Concept Of Museology Research Articles

The Urbanized Museum

In the contemporary world of social change, accelerated mobility and plural identities, the creation of open and inclusive environments seems to be a recurrent aim at all levels from cities to buildings and to museums in particular. Through the first-hand study and analysis of current case studies, the paper will argue that museums engage space to express the contemporary museological concepts of accessibility, openness and inclusiveness, and through these to engage visitors in cross cultural informational experiences and social encounters. The spatial nature of the contemporary museum, it is proposed, points to a new concept of the museum, which often aims to be part of the city, both in the sense of how it connects to it and in being internally more like a city, and so a continuation of it.

Spatial Evaluation of New Museology Concept in Sepuluh November Museum Surabaya using Space Syntax

Museums have expanded their traditional roles (for conservation and exhibition of cultural heritage) to a more active social role in cities and communities. The social role of museum is related to the new concept of museology. In this regard, how can architecture support museums so that they can apply the new museological concept? Taking a case study at the Sepuluh November Museum Surabaya, this study evaluates the spatial design according to the new museological parameters. The space syntax method determines the relationship between spatial and object collection arrangement as a parameter for the museum’s success toward a new museology concept. From the analysis, the spatial elements of the Sepuluh November Museum have not yet applied the new museological concept. The spatial arrangement is still linear and modest, does not optimize the function of space, limited circulation, and does not provide the contemplation space.

Power and knowledge: The birth of museums in China

AbstractDrawing insight from various museological concepts, such as “disciplinary museum” and “exhibition complex,” I sketch a brief history of museums that first emerged in China during the mid‐nineteenth century. In this paper, the museums in China—from the late Qing dynasty (1850–1912) to the early Chinese economic reform period of the late 1970s and early 1980s—will be studied through a Foucauldian lens to further illuminate the nation's museum history. By studying four types of museums—China's first foreign museums, private museums, the Kuomintang museums, and the Chinese Communist Party museums—I explore how these institutions provided the public with different modes of consciousness and civil identity and how individuals respond to the cultural effects of museums. Whereas museums had been utilized as an instrument for different political parties, I aim to show how discourse has been radically transformed while these institutions represent the administrative mechanisms throughout different periods. I hope to initiate a discussion for future studies on how the contemporary museological phenomenon might be linked to the reminiscence of museums in the past.

Development of Museological Thought in Croatia and Vladimir Tkalčić’s Place in It

The paper first provides an overview of the historical level of museology and the history of museology as its special aspect because researching the work of a personality from the history of museums in Croatia belongs exactly to this level and aspect of museology. Next, successive stages of the development of museological thought are given, and persons who made contributions in Croatia are identified. In conclusion, it is determined that although Tkalčić cannot be called the initiator of the Croatian museology, as provided in the entry in the Croatian Encyclopaedia, he was an expert on basic theoretical museological concepts, even more so in the field of practical museology, who not only kept track of foreign thought but also laid in practice many foundations related to the furnishing of museum buildings, the principles of good exhibition, and the use of various means of communication, all with an aim to allow also the least educated audience to find museums to be places of education and learning.

DI SEBALIK IDEA DAN PENGARUH MUSEOLOGI DALAM INSTITUSI PERMUZIUMAN DUNIA DAN MALAYSIA

Museology is basically a field of study referring to museum institutions. From the historical aspect as well as their basic philosophy, their goals and policies and functions either from the point of view of education, politics or even social roles. Museology can be said to be a relatively new discipline whose prevalence is largely an intellectual product of the 20th century. However, it is certain that the concept of Museology has existed at least since the 17th century, where the development of the idea of museology appears to have developed along with the early development of the museum. During that period of time, museology has helped the development of museum institutions either in terms of concept or in terms of museum management. The change of museums from institutions that are only focused on the conservation and restoration of artefact collections, now they are community-oriented (community-oriented), becoming exhibition spaces and platforms for dialogue and communication in general with visitors. This study uses a qualitative method by analysing the data of studies on the development of museology in the field of museology. The focus of the study focuses on the definition, background and what is the significance and influence of museology in museum institutions in Malaysia. The results of the study show that the museum provides significant theoretical and practical museum aspects. Practical practice is a priority in the management of museum work to produce professionals in the field of museums while the existing theoretical will play a role as criticism needed to implement improvements and guidance to museum management because the museum's function as a treasure heritage institution can be implemented well. In addition, museology has also applied critical thinking to social and political issues. In the context of Malaysia, museology has called for the removal of all colonial influences in museum institutions through the implementation of decolonization after the country achieved independence. Then it changed the museum from colonialism, now it has been used as a tool for nation building in uniting a multi-ethnic and cultural society.

