Thesis Chapters by Ana Temudo
O presente relatório surge como resultado de uma investigação desenvolvida no contexto de um está... more O presente relatório surge como resultado de uma investigação desenvolvida no contexto de um estágio acolhido pelo Museu Nacional Soares dos Reis (MNSR) no Porto. O primeiro capítulo apresenta uma discussão teórica acerca das políticas de representação nos museus, um tema que interessa aos estudos museológicos desde as últimas décadas do século vinte e está intrinsecamente ligado à actividade museológica, nomeadamente no campo da gestão de colecções. Esta reflexão serve de alicerce para o capítulo seguinte (capítulo II), que revela os resultados obtidos na investigação desenvolvida a partir do acervo do Museu e analisa as políticas de aquisição e exposição do escultor Salvador Barata Feyo, enquanto director do MNSR entre 1950 e 1960. No III capítulo é apresentada a concepção de um projecto expositivo, que parte do diálogo criado entre o acervo arquivístico e a colecção de obras de arte adquirida pelo MNSR na década em estudo. De seguida, descrevem-se as potencialidades e constrangimentos encontrados ao longo deste processo de preparação de uma exposição, no contexto de um estágio acolhido por um museu nacional. Por último, faz-se uma meta-reflexão sobre a importância dos resultados do estágio para a mestranda, para o MNSR e para a própria comunidade científica.
Papers by Ana Temudo
Cadernos de Sociomuseologia, Dec 20, 2022
Artes performativas e ruralidade: A busca do espírito de um território "The process of community ... more Artes performativas e ruralidade: A busca do espírito de um território "The process of community building is difficult, has nuances and must be continued over time. It is not for everyone" (Gurian 2002). Museums, communities and social heritage The concept of cultural heritage has undergone considerable change in recent decades. At the turn of the millennium, heritage studies began to formalize and constitute the idea that heritage does not end at monuments and collections of objects, but includes living traditions and expressions inherited from ancestors and passed on to descendants such as oral traditions, performing arts, social or ritual practices, festive events, knowledge and practices about nature or the universe or knowledge and skills for producing traditional arts. In 2003 UNESCO established the Convention for the Safeguarding of the Intangible Heritage considering that, despite being fragile, heritage is a relevant factor to maintain cultural diversity. The importance of an intangible cultural heritage lies not only in the cultural manifestation itself, but also in the wealth of knowledge and know-how that is transmitted through it from one generation to the next. Intangible cultural heritage is simultaneously traditional, contemporary and living-it represents not only traditions inherited from the past, but also contemporary rural and urban practices in which diverse cultural groups participate. It is inclusive because it considers all cultural practices passed down from generation to generation, irrespective of changes in their context. These social and cultural practices are thought to contribute to a sense of identity and continuity by providing a link from the past through the present to the future. Intangible cultural heritage contributes to social cohesion by encouraging a sense of identity and responsibility that helps individuals feel a part of one or several communities, and society in general. It is also representative, as it is not merely assessed as a cultural asset for its exceptional value. It thrives based in communities and depends on transmission-of traditions, skills and customs-to the rest of the community, from generation to generation, or between different communities. It is community-based, since it is only considered heritage when it is recognized as such by the communities themselves, groups or individuals who create, maintain and transmit it. Without
Cadernos de Sociomuseologia, Dec 20, 2022
Interview with Hugues de Varine Tout d'abord, merci de nous accorder cette interview, qui sera pu... more Interview with Hugues de Varine Tout d'abord, merci de nous accorder cette interview, qui sera publiée dans un numéro spécial de la revue Cadernos de Sociomuseologia, qui réunit l'ensemble de réflexions menées au colloque en ligne "Património para Todos" / "Patrimoine pour tous", organisé dans le cadre des Journées européennes du patrimoine en 2021. L'objectif principal du symposium était de mettre en perspective la relation entre le patrimoine et les musées et leurs communautés, et c'est sur ce sujet que nous souhaitons vous proposer cette interview. Hugues, archéologue, historien et muséologue. Il a été directeur de l'ICOM de 1965 à 1974 et est à l'origine, avec Georges Riviére, de la création du concept d'écomusée dans les années 1970, en France. Cette théorie née au sein du mouvement de la Nouvelle Muséologie avait pour but de rapprocher les communautés des musées. Cette idée s'est rapidement répandue dans le monde entier. J'ai étudié l'archéologie mais je n'ai jamais pratiqué l'archéologie: je l'ai quittée parce que je m'intéressais plus aux gens qu'aux vieilles choses. Et je