MUSEUM STUDIES: MUSEUM STUDIES: MUSEOGRAPHY AND MUSEOGRAPHY AND

MUSEOLOGY PROTOCOLSMUSEOLOGY PROTOCOLSTECHNOLOGY IN MUSEUMS; TECHNOLOGY IN MUSEUMS;

EXHIBITIONS AND DISABLE PUBLICEXHIBITIONS AND DISABLE PUBLIC

(Museology II)(Museology II)

NEW TECHNOLOGIES APPLIED TO NEW TECHNOLOGIES APPLIED TO MUSEUMSMUSEUMS

ESPECIALLY IN THE CONTEXT OF THE ESPECIALLY IN THE CONTEXT OF THE EXHIBITION AND MUSEUM DESIGN .EXHIBITION AND MUSEUM DESIGN .

Museums: a hermetic worldMuseums: a hermetic world

Whereas museology or museum studies is the Whereas museology or museum studies is the science of museums , or even the theory of science of museums , or even the theory of practice, we start from a hermetic perspective practice, we start from a hermetic perspective that defines the museums for their functions to that defines the museums for their functions to collect, research , document, preserve, educate, collect, research , document, preserve, educate, disseminate and displaying their collections.disseminate and displaying their collections.

V&A Touch Tour: how to touch objects and Braille V&A Touch Tour: how to touch objects and Braille informationinformation

Exhibitions: the visible face of museumsExhibitions: the visible face of museums

In this sense the issues relating to exhibitions In this sense the issues relating to exhibitions and museums within the scientific discipline that and museums within the scientific discipline that is applied to Museography , incorporates the is applied to Museography , incorporates the traditional concept (planning, design and traditional concept (planning, design and implementation) new technologies replaced the implementation) new technologies replaced the old systems but no less effective used to “ old systems but no less effective used to “ illustrate “ expository situations .illustrate “ expository situations .

new technologies for hearing explanation, new technologies for hearing explanation, reproductions to be handled, space for reproductions to be handled, space for

reflection ...reflection ...

signs and symbolssigns and symbols

technological application must be applied technological application must be applied proportionately to expand the information on the proportionately to expand the information on the three-dimensional object and written information. three-dimensional object and written information.

Can reconstruct an idea that can not be Can reconstruct an idea that can not be expressed otherwise than virtual, as a symbol.expressed otherwise than virtual, as a symbol.

We spent the slides for the videos and projections; We spent the slides for the videos and projections; the picture to infographics or treated films.the picture to infographics or treated films.

The exhibit design and its conceptual The exhibit design and its conceptual development , and contemporary development , and contemporary elements that are used in permanent or elements that are used in permanent or temporary exhibitions .temporary exhibitions .

What are the new technologies applied to What are the new technologies applied to exhibitions, operation, facilities and results?exhibitions, operation, facilities and results?

The museums of science and techniques, were The museums of science and techniques, were the first to test the interaction with the audience, the first to test the interaction with the audience, due to the inherent ease of topics due to the inherent ease of topics

thethe Exploratorium Exploratorium ideaidea – – IMéRAIMéRA

Art museums had incorporated some Art museums had incorporated some technological instruments especially as technological instruments especially as supplementary educational materials in a supplementary educational materials in a contemporary media such as digital medias.contemporary media such as digital medias.

Museum: mental space for reflectionMuseum: mental space for reflection

Certainly such applications interfere in the Certainly such applications interfere in the aspect of informal education that museums aspect of informal education that museums dedicated to its visitors and interactiondedicated to its visitors and interaction

modifying the assessment and public perception modifying the assessment and public perception making the idea of more modern and everyday making the idea of more modern and everyday museum.museum.

basic features in exhibitions for the disabled public: hearing basic features in exhibitions for the disabled public: hearing explanation, reproductions to be handle and physical explanation, reproductions to be handle and physical

access facilitiesaccess facilities

In this sense the discussion of the In this sense the discussion of the interaction between the visitors of interaction between the visitors of museums and new technologies applied museums and new technologies applied as media players, and its effect in the as media players, and its effect in the museum environmentmuseum environment

is still a subject that deserves more field is still a subject that deserves more field studies studies

““Please Touch Museum’s Mission is to Enrich the Please Touch Museum’s Mission is to Enrich the Lives of Children by Creating Learning Lives of Children by Creating Learning

Opportunities Through Play.Opportunities Through Play. “ “ http://www.pleasetouchmuseum.orghttp://www.pleasetouchmuseum.org

http://www.once.eshttp://www.once.es

El Museo de la ONCE en MadridEl Museo de la ONCE en Madrid

Technology is an important resource in Technology is an important resource in educating museum functioneducating museum function

Applications may depend, in the case of Applications may depend, in the case of applying the provisions of the exhibition, the applying the provisions of the exhibition, the typology and thematic museums. typology and thematic museums.

