits encourage social interaction in ways that traditional computer exhibits can’t.

Multitouch technology is no longer just a novelty, it is moving into the mainstream. The iPhone and other touch-enabled phones, the popularity of multitouch-capable all-in-one PCs, and the release of Windows 7 demonstrate the reach of multitouch technology. This major technological change presents exhibit developers with new and exciting design challenges. Before long, the work of Web developers will be impacted by the advent of multitouch, as well.

In this full-day workshop, we’ll explore a variety of multitouch technologies including off-the-shelf multitouch-enabled PCs, along with a look under the hood our second-generation custom-built 50″ touch table. We’ll also explain the software development process. Participants will see a variety of examples and prototypes, including many that use Web-based technologies. We’ll see how multi-touch technology is used to browse multimedia elements, RSS Feeds, mapping services, and other Web-based applications and mash-ups.

Finally, we’ll explore the design challenges multitouch and multiuser exhibits present. We’ll examine some traditional computer-based exhibits and conceptualize how they might be designed differently with multitouch and collaborative capabilities in mind. Through engaging rapid-design exercises, we’ll explore and discuss the conceptual, informational, and user-interface aspects of multitouch and multiuser design.

Today, I posted a case study about this exhibit on the ExhibitFiles website, under Space Imaging: Multitouch Multiuser Exhibit. In addition, we’ve decide to post a couple of pictures showing the inside of our 100″ multitouch table on the Ideum Flickr page.  Hopefully, these new posts will help explain more about how the exhibit was developed.

As you can see from these pictures, we used infrared LEDs and a dual computer and projector system to create our optical sensing system. Find more about the inner workings of the table on our Flickr site by clicking the photos above. What isn’t shown is the exhibit software, which was developed in Adobe Flash and uses our GestureWorks multitouch framework for Flash. You can learn more about that on the GestureWorks site.

Aspectos Programáticos das Colecções do Museu Romântico da Quinta da Macieirinha – Porto
Autor: Manuel João de Morais Sarmento Pizarro Bravo
Orientação: Mestre Maria da Graça Silveira Filipe
Dissertação apresentada Faculdade de Ciências Sociais e Humanas – Universidade Nova de Lisboa
Ano: 2010. Tese defendida a 15 de Janeiro de 2010
Júri constituído por Raquel Henriques da Silva (Presidente); Clara Frayão Camacho, António Camões Gouveia, Graça Filipe
Classificação: Muito bom

Resumo:

O Museu Romântico da Quinta da Macieirinha, no Porto, é criado por iniciativa do poder local em 1972. As suas colecções, originárias maioritariamente do espólio municipal à guarda no Museu Nacional Soares dos Reis, organizaram-se no espaço museológico de modo cenográfico numa montagem semelhante à utilizada nas casas-museu, pretendendo recriar a habitação de um Burguês do século XIX, ilustrar o Romantismo Portuense e homenagear o Rei Carlos Alberto de Piemonte e Sardenha, que ali viveu e morreu.

Através do estudo da constituição e tipologias do seu acervo e da sua correspondência na exposição permanente aos temas propostos, pretendemos identificar carências e mais-valias, enquadrar o museu numa tipologia específica e propor soluções práticas para os problemas detectados.

]]> Museology http://nomundodosmuseus.wordpress.com/?p=2590 No Mundo dos Museus... isabelvictor150@hotmail.com Thu, 21 Jan 2010 16:09:00 GMT http://xfruits.com/dianed/?id=37100&clic=492959956&url=http%3A%2F%2Fmusealogando.blogspot.com%2F2010%2F01%2Ftarde-intercultural-no-museu.html

clicar na foto para ampliar

Mais informação em http://www.mun-setubal.pt/MuseuTrabalho/

Em marcha um congresso nacional sobre Cidadania, em meados de Novembro em Tondela. Vamos dando notícias sobre este movimento que se movimenta nas discussões que vão tendo lugar em diversos pontos do país. Questões pertinentes, muito actuais, sobre conceitos e práticas de Cidadania e da democracia participativa em Portugal. Um tema que se prende também, a nosso ver, com um conceito alargado e pró-activo de património e com o papel dos museus na sociedade. Este ano o tema proposto pelo ICOM é: " Museus e harmonia social ", começámos por aqui a harmonizar as ideias ... e a reflectir sobre o sentido histórico do associativismo nas suas diversas vertentes e vocações, desde o final do sec. XIX (a filantropia, o assistencialismo, as mútuas), os príncipios elementares da inclusão, formas entender o rio e as margens no devir da História e de recentrar o problema da participação à luz da contemporaneidade)

 link para o blog do movimento ...

http://movimentodoassociativismo.blogspot.com/2009/11/dar-corpo-um-movimento-social.html#comment-form

__________Participem_______________________________

]]> tag:blogger.com,1999:blog-36609144.post-4461246173428844776 Musealogando

ao "Maior Poema da Cidade" de S. João da Madeira com o tema A MINHA CIDADE - S. João da Madeira.

“Original é o poeta

que se origina a si mesmo

que numa sílaba é seta

noutro pasmo ou cataclismo”

Ary dos Santos

Sejam originais, pasmos e setas, como Ary dos Santos, o poeta revolucionário que tinha o dom de recriar tudo o que tocava. Sejam oleiros da poesia, que com a argila das palavras moldam sílabas, fabricam versos e fantasias.

Nesta segunda edição d’ “O maior poema da cidade”, a Teia dos Sentidos volta a desafiar todos os indivíduos que de algum modo estejam ligados a S. João da Madeira a escrever alguns versos, desta vez, sobre o concelho sanjoanense.

Os trabalhos serão publicados aqui no blog http://omaiorpoemadacidade.blog.pt, no jornal “O Regional” no âmbito da campanha “Poesia à Mesa” e ficaram em exposição na Biblioteca Municipal sanjoanense de 12 a 22 de Março.

No blog O MAIOR POEMA DA CIDADE podem consultar todo o regulamento.

Juntem-se a nós e vamos construir “O maior poema da cidade” e celebrar de uma forma original S. João da Madeira e a Poesia!

A Teia dos Sentidos associa-se assim mais uma vez à Câmara Municipal de S. João da Madeira para celebrar mais uma edição da Poesia à Mesa, e conta este ano com o especial apoio do semanário “O Regional” com apresentação dos trabalhos no jornal.

Contamos com a Vossa PARTICIPAÇÃO e DIVULGAÇÃO!

]]> Tue, 02 Feb 2010 22:51:52 GMT http://xfruits.com/dianed/?id=37100&clic=490604564&url=http%3A%2F%2Fcrescercomopatrimonio.blogspot.com%2F2010%2F02%2Fvamos-dar-continuidade.html Teia dos Sentidos tag:blogger.com,1999:blog-6719887895434826420.post-69278996829052134 crescer com o patrimonio ]]> http://www.ideum.com/2010/02/social-dimension-interactive-exhibits/#comments Tue, 02 Feb 2010 20:38:07 GMT http://xfruits.com/dianed/?id=37100&clic=493494460&url=http%3A%2F%2Fwww.ideum.com%2F2010%2F02%2Fsocial-dimension-interactive-exhibits%2F At the end of March,  I will be teaching a blended (online and in person) course for the Cultural Resource Management program at the University of Victoria (UVIC) in British Columbia. The course is entitled The Social Dimension: Interactive Exhibits for the Floor and Web. A blogged about this a few months ago, now I’m busily preparing for this course.

Here’s a brief course description….

Computer-Based Interactive exhibits are now commonplace in museums, and many of these same institutions have developed online exhibits as well.  While the technical requirements and design parameters of computer-based floor exhibits and online exhibits are quite different, the most common ingredient for success is the social dimension. Exhibits that encourage visitor interaction with each other, along with museum objects and content, are likely to have a stronger and more lasting impact with the visiting public.

The rise of the social Web characterized by sites like; MySpace, Facebook, YouTube, Flickr, Twitter, and others have brought into focus the power of social interaction.   Some museums have already entered this realm, finding new audiences and creating new visitor experiences online. While this development has obvious, and direct applications for online exhibits, it can also inform the creation of computer-based interactives for the museum floor.

For decades, museum professionals have understood that interesting and provocative exhibitions and exhibits can encourage dialogue and deepen the visitor experience. However, most of the computer-based exhibits that have been developed are information-heavy “kiosks” with limited interactivity, providing only solitary experiences for visitors. By taking the most effective practices in exhibit design and coupling those with the lessons that social media provide, we can move away from lonely point-and-click exhibits to create truly interactive exhibits.

In addition, emerging technological advances such as multitouch, multiuser hardware and software provide museums with a unique opportunity to create a new generation of interactive computer-based exhibits.  Gestural interfaces and direct visitor engagement allows for exhibits that are more intuitive and compelling, encouraging social interaction.

You can learn more and sign up for the blended course on the University of Victoria’s Cultural Resource Management Website: The Social Dimension: Interactive Exhibits for the Floor and Web.

]]> Classes & Workshops http://www.ideum.com/?p=2076 Ideum » Blog



Sie können es immer noch kaufen, z.B. online hier.
Ich bezweifele aber, dass es in dieser hübschen Tüte geliefert wird. ]]> Tue, 02 Feb 2010 19:27:00 GMT http://xfruits.com/dianed/?id=37100&clic=492454416&url=http%3A%2F%2Fjoernborchert.twoday.net%2Fstories%2Ffrauenlob-ii%2F http://joernborchert.twoday.net/stories/frauenlob-ii/ Kulturelle Welten Culinaria noreply@blogger.com Mon, 01 Feb 2010 18:17:00 GMT http://xfruits.com/dianed/?id=37100&clic=492311300&url=http%3A%2F%2Fwww.formation-museographie-museologie.com%2F2010%2F02%2Fjouer-soigner-la-planete-clim-way.html Les centres de sciences et de culture scientifique sont souvent très performant sur les médiations et les techniques de sensibilisation des publics, c'est ce que prouve une fois encore Cap Sciences à Bordeaux qui propose parmi ses expositions virtuelles un jeu en ligne sur le développement durable : Clim Way. Présent à Copenhague, Cap Science se distingue et est remarqué particulièrement pour cet outil de sensibilisation qui apporte des informations scientifiques de manière simple et ludique. Le jeu très performant est accompagné aussi de vidéos thématiques qui constituent des précieuses ressources. Une forme de médiation judicieuse et originale. A découvrir sur le site.

]]> nouvelles technologies et musée tag:blogger.com,1999:blog-887111627460455077.post-1415589202121692235 MuséoGraphie-MuséoLogie noreply@blogger.com Tue, 02 Feb 2010 12:49:00 GMT http://xfruits.com/dianed/?id=37100&clic=492311299&url=http%3A%2F%2Fwww.formation-museographie-museologie.com%2F2010%2F01%2Fmusees-et-developpement-durable.html

Une fois n’est pas coutume : faisons l’annonce du colloque international que nous co-organisons avec Aude Porcedda, chargée de mission au musée de la Civilisation de Québec les 4 et 5 mars prochains : «Musées et Développement durable». De nombreux partenaires se sont investis sur l’opération : SMQ, Société des Musées Québecois, OCIM, Biosphère de Montréal, Zoo de Granby, EANA Terre des possibles, Muséum d’Histoire Naturelle de Dijon, Muséum National d’Histoire Naturelle de Paris... et beaucoup d’autres institutions seront représentées lors de ces journées : la Cité des Sciences et de l’Industrie, la Cité de l’architecture et du patrimoine, la Bibliothèque National de France, les Muséums nature de Montréal, le Musée de la Civilisation, le Musée des Confluences, le Palais de la Découverte, le Musée des Beaux-arts de Dijon, le Musée de plein air des Maisons Comtoises, le Musée de l’Ile d’Oléron, la direction des parcs et jardins du Conseil Général des Hauts de Seine, l’Espace naturel de Lille Métropole, ainsi que l’agence Altermuséo, des chercheurs, des consultants... Nous aborderons principalement trois thèmes : les actions de sensibilisation et les expositions sur le développement durable ; l’écodesign et la rénovation architecturale intégrant ces principes ; enfin la gestion des établissements. Les journées seront l’occasion de présenter des actions, des programmes internationaux de partenariat, et de réfléchir aussi sur les notions, avec en amont des communications sur la notion même de développement durable et une introduction par l’agence Alterre Bourgogne.

Pour les renseignements et inscriptions, voir ici :

http://web.me.com/cserge1/Séminaires_Denis_Diderot/Podcast/Podcast.html

]]> séminaire muséologie tag:blogger.com,1999:blog-887111627460455077.post-5004390870342268202 MuséoGraphie-MuséoLogie ]]> Tue, 02 Feb 2010 16:43:13 GMT http://xfruits.com/dianed/?id=37100&clic=493411497&url=http%3A%2F%2Fmusematic.net%2F%3Fp%3D1037 Ultra cool. “A legitimate attempt to push storytelling boundaries by quietly superimposing a supplemental, moving layer atop a pre-existing printed narrative.” “”The set-up [a book, a lamp, and a laptop] seems perfectly harmless at first sight. But as soon as you open the book under the lamp … the pages take on new animated and mysterious dimensions … worlds appear and disappear with a direct connection to the actual items printed on paper: animal figures appear over the mountains, peaks emerge in a shadow play, a bird silently flies over, foxes light up the text with their lanterns at dusk … ”

Check it out here.

.

Share:

]]> Digital media http://musematic.net/?p=1037 Musematic How do you write a question for a comment board that will generate authentic, on-topic, diverse, interesting visitor comments? While I've written before about types of questions that tend to be more successful in this regard, today I want to share a simple exercise I've been using with museums of all types to help staff members develop better questions for visitor response.

Here's what you do:

• Get a group of staff members together around a table. About ten is good, but this can work with anywhere from six to twenty.
  
• Give everyone a piece of paper.
• Explain the exhibit or topic around which you want to generate a visitor response question.
• Ask each person to write a question on the top of their sheet that they think might work. Make sure they write legibly.
  
• Everyone pushes their sheet to the center of the table.
  
• Now, each person grabs another one (someone else's) and writes their own answer on the sheet. Once you write an answer, push the paper back to the middle and grab another. If you can't answer a question or if it confuses you, put a question mark. Repeat until each person has answered five or six questions.
• Pencils down. Lay out all the sheets around the table and walk around looking at them. These are your "exhibits." Make mental note of which ones are most interesting to you as a "visitor" reading them.
• Have a discussion about the questions that really seemed to work and not work. Discuss this both from the perspective of which questions were easy to answer and which yielded interesting results.

This whole process should take about fifteen minutes. I find it to be really useful because it helps people quickly see that there IS a difference in how people respond to different questions, and that designing better questions can yield more interesting results. It's much faster to learn with a group of questions than it is to slowly replace a question in the gallery successively over time. You can make direct comparisons in real-time, and the speed of the exercise means no one gets too precious about their own question being "best." It's a form of public-private brainstorming.

Last week at the Art Gallery of Ontario, a group of staff applied this exercise to design a question for a comment station next to a giant sculpture of a palm tree on its side with its huge root ball exposed. We quickly discovered via the exercise that the question, "What does it mean to be uprooted?" yielded much less interesting results than, "Have you ever been uprooted?"

Now, you could argue that of course the second question was better because it was more personal. But doing exercises like these helps people learn rules of thumb (like "personal questions are good questions") through doing, and that makes the lesson more likely to stick.

I'm learning things from this exercise all the time. Two weeks ago, at the Levine Museum of the New South, I learned that "What was your best job?" is an inferior question to "What was your worst job?" My guess is that people revel in telling more detailed stories about pain than pleasure--but I'll have to keep testing this before I feel confident about it.

One more thought: if you want to do this exercise but don't have a specific topic or exhibit in mind, you can use the prompt, "Write down a question for which you would be genuinely interested in hearing a stranger's response." Ultimately, this is what all comment stations are about, and at least for me, these are the toughest questions to write.

Happy asking!

]]> Tue, 02 Feb 2010 14:15:00 GMT http://xfruits.com/dianed/?id=37100&clic=490424811&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2Fmuseumtwo%2F%7E3%2FYE3g_xqi7y0%2Fsimple-technique-for-writing-better.html design tag:blogger.com,1999:blog-37032121.post-1663117015663860829 Museum 2.0 ]]> http://nomundodosmuseus.wordpress.com/2010/02/02/actas-do-1-%c2%ba-encontro-de-historia-do-alentejo-litoral/#comments Tue, 02 Feb 2010 11:33:22 GMT http://xfruits.com/dianed/?id=37100&clic=490737206&url=http%3A%2F%2Fnomundodosmuseus.wordpress.com%2F2010%2F02%2F02%2Factas-do-1-%25c2%25ba-encontro-de-historia-do-alentejo-litoral%2F

Do 1.º Encontro de História do Alentejo Litoral, realizado em Sines, a 18 e 19 de Outubro de 2008, foram publicadas as actas (edição do Centro Cultural Emmerico Nunes). Destacamos um artigo no âmbito da museologia: “A constituição dos Museus Sineenses e as preocupações museológicas da época…”, de Maria Mota Almeida.

Veja o Índice

]]> Books http://nomundodosmuseus.wordpress.com/?p=2585 No Mundo dos Museus... ]]> Mon, 01 Feb 2010 22:01:25 GMT http://xfruits.com/dianed/?id=37100&clic=493411498&url=http%3A%2F%2Fmusematic.net%2F%3Fp%3D1035 For more on the secret technology of English muffins read this recent article from law.com.  Now if only I had a skill, or some secret knowledge….

Share:

]]> Random Musings http://musematic.net/?p=1035 Musematic ]]> Mon, 01 Feb 2010 20:46:25 GMT http://xfruits.com/dianed/?id=37100&clic=493411499&url=http%3A%2F%2Fmusematic.net%2F%3Fp%3D1032 If so, I’ve got a couple of recommendations for you.

At the Pierpont Morgan: “A Woman’s Wit: Jane Austen’s Life and Legacy.“  Great little exhibition.   As I wrote my friend Sarah this morning, I love going to the Pierpont Morgan as much for the supplementary objects on view as for the main focus of an exhibition.  In addition to autograph letters (written both vertically and horizontally to save paper costs), there are prints, drawings, books of manners, and a contemporaneous monopoly-like board game about London.  I particularly enjoyed Vladimir Nabokov’s lecture notes re Austen’s work.  Was not as crazy about the documentary that was produced for the exhibition–you can watch it here–for a number of reasons but I’ll let you decide what you think.

Also quite liked a small exhibition of photographs from Look Magazine which you can find at the Museum of the City of New York.  This display included photographs by, then staff photographer, Stanley Kubrick–including a disturbing and beautiful three-quarter portrait of boxer Rocky Graziano in the shower.   Disturbing because it he is so very beautiful–not a kouros anywhere in any museum that has a finer physique (or a phiner fisique).

And, on a completely unrelated topic, we were staying in an apartment loaned to us by some friends and found a reference to a nearby restaurant, the HiLife.  (1503 Second Ave at 78th) The note on the menu said that the food was good and the Long Island Ice Teas were similar to the famed Pan-Galactic Gargle Blasters, so who could resist that recommendation.  Food was good and while I didn’t have a Long-Island Ice Tea, their Rum Punch did have a punch.

Off you go now–NYC or bust.

Share:

]]> Announcements http://musematic.net/?p=1032 Musematic ]]> http://mediamusea.com/2010/02/01/follow-a-museum-day/#comments Mon, 01 Feb 2010 15:57:09 GMT http://xfruits.com/dianed/?id=37100&clic=491990278&url=http%3A%2F%2Fmediamusea.com%2F2010%2F02%2F01%2Ffollow-a-museum-day%2F

Hoy, día 1 de Febrero, ha sido declarado “Follow a Museum Day” por la red social de micro-blogging Twitter.

Actualmente los museos están cada vez más presentes en las redes sociales y cuentan con el respaldo de un amplio público que sigue sus actualizaciones y se convierten en “fans”, “amigos”, “seguidores”…  de los perfiles sociales que crean nuestros museos e instituciones. Este interés se hace evidente en los datos que nos proporciona Twitter con motivo de este día, pues más de un millón de personas son seguidores de museos en esta red. Y es por ello por lo que se ha ideado Follow a Museum Day.

Esta campaña nace con el fin de aumentar el conocimiento de los distintos museos que existen en Twitter y animar a los usuarios a hacerse  seguidores de ellos. Por tal motivo, bajo el hashtag #followamuseum, numerosos perfiles se han hecho eco de esta llamada y han posteado una lista de aquellos museos a los que siguen.

A lo largo del día de hoy han sido miles las personas que han twitteado la recomedación de su museo favorito, llenándose esta red de tweets sobre museos que aumentan con sorprendente rapidez minuto a minuto.

Y por si alguien no conoce los museos que ya tienen perfil en Twitter,  Followamuseum nos hace una lista de algunos de los museos de esta red ordenador por países.

La repercusión que ha tenido este día en Twitter ha sido realmente asombrosa, sobre todo en el ámbito anglosajón, pero sería interesante conocer si esta iniciativa ha servido además para que los museos de esta red aumenten significativamente su número de nuevos seguidores en el día de hoy (si alguien puede aportar datos al respecto sería de agredecer para conocer el verdadero calado de la campaña).

Y tú… ¿a qué museos sigues?

