As coleções precedem o gabinete de curiosidades e o museu e remete a motivações diferentes que revelam aspectos da matriz cultural de cada época. De modo análogo, as formas de organização dos objetos, livros e obras de arte seguem as referências de seu tempo sendo sensíveis às mudanças. Neste trabalho, procuramos mostrar como se dá esta relação em determinados momentos, escolhidos por suas características de ruptura e transformação. Enquanto nas \'bibliotecas\' (ou bibliografias) e nos Gabinetes de Curiosidades do Renascimento a ordem se ligava à analogia e à semelhança por parentesco (divinatio), com Descartes a semelhança passa a ser feita pela comparação, obtida pela medida. Tais mudanças se refletem tanto nas formas de arranjo e classificação dos objetos, como na própria vida dos museus, que passam a organizar suas coleções a partir de critérios artificiais e abstratos. Com o Modernismo europeu, na passagem do séc. XIX para o séc. XX, a introdução de novas tecnologias acaba por provocar novas mudanças que são sentidas até os nossos dias com a comunicação digital. Grande parte dos problemas desse museu pode ser creditado ao fato de que estabeleceu a coleção como foco de sua atuação e com isto suas atividades operacionais passaram a predominar sobre seus propósitos ou papel social. O museu do século XXI, no entanto, deverá alterar esse procedimento de modo a contemplar as relações entre as pessoas e o museu, bem como com a coleção e a obra. Só assim o museu passará a ser um espaço de experiência ou um espaço-relacional. / Collections precedes the Cabinet of Curiosities and the museum and refers to different motivations that disclose aspects of the cultural matrix of each time. In an analogous way, the forms of organization of objects, books and works of art follow the references of their time being sensible to changes. In this paper, we intend to show the way this relation happens at specific moments in history, chosen for their characteristics of rupture and transformation. While in the ?libraries? (or bibliographies) and in the Cabinets of Curiosities from the Renaissance the order was bound up with the analogy and the similarity by kinship (divinatio), with Descartes the similarity starts to be characterized by comparison of measurable attributes. Such changes are reflected in the forms of arrangement and classification of objects, as in the proper life of the museums, which start to organize their collections from artificial and abstract criteria. With the European Modernism, from century XIX to XX, the introduction of new technologies ends up provoking new changes that are felt until nowadays with the digital communication. Most of the problems of this museum can be credited to the fact that it established the collection as the focus of its performance and with this its operational activities that started to predominate on its intentions or social paper. The XXI century museum, however, will have to modify this procedure in order to contemplate the relations between the people and the museum, as well as with the collection and the workmanship. Thus the museum will start to be a space of experience or a relational space one.

As coleções precedem o gabinete de curiosidades e o museu e remete a motivações diferentes que revelam aspectos da matriz cultural de cada época. De modo análogo, as formas de organização dos objetos, livros e obras de arte seguem as referências de seu tempo sendo sensíveis às mudanças. Neste trabalho, procuramos mostrar como se dá esta relação em determinados momentos, escolhidos por suas características de ruptura e transformação. Enquanto nas \'bibliotecas\' (ou bibliografias) e nos Gabinetes de Curiosidades do Renascimento a ordem se ligava à analogia e à semelhança por parentesco (divinatio), com Descartes a semelhança passa a ser feita pela comparação, obtida pela medida. Tais mudanças se refletem tanto nas formas de arranjo e classificação dos objetos, como na própria vida dos museus, que passam a organizar suas coleções a partir de critérios artificiais e abstratos. Com o Modernismo europeu, na passagem do séc. XIX para o séc. XX, a introdução de novas tecnologias acaba por provocar novas mudanças que são sentidas até os nossos dias com a comunicação digital. Grande parte dos problemas desse museu pode ser creditado ao fato de que estabeleceu a coleção como foco de sua atuação e com isto suas atividades operacionais passaram a predominar sobre seus propósitos ou papel social. O museu do século XXI, no entanto, deverá alterar esse procedimento de modo a contemplar as relações entre as pessoas e o museu, bem como com a coleção e a obra. Só assim o museu passará a ser um espaço de experiência ou um espaço-relacional. / Collections precedes the Cabinet of Curiosities and the museum and refers to different motivations that disclose aspects of the cultural matrix of each time. In an analogous way, the forms of organization of objects, books and works of art follow the references of their time being sensible to changes. In this paper, we intend to show the way this relation happens at specific moments in history, chosen for their characteristics of rupture and transformation. While in the ?libraries? (or bibliographies) and in the Cabinets of Curiosities from the Renaissance the order was bound up with the analogy and the similarity by kinship (divinatio), with Descartes the similarity starts to be characterized by comparison of measurable attributes. Such changes are reflected in the forms of arrangement and classification of objects, as in the proper life of the museums, which start to organize their collections from artificial and abstract criteria. With the European Modernism, from century XIX to XX, the introduction of new technologies ends up provoking new changes that are felt until nowadays with the digital communication. Most of the problems of this museum can be credited to the fact that it established the collection as the focus of its performance and with this its operational activities that started to predominate on its intentions or social paper. The XXI century museum, however, will have to modify this procedure in order to contemplate the relations between the people and the museum, as well as with the collection and the workmanship. Thus the museum will start to be a space of experience or a relational space one.

