Mentes sensibles: Investigar en educación y en museos (Spanish Edition)

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Investigating is also clarifying the behavior of certain people suspected of acting illegally. Two police commissioners were investigated. Synonyms and antonyms of investigar in the Spanish dictionary of synonyms. I certainly think it would be very interesting for somebody to do a study of the whole question of storage. Optical storage media can facilitate the type of research done in academic libraries.

No less prestigious an authority than a Royal Commission was appointed to inquire into the charges brought against the man principally responsible for that volume. Thus, a predominant feature of such software packages is the user related interfaces, which permit a non-programmer to comprehend and interrogate the data stored. Kaiser also investigated the effect of grouping subheadings of a subject. It is paramount to put designers themselves under the spotlight for investigative purposes. When the profession once more brought censorship under the spotlight in the 70s, it was less critical and more loath to take a stand.

Russia has launched an investigation into why a manned space capsule returned to earth hundreds of miles off course. The surviging chronicles, annals, and histories have been extensively quarried for the information they reveal about the events of their time. Homicide detectives are currently investigating the case and no charges have been filed against her though police have not yet cleared her name.

This article describes a study to investigate the problems caused by incorrect citations in periodical articles. This paper evaluates the annual reports of 16 major international publishing companies, an area which is largely unresearched , and sets out the reasons for omissions and disqualification. The Pensions Act provides that the Pensions Ombudsman has power to hold oral hearings before ruling on a matter under investigation.

Examples of use in the Spanish literature, quotes and news about investigar. However, these subjects cannot be considered isolated individuals, but they must be seen regarding the societies in which they live. According to Nathalie Heinich: The collective view is marked by the existence of tools of perception and recording of the perceived, which may be transmitted in space and in time, allowing an undetermined number of people to develop a similar visual relation 13 towards a certain object. The museum produces, then, a certain view of things, even before producing the knowledge of things that are seen In small museums that develop a more local action towards heritage, it is easier to standardize the plural and singular experiences and ways of seeing.

In these museums where the collective view is easily constructed, their action is usually perceived as more effective, and social change can be achieved in less time. To Heinich, in the encounter with heritage, the confrontation with the object is a singular moment, responsible for the mediation between the stage of acquisition of common resources and the ulterior stage of restitution of conclusions.

On the contrary, in a wider sense, the encounter with heritage is made of different moments in time: The subject is, then, singular and shared. He is unique and particular but also a collectivity individualized. To the visitor in an ecomuseum, the artificial positions of subject and object are incorporated into a double operation of an intimate experience with the community — as a subject imbedded in the ecomuseum discourse — and, at the same time, through the distant view constructed over this community — as the object of the museum.

That way, the relations between people, as a group, can be confirmed, or, on the contrary, put into question by the museum action. The individual and the community in the ecomuseum: The museum performance is the experience of the self in a museum; it is, then, an identitary experience. The ecomuseum, in particular, represents a collective identity that is lived by individuals in a group. The singularity of the visitor is imbedded in the sociality of the community by the museum cultural action.

However, we may recollect that the breach between subject and object is, in fact, artificial and constructed by a particular appropriation of reality. In the case of museums, this breach is a historic phenomenon that distinguishes Modernity in the West. And he points out that with the process of colonization, the big European museums have explored further the constructions of identities responding to two essential questions: Ecomuseums and local museums present the particularity of having their actions oriented towards individual experiences.

The intimate experience of the visitor is, then, more easily reached by the ecomuseum.

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According to Hugues de Varine: We can say that the classic museum preserves for the contemplation of individuals, while the community ecomuseum uses for the development of the 18 group. This notion of communitary development — dear to the theorists of New Museology — turns the ecomuseum into a laboratory of individual and collective experiences within a group that is musealized in relation to a heritage that is the material support for these same experiences.

In the first case, the group recognizes itself as a group or community that shares a heritage and that exists as the main object of the museum. These shared values, then, are defined by the process of recording things as heritage through musealization. The museal grammar will make the group exist as a representation in the musealized space in a way that people can experiment their identity as a reality, but also as an exercise of social reflection.

According to this thought, seeing is an open experience, because seeing will always be an operation that is accomplish by a subject. A museum will never be able to prescribe how people see. What visitors see and what they feel in an exhibition or in a musealized space will be determined by the previous social and cultural experiences of each individual.

However, museums generally resort to particular languages used to lead their audiences to see in a certain way. The language of art is, in particular, used to that specific end25, even when not in an obvious way, as in the case of museums of primitive art or in ecomuseums.

The National Center of Research on Cultural Action and Art Creation CRACAP, in French, created in the same year 29 served as the basic structure for the creation of a museum in which the language of art would be combined with the discourse for the preservation of the local history.

Contradicting the traditional approach that separates art from ethnology in museums, the ecomuseum has been using art as a social tool. The example of Le Creusot shows how in a museum that has a clear social end, the language of art has been adopted as a tool to reach the audience. At Le Creusot, art — and contemporary local art, in particular — has been the medium between people and their heritage, as well as their memory in the museum territory.