n'ai jamais travaillé professionnellement dans un musée: je ne suis donc pas non plus muséologue. Par contre, c'est vrai que l'histoire est ma discipline préférée. Si j'ai inventé le mot "écomusée", c'était pour convaincre un ministre (français) de s'intéresser aux musées de la nature et de l'environnement. Puis le mot est devenu concept par la pratique et Georges Henri Rivière a tenté d'en donner une définition. Mais cela n'a jamais été une "théorie". La Nouvelle Muséologie était un mouvement qui voulait, et veut encore, rapprocher les musées des communautés (et non pas rapprocher les communautés des musées). Elle veut faire du musée un outil au service de la société et non pas un instrument de valorisation de collections. Voilà pourquoi nous aimerions que cette interview soit plutôt biographique. On vous invite, donc, à parler de votre parcours professionnel qui a inspiré tant de générations de chercheurs et de praticiens du patrimoine. Je n'ai pas fait réellement de "parcours professionnel" et j'ai toujours saisi des occasions qui se présentaient, comme l'ICOM, des responsabilités dans l'aménagement du territoire, la
Cadernos de Sociomuseologia, Dec 20, 2022
Artes performativas e ruralidade: A busca do espírito de um território "The process of community ... more Artes performativas e ruralidade: A busca do espírito de um território "The process of community building is difficult, has nuances and must be continued over time. It is not for everyone" (Gurian 2002). Museums, communities and social heritage The concept of cultural heritage has undergone considerable change in recent decades. At the turn of the millennium, heritage studies began to formalize and constitute the idea that heritage does not end at monuments and collections of objects, but includes living traditions and expressions inherited from ancestors and passed on to descendants such as oral traditions, performing arts, social or ritual practices, festive events, knowledge and practices about nature or the universe or knowledge and skills for producing traditional arts. In 2003 UNESCO established the Convention for the Safeguarding of the Intangible Heritage considering that, despite being fragile, heritage is a relevant factor to maintain cultural diversity. The importance of an intangible cultural heritage lies not only in the cultural manifestation itself, but also in the wealth of knowledge and know-how that is transmitted through it from one generation to the next. Intangible cultural heritage is simultaneously traditional, contemporary and living-it represents not only traditions inherited from the past, but also contemporary rural and urban practices in which diverse cultural groups participate. It is inclusive because it considers all cultural practices passed down from generation to generation, irrespective of changes in their context. These social and cultural practices are thought to contribute to a sense of identity and continuity by providing a link from the past through the present to the future. Intangible cultural heritage contributes to social cohesion by encouraging a sense of identity and responsibility that helps individuals feel a part of one or several communities, and society in general. It is also representative, as it is not merely assessed as a cultural asset for its exceptional value. It thrives based in communities and depends on transmission-of traditions, skills and customs-to the rest of the community, from generation to generation, or between different communities. It is community-based, since it is only considered heritage when it is recognized as such by the communities themselves, groups or individuals who create, maintain and transmit it. Without
Midas
Decolonisation has become a significant topic in contemporary museum and heritage studies. The re... more Decolonisation has become a significant topic in contemporary museum and heritage studies. The research project “Representational Politics of Guinean Heritage in Portuguese Museums in the Transition from Colonial to Postcolonial Period: Histories, Transits and Discourses” discusses the meaning and value of the Guinea-Bissau heritage collected during the colonial era that is part of Portuguese museum collections. This essay focus on a documentary about Victor Bandeira (1931-), as part of the PhD research project. Bandeira is a collector that established an informal relationship with the National Museum of Ethnology (former Overseas Museum of Ethnology), in Lisbon, from the mid-1960s onwards, collecting a representative part of the museum’s non-European collections. He remains a living witness to this museum’s beginning years and can be considered a vital component of the museum’s history. Bandeira has been an object of enquiry in previous studies. However, there was missing an audio-visual perspective or, as the anthropologist Sarah Pink describes – a visual and sensorial ethnographic approach. This short article explores, from fieldwork observations, the relationship between two interdependent biographies: Victor Bandeira and the National Museum of Ethnography, reflecting on the data gathered and the experience of interviewing Bandeira, contributing to review past collecting practices and the museum’s history.
