971 resultados para museus e paisagem cultural
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Ao longo da sua existência as instituições museológicas foram evoluindo em termos estruturais e culturais e repensando as suas políticas, adaptando-as aos novos tempos. O Museu é agora encarado como um espaço activo, dinâmico e atractivo onde as colecções já não são o único objectivo e a pessoa assume um papel central. Procurando sintonizar-se com as necessidades e exigências das comunidades que pretendem servir, os museus começaram a utilizar o marketing como forma de proporcionar aos seus visitantes um conjunto de benefícios capazes de satisfazer ou melhorar a sua experiência de visita. Efectivamente o sucesso dos museus depende hoje do tipo de produto oferecido ao cliente, dos serviços, da acessibilidade, da comunicação e do entretenimento, além do carácter educativo, tornando-se por isso necessário oferecer um leque mais alargado de serviços, para ir ao encontro de um mercado cada vez mais exigente. A combinação da actividade principal do museu com a oferta de serviços complementares, como as lojas, desempenha um papel fulcral na obtenção de visitas satisfatórias. As lojas de museu são actualmente consideradas como uma política incontornável de valorização e divulgação dos museus, constituindo igualmente uma fonte de financiamento com crescente importância. O propósito deste trabalho, visa o estudo das lojas dos museus da Região Autónoma da Madeira, perceber a sua importância na divulgação dos museus e do património regional e propor melhorias ao seu funcionamento, para que as lojas dos museus locais vejam desenvolvidas todas as suas potencialidades em termos de comunicação e maximização de receitas.
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Os conceitos de museu e de museologia há muito que estão em constante renovação. Os museus de hoje - particularmente aqueles que acolhem a arte contemporânea - são espaços dinâmicos, abertos a uma vasta tipologia de públicos, com variadas exigências e expetativas às quais as recentes baixas dotações e carências financeiras nem sempre possibilitam responder de forma satisfatória. Situando-se dentro das práticas museológicas atuais, esta dissertação pretende abordar os princípios fundamentais em torno dos museus de arte contemporânea como entidade institucional, dando especial atenção ao Museu de Arte Contemporânea do Funchal. Quais são as principais questões, preocupações e práticas pelo museu geridas? Que manifestações são necessárias para o desenvolvimento de infraestruturas de arte contemporânea idealizadas para uma determinada região ou plateia específica? O que é necessário para participar de forma significativa no contexto local?
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This thesis nalyzes the wayfinding in Landscape Museum of Contemporary Art (MPAC), based on the Institute of Contemporary Art CACI, Minas Gerais, Brazil and the Museum of Contemporary Art of the Serralves Foundation, Porto, Portugal. The study focuses on the interrelationship of the public/visitors with the landscape, architecture and contemporary art museums in these, in order to understand visual perception and apprehension of such an environment for their users. For both were confronted documentation (visual and written) and people talk. The main hypothesis put forward is that the audience/visitor MPAC appreciates the interrelationship between the natural environment (park/garden) and built environment (the works of contemporary art and the galleries), giving equal value to both. To complement this, a second hypothesis is that during the visit to MPACS, visitors define their paths spontaneously, but strongly influenced by existing visual indicators (maps, signage and striking landscape elements), which facilitate the readability of space, which also contribute to the offered services and the experiences of similar institutions. The analytical basis of the research used the concepts of legibility (LYNCH, 2009), wayfinding (GIBSON, 2009; ARTHUR, PASSINI, 2002; WEISMAN, 1982), Experiential Cotinnum (TUAN, 1985), Space Bound (CRUZ PINTO, 2007) and habitus (BOURDIEU, 1992). Methodologically was used qualitative research (DEMO 2000) by means of a case study (YIN, 2005; STAKE, 1999) and participant observation (WHYTE, 2005). In the two institutions interviews with researchers and curators, behavior observation and questionnaires from employees, trainees, monitors and the public/visitor of the two museums were performed. Although partially referende the initial hypothesis, the research showed that the public/visitor value appears more natural environments, they experience a greater intensity and in addition to the factors listed in the second case, your perception and definition of paths suffer significant influence of emotional relations established with space. Generally the audience/visitor adapts easily to different demands of contemporary art exhibition in the two museums and the built environment (park/garden and museum) interferes with your reading path during the visit, perceived by the public/visitor condition as a factor that favors the enjoyment of works on different mounts (wayfinding), though often become a factor that hinders the legibility of the building and its built environment
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Recent studies concerning the landscape have investigated the most important activities that contribute for its modification and have tried to better understand the society through the marks left by its quotidian. It is understood that singular landscapes constitute the cultural patrimonies of the cities, once they are part of the daily life of the citizens and are present in their social representations. Some contemporary authors defend the preservation of the natural and urban landscape trying, specially, to keep its importance for the local population. Natal is a city where the ambient qualities are well defined and known by the beauty of the area where it is located. Situated just between a river and the sea, the city grew following its geographic characteristics. The Potengi River, the Atlantic Ocean and the vast dunes ecosystem represented natural limits to the urban expansion; at the same time they have favored the development of a landscape pattern marked by the dialectic between the natural elements and the human interventions. However, this relationship changed after the intensification of the high rising development process that took place since the 1960s. The urban legislation tried to preserve the features of the local landscape delimiting Areas for Controlling Building High , destined to protect the scenic value of some parts of the city. On the other hand, the civil construction sector has made constant pressure in sense to abolish or to modify this legal instrument, aiming profits that have increased, in the 1990s, because of the consumption and the qualification of the urban space for tourist activities. It is necessary the raising of new elements to stimulate the quarrel about the landscape preservation, the process of the urban space production and the best way for the legislation implementation. This work tries to raise elements about the subject at local level, in sense to use Natal City experience to contribute for the formulation of indicators to raise the question about the lack of measure for subjective values, for example the cultural and affective value of the landscape. The natural elements inserted in the urban profile, represent strong visual references and supply identity to the town; they are part of the collective imaginary and are detached in the social context of the city. Then, why the preservation of the landscape, that estimates the improvement in the quality of life, is not enough to justify the controlling building high already previewed as part of Natal City Legislation? These questions send us to the approach of the landscape, as a community patrimony, alerting that some of its significant esthetics attributes must be preserved as a legacy for the future generations
