Professional Documents
Culture Documents
Guest editors
Ann DAVIS
Former Director, The Nickle Arts Museum, University of Calgary, Canada
François MAIRESSE
Université Sorbonne Nouvelle - Paris 3, CERLIS, Labex ICCA, France
Ann Davis
More and more theorists are convinced that thinking is bound up with
action, that if you really want to know something, you have to do it.
Not only are the brain and body composed of the same
matter, but their workings are interwoven to a degree far
beyond what we assume. The biological processes that
constitute “thinking” emerge not just from neural
computations in the skull but from the actions and sensory
perceptions of the entire body. (Carr, 2014, p. 149)
tuned to our environment, our bodies and minds are quick to acquire
tools and other artifacts. These tools might be a cane or hammer,
each of which will be incorporated by our brain into its neural map of
our body. Other animals, such as monkeys and elephants, also use
tools this way. But it is humans who have devised tools to extend our
mental as well as our physical capabilities. These tools are often
helpful, but the ease with which we use technology and make it a
part of our daily functioning can also be harmful; they can and do
separate the mind from action, actually disembodying us, often
producing an erosion of skills and a dulling of perceptions. As Carr
explains:
hot : cold
hot : c
that showed only the first letter of the second word, the antonym.
Subsequently those with the card with the missing letters were much
better at remembering the word pairs (Carr, 2014, pp.72-73). A 2011
Science article demonstrated that students who read a complex
assignment during a study period and then spent a second period
recalling as much as possible, learned the material more fully than
students who read the assignment repeatedly over four study
periods. Thus we see that the mental action of generation improves
the ability to carry out activities that “require conceptual reasoning
and requisite deeper cognitive processing” (Carr, 2014, p. 73,
Nicholas Carr sums up the high value of the generation effect and
the great losses provoked by its absence:
The response of the visitors was most interesting. They were fully
engaged. People would stop at each group of paintings, first to look
and read the labels, but also, importantly and consistently, to
discuss, parse, and analyze. This process would take a considerable
amount of time: there was no sense of hurry, of a necessity to move
on. Rather families and friends would consider one pair, then
perhaps circle back to reexamine a previous pair, or stop, sit on an
appropriately placed bench, and continue to talk. This exhibition
certainly demonstrated the centrality of sense of place as a location
of meaning making, one that breaks down previous barriers to
expand into the new and wonderful – Gadamer’s “fusion of
horizons.” Authentic identity was discovered, as the broad theme of
creativity found resonance with every viewer, for in the past each
person has struggled with the problem of how to create, even if
creating means mending, metal-working or management rather than
painting. Following Dewey, Heidegger and Carr, the show amply
confirmed the ties of mind and body, the moving of both mind and
body in consort. Mirror neurons were actively used in the numerous
discussions, both those held during time in the exhibition and
afterwards. A visit to Matisse: Pairs and Series was a lasting,
memorable experience.
Libraries too are challenged. By the late 1990s, the Web had
drastically changed libraries, not to say threatened them, for now
users could access library information from anywhere, not just from
inside a library building. This led to a major crisis, prompting the
question “why do we need libraries?” For some people, the question
is still valid today. While it is hard to get firm numbers of libraries that
have closed, it has been reported that in 2012 more than 200
libraries were shuttered in the UK, and a 2013 article in The
Guardian suggested that some felt 1000 would be closed by 2016. A
new US college, Minerva, in San Francisco, has decided not to have
a library at all (Wood, 2014, p. 53). The emergency prompted an
article in the Chronicle of Higher Education, on November 16, 2001,
titled “The Deserted Library”, illustrated by a cover photograph of the
inside of a library with no one in it.
References
“Let’s pretend there’s a way of getting through into it, somehow, Kitty. Let’s
pretend the glass has got all soft like gauze, so that we can get through. Why, it’s
turning into a sort of mist now, I declare! It will be easy enough to get through –”
The focus of this paper is the study of museums as social agents that
produce performances. Distancing ourselves from a more
informational and objective perspective – which may suggest a clear
bond between museums and libraries, archives, or cultural centers
for instance, and which approximates museology with information
sciences – it would be preferable to think of museums in relation to
theme parks, or carnivals, as in the North American institution.
The main reason lies in the fact that these social sciences and their
particular researchers are studying mere informational relations –
leaving human experiences and performances outside of their scope.
This is not the case for museology. In a way, we may infer that
museology studies reflexive processes in the form of cultural
performances, i.e. the focus in this contemporary discipline is taken
away from fixed, stable objects as carriers of information to the
subjective human experiences and the very act of creating new
worlds in which information may be produced and transformed.
Having the museum as a stage in which these reflexive encounters
take place – a stage that can be instituted or improvised – museology
cannot be perceived as a discipline that is irrefutably attached to an
institution.