Re-imagining museums through the ninth art: five comic books as case studies

ABSTRACT This work attempts to approach the image that museum institutions disseminate among their potential public through the resource of the comic. It also tries to show how this 21st-century image surpasses the characteristics granted to museums in postmodernity. The idea of a museum capable of creating a public or a transformative visiting experience is not as unidirectional as one might suppose. This work takes the nine concepts of museology suggested by Mara Jiménez Blanco, professor in the UCM, as theoretical categories. These concepts result from an original synthesis of the history of internationally renowned institutions. This study shows how all these concepts appear to a greater or lesser extent using mass media such as comics or comic strips. Different methodological approaches and techniques have been used for this purpose. The results obtained have implications both for museums and for their public. For the former, by encouraging reflection on their public image. For the latter, the presentation of the museum in a different language that combines imagination and history, two elements that are part of the co-creation of the tourist experience at cultural heritage sites.

The Bishop's Basilica of Philippopolis: A New Generation In-Situ Museum

The article presents the process of creating the newest in-situ museum in Bulgaria - the bishop's basilica in Plovdiv. The stages of the discovery of the object and the course of its socialization are traced in the context of some actual museological concepts. The new museum is compared with other similar models and the first steps of its activity are shown. The idea of introducing the term "hybrid museum" was launched as a summary of the successful start of the new cultural topos in Plovdiv.

Accessibility, Natural User Interfaces and Interactions in Museums: The IntARSI Project

In a museum context, people have specific needs in terms of physical, cognitive, and social accessibility that cannot be ignored. Therefore, we need to find a way to make art and culture accessible to them through the aid of Universal Design principles, advanced technologies, and suitable interfaces and contents. Integration of such factors is a priority of the Museums General Direction of the Italian Ministry of Cultural Heritage, within the wider strategy of museum exploitation. In accordance with this issue, the IntARSI project, publicly funded, consists of a pre-evaluation and a report of technical specifications for a new concept of museology applied to the new Museum of Civilization in Rome (MuCIV). It relates to planning of multimedia, virtual, and mixed reality applications based on the concept of “augmented” and multisensory experience, innovative tangible user interfaces, and storytelling techniques. An inclusive approach is applied, taking into account the needs and attitudes of a wide audience with different ages, cultural interests, skills, and expectations, as well as cognitive and physical abilities.

The ideal essence of a museum object

The article examines the museum object from the theoretical and methodological positions of the idealistic approach, placing the Human Creator at the center of culture and history. The museum object is characterized as a substance of nature from the theoretical point of view. Also, it is designed in accordance with the ideological content of human consciousness and having value from the point of view of the main ideas of society’s worldview. An explanation of the phenomenon of information of a museum object is provided in the article. The process of endowing a museum object with such a specific property as museum character is substantiated and the procedure for its creation is described. At the same time, it is indicated that the main properties of a museum object are not immanent, but they are instilled in it by the consciousness of a museum worker and a visitor. The value of a museum object is determined by the ideas of the dominant worldview; when it changes, the value of the museum object also changes. The degree of expression of the main properties of a museum object such as expressiveness, attractiveness, and associativity also depend on the ideas of the current worldview. Original objects that sufficiently express the main content of the subject are of the greatest value. From the authors’ positions, criticism of views on the most important properties of a museum object is made. From the standpoint of an idealistic approach, a definition of authenticity of a museum object is provided and the particular importance of authentic objects inthe current time of multimedia and interactive technologies being introduced into museum practices is emphasized. The article concludes that the idealistic approach, offering a solution to many problems in relation to a museum object, nevertheless, is not at the moment an all-encompassing theory that can explain it in all manifestations of creation and functioning. However, according to the author, in comparison with other theories the idealistic approach is able to give more answers to questions in this area than other museological concepts.

Research on local history and the museum as a tool to preserve heritage in a region with a broken economy: On the example of the Mama village in the Irkutsk region

The article is devoted to the history of museums and the modern development of local history work in one of the northernmost districts of the Irkutsk region. The article briefly describes the circumstances of the foundation of a mica mining enterprise on the banks of the Vitim and Mama rivers in the late 1920s as well as the history of production being stopped and the degradation of settlements in the post-Perestroika period. In 1965, a mineralogical museum was established in the Mama village. In 2003, it was converted into a local history museum. In recent decades, the functions of the modern museum have changed, but this has manifested itself in the work of a local history museum of the Mama village only in the form of concentrated pedagogical activities. Important functions for studying the heritage of the Soviet time, documenting the modern life of the district, working with society, in particular, with an older audience, were gradually taken over by a group of enthusiasts who founded the voluntary Mamskoe Historical and Local History Association (MICRO) in 2008. Over the past twelve years, the Association has organized about twenty museum and street exhibitions, published a number of monographs, stories about the residents of Mama, and published two photo albums. Photos have been published as well as archival documents, and oral histories of local elders, many of whom are descendants of repressed peasant families forcibly resettled here in the early 1930s. Participation in district and regional conferences on local history helps to influence the social situation and supports the proper level of cultural life of the region. The article touches on such modern museological concepts as “social inclusion”, “intangible cultural heritage” and “participatory practices”. The authors hope that in the future, experts will be able to discuss the possibilities of developing the tourism sector in this area.

