Esta dissertação parte da observação de práticas institucionais experimentais que se concentraram principalmente na Europa, a partir dos anos noventa. Tais experimentações buscaram reestruturações institucionais, prezando pelo engajamento do público em suas atividades, além de fazer frente a modelos pautados no entretenimento e no espetáculo, de modo a contrariar tais premissas, e tendo como referência exposições experimentais paradigmáticas realizadas a partir dos anos sessenta, bem como práticas da Crítica Institucional do mesmo período. No entanto, várias dessas instituições experimentais enfrentaram problemas para manter suas atividades, com cortes de financiamento e ate mesmo, em alguns casos, o encerramento de suas atividades. Diante disso, tomamos como objeto de estudo o caso do Museu de Arte Contemporânea de Barcelona (MACBA), reconhecendo, em sua história, um período notavelmente marcado por propostas experimentais, sob a direção de Manuel Borja-Villel, a fim de rastrear a continuidade, ou não, de propostas nesse sentido nas gestões seguintes, de Bartomeu Marí (2008-2015) e Ferran Barenblitt (desde 2015), bem como possíveis dificuldades enfrentadas para sua manutenção e desenvolvimento. Avalia-se, por um lado, a possibilidade de que figuras específicas de liderança, no caso os diretores das instituições, são cruciais para a implementação e sustentação das propostas diante dos diversos atores que coexistem dentro das estruturas institucionais, como membros de Conselhos e fundações. Por outro lado, considera-se também o papel desses órgãos na tomada de decisões dentro da instituição, diante dos quais o diretor pode ter sua autonomia limitada / This dissertation starts with the observation of experimental institutional practices that were concentrated mostly in Europe, since the nineties. These experimentations seeked intitutional restructuring, caring for the participation of the visitors, and also sought to oppose to the models based on entertainment and spetacle, in order to go against those premises, and having, as a reference, paradigmatic experimental exhibitions made since the sixties, as well as Institutional Critique practices of the same period. However, many of these experimental institutions faced problems in mantaining their activities, with cutbacks in financing and even, in some, cases, the closedown of their activities. In face of this scenario, we took as a case study the Barcelona Museum of Contemporary Art, recognizing, in its history, a period notably marked by experimental propositions, under the direction of Manuel Borja-Villel, in order to trace the continuity, or not, of these kinds of propositions in the following directorships, from Bartomeu Mari (2008-2015) and Ferran Barenblitt (since 2015), as well as possible dificulties met in their mantainance ad developing. Furthermore, it is considered, on the onde hand, the possibility that specific leadership figures are crucial to the implementation and support of the experimental propositions before the many actors that coexist inside the institutional structures, like Board members and foundations. On the other hand, it is reckoned the role of these figures in making decisions inside the institution, in the face of which the director may have its autonomy limited

O trabalho configura uma contribuição para os estudos do campo do design brasileiro. Avalia iniciativas institucionais brasileiras de expor publicamente design, particularmente no Museu de Arte Moderna do Rio de Janeiro, com as Bienais de Design e o Instituto de Desenho Industrial; na Federação das Indústrias de São Paulo e no Museu da Casa Brasileira, reconhecendo-as como momentos de construção do campo. As concepções de design em jogo, sua aproximação com a esfera doméstica e sua heteronomia estão em questão, apontando para mudanças do próprio conceito de design no Brasil de 1970 a 2002. Revela como os projetos de design industrial e público dos anos 1970 têm sido ignorados em nossa historiografia. / This work is a contribution to the Brazilian design field studies. It evaluates Brazilian institutional actions of exhibiting design, particularly in Rio de Janeiro\'s Modern Art Museum (MAM-RJ), its Design Biennales and Industrial Design Institute. It also studies design exhibitions in the São Paulo\'s Industries Federation (FIESP) and in Museu da Casa Brasileira (Brazilian House Museum). All of them representing the construction of the field moments. Different concepts of design, its proximity with the domestic sphere and its heteronomy are put in debate, pointing to changes of design concept in Brazil between 1970 and 2002. This study reveals how public and industrial design of the 1970s has been ignored in Brazilian historiography.