]]> Museos 2.0 http://mediamusea.com/?p=267 MediaMusea ]]> http://nomundodosmuseus.wordpress.com/2010/02/01/museal-n-%c2%ba-4-2009/#comments Mon, 01 Feb 2010 07:00:56 GMT http://xfruits.com/dianed/?id=37100&clic=490737207&url=http%3A%2F%2Fnomundodosmuseus.wordpress.com%2F2010%2F02%2F01%2Fmuseal-n-%25c2%25ba-4-2009%2F

A MUSEAL – Revista do Museu Municipal de Faro lançou recentemente o seu quarto número, desta vez dedicado ao tema: “Núcleos museológicos. Que sustentabilidade?”

Para quem ainda não conhece esta revista, é preciso lembrar que se trata de uma publicação editada pela Câmara Municipal de Faro. Inclui um conselho científico, constituído pelas seguintes personalidades:

António Nabais
Clara Camacho
João Brigola
José d’Encarnação
Rui Parreira
Textos
Alexandra Gradim
Clara Frayão Camacho
Cláudio Torres
Dália Paulo
Graça Filipe
Hugues de Varine
João Alpuim Botelho
José d’Encarnação
José Gameiro
Pedro Prista
Rui Parreira

ISSN 1646-4202

Conteúdos:

Núcleos Museológicos – que sustentabilidade? Do debate conceptual às práticas de produção cultural – Rui Parreira

Núcleos Museológicos em Portugal: algumas questões históricas e conceptuais – Clara Frayão Camacho

Da musealização de património ao ordenamento do território musealizado: em busca de um modelo de sustentabilidade adequado a cada realidade em mudança – Graça Filipe

Museus e ordenamento do território – Hugues de Varine

Museus, território e desenvolvimento – Cláudio Torres

A musealização de um território: o caso de Bordeira, Santa Bárbara de Nexe, Faro – Dália Paulo

A rede polinucleada de Alcoutim: A sustentabilidade de um projecto – Alexandra Gradim

Museu de Portimão gestão de um território – José Gameiro

Gerir os Monumentos Megaliticos de Alcalar e o seu Centro Interpretativo: êxitos e fracassos de uma administração desconcentrada em articulação com o poder Local – Rui Parreira

Núcleos Museológicos de Loulé – Pedro Prista Monteiro

Núcleos Museológicos como estratégia de conhecimento do território: o caso do Museu do Traje de Viana do Castelo – João Alpuim Botelho

Em jeito de conclusões – José d’Encarnação

Recensões – José d’Encarnação

]]> Museology http://nomundodosmuseus.wordpress.com/?p=2579 No Mundo dos Museus... ]]> http://www.buzzeum.com/2010/02/retour-des-rencontres-nationales-du-clic/#comments Mon, 01 Feb 2010 01:28:54 GMT http://xfruits.com/dianed/?id=37100&clic=489700574&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2FBuzzeum%2F%7E3%2FghJEnnfeWQA%2F A la Une http://www.buzzeum.com/?p=1833 BUZZEUM ]]> Sat, 30 Jan 2010 08:45:41 GMT http://xfruits.com/dianed/?id=37100&clic=493411501&url=http%3A%2F%2Fmusematic.net%2F%3Fp%3D1026 Inevitably, the name has received almost as much attention as the device.

For those earnest researchers anxious to pursue the naming issue in depth, there is the not-so-startling news that there is a hi tech Japanese adult diaper called, you guessed it, the AiPad.

This, however, may sum it all up:

Mac’s iPad

Share:

]]> Random Musings http://musematic.net/?p=1026 Musematic ]]> http://www.ideum.com/2010/01/gestureworks-1-1-open-source-gesture-library/#comments Sat, 30 Jan 2010 00:41:30 GMT http://xfruits.com/dianed/?id=37100&clic=493494461&url=http%3A%2F%2Fwww.ideum.com%2F2010%2F01%2Fgestureworks-1-1-open-source-gesture-library%2F We’re excited to announce the release of GestureWorks 1.1 and our open source gesture library! Ideum first released GestureWorks back in December. We’ve recently implemented some performance enhancements in the latest version to further improve a software that was already the best multitouch development environment for Flash.

Part of ensuring that GestureWorks continues to evolve as a rich development environment is the release of the gesture library as open source. Since gestural interfaces are such a new development, there is a strong need to keep part of the framework open and editable. The gesture library contains our ActionScript code for each gesture and touch event possible in GestureWorks, as well as example gesture code to give developers a template for writing their own gestures. Anyone is free to create their own gesture and touch events and distribute them to others, in the hope of facilitating complex and interesting multitouch development in Flash as well as promoting an open community of practice.

Download from Wikimedia Commons. (169 KB)

We’ve also released our individual gesture illustrations for download to aid developers in writing easily understandable documentation for each program they create, and as a resource for anyone who needs clear graphical representation of multitouch gestures as the number of gestures possible in multitouch environments continues to grow.

The gesture library is licensed under FreeBSD and our gesture illustrations have been released under a Creative Commons Attribution-Share Alike 3.0 license.

]]> Computing http://www.ideum.com/?p=1994 Ideum » Blog
Blechschild

Gefunden:um 1985

Auf dem Sperrmüll in Bonn

Abgerissen von einer Waschmaschine oder Wäscheschleuder.

Würde man heute Frauen für hauswirtschaftliche Leistungen loben. Wohl kaum. Geht es den Frauen heute besser als vor 50 Jahren? ]]> Fri, 29 Jan 2010 21:20:00 GMT http://xfruits.com/dianed/?id=37100&clic=492454417&url=http%3A%2F%2Fjoernborchert.twoday.net%2Fstories%2Ffrauenlob-jawoll%2F http://joernborchert.twoday.net/stories/frauenlob-jawoll/ Kulturelle Welten Dies & Das ]]> http://newmouseion.wordpress.com/2010/01/29/tres-novos-museus-a-caminho/#comments Fri, 29 Jan 2010 14:38:20 GMT http://xfruits.com/dianed/?id=37100&clic=491990197&url=http%3A%2F%2Fnewmouseion.wordpress.com%2F2010%2F01%2F29%2Ftres-novos-museus-a-caminho%2F

E o que é engraçado é que todos eles são iguais, mas serão colocados em distintos locais do país. Pelo que percebo um em Cascais, outro no Alfeite e o terceiro em Viana do Castelo. Falo-vos dos submarinos de Classe Albacora que estavam ao serviço da Marinha Portuguesa e que serão substituídos pelos novos (e polémicos) submarinos.

Este artigo do Público chamou-me a atenção para o assunto e eu confesso-me um apaixonado por museus militares e pela História Militar em todos os ramos das Forças Armadas, mas com um fraquinho especial pela Marinha.

Um “Bravo Zulu” a todos aqueles que serviram ao longo da rica história desta embarcação portuguesa.

]]> Museus http://newmouseion.wordpress.com/?p=637 Mouseion

Toiletten in Museen. Fantasievolle, hässliche, angenehme, unangenehme "Stille Örtchen". Manche sind gepflegt, andere nicht. Alle aber sagen etwas darüber aus, was die Verantwortlichen eines Museums über uns Besucher denken. Die guten vermitteln uns auch an diesem Ort, dass sie uns willkommen heißen. Die schlechten übertragen die Toiletten der Sanitärfachkraft und scheren sich ansonsten eine Deubel drum.

The Art Museum Toilet Museum sammelt Fotografien dieser Orte. Museumstoiletten aus aller Welt. Und wenn Sie wollen, dann können Sie ihren eigenen Klofotos dort hin schicken, um die Museumsdirektoren dieser Welt darauf hinzuweisen, dass auch die Toiletten zum Ausstellungsbereich gehören. Oder etwa nicht? ]]> Thu, 28 Jan 2010 21:22:00 GMT http://xfruits.com/dianed/?id=37100&clic=492454418&url=http%3A%2F%2Fjoernborchert.twoday.net%2Fstories%2Fmuseumstoiletten%2F http://joernborchert.twoday.net/stories/museumstoiletten/ Kulturelle Welten Entspannen in Museen noreply@blogger.com Thu, 28 Jan 2010 17:46:00 GMT http://xfruits.com/dianed/?id=37100&clic=488248444&url=http%3A%2F%2Fmuseoblogi.blogspot.com%2F2010%2F01%2Ftako-seminaari-ja-suomi-kokoelma.html kulttuurihistoriallisten museoiden tallennus- ja kokoelmayhteistyö (TAKO) liikahti jälleen eteenpäin ja museot aloittivat järjestäytymisen pooleihin. TAKO-toiminnan taustalla on tarve kehittää suomalaisten museoiden kokoelmatoimintaa ja erityisesti museoiden välistä tallennusvastuun jakamista. Asia ei sinänsä ole uusi, pyrkimyksiä tähän on ollut jo 1980-luvulta lähtien. Tuolloin ajatus ei oikein ottanut tulta. Toimintatapaa pidettiin museoissa ilmeisesti liiaksi ylhäältä annettuna ja vastuualueiden jakamista osin kummallisenakin, ja näin sinänsä tarpeellisena pidetty yhteistyö kuivui kasaan. Nyt on tässäkin asiassa otettu uudet toimintatavat, jotka pitkälti noudattelevat Ruotsin SAMDOK:n mallia.

TAKO-poolijaon tavoitteena on ns. Suomi-kokoelman luominen museoiden yhteisenä hankkeena. Tarkoitus on, että tämä kokoelma kerätään ensisijaisesti nykydokumentoinnin menetelmin ja että se käsittää myös muuta materiaalia kuin esineitä. Idea on raikas: tulee olemaan kiinnostavaa nähdä, minkälaiseksi muotoutuu museoihmisten näkemys Suomesta.

TAKO:n poolityöskentely on museoille vapaaehtoista, mutta edellyttää pooleihin liittyneiltä sitoutumista. Resurssit työskentelyyn tulisi irrota museosta siten, että poolityöskentely korvaa osan museon omasta kokoelmatyöstä. Tähän ajatukseen saattaa olla hankalampi tottua, onhan monella museolla vielä vanhojakin kokoelmia hoitamatta. Toisaalta jo museomies ja arkeologi A. M. Tallgren valitti 1920-luvulla, miten museoiden kokoelmien hoito on niin monessa paikassa retuperällä. Voi siis hyvin olla, että museot eivät koskaan pääse tilanteeseen, jossa kokoelmat olisi täydellisesti hoidettu, mutta ei sen vuoksi voi tallennustoimintaa lopettaakaan.

Vaikka TAKO herättää vielä tässä vaiheessa paljon kysymyksiä ja jättää monia asioita - tarkoituksellakin - avoimeksi , on nyt alkava poolityöskentely monessa mielessä tervetullutta museoalalle. Tarve kehittää kokoelmanhallintaa ja -kartuntaa museoissa on ilmeinen. Samoin uusi työskentelymuoto tulee parhaimmillaan herättämään keskustelua siitä, mitä museoiden tulisi tallentaa, ketä varten ja miksi.

]]> tag:blogger.com,1999:blog-11673989.post-7388239446697531479 Museoblogi
http://plus7.arte.tv/de/1697660,CmC=3033386.html

(Deutschland, 1997, 6mn)
ARTE
Regie: Corinna Schnitt
Darsteller: Coriina Schnitt, Ehepaar Oldemeyer
Autor: Corinna Schnitt

"Es ist schön, wenn es was gibt, was eine Familie auch verbindet, eine gemeinsame Unternehmung und ich bin einfach froh, dass sich das bei uns so von ganz alleine ergeben hat.", erklärt die Tochter. Mit Recht, denn selbst als erwachsene Frau haben ihre Eltern und sie jeden Sonntag etwas Nettes vor...
"Zwischen vier und sechs" führt in eine Welt der Ordnung und Sauberkeit, wo blitzblanke Autos vor Reihenhäusern mit penibel gepflegten Vorgärten stehen. In ihrem satirischen Kurzfilm treibt Corinna Schnitt die Absurditäten der Saubermänner auf die Spitze. Dabei gelingt es der Regisseurin mit verblüffend einfachen Mitteln, höchst komisch zu sein!

(Deutschland, 1997, 6mn)
ARTE
Regie: Corinna Schnitt
Darsteller: Corinna Schnitt, Ehepaar Oldemeyer
Autor: Corinna Schnitt

Nichts wie wegggggggg.....!!!!!!!!!!!!!!!!!!!!!!!!!

[Soll ich dem betonblog für diesen Hinweis danken?] ]]> Thu, 28 Jan 2010 19:19:00 GMT http://xfruits.com/dianed/?id=37100&clic=492454419&url=http%3A%2F%2Fjoernborchert.twoday.net%2Fstories%2Fdeutschland-kann-so-schrecklich-komisch-sein%2F http://joernborchert.twoday.net/stories/deutschland-kann-so-schrecklich-komisch-sein/ Kulturelle Welten Ethnologie ]]> http://www.buzzeum.com/2010/01/les-concours-photo-sur-flickr/#comments Thu, 28 Jan 2010 18:46:49 GMT http://xfruits.com/dianed/?id=37100&clic=489700575&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2FBuzzeum%2F%7E3%2FTY16Og5di1E%2F A la Une http://www.buzzeum.com/?p=1822 BUZZEUM udem.museo@gmail.com Thu, 28 Jan 2010 14:41:00 GMT http://xfruits.com/dianed/?id=37100&clic=488083676&url=http%3A%2F%2Fmuseomuseo.blogspot.com%2F2010%2F01%2Fmontez-bord-du-museobus_28.html

Vos associations étudiantes vous proposent d'embarquer dans le Muséobus en direction du Musée québécois de culture populaire de Trois-Rivières le vendredi 26 février prochain.

Au programme :

départ de l’UQAM à 8h00, Pavillon Sainte-Catherine, 209 rue Sainte-Catherine Est

+ visite guidée des expositions ainsi que de la vieille prison

+ dîner sur place (apportez votre repas)

+ visite de la réserve ouverte et de la grande réserve avec l’archiviste des collections, M. Guy Coutu

+ Rencontre avec le directeur du musée, M. Benoît Gauthier

+ Retour à l’UQAM vers 17h30

+ Le coût de l’activité pour le transport est de 10$ + 9$ pour les visites muséales

Bien entendu, les détenteurs de la carte SMQ pourront bénéficier de la gratuité pour les visites.

Vous avez envie de participer?

Réservez votre place à bord avant le lundi 8 février à aemdm@uqam.ca

De plus, comme nous devons nous assurer d'une participation suffisante pour défrayer les coûts engendrés par la location de l'autobus, nous vous demandons également de payer à l'avance votre transport (soit 10$).

Pour ce faire, vous pouvez vous rendre :

- au bureau de Lise Jarry : secrétariat muséologie UQAM (pavillon Sainte Catherine, V-5130) afin de déposer le montant.

- au bureau de Manon Lebrun : secrétariat muséologie UdeM (pavillon Lionel-Groulx, C-5050).

]]> tag:blogger.com,1999:blog-2239275165263429597.post-7946094203607175370 MUSEOMUSEO udem.museo@gmail.com Thu, 28 Jan 2010 13:35:00 GMT http://xfruits.com/dianed/?id=37100&clic=488083677&url=http%3A%2F%2Fmuseomuseo.blogspot.com%2F2010%2F01%2Fjournee-carriere-en-museologie.html

Les associations en muséologie de l'UdM et de l'UQAM vous invitent cordialement à la JOURNÉE CARRIÈRE EN MUSÉOLOGIE 
qui aura lieu le 8 février 2010 de 13h00 à 17h00 à l'Université de Montréal. C'est un rendez-vous au local B-3345 dans le pavillon 
Jean-Brillant (3200 rue Jean-Brillant). 

La journée est spécialement conçue pour vous aider à orienter votre carrière en muséologie, plusieurs professionnels seront présents 
pour partager leur expérience dans le domaine :
 
Benoît Légaré, Directeur du Centre des sciences de Montréal, Jean-Luc Murray, Chef du Service de l'éducation et de l'action 
culturelle au Musée des beaux-arts de Montréal, Sébastien Daviau, Responsable des collections au Musée Vaudreuil-Soulanges 
Pierre Wilson, Directeur-Conservateur du Musée des Maîtres et Artisans du Québec, Catherine Dubois, Conservatrice à l'éducation 
du Musée d'art de Joliette, Anne Charpentier, Directrice de l'insectarium de Montréal du Jardin Botanique.
 
Ne manquez pas cette journée exceptionnelle!!!
 
Au plaisir de tous vous y voir!!

]]> tag:blogger.com,1999:blog-2239275165263429597.post-6407639091116326179 MUSEOMUSEO noreply@blogger.com Thu, 28 Jan 2010 11:58:00 GMT http://xfruits.com/dianed/?id=37100&clic=488023767&url=http%3A%2F%2Fwww.museumsblog.de%2F2010%2F01%2Ffigurinen-im-museum-xvii.html

Nein, das ist nicht nur einfach eine Figur, die wie ein Mensch aussehen soll, der vor über 27. 000 Jahren lebte und jetzt im Neuen Museum in Berlin rumhockt. Hierbei handelt nichts weniger als einen Eiszeitlicher Künstler, der gerade dabei ist, eine kleine Venus herzustellen.

]]> Figurinen tag:blogger.com,1999:blog-30172924.post-6953385804028609323 Museumsblog ]]> Thu, 28 Jan 2010 03:18:29 GMT http://xfruits.com/dianed/?id=37100&clic=493411502&url=http%3A%2F%2Fmusematic.net%2F%3Fp%3D1024 This is just cool.  Found it online today when I was doing some research on deaccessioning to feed my museum studies students at CWRU.  It’s a black box that auctions itself off on e-bay every seven days.

So many questions!

Share:

]]> Random Musings http://musematic.net/?p=1024 Musematic ]]> http://nomundodosmuseus.wordpress.com/2010/01/27/workshop-codigo-deontologico-do-icom-1-mar-2010-porto/#comments Wed, 27 Jan 2010 07:00:17 GMT http://xfruits.com/dianed/?id=37100&clic=490737208&url=http%3A%2F%2Fnomundodosmuseus.wordpress.com%2F2010%2F01%2F27%2Fworkshop-codigo-deontologico-do-icom-1-mar-2010-porto%2F

Workshop Código Deontológico do ICOM

Filipe Mascarenhas Serra, ICOM
Porto, 1 de Março de 2010

O Código do Conselho Internacional dos Museus (ICOM) constitui o documento de referência para a deontologia e a ética dos profissionais de museus em todo o mundo. Recentemente, foi divulgada a versão oficial em língua portuguesa do Código, a adoptar nos países da esfera lusófona, resultado de uma frutuosa colaboração entre o ICOM-Portugal e o ICOM-Brasil.

A Comissão Nacional Portuguesa do ICOM promoveu, no ano passado em Lisboa, um Workshop destinada à divulgação e promoção do Código Deontológico do ICOM entre os profissionais de museus portugueses, coordenada por Filipe Mascarenhas Serra. A dinâmica e o feedback de satisfação dos participantes comprovou o seu elevado interesse e levou a Comissão a aceitar dar resposta às várias solicitações no sentido de repetir a iniciativa. Assim, e numa perspectiva de salutar descentralização, irá decorrer no próximo dia 1 de Março uma 2ª edição da Workshop, desta vez no Porto.

Os tópicos a abordar incluem uma introdução aos conceitos de ética e deontologia profissional, os antecedentes do Código ICOM, problemas deontológicos associados à aquisição, comércio, retorno e restituição de colecções, bem como à conservação e restauro. A Workshop, que terá uma componente prática, abordará ainda questões de responsabilidade e conduta deontológica dos profissionais dos museus face aos públicos e face aos colegas de profissão.

Ver Programa em anexo.

Máximo 20 participantes (membros individuais e institucionais do ICOM)
Inscrições até 19 de Fevereiro de 2010

Fichas de inscrição: http://www.icom-portugal.org

Organização: ICOM-PT, com o apoio do Departamento de Ciências e Técnicas do Património (Cursos de 2º e 3º Ciclos em Museologia), Faculdade de Letras da Universidade do Porto

(Fonte: Mailing List ICOM-PT)

]]> Conferences http://nomundodosmuseus.wordpress.com/?p=2573 No Mundo dos Museus... ]]> http://nomundodosmuseus.wordpress.com/2010/01/26/tese-de-mestrado-casas-museu-em-portugal-teoria-e-pratica/#comments Tue, 26 Jan 2010 15:20:18 GMT http://xfruits.com/dianed/?id=37100&clic=490737209&url=http%3A%2F%2Fnomundodosmuseus.wordpress.com%2F2010%2F01%2F26%2Ftese-de-mestrado-casas-museu-em-portugal-teoria-e-pratica%2F

Casas-Museu em Portugal: Teoria e Prática
Autor: António Ponte
Dissertação apresentada à Universidade de Letras do Porto
Ano: 2007. Tese defendida a 8 de Out. 2007
Nota: Júri constituído pelo Prof. Doutor Armando Coelho, Prof. Doutor João Carlos Brigola e pelo Prof. Doutor Rui Centeno.

Sobre a tese:

Nos últimos anos, tem-se assistido a uma forte expansão do tecido museológico português. De entre as muitas unidades museológicas criadas, as casas-museu assumem um papel fundamental, face ao seu número e função na salvaguarda do património nacional.

Esta dissertação procura dar resposta a diversas questões, contribuir para a dignificação destas estruturas museológicas, bem como para a criação de uma definição de Casa-Museu no âmbito da museologia portuguesa, para além de dar a conhecer as diferentes propostas de classificação tipológica existentes internacionalmente.