In the past, the founding mothers and fathers of our discipline have
already approached such a perception that leads to the relativization
of museology’s subject of study. Indeed, since 1965 in the former
Czechoslovakia, Zbyněk Z. Stránský raised questions on the subject
of study of museology, denying, for the first time, the museum as its
First, we may recall that the breach between subject and object is, in
fact, fabricated by a particular appropriation of reality. It was first
conceived as an important part of Descartes’ cogito, according to
which subjects as ‘minds’ exist as completely separated entities from
physical reality. This conception of a mind that is even detached from
a physical body and exists beyond any materiality lies in the
foundation of idealistic philosophy. It was further explored by Kant
and discussed by Hegel. But it is only since the Enlightenment that
Rationalism would translate it into politics, becoming a central part of
dominant ideologies in the West. In the case of museums, this
breach is a historic phenomenon that distinguishes Modernity and
characterizes a certain a priori for the existence of this institution.
over which he has the power to act”, both parts considered in the
museum fact.
This also does not mean that objects do things ‘instead’ of human
actors. Latour argues that no social science can exist without first
exploring the question of who and what participates in the action.
This primary empirical question could mean – as it certainly does for
museology – letting in the so-called “non-humans” (Latour, 2005,
p. 71). The human-reality relation, then – limiting of the subject of
museology – could begin to be perceived as a relation between
associations, and, in that sense, it could be fully studied by a human
science.
Just as the hammer does not ‘impose’ the hitting of the nail,
museums do not impose musealization. In fact, museums are the
mediators and not the main actors of this process; they participate in
the action, but they cannot configure, in any conceivable way, the
sole subject of museology.
After the early 1980s and the first superficial attempts to summarize
a theory for museology, some authors (Teather, 1983; van Mensch,
1992) pointed to a more realistic solution for a methodical
museology. Research was the answer. The truth of the matter is that
References
Abstract
This paper discusses the definition of museology as a form of information
science and analyzes the accepted definitions for museological study. It
intends to point out some inconsistencies in the philosophical Stranskyan
museology in order to reformulate the notion of its subject of study. This
debate will require revision of a philosophical perspective through a
sociological viewpoint in light of the actor-network theory proposed by Bruno
Latour. Finally, the paper maintains that the man-reality relation forged in the
West as a hegemonic museum performance should not define museology’s
subject. Otherwise, it should consider all kinds of possible associations
among the different roles that are played, evolving from a corpus of
reflections on the museum to a reflexive museology that has musealization in
the center of its studies.
Resumen
El artículo discute la definición de la museología como una ciencia de la
información y analiza las definiciones conocidas del objeto de estudio
museológico. El texto se propone a marcar algunas de las inconsistencias
en la museología filosófica stranskiana en la búsqueda de reformular la
noción del suyo objeto de estudio. Ese debate exigirá una revisión en esa
abordaje filosófica por medio de un punto de vista sociológico teniendo en
cuenta la teoría actor-rede propuesta por Bruno Latour. Finalmente, el
artículo aboga que la relación hombre-realidad construida en el Occidente
como una performance museal hegemónica non debe servir para definir el
objeto de estudio de la museología. Por el contrario, la definición debe
considerar todos los tipos de asociaciones entre los diferentes papeles
interpretados, avanzando de un corpus de reflexiones sobre el museo para
la museología reflexiva que tiene la musealisación en el centro de los suyos
estudios.
Kerstin Smeds
Introduction
For about twenty years, museology has been often related to Library
and Archive Studies. How would museology examine the concept of
MLA (Museums-Libraries-Archives) as a recently integrated field of
study? How could museology contribute to the theoretical analysis of
the entire MLA field? What is, then, the specificity of the museum in
the MLA field? In comparison to archives and libraries, what is the
individual identity of the museum institution and the museum as
media? These and many related questions were pondered at the 38
th
One of the ways by which museums, archives, and libraries deal with
information is through ICT (information and communication
technology) and the integration of digital technology in exhibitions
and programs, in order to broaden their abilities to establish
communication and interpretation between people and things.
Conveying knowledge has been a common theme in contemporary
Museology, and communication has to an increasing degree moved
into cyberspace. How would these new forms of mediation,
communication, and technology change the way these institutions
conceive themselves?
All the papers presented for this issue of ICOFOM Study Series were
direct responses to ICOFOM’s probing the links among museums,
libraries, and archives. As a result, thinking of MLA as a field
illuminates some of the insecurities we struggle with in museology,
when we look from the inside to the outside and to other
contemporary disciplines and areas of knowledge. The suggestion to
discuss our boundaries is an invitation to reflect on the very status of
museology today. The papers presented here tried to open new
windows on the topic, as well as revisiting some others that were not
fully explored in the past. We hope reading this publication will
provoke continuing discussion and raise new questions.
May 2016
Kerstin Smeds and Bruno Brulon Soares
Articles
Artículos
36
Museology as Part of Information and
Communication Sciences in Croatia: a View on a
Thirty-Year-Long Experience
Introduction
It is not our intention to explore this concept further here but to point
out that we have always had a widest possible understanding of
information science, which is similar to W. Boyd Rayward's
description of the same field of research as a composite of
disciplinary chunks (1996, p. 7).
The person who made efforts to prepare the ground for such
understanding and acknowledgement of museology was Antun
Bauer (1911-2000), a collector and museologist, who founded
numerous museums in Croatia, established a unique documentation
institution – the Museum Documentation Centre in Zagreb – and
launched the first Croatian museological journals (Museology,
Informatica Museologica). In 1966, he also established the
Postgraduate Programme in Museology as part of the Postgraduate
Programme in Librarianship and Documentation Science. This new
environment in which museology found itself clearly speaks about the
38 Museology as Part of Information and Communication Sciences in Croatia:
a View on a Thirty-Year-Long Experience
1
The lecture was published in the journal Museology, No 6, 1967, pp 6-21. We have
here interpreted its most important propositions.