Este trabalho se propôs a refletir sobre a história do Museu Histórico Nacional através da dimensão educativa que se fez presente nas práticas institucionais, bem como verificar, sob a perspectiva da História da Educação, a importância do Curso de Museus na construção de representações relacionadas ao caráter educativo da instituição. Compreendeu os anos de 1922 a 1958, período que abrange desde a fundação do museu e as primeiras investidas para a concretização de um curso direcionado para as suas necessidades, até a realização do Seminário Regional da UNESCO Função Educativa dos Museus, bem como as publicações de diplomados do Curso de Museus que tiveram como temática central a educação em museus. A investigação foi realizada utilizando-se a metodologia da análise de textos, percorrendo a trajetória do Museu Histórico Nacional por meio de documentos oficiais produzidos pelo museu; matérias de jornais; livros, artigos, relatórios e entrevista de antigos funcionários da instituição; e publicações de formados pelo Curso de Museus. Para o embasamento teórico do trabalho três áreas do conhecimento tiveram destaque: História da Educação, História Cultural e História dos Museus, dialogando com diversos autores, tais como Antonio Viñao Frago, Moysés Kuhlmann Júnior, Paulo Knauss, Roger Chartier, Pierre Nora, Ulpiano Bezerra de Meneses, Mário Chagas, Aline Montenegro Magalhães. O trabalho ressaltou que desde sua fundação o Museu Histórico Nacional teve definida sua dimensão educativa, condição subsidiada por projetos desenvolvidos pelo corpo funcional da instituição, tendo em destaque o idealizador e primeiro diretor Gustavo Barroso, personagem que fortaleceu a relevância desse museu por meio de evocações como o mote “O Culto da Saudade”. Finalizou ao afirmar que um desses projetos, o do Curso de Museus, em seu processo de consolidação foi capaz de desenvolver uma matriz intelectual no cenário museológico brasileiro tornando-se, por meio dos multiplicadores, um difusor das representações do Museu Histórico Nacional para o País. / This study aimed to reflect about the history of the National Historical Museum through educational dimension that is made present in its institutional practices, as well as verify, under the perspective of the History of Education, the importance of Course of Museums in building representations related to the educational character of the institution. It encompassed the years 1922 through 1958, a period that covers from the foundation of the Museum and the first attempts at achieving a course directed to its needs, to the UNESCO’s Regional Seminar on the Educational Role of Museums, as well as publications of Course of Museums graduates that had as its central theme the museum education. The research was conducted using the analysis of texts methodology, covering the history of the National Historical Museum through official documents produced by the Museum; newspaper articles, books, articles, reports and interviews of former employees of the Institution, and publications by graduates of the Course of Museums. For the theoretical foundation of the work, three areas of knowledge were highlighted: History of Education, Cultural History and Museum’s History, dialoguing with many authors such as Antonio Viñao Frago, Moyses Kuhlmann Jr., Paul Knauss, Roger Chartier, Pierre Nora, Ulpian Bezerra Meneses, Mário Chagas, Aline Montenegro Magalhães. The study emphasized that since its inception the National History Museum had its educational dimension defined, condition subsidized by projects developed by the institution’s functional body, featuring the founder and first director Gustavo Barroso, a character that strengthened the relevance of this Museum through evocations as the motto "O Culto da Saudade." Concluded by stating that one of these projects, the Course of Museums, in its consolidation process was able to develop an intellectual matrix in the Brazilian museum’s scenery becoming, due to multipliers, a diffuser of the representations of the National History Museum for the Country.

