Orientador: Marcos Tognon / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-14T07:40:51Z (GMT). No. of bitstreams: 1 Machado_FernandaTozzo_M.pdf: 8653829 bytes, checksum: b19e3a115e94604d88db8373364e6bc3 (MD5) Previous issue date: 2009 / Resumo: O objetivo desta pesquisa é o estudo das relações que existiram entre a formação e a preservação dos acervos dos primeiros museus de arte brasileiros que incorporaram obras de arte modernas - o Museu Nacional de Belas Artes do Rio de Janeiro, o Museu de Arte de São Paulo Assis Chateaubriand e os Museus de Arte Moderna de São Paulo e do Rio de Janeiro. O recorte temporal está concentrado entre os anos de 1940, período da criação desses museus, e o percurso dos seus respectivos acervos até o início da década de 60. Por meio das diferenças e semelhanças das configurações dos museus públicos e daqueles formados por colecionadores particulares que se tornaram associações de direito civil, apresenta que, se por um lado os museus públicos propõem acervos representativos da nacionalidade, por outro, nos de formação privada, os interesses de particulares e dos grupos associados sobressaem em forma de vocação personalista. Esses "museus de arte" foram analisados a partir de uma extensa revisão da historiografia que abordaram o tema da formação dos referidos museus e, principalmente, na crítica das fontes primárias pertencentes aos arquivos institucionais originais, tendo como estudo de caso a primeira fase do Museu de Arte Moderna de São Paulo. As relações entre a constituição dos museus de arte e o entendimento da preservação, delinearam perfis que demonstram como era a conjuntura para as práticas de preservação dessas obras de arte. E, nesse ponto, tanto os de interesse público quanto privados convergem para a mesma problemática, a indefinição de critérios e de políticas de conservação dos acervos. / Abstract: The objective of this dissertation is the study of the connections which were established between the formation and the heritage preservation of the first Brazilian art museums which incorporated modern works of art - the National Fine-Arts Museum in Rio de Janeiro, Assis Chateaubriand Art Museum in São Paulo and the Modern Art Museums in São Paulo and in Rio de Janeiro. The time frame is between the 1940's, when these museums were created and their corresponding heritage journeys until the beginning of the 1960's. Through the analysis of the similarities and differences in arrangement among the public museums and the ones which were created by private art collectors and became civil associations, it is clear that, on one hand the public museums propose heritages that represent the nationality. On the other hand, in the private arrangements, the interests of the private investors and associated groups' concerns stand out as a personalist vocation. These "art museums" analyses were based on a thorough review of the historiography which mentioned the conception of such museums, particularly on the criticism of the primary sources which belonged to the original institutional archives. The first phase of the Modern Art Museum in São Paulo was the study case. The connections between the art museums creation and the preservation awareness outlined profiles that demonstrated what the state of affairs concerning preservation practices of these works of art was like. And, regarding this point, both private and public interests converge to the same question: the heritage preservation criterion and policies weren't defined. / Mestrado / Politica, Memoria e Cidade / Mestre em História