A research with the local inhabitants was organized to extract what could be considered more meaningful about the popular garden. Furthermore, the gardens and gardening at the industrial community of the Creusot were important parts of the life of its inhabitants in many ways. Some testimonies collected to give meaning to this exhibition provide some clues to the transformation of the traditional kitchen garden into the ornamental garden, as a work of art in itself: We were criticized; people used to blame us, saying: They should benefit from that.

In that context the gardens were, then, an exchanging network related to work and to neighbors, as much as an object of admiration and contemplation shared by the community. This exhibition has shown visitors the audience of the ecomuseum, including the local inhabitants the landscapes that are invisible even to themselves, their signs and mental landscapes seen as works of art. In that way art has been used to re-signify the territory and the elements of the local heritage at Le Creusot; it has repaired the relations between individuals and their history.

There is not a single object at Le Creusot that has not been defined as a work of art as well as a social object, and sometimes a utility. These objects are, at first, objects of reflection for the subjects — the actors and visitors of this heritage. Between the mirror and the reflection: The belief in the fact that there is an actual breach between subject and object in the ecomuseum is only natural when used in the name of the reification of the created image.

If, by contrast, cinema, theater and literature have exploited this separation in a critical manner, as an aspect of performance in the West, in the universe of museums we usually create its reification. Learning what museums intend when separating subject from object in the museal experience is learning to see and to feel the museum in a certain way. With that experience all museums place us in an ambiguous relation with ourselves and our heritage.

In other words, we own a heritage that can have unknown owners. This paradox makes us subjects and objects at the same time. The social experience in a museum is an experience in its whole; the social-museal complex comprehends all aspects of human life — art and society among them. All museums can be considered social museums when visitors are, at the same time, the audience and the theme of the museal discourse, or, in other words, subject and object of the museum. And they can also be seen that way when these two positions are thought not so much as musealized truths, but more as social categories that are historically constructed.

We regard this experience as the relationship visitors have with museums and the ability of these institutions to cater to each individual visitor, creating meaningful, special and unique experiences. Against this background, we shall discuss the limits and challenges posed by the changes museums have undergone in the last few decades. The impact of these shifts on the relationship with visitors in terms of their expectations and personal agendas shall also be discussed.

The discussion shall be based on theoretical references from the field of museum communication and education. Our goal is to contribute to the debate on the contemporary concept of museums in relation to their visitors. We understand that museums establish communication dynamics with their audiences based on different communication models, defined according to the priorities of each particular museum.

The audiences in turn, are no longer limited to being mere passive spectators. The response of museums — in an ever more competitive world in terms of media offerings — has been to cater for these needs by transforming their discourse and establishing new and compelling forms of communication with their audiences. But how far can this shift go? Could this represent the role of museums in the twenty-first century? This article seeks to elaborate on this discussion drawing on theoretical references from the field of museum communication and education. Initial thoughts on the experience of museum audiences The notion that museums are part of the mass media has been touched on by some authors and advocated by Pastor Homs1.

This author proposed a model which includes the typification of visitors as broad, undifferentiated, lacking in self-awareness, incapable of working as a group, and passive in nature, while defining communication as one-way from communicator to recipient. The authors does however, acknowledge 1 Maria Immaculada Pastor Homs. The interactive or interpersonal model is characterized by individual or small groups of visitors that are differentiated, self-aware, interconnected and active, for whom the communication proposed is based on a variety of methods and is constructed via a two-way process which shares power equally and includes feedback.

Along the same lines, Hooper-Greenhill2 proposed an overview of the educational theoretical perspectives involved the educational work of museums. According to this author, there are two distinct approaches based on the influence of theories of knowledge epistemological and of learning: With regard to the impact of these perspectives on the museum environment, Hooper- Greenhill cites a lack of consensus on the best approach for establishing an effective communication process between museum collections and their audiences, but confirms that both approaches figure in the work of museum professionals and in the way the public uses these spaces.

However, the author highlights the need to establish investigative processes which consider the processes of reassigning meaning which the visitor makes in contact with the objects exhibited. In her view, the best way of capturing this process is by extrapolating quantitative instruments toward more sociological and qualitative approaches. This perspective runs counter to that which museum professionals typically face in their everyday practice. In museum appraisal, particularly from an outsiders perspective potential sponsors, governments, among others , a key indicator of the institutional success of museums always lies in visitation, normally determined using a quantitative approach.

These institutions face a constant challenge balancing the need for good performance on these indicators while also creating a meaningful experience for visitors. But what constitutes a meaningful experience for visitors at museums? Experience is what we go through, what happens to us, what touches us. It is not what goes on, what happens or what touches. Countless things go on every day, yet little happens to us.

The educator Milene Chiovatto, expounding on the ideas of the same author, in relation to fostering meaningful experiences in museums proposed that: The experience, as we go through it, shapes us and changes us. It is the way we give meaning to events that 2 Eilean Hooper-Greenhill ed. Knowledge from experience is consequently particular, subjective, relative, contingent and personal. These concepts of experience only apply if we view knowledge, and the learning processes based on it, from a more personal perspective, being included and consolidated in accordance with the subjectivities and 4 particularities of the learner.

According to this author, it is vital for museums that wish to serve society, to embody and adhere to what is expected of service providers, whose core operating characteristics include inseparability, variability, intangibility and perishability. Adopting these values implies a shift in the way museums function in society: Museums need to put on new exhibitions, for instance, as opposed to running the same exhibition for years.