Made available in DSpace on 2016-04-29T14:23:38Z (GMT). No. of bitstreams: 1 Roberto Sanches Padula.pdf: 1714236 bytes, checksum: d1b40fdb115216205ffa6facac67b7b8 (MD5) Previous issue date: 2015-09-14 / This work aims to identify the educational advantages that the museological ambiance and strategies can bring if put into effect in a hybrid (physical and digital) school context. The objective is to verify the educational advantages that could be provided in a school with an innovative design, inspired by the ambiance, curatorial and pedagogical strategies from museums permeated by technology. The literature about innovation is based on concepts from the Oslo Manual and the Centre for Educational Research and Innovation (OECD 2004; 2010) and from the European Commission s Joint Research Centre (FERRARI; CACHIA; PUNIE, 2009). Studies by Falk and Dierking (2000), Hooper-Greenhill et al (2003), Nascimento (2005), Mandarino (2001), Hein (1995), and Alderoqui (2011) forms the basis for themes about visitors experience and education in museums. Trends in education and museums are based on reports by the New Media Consortium (NMC, 2015), and in libraries and hybrid spaces, on the studies by Bilandzic (2013). The studies by Kowaltowski (2011) and Oblinger (2006) are the basis for school architecture. A primary data research with students who have visited museums complements the material. A questionnaire consisting of closed and open questions about generic learning outcomes has indicated that museums can be considered a complementary educational space, as valid as schools. Mostly due to the interactivity, this result indicates that the museum visitors experience is interesting, amusing and motivating, in a way that schools can hardly achieve. The conclusion is that museums can inspire different types of changes in schools, which are grouped here in the form of a proposal for an innovative school environment, pleasant, flexible, permeated by technology, that values informal education and that enables learning practices differentiated from that that normally take place in traditional classrooms, so to provide gain in the learning process / Este trabalho busca identificar as vantagens, em termos educativos, que o ambiente e as estratégias museológicas podem trazer se implantadas em um contexto escolar híbrido (físico e digital). O objetivo é verificar os ganhos educacionais que poderiam ser proporcionados por um ambiente escolar com design inovador inspirado no ambiente e estratégias curatoriais e pedagógicas de museus permeados por tecnologia. A pesquisa bibliográfica sobre o tema inovação traz a conceituação do Manual de Oslo e do Centre for Educational Research and Innovation da OECD (2004; 2010) e do Joint Research Centre da Comissão Europeia (FERRARI; CACHIA; PUNIE, 2009). Estudos de Falk e Dierking (2000), Hooper-Greenhill et al (2003), Nascimento (2005), Mandarino (2001), Hein (1995) e Alderoqui (2011) servem de base para os temas acerca da experiência da visita e da educação em museus. As tendências em educação e em museus estão baseadas no New Media Consortium (NMC, 2015) e as em bibliotecas e espaços híbridos, em Bilandzic (2013). Quanto à arquitetura escolar, teve como fundamento os estudos de Kowaltowski (2011) e Oblinger (2006). Um levantamento de dados primários com estudantes visitantes de museus complementa o material apurado. A aplicação de questionário composto de questões fechadas e abertas sobre resultados genéricos de aprendizagem revelou que o museu pode ser considerado um espaço educativo complementar, tão válido quanto a escola. Este resultado, em grande parte por conta da interatividade, devese à experiência dos visitantes se mostrar interessante, divertida e motivadora de uma forma que a escola tem dificuldade de atingir. Conclui-se que museus podem inspirar diversos tipos de mudanças em escolas, aqui agrupadas na forma de uma proposta de espaço escolar inovador, agradável, flexível, permeado por tecnologia, que valorize educação informal e possibilite práticas de aprendizagem diferenciadas das que normalmente acontecem em salas de aula tradicionais, de forma a proporcionar ganhos no processo de aprendizagem

This dissertation examines encounters between humans and snakes from the 1780s to the 1860s, principally focusing upon Britain and British India, to reassess the production and circulation of natural historical knowledge. Serpents were at once familiar and ambiguous in nineteenth-century Britain and its empire, present at every level of society through Scripture, works of natural history, and imperial print culture. They appeared across literary genres - in works of art, as dead specimens in museums, and living attractions in shows and menageries - and their material and figurative presence in London was dependent upon British imperial networks. Snakes loomed disproportionately large in the imperial imaginary, where they were entangled in a discourse of difference. The practices of the natural history of snakes were harnessed