Depois de apresentados os pressupostos teóricos sobre esta temática expõe-se a realidade portuguesa no que concerne às Casas-Museu. Analisam-se aspectos fundamentais tais como a criação, fundador, colecções, estruturas físicas, assim como o desenvolvimento das diferentes acções museológicas.

O último capítulo apresenta a Casa de José Régio de Vila do Conde face ao pressuposto teórico apresentado na primeiro capítulo, o seu processo de intervenção e beneficiação e a criação do Centro de Documentação onde será possível desenvolver a acção cultural essencial à afirmação destas unidades museológicas na comunidade.

(Fonte: http://antonioponte.wordpress.com/tese/)

]]> Museology http://nomundodosmuseus.wordpress.com/?p=2524 No Mundo dos Museus... Besonders Alltag]



Besonders interessant die Passage, wo er erklärt, dass das Trinken von Alkohol ein erstes Zeichen der Frauenemanzipation war.

Gut gesprochen. Wie immer. Prost, Gunther!

PS: Dass Wasser nicht nur zum Zähneputzen gut ist, stellen Hirschfelder u.a. hier dar. ]]> Tue, 26 Jan 2010 10:48:00 GMT http://xfruits.com/dianed/?id=37100&clic=492454420&url=http%3A%2F%2Fjoernborchert.twoday.net%2Fstories%2Fhirschfelder-saufen-industrialisierung%2F http://joernborchert.twoday.net/stories/hirschfelder-saufen-industrialisierung/ Kulturelle Welten Ethnologie ]]> Mon, 25 Jan 2010 22:27:07 GMT http://xfruits.com/dianed/?id=37100&clic=493411503&url=http%3A%2F%2Fmusematic.net%2F%3Fp%3D1021 Today, on the way back from a shopping excursion (my only child is headed off to a semester in NYC) we counted 75 Xmas wreaths still hanging on front doors on the approximately 2 mile jaunt home.  75 wreaths still on doors and it is January 25.

So here’s another idea free of charge to anyone who wants to implement it.   It’s called “Wreath-Away” -  a free public service. Just before Xmas people can sign up to have an email sent to them once a week for every week after Epiphany (until Easter, let’s say) telling them to “Take the Wreath Down Now!”–unless they confirm that they have taken the wreath down.  The logo would be a Christmas Wreath with the red circle and hash mark superimposed over it.

There the idea is free and floating in the universe–if you do implement it and manage to make a buck or two off the idea somehow (maybe local florists advertise the site before the holidays) send me a buck or two if you think of it.

Yours here in Cleveland where the holidays are still very much in evidence…sigh.

Share:

]]> Random Musings http://musematic.net/?p=1021 Musematic ]]> http://mediamusea.com/2010/01/25/citeulike-el-academicismo-de-la-web-social/#comments Mon, 25 Jan 2010 18:31:25 GMT http://xfruits.com/dianed/?id=37100&clic=491990279&url=http%3A%2F%2Fmediamusea.com%2F2010%2F01%2F25%2Fciteulike-el-academicismo-de-la-web-social%2F

La web social llega también al trabajo de investigadores y científicos que tienen en CiteUlike un importante aliado a la hora de organizar sus documentos de trabajo y de compartir información con otros investigadores. CiteUlike es un servicio gratuito de marcadores sociales, similar a otros más conocidos como Delicious, pero en lugar de enlaces se comparte referencias científicas. 

CiteUlike permite almacenar todos los artículos de nuestros temas de estudio en una librería personal (que podemos decidir si es pública o privada), organizarlos a través de marcadores y tenerlos disponibles desde cualquier ordenador con conexión a Internet. También dispone de un sistema para marcar cada uno de los artículos según su importancia o la necesidad de ser leídos con  urgencia y permite además crear  enlaces permanentes a todos los documentos.

Se gestiona de una manera totalmente científica, las referencias provienen de fuentes aceptadas (editores, universidades, etc.) y las que son introducidas a mano son revisadas antes de mostrarse públicamente. 

El sistema es además bastante sencillo y cómodo de usar, bien podemos subir nuestros propios documentos para tenerlos almacenados en nuestra cuenta o bien al encontrar por la red un artículo de nuestro interés sólo habremos de pulsar el botón CiteUlike, previamente instalado en nuestra barra de navegación, y el sistema creará de manera automática la referencia y la cita bibliografía para nuestra biblioteca personal. 

Esta web social nos permite elegir nuestros temas principales de estudio; para el caso de museos y museólogos, por ejemplo, se puede optar por el campo de “Mass Communications and Documentation” y una vez ahí optar por posibilidades como “Curatorial Studies” o  ”Museum Studies“. 

CiteUlike es sin duda un buen aliado para todos los investigadores  y una buena forma de que los museos puedan recopilar y recomendar  los artículos que circulan por la red de temas relacionados con su institución. La única pega es que aún es bastante poco conocido fuera de los círculos anglosajones por lo que hasta que no formen parte de esta red más usuarios hispanohablantes los artículos en castellano serán escasos. 

Para conocer más en profundidad su funcionamiento es recomendable esta presentación de Julio Alonso Arévalo

]]> Cultura Digital http://mediamusea.com/?p=258 MediaMusea For three years, I've been using a "hierarchy of participation" diagram to talk about the ways that cultural institutions and platforms can scaffold social experiences among users. It's been problematic for several reasons - a bit confusing, hideous colors, and most of all, a pyramid shape that suggested that some kinds of social participation were better than others.

I've finally completed a redesign of the five stages of social participation, as shown above. The basic concept remains the same: if you want to support social engagement among people, especially in an unfacilitated setting (i.e. no tour guides or game masters), you need to start by designing personal services for users, then linking up users through shared interests or objects to promote interpersonal connections. You don't start by designing "for the crowd." Instead, you design ways for each person to feel acknowledged and valued as an individual. You make them comfortable interacting on their own, and then start providing opportunities to connect with others.

This new diagram is meant to imply progression while treating the stages more democratically. No stage is better than another, and each has something to offer visitors in the context of a cultural institution. Stage one provides people with access to the content that they seek. Stage two provides an opportunity for inquiry and for visitors to take action and ask questions. Stage three lets people see where their interests and actions fit in the wider community of visitors to the institution. Stage four helps visitors connect with particular people—staff members and other visitors—who share their content and activity interests. Stage five makes the entire institution feel like a social place, full of potentially interesting, challenging, enriching encounters with other people.

A simple example: the cocktail party

The best place to start conceptualizing structures for social participation is via familiar social experiences. Consider a cocktail party. There are some parties where hosts go out of their way to welcome guests individually and to introduce them to others via shared interests - making sure Susie the winemaker meets George the restauranteur and so on. At the best parties, each guest feels like his contributions to the conversation are desired, and everyone feels complicit in creating a wonderful social experience. People meet strangers comfortably and confidently, based on their sense of personal worth and welcome.

And then there are the less pleasant parties, the ones where guests arrive to be welcomed by someone with a vacant stare who waves them in and doesn't ask (or know) their names. Guests may feel isolated or unacknowledged, lonely in the crowd.

The difference between the first and second party is the extent to which guests can move from "me to we" instead of being expected to plunge headfirst into interpersonal engagement. In cultural institutions, this can be applied to motivate dialogue around the core focus of the organization. By introducing individuals through the content they love, hate, or have a personal connection to, you motivate relationship-building around the objects and stories on display.

What do unfacilitated me-to-we experiences look like?

Not every cultural experience requires a party host (though they are always useful). The me-to-we design stages become even more important when facilitation is not possible. Designing stage three and four experiences can lay the groundwork to support and encourage unfacilitated social experiences. These frameworks enable visitors to do it for themselves whenever they like.

The social Web provides some of the most powerful examples of unfacilitated me-to-we participation. Consider Flickr, the photo-sharing community site. Many people engage directly with strangers on stage five to discuss images, the stories behind photos, and photographic technique. But most of them start with a stage one experience: looking at photographs.

Here's how the Flickr experience maps to me-to-we design:

For a museum example, consider the Walters Art Museum's Heroes exhibition. Visitors were invited to wear tags indicating their personal connection to one of eight characters in Greek mythology and to use those tags to navigate the exhibition (see longer explanation here). The tags were incredibly low-tech, but they successfully set the stage for some surprising and powerful social dialogue among friends and strangers alike who compared their tags and discussed related exhibits. The tags allowed some visitors to go from a typical stage one experience--looking at artworks singly--to stage five experiences--discussing the artworks with strangers.

Here's how the Heroes experience maps to me-to-we design:


In both these examples, the institution provided tools at stages three and four to encourage people to make the leap from their own personal experience to a collective one without staff intervention. Whether applied in a low-tech or high-tech platform, me-to-we design can help people feel welcome, confident, and eager to participate socially.

What do you think? Does this new diagram work for you? It's a big part of my forthcoming book, and I'd love your thoughts about its use, what it communicates visually, and how it helps you think about designing for social participation.

]]> Mon, 25 Jan 2010 15:18:00 GMT http://xfruits.com/dianed/?id=37100&clic=490424812&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2Fmuseumtwo%2F%7E3%2FQc5wV2iJN3A%2Frevised-theory-of-social-participation.html Core Museum 2.0 Ideas tag:blogger.com,1999:blog-37032121.post-5242213305207807869 Museum 2.0 noreply@blogger.com Sat, 23 Jan 2010 11:42:00 GMT http://xfruits.com/dianed/?id=37100&clic=492311301&url=http%3A%2F%2Fwww.formation-museographie-museologie.com%2F2010%2F01%2Fmusees-sur-monde-sur-iphone.html

Nous avions présenté l'application de la National Galerie, celle du Louvre est amusante, mais moins convaincante. Le problème est que la sélection faite des seuls chefs d'oeuvre est compréhensible, mais rend finalement l'offre peu attractive aux connaisseurs. Il faudrait aller plus loin que l'initiation et développer des offres plus ciblées.

Enfin, ne faisons pas la fine bouche ! C'est quand même au top. Rendez-vous sur ITunes !

Des musées du monde entier proposent des applications, des podcasts et même des chasses au trésor pour votre iPhone. Vous trouverez des visites guidées vidéo et audio, le plan des musées et même le détail des collections. Visitez le site web de votre musée favori ou découvrez-en d'autres, comme ceux du musée du Louvre et du Portland Art Museum.

]]> nouvelles technologies et musée tag:blogger.com,1999:blog-887111627460455077.post-5844918236038215155 MuséoGraphie-MuséoLogie "exhibtiondesign" getagged.

Eine kleine Stippvisite lohnt sich also. ]]> Mon, 25 Jan 2010 11:23:00 GMT http://xfruits.com/dianed/?id=37100&clic=492454421&url=http%3A%2F%2Fjoernborchert.twoday.net%2Fstories%2Fflickr-fuer-ausstellungsgestalter%2F http://joernborchert.twoday.net/stories/flickr-fuer-ausstellungsgestalter/ Kulturelle Welten Ausstellungsgestalter ]]> http://nomundodosmuseus.wordpress.com/2010/01/25/sobre-o-i-seminario-de-sociomuseologia/#comments Mon, 25 Jan 2010 11:06:39 GMT http://xfruits.com/dianed/?id=37100&clic=490737210&url=http%3A%2F%2Fnomundodosmuseus.wordpress.com%2F2010%2F01%2F25%2Fsobre-o-i-seminario-de-sociomuseologia%2F

I Seminário de Sociomuseologia
23 Janeiro 2010, Universidade Lusofona

No passado dia 23 tivemos a oportunidade de assistir a um dos painéis do I Seminário de Investigação em Sociomuseologia na Universidade Lusófona, que divulgámos num “post” anterior. Recorde-se, o objectivo deste seminário foi a “apresentação e discussão, em contexto académico, dos dados obtidos pelos diferentes projectos de investigação em Sociomuseologia que estão a ser desenvolvidos pelos (as) doutorandos (as), no âmbito da Linha Principal de Investigação em Sociomuseologia”.

Esta iniciativa representa, em nosso entender, um importante instrumento para a divulgação da investigação científica em museologia. A museologia, tal como foi referido neste seminário, é um campo do saber em construção, mas que se vai consolidando à medida em que vão surgindo projectos de investigação nesta área, seja de mestrado ou doutoramento.

Do painel a que assistimos, destacamos a comunicação da Aida Rechena, actual directora do Museu de Francisco Tavares Proença Júnior (Castelo Branco), que se encontra a estudar as questões de género na museologia portuguesa, sobretudo a partir de alguns estudos de caso (Museu do Fado, Museu do Teatro, Museu do Brinquedo, Museu do Trabalho Michel Giacometti, Museu de Portimão). Aida Rechena, no âmbito do seu mestrado em museologia havia estudado os “Processos Museológicos Locais. Panorama Museológico da Beira Interior Sul”.

Ana Bonito, responsável pelo serviço educativo no museu da Madeira, encontra-se a desenvolver um projecto de investigação na área educativa com aplicação aos museus madeirenses.

E finalmente, Gabriela Cavaco, directora do serviço educativo do Museu de Ciência, escolheu como tema para o seu projecto de doutoramento a “Museologia e Representação Social”, aplicada ao Museu da Ciência da Universidade de Lisboa, em parte na continuidade da linha de investigação desenvolvida na dissertação do mestrado em museologia “O Museu enquanto espaço de aprendizagem e lazer – representações sociais das crianças”.

Embora em fases distintas de desenvolvimento dos seus projectos de investigação, as investigadoras partilharam com a audiência os seus objectivos, as expectativas, entre recuos e avanços, a par com as dificuldades encontradas, bem como as metodologias utilizadas. E foi no diálogo profícuo com a audiência que a discussão se sucedeu e onde as investigadoras foram respondendo às (muitas) questões que foram sendo colocadas.

]]> Conferences http://nomundodosmuseus.wordpress.com/?p=2568 No Mundo dos Museus... ]]> http://nomundodosmuseus.wordpress.com/2010/01/25/ii-forum-iberico-de-museologia-da-educacao-5-7-fev-2010-viana-do-castelo/#comments Mon, 25 Jan 2010 09:32:55 GMT http://xfruits.com/dianed/?id=37100&clic=490737211&url=http%3A%2F%2Fnomundodosmuseus.wordpress.com%2F2010%2F01%2F25%2Fii-forum-iberico-de-museologia-da-educacao-5-7-fev-2010-viana-do-castelo%2F

Vai realizar-se, nos próximos dias 5 a 7 de Fevereiro de 2009, no Auditório Lima de Carvalho do Instituto Politécnico de Viana do Castelo, o II Forum Ibérico de Museologia da Educação.

O tema será “A Herança Educativa em Portugal e Espanha: entre esperanças e incertezas”.

Mais informações:
http://www.fime2009.ipvc.pt/

E-mail para inscrições:
FIME 2009 – Secretariado”

(Fonte: lista de discussão Museum)

]]> Conferences http://nomundodosmuseus.wordpress.com/?p=2563 No Mundo dos Museus... isabelvictor150@hotmail.com Sun, 24 Jan 2010 20:56:00 GMT http://xfruits.com/dianed/?id=37100&clic=492959955&url=http%3A%2F%2Fmusealogando.blogspot.com%2F2010%2F01%2Fplaneamento-estrategico-museus-para-o.html
A sessão foi inaugurada pelo Secretário de Estado da Cultura, Elísio Summavielle, que introduziu alguns dos tópicos que fazem hoje a actualidade e os problemas dos museus nacionais. Seguiu-se o director do IMC, João Carlos Brigola, que apresentou o plano estratégico, destacando alguns dos aspectos considerados mais relevantes do documento.

João Carlos Brigola começou por sublinhar que este não é um documento fechado, mas sim um conjunto de fundamentos gerais que deverão orientar a acção do IMC.

Este plano tem em linha de conta 31 prioridades de intervenção e estrutura-se em seis eixos de trabalho:

EIXO 1. Reenquadramento do sistema de gestão dos museus tutelados pelo MC/IMC.

EIXO 2. Inovação de modelos de funcionamento nos museus e palácios do MC/IMC.

EIXO 3. Governança de proximidade com os representantes e associações profissionais dos sectores da Cultura, das Universidades, da Museologia e da Conservação e Restauro, e com os municípios, as regiões autónomas, entidades públicas, as dioceses, as misericórdias, as fundações e outros agentes.

EIXO 4. Consolidação e crescimento sustentado da Rede Portuguesa de Museus.

EIXO 5. Política coerente e integrada de preservação, estudo, documentação e comunicação das colecções de bens materiais móveis e imóveis, sob a sua tutela, e do património imaterial.

EIXO 6. Qualificação profissional e formação académica e científica dos recursos humanos do IMC.



Para conhecer o documento em detalhe clique no seguinte endereço:
http://nomundodosmuseus.files.wordpress.com/2010/01/planeamentomuseus1.pdf

]]> tag:blogger.com,1999:blog-36609144.post-3042431567144955224 Musealogando udem.museo@gmail.com Thu, 07 Jan 2010 22:14:00 GMT http://xfruits.com/dianed/?id=37100&clic=488083678&url=http%3A%2F%2Fmuseomuseo.blogspot.com%2F2010%2F01%2Fcolloque-la-diffusion-du-patrimoine.html

Les captations vidéo des conférences du colloque sont désormais accessibles en ligne sur le site : http://museo2009.blogspot.com/

Nous tenons à remercier à nouveau l'équipe du CHM, Rose-Laurence, Evelyne, Vincent, tous nos conférenciers et présidents de séance, ainsi que le très bon public sans qui l'événement n'aurait pas eu autant de succès.

Bravo à tous!!

Camille, Maude et Pauline

]]> tag:blogger.com,1999:blog-2239275165263429597.post-5781977008736120933 MUSEOMUSEO noreply@blogger.com Fri, 01 Jan 2010 16:47:00 GMT http://xfruits.com/dianed/?id=37100&clic=492311306&url=http%3A%2F%2Fwww.formation-museographie-museologie.com%2F2010%2F01%2Fmourir-pour-mourir.html

S’enfonçant chaque jour davantage dans les eaux d’une lagune polluée et contaminée par les industries avoisinantes, Venise est superbe. Evidemment superbe, comme tous ces bijoux que l’on conserve précieusement dans nos vitrines de musées, témoignant d’un passé qui n’est plus. Ville musée, Venise est avec Las Vegas sans doute les deux parcs d’attractions formidables de notre planète, l’une patrimoniale, mise à mort par un tourisme béatifié par l’UNESCO, l’autre enfer du jeu qui étourdit de son électricité les esprits simples. Ville Lumière, elle était le symbole d’un humanisme éclairé et de la prouesse du génie humain, dont ses gloires passées témoignent, peintres, musiciens, architectes, décorateurs d’opéra... Venise rend compte du déclin de notre civilisation, enfermée dans un mouroir festif. Carnaval, parades des gondoles, réjouissantes escapades touristiques pour amoureux insouciants... Régis Debray l'accusait jadis d'être trop policée pour être honnête, son image parfaite est pourtant écornée. Venise condamnée par le réchauffement climatique est aussi en proie au trompe-l’oeil qui la menace. Devenue une sorte de lieu de pèlerinage pour touristes, elle fait semblant de vivre, alors que tout y est devenu factice. La plupart des habitants ont fuis, et ne demeurent que ceux qui travaillent pour l’industrie du tourisme. La vie se singe elle-même pour que les badauds puissent s’immortaliser sur des clichés que l’on efface aussi vite qu’on les prend. Elle est un formidable lieu de réflexion sur les excès de la patrimonialisation.

]]> patrimoine tag:blogger.com,1999:blog-887111627460455077.post-6776100570503700966 MuséoGraphie-MuséoLogie noreply@blogger.com Sun, 03 Jan 2010 16:25:00 GMT http://xfruits.com/dianed/?id=37100&clic=492311305&url=http%3A%2F%2Fwww.formation-museographie-museologie.com%2F2010%2F01%2Firresistible-art-contemporain.html

Les Français s’y pressent tout particulièrement, on ne sait pourquoi ! Sans doute un peu inquiet d’avoir vu s’éloigner une collection dont on dit qu’elle est importante. Mais d’île en île, elle a échoué dans un des lieux les plus fréquentés de la planète. En réalité, cela n’a guère plus, guère moins d’intérêt que ce l’on voit habituellement dans les musées d’art contemporain de France et de Navarre. Les artistes y sont les mêmes, les oeuvres tout aussi souvent indigentes. Bien sûr il y a quelques propositions fortes, de bonnes idées, dans un flot de choses plus désoeuvrantes les unes que les autres. Mais on ne le dira pas, ce serait très mal vu de critiquer la quintessence artistique contemporaine. Donc François Pinault a choisi de présenter sa collection, à Venise, dans deux lieux stratégiques de la ville, Le Palazzo Grassi et Punta Della Dogana. De très beaux lieux, bien rénovés, héritage d’un passé glorieux, dans une ville en perdition. Des lieux pour lesquels de nombreux sponsors ont été mis à contribution et qui ne se visitent pas pour autant gratuitement, cela semble même un bisness d’un bon rapport, à 20 euros l’entrée, et 17 euros tarif réduit ! Car on ne passe pas à Venise sans céder à la tentation, évidemment !