2
More about this can be found in our paper on visitor research in socialist Croatia
soon to be published in the ICOFOM book on visitors.
Today, we would say this: if he had introduced into his view people
as members of societies and social life and taken into consideration
their need to experience collected items, maybe he would have
reached the conclusion that this social need may be their strongest
common ground. For example, if users need the materiality of an
archival document, they will approach it in a similar way as they
would a museum object. If museum visitors need content or
information contained in the museum object in order to understand it,
they will focus exactly on those aspects of the object.
3
Maroević considered museum objects as exclusively three-dimensional, and he
disregarded intangible heritage (Maroević, 1998, p. 6).
What can be criticized about the ALM conference is the fact that the
organizers never initiated a single joint project, even though
commonality and shared practices across the sector were discussed
on many levels and from different perspectives! Nor have they
developed a much-needed tool for vocabulary control, or a jointly
created virtual content (aside from the conference website).
However, part of the responsibility rests with us since we have been
participating in certain activities of the ALM conference as well.
In conclusion
References
Abstract
The first part of the paper examines early perspectives through which
museology was seen as part of information science in Croatia in the mid-
1960s. That period saw the establishment of the Postgraduate Programme in
Museology, which was run in parallel with programmes in librarianship and
documentation science. Links between museology and information science
were made even stronger owing to the former ICOMFOM member Ivo
Maroević who set up the Museology Sub-Department in 1984.
The second part of the paper gives a critical overview of the unique
conference, Archives, Libraries and Museums: Possibilities of Collaboration
in the Environment of Global Information Infrastructure that has been held
annually in Croatia since 1996. The conference influenced views on the
convergence of disciplines, but also the development of museology and
solutions for museographic issues in Croatia. Even though the institutions
and their related disciplines have in common numerous activities, research
phenomena, and methodologies, there are evidently differences among them
that need to be respected.
Key words: Museology, museum, archive, library, convergence
Résumé
L'article commence par interpréter le début de la compréhension de la
muséologie en tant que composante des sciences de l'information en Croatie
au milieu des années 60 du 20ème siècle. A cette époque même à Zagreb,
parallèlement avec les études de bibliothéconomie et documentation, un
Master en muséologie fut fondé. Un lien encore plus fort entre la muséologie
et les sciences de l'information s'est noué en 1984 quand le Département de
muséologie a été crée à l'initiative d'Ivo Maroević, un ancien membre de
l'ICOFOM.
En outre, l'article fournit une étude critique de l'activité de la conférence
unique "Archives, bibliothèques, musées : les possibilités de coopération
dans le contexte d'une infrastructure d'information globale", et laquelle se
tient chaque année en Croatie depuis 1996. Ladite conférence a alimenté les
réflexions sur la convergence des disciplines, mais aussi elle a influencé le
développement de la muséologie et apporté des solutions aux problèmes
récemment rencontrés dans le domaine de la muséographie en Croatie. Bien
que ces institutions et disciplines partagent une multitude de phénomènes,
pratiques et méthodologies de recherche communs, il est évident qu'il existe
aussi des différences qui doivent être respectées.
4
La chinampa es un tipo de parcela artificial sobre el agua del lago en que se
asentaba Tenochtitlán en el valle de México. Las poblaciones sureñas
tradicionalmente habían surtido de legumbres y vegetales a los habitantes de la
ciudad gracias a la pervivencia de las chinampas.
Comentarios finales
En la época de expansión de los museos comunitarios en México,
hace unos veinte años, se utilizó la metáfora del espejo para
referirse a la representación museográfica, la comunidad se miraba
a sí misma en el museo, generando a una revaloración de sus
bienes y prácticas culturales:
Referencias
Avila N., Padilla F.,& Juárez A. (2016). Conservación reflexiva: Através de la
palabra del otro. In Estudios sobre conservación, restauración y
museología Vol. III (pp. 178-188). Ponencia presentada en el 8º
Foro Académico de la Escuela Nacional de Conservación,
Restauración y Museografía, abril del 2014, Ciudad de México.
Barrios, J., Lazo P., & Martínez A. (2008). Memoria instituida, memoria
instituyente. México: Universidad Iberoamericana.
Desvallées, A., & Mairesse, F. (2010). Conceptos claves de museología.
Paris: Armand Colin-ICOM.
Dolák, J. (2010, Mayo 19-21). Museology the recent state and its future. In
Symposium Museology Museum Studies in the XXIst Century: The
recent state and its future. Recuperado de
http://www.phil.muni.cz/wune/home/vyveska/reader.pdf
Galindo, L. (2006). Cibercultura. Un mundo emergente y una nueva mirada.
México: CNCA.
Galindo, L. (2011). Ingeniería en comunicación social y promoción cultural.
Sobre cultura, cibercultura y redes sociales. Buenos Aires: Homo
Sapiens Ediciones.