Concerning the aspects of variability and intangibility on which we wish to focus our attention, these aspects are associated with the notion of a meaningful experience for the individual. Because it is the subjectivity of the individual that, in relation to the cultural references conveyed by the museum polysemic objects within a communication framework which refrains from imposing a one-way discourse and seeks processual construction of meanings together with the visitor, results in a singular experience for each visitor.

And the meaningfulness of this experience is dictated by the intangibility — irrespective of objectives, strategies, appraisal — where the outcome of this experience for the individual is unpredictable. Language about facts and certainties has been replaced by language about context, meaning, and discourse. It would appear that these onetime Towers of Babel comprise, as foretold, not a synopsis of wisdom but a multitude of voices.

Objects, it follows, hold multiple stories and meanings, and, depending on the context, all of those 6 stories and meanings are potentially valid. Nevertheless, it is important to consider that this view of the museum experience, as being constructed through interaction of the individual with the museum, is a recent concept among museum professionals. The literature on the subject, particularly from the s, is substantial and provides key ideas such as an emphasis on the importance of public participation in all stages and activities in the museum operating chain, to encompass not only museum practices per se, but also involvement in the decision-making that shapes these practices and integrates them coherently.

Models explaining the different levels of public participation can be found in the studies by the authors Anik Meunier and Virginie Soulier7 Cristina Bruno8 and Gerard Corsane9, whose proposals and analyses are grounded in the strong underlying of different audiences having a say in the decision over what should or should not be preserved and exhibited by museums. Discussions on multi- culturalism, pluralism and cultural diversity figure strongly in the realm of museums posing new challenges to the institutions which should respond by implementing new 6 Lisa C.

Roberts, From knowledge to narrative: Smithsonian Institution Press, , pgs. Corsane, Gerard, Heritage, museums and galleries. This move toward greater public participation and a dialogic perspective can also be seen in art museums. According to Meyer, this shift commenced in the s, largely owing to the impact of what she terms the influence of post-modern theories on the field of the history of art and education, changing the way museum educators viewed the role of the public in these institutions.

This change reflects the extent to which visitors — with their habits, roles and personal expectations — gained importance for museum educators throughout the twentieth century. This idea led, in the early s, to a widespread perception of the needs 10 Duncan F. Museum Management and Curatorship, 20, p. Studies in Art Education. A Journal of Issues and Research, v. A Journal of Issues and Research, 46, n. The role of the educator was to function like an ethnographer who has the task of interpreting the cultures of visitors and scholars for one another.

Museum educators wanted to empower visitors as freely functioning agents not dependent on morsels of scholarly information in order to navigate the 15 strange, labyrinth world of museums. Although, as Mayer pointed out, educational practices of museums have not kept pace with the theoretical tendencies driving them, their effects have led to a transformation in the educational habits of museums. The discourse of the expert is no longer the only voice heard in these spaces, in which the needs of the public are now also considered, while museum educators have taken on a major supporting role.

Thus, we reject the notion of museum audiences as a large homogenous mass, in favor of communities of interest, or the so-called interpretive communities. These communities can be identified by groups which share the same interpretative strategies, i. Working together with communities has been the main goal of museums inspired by the so-called New Museology and Social Museology.

Interventions resulting from these facets of Museology regard the museum as a space to cater for social needs, where museum professionals often act as catalysts and enablers in community-based projects. In many cases, it is acknowledged that all of a 15 Idem, p. What we know is what we need to know to enable us to take our place in a particular society or group [ The interpretive community both sets limits for and constrains meaning, and enables meaning. Interpretive communities are not stable, but may change as people move from one to another. The educational role of the museum.

Os museus e a qualidade - Distinguir entre museus com "qualidades" e a qualidade em museus. Cadernos de Socio- museologia, Reiterating, this work is characterized by a focus on the social group as opposed to an emphasis on individuals. However, although communicational and educational actions of museums are devised with groups and communities in mind, the experiencing and taking part in experiences at museums shall always be individual and subjective in nature.

Secretaria de Estado da Cultura: Cazelli, Sibele et al. Chiovatto, Mila Milene coord. Pastor Homs, Maria Immaculada. Cadernos de Sociomuseologia, 23 Roberts, Lisa C. From knowledge to narrative: Smithsonian Institution Press, El objetivo es defender que, antes de tratar y reforzar que cada individuo es importante para los museos, es necesario considerar algunas premisas: Museum for each one and every one of us: Each and Every One of Us, the paper presents thoughts about the following questions: How do we think of the individual in the context of exhibitions, mostly so generic, such as the big museums and their large exhibitions?

For whom and with whom are museums built? What are, in fact, museums? First of all, we intend to answer the questions about museums and then we talk about the theme. The objective is to indicate that before talking about the importance of the individual on museums, it is important to consider: Al considerar estas posibilidades tendremos dos premisas: Reglas disciplinarias controlan los cuerpos y movimientos.

Museos muchas veces ocupan antiguos palacios pero, aun cuando creados para abrigar colecciones, reproducen la imponencia de residencias majestosas. Ambos coexisten, constituyendo las dos facetas del Museo4.