]]> exposition tag:blogger.com,1999:blog-887111627460455077.post-9156851369520256806 MuséoGraphie-MuséoLogie noreply@blogger.com Mon, 18 Jan 2010 18:51:00 GMT http://xfruits.com/dianed/?id=37100&clic=492311303&url=http%3A%2F%2Fwww.formation-museographie-museologie.com%2F2010%2F01%2Fretour-au-macval.html Retour au MacVal, Musée d'art contemporain du Val de Marne, pour le volet Après de l'exposition Christian Boltanski. Si le concept est intéressant, l'expérience que le visiteur est censé ressentir nous a laissé un peu froid. C'est d'autant plus frustrant que les oeuvres de l'artiste nous ont souvent touchées. Les installations vues notamment au Grand Hornu, au Luxembourg, nous avaient bouleversées. Peu importe, c'était aussi l'occasion de visiter la présentation 3 du MacVal et de constater une fois encore la qualité et la pertinence de ce lieu. Si la visite la veille au Palais de Tokyo avait été une agréable sortie pour discuter entre amis au gré d'une ballade dans des salles dans lesquelles des artistes avaient parait-il sévis, la discussion permettait de ne pas trop s'interroger sur la vacuité de tous ces artistes sans art... Le MacVal permet en revanche de renouer avec un art contemporain un peu moins affligeant, et de croire que ce milieu puisse même avoir une certaine éthique.

]]> exposition tag:blogger.com,1999:blog-887111627460455077.post-4870637531172706409 MuséoGraphie-MuséoLogie noreply@blogger.com Fri, 22 Jan 2010 19:05:00 GMT http://xfruits.com/dianed/?id=37100&clic=492311302&url=http%3A%2F%2Fwww.formation-museographie-museologie.com%2F2010%2F01%2Fde-la-gratuite-dans-les-musees.html

Séminaire sur les politiques tarifaires organisé par et avec nos collègues de l’Université de Franche-Comté, dans le cadre du PRES, ce mariage qui unit désormais les universités appelées à se rapprocher, voire à fusionner. Nous développons dans ce cadre des séminaires communs pour les étudiants des formations des deux universités. Premier séminaire à Dôle, ville où l’université sévissait au moyen-âge, avant que Besançon et Dijon ne s’imposent. Réflexions autour des questions de gratuité dans les musées, et plus généralement de politiques tarifaires, avec Jacqueline Eidelmann, Claude Fourteau, Dominique Bourgeon-Renault, François Mairesse, Jean-Michel Tobelem... les étudiants et des professionnels des musées. Enquêtes, approches théoriques, débats et controverses... Journée stimulante qui en appelle d’autres.

Pour le programme, voir le site de l’UFC : http://www.publicsdelaculture.com/index.html

Pour les séminaires, voir : http://web.me.com/cserge1/Séminaires_Denis_Diderot/Podcast/Podcast.html ( à coller dans votre navigateur)

]]> séminaire muséologie tag:blogger.com,1999:blog-887111627460455077.post-3164797614548845223 MuséoGraphie-MuséoLogie ]]> http://newmouseion.wordpress.com/2010/01/22/seminario-de-investigacao-em-museologia-2009/#comments Fri, 22 Jan 2010 11:46:07 GMT http://xfruits.com/dianed/?id=37100&clic=491990198&url=http%3A%2F%2Fnewmouseion.wordpress.com%2F2010%2F01%2F22%2Fseminario-de-investigacao-em-museologia-2009%2F

O vídeo que lhes permitirá saber algumas opiniões sobre o importante seminário de Museologia que a Universidade do Porto organizou no ano passado.

]]> Conferências http://newmouseion.wordpress.com/?p=634 Mouseion ]]> http://newmouseion.wordpress.com/2010/01/22/10%c2%ba-congresso-de-bad/#comments Fri, 22 Jan 2010 11:02:00 GMT http://xfruits.com/dianed/?id=37100&clic=491990199&url=http%3A%2F%2Fnewmouseion.wordpress.com%2F2010%2F01%2F22%2F10%25c2%25ba-congresso-de-bad%2F

Um bom exemplo do que deve ser a utilização das novas tecnologias (web 2.0 e afins) ao serviço de uma comunidade profissional é o que a BAD vem dar na organização do seu 10º Congresso. Facebook, twitter (#10BAD), blog e Youtube ao serviço da constante informação sobre os desenvolvimentos do congresso e, posteriormente, na publicação das conclusões e notícias afins.

Um exemplo a seguir em futuros congressos de museologia.

]]> Conferências http://newmouseion.wordpress.com/?p=632 Mouseion ]]> http://www.buzzeum.com/2010/01/monumenta-2010-soiree-debat-blogueurs-autour-de-la-mediation-de-demain/#comments Thu, 21 Jan 2010 22:17:39 GMT http://xfruits.com/dianed/?id=37100&clic=489700576&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2FBuzzeum%2F%7E3%2F28dEd0PQjtA%2F A la Une http://www.buzzeum.com/?p=1814 BUZZEUM ]]> http://nomundodosmuseus.wordpress.com/2010/01/21/planeamento-estrategico-museus-para-o-sec-xxi/#comments Thu, 21 Jan 2010 11:57:10 GMT http://xfruits.com/dianed/?id=37100&clic=490737212&url=http%3A%2F%2Fnomundodosmuseus.wordpress.com%2F2010%2F01%2F21%2Fplaneamento-estrategico-museus-para-o-sec-xxi%2F

O Plano Estratégico do Instituto dos Museus e da Conservação (IMC): Museus para o séc. XXI foi ontem (20/01/2010) apresentado diante de uma audiência que encheu por completo a sala do Museu de Arte Popular onde se realizou a conferência de imprensa.

A sessão foi inaugurada pelo Secretário de Estado da Cultura, Elísio Summavielle, que introduziu alguns dos tópicos que fazem hoje a actualidade e os problemas dos museus nacionais. Seguiu-se o director do IMC, João Carlos Brigola, que apresentou o plano estratégico, destacando alguns dos aspectos considerados mais relevantes do documento.

João Carlos Brigola começou por sublinhar que este não é um documento fechado, mas sim um conjunto de fundamentos gerais que deverão orientar a acção do IMC.

Este plano tem em linha de conta 31 prioridades de intervenção e estrutura-se em seis eixos de trabalho:

EIXO 1. Reenquadramento do sistema de gestão dos museus tutelados pelo MC/IMC.

EIXO 2. Inovação de modelos de funcionamento nos museus e palácios do MC/IMC.

EIXO 3. Governança de proximidade com os representantes e associações profissionais dos sectores da Cultura, das Universidades, da Museologia e da Conservação e Restauro, e com os municípios, as regiões autónomas, entidades públicas, as dioceses, as misericórdias, as fundações e outros agentes.

EIXO 4. Consolidação e crescimento sustentado da Rede Portuguesa de Museus.

EIXO 5. Política coerente e integrada de preservação, estudo, documentação e comunicação das colecções de bens materiais móveis e imóveis, sob a sua tutela, e do património imaterial.

EIXO 6. Qualificação profissional e formação académica e científica dos recursos humanos do IMC.

Para conhecer o documento em detalhe clique no seguinte endereço:
Planeamento Estratégico: Museus para o séc. XXI

]]> Cultural Policies http://nomundodosmuseus.wordpress.com/?p=2556 No Mundo dos Museus... ]]> http://nomundodosmuseus.wordpress.com/2010/01/21/antonio-filipe-pimentel-na-direccao-do-museu-nacional-de-arte-antiga/#comments Thu, 21 Jan 2010 11:31:24 GMT http://xfruits.com/dianed/?id=37100&clic=490737213&url=http%3A%2F%2Fnomundodosmuseus.wordpress.com%2F2010%2F01%2F21%2Fantonio-filipe-pimentel-na-direccao-do-museu-nacional-de-arte-antiga%2F

Sobre António Filipe Pimentel destacamos: é doutorado em História de Arte pela Universidade de Coimbra; foi pró-reitor com competências na área do Património e da candidatura da Universidade a Património Mundial; foi ainda director do Instituto de História de Arte da Faculdade de Letras da Universidade de Coimbra; mais recentemente, estava na direcção do Museu Grão vasco em Viseu.

Mais detalhes sobre o seu currículo:

Percurso Académico

2003: Doutoramento na área de História, especialidade de História da Arte, pela Universidade de Coimbra, com a dissertação A Morada da Sabedoria. I – O Paço Real de Coimbra: das origens ao estabelecimento da Universidade

1991: Mestrado em História Cultural e Politica da Época Moderna, pela Universidade de Coimbra, com a dissertação O Real Edifício de Mafra: arquitectura e poder

1985: Licenciatura em História, variante de História da Arte, pela Universidade de Coimbra

Cargos/Funções/Distinções

2007-: Investigador permanente do Centro de Estudos Arqueológicos das Universidades de Coimbra e Porto, Grupo de Estudos Multidiscioplinares em Arte.
2007-: Investigador permanente do Centro de Arte y Património Universitário da Universidade de Salamanca
2007-: Pró-Reitor da Universidade de Coimbra, com competências na área do Património e da Candidatura da Universidade a Património Mundial (UNESCO).
2006/07: Docente visitante na Universidade Católica Portuguesa (Centro Regional do Porto), no Curso de Mestrado e Doutoramento em Artes Decorativas
2006/07: Docente visitante na Universidade Católica Portuguesa (Lisboa), no Mestrado em Artes Decorativas
2006/07: Coordenador, por nomeação do Ministério da Educação, do grupo encarregado da elaboração do programa da disciplina de História da Cultura e das Artes, a implementar a partir do ano lectivo de 2006/07 nas escolas do Ensino Técnico
2005-2006: Membro da Comissão para a Reflexão sobre o Ensino das Artes na Universidade de Coimbra.
2005-: Director do Instituto de História da Arte da Faculdade de Letras da Universidade de Coimbra
2005: Docente visitante na Facultade de Xeografia e História da Universidade de Santiago de Compostela, no âmbito dos cursos de Doutoramento em História da Arte
2004/05: Coordenador, por nomeação do Ministério da Educação, do grupo encarregado da elaboração do programa da disciplina de História da Cultura e das Artes, implementado a partir do ano lectivo de 2004/05 nas escolas do Ensino Artístico Especializado e a ser adoptado, a partir do ano lectivo de 2006/07 na rede de escolas do Ensino Secundário
2004: Membro da Comissão Científica da Candidatura da Universidade de Coimbra a Património Mundial (UNESCO).
2004: Membro da Sociedade Científica da Universidade Católica Portuguesa (secção de História – História da Arte)
2003/04: Docente visitante na Universidade Católica Portuguesa (Centro Regional do Porto), no Mestrado em Artes Decorativas
2002: Membro do Conselho Científico da Comissão Instaladora do Museu da Presidência da República (Palácio de Belém).
2001: Membro da Comissão ad hoc para a reforma do plano curricular da Licenciatura em História e Variantes.
1999-: Membro permanente do Júri do Prémio Dr. Vasco Valente de artes decorativas, a convite do Círculo Dr. José de Figueiredo, do Museu Nacional de Soares dos Reis (Porto)
1998: Académico Correspondente Nacional da Academia Nacional de Belas-Artes
1998: Membro do júri do Prémio Gulbenkian de História da Arte 1996-1997.
1996: Prémio Gulbenkian de História da Arte 1992-94, atribuído pela Fundação Calouste Gulbenkian à obra Arquitectura e Poder, o Real Edifício de Mafra
1990/92: Secretário do Instituto de História da Arte da Faculdade de Letras da Universidade de Coimbra
1987/88: Secretário do Instituto de História da Arte da Faculdade de Letras da Universidade de Coimbra

Algumas Publicações

2007 – “António Canevari e a Torre da Universidade de Coimbra, Actas do VII Colóquio Luso-Brasileiro de História da Arte, Porto, Faculdade de Letras da Universidade do Porto
2007 – “Da nova ordem à nova ordenação: ruptura e continuidade na Real Praça do Comércio, Praças Reais, Universidade Autónoma de Lisboa, Lisboa
2005 – “À Flandres por devoção e à Itália por ostentação — ou ao invés. As razões do Manuelino”, Ao Modo da Flandres… Disponibilidade, inovação e mercado de arte na época dos Descobrimentos (1415-1580), Madrid, Fernando Valverde Ediciones
2005 – A Morada da Sabedoria. I – O Paço Real de Coimbra: das origens ao estabelecimento da Universidade, Coimbra, Almedina
2004: “A Sagração do Reino: em torno do(s) projecto(s) da Sé Velha”, Artis. Revista do Instituto de História da Arte da Faculdade de Letras de Lisboa, nº 3, Lisboa
2003: “A Noite e a Cidade”, José Maria PIMENTEL, António Filipe PIMENTEL, Coimbra Fora d’Horas, Elo, Mafra
2002: “O Tempo e o Modo: o retábulo enquanto discurso”, El Retablo, tipologia, iconografia y restauración, VILA JATO, María Dolores (dir.), Xunta de Galícia
2000: “D. João V e a festa devota: do espectáculo da política à política do espectáculo”, Arte Efémera em Portugal, Lisboa, Fundação Calouste Gulbekian
2000 – “Um Olhar Perspicaz: Robert Smith e o Monumento de Mafra”, Robert C. Smith: a investigação na História da Arte/Research in History of Art, Fundação Calouste Gulbenkian, Lisboa
2000 – “Ourivesaria luso-brasileira do ciclo do ouro e dos diamantes”, “Percursos do Barroco nos caminhos do Atlântico: o culto e o tesouro açoreano do Senhor Santo Cristo dos Milagres”, “A Honra e os seus ícones: sobre a joalharia de função”, “Uma jóia em forma de templo: a Capela de São João Baptista”, Oceanos, nº 43, “A ourivesaria luso-brasileira do ciclo do ouro e dos diamantes”, Lisboa, Julho-Setembro
2000 – “Cidade do Saber/Cidade do Poder: a arquitectura da Reforma”, ARAÚJO, Ana Cristina (coord. de), O Marquês de Pombal e a Universidade, Coimbra, Imprensa da Universidade
1999 – “Propaganda Fidei: a representação gravada da Rainha Santa Isabel”, “De Mosteiro-Panteão a Mosteiro-Palácio: notas para o estudo do Mosteiro Novo de Santa Clara de Coimbra”, Imagen de la Reina Santa. Santa Isabel, Infanta de Aragón y Reina de Portugal, Zaragoza, Deputación de Zaragoza, vol. I e vol. II.
1999 – “Honra e Esplendor: Da joalharia honorífica portuguesa do século XVIII”, I Colóquio Português de Ourivesaria, Actas, Porto, Círculo Dr. José de Figueiredo
1998 – “Domus Sapientiæ, o Paço das Escolas da Universidade de Coimbra”, “Uma empresa esclarecida: a Biblioteca Joanina”, Monumentos, nº 8, Direcção Geral dos Edifícios e Monumentos Nacionais, Lisboa
1996 – “Família Garbo”, “Gaspar Ferreira”, “João António Bellini de Pádua”, “João Grossi”, “João José de Aguiar”, “Joaquim José de Barros Laborão”, “Joaquim Marques dos Santos”, “Lamego”, “Manuel Dias”, “São Martinho de Tibães”, The Dictionary of Art, Macmillan Publishers Limited, Londres
1995 – “Repercussões do tema do palácio-bloco na arquitectura portuguesa”, Actas del VII Simposio Hispano-Portugués de Historia del Arte, “Las relaciones artísticas entre España y Portugal: artistas, mecenas y viajeros”, Junta de Extremadura – CEXECI, Badajoz
1995 – “Retórica da morte: cinco túmulos portugueses na transição do século XVIII para o XIX”, Estudios de Arte, Homenage al Professor Martín González, Universidad de Valladolid, Secretariado de Publicaciones
1995 – Histoire de L’Art, peinture, sculpture, architecture, Hachette Éducation, Paris (com Jean-François FAVRE, Dietrich GRUNEWALD e Jacek DEBICKI) (12ª ed., Hachette Éducation, Paris, 2004) (1ª ed. Alemanha, Enrnst Klett Verlag, Stuttgart, 1996; 1ª ed. Eslovénia, Modrijan, Ljubljana, 1998; 1ª ed. Eslováquia, Mladé Letá, Bratislava, 1998; 1ª ed. Polónia, Wydawnictwa Szkolne i Pedagogiczne, Warszawa, 1998)
1994 – “L’architecture d’une idée: le palais-monastère de Mafra”, Monuments Historiques, nº 192, Paris, Novembro
1994 – “Real Basílica de Mafra: salão de trono e panteão de reis”, Boletim Cultural ´93, Mafra, Câmara Municipal de Mafra
1992 – Arquitectura e Poder, o Real Edifício de Mafra, Coimbra, Instituto de História da Arte, Faculdade de Letras, Universidade de Coimbra (2ª ed., Lisboa, Livros Horizonte. 2002)
1992 – “O gosto oriental na obra das estantes da Casa da Livraria da Universidade de Coimbra”, Actas do IV Simpósio Luso-Espanhol de História da Arte, Portugal e Espanha entre a Europa e Além-Mar, Coimbra
1991 – “Les grandes entreprises du Roi D. João V”, Triomphe du Baroque (coord. José TEIXEIRA), Cat., EUROPÁLIA 91-PORTUGAL.
1991 – “Une sensibilité de splendeur”, La Magie des pierres et des couleurs, bijoux portugais du XVIe-XIXe siècles (coord. Leonor D’OREY), Cat., EUROPÁLIA 91-PORTUGAL.
1991 – “Vivência da morte no tempo do Barroco: tumulária portuguesa dos séculos XVII e XVIII”, Actas do I Congresso Internacional do Barroco, Porto
1989 – “Bibliotecas”, “Carlos Gimac”, “Chinoiserie”, “Claude de Laprade”, “Escadaria”, “Estilo Joanino”, “Frei Manuel Pereira”, “Gaspar Ferreira”, “Jacinto Vieira”, “Jean Baptiste Robillon”, “Palácio de Queluz”, “Tumulária”, Dicionário da Arte Barroca em Portugal (dir. PEREIRA, José Fernandes), Presença, Lisboa

Actuais interesses científicos

Barroco áulico
Arquitectura das bibliotecas
Património universitário
Joalharia de função

(Fonte: http://www.ihauc.com/)

]]> Museology http://nomundodosmuseus.wordpress.com/?p=2546 No Mundo dos Museus... ]]> http://nomundodosmuseus.wordpress.com/2010/01/21/paulo-henriques-deixa-a-direccao-do-museu-de-arte-antiga/#comments Thu, 21 Jan 2010 11:21:49 GMT http://xfruits.com/dianed/?id=37100&clic=490737214&url=http%3A%2F%2Fnomundodosmuseus.wordpress.com%2F2010%2F01%2F21%2Fpaulo-henriques-deixa-a-direccao-do-museu-de-arte-antiga%2F

No comunicado de imprensa do Ministério da Cultura, que transcrevemos em baixo, são justificadas as razões que levaram ao afastamento de Paulo Henriques do Museu Nacional de Arte Antiga (MNAA).

Ministério da Cultura

Esclarecimento sobre a não recondução do director do Museu Nacional de Arte Antiga

A nomeação do Dr. Paulo Henriques para a direcção do Museu Nacional de Arte Antiga (MNAA) ocorreu em Setembro de 2007, para um prazo de três anos, que se completaria em Setembro de 2010.

O cargo de director do MNAA está equiparado ao lugar de Subdirector geral, pelo que, de acordo com a legislação vigente, os cargos de directores gerais e de subdirectores gerais cessam automaticamente com a tomada de posse de um novo Governo, colocando-se então dois cenários possíveis: a recondução ou a não recondução no cargo.

No caso do Dr. Paulo Henriques, director do MNAA, estamos perante um caso de não recondução, no âmbito de uma nova orientação estratégica dos organismos do Ministério da Cultura, em consonância com o Programa do XVIII Governo Constitucional, em que se inclui o Plano Estratégico para os Museus do Séc. XXI.

(Fonte: http://www.governo.gov.pt/)

]]> Museology http://nomundodosmuseus.wordpress.com/?p=2548 No Mundo dos Museus... noreply@blogger.com Thu, 21 Jan 2010 09:45:00 GMT http://xfruits.com/dianed/?id=37100&clic=488023768&url=http%3A%2F%2Fwww.museumsblog.de%2F2010%2F01%2Fdie-schone-industriebrache.html Manchmal öffnen die Banken in Frankfurt ihre Türen und lassen die Öffentlichkeit teilhaben an ihren Kunstschätzen. Was die DZ-Bank nun zeigt, ist ein fotografisches Juwel: über 50 Werke der Frankfurter Fotografin Inge Rambow. Die Retrospektive mit dem Namen Niemandsland ist als Hommage zum 70-sten Geburtstag der Fotografin gedacht. Die Fotografien reichen über einen längeren Zeitraum und zeigen verschiedene Aspekte der Schaffensperiode.

Mit Niemandsland sind die leeren Deponien und Industriebrachen gemeint, die die Fotografin seit den 1990er Jahren so unglaublich ästhetisch einfängt. Sie erstellt nicht Schnappschüsse, sondern Fotografien, die an Landschaftsmalerei erinnern - so durchdacht erscheint die Konstruktion. Die Werke aus der Serie Luna Baedeker Buna sehen von weiten aus wie schöne Landschaften: die Farben leuchten warm und sinnlich. Erst dann sieht man, dass es sich um Deponien handelt, um Abbruchstellen, in denen der Mensch zwar nicht mehr da ist, aber doch reichlich Spuren der Verwüstung hinterlassen hat.
Auch Fotografien aus ihrer bekanntesten Serie Wüstungen sind zu sehen - Aufnahmen aus ehemaligen Braunkohleabbaugebieten in Sachsen.

