Museology, Archaeology, History, Anthropology

The great exhibition of Volta in 1899 and the exhibition of Ercole Ferrata and the Intelvesi masters held in Pellio in 1910 had the merit of focus the attention of scholars on a historical and artistic heritage still largely unexplored as warned Francesco Malaguzzi Valeri and Peter Toesca, engaged on the territory in cataloging campaigns and on the press in complaint action. After the end of World War I, in 1920, they were held exhibitions aimed to present to a wider audience the works of art admitted to wartime in warehouses set up in Rome and returned to their places of origin, under the guidance of Nello Tarchiani. This exhibition program had a dual purpose: on the one hand the public awareness towards heritage, on the other the celebration of victory, and the effectiveness of the protection measures implemented by the military command and the organs of the Ministry of Education. In this vein it is located, a few decades later, the publication of the Inventario degli oggetti d’arte della provincia di Sondrio, the ninth volume of a historic ministerial series, published in 1938. However, when that same year it was organized in Sondrio a big exhibition of painting and portrait from the XVth to the XIXth century, the intent were far from conservation and protection and turned to nationalistic propaganda. The article means to establish the mixed reception by scholars and the public, through the study of reviews and museographic programs, highlighting the connection with the activities of protection and cataloging in the territory and with the historical research.

Regional museums can act as very strong media to alleviate the socio-cultural imbalance and are able to facilitate developing a national identity. To remain socially relevant, museums must change their policies to avoid being labelled as institutions of social exclusion. This paper tries to elaborate upon the exclusive & divisive elements and highlight the importance of Inclusive management policy in the museums, particularly in eliminating growing parochialism in the Indian society.

CLASSIFICATION AND TERMINOLOGY OF THE CLOTHING MA TERIALS FOR
MUSEUM PURPOSES
Zora Mintalová
Summary
In ethnographic literature the problems of clothing textiles and materials have not been paid
adequate attention. Even if some partial works have been published, they do not answer the criteria
of complexity and practical needs of the museums, being only marginal and insufficient.
The production of clothing materials for the manufacture of several components of garment
or textile products kept in museum collections since longer time has not been based on only classical
natural textile fibres but more and more on different kinds of artificial fibres. It is why there
is a necessity to team their characteristic properties, the way of their use, classification into categories etc. We cannot afford their general refusal since thus we could cause absence in representation of some clothing components and textiles representing certain periods of museum collections. The submitted contribution is not to answer all the questions related to clothing materials, their classification, typology and terminology. lt only tries to fill up the gap caused by the one-sided orientation of professional museum workers in Slovakia directed exclusively on the classical, natural textile fibres. First part of the contribution deals with the classification of textile fibres, characteristics of particular most commonly used kinds of textile fibres, their weaving, classification of clothing materials and their typology. The second, planned part of the contribution which is still unfinished will be directed to the terminology of particular clothing materials and their practical use. It is based on the data comprised by the author as a museum research worker responsible for the Central Evidence of the Slovak National Museum, Ethnographic Institute in Martin over the period of 1988-1990. Textile fibres influence directly the quality of textile materials. As to their origin we divide them into 3 main groups: natural, chemical and metallurgical fibres (threads). Natural textile fibres can be divided into organic and inorganic ones. Among organic textile fibres we classify plant fibres and animal fibres. Plant textile fibres are produced from seeds, stalks, leaves and fruits. Animal textile fibres can be divided into wool, pelt, hair wool and natural silk. Each of the groups consists of subgroups containing particular kinds of textile fibres. To the group of natural fib res belong also inorganic, mineral fibres e.g. asbestos. The classification of chemical textile fibres is based on the fibres of natural polymers and those of synthetic polymers. Classification of metallurgic fibres (threads) is based on metallic threads and non-ferrous fibres with their particular subgroups.
Among all the above mentioned textile fibres most important for the work of museum workers
are the natural fibres, i.e. plant and animal fibres and partially also chemical (man-made) artificial
fibres. Next part of the contribution deals with the characteristic features of natural fibres - cotton,
flax, hemp, wool and silk. Among chemical fibres are viscose, polyamide and polyester with short
descriptions of their use. The structure of textile fabric is one the main characteristics of the product, it determines it for specific purposes of its use. On these characteristic features is based the classification into basic, derived, loose set and double texture. To the basic ones that serve the base for the derived, loose set and double set belong linen, twill and satin textures. The last but one part of the contribution deals with the classification of textile materials into particular groups and subgroups according to the material used and, within them, according to the fabric structure: flax, hemp, woolen combed cotton yam, natural silk, viscose silk and synthetic fibres. All the above mentioned groups can be further divided into subgroups according to the structure of particular fabrics. The last part deals with the typology of the clothing materials also on the basis of the material used and the structure; where particular kinds of fabric will be published, including their characteristics and use in the second part of the work (still under preparation). The presented data are partial results of the Central Evidence of the Slovak National Museum, Ethnographic Museum in Martin. Even if they do not answer all the questions associated with the problems of textile clothing materials, they are to serve as a brief instruction and aid to professional museum workers in Slovakia in their complex scientific work dealing with folk costumes and with folk clothing in general.