Os centros e museus de ciência e tecnologia foram pouco estudados sob o aspecto arquitetônico. É proposto o conceito de centro de ciência e tecnologia, cuja particularidade é ser focado na experiência e nos fenômenos, e não nos objetos. Existem instituições específicas relacionadas a esse tipo de instituições, em especial o CIMUSET / ICOM, ASTC, ECSITE e ABCMC. Os centros de ciência são protagonistas das mudanças museológicas desde seu surgimento, nos anos 1930. O equivalente da experiência estética dos museus de arte nos museus de ciência é a experiência do processo da ciência. Os objetivos dos centros de ciência são: educacional, divulgação científica, debate e participação, social, motivação, lazer, impacto urbano. Seus públicos alvos principais são famílias e escolas. A internet, a realidade virtual e outras novas tecnologias têm grande impacto nos museus. A interatividade com objetos não é condição suficiente para o aprendizado. São necessários níveis mais profundos de interatividade e interações sociais para o sucesso do aprendizado. Os modelos interativos dos centros de ciências são os equivalentes aos objetos originais nos acervos dos museus tradicionais. A mediação humana é a mais indicada forma de interlocução entre a instituição e o visitante, mas existem outras formas, impessoais, de mediação. Diversos são os recursos expográficos disponíveis para os centros de ciências. Os percursos numa exposição estão relacionados com duas organizações espaciais: linear e episódica. A idéia de museu nasceu há vários séculos, mas o museu moderno surgiu a partir do século XVIII, constituindo uma nova tipologia funcional arquitetônica. Os museus científicos podem ser divididos em três gerações. Suas origens estão associadas às exposições universais. Montaner apresenta uma classificação dos museus contemporâneos em oito posições tipológicas. Há várias visões com relação à essência da arquitetura. Para Zevi é o espaço interior. Para Frampton, é a estrutura. Lynch defende a importância da legibilidade e da imagibilidade da cidade. Os elementos marcantes contribuem para a legibilidade. Eles podem ser edifícios. Para o adequado dimensionamento de edifícios de centros de ciências é necessário o estudo de padrões de visitação. A dissertação incluiu o estudo de diversas instituições, especialmente sob o aspecto arquitetônico. / The science and technology centers and museums have been little studied under an architectural point of view. This kind of institution is focused on the experience and phenomena, rather than on objects. There are specific institutions related to such museums, especially the CIMUSET / ICOM, ASTC, ECSITE and ABCMC. Since they appeared in the 1930s, the science centers are important agents of change in the museum field. The equivalent, in science museums, of the aesthetic experience of art museums is the experience of the process of science. The aims of a science center are: educational, scientific dissemination, discussion and participation, social, motivation, leisure, urban impact. Their main public is schools and families. The Internet, virtual reality and other new technologies have great impact on museums. The interactivity with objects is not a sufficient condition for learning. It takes deeper levels of interactivity and social interactions for learning to take place. Interactive models in science centers are the equivalent to the original objects in the traditional museums collections. The human mediation is the most appropriate form of dialogue between the institution and the visitor, but there are other ways. There are several ways of exhibit the collection at science centers. The routes in a museum may be linear or episodic. The idea of the museum was born several centuries ago, but the modern museum appeared in the eighteenth century, and became a new functional architectural typology. Science museums can be divided into three generations. Its origins are linked to universal expositions. Montaner presents a classification of contemporary museums in eight typologies. The essence of architecture may be the interior space, as for Zevi, or the structure, as for Frampton, or even other aspects. Lynch presents the important concepts of readability and imageability of the city. If they area considerably imageable, buildings may become landmarks. The study of patterns of visitation are required if one wants to design adequate science and technology centers and museums. The dissertation included the study of several institutions, mainly with an architectural view.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Asian American culturally specific museums began forming in the United States in 1963. There are now 11 in existence. Four of these museums (two Chinese American, one Japanese American and one Pan Asian American) dramatically expanded their programs and constructed large new facilities. These culturally specific museums are private nonprofit organizations that are reliant on private donors for most of their financial support. Asian Americans comprise the majority of these Asian American museums’ donor bases. Understanding why donors support these museums may be useful to the museums’ abilities to raise funds.In this thesis I explore the reasons Chinese and Japanese Americans support these culturally specific museums. I used data from my qualitative study involving in-depth interviews of 16 Chinese and Japanese American current and former donors to a Pan Asian culturally specific museum in Seattle, Washington along with interviews of chief executives and other key informants of five other culturally specific museums in addition to primary documents provided by the museums and related secondary information available through the Internet. I also conducted a literature review in the fields of Development Studies, racial and ethnic identity, museology, and philanthropy. While identifying the reasons donors support these culturally specific museums, I also identify the philanthropic priorities and criteria of Chinese and Japanese Americans residing in Seattle and compare them with similar studies of Asian American philanthropy conducted in other cities in the 1990’s. I also examine the roles played by these culturally specific museums in the promotion of social capital, cultural capital and heritage capital in their communities. Chinese and Japanese Americans support these museums to preserve and educate their communities about the contributions their forebears made to the development of the United States. Asian American history has been marginalized in conventional narratives and one mission of the Asian American culturally specific museums is to bring their stories into the American history mainstream. Creating and operating these museums requires substantial networking within the Chinese and Japanese American communities and with other ethnic communities to bring in visitors and obtain financial and other support. The museums promote social capital development through collaboration in the museums’ operations. They increase the communities’ cultural capital by assembling the dispersed cultural and heritage capital of the Chinese and Japanese American communities into curated collections. These Asian American culturally specific museums face challenges stemming from attrition in their donor bases due to age. The museums need to develop activities that attract new supporters who may be mixed race or mixed ethnicity or who are interested in social activism that impacts society. The museums also must create programs that are relevant to younger generations. The findings of this study lay the groundwork for further inquiry into the ways culturally specific museums promote bonding and bridging capital in low and middle class Asian American communities and the degree to which they affect development in their neighbourhoods. Further research into the museums’ educational programs efficacy as they relate to correcting misperceptions about Asian Americans among non-Asian Americans may be desirable.

