ВІЗУАЛЬНИЙ КОНСТРУКТ У МУЗЕЙНИХ ПРАКТИКАХ

Zenodo (CERN European Organization for Nuclear Research), 2018

The focus of this study is to analyze and elaborate the formal factors in the architectural features of the museums. From aesthetic vantage point, this study has scrutinized the formal aesthetic values and identity-related features of the museums. Furthermore, the importance of the museums as the centers of knowledge, science and arts has gradually increased in the last century, whereby they have shifted from an elite standing to the pluralist approach as to address every sections of the community. This study will focus on the museum structures that are designed with the aesthetic apprehension, and presented as the artistic works on the basis of an objective attitude to elaborate the formal aesthetic factors on the formal aesthetics. It is of great importance to increase such studies for getting some concrete results to perceive the recent term aesthetic approaches and improve the forms in line with such approaches. This study elaborates the aesthetic facts solely on the basis of visual dimensions, but ignores the subjective effects to evaluate it in formal, subjective and conceptual aspects. The main material of this study comprises of the descriptive works on the conceptual substructure, and a number of schedules drawn on such concepts, which are applied on the example museum structures. Such works cover many several existing sources such as the design, philosophy, artistic philosophy, shape, form, design elements and principles as well as the museums.

This chapter is devoted to the development of Soviet museology in the second half of the 20th century. The author examines such elements of its development as general paradigms associated with the creation of textbooks on museology, historical approaches to the study of the phenomenon of the museum, international contacts with museologists abroad and the system of museological education. The beginning of this period can be considered the publication of Basics of Soviet Museum Studies (1955), and the last phase coincides with the completion of the Russian Museum Encyclopaedia (2001). The chapter attempts to show the basic paradigms of Soviet museology and analyze them in the context of the general development of museology as a field of knowledge.

Modern approach evolved modern museums as dialogue centres which make close contact with visitors based on learning in order to present its exhibition objects. Along with twenty first century, being one of the most important places among the social functions of museums, " education " has almost been one of the traditional functions of them. Besides the educational facilities which museums provide visitors, they should also develop their physical structures in a contemporary line, and reconsider them in a way that highlights individual experience and visitor interaction during the time spent in there. In order to maximize interaction between visitors and museums, museum education which is developed by using pedagogical methods and grounding on various values, concepts and information has a close relation with visual culture that is an interdisciplinary concept. Visual culture has put popular objects into museums and been an important subject on which modern museums focused in order to provide their sustainability. Modern museums produce information and aim to spread information to all classes in a society by using educational activities; also when they are considered as living places, they are used to practice the functions of visual culture. These practices have been helpful for developing information technologies in museums especially for the last thirty years and, resulted in implementing a structural reform and revisions in regard to integrating these technologies with museum perception. In the frame of these revisions, online technologies, simulations, interactive presentations and digital exhibitions are at the first place. These chances that took place in museums have been the source for from the collections of these institutions to their policies and also from the use of human resources to digitalizing of their activities. The purpose of this study is to identify the visual culture activities which take place in modern museums in the framework of educational activities, and to display practice samples in Turkish museums in detail. The study is a result of a descriptive survey model research that contains samples regarding 81 visual culture practices in the world and Turkish museums. The study is limited with state and private museums which are tied to Turkish Republic Ministry of Culture and Tourism and inspected by the relevant ministry. Visual culture practices that took place in these museums are gathered by using structured interview forms and commented by analyzing content analysis.

Muzeológia a Kultúrne Dedičstvo, 2018

The assessment of the status of contemporary art is theoretically justified in the context of institutional theory, developed in the works of George Dickie and Arthur C. Danto. Museums are pillars of the institutional theory, as they mainly provide art with an undisputed status. The phenomenon of the museum boom of the present day, as the phenomenon of the emergence of the concept of "imaginary museums" in the second half of the 20th century, is associated with longing for "true" art, which ultimately leads to museums, or to the idea of museum. If in a classical museum a viewer expected to see "authentic", as in "not fake", works of the old masters, in a museum of contemporary art they expect to see at least "true" art, i.e. works "with the status of art." Museums give art the quality of "authenticity", hence the interest in museums and museum projects nowadays, despite the abundance of publicized images of museum...

Muzeológia a kultúrne dedičstvo, 2025

Specificities of the presentation of open-air museums in selected countries of Central and Eastern Europe The article analyses the idea of open-air museums in selected countries of Central and Eastern Europe while aiming to identify and name the varied focus and specificities of their presentations. These institutions typically combine two concepts: the monument concept, which relates to the protection and presentation of architecture, and the museological concept, which includes the "revival" of these sites through presentation and educational means. A living museum, living history, presenting everyday life, crafts, handcrafts, agricultural work, but also revived technological and military objects, have an inestimable place in the system of modern museum culture.