An anthology of Kenneth Hudson (1916-1999)  quotations which gives a very clear ide of his originaliry, witticism and pioneering vision of heritage and museums. A short essay is devoted to his memory  on occasion of  100 years from his death. Jointly published by the Forum of Slavic Cultures and the European Museum Academy Foundation.
ISBN 978-961-94274-1-5

In coordination with OpenHeritage (OH), Digital Divide Data (DDD) and Amazon Web Services/Intel Corporation, David Wright (professor at Seoul National University, South Korea) is implementing a content management system (CMS) for the National Museums of Kenya (NMK). The purpose of the CMS is to integrate existing databases at the NMK, both in paper and electronic formats, into a single software architecture that can be used to capture and disseminate information pertaining to prehistoric archaeological and palaeontological sites in Kenya. The system is being designed on a Drupal open-source platform and NMK staff are being trained in how to capture archaeological and paleontological data within an open-source Geographic Information System (GIS) environment (QGIS) for the purpose of migrating the data into Kenyan Heritage Resource Information System (KEHRIS), which is the CMS. This training manual provides the basis for basic training in QGIS and was the basis of a two-week module conducted from July 31-August 11, 2017. Detailed site location information is obscured in this version of the document to protect heritage sites from looting.

Müller Florian Martin, Mader Sylvia, Tarmann Gerhard, Sossau Veronika (Hrsg.), Museumsdepots und Depoteinrichtung. Tagungsband zum ICOM-Österreich-Symposium vom 4.-5. März 2011 in Innsbruck, SPECTANDA – Schriften des Archäologischen Museums Innsbruck 2  (Innsbruck 2012), 77 S.

Erhalten und Bewahren von Sammlungsbeständen zählen zu den zentralen Aufgaben eines Museums. Die Errichtung und das Management von Depots stellen aber vielfach eine große Herausforderung für Museumsverantwortliche dar. Zu dieser Thematik und den dabei anfallenden Fragen und Problemen fand vom 4.–5. März 2011 in Innsbruck das ICOM-Symposium „Depot und Depoteinrichtung“ statt, bei welchem 13 Referentinnen und Referenten aus Österreich, Deutschland, Großbritannien und der Schweiz, darunter Leiter von Museen, Konservatoren, Restauratoren und Architekten aktuelles Basiswissen für die Errichtung und Einrichtung eines Depots lieferten. Weiters wurden anhand von best practice Beispielen, Erfahrungsberichten sowie Hinweisen zur Fehlervermeidung, Anregungen zur Lösung räumlicher, konservatorischer, struktureller und pekuniärer Depotprobleme geboten. Im vorliegenden Tagungsband sind diese Beiträge  zusammengestellt. Wenn die Depots auch das Herzstück eines Museums ausmachen, so ist die Außenwirkung dieses Bereiches der Museumsarbeit doch minimal. Dennoch sind es gerade die richtigen Maßnahmen im Depot, die den Kulturgütern eine unbeschadete langfristige Existenz ermöglichen. / The preservation and maintenance of collections are to be counted among the main tasks of a museum. Nevertheless, in many cases the construction and management of a museum storeroom are posing great challenges to the persons responsible. Concerning this subject and corresponding questions and problems, from march 4th to march 5th 2011 the ICOM-Symposium "Museumsdepots und Depoteinrichtung" was held in Innsbruck, at which 13 speakers from Austria, Germany, Great Britain, and Switzerland - among them museum's directors, curators, conservators, and architects - supplied their up to date basic knowledge about construction, layout and equipment of storage areas. Furthermore, based on best practice examples, reports as well as suggestions for preventing mistakes beforehand and propositions to find solutions for storage difficulties concerning space, conservational aspects, structure and financing were given. The conference proceedings put together all these papers. Storage rooms are a museum's core and centrepiece - the visibility of this part of museum work yet minimal. Nevertheless the appropriate actions taken in storage are what guarantees for an unscathed and long life existence of our cultural possessions.