Instituto Nacional de Antropología e Historia INAH. (2013a). Diagnóstico
documental de museos comunitarios. México: Coordinación
Nacional de Museos y Exposiciones.
Instituto Nacional de Antropología e Historia INAH. (2013b). Programa
Nacional de Espacios Comunitarios. Proyecto. México:
Coordinación Nacional de Museos y Exposiciones.
Instituto Nacional de Antropología e Historia INAH. (2015). Parcela Móvil
Comunitaria. Memoria del proyecto. México: Coordinación Nacional
de Museos y Exposiciones
Laboratorio Audiovisual de Investigación Social LAIS. (2014). Tejedores de
imágenes. Propuestas metodológicas de investigación y gestión del
patrimonio fotográfico y audiovisual. México: Instituto Mora-CNCA-
Conacyt-Fonca
Latour, B. (1998). De la mediación técnica: filosofía, sociología, genealogía
En M.Domènech&F. Tirado (Eds.). Sociología simétrica. Ensayos
sobre ciencia, tecnología y sociedad. Barcelona: Gedisa, pp. 249-
302
Morales, L. (1995). Los espejos transfigurados de Oaxaca. In Boletín Archivo
General de la Nación, 3 ,13-44.
Turrent, L. (1997). Museología, estudio científico del proceso museal.
Propuesta de una definición sistemática. In Gaceta de museo.
Órgano informativo del Centro de Documentación Museológica, 8,
5-9.
Villaseñor, I. (2011). El valor intrínseco del patrimonio cultural: ¿una noción
aún vigente? Intervención. Revista Internacional de Conservación,
Restauración y Museología, 3, 6-13.
Resumen
Al comprender la museología como una disciplina que asume
responsabilidades derivadas de su gestión de la memoria y de la
representación se pone en evidencia la existencia de un fuerte vínculo entre
museos, bibliotecas y archivos. Por otro lado, la especificidad del museo al
transformar la cosa en musealia y generar una metarrealidad cultural, nos
lleva a indagar los mecanismos a traves de los cuales los musealia nos
convierten en observadores de segundo orden, capaces de mirarnos cuando
observamos el acto museal en tanto que ejercicio ético de la memoria y el
conocimiento. Estos apuntes presentan un estudio de caso consistente en
un proyecto museológico sobre la milpa como patrimonio biocultural de
México con el propósito de revisar sus condiciones de posibilidad y ponderar
las consecuencias de este proceso museal concreto.
Abstract
Notes on the museum exhibition as process.
On the one hand,understanding museology as a discipline that assumes
responsibilities arising from its memory management and representation
indicates a strong link between museums, libraries and archives. On the
other hand, the specificity by which the museum transforms the thing into
museum object and its capacity for generating a cultural meta-reality leads
us to investigate how museum objects make us our own observers – how we
look at ourselves watching the museum fact as an ethical exercise in
memory and knowledge. These notes present a case study of a museum
project on the milpa, a crop-growing system, as biocultural heritage of
Parte 1: Códices
Esta hipótesis se desarrolla a partir del análisis de los componentes
institucionales de los principales repositorios de la memoria:
archivos, bibliotecas y museos.
Los códices no sólo son los documentos más valiosos del pasado
mexicano sino que tienen la característica de haber sido a lo largo
de la historia objetos de museos, archivos y bibliotecas.
Los códices eran los registros en los sistemas de escritura nativa del
devenir de la existencia de las sociedades prehispánicas que servían
como soporte para “la elocución de cantares, interpretación de los
sueños, [registrar] cómputos calendáricos y astrológicos, de textos
como los huehuetlahtolli, rituales sagrados, su ley y doctrina. Y así
mismo lo eran de sus historias, genealogías y otras formas de
memoria” (León-Portilla, 1997, p.142).
Pluralismo ontológico
Este año en el que conmemoramos los 200 años de la publicación
de las Considérations morales sur la destination des ouvrages de
l'art,Quatremère de Quincy, podremos recordar la relevancia que
tiene el contexto en relación con el patrimonio cultural. El lamento
por la “sustracción a su país natal de los modelos de la Antigüedad”
[que] comportaría la “privación de todos los términos de comparación
que los explican y realzan su valor” (De Quincy, 2007), se vincula
directamente con lo que la filosofía de la ciencia llama hoy en día
modelos conceptuales.
Múltiples mundos.
Si la producción de ontologías se realiza en relación a un modelo,
una intención de conocimiento, o un contexto de enunciación, esto
implica el reconocimiento de la existencia de muchos mundos. No
hablamos aquí de distintas realidades, sino de la construcción de
múltiples mundos (Olivé, 2015). Algo que la propia antropología ha
postulado una y otra vez y que, de cara a las sociedades
postcoloniales, adquiere una dimensión política específica.
Finalmente la ciencia es desarrollada por individuos y comunidades,
con una dimensión histórica y social determinada, que inciden de
una forma u otra en las intencionalidades con las que desarrollan su
producción científica (Olivé, 2015).
Una vez que consideramos las tareas que comparten estas tres
instituciones proponemos una serie de enfoques que nos permitirán
observar de una forma más clara los elementos que las diferencian.