As urban centres rapidly expand, a trend appears to be happening which is threatening the uniqueness of these centres. International homogenization is making the place "a small world after all". To deal with this, cities have established institutions and attractions to celebrate the heritage, culture and characteristics of a place. Tourist attractions are built with the goal of giving visitors the "most real and authentic experience" of the place, distinct from anywhere else in the world. They also play a significant role in educating the local citizens and improving their daily experience of city life, which may be taken for granted. Playing on Vancouver's infamous reputation, this project, the Museum of Rain, will attempt to give visitors an "authentic" experience of what it is like to live in perhaps the rainiest city in North America. The site is on the north shore of False Creek, on the old Expo lands, along the Seawall. The location of the project helps create a continuity of attractions with Science World, Chinatown, Gastown and the sports stadiums, all located in the area. As well, it provides an opportunity for a visual attraction in the urban landscape along the Seawall, thus, strengthening and improving an area that is quite desolate at the moment. The museum is designed to give the visitor a heightened sense and appreciation for this aspect of nature, which may be disliked or taken for granted by many people. There are basically two parts to the building, an information ban on the north side of the building and an experiential zone to the south. The experiential zone is divided according to the senses of sound, sight, smell and touch. It is with the exaggeration and amplification or rain through the senses and the educational information that the visitor's experience will be greatly impressed into their memory and implore a better understanding and appreciation for Rain. / Applied Science, Faculty of / Architecture and Landscape Architecture (SALA), School of / Graduate

In October 1997 The Emily Carr Institute of Art and Design proposed that a Museum of Moving Images be built at the site adjacent to the intended Granville Island Film Center currently under development permit application at The City of Vancouver. ECIAD intended the museum to show "... the magic in which the film was created by..." In addition, the program would comprise a library of books, videos, and compact discs. The starting point of the thesis was the two key words of the program: "moving" and "image". The museum was dependent not only the phenomenal qualities of site but the recognition of the visceral and of the construction of images through human vision and experience. The thesis explored fundamental constructs of film (the projection of light through an image on transparency onto a surface and further, the way the eye registers that phenomena) as a basic framework for realizing the principles of the moving image. Beginning at the ground both the parking on the site and the adjacent site gradually slopes to the lowest part of the "bar" building which from ground to sky consists of gallery, retail space, library, small theater and administration offices. The bar is intersected by a series of "tubes" containing the museum spaces. The front facade along the retail strip is the point at which all of the program can be read simultaneously. The first tube begins at the point of entry of the museum and gradually rises and switches back and forth through the site up to the third level of the larger bar building where there is a connection to the neighbouring film center, the library, or the roof top. Each tube is punctured with slots that allow glimpses and chance visual connections of other bodies moving through the museum and facilitates the registration of the bodies position within the space of the museum and the site. / Applied Science, Faculty of / Architecture and Landscape Architecture (SALA), School of / Graduate

"The purpose of this paper is to form an organizational pattern representative of art museum libraries. The writer's choice of this subject has grown out of an extended period of interest in art history and in museums as depositories of great paintings and works of art. In pursuing this interest, the writer has made pilgrimages to art museums in many parts of the country, often for the purpose of seeing a special exhibit. This interest has also resulted in the forming of a personal collection of some fifty volumes in the art reference field, the accumulation of many unbound copies of art magazines, and the preparation of a vertical file clipping and picture collection, particularly representative of modern painting. The ever increasing background information acquired through the pursuance of these projects finally led to a desire for closer contact with museum activities. The writer's comparatively recent interest in library service seemed to offer an opportunity for this fulfillment. The choice of art museum libraries, as the subject for a paper furnished an opportunity for investigation into this specialized field of library service"--Introduction. / "June, 1953." / At head of title: Florida State University. / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Agnes Gregory, Professor Directing Paper. / Includes bibliographical references (leaves 50-51).

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