Η παρούσα εργασία εστιάζει στα κείμενα των μουσείων ως επικοινωνιακό και ερμηνευτικό μέσο που συμβάλλει στη διαδικασία νοηματοδότησης των εκθεμάτων στο μουσειακό χώρο. Το πρώτο μέρος περιλαμβάνει βιβλιογραφική επισκόπηση για τα κείμενα ως γραφο –οπτικά συστατικά της έκθεσης και την αναγνωστική συμπεριφορά του κοινού στο μουσειακό χώρο. Το δεύτερο μέρος περιλαμβάνει μελέτη περίπτωσης σχετικά με την αξιολόγηση των κειμένων της επανέκθεσης του αρχαιολογικού μουσείου της Κορίνθου. Η μελέτη περίπτωσης ερευνά, μέσω παρατήρησης και ερωτηματολογίου, τον αντίκτυπο των επεξηγηματικών πινακίδων στο κοινό.
This thesis focuses on museum text as a means of communication and interpretation that contributes to the process of meaning making in the museum environment. Part A offers a literature review on museum text as a scripto –visual component of the exhibition and the reading behavior of the public. Part B is a case study on the evaluation of texts in the redisplay of two major rooms at the archeological museum of ancient Corinth. The study examines the impact of interpretative text on the museum public through observation and audience research.

Müller Florian Martin, ICOM-Symposium „Museumsdepots und Depoteinrichtung“ 4.-5. März 2011, Innsbruck, H-Soz-u-Kult. Kommunikation und Fachinformation für die Geschichtswissenschaften, 03.06.2011 (https://www.hsozkult.de/conferencereport/id/fdkn-122303).

Tesis Doctoral en la cual se abordan los principales postulados sobre el trabajo en museos y los nuevos paradigmas de su gestión, para luego ser comparados con las prácticas museísticas de dichas instituciones en el Estado de Yucatán, México

During years, the brooches have been
considered fossils guide, as example of territorial
and cultural fashion and, some of wide dispersion,
as the product of series manufacture. After recent
components analysis is proposed that similar casts
would be used by different craftsmen at celtiberian,
vettons, vacceos or carpetans territories.

In English and in Russian

More than 20 years after the pyramid built by Ieoh Ming Pei in the Napoleon courtyard of the Louvre, which was inaugurated in 1989, and the annexation of the Richelieu wing, formerly occupied by the French Ministry of Finances, the Louvre has just been given a new extension. On the 18th of September 2012 indeed, President François Hollande officially opened the new department of Islamic Arts, of which the Louvre has one of the largest collections in the world

