Fact, fiction and nostalgia: an assessment of heritage interpretation at living museums

This paper aims to explore and discuss the role of nostalgia (a concept that is inherently grounded within a psychological framework) in heritage interpretation from both provider and consumer perspectives. Whilst many cultural practitioners recognise the relationship between sentimentality and authenticity, particularly within a folk-heritage context, few have sought to examine the effect this has on the visitor experience. This paper questions visitors’ ability to objectively assess objects and experiences at heritage sites, and the role of practitioners in presenting often blurred views of social history that may sometimes negate historical fact. Drawing on case study research at two UK living museums, Blists Hill Victorian Town in Shropshire, England, and the Big Pit: National Coal Museum in Wales, notions of reminiscence, authenticity, myth and intangibility are considered within the framework of the interpretive experience. Findings suggest that the visitor experience is inherently subjective, highly individual and that the concept of intangibility is integral to an understanding of the nostalgia-authenticity debate.

Art and Social Work: an intervention programme for transforming society’s vision to include people with early-onset dementia and Alzheimer’s

This paper presents a program centred on arts and education as tools in social work for the inclusion of people with earlyonset dementia and Alzheimer’s. The objective of the programme is to eradicate the stigma and myths associated with the disease.The program is part of the Junta de Castilla y León and the European Social Fund’s ARS Project (Arte y Salud Alzheimer; Alzheimer’s Art & Health). The programme presents a series of evaluated artistic and educational activities that can be undertaken by people in the early stages of Alzheimer’s disease and that can also be used by caregivers and family when working with this group of people, with the aim of improving their wellbeing, self-esteem and quality of life.

Museums as a factor for the social integration of art in the community. The experience of cultural volunteering by members of the senior community

After considering museums as cultural institutions responsible for preserving cultural memory and its evolution over time, this article describes the cultural practices within our society that are aimed at disseminating art and at reproducing and transmitting culture, history and identity. Further, it considers the key role that older people are steadily assuming in Spain’s ageing society. New social-empowerment activities based on volunteering by the elderly are linked to generativity because the individual and social groups acquire new skills through those activities, thereby strengthening a society for all ages. Never in the history of social work have so many older people been prepared to participate actively at the community level, and never has a social movement with these features gone so unnoticed by so many social agents.

Exploring the Roles of Technology and Social Play in Art Museums

This co-written chapter was included in an edited book featuring invited authors from different countries and different areas of museum research and practice. The chapter uses a theory of play by Johan Huizinga (1938) to frame case studies of play-based interactive experiences in museums in various countries. The aim was to use theory to ground museum practice, in order to evaluate existing practical implementations as well as to inform the design of new ones. The book was nominated as one of the 10 best museum education books of 2011 by Museum Education Monitor, and the chapter led to a subsequent technology residency the author undertook in the Spike Island gallery, Bristol in 2012, funded by the National Endowment for Science, Technology and the Arts, Arts and Humanities Research Council and Arts Council England. It also informed his subsequent postgraduate teaching, an example of which is a recent MA project, which deconstructs play from a computational perspective. Collaborations have continued with the co-author, which have resulted in a number of invited lectures. In this chapter the authors explore play as a structure for supporting visitor learning, drawing from international research in museums and interaction design. Four aspects of play first proposed by Huizinga are explored – the free-choice aspect of play, play as distinct from real life, play as an ordering structure, and the role of play in bridging communities. The chapter argues that play provides museums with ready-made structures and concepts, which can help planning for visitor learning. The research was equally divided between the co-authors, who developed the conceptual and theoretical aspects of the article by drawing on their own research alongside key examples of museum design and digital media.

Ideally Reality: Alignment of Deaccession Policy and Emerging Practice in History Museums

Thesis (Master's)--University of Washington, 2012

Institutions of Activism: Museums and Ukraine’s Revolution of Dignity

Thesis (Master's)--University of Washington, 2015-12

Guidelines for strategic national planning of training and education for museums, cultural heritage and related fields in Sweden and in international co-operation

The guidelines presented in this document are a preliminary strategy for establishing a comprehensive policy for the needs of training and education wiyhin the sector and adjoining areas, across fields of knowledge and professions concerned, on relevant levels and for the varies institutions and operators. The objective of these guidelines is to analysis the problems, objectives and goals for development of a far reaching system of educational and training programs and courses for museums, cultural heritage and related fields of activities. This objective comprises a close collaboration between museum, cultural heritage organizations and educating organizations, notably within universities and colleges, but also other kinds of educating bodies.

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.

Memory and power : two movements

The institutions that work with the preservation and diffusion of cultural heritage - be them archive, libraries, museums, art galleries or cultural centres - present a certain discourse about reality. To understand this discourse, composed by sound and silence, by fullness and emptiness, by presence and absence, by remembrance and forgetting, an operation is implied, not only with the enunciation of speech and its gaps, but also the comprehension of that which causes to speak, of who is speaking and of the point whence one speaks. Preservation and destruction, or, in another way, conservation and loss, walk hand in hand in the arteries of life. As suggested by Nietzsche (1999, p.273), it is impossible to live without loss, it is entirely impossible to live avoiding destruction to play its game and drive the dynamics of life on. However, by means of a kind of tautological argument, one often justifies preservation by the imminence of loss and memory by the threat of forgetting. Thus, one ceases to consider that the game and the rules of the game between forgetting and memory are not fed by themselves and that preservation and destruction are not opposed in a deadly duel, but instead they complement one another and are always at the service of subjects that build themselves and are built through social practices. To indicate that memories and forgettings can be sown and cultivated corroborates the importance of working towards the denaturalisation of these concepts and towards the understanding that they result from a construction process also involving other forces, such as: power. Power is a sower, a promoter of memories and forgettings.

Museums, memories and social movements

From modernity to the contemporary world, museums have been acknowledged for their power to produce metamorphoses of meanings and functions, for their ability to adapt historic and social determination, and for their calling for cultural mediation. They derive from creating gestures which bind the symbolic and the material, which bind what is sensitive and what is intelligible. For this very reason the bridge metaphor fits them well, a bridge cast between different times, spaces, individuals, social groups and cultures, a bridge that is built with images and which holds a special place in the imaginary.

Training for museums and the National Charter for museum professions in Italy: a new prospective for development

Traditionally Italian universities have trained researchers and professionals in conservation: archaeologists, art historians and architects. It is only with the reform of the universities, from 1999, that the teaching of museology and museography have also been expanded.Italian museums are for the most part public museums, depending on local bodies or the national ministry; they lack autonomy and do not possess specific professional figures. The task of conservation has predominated over the other roles of museums, but with the reform of the conservation law in 2004 the definition of „museum‟ has been introduced in Italy as well, and regulations regarding the development of heritage have been issued; in addition the Regions have also taken on a more active role for museums belonging to local bodies and for the development of their territory.Museum professions are not officially recognised, but the museum community, through the various associations and ICOM Italia, has put together a document to act as a general reference, the National Charter of Museum Professions, which has been followed by the Manual of Museum Professions in Europe. Now there is a need to plan the content and outlines ofvocational training courses for museum professionals, together withthe universities, the regions and the museums themselves, alongwith the associations and ICOM – ICTOP, utilising the mostinnovative Master‟s courses which offer an interdisciplinaryapproach, a methodology which combines theory and practice, andan element of hands-on experimentation in museums, or withmuseums.

‘Museums, Identity, and Warring Historians: Observations on History in Germany’

A review essay on debates in Germany about the creation of museums of German history