The Politics of Representation in South African Museums

Politics are an integral part of our museums, and, in light of the question of power this paper aims to unpack the politics of representation in South African museums in the post-apartheid era. I argue that the politics of the colonial era and apartheid era still prevail in South African museums today. In South African politics during apartheid, certain race groups had privileges over the others, and museums and public commemorations were affected. Museums represented the power holders, their concepts of museology, of public commemoration and society. In apartheid South Africa, the focus was on white control and Afrikaner Nationalism. Following the first democratic elections of 1994, the focus in representations in the heritage sector, thus in museums, shifted to reconciliation (as the country was divided in a way that certain groups were deprived of basic human rights) and nation building. There were major policy changes to enforce transformation. McGregor & Schumaker (2006) pointed out that state-led commemorations were selective, liable to elevate the ruling party ignoring the youth and women. Kratz (2011) placed emphasis on the importance of rhetorics of value in museums. Rhetorics of value invoke a range of experiences, deal with thematic content, thread throughout an exhibition or museum conveying ways objects are treated and presented, and are also related to visitors’ own identities, judgments and perceptions of worth (Kratz, 2011). There are a number of techniques that one can apply to study the politics of museums. I will use this concept to analyse the museums within eThekwini Municipality and unpack the politics of representation. This paper pays attention to the emphasis on representing settler histories and male leaders and questions how women and Africans are represented in museums.

Fashion exhibition as film

Abstract This article reflects on the film project 1914 Now: Four Perspectives on Fashion Curation (2014) in which I invited internationally renowned fashion curators to present their curatorial thesis on film rather than working with dress in three dimensions within the familiar context of the gallery or museum. When I devised this experimental project, I set out to test notions of curatorial authorship as evidenced upon the final public presentation and to appraise film as a medium for curatorial interpretation. This article examines museological concepts associated with the curation of fashion and dress and assesses curatorial trajectories and interventions, scenography and the animation of objects as applied to film. What happens when a curator, used to dealing with the object, no longer has the object to install?

Learning how to see and feel: Alfred Lichtwark and his concept of artistic and aesthetic education

Focusing on Lichtwark’s concept of museology, this article shows what role he envisaged for art in public life at a time when the rise of mass consumption and popular culture created new lifestyles. Lichtwark’s concept of artistic and aesthetic education did not only extend to museums and classrooms but also to dilettantism as a basis for educating taste and developing an appreciation of the arts that would have a positive economic impact. The article looks at the contemporary entanglements and different contexts of Lichtwark’s ideas and relates them to recent approaches to cultural learning. Generally speaking, it argues that concepts of cultural learning are a bundle of entangled threads that connect and concern not only the sphere of art but also contradictory values and norms, economic production, and the emergence of new important status groups such as consumers.

The Acropolis Museum: Contextual Contradictions, Conceptual Complexities

Drawing on the public debates on the location of the new site museum exhibiting the sculptures and other artefacts of the iconic Athenian Acropolis, the author highlights the complexity of integrating a new site-specific museum to a historically charged urban monumental and cultural landscape. By presenting 13 alternative viewpoints on the topic of this museum's location together with the respective museological concepts debated during the planning stage, this paper delineates the various conceptual hierarchies on the notions of ‘context’ and ‘content’ in the relationship between the museum and its cultural landscape.

Beyond Braille on Toilet Doors: Museum Curators and Audiences with Vision Impairment

Beyond Braille on Toilet Doors: Museum Curators and Audiences with Vision Impairment