""Nel XVIII secolo la città di Siracusa divenne una delle mete principali del Grand Tour, il viaggio di istruzione e formazione che ogni giovane aristocratico europeo del tempo doveva compiere, per via dell’enorme patrimonio storico-artistico ivi custodito e delle bellezze naturali del territorio circostante. Decine di artisti, antiquari, diplomatici e scienziati invasero l’antico centro siciliano alla ricerca delle sopravvivenze di luoghi e monumenti del suo straordinario passato greco, alimentando allo stesso tempo il traffico internazionale di antichità verso musei e collezioni private di tutto il mondo e il fenomeno degli scavi abusivi.
E’ significativo che l’operato del conte Cesare Gaetani della Torre, uno dei protagonisti nel campo della gestione dei beni culturali nella Sicilia della seconda metà del Settecento e autore di importanti opere sulle testimonianze archeologiche ed epigrafiche aretusee, mostri una totale indifferenza nei confronti della politica protezionistica anti-borbonica che aveva cementato le amicizie degli altri antiquari siciliani: l’epistolario del Gaetani risulta, infatti, dominato dai continui richiami degli illustri corrispondenti (Domenico Schiavo, Gabriele Torremuzza, Ignazio Biscari) affinché il destinatario delle lettere, noto per essere disinteressato al possesso degli oggetti recuperati durante le proprie esplorazioni archeologiche, non si privasse di monete, iscrizioni, vasi e altri manufatti rinvenuti nel sottosuolo siracusano per regalarli a viaggiatori e collezionisti stranieri, primo fra tutti sir William Hamilton ambasciatore britannico alla corte di Napoli.
L’idea della creazione di un museo cittadino, gestito da eruditi locali e finalizzato alla tutela e valorizzazione delle ricchezze archeologiche siracusane, cominciò ad essere oggetto di concrete discussioni solo dopo l’eccezionale scoperta negli orti Bonavìa delle statue dell’Esculapio (7 dicembre 1803) e della Venere Anadiomene (7 gennaio 1804) per opera di Saverio Landolina Nava, Regio Custode delle Antichità della Val di Noto e della Val Demone. Il Landolina riteneva che soltanto con una istituzione museale civica sarebbe stato possibile salvaguardare i reperti e le opere d’arte provenienti dalle esplorazioni archeologiche e dalle raccolte private, impedendone l’esportazione illegale a Palermo o, addirittura, al di fuori dei confini del regno borbonico.
Soltanto nel 1809 Saverio Landolina fu in grado di tradurre nella pratica il suo ambizioso progetto culturale poiché mons. Filippo Maria Trigona, vescovo di Siracusa e grande appassionato di antiquaria, si dimostrò favorevole nel mettere a disposizione alcuni ambienti del Seminario ubicato nella zona centrale della città. I lavori di allestimento furono portati a termine nell’arco di quasi due anni e l’inaugurazione ufficiale del museo ebbe luogo il 20 aprile 1811.""

Questo lavoro, che costituisce l’aggiornamento della ricerca della Tesi di Dottorato di Ricerca in Scienze Umanistiche e dei Beni Culturali (intitolato La valorizzazione digitale del ptrimonio culturale in Europa e in Italia. Forme di fruizione e valorizzazione museale attraverso le nuove tecnologie e i social media. Una proposta di turismo wireless per Catania, A.A. 2011-2013), si organizza in due parti. Nella Parte I, dopo un inquadramento generale su Internet, sulle nuove tecnologie e sul loro impatto nel settore dalla comunicazione e valorizzazione culturale, con una particolare attenzione al fenomeno del divario digitale in Italia e in Sicilia, agli sviluppi del Web 2.0 e alle forme di partecipazione digitale dell’utenza alla produzione di contenuti culturali, l’interesse si focalizza dapprima sulle politiche culturali di valorizzazione digitale del patrimonio culturale europeo, dunque sulle corrispondenti politiche culturali italiane e siciliane, valutando anche i dati statistici sulla penetrazione delle ICT nella popolazione (europea, italiana e siciliana), sull’uso di Internet e dei dispositivi portatili, per il consumo di beni e servizi culturali. La Parte II della ricerca si apre con una presentazione delle tecnologie digitali variamente utilizzate nel settore della comunicazione mobile e delle possibilità di interazione che le nuove piattaforme digitali offrono nel campo della comunicazione culturale, con un ampio repertorio di esempi di dispositivi ad applicativi per la fruizione in modalità mobile del patrimonio culturale, sia all’estero che, soprattutto, in Italia e in Sicilia.