How to use, when to use and why to use How to use, when to use and why to use depends on the relationship between creativity depends on the relationship between creativity and financial resources. and financial resources.

In the exhibition environment, the multimedia In the exhibition environment, the multimedia application must match a specific need. application must match a specific need.

The “turned into museum artifacts” virtual The “turned into museum artifacts” virtual visits and provision of the museum in a visits and provision of the museum in a digital environment and appreciation of digital environment and appreciation of castles, archaeological and historical castles, archaeological and historical areas are available on the internet. areas are available on the internet.

The “musealization process”The “musealization process”

http://www.andaluciavirtual.com/visitas/historicas/montsonis/virtualtour.htmlhttp://www.andaluciavirtual.com/visitas/historicas/montsonis/virtualtour.html

Museums: to see and touchMuseums: to see and touch

We must consider that we can expose the We must consider that we can expose the public-visitor to museological “stress”.public-visitor to museological “stress”.

The proximity of certain technological The proximity of certain technological means may affect the ability of preserving means may affect the ability of preserving the heritage on display. the heritage on display.

We left the museum marking criteria visits We left the museum marking criteria visits to museums as a unique experience, in to museums as a unique experience, in appreciation of irreplaceable objects,appreciation of irreplaceable objects,

“ “re” - contextualized and fulfilling the re” - contextualized and fulfilling the educational and pedagogical role of educational and pedagogical role of informal education and recreation. informal education and recreation.

LE TEMPS DES LOISIRS – GUIDE MULTIMEDIA LE TEMPS DES LOISIRS – GUIDE MULTIMEDIA

Musée des Civil isat ions de l ’Europe et de la MéditerranéeMusée des Civil isat ions de l ’Europe et de la Méditerranée

http://www.museum.org/fr/collections/explorer-les-collectionshttp://www.museum.org/fr/collections/explorer-les-collections

creating the habit of visiting creating the habit of visiting museums and exhibitionsmuseums and exhibitions

Another aspect to be considered is the Another aspect to be considered is the “pre-museal” experience that varies in “pre-museal” experience that varies in scale and intensity in different social scale and intensity in different social cultures of our world today, noting the cultures of our world today, noting the social factors such as illiteracy or lack of social factors such as illiteracy or lack of habit of museums visitation.habit of museums visitation.

STREAMING TO THE WORLD!STREAMING TO THE WORLD!

Therefore provide and share the museum world Therefore provide and share the museum world by internet, you can fill an important gap by internet, you can fill an important gap between experts and lay people, and for the between experts and lay people, and for the general public, students, stakeholders and general public, students, stakeholders and democratizing information allowing part of the democratizing information allowing part of the overall cultural life. overall cultural life.

Database and SecurityDatabase and Security

The automation of data represented a revolution in the The automation of data represented a revolution in the lives of museums, from the museum documentation and lives of museums, from the museum documentation and administrative documentation systems with the latest administrative documentation systems with the latest applications of Web software available. applications of Web software available.

Domus (Spain), Artsystem (UK), among other relational Domus (Spain), Artsystem (UK), among other relational database management systems for museums promoted database management systems for museums promoted the safety of collections, cataloging and complete, the safety of collections, cataloging and complete, without replacing the traditional system of catalog cards without replacing the traditional system of catalog cards inventories. inventories.

Technology in ConservationTechnology in Conservation

The technology enables several applications, The technology enables several applications, integrating experts from various fields as integrating experts from various fields as archaeological or historical research and archaeological or historical research and laboratorial techniques.laboratorial techniques.

Undoubtedly, in the process of preventive Undoubtedly, in the process of preventive conservation and restoration of works of art, conservation and restoration of works of art, non-invasive devices enable new discoveries non-invasive devices enable new discoveries and research. and research.

Technology on DisplayTechnology on Display

But in the context of museum exhibitions and the But in the context of museum exhibitions and the museum’s planning, considerations must follow certain museum’s planning, considerations must follow certain protocols, since the audio visual experiments: dioramas, protocols, since the audio visual experiments: dioramas, the use of sounds, images, music, projection of slides, the use of sounds, images, music, projection of slides, videos, films treated, photographs, computer graphics, videos, films treated, photographs, computer graphics, drawings, models and copies, sensory descriptive and drawings, models and copies, sensory descriptive and atmospheric sounds - the lighting effects; 3D projections atmospheric sounds - the lighting effects; 3D projections and holograms are part of the means of support, fulfilling and holograms are part of the means of support, fulfilling the complementary role of exhibitions and widely the complementary role of exhibitions and widely studied, including psychological, educational and studied, including psychological, educational and behavioral effect of the public.behavioral effect of the public.