Temudo, Ana, 2022
Decolonisation has become a significant topic in contemporary museum and heritage studies. The ... more Decolonisation has become a significant topic in contemporary museum and heritage studies. The research project “Representational Politics of Guinean Heritage in Portuguese Museums in the Transition from Colonial to Postcolonial Period: Histories, Transits and Discourses” discusses the meaning and value of the Guinea-Bissau heritage collected during the colonial era that is part of Portuguese museum collections. This essay focus on a documentary about Victor Bandeira (1931-), as part of the PhD research project. Bandeira is a collector that established an informal relationship with the National Museum of Ethnology (former Overseas Museum of Ethnology), in Lisbon, from the mid-1960s onwards, collecting a representative part of the museum’s non-European collections. He remains a living witness to this museum’s beginning years and can be considered a vital component of the museum’s history. Bandeira has been an object of enquiry in previous studies. However, there was missing an audio-visual perspective or, as the anthropologist Sarah Pink describes – a visual and sensorial ethnographic approach. This short article explores, from fieldwork observations, the relationship between two interdependent biographies: Victor Bandeira and the National Museum of Ethnography, reflecting on the data gathered and the experience of interviewing Bandeira, contributing to review past collecting practices and the museum’s history.
Cadernos de Sociomuseologia, 2022
Artes performativas e ruralidade: A busca do espírito de um território "The process of community ... more Artes performativas e ruralidade: A busca do espírito de um território "The process of community building is difficult, has nuances and must be continued over time. It is not for everyone" (Gurian 2002). Museums, communities and social heritage The concept of cultural heritage has undergone considerable change in recent decades. At the turn of the millennium, heritage studies began to formalize and constitute the idea that heritage does not end at monuments and collections of objects, but includes living traditions and expressions inherited from ancestors and passed on to descendants such as oral traditions, performing arts, social or ritual practices, festive events, knowledge and practices about nature or the universe or knowledge and skills for producing traditional arts. In 2003 UNESCO established the Convention for the Safeguarding of the Intangible Heritage considering that, despite being fragile, heritage is a relevant factor to maintain cultural diversity. The importance of an intangible cultural heritage lies not only in the cultural manifestation itself, but also in the wealth of knowledge and know-how that is transmitted through it from one generation to the next. Intangible cultural heritage is simultaneously traditional, contemporary and living-it represents not only traditions inherited from the past, but also contemporary rural and urban practices in which diverse cultural groups participate. It is inclusive because it considers all cultural practices passed down from generation to generation, irrespective of changes in their context. These social and cultural practices are thought to contribute to a sense of identity and continuity by providing a link from the past through the present to the future. Intangible cultural heritage contributes to social cohesion by encouraging a sense of identity and responsibility that helps individuals feel a part of one or several communities, and society in general. It is also representative, as it is not merely assessed as a cultural asset for its exceptional value. It thrives based in communities and depends on transmission-of traditions, skills and customs-to the rest of the community, from generation to generation, or between different communities. It is community-based, since it is only considered heritage when it is recognized as such by the communities themselves, groups or individuals who create, maintain and transmit it. Without
Cadernos de Sociomuseologia
The minimal path model based on the Eikonal partial differential equation has served as a fundame... more The minimal path model based on the Eikonal partial differential equation has served as a fundamental tool for the applications of image segmentation and boundary detection in the passed two decades. However, the existing approaches commonly only exploit the image edge-based features for computing minimal paths, potentially limiting their performance in complicated segmentation situations. In this paper, we introduce a new variational image segmentation model based on the minimal path framework and the eikonal PDE, where the region-based appearance term that defines then regional homogeneity features can be taken into account for estimating the associated minimal paths. This is done by constructing a Randers geodesic metric interpretation to the region-based active contour energy. As a result, the minimization of the active contour energy is transformed to finding the solution to the Randers eikonal PDE.