Die Werke reichen zurück zu Beginn bis in die 1970er Jahren, als Rambow in schwarzweiss ihre nächste Umgebung im heimischen Taunus fotografierte - mit dem Blick für's Detail und ungewöhnlichen Sujets.
Insgesamt eine sehr anregende Ausstellung, schön und luftig gehängt in angenehmen Räumlichkeiten.

Über die Ausstellung hier nachzulesen in der Frankfurter Rundschau, auf hr-online und auf dem Kulturportal Hessen.
Die Ausstellung ist im Art Foyer der DZ BANK, Platz der Republik bis zum 17. April zu sehen, von Di – Sa 11 bis 19 Uhr.

Die Fotografien von Inge Rambow bei der Deutschen Börse.

]]> Fotografie tag:blogger.com,1999:blog-30172924.post-5531512835091058441 Museumsblog One of my favorite theoretical constructs is "social objects"--the idea that the most consistent social and dialogue experiences are mediated through shared experience of artifacts, stories, or images. In 2005, Jyri Engestrom coined the term "social objects" and the related "object-centered sociality" in the context of designing successful online social networks, and I've been applying the idea in the physical design of exhibits. The basic idea is that by providing tools for people to discuss and share objects, they can come together in collective experience.

In a physical setting, I've found that successful social objects tend to be provocative, relational, active, or personal. Dogs and stuck elevators are social objects. Exhibits that visitors point at or photograph themselves with are social objects. Exhibits that ask visitors to work together or compete are social objects. Social objects help us connect with others, and they become focal points for conversations with friends and strangers alike.

Today, a colleague introduced me to a different description of social objects, one that comes from the world of poetry instead of technology. The term is "the third thing," and it is the title of a moving essay by poet Donald Hall (also written in 2005), about his relationship with his deceased wife, poet Jane Kenyon. Hall wrote:

We did not spend our days gazing into each other’s eyes. We did that gazing when we made love or when one of us was in trouble, but most of the time our gazes met and entwined as they looked at a third thing. Third things are essential to marriages, objects or practices or habits or arts or institutions or games or human beings that provide a site of joint rapture or contentment. Each member of a couple is separate; the two come together in double attention. Lovemaking is not a third thing but two-in-one. John Keats can be a third thing, or the Boston Symphony Orchestra, or Dutch interiors, or Monopoly.

Have you ever experienced not just a social experience, but "shared rapture" in a cultural institution? My mind immediately jumps to the James Turrell exhibit at the Mattress Factory, which I visited in 2002 with my best friend. It was in the middle of a snowstorm, and we were driving across the country. We'd heard about the museum but didn't know what to expect. What we found was an incredible exhibit of light sculptures, each of which required you to enter through a hallway of pitch darkness. We were nervous. We held hands. We were delighted. It was not just memorable; it was an experience that helped defined our friendship.

Was the exhibit a third thing because of who we were and what we brought with us, or because of what it was? Probably some of both. This leaves me wondering how "designable" third things are.

I think of social objects as (at least somewhat) designable. I often work with museum professionals to design exhibits to be more consistently social for a range of visitors. But third things are about the unique passions and connections between friends and lovers, not general sociality. Could you imagine a way for cultural institutions to help cultivate third thing-ness, or do you see that as something too personal and idiosyncratic to be intentionally encouraged?

]]> Thu, 21 Jan 2010 01:51:00 GMT http://xfruits.com/dianed/?id=37100&clic=490424813&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2Fmuseumtwo%2F%7E3%2F9cqJkZzFZwE%2Fpoetic-take-on-social-objects-third.html Unusual Projects and Influences tag:blogger.com,1999:blog-37032121.post-6321593117688987578 Museum 2.0 ]]> http://www.ideum.com/2010/01/true-multitouch-with-adobe-flash/#comments Thu, 21 Jan 2010 00:46:29 GMT http://xfruits.com/dianed/?id=37100&clic=493494462&url=http%3A%2F%2Fwww.ideum.com%2F2010%2F01%2Ftrue-multitouch-with-adobe-flash%2F Since Adobe announced support for multitouch back in November, there has quite a bit of confusion surrounding Flash multitouch support. Recently, we downloaded an example from Adobe’s site to try out the built-in support for ourselves.

Adobe unveiled some multitouch examples using the built-in support found in the beta releases of Adobe AIR 2 and Flash 10.1 Adobe MAX back in November. A YouTube video of the presentation from Adobe MAX shows the limitations of the multitouch currently found in Flash 10.1 and AIR 2.

There is no support for multiple simultaneous gestures.  In other words, you can scale or rotate, but you can’t scale and rotate at the same time. Support for “drag” is limited to a one-finger drag (using a mouse event). The Adobe Max examples show simple, single gestures and a lot of single-finger dragging.

Adobe’s limited incarnation of multitouch may work for simple applications using dual-touch systems, but it seems entirely inadequate for complex applications, multiuser apps, or for development on the growing list of multitouch devices supporting more than two points.

Here’s a video comparison that we developed using the example found on the Adobe website. It directly compares Adobe’s upcoming built-in support to that of our Gestureworks multitouch framework for Flash (available today).

We feel this video clearly demonstrates the significant differences between Adobe’s built-in support and the multitouch support provided via Gestureworks. You can try the Adobe example yourself at the Adobe’s Developer Connection and get a Trial Version of Gestureworks, and download the example apps (.zip 343K) we used in our video to see for yourself. You might also want to see the Multitouch + NUI blog which brought up concerns about Adobe’s implementation back in November.

]]> Adobe http://www.ideum.com/?p=1968 Ideum » Blog isabelvictor150@hotmail.com Wed, 20 Jan 2010 23:08:00 GMT http://xfruits.com/dianed/?id=37100&clic=492959957&url=http%3A%2F%2Fmusealogando.blogspot.com%2F2010%2F01%2Fplano-estrategico-para-os-museus-do.html

Albrecht Dürer (1471-1528)

O que vem a lume, são as demissões (nomeadamente a do director do Museu de Arte Antiga), as nomeações e outras re.conduções, assim justificadas em comunicado do gabinete da Ministra da Cultura:


"a opção de não recondução no cargo por Paulo Henriques vem no 'âmbito de uma nova orientação estratégica dos organismos do ministério da Cultura, em consonância com o Programa do XVIII Governo Constitucional, em que se inclui o Plano Estratégico para os Museus do Século XXI'.


Aqui, na Antena 1, pode ouvir:
http://tv1.rtp.pt/noticias/?t=Antonio-Filipe-Pimentel-e-o-novo-director-do-Museu-Nacional-de-Arte-Antiga.rtp&headline=46&visual=9&article=312259&tm=4


Quanto ao plano estratégico terá que ser bem esmiuçado, sobretudo no que respeita à mudança da tutela de alguns museus do IMC para as Câmaras Municipais.

]]> tag:blogger.com,1999:blog-36609144.post-1742021991753374867 Musealogando ]]> http://www.buzzeum.com/2010/01/android-est-il-un-terrain-a-conquerir-par-les-musees/#comments Wed, 20 Jan 2010 08:00:11 GMT http://xfruits.com/dianed/?id=37100&clic=489700577&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2FBuzzeum%2F%7E3%2F-kZ8ECc0jFY%2F A la Une http://www.buzzeum.com/?p=1778 BUZZEUM noreply@blogger.com Tue, 12 Jan 2010 09:17:00 GMT http://xfruits.com/dianed/?id=37100&clic=492311304&url=http%3A%2F%2Fwww.formation-museographie-museologie.com%2F2010%2F01%2Fparce-queue.html

Voyage annuel à Neuchâtel avec les étudiants de muséologie patrimoine. Au menu des réjouissances, l’exposition du muséum d’histoire naturelle, Parce Queue. Belle exposition anthropologique, transversale sur un sujet bizarre et incongru, qui se révèle après visite aussi sérieux et passionnant qu’on le croyait d’abord futile. Voilà comment surprendre le visiteur, l’instruire, le faire rire, car l’humour est, comme toujours au muséum de Neuchâtel, très présent. On fait la queue évidemment pour entrer dans l’exposition et un clin d’oeil en fin d’exposition nous rappelle que l’inauguration s’est faite à la queue leu leu ! Intelligente approche qui de la queue de poisson aux imaginaires de sirène et aux variantes mythologiques, de l’usage à l’inutilité de la queue des mammifères en passant par les fantasmes masculins ne laisse aucun sujet de côté. Mais ne gâchons aucune surprise, encore une belle démonstration du savoir faire en matière d’exposition à partir d’un scénario tenu, d’une scénographie inventive et d’une démarche audacieuse. Jusqu’où iront-ils ? On brûle de savoir quels thèmes, le muséum nous réserve à l’avenir !

]]> exposition tag:blogger.com,1999:blog-887111627460455077.post-6340912558557500041 MuséoGraphie-MuséoLogie ]]> http://www.buzzeum.com/2010/01/les-derniers-projets-multimedias-du-va/#comments Mon, 18 Jan 2010 08:00:35 GMT http://xfruits.com/dianed/?id=37100&clic=489700578&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2FBuzzeum%2F%7E3%2FtshhBU-0a6I%2F A la Une http://www.buzzeum.com/?p=1768 BUZZEUM noreply@blogger.com Sun, 10 Jan 2010 18:40:00 GMT http://xfruits.com/dianed/?id=37100&clic=488023770&url=http%3A%2F%2Fwww.museumsblog.de%2F2010%2F01%2Fwohnhaus-studio-archiv-galerie.html
Für Nina Gorgus, der ich viele inspirierende Texte, Unterstützung als Neo-Blogger und die Entdeckung neuer Museen verdanke. Gottfried Fliedl

Wohnhaus, Studio, Archiv, Galerie, Antikensammlung, Bibliothek, Gruft? Von allem etwas, aber sicher nicht das was wir landläufig unter Museum verstehen. Zu Lebzeiten seines Schöpfers war es das auch nicht, sondern Wohnsitz der Familie Soane. Dieses Hybrid von Räumen, Gängen, Treppen, Schächten, Durchblicken, Vexierbildern ist – heute – John Soane’s Museum. Eines der merkwürdigsten, bizarrsten, interssantesten Museen überhaupt.

John Soane (1753 - 1837) galt bereits zu Lebzeiten und gilt bis heute als einer der bedeutendsten englischen Architekten. Von dem Einkommen, das er aus seinen Projekten bezog - darunter war eine der wichtigsten und größten Bauaufgaben seiner Zeit, der Neubau der Bank of England –, und auf Grund von Erbschaften konnte er sich, als angesehener und wohlhabender Mann, im Londoner Lincoln's Inn Fields niederlassen.
Er erwarb dort das Haus Nr.12 und nach und nach zwei benachbarte Häuser und baute sie in Etappen aus. Zum Entsetzen seiner Erben vermachte er alles dem Staat und bestimmte in einer testamentarischen Verfügung, dieses Ensemble unverändert als Museum der Öffentlichkeit zu bewahren - for the benefit of Amateurs and Students of Painting, Sculpture and Architecture. Dieser Wunsch wurde nach Soanes Tod erfüllt, das Museum öffnete noch in seinem Todesjahr und so blieb dieser einzigartige Ort seither weitgehend unverändert erhalten.


Die elegante und schlichte Fassade und der schmale Korridor, den man hinter der Eingangstür findet, lassen nicht ahnen, in welch labyrinthisch verzweigtes Pasticcio von Räumen man sich gleich verirren wird. Vertikale und horizontale Durchbrüche lenken den Blick auf ständig wechselnde Sichtachsen, von raffiniert konstruierten verdeckter, z.T. von buntem Glas gefilterter Belichtungen magisch erhellte Räume verschachteln und verschieben sich wie Kulissen ineinander, Verspiegelungen und Nischen und diaphane Wandteile verrätselten zusätzlich die Rumstruktur. Kunstwerke, wie z. B. eine Florabüste, sind vor Spiegelglas aufgestellt und spiegeln ihr Spiegelbild ihrerseits wieder in einem konvexen Rundspiegel.
Nicht genug damit. Soane hatte eine Vorliebe für in die Decke eingelassene, gewölbte, runde Konvexspiegel, die den umliegenden Raum wie in einem Brennglas fangen und Raum und Ausstattung verfremden.
Der Grundriss sieht recht überschaubar aus, aber es scheint der Architekt alles unternommen zu haben, um über diesem rationalen Raster ein Reich der überraschenden Übergänge, der beständigen Verwandlung, der Auflösung der festen Grenzen, des flutenden Lichts zu schaffen. Die Räume sind auf recht unterschiedliche Weise untereinander verbunden, nicht alle kann man betreten, aber man kann in sie hineinsehen und andere bilden überlegt inszenierte Blicke auf Räume, Raumteile oder ein bestimmtes Arragement von Objekten.
Soane scheint sein Haus wie ein Regisseur genutzt zu haben, das er Interessierten wie eine Bühne öffnete, aber nur wenn das ihm geeignet scheinende Licht herrschte, lumiére mysterieuse, das den Dingen ein eigentümliche Zwischendasein zwischen Schatten und Helligkeit verleiht.

Alle Räume sind Auf- und Ausstellungsorte für Soane’s Sammlung aberhunderter Objkete: Kunstwerken, Fragmente, Spolien, Kopien, Gemälde, Zeichnungen, Pläne, Statuen, Büsten, Ornamente, Figurinen, Architekturskizzen, Modelle. An die 3000 Objekte umfasst die Sammlung überwiegend ägyptischer, griechischer und römischer Objekte. Und das in einer keineswegs musealen, sondern in einer – zumindest nicht auf den ersten und zweiten Blick – durchschaubaren, rätselhaften Mischung.Die von Museen gewohnte chronologisch-kunsthistorische Ordnung, die sich in jener Zeit in Museen durchsetzt, gibt es hier nicht. Völlig unterschiedliche Dinge halten engste Nachbarschaft, weder nach Größe, Herkunft, Stil oder Funktion vergleichbar.
Tatsächlich gibt es all die einzelnen Funktionen, die man von einem (gutbürgerlichen) Haus erwartet – die wohnlichen Räume, einen Ankleideraum, einen Speiseraum usw., aber auch ein Studio, in dem Soane mit seinen Architekturstudenten arbeitete, die Bildergalerie (picture room), die durch eine ingeniöse Anordnung verschiebbarer und aufklappbarer Wände in einem verhältnismäßig kleinen Raum viele Werke aufnehmen kann, dann aber auch eine Art Binnenhof, monks parlour, der mit einschlägigen Spolien bestückt, Soane als Bühne für gesellige Zusammenkünfte diente. In der 'mittelalterlichen' Mönchszelle - die von manchen Interpreten als Parodie auf die zeitgenössiches Gotik-Mode gedeutet wird -, mit ihren bleiverglasten Fenstern und einer morbiden Ausstattung wie einem hölzernen Skelett, versammelte Soane die Gäste zum Nachmittagstee.

In den sogenannten Katakomben - die ihren Namen nach den in ihnen auf gestellten Aschenurnen erhielten - steht im Zentrum ein römischer Altar des 2. Jahrhunderts nachchristlichen Jahrhunderts. Der Raum enthält aber unter anderem auch Porträtbüsten der Kaiserzeit, Aschenurnen, von denen eine wiederum aus dem Besitz von Giovanni Battista Piranesi stammt, Reliefs mit Theatermasken, die aus Pompeji stammen, den Torso einer knieenden Niobide, die römische Kopie eines tanzenden Satyr, zwei ägyptische Stelen der XXII. Dynastie und vieles andere mehr. Wie im ganzen Haus geht es auch hier weder um eine historische, chronologische oder taxonomische Anordnung, sondern um eine ästhetische, um geheime Verwandtschaften und Beziehungen unter den Dingen, die man als Besucher in einer nie enden wollenden Entdeckungsreise zu entziffern – oder einfach zu genießen - aufgefordert ist.
Wie in durch Foucalts Zitierung berühmt gewordnen Text Borges’, ist es auch hier so, daß das einzig Gemeinsame der Dinge das Fehlen eben eines Gemeinsamen ist, insofern ist es ein unvollendbares Universum, das erst mit dem Tod des Sammlers zum Stillstand kam.

Herzstück des Museums ist The Dome, auch Sepulcral Chamber, Krypta oder Museum genannt, ein durch drei Stockwerke reichender schachtartiger Raum. Als das British Museum seinen Ankauf ablehnte, erwarb Soane den (leeren) Sarkophag Pharao Sethis (oder Sethos) I. - dieser war im Oktober 1817 von Giovanni Battista Belzoni entdeckt und nach London gebracht worden.
Dieser Toten- und Unsterblichkeitsraum im Zentrum des Ganzen ist von Fund- und Sammlerstücken über und über bedeckt und bestückt, wobei er von vielen Seiten her betreten und über eine umlaufende Galerie aus verschiedensten Perspektiven betrachtet werden kann. Hier ist die Lichtregie besonders raffiniert und man muß sich vorzustellen versuchen, daß Kerzenlicht – Soane soll für Gäste Kerzen auch in den Sarkophag gestellt haben - den dicht an dicht arrangierten Objekten einen besonderen Effekt verlieh. So etwas wie einen Nabel des gesamten Ensembles und des gesamten Hauses bildet die Büste Soanes selbst, die auf die auf der gegenüberliegenden Galerie Kopie des Apoll von Belvedere blickt.

Eine Deutung bietet der Kunsthistoriker Donald Preziosi an. Nämlich daß es sich bei begehbaren und bei, z.B. vertikalen, bloß betrachtbaren Raumachsen um freimaurerischen Ritualen folgende Inszenierungen halten, die immer einen Weg der Verwandlung beschrieben, z.B. vom Dunklen zum Licht oder vom Tod zum Leben (wie im Dome). Was hier, extrem vereinfacht zusammengefasst, etwas pedantisch klingen mag, stellt Prezios in den Kontext einer bemerkenswert sicher vorgetragenen erweiterten These auf. Daß nämlich das moderne Museum sowieso eine freimaurerische 'Erfindung' sei. Wofür er etwa das Ashmolean Museum oder Lenoires Musée des Monuments (auf das sich Soane u.a. bezog) als Beispiele nennt - aber auch Soanes Mitgliedschaft und seine architektoniuschen Projekte für die londoner Freimaurer.
Ich bin noch nicht sicher, ob ich Preziosi in dieser Deutung folgen will, aber wenn er damit den Verwandlungscharakter des Museums ins Spiel bringt, kann ich ihm gut folgen. Er rückt damit die zivilisatorische Rolle des Museums der Moderne ins Zentrum und dessen Bedeutung für die Ausbildung, das Prozessieren, das Entwerfen und Erproben individueller wie kollektiver Identitäten ins Zentrum der Museumsidee der Moderne.
Daß das Museum unter anderem 'modern' ist, insofern dies Transformation oder Zivilisierung notwendigerweise immer unabgeschlossen bleiben muß, das macht Soanes kaleidoskopische Maschinerie deutlich.

]]> England tag:blogger.com,1999:blog-30172924.post-6073310191507564390 Museumsblog noreply@blogger.com Thu, 24 Dec 2009 16:06:00 GMT http://xfruits.com/dianed/?id=37100&clic=492311307&url=http%3A%2F%2Fwww.formation-museographie-museologie.com%2F2009%2F12%2Fevaluation.html

Dernier numéro de La Lettre de l'OCIM, consacré à l'évaluation : au sommaire :

• L’observation du Patrimoine et de la Culture Scientifiques et Techniques : un défi collectif et un nouveau chantier pour l’OCIM, Louis-Jean Gachet

• Évaluation muséale : Hermès ou les contraintes de la richesse , Joëlle Le Marec et Serge Chaumier

• Genèse de l’Observatoire du Patrimoine et de la Culture Scientifiques et Techniques , Florence Belaën

• Entretien avec René Rizzardo

• Une culture scientifique et technique au service d’une co-construction des savoirs , Jean-Pierre Cordier, Séverine Dessajan et Jacqueline Eidelman

• Témoignages de pratiques d’évaluation et entretiens avec des professionnels de l’évaluation

]]> publication muséologie tag:blogger.com,1999:blog-887111627460455077.post-2322326771783624402 MuséoGraphie-MuséoLogie noreply@blogger.com Fri, 15 Jan 2010 08:47:00 GMT http://xfruits.com/dianed/?id=37100&clic=488023769&url=http%3A%2F%2Fwww.museumsblog.de%2F2010%2F01%2Fwer-das-moderne-frankfurt-der-1920er.html Wer an das moderne Frankfurt der 1920er denkt, denkt an Ernst May und an die Frankfurter Küche von Magarethe Schütte-Lihotzki. Das es da noch andere ambitionierte Architekten gab, scheint kaum möglich. Erst mit dem Streit um die denkmalgeschützten Großmarkthalle, in die die Europäische Zentralbank ziehen wird, tauchte verstärkt sein Name auf: Martin Elsässer.

Dabei hätte man den Architekten längst kennen können, stehen doch außer der Großmarkthalle noch zahlreiche, wenn auch zum Teil veränderte Gebäude - nicht nur in Frankfurt, sondern etwa auch in Stuttgart und Hamburg.