Signo es lo que da cuerpo al pensamiento, a las emociones, reacciones y que a su vez pueden ser externalizadas. Podemos nos apropiar de esa premisa e inserir en nuestro debate. No invitan, de esta forma, nadie para construyeren el proceso. Los profesores no son iguales a los alumnos por varias razones entre ellas porque la diferencia entre ellos los hace ser como han sido.

El primero fue cuando definimos museo. De igual manera, museos necesitan siempre considerar diferentes tipos de visones y abordajes sobre el mismo tema. De acuerdo con Maffesoli [ Carta de Lima, In: How do we think of the individual in the context of exhibitions, mostly so standard, such as the big museums and their large exhibitions? To whom and with whom are museums built? Contemporary discourse incorporates issues on the democratization of access and the ideal ways of developing museums.

But is it true? By considering such possibilities we have two alternatives: Museums consolidate habits and customs, which lead visitors to speak softly, walk in short steps, following a defined pathway without questions or surprises. Disciplinary rules control their bodies and movements. Furthermore the richness of the objects on display and the lack of information about them only allow the visitors to pay homage to them, instead of trying to understand them.

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Often museums occupy old palaces but even when created to shelter collections, they reproduce the importance of majestic residences. Such characteristics are undoubtedly present in the Louvre and the British Museum, as well as in different Brazilian museums. Those are not necessarily majestic palaces, yet in their majority they are labyrinths which lack proper signalization and can 1 embarrass any common citizen who adventures a visit through their doors.

Each and Every One of Us, some questions arise: How can we consider the individual within the exhibition context? It is known that most exhibits are thoroughly standard, for example, big exhibitions in big museums.

For whom and with whom are museums developed? What are museums, of all things? This paper intends to approach some of these issues. First of all, we will try to answer the questions related to museums to finally focus on the questions related to the theme. The aim is to defend the idea that, before approaching and reinforcing that each individual is important to museums, it is necessary to consider some premises: The proposal considers the concepts of Museum, Memory and Heritage as the result of and action concerning heritage education.

During the months of August and January , a group composed of professors and students from the courses in History and the Social Sciences as well as members of the outreach community developed a pilot project on the theme of heritage education. After two months of theoretical reflection, the group 1 Translated by the authors. The project addresses young audiences. Since it was decided that it is necessary to act in separate systematic and specific ways with each segment, activities with puppets, games and traditional foods were developed.

Activities for children with appropriate games for their ages were planed for , aiming at reaching a great number of children in the region. The proposal is to explain through practice how different kinds of museums and heritage are relevant, whether identified by the Federal University of Alfenas or by the children themselves.

Another aim is to reinforce the idea that heritage is everywhere, only waiting to be recognized and evaluated - a movement that happens in the relationship between individuals and the world. The title of the project enables the development and reinforcement of the idea that museums relate to the persons that are connected to them — as a specific group or the community they represent - and this happens while activities are under way.

And also that heritage is built by all of us: Reflecting on the concept of museum, Scheiner comments the duality that exists in the very essence of the Museum, by means of two myths: The rational dimension of the Museum is represented by Apollo — its classificatory, institutional face, which aims at conserving the product, not the process — a characteristic feature of modernity; the emotional dimension of the Museum is represented by Dionysus — passion, ecstasies, pulsion, the fluctuating aspects which develop through human relationships: Both coexist, as part of the double face of the Museum4.

As a movement towards re discovering the Dionysian expression of the Museum, Scheiner indicates the theories of Nietzsche and consequent thoughts which, in turn, lead to understanding the Museum as a phenomenon. In contemporary times, when truth is no more an absolute concept, it is possible and coherent to think about a Museum that is free and plural, able to exist in every space and every time. The traditional model of Museum is not annulled as a result of this conception: Scheiner proceeds, indicating that the relationship with the Museum originates in the realm of the imagination: Museum is thus a powerful symbolic construction, which takes form and develops by means of identity perceptions, using the games of memory and expressing itself over time and space, under the most diverse forms.

And if perception is the background over which all acts gain relevance, the world is, more than a mere object, the natural environment and framework of all perceptions and thoughts. What really matters is the meaning that appears in the intersection of such experiences. More than representation, the Museum becomes, then, a creator of sense, based on relationships: Based on these statements, Gorgas defines Museum as a permanent construction related to social dynamics, as a space of power and an agent for cultural dynamics.

She specially emphasizes as a problem the responsibility of museums in the construction of their own image inside the community9. Heritage, in turn, says Scheiner, is a communicational act and as such, fundamentally supportive, constitutive of the identities and dynamics of the groups which share this substratum — either as producers or consumers When recognizing the phenomenological character of the Museum, we create the possibility that it is acknowledged through the world vision of each individual, by means of the different, multiple and complex interaction that each human being or society establishes with reality.

According to Santaella, We understand as phenomenon, a term derived of the Greek work Phaneron, anything that appears to the perception and to the mind. Phenomenology has as function to present formal and universal categories, related to the ways by 11 which phenomena are perceived by the mind. Understanding the Museum as a phenomenon, with multisemic characteristics, we may affirm that it is a semiotic instrument, linked to the idea of sign. But, what is a sign? The first one is the icon, which is one aspect of its quality as related to the object of the sign.