The phenomenon of princely and scientific collections that proliferated in Europe during the sixteenth and seventeenth centuries has become an important focus for modern historical analysis. These collections provide a microcosm of contemporary political, economic and philosophical ideas, often characterized by geographical and cultural differences. The mid-seventeenth century Kunst- and Wunderkammer studied here, instituted by the archbishops of Salzburg, brings forward themes sometimes neglected in the literature. The archbishops' collection was part of broader efforts to reinvent the city of Salzburg as a representation of both sacred and secular authority. Strategies for significant display were derived from religious and imperial ritual, drawing on the potential of objects as signifiers. In this context, I also examine some of the debates within the literature on princely and scientific collections, where the study of wonder and science begins to merge in cross-disciplinary scholarship. Finally, I highlight the role of transformation and materiality in these collections to argue that the act of collecting objects and the act of making were imbricated in the process of self-definition. Within themes of technology and process, I investigate the pursuit of creating Kunstkammer objects, as well as the business of their display and use in diplomacy.

No description available.

Univ., Diss.--Hamburg, 2006.

Artworks that use found or appropriated images and objects often function as collections. These collections simulate the everyday collections of mementos and souvenirs that come to represent aspects of an individual's personality and past. The collections of objects mirror the individual's collection of memories that help to define himself and provide a means of communication with others. The artist as collector takes on roles similar to that of storyteller and anthropologist, providing a narrative of conscious preservation. Through various devices of display and denial a curiosity cabinet I Wunderkammer representing and simulating a Self is created and the role of collector is passed on to the viewer. / Art History, Visual Arts & Musicology / Thesis (M.A. (Art History))

Artworks that use found or appropriated images and objects often function as collections. These collections simulate the everyday collections of mementos and souvenirs that come to represent aspects of an individual's personality and past. The collections of objects mirror the individual's collection of memories that help to define himself and provide a means of communication with others. The artist as collector takes on roles similar to that of storyteller and anthropologist, providing a narrative of conscious preservation. Through various devices of display and denial a curiosity cabinet I Wunderkammer representing and simulating a Self is created and the role of collector is passed on to the viewer. / Art History, Visual Arts and Musicology / Thesis (M.A. (Art History))

During the 16th century occurred a new phenomen, that the physically disabled people because of they visage were presented as curiosities or miracles. Some cases were so incredible therefore their appearances gave an impulse for creating an artwork. The images were popular between all social levels, were collected by townspeople, scientists, nobles and kings. The dissertation thesis "Homo deformis". The fascination by appearance of deformed human body in the Czech lands between 1526-1620 aims to explore how the phenomen of human curiosities was reflected in early modern visual art in the Czech lands. This dissertation thesis bases on individual examples of human monstrosity in various art forms as an portraits, allegories, scientific illustrations and pamphlets. It exams images of abnormal disabled people between 1526-1620 and focuses on they symbolic meaning, aesthetic interpretation. It summarizes the knowlege about perceptions of depicted abnormal persons in 16th century. It also shows the Early modern society reactions about "homo deformis", their everydayness and social status. This thesis studies reasons why the disabled body was a kind an inspiration for artists. It examines ii the artists of 16th century were able to picture cases of physicality deformed bodies anatomically correctly. It...