En un primer plano las diferencias parecerían concentrarse en el tipo
de materiales que resguardan. Podríamos decir que la biblioteca
conserva libros, el archivo documentos y el museo objetos. Sin
embargo, como podremos ver, la diferencia va mucho más allá pues
su especificidad no sólo radica en el tipo de cosas que conservan,
investigan y comunican, sino que la forma de poner a disposición,
las formas de asignar valor o verosimilitud (Latour, 2013) y la forma
en que se asigna una función social a sus acervos, es también
distinta.
Referencias
Resumen
Para analizar lo específico de los museos en relación con archivos y
bibliotecas, se toman como punto de partida los códices como entidades que
han formado parte de las colecciones de las citadas instituciones. La noción
mexica Amoxotoca, “seguir el camino del libro” abre paso a un tipo de
producción ontológica que tiene lugar en los museos y que se sitúa de forma
problemática ante el proyecto de la Ilustración.
Para desarrollar esa dimensión ontológica, se acude a la filosofía de la
ciencia, a las formas en que se responde actualmente a la pregunta ¿qué
es? y se analiza hasta qué punto esta pregunta se encuentra determinada
por contextos específicos. En concreto, se analizan las formas de producir
ontologías y relaciones sociales y de instrumentalizar los objetos de los
acervos * de museos, archivos y bibliotecas.
5
Abstract
Amoxcalli. An Analysis of the Ontological Dimension of Codices in
Museums, Libraries, and Archives
5
A lo largo del texto se emplea la pablara “acervos” para referirse a las colecciones de
museos, archivos y bibliotecas. En otros países de lengua castellana se les denomina
”fondos”.
Jennifer Harris
digital searches. This gives the impression of, first, similarity between
types of organisations and, secondly, the transcendence of the object
or document from its institutional context. The meaning of the object
thus appears to be enduring, stable, and beyond interpretation.
Institutional similarities
A rationalist epistemology, once shared by museums, libraries, and
archives has been almost abandoned. Departure from this
epistemology has not, however, resulted in the appearance of a
shared replacement of approaches to learning, another crucial
difference that is rarely taken into account in the convergence
Strangely, this assumption sits side by side with its direct opposite,
that is, the institutional acceptance of semiotics and unstable
meaning.
Museum narrative
The final section of this paper draws together visitor and narrative
threads. I differentiate here between the deliberate narrative adopted
in exhibition work and the concept of the implicit narrative. It is widely
accepted by librarians and archivists that there are implicit narratives
expressed through collecting and cataloguing in libraries (Robinson,
2012, p. 416) and that there is no neutrality in archiving (Cook, 2009,
pp. 515-517). The fantasy of the neutrality of the collecting museum
is described by Hooper-Greenhill (2000). She compares the function
of maps to that of what she calls “modernist museums”, that is,
museums engaged in the apparent depiction of reality.
lack”. Visitors can see that the objects have endured, surviving from
times of coherent community experience. The historical structuring
and arrangement of the objects gives reassurance that there is still
some order in the world. Although many museums now seem to
prioritize ideas over objects, see, for example, as long ago as Vergo
(1989), it is in fact material, mostly non-documentary, culture that
creates the first difference between museum exhibitions and other
institutions. Narratives are produced through the touchstone of
material culture, giving visitors both the solidity of objects and the
creative, speculative intangibility of narrative explorations. Visitors
are invited to use their imaginations and memories to amplify
curatorial stories, producing personalized, often politicised meanings.
Conclusion
References
Balzer, D. (2014). Curationism: How Curatoring Took Over the Art World and
Everything Else. Toronto: Coach House Books.
Benjamin, W. (1973a).The storyteller.In Illuminations. (pp. 83-107). London:
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Benjamin, W. (1973b).On some motifs in Baudelaire.In Illuminations.
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Cook, T. (2009). The archive(s) is a foreign country: historians, archivists and
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Given, L., &McTavish, L. (2010). What’s old is new again: the reconvergence
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Quarterly: Information, Community, Policy, 80(1), 7-32.
Abstract
The convergence of museums, libraries, and archives challenges museums
to maintain their insistence on the intellectual gains to be derived from self-
conscious representation through exhibition narrative. Confusingly, all three
types of institution have a rationalist epistemological background, and all
three now work from an epistemology of unstable, politicised meaning. The
similarities, however, mask significant differences. Although all three
institutions collect and catalogue, the deliberate acts of representation that
are undertaken by museums in the construction of narratives mark museums
out as fundamentally different. This paper argues that museums have
changed paradigmatically, moving away from their long-term institutional
companions. Convergence is likely to endanger the textual advances that
museums have achieved.
Résumé
Le Risque Textuel de la Convergence
La convergence des musées, bibliothèques et archives constitue pour les
musées un défi de maintenir leur insistance sur les acquis intellectuels que
l'on dérive de la représentation consciente à travers le tissu narratif d'une
exposition. Le fait que ces trois types d'institutions soient issus d'une
tradition rationaliste épistémologique et que toutes trois opèrent maintenant
à partir d'une épistémologie au sens instable et politisé, est une source de
confusion. Ces similarités masquent cependant des différences
significatives. Bien que ces trois institutions collectionnent et cataloguent, les
actions de représentation entreprises par les musées pour construire leurs
récits en font des institutions fondamentalement différentes. Cet article
soutient que les musées ont changé de façon paradigmatique, se
démarquant de leurs compagnons institutionnels de toujours. Une
convergence aurait toutes les chances de menacer les avancées textuelles
faites par les musées.