All signs are in some way imbued with the three facets, and while each of them predominates in a given sign, in a given space and time, they are always related to the perception and understanding of the interpreter The first question to be analyzed relates to the effects that signs may have on the observer, always keeping in mind the case of the Museum.

The first effect that a sign is apt to provoke is a simple quality of sentiment, that is, the emotional sphere. Icons usually produce this kind of interpretant, with more or less intensity: However, emotional interpretants are always present in every interpretation, even when we do not acknowledge them As for the Museum, emotional relations occur with greater frequency by means of identity perceptions, which refer to individual and collective memory. Identity representations have essentially emotional attributes, imbued with a symbolic character of personal memory, which gains significance in the domains of the imagination, creation and affection The second effect of the sign is the energy, which corresponds to a physical or mental action, that is, the interpretant demands an expenditure of energy of some kind.

Indexes tend to produce this kind of interpretant, with more or less intensity, since they call our attention, direct our mental sights, or move us towards the object they indicate As for the applicability of the effects of the signs in the realm of the sign Museum, the energetic effect happens by means of a direct relation of the individual with what is presented in the museums, as mentioned by Scheiner: The third effect of a sign is the logic interpretant, that is, when the sign is interpreted through a rule that has been internalized by the interpreter.

Without such interpretive rules, signs could not signify, since the symbol is associated with the object that it represents by means of an associative habit which is processed in the mind of the interpreter and which leads the symbol to signifying what it signifies In all such cases, the body is a territory of identity, primordial patrimonial space, defining the multiple biological 19 and cultural relations that signify us.

The communicational and pedagogical processes of the Museum do not happen only in the formal pathway of controlled didactic operations derived of the logos, but also involve a spontaneous relationship between imagination and the museum discourse. The Museum establishes, thus, a true dialogue with the individual, prioritizing emotion, imagination and sentiments, through which it offers reason.

The Museum gains form not only in the tangible environment of objects, but also through spontaneous relations It is thus necessary to ensure an ethical commitment to all of society and allow participation in a thorough, multidisciplinary way In this sense it is necessary to consider space in both its symbolic and geographic forms.

According to Scheiner, it is in the local sphere where every human group designates and defines identity. It is at local level that we define ourselves essentially as 'cultures', articulating our biological and cultural singularities in the symbolic constructor were we identify as 'presence'; it is at that same level that cultural forms are designed, as a product of kinship relations or vicinity bonds. To such effect, it is necessary to examine the importance of identities and of heritage, at local level - where the 24 individual interfaces still occur.

This difference must be made in relation to the 20th century Heritage, as a sociocultural phenomenon - like the Museum - exists in and through a very specific relation between different realities and their connection to identity and memory; these are important instances that define and constitute human beings and their personal lives and history, which must be transmitted, recreated and communicated. Thus, preserving the sense of presence and belonging is an effective way of ensuring social balance and a peaceful pathway towards economic development. Therefore, it becomes necessary to ask if museums couldn't be open to dialogue with those to whom they offer their discourse.

Furthermore, all museums, even the big ones and the so-called 'national museums', should define in their policies and goals, who is their 'community', especially those that still dare refer to an idealized and artificial totality26; museums must consider the different groups that constitute this totality. Otherwise, of whom and to whom are they speaking? From the moment the target community or communities are defined, with all their specific features of culture and identity, their hopes and demands, it becomes possible to reach everyone in every group, that is, the individual.

We can appropriate this premise and bring it into our debate. According to Scheiner , the exhibition is the main communication vehicle between museums and society — the main instance of mediation of museums, the activity that builds and legitimates their tangible existence She also declares that "Without exhibitions, museums could be study collections, documentation centers, archives, efficient technical reserves, research centers or conservation labs, or even very resourceful educational centers - but not museums " Scheiner also believes that it is through exhibitions that museums build and present a cultural narrative that defines them and gives them significance as agencies for sociocultural representation.

It is through exhibitions that museums re-present, analyze, compare, simulate, and build specific discourses - aiming to narrate to society the things of humankind and the things of the world. Exhibitions may thus constitute a bridge or link between nature and human culture as they are represented in museums. Every exhibition may thus be understood as a representation of the worldview of a 25 Ibidem. Exhibitions present aspects of the worldview of the different social groups to which they refer, expressing, in direct or metaphoric language, the values and cultural traits of such groups.

What matters is to identify how such representations are built, as a reflection and recognition of the many ways through which museums apprehend reality From the standpoint of Cury, "… museum exhibitions have a key responsibility to mediate the relationship between humankind and material culture" Museum visitors appropriate museological discourse which is then re elaborated, re created and disseminated; the actors museum professionals also participate in the shaping of museological discourse Relating Freire's ideas to what we have identified here, when we examine the fact that museums should be built by society, two different issues arise: In fact, museums are created by society — and this means not one thing or the other, but something that moves throughout both of them.

Museums are built in the interface between those who create them and the moment the visitor comes inside their doors. The first are somehow members of the society to which these museums relate; but this doesn't mean that those who create them have an effective dialogue with one and every individual that makes contact with the museum narrative, in the sphere where this relation occurs - the exhibition.