So hat die Ausstellung über Martin Elsässer, die gerade im Deutschen Architekturmuseum in Frankfurt gezeigt wird, mehrere Ziele: seine überragende Verdienste als Architekt bekannt zu machen und vor allem die Frankfurter Zeit zu würdigen. Martin Elsässer war zwischen 1925 und 1932 künstlerischer Leiter des Hochbauamtes in Frankfurt. Die Nazis wollten ihn nicht mehr beschäftigen, und auch nach dem Weltkrieg konnte er in Deutschland nicht mehr so richtig Fuß fassen.
Die Ausstellung stellt ein abwechslungs- und spannungsreiches Architektenleben dar, realisierte und wie unrealisierte Projekte werden präsentiert. Natürlich sind viele Modelle zu sehen. Die Ausstellung ist klassisch inszeniert und geht chronologisch vor: man liest viel und schaut Fotos an, was aber nicht langweilig wird.
Das Kernstück der Ausstellung bildet die Großmarkthalle, mit Modellen, Entwürfen und Plänen. Sie zeigen, wie umsichtig Elsässer geplant hatte, um alle möglichen Funktionen unterbringen zu können und mit welcher Aufmerksamkeit Elsässer sich auch Details wie Türgriffen widmete. Im Lichthof rührt ein kleines musée sentimental mit Relikten aus der Großmarkthalle an.
Auch die neue Plänen der EZB durch Coop Himmelb(l)au werden präsentiert.

Wer sich etwas für Stadtgeschichte und Architektur interessiert, sollte sich die Ausstellung ansehen. Bis zum 14. März ist dazu noch Zeit. Auf keinen Fall sollte man es auch versäumen, sich die Großmarkthalle nochmals anzusehen, die Annexbauten sind allerdings schon abgerissen.

Am 11. und 12. Februar 2010 findet im DAM das Symposium Martin Elsaesser und seine Zeit(en)
statt.
Noch einige links: Über die Ausstellung in der Frankfurter Rundschau und hier geht es zur Stiftung, die die Erben eingerichtet haben. Hier geht's zum Dossier von der Frankfurter Rundschau über die Großmarkthalle.

]]> Frankfurt am Main tag:blogger.com,1999:blog-30172924.post-4937119245089913895 Museumsblog ]]> http://www.buzzeum.com/2010/01/retour-de-la-formation-de-locim-entre-reel-et-virtuel/#comments Fri, 15 Jan 2010 08:59:46 GMT http://xfruits.com/dianed/?id=37100&clic=489700579&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2FBuzzeum%2F%7E3%2FWotmPAwCy6Y%2F A la Une http://www.buzzeum.com/?p=1758 BUZZEUM Recently I've been looking at ways cultural institutions invite people to self-identify relative to the visit experience. Having your own profile relative to an exhibition can help you find a way "in" to the experience via your own interests. It can also provide a memorable way to connect with other individuals--people you portray--affected by the historical time period on display.

I've noticed two fundamentally different approaches to visitor profiles in exhibitions:

1. internal profiles, in which visitors create a profile that in some way reflects who they are
2. external profiles, in which visitors adopt profiles for historical or fictitious characters

For example, consider the difference between the profiles visitors made in the Walters Art Museum's recently closed Heroes: Mortals and Myths in Ancient Greece exhibition and the traveling Titanic show:

• In Heroes, visitors created profiles by picking a character from Greek mythology with whom they self-identified. Visitors could take an optional personality quiz at kiosks near the exhibition entrance to determine which of eight Greek heroes, gods, or monsters they were most like. The kiosks prompted visitors to take a personalized tag and ID card from bins nearby for “their” hero. The cards provided more information about the heroes and connected them to specific artifacts in the exhibition. Visitors could follow their heroes through Heroes by looking for his/her special icon on the wall. Staff reported that the profiles were popular and that many visitors wore their tags with pride, talking with friends and strangers about their heroes.
• In Titanic, visitors are given "boarding passes" that tell the beginning of a story of a real person who traveled on the Titanic. They cannot find out the final fate of their boarding pass personae until the end of the exhibit. This external profile technique was also used at the US Holocaust Memorial Museum when it first opened to let visitors connect with the stories of particular people affected by the Holocaust. Titanic also includes costumed historical characters, which accentuates the "otherness" of the experience.
  

Both the Heroes and the Titanic profiles allow visitors to connect with characters--some real, some mythological. In the case of Heroes, the power of the experience comes from the feeling that the profile invites you to discover and express who YOU are and to enjoy the exhibition through that lens. By contrast, in Titanic, the power of the experience comes from connecting to a specific person from history, which gives visitors a concrete, personal connection to a historic event.

Internal profiles let visitors get deeper into their own skin, whereas external profiles let them try on someone else's. From a social perspective, both can prompt new discussions. In the case of internal profiles, the conversation tends to be self-focused: What makes me an Athena and you a Heracles? For external profiles, the conversation is other-focused: Why did my person survive the shipwreck but not yours?

There are some profile systems that bridge internal and external identity to help visitors imagine themselves in historical or potential scenarios. Several exhibitions have required visitors to use internal profiles to confront the ugly realities of segregation and profiling. At the Apartheid Museum, visitors are given tickets that reflect their race as perceived by the admissions staff (white or non-white) and are required to enter the museum through separate gates (and different entry exhibits) based on their race. While this kind of profile, like that in Heroes, is internal, it does not allow visitors to present an aspirational version of themselves. Instead, it forces visitors down deterministic paths based on racial identity, and visitors ask themselves: What would it have been like for me to live under apartheid?

Is one of these profile types "better" than the others? I don't think so. But if you are trying to design a profile experience for a particular kind of social reaction, you may want to think about which type is most relevant to your goals. Do you want visitors to learn more about themselves through your exhibition? Or do you want them to connect more deeply with someone else?

]]> Thu, 14 Jan 2010 15:49:00 GMT http://xfruits.com/dianed/?id=37100&clic=490424814&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2Fmuseumtwo%2F%7E3%2FZW97veb8Hjw%2Fwho-am-i-internal-vs-external-role.html exhibition tag:blogger.com,1999:blog-37032121.post-3621005536814348302 Museum 2.0 ]]> http://www.buzzeum.com/2010/01/museumnext-2010-sera-en-avril-a-newcastle/#comments Thu, 14 Jan 2010 14:58:13 GMT http://xfruits.com/dianed/?id=37100&clic=489700580&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2FBuzzeum%2F%7E3%2FsiDMDPyPaNo%2F A la Une http://www.buzzeum.com/?p=1753 BUZZEUM RTP - FOTOGRAMA

Aqui ao minuto 16''37'

]]> Thu, 14 Jan 2010 14:19:48 GMT http://xfruits.com/dianed/?id=37100&clic=490604565&url=http%3A%2F%2Fcrescercomopatrimonio.blogspot.com%2F2010%2F01%2Fcurta-2-no-fotograma-da-rtp.html divulgação tag:blogger.com,1999:blog-6719887895434826420.post-7186066621322047936 crescer com o patrimonio ]]> http://newmouseion.wordpress.com/2010/01/13/a-falta-de-tempo/#comments Wed, 13 Jan 2010 14:29:28 GMT http://xfruits.com/dianed/?id=37100&clic=491990200&url=http%3A%2F%2Fnewmouseion.wordpress.com%2F2010%2F01%2F13%2Fa-falta-de-tempo%2F

Estou em falta com com três ou quatro tarefas que assumi e pretendo cumprir até ao final do dia, no entanto consegui finalmente tempo para ler os e-mails atrasados, as sugestões de boas leituras (que já se encontram organizadas… obrigado a quem as enviou), os rss de blogs e sites com informação útil para a tese e sobre museologia em geral entre algumas outras coisas com menor relevância. Já ao tempo que não sabia o que era ter o Netnewswire sem qualquer entrada para ler.

De todas as leituras que fiz hoje gostava de destacar uma: a indicação através da Mailing List do Museums Computer Group, pelo Prof. Gerry McKiernan da Iowa State University, do trabalho de Nancy Proctor e do seu interessante blog sobre plataformas móveis (tecnológicas, obviamente) e museus. O site é www.museummobile.info. Pretende ser um fórum de debate da utilização das tecnologias móveis em museus (principalmente no que diz respeito à interpretação das suas colecções). Não deixem também de subscrever o podcast que é bastante interessante. Como é um tema que me interessa cada vez mais, não podia deixar de o mencionar aqui.

]]> Podcast http://newmouseion.wordpress.com/?p=630 Mouseion ]]> http://www.ideum.com/2010/01/ideum-portfolio-redesign-wordpress-flickr-twitter-and-youtube-integration/#comments Mon, 11 Jan 2010 22:25:33 GMT http://xfruits.com/dianed/?id=37100&clic=493494463&url=http%3A%2F%2Fwww.ideum.com%2F2010%2F01%2Fideum-portfolio-redesign-wordpress-flickr-twitter-and-youtube-integration%2F We’ve just launched a redesign of our portfolio site and blog. The site aggregates content from our Flickr, Twitter, and YouTube sites, embedding it in our new website.  For now, we’ve added simple links to our Facebook and Linked In pages. We may expand our integration with these sites in the future. Along with extending our reach into these social networking platforms, the site is easier to maintain and update.

The site is powered by WordPress. While this is hardly revolutionary, having WordPress work as our de facto content management system gives us a flexible platform for our Web presence. Our portfolio and products are custom “pages” in WordPress. The WordPress plug-ins Tweet Blender and Flickr Feed Gallery display tweets and photo thumbnails on the front page.

The portfolio itself contains descriptions for 14 projects. We’ve gone with a new editorial style for presenting project descriptions along with an improved layout. Each project description contains links to either YouTube videos or Flickr photos (or screen shots). We use Adobe Flash to integrate these media items into each portfolio piece. “Custom fields” in WordPress are used as hooks to connect to remote content and control the layout.

Five of the descriptions in the portfolio are for new projects we’ve worked on this fall and winter. These projects all involve either multitouch and/or multiuser technology. The new projects are:

• Visitors explore the electromagnetic spectrum on a custom 100″ multitouch table
• Teams of museum visitors guide their ships to an extra-solar planet
• “Magic Planet” exhibit shows visitors global images on a spherical display
•  A multitouch “Collection Viewer” presents surprising connections to museum visitors
•  Visitors explore “Arctic Choices” with a multitouch, multiuser mapping exhibit

The redesign of the portfolio site is our 4th since the company was founded in late 1999. Here ’s a look back on some of the earlier designs.

]]> Design http://www.ideum.com/?p=1868 Ideum » Blog
Images courtesy Chris Danemayer, Proun Design

I've been collecting stories and images of really effective visitor-response stations for awhile now, and I've noticed an intriguing trend: exhibits that invite visitors to write a letter to someone, especially with a typewriter, tend to yield elaborate and interesting responses.

Three examples:

1. In the late 1980s, the Brooklyn Children's Museum created an exhibit called Send a Letter to Snoopy. Kids could type letters on a Remington typewriter and put them in a mailbox marked "To Snoopy." Staff exhibited several of their letters nearby for other visitors to read. As Kathy McLean noted in Visitor Voices in Museum Exhibitions, while staff were afraid that typing on the typewriter would be too hard for some young children, "kids lined up to carefully and slowly type their letters." The museum received dozens of letters each week, and many visitors shared personal issues, dreams, and fears in their writings.
2. In 2007, the Lowell National Historical Park exhibited Jack Kerouac's original manuscript for On The Road to celebrate the 50th anniversary of its publication. Alongside the iconic manuscript, the Park featured a talkback area in which visitors could contribute their own reflections. Instead of offering post-its or pencils, the Park provided a desk with a typewriter (amazingly, donated by the Kerouac family) and an evocative quote from Kerouac: “Never say a commonplace thing.” Visitors responded incredibly, generating over 12,000 messages at the typewriter during the 6-month run. Rather than just saying, “awesome book,” the overall design of the space and the relationship between the typewriter and the manuscript inspired visitors to share highly personal and artistic commentary. Several wrote letters directly to Jack. Some wrote poems. The image at the top of this post comes from one visitor's response.
3. Also in 2007, the National Library of Scotland in Edinburgh opened a new exhibition on the John Murray Archive. John Murray ran the publishing house that represented Lord Byron, Charles Darwin, and Sir Walter Scott, among others. The exhibition was organized around eleven major authors who worked with John Murray Publishing and used the authors' letters to and from the publisher as the central thread of the exhibition story. Visitors entering the exhibition received beautifully typeset letters from John Murray himself (starting "Dear Visitor,") entreating them to interpret a particular artifact or story on display. The exhibition also featured a simple Victorian writing desk at which visitors could write their own long-hand letters to the famous authors themselves. National Library staff promised to write back to all the letter-writers, assuming there would be very few. They quickly found themselves overrun with hundreds of six or seven-page letters from visitors talking about their own adventures, triumphs, and challenges.
   

What makes these visitor response stations so successful?

• They force people to slow down. Whether you are working a typewriter or writing longhand at a writing desk, the overall experience implies focus, intent, and taking your time.
• They have an intended audience. When you write a letter to someone, even someone dead or fictitious, you know who you are writing to. You have a clear image of that person in your mind, and you are motivated by your desire to connect with them, not a general desire to express yourself.
• They imply a response. When you send someone a letter, it's the beginning of a conversation. In the case of the John Murray Archive exhibition, staff continue that conversation. In the other two examples, while visitors don't receive a response, they have opened up a mental conversation with Snoopy or Jack Kerouac to continue at their leisure.
• All of these stations were well-designed to fit into the overall exhibit experience. Letter-writing was the heart of John Murray's enterprise. The typewriter was central to both Snoopy and Jack Kerouac's stories. These visitor response stations were natural to the stories being told, and they were designed thoughtfully using the same kinds of tools as those that produced artifacts on display. The response stations allowed visitors to stay within the emotional space of the exhibits rather than wresting them out into a generic comment board or book.

What do you think? Is this letter-writing thing a fluke, or is there really something there? Have you seen examples of this working elsewhere?

]]> Mon, 11 Jan 2010 16:43:00 GMT http://xfruits.com/dianed/?id=37100&clic=490424815&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2Fmuseumtwo%2F%7E3%2FU4o9HT41Alk%2Fdear-jack-dear-snoopy-using-letter.html exhibition tag:blogger.com,1999:blog-37032121.post-7320606044282529750 Museum 2.0

CURTA 2

Sessão especial com director do Cineclube da Feira

23 de Janeiro, 21h45

S. João da Madeira

As três curtas-metragens mais votadas pelo público voltam à cena, para um debate final moderado por Américo Santos.

O público votou e escolheu os três melhores filmes da CURTA2 – Mostra Nacional de Curtas de S. João da Madeira, que se realizou entre 16 e 18 de Julho de 2009: “A um passo de ser” de cinco alunos sanjoanenses, “A ascensorista” de um grupo de amigos do Porto e “Deus não quis” da produtora Zed Filmes.

A Associação Cultural Teia dos Sentidos tem a honra de convidar V. Exa. para esta sessão especial da CURTA2, que irá contar com um debate final entre os realizadores eleitos pelo público. Américo Santos, director do Cineclube de Santa Maria da Feira e do Festival de Cinema Luso-Brasileiro, vai moderar o encontro, que terá lugar no dia 23 de Janeiro (sábado), às 21h45, nos Paços da Cultura de S. João da Madeira.

A Teia dos Sentidos conta com a sua presença,

]]> Mon, 11 Jan 2010 12:41:12 GMT http://xfruits.com/dianed/?id=37100&clic=490604566&url=http%3A%2F%2Fcrescercomopatrimonio.blogspot.com%2F2010%2F01%2Fas-melhores-da-curta2.html tag:blogger.com,1999:blog-6719887895434826420.post-1025183530244983857 crescer com o patrimonio noreply@blogger.com Thu, 07 Jan 2010 10:13:00 GMT http://xfruits.com/dianed/?id=37100&clic=488023771&url=http%3A%2F%2Fwww.museumsblog.de%2F2010%2F01%2Fein-herz-fur-das-ruhr-museum.html Zeche Zollverein in Essen besucht hat - etwa anlässlich der Ausstellung Sonne, Mond und Sterne - weiss, dass ihn hier eine der Hochburgen der deutschen Industriekultur erwartet: seit einiger Zeit ja auch Teil des UNESCO-Weltkulturerbes.

An diesem Wochenende gibt es wieder einen guten Grund, dort hinzufahren: Das Ruhr Museum öffnet am 10.1. in der ehemaligen Kohlewäscherei seine Pforten.
Die Dauerausstellung verbindet, so heisst es auf der Internetseite, "die Natur- und Kulturgeschichte in einem integrativen Konzept und präsentiert die Mythen, Bilder und Phänomene des Ruhrgebietes, die ungeheuren Dimensionen der Erdgeschichte, die lange Geschichte der Industrialisierung ebenso wie deren Folgen und zukünftigen Perspektiven."

Die wissenschaftliche Leitung hatte Ulrich Borsdorf, Direktor des Ruhr Museums, für die museale Umnutzung des Gebäudes sorgte Rem Kohlhaas und das Stuttgarter Architektenbüros HG Merz für die Gestaltung. Großartig und einzigartig wird es natürlich werden, ein ästhetischer Hochgenuss, wie wir von den beiden Architekten bereits auf Deutschlandradio Kultur erfahren konnten.

Und Ulrich Borsdorf verkündet auf den Seiten der Kulturhauptstadt Europas RUHR.2010 : "Ich liebe dieses Museum, und die Menschen im Ruhrgebiet werden es auch in ihr Herz schließen".

Ob das auch für Menschen außerhalb des Ruhrgebiets gilt, kann ab Sonntag überprüft werden - am besten, man nimmt sich gleich etwas mehr Zeit, um auch noch die eine oder andere Veranstaltung der RUHR.2010 zu besuchen - die europäische Kulturhauptstadt umfasst ja 2010 das gesamte Ruhrgebiet.
Die Erwartungen sind auf alle Fälle hoch!

]]> Tip tag:blogger.com,1999:blog-30172924.post-691894489646354258 Museumsblog ]]> http://www.buzzeum.com/2010/01/du-multimedia-a-la-biennale-de-lyon-2009/#comments Wed, 06 Jan 2010 13:15:55 GMT http://xfruits.com/dianed/?id=37100&clic=489700581&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2FBuzzeum%2F%7E3%2F3aU5TnY84ws%2F A la Une http://www.buzzeum.com/?p=1737 BUZZEUM ]]> http://www.buzzeum.com/2010/01/rencontres-nationales-culture-innovations/#comments Tue, 05 Jan 2010 21:16:58 GMT http://xfruits.com/dianed/?id=37100&clic=489700582&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2FBuzzeum%2F%7E3%2FQNZEtVAd2T0%2F A la Une http://www.buzzeum.com/?p=1733 BUZZEUM It's rare that a participatory museum project is more than a one-shot affair. But next month, Britain Loves Wikipedia will commence--the third instance of a strange and fascinating collaborative project between museums and the Wikipedia community (Wikimedians). The project's implementation keeps changing, and I can't decide whether it is getting better or just different. I hope you'll share your thoughts in the comments.

Wikipedia Loves Art, Take One

The first version of Wikipedia Loves Art first took place in February 2009. It started with a request from a group of New York Wikimedians to the Brooklyn Museum. The Wikimedians asked if the museum would coordinate a project in which people could photograph artworks in cultural institutions to illustrate Wikipedia articles. The museum agreed and brought fifteen institutions from the US and UK on board to participate.

The museums asked to Wikimedians to provide the institutions with lists of thematic topics that required illustration. Museums used these thematic lists to develop scavenger hunt lists to distribute to participants so that they might find art objects to illustrate Wikipedia topics like "Roman architecture" or "mask." Participants were asked to photograph objects and their accession numbers so staff could identify and describe the objects properly. The museums developed careful rules about what could and couldn't be shot, and how participants could upload their images to Flickr for use by the project.

The event succeeded in donating thousands of images to Wikipedia, but it was plagued by challenges that frustrated museum staff, Wikimedians, and photographers.

Some of these challenges were about mission fit. The Wikimedians’ and museums’ goals were not as aligned as they originally thought. Museums saw this project as an opportunity to engage local photographers to think creatively about how artworks might represent different topics. In contrast, the Wikimedians were focused on making cultural content digitally available online using as open a licensing structure as possible. The museums cared about participants connecting with artworks and identifying them properly, whereas the Wikimedians cared more about participants sharing images under open legal licenses.

Other challenges derived from the complicated and shifting setup (see, for example, this discussion about clarifications to the rules). From the institutional perspective, the best way to deliver good participant experiences was to constrain contributions through the Flickr uploading system. Staff were concerned about losing control of images of their collections, and they wanted to make sure the images were linked to the correct information about each object. But there were many Wikimedians who were confused or frustrated by what they perceived as arbitrary institutional constraints in the submission format. Some people found their own rogue ways to upload museum images outside of the project framework, much to the consternation of museum representatives, who saw these actions as causing confusion and potentially violating intellectual property agreements.

The project's setup also created more work for participants and museum staff than anticipated. Over 13,000 photographs were submitted by 102 photographers at the fifteen different institutions, documenting about 6,200 pieces of art. While these participants had done the hard work of capturing the images, it was up to the institutions to validate, tag, caption, and prepare them for Wikipedia's use. Image verification was a Herculean effort. Using accession numbers to identify the objects was not successful; it was complicated for participants, and staff were not able to verify many images. Some images were disqualified for copyright reasons, others because they could not be identified. Eventually, all of the work was completed and 6,195 photographs were donated to Wikipedia. But when the dust settled, the overall effort for institutions involved in Wikipedia Loves Art was so great that many saw it as an unsustainable collaboration.