to personal ambition and colonial exigencies. By analyzing scientific books and papers, newspapers and periodicals, taxidermy and cartoons, travel accounts, and government archives from Britain and India, this study provides a connected account of how snakes were collected, transported, described, experimented with, and used for a variety of ends. Following an animal around, whether as material, textual, or visual representation, reveals a more comprehensive picture of how people engaged with animals in the nineteenth century, not confined by disciplinary or institutional boundaries at a time when these were being constructed. The cultural and emotive power of snakes makes visible the heterogeneous nature of those contributing to the production of natural historical knowledge. This thesis shows how the moral character of snakes was implicated in how they were encountered and understood by a range of actors, from museum naturalists to imperial agents, and Indian snake-charmers to working-class visitors to the zoo. The chapters examine different but overlapping modes of encounter with snakes: collecting, preserving, and presenting them in museum settings; the imbrication of anthropocentric concerns in attempts to classify and anatomize them; the mechanisms and motivations behind attempts to produce authoritative 'useful knowledge' incorporating vivisectional experiments in the Madras Presidency in the late eighteenth century; Orientalist representations of non-European interactions with snakes in nascent print culture; and the emotional economy of educational displays of living snakes in metropolitan Britain, especially with the emergence of new spaces for natural history, notably the first reptile house at the Zoological Gardens in Regent's Park. The approach brings together insights from from history of science, animal history, and new imperial histories to recover an affective dimension of natural history in imperial encounters.

A partir do pressuposto de que bibliotecas, arquivos, centros de documentação, museus e instituições afins são entidades que compartilham, dentre outros, o objetivo de acumular e/ou colecionar, documentar e preservar bens culturais, deduz-se que aproximações podem ser realizadas a partir da representação da informação. A presente pesquisa teve por objetivo geral explorar os pontos de aproximação entre as áreas da Arquivística, Biblioteconomia e Museologia a partir das metodologias para descrição de seus acervos. A conceituação teórica da pesquisa foi pautada no estudo dos conceitos de informação e documentação oriundos da Ciência da Informação e que permitiram aproximar as áreas no que diz respeito às questões relacionadas ao acesso à informação. Outro aspecto pesquisado foi a influência das novas tecnologias de comunicação e informação em cada área e seus procedimentos. Apresentam-se as origens e formação de cada instituição e seus acervos. É realizada uma análise comparativa entre campos selecionados das normas da Isad(G) para arquivos, o AACR2 para bibliotecas e as Diretrizes do CIDOC-ICOM para museus. O resultado do estudo aponta para a similaridade nas recomendações dadas pelas regras e constata-se que a representação da informação em ambiente digital propicia o deslocamento do foco do objeto informacional para a informação, o que compõe um cenário no qual as instituições coletoras de memória poderão estar aptas a elaborar instrumentos de pesquisa seguindo padrões de metadados comuns. / Starting from the assumption that libraries, archives, documentation centers, museums and similar institutions are entities which share, among other purposes, the common purpose of accumulating and/or collecting, documenting and preserving cultural heritage, one can infer that from the information representation it is possible to perform approximations. The general aim of the present research is exploring the approximation points among the areas of Archives, Library Science and Museology from the methodologies used to describe their collections. The research technical conceptualization was based on the study of information and documentation concepts derived from the Information Science which allowed approximating the areas concerning issues related to access to information. Another aspect object of research was the influence of new communication and information technologies on each area and their procedures. The origins of each institution and their collections are presented. A comparative analysis of the rules of Isad(G) for archives, AACR2 for libraries and the Guidelines of CIDOC-ICOM for museums among selected fields is performed. The study results points to the similarity in the recommendations given by the rules and it is noticeable that the information representation in a digital environment makes it possible the rearrangement of the information object focus towards the information, thus composing a scenario on which the collector institutions might be apt to devise research instruments following shared metadata patterns.