What happens, considering Freire's ideas and terms, is that most museum professionals create narratives - or exhibitions — that are unable to dialogue with the visitors because they do not define to whom they are addressed. They also prefer to use general terms such as 'public', 'audience', in order not to be responsible in defining a specific group and to be able to develop exhibitions according to their own interests. Nobody else is invited to the creative process.

It is thus a non-democratic action, an 'expography of the oppressor' — as if it were possible to become an entity outside the social sphere through a non-dialectical relationship. The idea of 'making access more democratic' seems to imply that we hold the power of speech — and specifically in our case, the power to build expographic narratives; and that we generously enable 'outsiders' to participate in the process.

To democratize is, in fact, to make possible the development of a just, equalitarian relationship, truly related to the foundation of museums with a social vocation. Notwithstanding we are not promoting a role reversal since, as Freire argues, The dialogue between professors and students does not make them equal, but marks a democratic position between them. Professors are not equal to students for many reasons, among them because difference is what makes them be what they are.

If they were equal, one would become the other. For this reason dialogue does not even or reduce one to the other. Nor it is a favor that one does to the other, or an encompassing tactic that one uses to confuse the other. On the contrary, it implies a fundamental respect of the subjects engaged in the process, a respect that is broken or made impossible by 34 authoritarianism.

Therefore, it is not a matter of making professionals and individuals become 'equal', in an ingenuous practice, but of enabling them to somehow build a dialogue that makes possible [the development of] narratives that represent a little bit of each one. Trying to answer the questions already identified about imagining the individual in the context of the museum, we could identify some possible pathways. The first one was already identified when we defined Museum. Museums must also consider different types of visions and approaches of the same proposed theme.

Once more, Paulo Freire shows the way: In brief, an exhibition can be presented emphasizing different ways of seeing the same subject. This way we can show that every narrative is multiple, increasing the possibilities of affecting the biggest number of people who visit the exhibition. The search for understanding the world view of each society implies considering that the great popular majorities lack critical self-understanding, not because they are, as Freire points out, incapable, but because of the precarious conditions in which they live and survive, and also due to political and ideological alienation, convenient to those who detain the power.

Such factors prevent men and women from becoming curious, demanding subjects, in a permanent process of self-search - a relation that happens by means of what Freire names as 'reading of the world and reading of the word' With this aim, the dialogue between museums and communities has to be persistent to enable the understanding of their needs, ideas and world readings, and to permit the establishment of a dialogue that uses the same language.

Final Remarks Facing the requirements pointed out in the relationship museum-individual, it is not possible to consider each individual who enters a museum as special, if we do not consider the above mentioned issues and many others — identified by other authors or still to be unveiled. Moreover, without giving this term a more restricted sense, it has a strong hedonistic component, in other words, all human potentialities: Based in Bachelard, we understand that imagination re-creates worlds that are very specific to each individual, since, without the transformation of images, there is no capacity to imagine It is thus fascinating to perceive the Museum as an instance of experience, where icons refer to the familiar experiences of our childhood; the indexes, to our individual perception of reality; and the symbols are imbued with significance and experiences shared by the whole community.

The Museum would definitely assume its fluid and changeable character, totally dependent on the relationship with the individual. Then it would be possible to put into practice what Bachelard has proposed: To conclude, and considering what has been presented in this paper, each one, by means of self-experience, will be able to identify and establish a coherent dialogue with museums. Museum communication has become vital.

The paper tries to give an overview of different museum communication models propounded by various scholars over the period of the last six to seven decades. It would also try to point out the recent developments in Information and Communication Technologies and would make an attempt to understand the complex process of musealisation of objects and concepts for creative re-contextualisation of the collective memory in museums, relating hermeneutics and the semantics behind such processes and the resulting phenomenon.

Los visitantes son primordiales en los museos de hoy existencia justificada. Supreo Chanda The special visitor: It is true that museum visitors, especially in a multi-cultural country like India, with continuous cross-cultural social interactions, do come with varied experiences and expectations. Cultural diversities, from macro to micro level, wide socio-economic variations, diverse educational levels, differing but valid cultural understandings, besides ranges of languages and physical attributes, including disabilities, make the situation more complex.

Museums and museology curricula, in India, are facing the challenge, perhaps more critically than their counterparts in many of the countries of the world. Museums and the combating of social inequality: By definition, the museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, Supreo Chanda The special visitor: They are there to be looked at Hooper-Greenhill, Susan M Pearce Material is transformed by the collecting process into a museum collection archive, and clearly it is transformed again as a further stage in the same sequence by the exhibition process.

Museology, may be defined as, the philosophy of visual interpretation of heritage, be it cultural, natural or scientific Chanda, They are essentially communicators and organizers whose main interest lies in making their collections and exhibitions attractive and interesting to the general public. Graham Black elaborates Sight took credence over other senses from the late medieval period, as Foucault, Hearsay is excluded … too are taste and smell … sense of touch is very narrowly limited … which leaves sight with an almost privilege, being the sense by which we perceive extent and establish proof, and, in consequence … acceptable to everyone.