Wikipedia Loves Art, Take Two

In June of 2009, Dutch Wikimedians tried again. They partnered with 46 institutions in the Netherlands to produce Wikipedia Loves Art / NL, which took a different approach to the project. Rather than starting with a list of themes provided by Wikimedians and inviting visitors to shoot the objects that they felt fit the topics, the Dutch Wikimedians asked the museums to provide a list of specific objects that participants could photograph. This compromise achieved three things:

1. The museums knew exactly what would be photographed and could more tightly control the experience. At some institutions, staff members set up specific dates for photography and escorted photographers through the galleries.
2. The Wikimedians knew that all of the images would be legal for use from a copyright perspective. There was no concern about museums needing to verify that an object on the list was in fact legal for use.
3. The participants received a numbered list of objects to photograph and could tag their images with these id numbers instead of with accession numbers. This significantly reduced the number of object identification errors and reduced the staff time required to review the images submitted.

Wikipedia Loves Art / NL also included some other changes, most notably a centralized website that coordinated all of the events and information. It ended June 30 with 292 participants contributing 5,447 photographs. There were still validation errors; for example, the "winning" photograph from the project was discovered to have been taken at least a year prior to the event. But in general, the project went smoothly. The images were uploaded more quickly with fewer staff hours than in the original version, and the institutions and Wikimedians considered it a success.


So is it better?

From my outside perspective, Wikipedia Loves Art / NL more successfully served the needs of the museums and the Wikimedians than the original event. But it was also fundamentally different for participating photographers. It offered participating photographers less creative agency and less responsibility... and less attendant confusion.

Did Wikipedia Loves Art get better? The answer to that question depends on your values. It got better at meeting the partners' needs, but worse at allowing individual participants to determine the outcome. I also wonder whether the changes impacted the extent to which participants felt connected to the institutions as opposed to seeing the museums as venues for a project. Ann Beaulieu, a researcher associated with the Tropenmuseum reflected on discussion in the Wikipedia Loves Art / NL Flickr groups, commenting:

the goal is to get photos of the museums’ collections onto Wikipedia. Interestingly, this does not seem to be obvious to some photographers who see photo-making as the ‘end’ or goal of their practice, and consider getting objects in museums photographed and into Wikipedia as secondary.

To me, the newer version of Wikipedia Loves Art seems less suited as an onsite audience engagement program for photographers, but more suited to provide Wikimedia with useful data. This may make it a better project (more useful) or a worse project (less engaging for participants).

I realize, however, that this perspective reflects my own value judgment that local community engagement is a more important part of museum missions than providing digital access to content. There is a large community of people who will use the digital images in their new home on Wikimedia Commons, and who am I to say they are not equally important?

I also am biased in thinking that giving participants creative agency is "better" than giving them a list of photographs to shoot. You could just as easily argue that the project got better by making participation simpler, and that the redesign DID serve the participants who are part of the Wikimedia community.

What do you think?

]]> Tue, 05 Jan 2010 01:08:00 GMT http://xfruits.com/dianed/?id=37100&clic=490424816&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2Fmuseumtwo%2F%7E3%2F2UVygCkdeTY%2Fis-wikipedia-loves-art-getting-better.html web2.0 tag:blogger.com,1999:blog-37032121.post-61504130391985063 Museum 2.0

Lisboa é a primeira cidade europeia a acolher Nuestros Silencios, uma exposição de arte pública do escultor mexicano Rivelino que vai entrar em itinerância pela Europa, até 2011, passando por Madrid, Bordeaux, Bruxelas, Roma, Berlim e Londres. Em Lisboa, a exposição estará patente no Marquês de Pombal até 10 de Janeiro de 2010.

Trata-se de uma obra monumental que integra dez esculturas em bronze de 3.5 metros de altura, e que representa “tudo o que os seres humanos preferem não dizer”, segundo o seu autor. A mostra inclui uma peça em aço denominada cubo táctil, de dois metros de lado, que comporta no seu interior quatro esculturas, que poderão ser igualmente apreciadas através do tacto.

Em Lisboa, esta exposição é co-organizada pela Câmara Municipal e pela Embaixada do México em Portugal, no âmbito da XIX Cimeira Ibero-Americana de Chefes de Estado e de Governo.

Rivelino nasceu em San José de Gracia, Jalisco, em 1973, e é formado pela Escola de Cerâmica do Instituto Nacional de Belas-Artes do México.

Rivelino

Nuestros Silencios

Até 10 Jan 10

Praça Marquês de Pombal

Lisboa é o ponto de partida do percurso que 10 gigantes silenciosos irão realizar por diversas capitais europeias. Trata-se de um conjunto de esculturas com mais de 3m de altura, feitas em bronze pelo artista mexicano Rivelino. A mostra inclui ainda uma peça em aço, denominada Cubo Táctil, de 2m de lado, que comporta no seu interior quatro esculturas, que podem ser igualmente apreciadas através do tacto.

]]> Mon, 04 Jan 2010 21:04:15 GMT http://xfruits.com/dianed/?id=37100&clic=490604567&url=http%3A%2F%2Fcrescercomopatrimonio.blogspot.com%2F2010%2F01%2Fexposicao-de-esculturas-na-praca.html tag:blogger.com,1999:blog-6719887895434826420.post-4333064410289406909 crescer com o patrimonio noreply@blogger.com Mon, 04 Jan 2010 09:53:00 GMT http://xfruits.com/dianed/?id=37100&clic=488023772&url=http%3A%2F%2Fwww.museumsblog.de%2F2010%2F01%2Ffigurinen-xvi.html
Gesehen im Volvo-Museum in Göteborg.

]]> Figurinen tag:blogger.com,1999:blog-30172924.post-3325514801137078915 Museumsblog ]]> http://www.buzzeum.com/2010/01/le-musee-toulouse-lautrec-a-albi/#comments Mon, 04 Jan 2010 08:20:42 GMT http://xfruits.com/dianed/?id=37100&clic=489700583&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2FBuzzeum%2F%7E3%2FSc8lrQvpZ7E%2F A la Une http://www.buzzeum.com/?p=1715 BUZZEUM isabelvictor150@hotmail.com Sun, 03 Jan 2010 20:14:00 GMT http://xfruits.com/dianed/?id=37100&clic=492959958&url=http%3A%2F%2Fmusealogando.blogspot.com%2F2010%2F01%2Ftemos-de-fazer-um-debate-sem.html
José do Nascimento Júnior, diretor do Ibram, defende descentralização de recursos. Em entrevista, afirma que reforma na Lei Rouanet e novo fundo não terão um impacto “catastrófico” e sugere criação de museus



Folha de S.Paulo, Ilustrada, Silas Martí, 24/12/2009


No centro das discussões sobre o futuro dos museus no país está um único homem. José do Nascimento Júnior, antropólogo social, é o diretor do Instituto Brasileiro de Museus. Está nas mãos dele, em grande parte, a missão de contentar grandes e pequenos museus do país. É criticado de um lado por não ser ligado às artes visuais. Mas recebe elogios, de outro, pela tentativa de organizar o setor de museus no país.



Em entrevista à Folha, no dia em que deu posse ao conselho do Ibram, Nascimento Júnior se defende de acusações de uso eleitoreiro da máquina do Ministério da Cultura, esclarece o conflito em torno dos modelos de gestão estaduais e afirma que o novo fundo para o setor de museus, aliado à reforma da Lei Rouanet, não terá efeito “catastrófico”. Leia a seguir alguns trechos da conversa. (SILAS MARTÍ)

MASP. São Paulo

FOLHA - A maioria dos museus depende de recursos incentivados. A reforma na Lei Rouanet não vai gerar patrocínios e travar instituições?



JOSÉ DO NASCIMENTO JÚNIOR - Esse teto de 80% aponta para um campo em que o incentivo não pode ser 100% para todas as áreas. As empresas têm de entrar com dinheiro bom, e eu não vejo a possibilidade de secar a fonte, porque a área de cultura dá uma visibilidade interessante às empresas. E a nova lei também cria uma série de fundos. Sempre há medo, mas o ministério vai estabelecer regras de transição. Não vai ocorrer um impacto catastrófico.



FOLHA - Não é utópica a ideia de descentralizar os recursos e financiar museus em todo o país?



NASCIMENTO JÚNIOR - A concentração de instituições culturais no Brasil não passou da linha do Tratado de Tordesilhas, e o Brasil hoje é a sexta maior rede de museus do mundo. É importante entender que o museu é a unidade básica de memória. Há uma demanda real no país por mais museus. As pessoas também precisam enxergar o Brasil como um todo, não a partir de São Paulo ou do Rio. Tem que entender o país na sua complexidade e na sua profundidade.



FOLHA - Mas, nessa descentralização, grandes museus temem que vão perder recursos na divisão com milhares de instituições minúsculas.



NASCIMENTO JÚNIOR - Os grandes vão ser tratados como grandes. As megaestruturas sempre foram muito bem tratadas em detrimento das pequenas. Nunca foi o contrário, até porque a visibilidade foi sempre em direção aos grandes. Precisamos ampliar o número de recursos, não ficar numa linha do meu pirão primeiro. Temos que tratar em cada âmbito. Governos estaduais e municipais também têm de ter suas políticas.



FOLHA - Essa nova estrutura, no entanto, não pode dar margem ao uso eleitoreiro da máquina estatal?



NASCIMENTO JÚNIOR - Se a gente fosse eleitoreiro, estaria investindo onde tem concentração de voto, mas estamos mostrando que o Brasil é mais complexo do que essas regiões. Quem for ao Brasil profundo dialogar com Estados como o Piauí, Maranhão, Acre, Roraima vai ver que tem necessidades que a estrutura que nós herdamos do Ministério da Cultura não nos permitia atender. Nós refundamos o ministério e hoje ele é uma estrutura garantidora do direito cultural.



FOLHA - Como será resolvido o impasse em nível estadual, com organizações sociais com diretores que não podem ser remunerados, de acordo com o Estatuto de Museus?



NASCIMENTO JÚNIOR - É um equívoco interpretar o estatuto como sendo restritivo a isso. Se você pegar três, quatro juristas, cada um vai dar um parecer diferente sobre isso. São Paulo não necessita fazer disso um cavalo de batalha. Estamos caminhando para regulamentar. Temos de fazer esse debate com tranquilidade, sem estrelismos ou visões apaixonadas.



FOLHA - Mas esse esquema em nível estadual mais a estrutura federal não leva a um possível inchaço da máquina estatal, como no Ibram?



NASCIMENTO JÚNIOR - Não temos uma megaestrutura. São 40 cargos. O restante deles foi criado para reforçar a estrutura dos museus federais. São 470 pessoas, funcionários públicos de carreira. E vamos ter concurso agora para 260 funcionários, parte em Brasília e parte deles nos museus federais.

]]> tag:blogger.com,1999:blog-36609144.post-1937218760107735516 Musealogando For the past year, I've been ending many of my talks with this image. It's my "artistic rendering" of one of the most inspirational participatory projects I know of--the Bibliotheek Haarlem Oost book drops.

Haarlem Oost is a branch library in the Netherlands that wanted to encourage visitors to add tags (descriptive keywords) to the books they read. These tags would be added to the books in the catalog to build a kind of recommendation system. To do this, the library didn't create a complicated computer system or send people online. Instead, they installed more book drops and return shelves, labeled with different descriptors like "boring," "great for kids," "funny," etc. This brilliant design allowed patrons to create new knowledge about the books in the library while only slightly adjusting their book-returning behavior. Read the original post on this project for more info.

This design inspires me because it creates new value out of what visitors already do. Too often, cultural institutions design participatory projects that require visitors to learn new tools or make sacrifices to contribute. The Haarlem Oost tagging return system wasn't one of these.

Or, so I thought. Two weeks ago, I decided I wanted a photo of the book drops and shelves in action for my forthcoming book. A Dutch friend volunteered to go snap the library. And then I received this email (bold mine):

I am afraid I have got bad news for you... This afternoon I went to the library in Haarlem Oost to take your pictures. When I arrived there, I noticed that they used 'normal' returning shelves instead of the tagging system. I asked one of the employees and it turned out that they quit using the system some time ago. Of course I asked her why. She explained that it more or less was a victim of its own success. First of all, particular shelves were overloaded in a short period of time (to be frank, I don't see the problem here, but to her it was a big problem, so I guess it influenced their working processes and confused them a lot)

Next to that, people were using the system so seriously that it took them a lot of time per book to decide where to place it. That caused some logistic problems in the (small) building, especially as they have some peak times. That meant that people often had to wait for other people to return their books - and then themselves again needed time to think where to place their books. There was an alternative system next to the tagging system to improve the flow, but people did not want to be rude and waited patiently on their turn- so the alternative did not work.

The woman I spoke to regrets that they do not use the tagging system anymore. She said that it gave them a good understanding on what the people in the neighbourhood like to read. She said that they are determined to introduce the system again when they have a good solution on the logistic problem, but unfortunately she could not give me a concrete term for that.

After I got over my shock (and the urge to delete the email), I realized that this depressing coda is a great illustration of the challenges of sustaining participatory projects.

As it turned out, the Haarlem Oost tagging system DID change visitors' behavior--but arguably, it changed their behavior for the better. Visitors liked the activity, and it helped staff learn more about the usage of the collection.

The problem was not that the system was buggy or hard to use, but that it disrupted staff expectations and behavior. It introduced new challenges for staff--to manage return shelves differently, and to deal with queues. Rather than adapt to these challenges, they removed the system.

This is both incredibly shocking and unsurprising. Librarians--and all cultural professionals--address challenges creatively every day. But the challenges they solve are known ones, emerging from the services they traditionally provide. No librarian would get rid of all the Harry Potter books because they are "too popular." No museum would stop offering an educational program that was "too successful." These are familiar challenges that come with the job and are seen to have benefit. But if tagging creates a line or people spend too much time giving you feedback? Staff at Haarlem Oost likely felt comfortable removing the tagging shelves because they didn't see the tagging as a patron requirement, nor the maintenance of the shelves as part of their job.

These front-line staff also probably weren't involved when the outside architect designed the tagging system. If you want participatory projects to thrive at your institution, you must bring staff along with you in their development and listen to their concerns in the design phase. You have to make it clear that sustaining and stewarding these initiatives is as much "part of the job" as traditional functions. Just as you try to design for minimum guest sacrifice, you have to be conscious of potential staff sacrifice. You can't innovate by capital projects and brilliant ideas alone.

Do you have a story to share of a project that got derailed post-launch in this way? Share your thoughts in the comments on what makes these projects fail (and hopefully, rise again).

]]> Tue, 29 Dec 2009 15:03:00 GMT http://xfruits.com/dianed/?id=37100&clic=490424817&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2Fmuseumtwo%2F%7E3%2FR7Az2bbS0AM%2Fwhat-could-kill-elegant-high-value.html design tag:blogger.com,1999:blog-37032121.post-7010082938234677559 Museum 2.0

]]> Sat, 26 Dec 2009 11:21:10 GMT http://xfruits.com/dianed/?id=37100&clic=490604568&url=http%3A%2F%2Fcrescercomopatrimonio.blogspot.com%2F2009%2F12%2Fboas-festas.html tag:blogger.com,1999:blog-6719887895434826420.post-2002571281323250406 crescer com o patrimonio ]]> http://newmouseion.wordpress.com/2009/12/23/boas-festas/#comments Wed, 23 Dec 2009 10:11:09 GMT http://xfruits.com/dianed/?id=37100&clic=491990201&url=http%3A%2F%2Fnewmouseion.wordpress.com%2F2009%2F12%2F23%2Fboas-festas%2F

Nesta quadra natalícia seria bom que todas as crianças do mundo pudessem ter um brinquedo nas mãos. Muitas não terão nas mãos coisas bem mais importantes e necessárias, como água e comida, por exemplo, mas se pudessem ter pelo menos um brinquedo haveria uns segundos de alegria nos seus rostos.

Ciclista
N.º Inv: ANT.87.7.1
Museu da Ciência da Universidade de Coimbra

Um excelente Natal para todos os que me visitam e um ano de 2010 cheio de saúde, alegria, sucesso e, pelo menos, um brinquedo.

]]> Geral http://newmouseion.wordpress.com/?p=626 Mouseion noreply@blogger.com Fri, 18 Dec 2009 09:27:00 GMT http://xfruits.com/dianed/?id=37100&clic=488023773&url=http%3A%2F%2Fwww.museumsblog.de%2F2009%2F12%2Fcutting-edge.html NZZ, wie das Victorian & Albert Museum in London aufgerüstet hat, um immer "cutting-edge" zu sein. leo kennt dafür viele deutsche Wörter: innovativ, Vorreiter, auf den neuesten Stand, wegbereitend - um nur einige zu nennen.

Das alles trifft auf das V&A zu: die Institution hat das, was in Deutschland immer als "Bildungsauftrag" durch die Medien geistert, einfach mal wörtlich genommen und das Museum geöffnet - für alle, für die chinesische Migrantin, für den deutschen Tourist oder die Londonerin.

Zunächst einmal wurde Marktforschung betrieben, analysiert, was die BesucherInnen sich so wünschen, was sie im Museum sehen und erleben möchten, und dann überlegt, wie die riesige, laut Museum weltweit größte Sammlung an Kunst und Design, dafür eingesetzt werden kann. Es wurde umgebaut, neue Ausstellungen konzipiert, die einzelne Objekte der Sammlung neu in Szene setzen, Strategien ausgedacht, um neue Besuchergruppen anzuziehen, kurzum, es wurde einfach in die Sammlung investiert - immer in Hinblick auf das Publikum. Seit 2001 ist der Eintritt frei (auch hier höre ich schon deutsche Experten sagen: das kann ja nicht gut sein, wenn es nichts kostet) - und das funktioniert: Das V&A hatte wohl innerhalb kürzester Zeit die Besucherzahlen mehr als verdopppelt, (für 2008/09 nennt der Jahresbericht knapp 2,5 Mill.) vielleicht auch dadurch, dass viele verschiedene Angebote für die nicht gerade homogene Besuchergruppe einegrichtet wurden

Ein Blick auf die website verrät auch, warum Menschen dieses Museum gerne besuchen: viele Bereiche des Museums sind frei zugänglich, gezahlt wird nur für größere Ausstellungen. Tagsüber gibt es mehrmals Einführungen durchs Haus, die ebenfalls umsonst sind. Dazu gibt es zu allen möglichen Tageszeiten Talks zu einzelnen Objekten oder Aspekten der Sammlung - ebenfalls bei freiem Eintritt.
Und hier noch ein Beispiel dafür, warum das V&A Vorreiter ist; weil es sich an Themen wagt, die hierzulande noch nicht einmal ein Tabu sind, so weit weg scheinen sie zu sein: LGBTQ histories at the V&A Hinter LGBTQ verbirgt sich Lesbian, gay, bisexual, transgender and queer - daraufhin sollen die Sammlungen des Museums befragt werden. Dazu ein screenshot von der Internetseite:



Und wie kommt nun das Museum ans Geld, mag man sich fragen: Natürlich gibt es eine Reihe von Angeboten, für die die BesucherIn zahlt - von workshops über Vorträge und Ausstellungen. Ebenfalls verdient das Museum mit dem von ihm konzipierten Wanderausstellungen. Zudem kann man im Museumsshop viel Geld lassen und unterstützt damit das Museum, man kann spenden, Mitglied des Museumsvereines werden....
Wenn es genauer interessiert, kann hier auf der Seite den aktuellen Jahresbericht mit vielen interessanten Zahlen anschauen oder sich auch Strategiekonzepte und vieles mehr herunterladen.

Auf nach London, oder?


Hinzugefügt: den Artikel, anders gelesen von Gottfried Fliedl

]]> England tag:blogger.com,1999:blog-30172924.post-3506903782745492790 Museumsblog One of the surprise pleasures of my recent trip to Brisbane, Australia, was the exhibition of the Asia Pacific Triennial of Contemporary Art at the Queensland Art Gallery. It was the most impressive multi-artist contemporary art exhibition I've ever seen. The vast majority of the artworks were exciting, accessible, and visually stunning. I expected a quick in-and-out visit, but found myself immersed in the aesthetic and cultural world of the art for hours.

But there was one exhibit that highlighted a particular frustration of mine. It was a multi-person exhibit that fell just short of inviting strangers to work together. With one simple tweak of the label text, it could have gone from good to great.

The artwork is called I, you, we and was created by Wit Pimkanchanapong. The title is highly descriptive of the piece, which is a little booth where two people can mix photos of their faces into a new image of a face that incorporates bits from each person. You sit down with a partner, make a collaborative image, and then email the composite home to yourself or someone else.

I looked on as many visitors enjoyed this exhibit, which created silly and surprising results. But as a solo visitor, I couldn't find a way in. Here's the label:
This label suggests that the artist is particularly interested in visitors engaging with those who are different from them. And yet there is no invitation for visitors to use the booth with strangers. It's ideally set up for a stranger interaction: the booths are in a public space and are open on both sides, so it doesn't feel like you are being asked to enter an intimate space with someone unknown. The interaction is quick, discrete, and doesn't require sharing anything more personal than your face.

This exhibit is missing just one thing: a statement on the label that says, "Invite a stranger to make a portrait with you." The staff could easily append the cute label shown at the top of this post with this sentence. It would give visitors like me a way into the experience and an opportunity to perform in keeping with the artist's desires. And even for people visiting in groups, it might present the opportunity for a fun interaction with someone new.