Esta dissertação se constitui como estudo da História da Arquitetura e da Museologia por meio da análise do projeto arquitetônico e dos elementos formais do edifício que abriga o Museu de Zoologia da Universidade de São Paulo. O seu desenvolvimento está estruturado na reconstituição do programa arquitetônico, a partir do processo histórico do qual este Museu faz parte. Associado à tradição dos Museus de História Natural, organizados cientificamente, portadores de coleções de pesquisa e de ensino, o Museu de Zoologia da USP se caracteriza como uma instituição dedicada à preservação das referências patrimoniais da Zoologia Neotropical, mantenedor de coleções naturais que datam desde meados do século XIX. Christiano Stockler das Neves, autor do projeto arquitetônico deste Museu, ao receber um programa de necessidades historicamente determinado, construiu um edifício totalmente voltado ao atendimento dos requisitos da museologia do final da década de 1930. Assimilou as idéias de organização de museu daquele período e as recodificou em formas arquitetônicas que representam um importante momento para a história dos museus. Esta construção torna-se assim uma referência patrimonial, portanto, portadora de sentidos, no estudo da arquitetura e da museologia. / This dissertation is a study constituted in the fields of the History of Architecture and Museology. It is based in the analysis of the architectonic project and the formal elements of the building that shelters the Museum of Zoology of the University of São Paulo. Its development is structured in the re-establishment of the architectonic project based on the historical process this Museum belongs to. It is associated to the Natural History Museums tradition which means that they are scientific organized and hold research and study collections. The Museum of Zoology of USP is recognized as an institution dedicated to the preservation of the heritage references of South American Zoology and it maintains natural collections that are dated beginning from the second half of XIXth Century. The author of the architectonic project of this Museum, Christiano Stockler das Neves, received a program of needs historically settled and constructed a building totally devoted to the accomplishment of the requirements of the final of the 1930\'s museology. He has assimilated ideas of that period on museum organization and has re-codified them in architectonic forms that represent an important moment for the history of museums. Because of that this construction becomes a heritage reference and being so it can be understood as a holder of meanings in the study of architecture and museology.

Museum studies in South Africa have predominately focused on addressing issues of politics and practice of museum displays and exhibitions, particularly in the period following the 1994 South African elections. These studies have led to the transformation of many past museum displays and exhibits. They have also opened up new research opportunities within the field of museum studies, such as the current study on social viability and economic sustainability of South African museums. In this research report I assess a range of museum operational models in and around Johannesburg and make recommendations about the best current operational model and on the potential model for future developments of culture and heritage museums in Johannesburg. Recommendations on some of the strategies that museums in and around Johannesburg need to adopt in order to develop further their social responsibility projects are given, based on my experience of how museums in Washington, D.C raised alternative funds towards such projects. The Section 21 Company model is seen as the best current museum operational model and has potential for future museum developments in Johannesburg.

Uma das principais características das exposições museológicas é o seu potencial de representatividade histórico-cultural, sobretudo quando dirigimos nossa atenção aos museus de história natural dos séculos XIX e XX, período de constituição do museu público, impulsionado pelos discursos nacionalistas, civilizatórios e modernizantes. A análise de projetos expositivos desse contexto possibilita inferir que o novo modelo de museu é resultado da busca do equilíbrio entre os estudos científicos desenvolvidos através das coleções de pesquisa e as formas efetivas de instrução pública. Centenas de museus foram construídos enquanto outros reformaram suas áreas técnicas e administrativas, de forma a atender os novos parâmetros estabelecidos pelos programas museológicos, arquitetonicamente definidos como área restrita de pesquisa e área restrita da exposição pública. As exposições museológicas abertas à visitação ganharam impulso a partir de uma perspectiva objetiva. Os recursos comunicacionais, que nasceram e se desenvolveram nestes museus, reforçam o sentido da educação popular a partir da leitura do discurso expositivo presente nas narrativas polissêmicas estabelecidas nos novos espaços de consagração da ciência. O objeto museológico, o espaço museal e o público das exposições formam a base desse fenômeno moderno de comunicação. A modernidade forjada tanto pela Revolução Industrial quanto pela Revolução Francesa gerou este tipo de organização institucional que, por meio da reunião de objetos extraídos do mundo natural, como referências patrimoniais, registros documentais e testemunhos materiais, assumiu a responsabilidade pela