Vision should be aligned with interpretation rather than perception. Interpretation of visual culture in museums, the themes of narrative, difference and identity arise in interpretative processes and museum pedagogy. These are complex and multi-layered matters, where meanings rooted in the past clash with contemporary interpretations that challenge their continued validity.

Again, visual culture has emerged across a range of disciplines, including art history, film studies, comparative literature, anthropology and museology, as well as regional and cultural studies. The visible artefact arises out of a set of social and cultural exigencies that create the conditions for seeing that fit into a meaningful structure of information and knowledge.

Eilean Hooper-Greenhill, again, relates the interpretation of visual culture to museum pedagogy Tony Bennett, quoting Grundrisse, by Karl Marx, explains the dialectics between production of art and production of aesthetics The object of art — like every other product — creates a public which is sensitive to art and enjoys beauty.

Production thus not only creates an object for the subject, but also a subject for the object. Thus production produces consumption … Marx, Museums, like any other public institution, have always been the product of their own time. Heritage institutions, like other arts and culture institutions throughout the world, are confronted with the challenges of survival.

This has had a catalytic effect on heritage institutions and museums in particular, and has galvanized them into action in search of a new identity. An identity that recognizes that cultural diversity is a historical and social reality at the local, regional, national and global levels and that museums should reflect the cultural diversity of the clientele communities. This has been characterized by inclusive museology, which has the Supreo Chanda The special visitor: These borders include race, ethnicity, colour, gender, class, age, physical ability, regions, location, language, faith, creed, economic status, and so on Vusithemba Ndima, There has been another parallel paradigm shift in thinking of the primary commodity of the museum as information rather than artefacts.

The advantages include firstly, the intangible processes of culture such as oral histories or processes of investigation and scholarship , and replicas and reconstructions can be considered of equal value to artefacts. Further, even by promoting the status of information the significance of the material objects is not compromised. Secondly, it positions the museum as an organisation of status in an information economy and society.

This will ensure the survival of the museum. Thirdly, in the shift from artefact to information based museums, it will be easier to balance the traditional functions of collection, preservation, research and display, with the more recent mandate for education and communication. There are other modes of the museum that are equally important that include museum as symbol, vision, showcase, treasure-house, memory, communicator, mentor, celebration, host and resource Sarah Kenderdine. Intangible elements are indispensable in supplementing the tangible elements preserved in the museums. Thereby the museums can develop a separate national character and identity.

Traditional art forms have survived for centuries and they will survive in the future due to their flexibility. They could be the media for social change in rural India.

Meaning of "investigar" in the Spanish dictionary

Folk arts being functional, interpersonal and having a contextual base would be able to carry the message of change, development and environmental awareness … Mukhopadhyay, When carefully going through the above statements, it can be unmistakably noted that all the developments over a period of six-seven decades are directed to becoming more and more inclusive in nature; to include more information, to be socially and culturally inclusive, to include technology to infuse reality into so-called unreal!

It must be socially inclusive and dispense its social responsibilities. Amy K Levin Although pre- existing human rights conventions offer considerable potential to promote and protect the rights of persons with disabilities, this potential was not being tapped. Persons with disabilities continued being denied their human rights and were kept on the margins of society in all parts of the world.

The Convention on the Rights of Persons with Disabilities , to which India is a signatory, sets out the legal obligations on States to promote and protect the rights of persons with disabilities. Persons with disabilities are not viewed as "objects" of charity, medical treatment and social protection; rather as "subjects" with rights, who are capable of claiming those rights and making decisions for their lives based on their free and informed consent as well as being active members of society.

Universal recognition is to be emphasized on the dignity of persons with disabilities. Necessary adjustments are to be ensured to the persons with disabilities for enjoyment or exercise on equal basis with others of all human rights and fundamental freedoms. All activities must include the participation of persons with disabilities. Millennium Development Goals will not be achieved if persons with disabilities are not included. It has to be clearly borne in mind that most of the above issues are either social constructs or creations of volatile political and economic situations.

Museums can act as very strong media for social changes. Is there any justification in hiding the head in the sand, like an ostrich, pretending that everything is been fine all around? There are quite relevant contemporary issues affecting society and the construction of post- colonial socio-political history. To remain socially relevant, museums must change their policies to avoid being labelled as institutions of social exclusion.

Scholars study, and tourists are shown, but fragments of a past which we can never recover … Boniface and Fowler, Communication has become one of the vital functions of museums nowadays. Different communication models to suit museums were designed and developed over the years by many scholars like Cameron , Knez and Wright , McQuail , Miles , etc. The great advancement in the field of Information and Communication Technology ICT is perhaps one of the major challenges for not only museums but also for most of the visual media.

Advancements in space research gave rise to geostationary communication satellites, which in turn, along with growing computer technology, created the Internet and World Wide Web www. Mini Computer, Personal Computer, Laptop computer, Notebook, Tablet, i-Pad, digital organizer, cell phone, digital camera, digital camcorder, pen-drive, personal digital assistant PDA , etc. With the very rapid development of the processing speed of the microprocessors, the entire scenario of communication, direct or indirect, has gone into revolutionary transformation.

Direct interpersonal communication is fast being replaced by communication through media, electronic or virtual. YouTube has 4 billion users per day, million users March for Facebook, Twitter has million users June and million people use LinkedIn November Having alternative and easily accessible media, both for education and entertainment, at hand, certain sections of potential museum visitors have grown reluctance to visit museums.