O Dicionário Quem é Quem na Museologia Portuguesa é um projeto em curso da linha de investigação ... more O Dicionário Quem é Quem na Museologia Portuguesa é um projeto em curso da linha de investigação Estudos de Museus do IHA/NOVA FCSH. Como objetivo fundamental, propõe-se facultar uma visão abrangente, um conhecimento preciso e uma valorização atualizada das personalidades ligadas à museologia portuguesa, atuantes em diferentes tipologias científicas. Visa contribuir, também, para uma mais ampla compreensão da história dos museus e da museologia. Inscrita na tipologia de IHA seed-projects (micro-projetos), uma das linhas estruturais estratégicas do IHA/NOVA FCSH, aposta nas virtualidades da publicação online em acesso aberto, potenciadora de uma proveitosa interação entre utilizadores e recursos, em permanente atualização. O primeiro volume do Dicionário é dedicado a personalidades da museologia portuguesa que desenvolveram a sua atividade entre o século XVIII e os anos 1960.
Resumo: Este relato centra-se na análise da constituição das coleções de arte dos museus nacionai... more Resumo: Este relato centra-se na análise da constituição das coleções de arte dos museus nacionais portugueses no século XIX e das mudanças que abriram as portas destas instituições à contemporaneidade. Atribui-se um especial enfoque à transformação que ocorre no Museu Nacional de Arte Contemporânea em Lisboa (entre 1945 e 1959) e no Museu Nacional Soares dos Reis no Porto (entre 1950 e 1960), respectivamente sob a direção dos escultores modernistas Diogo de Macedo e Salvador Barata Feyo, que encetam uma política de gestão museológica moderna. Palavras-chave: Museologia. Museu nacional. Academia. Coleção. Arte. Política. Abstract: This narrative focuses on the analysis of the establishment of the art collections of the Portuguese national museums in the nineteenth century and the changes that opened the doors of these institutions to the contemporaneity. A special focus is given to the transformation that took place at both the National Museum of Contemporary Art in Lisbon (between ...
This article presents the results of a musealization project at the Computer Engineering Departme... more This article presents the results of a musealization project at the Computer Engineering Department of the Faculty of Engineering of the University of Oporto (FEUP), which aimed to bring together the history of computing in the academic context of the city, between the sixties of the twentieth century and the first decade of the twenty-first century. This research was rooted in the subjective and naturally fallible memory (Pollack, 1992) of the key people interviewed who, through their testimony, described the impact of technological transformations on their professional and personal experience. During the investigation, we did not try to find the history of the great moments and their "heroes", but rather the small, fragmented and diverse narratives of key persons. Our aim was thus to create a narrative rich in the deviations, flaws, and imperfections that distinguish Man from Machine. We accumulated stories (Kopytoff, 1988) through objects that we used as memory triggers...
The Friends of the Pitt Rivers Museum, Oxford, Magazine, 2020
Este artigo propõe uma análise dos contextos e espaços de navegação artística da cidade do ... more Este artigo propõe uma análise dos contextos e espaços de navegação artística da cidade do Porto durante o Estado-Novo e logo após o fim da ditadura. Através de um trabalho de recolha arquivística e entrevistas apresenta a Escola de Belas-Artes como incubadora das produções artísticas de vanguarda, divulgadas em galerias e espaços de exposição e consagradas na coleção do Museu Nacional Soares dos Reis. Durante o Estado-Novo, verifica-se a existência de um circuito marginal que, assumindo- se como lugar de experimentação, legitimava as novas correntes artísticas. O período de direção do MNSR pelo escultor Salvador Barata Feyo (1950-1960) e, já após o 25 de Abril, o período da instalação do Centro de Arte Contemporânea (1975-79) constituem dois momentos distintos de grande inovação artística na cidade.