Multi-sensory experiencesMulti-sensory experiences

http://www.blindart.net/exhibitionshttp://www.blindart.net/exhibitions

referencesreferences

Andersson, M. A. (2001)“L’ impact des nouvelles Technologies sur Andersson, M. A. (2001)“L’ impact des nouvelles Technologies sur recherches et l ’enseignement dans les musées”. L’avenir des recherches et l ’enseignement dans les musées”. L’avenir des musées. musées.

Musée du Louvre. París.Musée du Louvre. París.

Arnold, K. (2006) Cabinets for the Curious, Ashgate.Arnold, K. (2006) Cabinets for the Curious, Ashgate. Arseneault, C. “L’exposit ion virtuel le au-delà de l ’an 2000: produit Arseneault, C. “L’exposit ion virtuel le au-delà de l ’an 2000: produit

músela recyclé ou nouveau genre?músela recyclé ou nouveau genre? http://www.smq.qc.ca/publicsspec/actualites/analices/textes/200303 11/index.phtmlhttp://www.smq.qc.ca/publicsspec/actualites/analices/textes/200303 11/index.phtml

Baudri l lard, Jean. (1968) «Le systeme marginal: La collect ion». Baudril lard, Jean. (1968) «Le systeme marginal: La collect ion».

en : «Le systeme marginal: La col lect ion». en : en : «Le systeme marginal: La col lect ion». en : Le système des objets.103-131. Paris: Gall imard.Le système des objets.103-131. Paris: Gall imard.

Bayer, H. “Fundamentals of Exhibition Design”.PM,vol. 6, nº 2, dic-Bayer, H. “Fundamentals of Exhibition Design”.PM,vol. 6, nº 2, dic-january 1939-1940.january 1939-1940.

Bell ido, M. L.(2001) Arte, museos y nuevas tecnologías. Gijón.Bell ido, M. L.(2001) Arte, museos y nuevas tecnologías. Gijón.

Botbol, D. (2003)“Les nouveaux médias dans les exposit ions” Botbol, D. (2003)“Les nouveaux médias dans les exposit ions” CSI.CSI.http://www.ichim.org/ichim03/PDF/032C.pdfhttp://www.ichim.org/ichim03/PDF/032C.pdf

Brousseau, Lyse.(1991) «La mise en exposit ion». Musées.13(2): Brousseau, Lyse.(1991) «La mise en exposit ion». Musées.13(2): 10-11. 10-11.

Cameron,Duncan.Cameron,Duncan.(1992)Un point de vue:  le musée comme système (1992)Un point de vue:  le musée comme système 

de communication. Paris: Edit ions W. Mucon. de communication. Paris: Edit ions W. Mucon.

Canfora, Luciano, The Vanished Library: A Wonder of the Ancient Canfora, Luciano, The Vanished Library: A Wonder of the Ancient World, 1987. (The only modern history.)World, 1987. (The only modern history.)

Deloche, B. (2002) El museo virtual. Gijón.Deloche, B. (2002) El museo virtual. Gijón.

Encouraging Collections Mobility - A Way Forward for Museums in Encouraging Collections Mobility - A Way Forward for Museums in Europe Edited by Susanna Pettersson, Monika Hagedorn-Saupe, Europe Edited by Susanna Pettersson, Monika Hagedorn-Saupe, Teijamari Jyrkkiö, Astrid Weij Falk, J. and L. Dierking (2000). Teijamari Jyrkkiö, Astrid Weij Falk, J. and L. Dierking (2000).

Findlen, Paula (1989). Findlen, Paula (1989). “The Museum: its classical etymology and renaissance genealogy”“The Museum: its classical etymology and renaissance genealogy”. .

Journal of the History of Collections 1 (1): 59–78. Journal of the History of Collections 1 (1): 59–78. doidoi::10.1093/10.1093/jhc/1jhc/1.1.59.1.59. .

Gabús, J. (1965) “Principes esthétiques et préparation des expositions Gabús, J. (1965) “Principes esthétiques et préparation des expositions didactiques”.didactiques”.

Goldstein, B. “Le multimedia et les musées d’histoire”. Des musées Goldstein, B. “Le multimedia et les musées d’histoire”. Des musées d’Histoire pour l’avenir. Paris, 1998, pp. 203-211. d’Histoire pour l’avenir. Paris, 1998, pp. 203-211.