Being able to directly compare with other such institutions, it has become very difficult to encourage repeat visits. Naturally visiting museums no longer remains a very necessary proposition to get information and has lost its importance as a potential space for learning. Apart from information and communication technology, there have been many technological developments in other spheres also. Say for example, LASER technology, which is being used as cutting-edge tool in various industries for production, machining, cleaning, mapping, replication, labelling, lighting, entertainment, film shows, etc.

Nano-technology has ushered in revolutionary changes in museum display and conservation too. It is not true that museums at large remained oblivious to the spurt of technological developments. Many such developments did make their forays into the domains of museum functioning, particularly in the exhibit fabrication, replication, security of objects, documentation, conservation and communication. Animated talking heads, animatronics, multi-screen projection systems, embedded chip for security, infra-red ray guided audio-aids, 3-D shows, context pick up mode information retrieval systems, are some of the relevant examples.

But the uses are mostly confined to the more resourceful museums. To cater to the growing demands of varied visitors, museums radically changed their display patters. Collective memories of the society are dramatized to attract more and more visitors. A few illustrations of each kind have been provided below. The youthful generation has an unprecedented attachment to information and communication technology, This is a global phenomenon as a result of the Internet and cell phones, The basic characteristics of the young generation born in the s or later Gen-Z , are individualist, personalized, remote, connected and instantaneous.

They are very curious and adept at effectively using technology, expect to be connected to the world, want to see themselves in the bigger picture, want to be in the Supreo Chanda The special visitor: Then what does the future hold? Ultimately the content creation will explode, all leading to greater hurdles for the museums.

Museum Communication Stansfield includes 3 broader services — 1. Information services — it includes all-those services provided on demand for individual visitors over telephone or in other ways.

Translation of «investigar» into 25 languages

Museums have changed from the classical concept as an archive of heritage to the concept of a social institution adapted and adjusted with the growing demand of Gen-Z. Visitor-museum relationship becomes closer. In more and more museums visitors encounter people staff or volunteers who are in the galleries and museum classrooms specifically to interact with the visitors. Some are straightforward teachers; others may be in the guise of theatrical dress or mode, representing an alternative reality. Now the ultimate role of a museum is a matter of professional debate mainly in relation to the uses of culture and heritage within the society.

Museum Functions too Redefined; museums now tend to visualise memories of the society through the exhibits, tangible or intangible, often by de-contextualisation of the cultural relics during musealisation process and provide a platform for dialogic processes between the objects and the visitors, visitors and the curators, objects and the curators; between the visitors; between the objects, utilising hermeneutics and semiotics and ultimately creating the desired phenomenon in the minds of the stakeholders.

Our active enjoyment of them is therefore not an act of divine worship through which our consciousness might come to its perfect truth and fulfilment; it is an external activity … Michel Foucault , in his book, History of Madness, shows how a non-teleological approach to historical phenomena can denaturalise through the study of forgotten archives, looking beyond phenomenology and towards structuralism. Popular memory is on the face of it the very antithesis of written history… It measures change genealogically, in terms of generations rather than centuries, epochs or decades.

New communication strategies now focus on the meaning-making activities of museums and visitors. Visitors make meaning in the museum, they learn by constructing their understandings. The issue for museums is to determine what meanings visitors make from their experiences, and then to shape the experience to the extent possible by the manipulation of the environment.

Every museum building will send a message or multiple messages ; every exhibition will evoke feelings, memories and images; every encounter with an object brings about a reflection even if it is only incomprehension and frustration ; every social interaction reinforces connections, stimulates new ones, or triggers personal anxieties Hein, They define museum encounters through their Interactive Experience Model, which they divide into three contexts: They Falk and Dierking again The view of learning embodied in this framework is that learning can be conceptualized as a contextually driven effort to make meaning in order to survive and prosper within the world; an effort that is best viewed as a continuous, never-ending dialogue between the individual and his or her physical and socio-cultural environment.

None of these three contexts are ever stable or constant; all are changing across the lifetime of the individual. As the museum examples help to clarify, the Contextual Model of Learning draws from constructivist, cognitive, as well as socio-cultural theories of learning. The key feature of this framework is the emphasis on context; a framework for thinking about learning. It should not be forgotten that the museum visitors are not liabilities alone — ever demanding to be pampered — they are assets too. Visitors bear collective memories of the societies; the traditional wisdom of the museum audiences, especially that of the subalterns, besides gentries, can also benefit the museums.

Pieza del mes

The museum experience must be bilateral exchanges. Not only that every visitor is with special needs, every museum is also with special needs. The dialectical identities of museum visitors as individual and collective entities might evoke interesting challenges. One solution might be to segment the visitors at macro level and then to devise the services accordingly; or to take resort to modern technology to create immersive visualisation with several inputs at micro level and leave it to the audience to satiate individual needs.

Whatsoever might be, for sure, memories are to be portrayed creatively to bring in social change. University of Texas Press. The Birth of the Museum. London and New York: Developing museums for visitor involvement. Boniface, Priscilla and Fowler, Peter J.

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