Icifim Study Series, vol 35: 306-312, 2006

HBRC Journal, 2016

Some movements within modern architecture particularly emphasize the importance of matching buildings to their surroundings. However, practicing such ''contextual architecture" is highly challenging and typically not something the future inhabitants of a building are well equipped for participating in. This paper attempts to be a new vision to design an important building in such sensitive places, for example, designing a museum in a historical context. The methodology of the study is a qualitative method based on a theoretical foundation. It sheds light on the concepts and definition of museums and contextualism, and answers the main question proposed in this paper: ''How can we design a huge and important building such as a museum in historical context while respecting its importance and at the same time avoiding the deterioration of this historical place?" And based on answering the sub following questions too: What is the museum concept? What are the activities and functions of this prototype? What is the museum form and morphology? What are the types of contextual design? What are the strategies of contextual design? This part ends with electing some criteria that will be used as basis for the practical part. And thus it can be concluded the ideal strategy for designing a museum in historical context. Discussion of the findings is expected to enrich the talk in that domain.

Musologica Brunensia, 2016

This paper reflects upon the connections between two museological pioneers, Z. Z. Stránský and F. Waidacher. Stránský developed the object of knowledge of museology in Brno, while Waidacher submitted a state of research and established a museological terminology especially for German-speaking areas. The connections between the two museologists have not been researched in detail until now. Therefore, this paper focuses on the publications of the two authors concerning the development of museology as an academic discipline. For the first time, these publications are used as primary sources to try to show the progression of museology as an academic discipline.

The paper intends to make a conceptual revision of the work produced by the Czech museologist Zbyněk Zbyslav Stránský (1926–2016), referring to the period between 1965 to 1995, when he was responsible for the attempt to conceive a theory for museology. With his metatheory, this thinker aimed to defend and sustain this discipline’s scientific status. In his works, by refuting the museum as the study subject for this supposed “science”, Stránský would discuss which should be its fundamental subjects of interest in its place, creating specific concepts for museology. With the terms musealia, museality and musealization he shifts the discipline’s focus from the museum, as an instrument for a certain end, to the processes of attributing value to things. His theory generates, thus, the necessary foundation for the museological field, integrating theory and practice, and initiating a social and scientific reflection for museology. Therefore, the paper historicizes the process of configuration of disciplinary museology in Eastern Europe in order to understand what was in the base of the geminal thinking structuring this branch of knowledge and, at the same time, appointing new pathways for its future.

Ethnographic Museums in Central India, 2020

In a Museum, objects are preserved, classified and presented in galleries for the visitors with documented details. Presentation of objects is done in showcases, boards, dioramas or even in open air. The only basis is that it has to be attractive and persuasive enough. A complete and proper documentation of collected object is a must. The display of objects in the museums is to be done with skill, prudence, imagination, artistic impulse and aesthetic sense. An artistic attainment is a natural surge of artistic bent of mind and intellect. Much of the fruitful display depends on training.

2019

This study examines museum presentations and educational activities in the area of technical museology, on the example of the Technical Museum in Brno (Czech Republic). Technical museology counts among the most popular segments of museum culture employed, in particular, in the popularization of science and technology. Through their exhibition activities, as well as museum and educational activities, museums approach target groups of visitors including pupils and students from all types of schools. Museums of technology have documented and mediated the progress in technology in society for nearly 200 years through a wide range of activities, especially in the form of the visualization of technological procedures of production, from the processing of a material to a finished product. This contribution analyses and assesses the basic presentation, educational and scientific activities of the Technical Museum in Brno. It conveys the manners of its communication with the public, as well as the particularities of technical museology.

Projetica

The article proposes to develop innovation through the coding process of communication by visuality using the exhibition design to share/clarify knowledge, avoiding and eliminating deficiencies in the acquisition of knowledge. The design thinking approach used to raise knowledge about a microcosm of the permanent room of the Historical Museum of Londrina, through the analysis of the scenario and its artifacts, so that history is learned, told and humanized, seeking the Innovation in the representation of knowledge in order to verify the knowledge acquired by visitors. The research is qualitative of exploratory nature, based in visitor's interviews and observations from groups of students visiting the museum. This have the objective to understand whether they acquired the desired knowledge, then propose collaborative solutions by the use of the DTKBoard system, based on design thinking and by the introduction of the precepts of the exhibitions design in order to improve the communication of culture and knowledge of the period related to the microcosm chosen. During the project, was identified the needs of change in the representations of knowledge and ask for the insertion of humanization to create empathy with the visitor. The research is in the validation phase of the prototypes developed with the insertion of the exhibition design and the humanization generating changes in the microcosm for the participation and validation of the target audience, for later implementation.

Journal of Ethnology and Folkloristics, 2011

Museums constitute an important cultural and social resource. The main objective of museums is making certain objects in the collection visible or, on the contrary, leaving them invisible. In contemporary society the institution serves many important roles, being a place for displaying historical and contemporary values, an institution for preserving and displaying personal and collective memory, cultural values, for collecting tangible and intangible values, an institution for creating identity and ethnic kudos, a work place, an educational environment, a framework for promoting ethnic handicraft and art, a place for integrating different folklore festivals, exhibitions, shows; they are connected to tourism patterns and museum business. The article reflects the changes in the development of museums in the late twentieth and early twenty-first century, focusing on the main key words being multifunctional museum, the museum as an open classroom, presentation of tangible and intangible history, the relation and mergence of permanent and temporary exhibitions. The issues of digitalization and preservation and the role of the exhibition curator and the person represented on displays have increased in the museology of the past few decades. The museums’ tradition of self-replication and an increased interest in museological anthropology indicate that museums fulfil an important role in society.

of the Thesis for obtaining the degree of Doctor of Historical Sciences in the speciality 26.00.05 "Museum and Monument Studies".