Gomis, M. “Musealizacion on line”, 2000-2001: Gomis, M. “Musealizacion on line”, 2000-2001: http://www.infonomia.com/aplicadahttp://www.infonomia.com/aplicada

Heath, C., D. von Lehn and J. Osborne (in press-b). “Interaction and Heath, C., D. von Lehn and J. Osborne (in press-b). “Interaction and Interactives.” Public Understanding of Science. Interactives.” Public Understanding of Science.

Herrmann, F. (1999) The English as Collectors, Oak Knoll Press. Herrmann, F. (1999) The English as Collectors, Oak Knoll Press.

Hildwein, G.(1998) “Les expositions-spectacles”. Hildwein, G.(1998) “Les expositions-spectacles”. Des musées Des musées d’Histoire pour l’avenir. d’Histoire pour l’avenir. Paris.Paris.

Hooper-Greenhill, Eilean. “Museums and communication: an Hooper-Greenhill, Eilean. “Museums and communication: an introductory essay”. In Eilean Hooper-Greenhill. Museum, Media, introductory essay”. In Eilean Hooper-Greenhill. Museum, Media, Message 1995. London: Routledge. 1995Message 1995. London: Routledge. 1995

http://dsq-sds.orghttp://dsq-sds.org (Disabil i ty Studies Quarterly) (Disabil i ty Studies Quarterly)

Jenkins, I . (1992) Archaeologists and Aesthetes, Brit ish Museum Jenkins, I . (1992) Archaeologists and Aesthetes, Brit ish Museum Press.Press.

Kavanagh, Gaynor. “Making Histories, Making Memories”. Kavanagh, Gaynor. “Making Histories, Making Memories”. In Gaynor Kavanagh. Making Histories in Museums. In Gaynor Kavanagh. Making Histories in Museums. London: Leicester University Press.1996London: Leicester University Press.1996

Keene, S. (1998). Digital Collect ions. Museums and the Keene, S. (1998). Digital Collect ions. Museums and the Information Age. Oxford, Butterworth & Heinemann. Information Age. Oxford, Butterworth & Heinemann.

Kinard, J. (1971) “Pour satisfaire les besoins du public Kinard, J. (1971) “Pour satisfaire les besoins du public d’aujourd’hui”.d’aujourd’hui”.

Lugon, O. “La photographie mise en espace. Les exposit ion Lugon, O. “La photographie mise en espace. Les exposit ion didactiques en Allemagne (1920-1930)”. didactiques en Allemagne (1920-1930)”.

Études photographiques, nº 5, nov 1998.Études photographiques, nº 5, nov 1998.

MacLeod, Roy (2000) The Library of Alexandria: MacLeod, Roy (2000) The Library of Alexandria: ccentre of learning in the ancient world.entre of learning in the ancient world.

Martin, F. R. “Le musée à l’ère de sa reproductibilité virtuelle”. Martin, F. R. “Le musée à l’ère de sa reproductibilité virtuelle”. L’avenir L’avenir des musées. Musée du Louvre. París, 2001.des musées. Musée du Louvre. París, 2001.

McManus, P. (1989). “Oh yes, they do: How museum visitors read McManus, P. (1989). “Oh yes, they do: How museum visitors read labels and interact with exhibit text.” Curator32 (3): 174-180. labels and interact with exhibit text.” Curator32 (3): 174-180.

““Museographie. Architecture et amenagement des musées d’art. Museographie. Architecture et amenagement des musées d’art. Conference internationale d’études, Madrid, 1934”. Paris, 1934. 2 Conference internationale d’études, Madrid, 1934”. Paris, 1934. 2 vols.: Sociéte des Nations, Office Internacional des Musées vols.: Sociéte des Nations, Office Internacional des Musées

Nicolas, Alain. (org.) Nouvelles Muséologies. Marseille: Association Nicolas, Alain. (org.) Nouvelles Muséologies. Marseille: Association Museologie. Nouvelle et Experimentation Sociale, 1985.Museologie. Nouvelle et Experimentation Sociale, 1985.

Pearce, S. On Collecting. An Investigation into Collecting in the Pearce, S. On Collecting. An Investigation into Collecting in the European Tradition, Routledge.1995European Tradition, Routledge.1995

Popper, F. L’Art à l’âge électronique. Paris, 1993.Popper, F. L’Art à l’âge électronique. Paris, 1993.

Rydell, R. W., Findling, J. E., Pelle, K. D. “Fair America: World’s Rydell, R. W., Findling, J. E., Pelle, K. D. “Fair America: World’s Fairs in the United States. Washington, DC, 2000: Smithsonian Fairs in the United States. Washington, DC, 2000: Smithsonian Institut ion Press. Inst itut ion Press.