Giorgio Vasari and the birth of the museum

Contents: Preface Introduction: Giorgio Vasari and the birth of the museum, Maia Wellington Gahtan Part I Vasari's Collections: Decorations and collections in Vasari's houses in Arezzo and Florence, Alessandro Cecchi Giorgio Vasari and the Libro de' disegni: a paper museum or portable gallery, Anna Forlani Tempesti Giorgio Vasari, collector of epitaphs, Maia Wellington Gahtan. Part II Vasari and Illustrium Imagines: Giorgio Vasari, Paolo Giovio, portrait collections and the rhetorics of images, Nadia Cannata Vasari, Borghini and Cristofano dell'Altissimo: the papal portraits in the Sala delle Carte Geografiche, Rick Scorza Portrait galleries, artists' biographies and the birth of academies and museums, Tommaso Casini. Part III Vasari's Exhibitions: Vasari, exhibitor of art: Medici collections of antiquities, Andrea Galdy Giorgio Vasari, Rome and early forms of display of Medici collections in Florence: models and afterlife, Donatella Pegazzano The order, the itinerary, the beholder: considerations on some aspects of the Ragionamenti del Sig. Cavalier Giogio Vasari, Emilie Passignat Virtual guided museum tours: Vasari's I Ragionamenti and Bartoli's Ragionamenti accademici, Henk Th. van Veen Giorgio Vasari, architect: the Uffizi of the gallery, Claudia Conforti. Part IV Vasari's Museological Concepts and Their Afterlife: The Accademia del Designo and its museology, Luigi Zangheri Paper museums and the multimedia practice of art history: the case of Stefano Mulinari's Istoria Pratica (1778-80) in the Uffizi, Ingrid R. Vermeulen Vasari: the territory beyond, Elizabeth Pilliod Bibliography Index.

Photography as Anti-Museum? Conflicting museological concepts in the work of Joachim Schmid

When, in 1990, artist Joachim Schmid mobilized people who wanted to get rid of unwanted pictures to send them to the Institute for the Reprocessing of Used Photographs, an “official” institution responsible for gathering the First General Collection of Used Photographs, he was clearly overcoming the simple role of the “artist as curator” to assume another museum function as part of his artistic statement. Addressing the relationship between museums, contemporary art and photography, this paper further investigates the complementary ways by which Joachim Schmid has incorporated conflicting museological notions in his work, not only to question the established values and assumptions museums help validate, but also to challenge and reject the very art–museum relationship. Particular attention is devoted to materiality and to the ways by which photographic appropriation was able to resist the impacts of the digital revolution. While carefully looking at the particular work of artist Joachim Schmid, this text examines how art has learned to adapt to the new technological landscape, developing new ways for the photographic appropriation to survive. Finally, it also analyzes how the artist tries to oppose the museum, as a legitimating institution, by nevertheless activating institutionally charged artistic gestures.

New museology as a fact of contemporaneity

This essay is on new museology and its essential concepts. The discourse is based on the concept of new museology as a utopian project that emerged as criticism of the, so-called, traditional museum. Although its foundation is usually dated back to 1989, in Peter Vergo's seminal The New Museology, we are more inclined to date it in the mid-1970s, linking it to broader artistic, social, economic and political movements of the post-1968 world. The idea expressed in this paper is that 'the new museology' has not lost its currency, as we believe is shown in Key Concepts of Museology, published by ICOM in French in 2009, and in English 2010.

Museologia-Museu e patrimônio, patrimonialização e musealização: ambiência de comunhão

O artigo focaliza um recorte da pesquisa "Termos e Conceitos da Museologia", âmbito da Linguagem de Especialidade, representando teoria e prática de um conhecimento que se expressa sob a forma de comunicação científica (contexto informacional/comunicacional). Sob perspectiva histórica, enfoca o entrelace Museologia-Museu e Patrimônio a partir dos fundamentos da formação do Museu, campo museológico e Patrimônio. Destaca processos de institucionalização de bens culturais (bens simbólicos), isto é, Patrimonialização e Musealização, e as significações construídas, ao longo do tempo, legitimando ações de 'apropriação' por instâncias culturais. O respaldo teórico envolveu estudos da Museologia, teoria comunicativa da terminologia, socioterminologia, teoria da economia dos campos e poder simbólico, Direito e Ciência da Informação. Os objetivos incluíram a identificação e análise das dinâmicas de criação, ressignificação, variação de termos/conceitos, com resultados que também servem à linguagem documentária. A metodologia desenvolveu análise comparada de fontes ligadas às representações e práticas dos cenários museológico, patrimonial e terminológico. Os resultados apontaram uma base comum para a interação entre Museologia e Patrimônio: a imagem divulgando a necessidade de salvaguardar os bens para transmissão às gerações futuras - preservação, consubstanciada no sentido emprestado de ato social ligado à questão das identidades, mas cuja face real é a prática do poder simbólico.

Heritage and Empowerment of Local Development Players

Brazil has solid experience in the community‐based development of museums such as eco‐museums, community museums, street museums, indigenous museums, favela museums, route museums, neighbourhood museums, parade museums ‐ all of which demonstrate creativity and memory's desire, which are capable of attracting international attention. These experiences can be more or less identified with museological concepts, in which have facilitated the development of sites of memory, heritage education, Afro‐Brazilian clubs and participatory inventories, etc. This study presents an overview of Brazilian expertise in the utilization of heritage and collections as pretexts for the empowerment of the players involved in local development, with communities leading the creation of museums in their own way. Looking beyond the high concentration of institutions in a number of states and regions, the text presents other scenarios that demonstrate a situation that is in fact much more diverse.