If you want to invite people to use your space socially, you have to give them explicit permission to do so. Letting visitors know that an exhibit is a two-person activity is useful information, but it's not enough to help people overcome their fears and approach strangers to help them.

]]> Mon, 21 Dec 2009 18:54:00 GMT http://xfruits.com/dianed/?id=37100&clic=490424818&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2Fmuseumtwo%2F%7E3%2FQZX2M3GrA4Y%2Fbe-explicit-if-you-want-visitors-to.html exhibition tag:blogger.com,1999:blog-37032121.post-9204743537185633068 Museum 2.0 udem.museo@gmail.com Wed, 16 Dec 2009 17:45:00 GMT http://xfruits.com/dianed/?id=37100&clic=488083679&url=http%3A%2F%2Fmuseomuseo.blogspot.com%2F2009%2F12%2Fla-sauvegarde-de-larchitecture-moderne.html

L’École de design et l’Institut du patrimoine de l’Université du Québec à Montréal organisent un colloque intitulé La sauvegarde de l’architecture moderne au Québec, au Canada et ailleurs – Défis de la patrimonialisation et mobilisation des savoirs qui se déroulera à l’UQAM du 14 au 17 octobre 2010.

En attendant que le site internet du colloque soit actif (en janvier 2010), vous pouvez recevoir l’appel de communication en écrivant à aemdm@uqam.ca

Pour plus d'informations : http://www.ip.uqam.ca/

]]> tag:blogger.com,1999:blog-2239275165263429597.post-5700592791763329266 MUSEOMUSEO isabelvictor150@hotmail.com Tue, 15 Dec 2009 19:20:00 GMT http://xfruits.com/dianed/?id=37100&clic=492959959&url=http%3A%2F%2Fmusealogando.blogspot.com%2F2009%2F12%2Fpierre-mayrand.html

LA MUSÉOLOGIE SANS DESSUS

DESSOUS

Regards sur la muséologie actuelle


Pamphlet d’ un altermuséologue, 2009



INTRODUCTION

On aura compare le musée à un mastodonte (Balerdi), à une marre à grenouilles (Santiago), la muséologie à un animal qui tente de se mordre la queue et à un immense marécage ( Mayrand ). Après la période des innovations qui introduira le concept des nouvelles muséologies ( 1970-1990 ) suivra une période, précédant la récession financière et la crise morale engendrée par un capitalisme déréglé, où chacun, petit ou grand, tentera d’ explorer des voies nouvelles, chacune de ces périodes produira une abondante littérature cherchant à justifier le choix de société des uns et des autres ( le consevatisme en opposition avec le communitarisme et la massification ). Le musée lui-même ( Le Louvre ) devenant objet de marchandages ou de développements urbains ( Bilbao ), s’ aventurera dans la voie de l’ intermédialité ( SAT, Montreal, 2009 ) et des études théoriques pour elles-mêmes sur la médiation (Davallon). La mise au jeux: L’ apport des arts médiatiques conduisant à une quasi virtualisation de l’ institution muséale dans l’ approche de l’ objet-mémoire, Ces formes extrêmes de conceptualisation s’ accompagnent d’ un coup d’ oeil vers les expériences proches des populations cherchant à faire la synthèse de leur identité et à dégager une nouvelle formulation de la tradition communautaire dont l’ écomusée, malgré ses aléas actuels, demeure le plus réputé.



L’ introduction pléthorique de néologismes pour tenter de se situer dans une évolution accélérée, les essais de définition du Musée ( Mairesse, Desvallées, Mayrand ) et des fonctions qui s’ y rattachent, sont symptomatiques du malaise que connait cette industrie culturelle ( boîte à mémoire, miroir de représentations du monde et de phénomènes paticuliers ), nous ayant amené à titrer ce pamphlet : L’ absence de politiques cohérentes, de terrains concensuels, emportés par la vague déferlante du néo-libéralisme. Nostalgique de la grande période de rénovations d’ aprés guerre, d’ un futur que l’ on voudrait comme l’ entrée dans la magie de l’ univers cybernétique, la machine continue néanmoins à tourner, tellement le musée est enraciné dans les mentalités comme l’ espace privilégié des mémoires porteuses de valeurs patrimoniales, sans lesquelles il n’ y aurait plus de dessus ( vision cohérente ) et de dessous ( action cohérente ).



Et si le hasard voulait que l’ institution se dissolve, entraînant dans sa chute l’ ICOM au bénéfice d’ une action culturelle d’ une toute autre nature faisant une césure entre la conservation des oeuvres jugées représentatives par l’ humanité ( pourquoi pas par référendums ? ) ou de communautés particulières, et la fonction culturelle proprement dite ( subversive, insitative ), soit des espaces devenus des lieux de convergence autour de thèmes de la mémoire interculturelle en construction, comme on le trouve déjà dans le musée agora, plaque tournante de l’ émergence de citoyennetés ? L’ altermuséologie, ce nouveau rameau de la nouvelle muséologie s’ y attache déjà ( Musée à l’ attaque, 2009, Manifeste, 2007 )



AUTREFOIS

Musée standard ……….. Conservatoire,

Musée collection

Mémorial

…………………

Cumulatif



Musée communautaire….Biens usagers jugés

Représentatifs par un

Milieu.



……………………



Lien affectif



ACTUELLEMENT



?

_________________________________________

_________________________________________

_________________________________________

_________________________________________

_________________________________________

_________________________________________

__________________________________________

 

 

]]> tag:blogger.com,1999:blog-36609144.post-3381936934303679756 Musealogando noreply@blogger.com Tue, 15 Dec 2009 15:43:00 GMT http://xfruits.com/dianed/?id=37100&clic=488023774&url=http%3A%2F%2Fwww.museumsblog.de%2F2009%2F12%2Fmuseologien-im-blog.html
Gottfried Fliedl - Museologien.

Auf das großartige Glossar von Gottfried Fliedl hat der Museumsblog hier schon einmal hingewiesen - wir sind nun mächtig gespannt auf die Bereicherung der noch etwas kargen Museumsblogosphäre. Wer in den ersten Beiträgen stöbert, wird wahrlich nicht enttäuscht. Besonders gut gefällt mir der Beitrag: Wann ist Museum?

]]> Tip tag:blogger.com,1999:blog-30172924.post-5867224052415472154 Museumsblog ]]> http://mediamusea.com/2009/12/15/museos-accesibles/#comments Tue, 15 Dec 2009 16:59:12 GMT http://xfruits.com/dianed/?id=37100&clic=491990280&url=http%3A%2F%2Fmediamusea.com%2F2009%2F12%2F15%2Fmuseos-accesibles%2F

Durante mucho tiempo la accesibilidad ha sido uno de los retos pendientes  de los museos, de ahí que muchas instituciones se hayan esforzado por buscar medios para atender la diversidad e incluir a las minorías. La accesibilidad física es ya algo enteramente asumido por nuestras instituciones museísticas, teniéndose siempre presente en los edificios de nueva planta y tratando de adecuar, en la medida de sus posibilidades, a los BIC y edificios históricos. Pero más allá de esta accesibilidad física existe una accesibilidad intelectual, y en este campo la nuevas tecnologías son un gran apoyo.

Una persona con discapacidad intelectual puede necesitar modelos más sencillos y didácticos para entender adecuadamente el discurso de un museo; una persona con discapacidad auditiva puede no oir las explicaciones de los guías o el audio de una proyección; una persona con discapacidad visual quizá no lea bien las cartelas o incluso no vea la pieza, y se deben buscar soluciones a este tipo de casos. Muchos museos realizan actividades especiales adaptadas a los requerimientos de este tipo de público, pero además de ello sería conveniente que los museos tuvieran también capacidad para  poder atender a cualquier visitante individual, con cualquier tipo de discapacidad y en cualquier momento.

Algunos museos han introducido para ello sistemas de audioguías y signoguías, como el Museo Nacional de Arte Romano, el Museo Nacional Centro de Arte Reina Sofía, el Museo Marítimo de Barcelona, el Museo del Prado, el Museo Thyssen-Bornemisza, el Museo Nacional de Altamira o el Museo Nacional de Arte de Cataluña. Muchos de ellos muestran además estas signoguías a través de la red.

También se han creado proyectos específicos para la accesibilidad en museos como GVAM.

Si bien en cierto que no todos los museos cuentan con los medios económicos suficientes para poder acceder a este tipo de elementos, siempre hay opciones para poder avanzar en la accesibilidad en nuestro centro. La colaboración con asociaciones locales para la grabación de videos en lenguaje de signos o la transcripción del catálogo de la exposición a Braille; la creación de podcast con audiodescripciones de las piezas; la elaboración de la página del museo siguiendo los estándares de la accesibilidad web; la colocación de modelos táctiles en las salas, etc., son sólo unos ejemplos de algunas cosas que se pueden ir haciendo para atender a las personas con necesidades especiales.

Para profundizar más en este tema se recomienda leer “Guías Multimedia accesibles: el museo para todos“, del Centro Español de Subtitulado y Audiodescripción.

]]> Accesibilidad http://mediamusea.com/?p=246 MediaMusea
Last month, I gave the closing keynote at the National Digital Forum in New Zealand. The end of a conference is often a time of great enthusiasm quickly followed by a gaping maw of inability to act on that enthusiasm back at work. For this reason, I spoke specifically about how to make dream projects possible at real institutions. You can see or download my slides and you can watch the video of the talk. Or you can read this condensed version of the talk.

***

Elaine Gurian once told me there are two ways for institutions to innovate: they can be so small that no one notices them, or they can have a director who is willing to put his/her neck on the line for the innovation. It’s nice to have both. Unsurprisingly, some of my favorite museums are small, funky places run by iconoclasts—but that’s not useful to most professionals who work for organizations in which they have little control over size or leadership matters.

So if you’re not at one of those weird little institutions, how do you make innovation happen? How do you overcome institutional resistance to change and uncertainty to do something wild and hopeful?

It takes six steps.

First, you have to connect your idea to the institutional mission. I’ve written about this before, and it’s particularly relevant if your idea falls outside the traditional products or services of your organization. Pick apart your mission statement, and look for the words and phrases you can connect your project to. Ask leaders to be accountable to the mission. I used the example of the Yerba Buena Center for the Arts, which has a mission statement that includes unusual words like “bold” and “fearless.” If your institution says it is bold and fearless, how do your programs support that? What new projects might allow you to better reflect those aspirations? When you speak in the language of the institutional mission, executives will understand you better and be attentive to the new connections you draw from the mission to proposed projects.

Second, you need to find the right tool to implement your idea. Especially when working with technology, leading with tools instead of mission-driven projects is a mistake. If you say, “we need a blog,” others in your organization won’t know how to contextualize that within the programs and mission of the institution. If you say, “being transparent is part of our mission, so we need a way to share more of the behind-the-scenes everyday work we do here, and since people here are comfortable writing and taking pictures, the best way to do that is via a blog,” then people will come onboard.

Third, you need to align your idea with institutional culture. There are some ideas that will never fly where you work. Maybe the director is obsessed with “company secrets” and you’ll never be able to share behind-the-scenes work. Or maybe education staff are not willing to engage real-time visitors in dialogue around controversial issues. That’s fine. If your idea is mission-relevant, you will be able to find a way to make it palatable within the context of your institution. I used the example of two very different exhibitions that solicited visitor-contributed content: Playing with Science at the London Science Museum, and MN150 at the Minnesota History Center. The London Science Museum team designed an entire exhibition and then left a few open vitrines at the end for visitors to contribute their own toys during the run of the exhibition. The Minnesota History Center team solicited visitor nominations for exhibition topics and then built an exhibition out of those contributions. Both resulting exhibitions featured visitor-submitted content, but each institution did so in a way that felt comfortable to their work processes and abilities.

This may sound obvious and natural, but it’s easy to underestimate the power of institutional culture. Sometimes staff are unaware of their own cultural biases and requirements even as they manage new projects. I worked on one project in which the client institution thought they wanted unfettered teen expression. When they saw the results of that expression, they struggled with the content and eventually integrated it into their project in a way that diminished the teens’ involvement and hard work. In the end, this generated a substandard product for the client, and disappointment for the teens.

Fourth, you need to find a way to evaluate what visitors do – and more importantly, to evaluate using criteria that are understood and appreciated by everyone in your institution. It’s not helpful to just measure outputs (number of visitor comments, length of stay) if those don’t translate to something that staff understand as useful outcomes. There are several good resources on evaluating participation. There is a preponderance of reports about the value of new media literacies towards educating productive citizens of the 21st century. Assessment tools like the Museums, Libraries, and 21st Century Skills report can help you couch both your goals and evaluation in contexts that are well-understood by funders and executives alike. Another source of resources comes from the growing body of social media evaluation tools. I’m particularly enamored of this simple diagnostic used at the Museum of Life and Science in North Carolina to articulate the types of institutional goals they are trying to achieve with forays into participation. They use these explicit goals as measuring sticks for the projects and experiments they pursue.

Fifth and most challengingly, you need to reserve resources (dollars and staff) for project operation. Unlike most traditional cultural products, projects that encourage visitor participation require staff to “tend the garden” of contributions long after the launch date. I consider this the greatest obstacle to the inclusion of participatory practice in cultural institutions because it fundamentally changes the way organizations staff and fund projects. Many museums are making this shift as they hire “community managers” who communicate with users on an ongoing basis. But institutions that incorporate dynamic content and participatory engagement throughout struggle to prove every day that they need to continue providing consumable materials and floor staff to sustain engagement.

Sixth, you need other people to help you. Pushing forward new projects in your own institution can be a tiring and thankless task. If you have friends and colleagues—whether internal or external—who can help you get to the next step or just commiserate and cheer with you, you’ll feel less lonely in your endeavor. I believe you need to find specific people—not just social networks—who can help you in this effort. When you meet someone who can help you, ask her. When you meet someone you can help, make an offer. These transactions will make change possible.

***

To help jumpstart these relationships, we did one of my favorite activities. People took out two business cards. On the back of one, they wrote something they need. On the back of the other, they wrote something they could offer someone else professionally. We unveiled a giant gong in the front of the room. If you found a "match" - someone you could help or could help you - you got to come up and hit the gong. People bonded over all kinds of skills, from helping digitize collections to performing outcome assessments to strategizing about new programs. And despite the exhaustion of the end of a long conference, everyone got up and moving in their quest to hit the gong (as evidenced by photos like this one).

As a brief design digression, I'd like to suggest that the gong is essential to this activity working. It's a motivator that has no intrinsic value - certainly less value than the outcome of the activity of finding a helpmeet in your work. But it helps focus WHY people will participate in something a bit silly by coupling it with a silly win condition. It invites people to play. It's another example of how scaffolding participation with design objects can make interpersonal exchange more desirable.

]]> Mon, 14 Dec 2009 23:12:00 GMT http://xfruits.com/dianed/?id=37100&clic=490424819&url=http%3A%2F%2Ffeedproxy.google.com%2F%7Er%2Fmuseumtwo%2F%7E3%2FiCurBM20JqY%2Fsix-steps-to-making-risky-projects.html Museums Engaging in 2.0 Projects tag:blogger.com,1999:blog-37032121.post-8331524584904699295 Museum 2.0 noreply@blogger.com Mon, 14 Dec 2009 11:43:00 GMT http://xfruits.com/dianed/?id=37100&clic=488023775&url=http%3A%2F%2Fwww.museumsblog.de%2F2009%2F12%2Fausverkauf-der-museen.html Kulturjournal im NDR. Auslöser ist die Situation in Hamburg - die Kunsthalle steht vor einem finanziellen Engpass, und der Stiftungsrat hat den Direktor Gaßner damit beauftragt, eine Liste von "entbehrlichen Kunstwerken" aufzustellen, die verkauft werden könnten.
Darum geht es heute im Kulturjournal. Auf der Seite des NDR heisst es in der Ankündigung:

"Plötzlich scheint das Undenkbare möglich: der Verkauf von Kunstwerken aus Museumsbeständen. In Hamburg wird eben diese Option heftig diskutiert. Der Stiftungsrat der Kunsthalle befürwortet die Veräußerung einzelner Werke, um die Finanzlöcher des Museums zu stopfen. Demgegenüber schließt der Direktor der Kunsthalle, Hubertus Gaßner, im Kulturjournal den Verkauf von Werken kategorisch aus. Doch warum sollen Museen grundsätzlich Teile ihres Bestandes nicht verkaufen dürfen? Wäre das tatsächlich ein kultureller Sündenfall, wie vor allem Museumsleute meinen – oder vielleicht doch eine Lösung von immer dringlicher werdenden Finanzproblemen? Das Kulturjournal diskutiert diese Grundsatzfrage mit dem Leiter des Deutschen Museumsbundes, Michael Eissenhauer und zeigt, wie unterschiedlich die Institutionen in Norddeutschland damit umgehen."

Die Sendung läuft heute um 22.30 Uhr im NDR.

Hier kann man über das Hamburger Problem nachlesen, sozusagen symptomatisch für Deutschlands Museen: ein Gastbeitrag der Kultursenatorin Karin von Welck im Hamburger Abendblatt, ein Artikel in der Welt und ein Interview mit dem ehemaligen Kunsthallendirektor Schneede im Deutschlandfunk.

]]> Tip tag:blogger.com,1999:blog-30172924.post-7017086965846573676 Museumsblog noreply@blogger.com Sun, 13 Dec 2009 09:43:00 GMT http://xfruits.com/dianed/?id=37100&clic=488023776&url=http%3A%2F%2Fwww.museumsblog.de%2F2009%2F12%2Ffigurinen-xv.html
Anonym und etwas verfremdet verrichten die Figurinen im Olivenmuseum der Firma Carli in Imperia ihre museale Arbeit.

]]> Figurinen tag:blogger.com,1999:blog-30172924.post-139496642873855365 Museumsblog ]]> http://newmouseion.wordpress.com/2009/12/10/recuo-tecnologico/#comments Thu, 10 Dec 2009 17:39:58 GMT http://xfruits.com/dianed/?id=37100&clic=491990202&url=http%3A%2F%2Fnewmouseion.wordpress.com%2F2009%2F12%2F10%2Frecuo-tecnologico%2F

Hoje é dia de lançamento da revista Museologia.pt n.º 3 para a qual eu fui amalvelmente convidado pela Dr.ª Clara Camacho a escrever um artigo para integrar o dossier “Museus e Inovação Tecnológica”, tema central do presente número desta importante revista no panorama museológico português.

Eu estive na estrada a caminho de Lisboa para marcar presença na cerimónia, agradecer pessoalmente a quem me convidou para escrever o artigo, encontrar amigos, felicitar o Prof. João Brigola pena nomeação como director do Instituto dos Museus e Conservação e aproveitar a ida a Lisboa para tratar de alguns assuntos profissionais que agora não interessam para o caso. Estive na estrada mas a tecnologia pregou-me uma partida. O carro, essa velha máquina de que tanto dependo para me deslocar, teve uma avaria, melhor um furo. Não seria nada demais, caso tivesse um pneu normal para mudar. Mas apenas tinha um pneu que me permitia andar apenas a 80 Km/h e que estava também com menos pressão do que devia. Ainda fiz uma tentativa de encontrar uma casa de pneus por perto de onde me encontrava, mas nada. Única solução retornar à base (Porto) e roer-me de inveja de quem vai poder estar presente. E assim um recuo tecnológico (porque é que os pneus dos carros ainda furam, não é?) tirou-me o prazer de poder marcar presença.

Não posso, no entanto, deixar de aproveitar este post para enviar um pedido de desculpas a todas as pessoas envolvidas na equipa da Museologia.pt, principalmente à Dr.ª Clara Camacho e à Dr.ª Cláudia Figueiredo, pela minha ausência e de felicitar o IMC pela publicação de mais um número da Museologia.pt e, também, pela excelente publicação sobre Património Imaterial que será apresentada na mesma cerimónia.

Aproveito também para enviar as mais sinceras felicitações ao Prof. João Brigola pela nomeação como director do IMC e desejar-lhe os maiores sucessos na missão que agora abraça.

]]> Revistas http://newmouseion.wordpress.com/?p=619 Mouseion udem.museo@gmail.com Thu, 10 Dec 2009 16:16:00 GMT http://xfruits.com/dianed/?id=37100&clic=488083680&url=http%3A%2F%2Fmuseomuseo.blogspot.com%2F2009%2F12%2Farmory-show-4-au-7-mars-2010-voyage-new.html

Le département d’histoire de l’art de l'UQAM propose un voyage à New York du 4 au 6 mars 2010.


Le mardi 15 décembre 2009, aura lieu, au CAFÉ des ARTS (J-6170), à 12h45, l'unique rencontre pour
recevoir davantage d’informations et s'inscrire. Plus il y a de gens inscrits, moins le 

voyage sera coûteux et plus ce sera agréable. Ce voyage à New-York donnera l'opportunité aux étudiants de visiter la GRANDE EXPOSITION INTERNATIONALE

D'ART MODERNE qu'est l'ARMORY SHOW. Sont également au programme, une visite au Museum of Modern Art, à la Dia-Beacon 
et dans plusieurs autres galeries.
C'est le moment parfait pour élargir ses connaissances sur l'art d'ailleurs. 





Si vous ne pouvez pas être présent ou présente lors de cette réunion, et pour toutes informations écrivez
à l'adresse suivante : levoyagenewyork@gmail.com