conservação, pesquisa e difusão de uma nova visão sobre a natureza, a partir de critérios científicos. A este processo de seleção, de transferência de elementos naturais para o interior dos museus, para composição de coleções e cenários museais didáticos, foi cunhada a ideia de Musealização da Natureza. Essa proposição deve ser entendida pela abrangência do percurso da nova vida do objeto, enfocando as formas de representação do mundo natural por esta tipologia de museu, apresentando em seus sistemas comunicacionais uma natureza compartimentada, classificada e reconhecida. Com o desenvolvimento e aplicação de diferentes recursos expositivos, sobretudo os dioramas, os museus de história natural passaram a preencher as salas expositivas com uma museotecnia nascida na Europa, que ganhou forte e determinante impulso nos Estados Unidos e se difundiu por todo o mundo, inclusive no Brasil. Com a instalação de cenários de ambientes naturais, didaticamente preparados, consolidou-se no museu público uma nova forma de olhar para o mundo natural: uma forma científica. É justamente no limiar da ciência moderna, que os museus de história natural se proliferam e declaradamente passam a se preocupar com a popularização da ciência. Os processos modernos de produção econômica transformaram definitivamente a relação do homem com o mundo natural. Ao mesmo tempo, estabeleceram novas formas de vivência com a natureza, seja através de parques naturais, jardins ou mesmo pelas exposições museológicas com seus dioramas, aqui considerados como verdadeiras janelas para o mundo natural. / One of the main characteristics of museum exhibitions is its potential historical and cultural representativeness, especially when we focus our attention on the museums of natural history of the 19th and 20th centuries. Those were periods of constitution of the public museum that was driven by nationalistic, civilization and modern speeches. The analysis of exhibition projects in that context makes it possible to infer that the new model of museum is the result of the search for balance between scientific studies developed through the research collections and the effective ways of public instruction. Hundreds of museums were built while others reformed their technical and administrative areas in a way they could attend the new parameters established by the museum programs that were defined as restricted area for research and restricted area for public exhibition. Museum exhibitions opened to visiting won strength based on a focused perspective. Communicational resources that had been born and had developed in those museums reinforced the sense of popular education based on the reading of the exhibition speech that were present in the multifaceted narratives established in the new spaces of consecration of science. The museum object, the museum space and the exhibition\"s public form the basis of this modern phenomenon of communication. The modernity forged by the Industrial Revolution as well as the French Revolution generated this kind of organizational institution that - by the means of reuniting objects extracted from the natural world such as heritage references, document data and material testimonies - have assumed the responsibility for the conservation, research and diffusion of a new vision about the nature based on scientific criteria. To that process of selection and transfer of natural elements to the interior of museums to form didactic museum collection and scenarios was coined the idea of Musealization of Nature. This proposition must be understood by the comprehensiveness of the path of the new life of the object focusing the ways of representing the natural world by this typology of museum and presenting in its communicational systems a compartmentalized, classified and recognized nature. With the development and application of different exhibition resources, especially the dioramas, the natural history museums began to fill the exhibition rooms with a museumtechnique born in Europe that gained strong and determining strength in the United States and had spread all over the world including Brazil. With the installation of scenarios of natural environments that were didactically prepared, a new way of looking to the natural world in the public museum were consolidated: the scientific way. It is precisely on the threshold of modern science that the museums of natural history proliferate and reportedly began to worry about the popularization of science. The modern process of economic production definitely transformed the relationship between man and natural world. At the same time thei established new ways of living the nature whether through natural parks or gardens or even through museum exhibitions with its dioramas that we consider in this research as are true windows to the natural world.

This research project examines and documents the collection of Islamic ceramics at Scripps College from an art conservation standpoint. The main objectives were to establish provenance for these objects, assess their current conditions, propose recommendations for future preservation, and discuss the importance of preventive conservation and general collections care methods. Based on my survey and research, I demonstrated which objects in particular should be prioritized due to their states of conservation and significant educational value. Such objects raise further points of departure regarding authenticity and conservation ethics.