But which are the information sciences? These include all those
disciplines whose principal aim is the diffusion of information. Among
them, we can cite library science, archival science, documentation,
and museology. All belong to different areas of knowledge and
provide us with extremely important informative and symbolic capital
(QuinteroCastroet al., 2009, p. 205) on the events that have taken
place throughout history. Also they furnish a raison d’être for the
functions of conservation, processing, analysis, classification,
organisation, and diffusion of documents carried out by libraries,
archives, museums, and documentation centres.
Since these disciplines are the repositories for the cultural heritage of
humanity, they become places of memory in all its various senses.
Libraries offer us bibliographical memory, archives are historical
memory, and documentation centres and museums offer cultural
memory. All share origins in documentary information and also have
the same goal: to act as transmitters of the collective memory of
peoples. At the same time, each possesses its own specificity,
autonomy and disciplinary identity as a subject to be distinguished
from documentary information, which is their object of study and
research.
From the start, these institutions formed part of the same trunk of
knowledge, since they all involve organising and storing documents
of every kind, and so had many things in common even if each had
its own specificity and procedural techniques (Ortega, 2004, p. 3).
Moreover, the origins of the library and museum are closely linked,
for there was no museum in ancient times without a library, and no
library without art objects, pictures, medals, or coin collections
evidencing its encyclopaedic character (López de Prado, 2003,
p. 11). If museums are centres for research as well as conservation
and exhibition, libraries too are not only essential means of
conservation but also instruments for change through the spread of
knowledge, where the user becomes someone who deliberately
accepts involvement.
documentation, examples being the Prado and the Reina Sofía Art
Centre in Madrid.
The fact that many authors theoretically accept the broad concept of
the document does not mean that they approve of its application to
three-dimensional objects. In methodological terms, they restrict
documentary research and analysis to the written and, at most, two-
dimensional testimony. In any case, a distinction must be made
between the specific document of each particular area and the
sources of information they employ. According to Standard UNE-ISO
5127 (2010), museum documents are characterised by the “cultural
and scientific interest they must possess in order to be permanently
stored in readiness for exhibition.”
Conclusions
References
Abstract
Taking an epistemological theoretical approach as our starting point, we can
think of museology as an intellectual exercise that helps us establish an open
dialogue with other systems of thought, such as the social sciences or
information and communication sciences, so that we can perceive reality in
all its complexity. At this point, however, the question arises of whether or not
museology shares the same objective as these disciplines. From our point of
view, we believe museology to be a social science that encompasses the
Resumen
Partiendo de un planteamiento teórico epistemológico, podemos pensar la
museología como un ejercicio intelectual que nos ayude a entablar un
diálogo abierto con otros sistemas de pensamiento como las ciencias
sociales o las ciencias de la información y la comunicación, de manera que
podamos percibir la realidad en toda su complejidad. Pero es aquí donde se
nos plantea la cuestión de si la museología comparte o no el mismo objeto
que estas ciencias. Desde nuestro punto de vista, pensamos que la
museología es una ciencia social que comprende el objeto museal como un
documento que transmite información y conocimiento sobre la realidad y se
constituye en soporte para construir la memoria colectiva. Por esa razón, la
museología no puede desentenderse de aquellas otras ciencias que tratan
sobre la documentación de la memoria. Esto nos lleva a preguntarnos sobre
el papel que la archivística y la biblioteconomía desempeñan dentro del
campo de la museología. Y la respuesta no puede ser otra que éstas deben
considerarse como auténticas fuentes documentales de la museología. ¿Por
qué? Porque consideran los objetos del museo como documentos que son
portadores de información y de conocimiento. Y, además, contribuyen a
concebir el museo como un espacio e instrumento de comunicación. Todo
ello constituye la base teórica que fundamenta el trabajo del museo.
Preliminary thoughts
Science practitioners of the 17 and 18 centuries started to divide
th th
1830. These were scholars of the natural and social world, although
they were distinguished from previous scholars; they gradually
changed their practices into professions and organized themselves
as a community – the science community. Therefore it is possible to
infer that each discipline creates its own world – or reality – based on
how this kind of knowledge is noticed as a collectivity; this collectivity,
by the way, can be the West (macro) or a specific knowledge area
(micro).
6
Master and PhD student in Museology and Heritage at the Federal University of the
State of Rio de Janeiro – UNIRIO.Museologist and Director at the Museum of Memory
and Heritage of the Federal University of Alfenas – UNIFAL-MG, Minas Gerais, Brazil.
7
PhD in Communication and Culture (Federal University of Rio de Janeiro – UFRJ).
Professor and Coordinator of the Graduate Program in Museology and Heritage (PPG-
PMUS, Federal University of the State of Rio de Janeiro - UNIRIO/ Museum of
Astronomy and Related Sciences - MAST), Rio de Janeiro, Brazil.
96 Museology and its constituent dialogues:
inside and outside the boundaries
Science can be defined as a power field . It is not the only one; every
9
8
It refers to Michel Foucault’s book “Microphysics of Power”.