Schulze, C. Mult imedia in Museen (2001) Standpunkteund Aspekte Schulze, C. Mult imedia in Museen (2001) Standpunkteund Aspekte interaktiver digitaler Systeme im Ausstel lungsbereich,interaktiver digitaler Systeme im Ausstel lungsbereich,

Deutscher Universitäts-Verlag.Deutscher Universitäts-Verlag.

Serrell, B. and B. Raphling (1992). “Computers on the Exhibit Serrell, B. and B. Raphling (1992). “Computers on the Exhibit Floor.” Curator35 (3): 181-189. Floor.” Curator35 (3): 181-189.

Soustelle, J. “Le Musée de l ’Homme”. L’architecture d’aujourd’hui, Soustelle, J. “Le Musée de l ’Homme”. L’architecture d’aujourd’hui, nº 6, junio 1938.nº 6, junio 1938.

Stanton, J.“Experimental Multi-Sreen Cinema. Expo 67”:Stanton, J.“Experimental Multi-Sreen Cinema. Expo 67”:http:http://naid.sppsr.ucla.edu/expo67/map-docs/cinema.htm//naid.sppsr.ucla.edu/expo67/map-docs/cinema.htm

Thomas, S. and A. Mintz, Eds. The Virtual and the Real: Media in the Thomas, S. and A. Mintz, Eds. The Virtual and the Real: Media in the Museum. Washington, DC, American Association of Museums. Museum. Washington, DC, American Association of Museums. 19981998

Tilden, F. “L’interprétation de notre patrimoine”, 1957. Vagues. Une Tilden, F. “L’interprétation de notre patrimoine”, 1957. Vagues. Une anthologie de laanthologie de la nouvelle muséologie, éditions W, M.N.E.S, 1992. nouvelle muséologie, éditions W, M.N.E.S, 1992.

Tupitsyn, M. “El Lissitzky: Beyond the abstract Cabinet”, New Haven Tupitsyn, M. “El Lissitzky: Beyond the abstract Cabinet”, New Haven and London: Yale University Press, 1999. and London: Yale University Press, 1999.

Veltman, K. H.“Les répercussions des nouveaux médias”. L’avenir des Veltman, K. H.“Les répercussions des nouveaux médias”. L’avenir des musées. Musée du Louvre. musées. Musée du Louvre. París, 2001.París, 2001.

Witcomb, Andrea. Re-Imagining the Museum: Beyond the Witcomb, Andrea. Re-Imagining the Museum: Beyond the Mausoleum. London:Routledge 2003Mausoleum. London:Routledge 2003

Wohlfromm, A. (2002) Museum als Medium. Neue Medien in Wohlfromm, A. (2002) Museum als Medium. Neue Medien in Museen.Köln, Herbert von Halem Verlag. Museen.Köln, Herbert von Halem Verlag.

Young Lee, Paula, “The Musaeum of Alexandria and the formation of Young Lee, Paula, “The Musaeum of Alexandria and the formation of the ‘Museum’ in eighteenth-century France,” in The Art Bulletin, the ‘Museum’ in eighteenth-century France,” in The Art Bulletin, September 1997September 1997

Virtual ideas in internetVirtual ideas in internet

(Museum Computer Network –MCN; Interconnectivi ty and Hypermedia in (Museum Computer Network –MCN; Interconnectivi ty and Hypermedia in museums –ICHIM; Art and Architecture Thesaurus –AAT; Getty museums –ICHIM; Art and Architecture Thesaurus –AAT; Getty Vocabulary Program; College Art Association in America – CAA; Vocabulary Program; College Art Association in America – CAA; Categories for the Description of Works of Art (CDWA); Visual Categories for the Description of Works of Art (CDWA); Visual Resources Association –VRA – object ID – Cataloging Cultural Objects – Resources Association –VRA – object ID – Cataloging Cultural Objects – CCO; DIBAM; SPECTRUM; ( registrar and objects documentation.)CCO; DIBAM; SPECTRUM; ( registrar and objects documentation.)

Museology II. Museological parameters.Museology II. Museological parameters.

Prof. Dr. Teresa Cristina de Andrade Bock Master in Museography and Exhibitions

Organized by: Prof. Dr.Luis Alonso Hernández and Prof. Dr. Isabel Hernández

Universidad Complutense de Madrid - UCM - Spain

Facultad de Bellas Artes (1997-99)

Scholarship: MAE-AECI

Spanish Agency for International Cooperation –Ministry of Foreign Affairs