Este artigo apresenta o percurso de investigação adoptado durante um estágio curricular reali... more Este artigo apresenta o percurso de investigação adoptado durante um estágio curricular realizado no Museu Nacional Soares dos Reis (MNSR) no âmbito do Mestrado em Museologia. A breve resenha acerca das políticas de representação dos museus desde o século XVIII até à atualidade introduz a reflexão, apresentada de seguida, acerca das políticas de representação do MNSR entre 1950 e 1960. Esta reflexão e a exposição dos resultados obtidos sustentam o projeto expositivo concebido como consequência do processo de investigação.
Palavras-chave: Museu; Políticas de Representação; Coleção; Arquivo.
Resumo: Este relato centra-se na análise da constituição das coleções de arte dos museus nacionai... more Resumo: Este relato centra-se na análise da constituição das coleções de arte dos museus nacionais portugueses no século XIX e das mudanças que abriram as portas destas instituições à contemporaneidade. Atribui-se um especial enfoque à transformação que ocorre no Museu Nacional de Arte Contemporânea em Lisboa (entre 1945 e 1959) e no Museu Nacional Soares dos Reis no Porto (entre 1950 e 1960), respectivamente sob a direção dos escultores modernistas Diogo de Macedo e Salvador Barata Feyo, que encetam uma política de gestão museológica moderna. Palavras-chave: Museologia. Museu nacional. Academia. Coleção. Arte. Política. Abstract: This narrative focuses on the analysis of the establishment of the art collections of the Portuguese national museums in the nineteenth century and the changes that opened the doors of these institutions to the contemporaneity. A special focus is given to the transformation that took place at both the National Museum of Contemporary Art in Lisbon (between 1945 and 1959) and the National Museum Soares dos Reis in Porto (between 1950 and 1960), respectively under the direction of modernist sculptors Diogo de Macedo and Salvador Barata Feyo, who engaged in a modern museum management policy.
Talks by Ana Temudo
O Museu Etnográfico Nacional da Guiné- Bissau: 30 Anos de História
Cartaz da exposição decorri... more O Museu Etnográfico Nacional da Guiné- Bissau: 30 Anos de História
Cartaz da exposição decorrida no Museu Etnográfico Nacional da Guiné-Bissau, na cidade de Bissau, em Setembro de 2017.
The National Ethnographic Museum of Guinea-Bissau: 30 Years of History
Poster of the exhibition held at the National Ethnographic Museum of Guinea-Bissau, in the city of Bissau, in September 2017.
Books by Ana Temudo
O MUSEU ETNOGRÁFICO NACIONAL DA GUINÉ-BISSAU: IMAGENS PARA UMA HISTÓRIA EL MUSEO ETNOGRÁFICO NACIONAL DE GUINEA-BISSAU: IMÁGENES PARA UNA HISTORIA , 2018
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Thesis Chapters by Ana Temudo
Papers by Ana Temudo
Palavras-chave: Museu; Políticas de Representação; Coleção; Arquivo.
Talks by Ana Temudo
Cartaz da exposição decorrida no Museu Etnográfico Nacional da Guiné-Bissau, na cidade de Bissau, em Setembro de 2017.
The National Ethnographic Museum of Guinea-Bissau: 30 Years of History
Poster of the exhibition held at the National Ethnographic Museum of Guinea-Bissau, in the city of Bissau, in September 2017.
Books by Ana Temudo
Palavras-chave: Museu; Políticas de Representação; Coleção; Arquivo.
Cartaz da exposição decorrida no Museu Etnográfico Nacional da Guiné-Bissau, na cidade de Bissau, em Setembro de 2017.
The National Ethnographic Museum of Guinea-Bissau: 30 Years of History
Poster of the exhibition held at the National Ethnographic Museum of Guinea-Bissau, in the city of Bissau, in September 2017.
Porto: Câmara Municipal do Porto e Lugar do Desenho, Fundação Júlio Resende.