9
This is Ione Valle’s affirmation at the book presentation of Pierre Bourdieu, Homo
Academicus. As stated by Bourdieu, the university field is entered in the power field
and in the social field (2013, p. 65).
monopoly and such points of view, a question that has always arisen
is the very definition of the discipline, in which such points of view
have a place – therefore each person will use a definition that is
closer to his or her interests.
However, the “great turn” that changed the museum field’s pathway
occurred in the 20 century. After the creation of ICOM, a group of
th
Therefore, we start right from this point of view. Although the MuWoP
discussion comes from the 1980s, we approach it here in this paper
for the following reasons: 1) We consider the period of 1950 to 1980
of prime importance in understanding the Museology formation
process; and 2) a worldwide forum was established to discuss
interdisciplinarity as an emerging discipline. As we said before, it is
only possible to talk about interdisciplinarity on the basis of the
existence of disciplines and, in this case, of a specific discipline.
Although most contributions mentioned above are based on practical
museum work, the authors tried to justify an already existing
interdisciplinarity in Museology. Indeed, this is possible to infer not
because of interdisciplinarity involving museums’ practical work, but
because of the epistemic moment when Museology configured itself
as a discipline. Museology made room as a systematic discipline in
the Academy in the second part of the 20 century, when its
th
Those first authors who reflected about Museology did not belong,
obviously, to the discipline, as it was not a proper discipline at the
time; in order to consolidate its existence as a subject, they brought
along methods, theories, and investigative techniques from their
consolidated original areas. Now they claimed for Museology the
status of an interdisciplinary subject to justify their existence within
this emerging area and to validate their thoughts. Finally, if
Museology were not interdisciplinary, a thought, method, or theory
10
CAPES (the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior) is the
Brazilian Federal Agency for the Support and Evaluation of Graduate Education. It is a
foundation of the Ministry of Education (MEC), and it establishes guidelines for the
Graduation courses strictu sensu (Master and Doctorate) across the whole country.
CAPES – Historia e Missão. (2015, August 29). Available at <
http://www.capes.gov.br/historia-e-missao >.
11
This perspective can be found in the Plano Nacional de Pós-Graduação (National
Graduate Program) 2011-2020.
12
The information presented here can be found at PPG-PMUS site. PPG-PMUS
homepage.(2015, August 29). Available at: < http://ppg-pmus.mast.br/inicio.htm >.
Final Remarks
Foucault (2007) pointed out the end of the human being as an object
of study. It is possible to figure the end of science as an entity whose
knowledge is the only legitimate one. The whole process of
knowledge production is permeated with the relativity of knowledge
and human perception. Therefore what we can see are systems
created by groups seeking to legitimize their own specialties using
the symbolic capitals of science and other analytical subjects, trying
to conceal the arbitrary as much as they can (Bourdieu, 2007,
p. 164).
In the same way, that process also happens with disciplines: they
start from an attempt to understand a certain object, and the more
they become autonomous, the further they stand from their objects -
because their existence is no longer conditioned to have an object
and to support them. At long last, their agents are many and have
distinct perspectives when disagreeing to legitimize their viewpoints,
all with claims to obtain the exact answer about the discipline’s
objective; knowingly or not they take part in a movement that has yet
to reach a verdict. Maybe the existence of a verdict about such an
object will make the act of seeking obsolete, and along with it the
science and its discipline; however in contradiction, the seeking is
also its motor, driving the field.
References
Abstract
The debate on interdisciplinarity in Museology is as old as the debate about
the museological field itself. In fact, the discussion about the nature and
object of the Museology field has always been permeated by interfaces with
other fields. As we asserted in the 2014 ICOFOM meeting, Museology exists
as a claim for recognition of museum professionals for our specific
knowledge and objectives. It is the result of a process that is willing to be
systematic, disciplined and academic, fostered and formed by the museum’s
major programs. Therefore, the question is: Why has Museology set itself as
an interdisciplinary field since its beginning? In order to answer this question,
we propose the following topics: 1) Reflection on the concept of discipline
and interdisciplinarity using Pierre Bourdieu and Peter Burke for the
theoretical framework; 2) Brief considerations of the first discussions related
to interdisciplinarity in Museology; 3) Case study analysis: the graduate
program in Museology and Heritage of Rio de Janeiro and its interdisciplinary
dialogues. The final consideration points out the importance of museum
professionals in the museological field, not only in the configuration of its
boundaries, but also in the construction of its own interdisciplinary dialogues.
Resumen
Más allá y hacia adentro de fronteras en construcción: diálogos
constituyentes de la Museologí
El debate sobre la interdisciplinariedad en la Museología es tan antiguo
como las primeras discusiones alrededor del propio campo museológico.
Con efecto, las discusiones sobre la naturaleza y el objeto del campo de la
Museología siempre han sido permeadas de interfaces con otros campos.
