Must the concept of the State be divided? : political and ethical challenges

Este artigo analisa a medida em que algumas discussões recentes na teoria política e social têm sido bem sucedidas em fornecer discursos que legitimam a ruptura de fronteiras nacionais/estatais (internas e externas). Isto está claramente evidente na Europa de hoje, uma Europa mista de estados grandes e pequenos. Duas das mais publicamente disseminadas discussões incluem por um lado o debate tão familiar sobre a globalização e por outro a própria teoria política, onde os temas são ou controvérsias sobre o nacionalismo e autodeterminação, ou o multiculturalismo, os direitos de grupos, a chamada política da diferença e a noção emergente da sociedade civil e associações civis.

A new concept for museum training in Germany

To talk about a new concept for museum training seems perhaps, to be a little bit exaggerated. For long time you have all been talking about concepts and contents for museum training and as I figured out the debate on the topic in Germany is as old as the appearance of national museums in the 19th century. Men like Theodor Mommsen, Rudolph Virchow, Alfred Lichtwark, all well known historians and supporters of the museum idea, spoke and wrote not only about the importance of museums as cultural and educational institutions but also supported the idea of professionalisation of museums work. Some of the ideas of our ancestors are still part of an ongoing discussion. The topic of my talk today will be what king of personnel a museum of our time needs to cope with the growing demand for internal and external organization. I shall present to you a new training program for museum workers in Germany which aims not to produce a new group of researchers but to prepare students for the practical work in the museum field.

On the concept of the public: the local museums’ case

Globally, the public is understood as the whole of a service’s users. In the specific case of the museums, the users are all those who make use of the service offered by the museum institution. Thus, the museum’s public corresponds not only to the visitors (people who enter or have entered the museum), but also to the part of those who, in some way, with no relationship of presence within the museum, have enjoyed the services or property made available by it (for instance the ordering of books or other material by catalogue, visit to travelling exhibitions, end users of pedagogical actions carried out in schools…) On the other hand, when we refer to the public, it is necessary to make another distinction: between the real or effective public and the potential public. The former is the group of individuals who have visited or have used the museum, while in the second case are included all the people who, due to their specific characteristics, are susceptible to become the real or effective public.

Museums and quality, from the concept of the museum that carries out functions to the museum that provides services

Quality management Self-evaluation of the organisation Citizens/customers satisfaction Impact on society evaluation Key performance evaluation Good practices comparison (Benchmarking) Continuous improvement In professional environments, when quality assessment of museums is discussed, one immediately thinks of the honourableness of the directors and curators, the erudition and specialisation of knowledge, the diversity of the gathered material and study of the collections, the collections conservation methods and environmental control, the regularity and notoriety of the exhibitions and artists, the building’s architecture and site, the recreation of environments, the museographic equipment design. We admit that the roles and attributes listed above can contribute to the definition of a specificity of museological good practice within a hierarchised functional perspective (the museum functions) and for the classification of museums according to a scale, validated between peers, based on “installed” appreciation criteria, enforced from above downwards, according to the “prestige” of the products and of those who conceive them, but that say nothing about the effective satisfaction of the citizen/customers and the real impact on society. There is a lack of evaluation instruments that would give us a return of all that the museum is and represents in contemporary society, focused on being and on the relation with the other, in detriment of the ostentatious possession and of the doing in order to meet one’s duties. But it is only possible to evaluate something by measurement and comparison, on the basis of well defined criteria, from a common grid, implicating all of the actors in the self-evaluation, in the definition of the aims to fulfil and in the obtaining of results.

Essais de terminologie de la nouvelle muséologie sociale, libérons le concept

ous présenterons en premier lieu la nomenclature du processus expositionnel, puis, en second lieu, une sélection de termes de la muséologie propre ou de termes associés qualifiant la muséologie sociale. Certains parleront de détournement. Nous préférons mettre au compte de l’enrichissement de l’expérience muséologique une terminologie qui puisse faire corps avec celle-ci, exprimant sa formulation comme son esprit. Il est à souhaiter que l’ensemble de la muséologie en tienne compte, favorisant les passages entre les orientations idéologiques.