INDICE

INTRODUZIONE
La rivoluzione digitale e il suo impatto sulla comunicazione culturale

PARTE I
La cultura e le politiche culturali nell’epoca di Internet

CAPITOLO PRIMO
Internet e le nuove tecnologie per la comunicazione e la cultura
1.1 La diffusione di Internet, il digital divide e il digibetismo
1.2 Internet e l’accessibilità linguistica alla rete
1.3 Prosumers e social network, netnografia e information on demand nell’era del Web 2.0
1.4 Il settore culturale fra ICT, Virtual heritage e web marketing
1.5 Avatar e consumo d’arte a domicilio: il caso di Second Life
1.6 La comunicazione culturale tra reale e virtuale e le indagini sull’utenza museale remota
1.7 Il museo partecipativo sul web e le forme di partecipazione dell’utente alla produzione culturale e alla creazione di valore culturale

CAPITOLO SECONDO
La valorizzazione digitale del patrimonio culturale in Europa
2.1 Politiche europee di valorizzazione digitale del patrimonio culturale
2.2 Le statistiche culturali europee

CAPITOLO TERZO
La valorizzazione digitale del patrimonio culturale in Italia e in Sicilia fra digital divide, potenzialità economiche inespresse e co-creazione di valore culturale
3.1 Politiche italiane di valorizzazione digitale del patrimonio culturale
3.2 Diffusione di Internet in Italia, fra digital divide e consumo digitale di cultura
3.3 Diffusione di Internet in Sicilia, fra digital divide e consumo digitale di cultura
3.4 Il gap infrastrutturale italiano fra Terzo Mondo digitale e Agenda Digitale Italiana
3.5 Il progetto di un Federalismo Digitale e Free Italia Wi-Fi
3.6 Il potenziale economico (inespresso) di Cultura e Internet in Italia
3.7 Gli italiani e l’adozione di mobile devices
3.8 Google e la comunicazione e valorizzazione del patrimonio culturale italiano
3.9 Il progetto #invasionidigitali 2013 e #siciliainvasa: forme di co-creazione di valore culturale in modalità crowd
3.10 Lo stato dell’arte in Sicilia: la visibilità sul web del patrimonio culturale siciliano

PARTE II
Tecnologie per la comunicazione culturale mobile

CAPITOLO QUARTO
Tecnologie per la comunicazione culturale in mobilità
4.1 L’interesse degli operatori alle tecnologie per la comunicazione culturale in mobilità
4.2 Wi-fi, Bluetooth, GPS, Tag RFId, QR code e tecnologia NFC
4.3 Storie sulle Geografie tra web e mobile: forme digitali di appartenenza territoriale fra geo-blog, geo-social tagging, tagging emozionale e urban digital storytelling
4.4 Soluzioni di visita multimediali su PDA e visitatori wireless
4.5 iPod, smartphone e tablet: la rivoluzione nella comunicazione culturale mobile
4.6 Esempi di guided tour app nei musei e nelle biblioteche internazionali
4.7 Esempi di guided tour app per la fruizione mobile del patrimonio culturale italiano
4.7.1 Le i-MiBAC app
4.7.2 App per cultura e turismo nelle regioni e città italiane
4.7.3 Le app dei musei e delle biblioteche italiane
4.7.4 Le mostre temporanee e le app
4.7.5 Touring e gli altri
4.8 Le ultime frontiere delle guided tour apps fra Augmented reality, Bubble Viewer e emotional browsing
4.8.1 Augmented reality e Bubble Viewer: modalità aumentate di comunicazione culturale mobile del patrimonio culturale italiano
4.8.2 La frontiera emozionale nella comunicazione culturale mobile del patrimonio culturale italiano