Como hemos afirmado en el encuentro del ICOFOM de 2014, la Museología
existe como reivindicación de profesionales de museos por una
especificidad de conocimiento y objeto, y es resultado de un proceso que se
desea científico, disciplinario y académico, propiciado y fomentado por los
cursos de museos. La cuestión que se presenta es: ¿por qué la Museología
ya se configura, desde sus primordios, como interdisciplinaria? Para
responder a esa cuestión, se propone la siguiente trayectoria: 1) reflexión
sobre el concepto de disciplina e interdisciplinariedad, utilizando como
referencial teórico a Pierre Bourdieu y Peter Burke; 2) breves apuntamientos
sobre las primeras discusiones relevantes relacionadas a la
interdisciplinariedad en la Museología; 3) análisis de un estudio de caso: el
Programa de Posgrado en Museología y Patrimonio de Río de Janeiro y sus
diálogos interdisciplinarios. Las consideraciones finales apuntan para la
importancia de los actores en el campo museológico, no sólo en la
configuración de las fronteras, sino también en la construcción de los
propios diálogos interdisciplinarios.
Daniel Schmitt
Figure 1.Les visiteurs sont équipés d’un eye tracker (oculomètre) pendant
leur visite. Les visiteurs sont ensuite invités à décrire leur expérience à
partir de l’enregistrement vidéo de leur perspective subjective enrichie du
point de focalisation de leur regard. © Daniel Schmitt, 2015.
Premiers apports
perçoit, il « ressent » les émotions d’un « autre ». D’une façon qui lui
appartient, le visiteur « connaît » émotionnellement la chose qu’il
perçoit, et cette connaissance est suffisante pour que la relation
existe et fasse sens. L’empathie est une relation opérative qui ne
relève pas nécessairement de la communication du musée au sens
informationnel, mais plutôt d’une histoire personnelle. On trouve
aussi des relations construites à partir du souvenir, du rêve ou de la
réminiscence.Ce type de relation fait revivre une relation
émotionnelle où le visiteur éprouve des émotions proches de celles
qu’il a déjà vécues. La reviviscence d’une expérience peut
également suffire à établir un lien avec l’objet perçu et qui n’est pas
nécessairement contenu ou induit par la situation
communicationnelle. Regarder un phacochère naturalisé dans un
muséum et y voir Pumbaa – un personnage de dessin animé – suffit
à établir une relation qui fait sens pour le visiteur et qui lui permet de
se relier à son environnement, à le connaître. Il n’y a pas
d’information nécessaire, mais simplement une reviviscence qui naît
dans un contexte muséal, et la reviviscence de cette émotion est
également une relation opérative, car elle est connaissance ou
reconnaissance de ce qui est perçu. Nous identifions également des
relations comme le « frisson », une relation où l’émotion oscille entre
la crainte, la peur et le sentiment de sécurité. Cette émotion de
frisson suffit à établir une relation avec l’objet ; elle est connaissance
pour le visiteur. Par exemple Juliette au musée zoologique regarde,
fascinée, des araignées. Elle connaît les araignées à travers une
émotion qui oscille entre le dégoût et l’attirance :
Perspectives
La réalité et la relation au réel sont les deux faces d’un même objet.
Questionner l’opérativité de la relation nouée entre les visiteurs et les
vraies choses revient à saisir la nature de la relation au monde dans
ses différentes dimensions. La méthode des entretiens réalisés en
re-situ subjectif tente de saisir la nature de la relation visiteur-
environnement, co-constitutive de la réalité, en insistant sur sa
dimension corporelle, cognitive et émotionnelle. Pour les visiteurs,
connaître un fragment de réalité est bien une relation opératoire,
mais cette connaissance ne consiste pas toujours à rechercher des
savoirs formels pour pouvoir se lier aux fragments, aux expôts.
Connaître des fragments de réalité, c’est avant tout se relier à la
chose perçue d’une « façon qui convient », c’est réussir à réduire la
tension que la chose perçue fait surgir, c’est trouver une résolution à
l’intrigue.
Références
Résumé
Au cours de leur visite dans un musée, les visiteurs font preuve d’une
créativité surprenante pour pouvoir se lier, se relier à un réel qu’ils
construisent en grande partie eux-mêmes. Réussir à saisir l’articulation de
ces liaisons est d’un intérêt scientifique qui dépasse le cadre du musée, car
ces liaisons renseignent sur les modalités de construction des
connaissances en situation écologique. La théorie de l’énaction offre un
cadre conceptuel fécond pour étudier la muséologie en tant que relation
opérative entre les visiteurs et le réel.
Abstract
Towards an enactive approach of museology
During their visit of a museum, visitors show a surprising creativity to be able
to bind, to connect themselves to a reality that they largely construct
themselves. Succeeding in analyzing the articulation of these links is of a
scientific interest that goes beyond the museum field because these links
inform the construction modalities of knowledge in ecological situation. The
theory of enaction provides a fruitful conceptual framework to study
museology as an operative relationship between visitors and reality.
Etudes de cas
Estudios de caso
ATOMS AND BITS OF CULTURAL HERITAGE
TOWARDS AN ECOSYSTEM OF MUSEUM INDUSTRY IN THE DIGITAL AGE
Shuchen Wang
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*Thanks are due to the Finnish Cultural Foundation for supporting this research project, of which the third part
relating to the innovation technology economy with digital cultural heritage is summarized here. Besides, those
lengthy discussions with Timo Itälä and Mika Nyman are earnestly appreciated.