CAPITOLO QUINTO
Tecnologie per la comunicazione culturale in mobilità in Sicilia: una panoramica
5.1 Esempi di guided tour per la fruizione mobile del patrimonio culturale siciliano
5.1.1 Guided tour in mp3
5.1.2 Guided tour con i Qr Code
5.1.3 Guide tour multimediali con PDA, smartphone e iPod, tra Qr Code, RFiD e NFC
5.2 Esempi di guided tour app per la fruizione mobile del patrimonio culturale siciliano
5.2.1 Le app istituzionali sulla Sicilia e i beni culturali siciliani
5.2.2 Le app istituzionali dei Comuni siciliani
5.2.3 Le app sulla Sicilia dal Touring agli operatori turistici
5.2.4 App per cultura e turismo nelle città siciliane
5.2.4.1 App per cultura e turismo a Palermo e provincia
5.2.4.2 App per cultura e turismo a Trapani e provincia
5.2.4.3 App per cultura e turismo a Caltanissetta e provincia
5.2.4.4 App per cultura e turismo a Enna e provincia
5.2.4.5 App per cultura e turismo a Agrigento e provincia
5.2.4.6 App per cultura e turismo a Siracusa e provincia
5.2.4.7 App per cultura e turismo a Ragusa e provincia
5.2.4.8 App per cultura e turismo a Messina e provincia
5.2.4.9 App per cultura e turismo a Catania e provincia
5.2.5 Le app dei musei
5.3 Soluzioni tecnologiche per il monitoraggio dell’utenza e la customer satisfaction: il caso di WiFiguide
5.4 Per una breve conclusione

BIBLIOGRAFIA E SITOGRAFIA

Müller Florian Martin, Das Archäologische Museum Innsbruck – Sammlung von  Abgüssen und Originalen der Universität Innsbruck: Forschen – Lehren – Vermitteln, in: Müller Florian Martin (Hrsg.), Archäologische Universitätsmuseen und –sammlungen im Spannungsfeld von Forschung, Lehre und Öffentlichkeit, SPECTANDA – Schriften des Archäologischen Museums Innsbruck 3 / Archäologie: Forschung und Wissenschaft 4 (Wien/Berlin/Münster 2013) 289-323.

La historia del primer y más antiguo museo del Perú es un reflejo de cómo se ha ido forjando y desarrollando el concepto de historia en el Perú. Se trata en la presente ponencia de mostrar los comienzos incipientes del museo, el trato e importancia que se daba a las colecciones, programas educativos, conservación e investigación para explorar si hubo una política cultural que a la vez fuera forjadora de una identidad histórica. También se hablará del papel que desempeñaban sus directores en el rumbo que el museo debía tener en la consciencia de los peruanos.

El artículo trata de explicar histórica y contemporáneamente el por qué del atraso en el desarrollo de los museos nacionales del Perú, tomando como ejemplo el Museo Nacional de Arqueología, Antropología e Historia del Perú. La autora fue directora del museo y expone sus experiencias de gestión museal.

"El presente libro tiene forma de ensayo. En él se analizan críticamente diversas cuestiones relacionadas con el concepto de patrimonio. A la vez se hace un repaso de la evolución paralela de la idea científica y social de patrimonio con respecto a las ciencias arqueológica y museográfica. Se hace así especial hincapié en el hecho de que ambas disciplinas han pasado por circunstancias similares: de ciencias tradicionales que consideraban al "objeto" de modo anticuarista se fue evolucionando a una perspectiva diáfana y territorial, abierta al ecologismo y al paisaje (Nueva Arqueología y Nueva Museología), para desembocar finalmente en las corrientes postprocesualistas en Arqueología y en la postmodernidad museográfica. Finalmente se hace un pequeño análisis sobre las derivaciones que las nuevas teorías de puesta en valor del patrimonio podrían tener sobre el patrimonio industrial de Val de San Lorenzo.

http://parqueculturalmaragateria.blogspot.com/2009/10/bibliografia.html"

This thesis deals with the von Hauenschild collection at the Museo de Antropología, UNC in Córdoba, Argentina. It is an exploration of the history of the collection through time and
space how it was formed and collected in the province of Santiago del Estero by, the German born engineer, Jorge von Hauenschild between sometime in 1928 until 1951. The collection consists of over 4000 objects, the largest amount of elements in the collection is ceramics, but it also includes various lithic tools and human remains. The study is interdisciplinary and based in material culture theory. The section of human remains has been repacked in new
packing material apt to preserve it to the future.

With the use of collection management to study the objects in the collection and document studies of correspondences between von Hauenschild and his large academic network both in Argentina and his international contacts an image steps out of the dark, von Hauenschild transforms from a grave robber to an academic self-thought archaeologist using modern methods for that time to investigate and reveal the native heritage of the province where he lived for over 30 years.

In the book "Mnemosophy - an essay on the science on public memory" (2015; available online:  https://www.mnemosophy.com/the-vault  ), I have tried to offer better arguments. However, this article still counts; some arguments proposed in a brief form may still bear some significance.

It was published in a language-edited version in Nordisk Museologi (2005), meant actually as an excerpt from the book that I realized, alas, only ten years later. The ideas from the text found their way to the book but, finally, it was not part of it.

Like on many other occasions, I was trying to affirm mnemosophy (1987), an advanced heritology (that I proposed in 1982; see: http://www.heritology.com ). Do not be afraid of neologisms; terms matter little; it is just a simple try to pave the way to the real science of public memory and, consequently, to a grand profession that we deserve (and need!).

Nowadays, rather popular, this article did not produce any reaction at the time. Too far ahead? Possibly.

Please be benevolent about international English. Becoming the global "lingua franca" may rightfully have a price.

Riassunto: in questo articolo si affronta il problema della sopravvivenza, della musealizzazione e valorizzazione dei siti e giacimenti del Pleistocene inferiore-medio in Italia. Partendo dalla storia degli studi e delle ricerche, si giunge ad enucleare una tendenza che partendo dalla necessità della conservazione dei siti giunge, solo negli ultimi anni, a percorsi di valorizzazione vera e propria, anche con l’utilizzo di moderni sistemi comunicativi.

Abtract: this paper deals with the problem of survival, musealization and valorisation of sites and deposits  of the lower-middle Pleistocene in Italy. Starting from the history of studies and researches, we come to enucleate a trend which, starting from the need of conservation of sites, reaches, only in the last years, an actual valorisation process, even with the use of modern communication systems.

Resumen: este artículo trata sobre el problema de la supervivencia, musealización y valorización de los sitios y los depósitos del Pleistoceno Inferior-medio en Italia. A partir de la historia de los estudios e investigaciones, llegamos a enuclear una tendencia que, partiendo de la necesidad de conservación de los sitios, llega, sólo en los últimos años, a un proceso de valorización real, incluso con el uso de los modernos sistemas de comunicación.

This essay addresses the vexed questions of provenance and authenticity of objects that have been collected and made accessible for study. It calls for an exploration of the way in which these have often been uncritically accepted solely on the basis of notes and comments made by the original collectors. The difficulty is that the authority with which collectors were able to speak varied enormously, and even when the collectors obtained objects personally from the original owners, it cannot be assumed that they understood clearly the names, purposes or provenance of the objects they obtained.

Museums worldwide are transforming themselves into modern centres of entertainment, replacing their dusty old halls with bigger, more dazzling exhibition spaces, classy restaurants and shops, as well as inviting public spaces. To make museums more appealing and accessible, museums are adopting interactive technologies and organising blockbusters. The educational and social functions of museums are becoming more intricately intertwined with commerce and entertainment. The scholarly institution traditionally preoccupied with collection, display and research has taken on a new role today. As museums transform themselves from ‘temples of cultures’ to modern ‘palaces of entertainment’, the roles of new museums require critical scrutiny. This paper argues that the new stances of museums in the new millennium are a reflection of their constant adaptation to new demands of societies. In adopting edutainment and organising interesting programmes relevant to history and culture, museums engage their communities in the process of making history, which in turn, enhance the relevance of museums in their everyday lives. Museum collections are crossing borders, brought about by rapid globalisation and technological changes. These blockbusters expose local communities to other cultures, broadening their horizons and perspectives of the world. By engendering greater community participation through edutainment, entertainment and exhibition exchanges, museums inculcate values of social integration, thus bonding diverse communities. The objectives of this paper are threefold. Theoretically, it builds upon the conceptualisation of New Museology by considering recent developments in the museum world. Conceptually, the paper puts forth the ‘Cycle of Internalisation’ to explicate the complex linkages between museum processes and social inclusiveness. Empirically, it examines the challenges of adopting new museum practices based on the experience of national museums in Singapore. The paper concludes with recommendations for new museums.

Müller Florian Martin (Hrsg.), Archäologische Universitätsmuseen und –sammlungen im Spannungsfeld von Forschung, Lehre und Öffentlichkeit, SPECTANDA – Schriften des Archäologischen Museums Innsbruck 3 / Archäologie: Forschung und Wissenschaft 4 (Wien/Berlin/Münster 2013), 694 S.

Archäologische Universitätssammlungen finden sich heute zunehmend in einer Situation zwischen universitärem Alltag von Forschung und Lehre und den Ansprüchen, welche eine interessierte Öffentlichkeit an Museen, ihrer Präsentation und Vermittlungsangebote stellt. Im vorliegenden Band berichten Leiter und Kuratoren, wissenschaftliche Mitarbeiter und Projektmitarbeiter an archäologischen Universitätssammlungen, genauso aber auch Restauratoren, Kulturvermittler und Museumspädagogen und decken dabei eine große fachliche Breite an unterschiedlichen archäologischen Disziplinen ab (Klassische Archäologie, Ur- und Frühgeschichte, Ägyptologie, Vorderasiatische Archäologie, Christliche Archäologie, Etruskologie, Papyrologie und Epigraphik). Ziel ist es, erstmalig und aktuell sowohl einen umfassenden Überblick über die Geschichte dieser Institutionen zu bieten als auch im Sinne einer Standortbestimmung die Situation archäologischer Universitätssammlungen im deutschsprachigen Raum zu Beginn des 21. Jahrhunderts im Spannungsfeld von Forschung, Lehre und Öffentlichkeit näher zu betrachten.

El libro relata la historia del Museo Chileno de Arte Precolombino entre 1981 y 2011 a través de las voces de sus propios integrantes, de quienes lo integraron por algún tiempo y de quienes giraron o giran todavía en torno a su quehacer. Parte recordando los tiempos en que se ideó el Museo, para luego recorrer su trayectoria desde los comienzos, durante la dictadura militar, pasando por el retorno a la democracia, hasta la pasada década del Bicentenario de la República. Teniendo como eje del relato la trama interna de treinta y tres de las exposiciones que la comunidad de memoria más valora o recuerda, cada testigo cuenta “su” Museo, “su” exposición, “su” recuerdo, según los diferentes espacios y tiempos en que le tocó actuar. El conjunto de todas esas remembranzas individuales muestra las razones, la complejidad y la ambivalencia de las cosas que sucedieron en la institución a lo largo de estas tres décadas, manteniendo como telón de fondo el acontecer nacional e internacional. Por sus 380 páginas desfilan también asuntos como las Primeras Jornadas de Arte y Arqueología, el impacto del terremoto de 1985, el Museo Viajero, la historia del Boletín del Museo Chileno de Arte Precolombino y otras publicaciones, la investigación de detenidos desaparecidos en Cuesta Barriga en 1986, la irrupción de lo étnico en la sociedad chilena, las remodelaciones del Museo, el origen de la “Chimuchina”, el sitio web y muchos otros. La obra está dirigida a todos aquellos profesionales, profesores y estudiantes interesados en la difusión del arte, la cultura y la historia de los pueblos originarios de Chile y América, así como en el trabajo en los museos y las memorias comunitarias.