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This work is an exploratory study based on the principles of qualitative research aiming at the conception of landscape by Geography teachers in the city of Parnamirim (RN), as well as the pedagogical implications originated from such conceptions on the formation of students. In order to start our investigative process, we used, as theoretical and methodological reference, some principles of historical and dialectical materialism by Triviños (2007) and historical cultural approach of education by Freire (1987; 1996) e Vygotsky (1993; 2001; 2007), as well as the meaning of conception by Morin (1996) and Ferreira (2007) and the critical approach of geography by Moraes (2005), Santos (1988; 2004; 2006) and Silva (1989; 2010). Also, we used oral history as a research technique such as Moraes (2004), Bertaux (2010), Ferraroti (2010) and Nóvoa (2010) and semi-structured interviews as data collection tools. Our empirical reference is made of four teachers working in four different public schools in the city mentioned above, providing the needed data to start our research. The objective of such interviews is not the verification of the teachers‟ practice in class or outside them, but it highlights the transitoriness of the evidences mentioned in the research. Thus, we conclude that the conception of landscape mostly accepted by the teachers, once it is a process built along their lives and surrounded by their pedagogical practice, prioritizes the visual and morphological aspects and the sentimental livings related to the conception which is situated in a descriptive level of conception. Effectively, the pedagogical implications of these conceptions at school point to a materialization of geography teaching centered on the non-critical reproduction of school subjects which very little instigate the learners to process, via dialogicity, the re-significations of their essential and multiple attributes despite the several attempts and possibilities of some theoretical and methodological renovations on the application of geographical knowledge about landscape, expressed on the report of the interviewees
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The use of graphical objects three-dimensional (3D) multimedia applications is gaining more space in the media. Networks with high transmission rates, computers with large processing and graphics boost and popularize such three-dimensional applications. The areas of 3D applications ranging from military applications, entertainment applications geared up for education. Within the applications related to education, we highlight the applications that create virtual copies of cultural spaces such as museums. Through this copy, you can virtually visit a museum, see other users, communicate, exchange information on works, etc. Thereby allowing the visit museums physically distant remote users. A major problem of such virtual environments is its update. By dealing with various media (text, images, sounds, and 3D models), its subsequent handling and update on a virtual environment requires staff with specialized knowledge. Speaking of museums, they hardly have people on your team with this profile. Inside the GT-MV (Grupo de Trabalho de Museus Virtuais), funded by RNP (Rede Nacional de Ensino e Pesquisa) propose a portal for registration, amendment and seen collaborative virtual museums of Brazil. The update, be it related to work or physical space, a system with a national scale like this, would be impossible if done only by the project team. Within this scenario, we propose the modeling and implementation of a tool that allows editing of virtual spaces in an easy and intuitive as compared with available tools. Within the context of GT-MV, we apply the SAMVC (Sistema de Autoria de Museus Virtuais Colaborativos) to museums where curators build the museum from a 3D floor plan (2D). The system, from these twodimensional information, recreates the equivalent in three dimensions. With this, through little or no training, team members from each museum may be responsible for updating the system
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This work aims to understand how the installation of sugar culture along the river Ceará-Mirim defined the spatial organization of the Valley, and thus setting the landscape. This space has begun to be defined only in the second half of the nineteenth century, when the sugarcane growth had atarted on land located on the banks of the river Ceará-Mirim. The passage of this period of great prosperity can be seen through the heritage material which is still presented in the region. Walking through the Valley, we found a considerable number of architectural buildings, many in ruins, linked to this historical moment. This perception, caused by these buildings, will take us on a trip to the past, back to a time characterized by great-houses, mills, sugarcane plantations, planters, slaves, etc. The references that lead us to consider the sugar mills located along the valley of Ceará Mirim as a patrimony, which carry an entire historical baggage, guide us to the first half of the twentieth century. During this period, the role of intellectuals from the Rio - Sao Paulo through the modernist movement will be decisive in the formation of a national identity. The heritage material identified along the valley of Ceará Mirim defined its current spatial organization, setting the landscape. But we must conceive this landscape into two ways: first, as a material representation of social practices carried out in this space, where social, cultural, economic and environmental aspects have interacted to their training; as well as a landscape that carries a whole historical baggage which was built throughout the twentieth century
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O papel da tecnologia na produção contemporânea em artes cênicas vem influenciando profundamente as formas de recepção e produção de Teatro, Dança, espetáculos de Circo, shows musicais, entre outras manifestações espetaculares organizadas. Sua aplicação se estende amplamente a outras áreas que necessitam enfatizar o caráter cênico de seus processos de fruição como é o caso dos museus, feiras de ciências, exibições e mostras em artes visuais e o aparato tecnológico de luz, som e configuração espacial usados para estes fins. Neste sentido, o desenvolvimento deste tipo de tecnologia vem gerando e alimentando cadeias produtivas que movimentam uma economia da produção cultural e criam uma rede de relações articuladas em diferentes níveis de atuação, envolvendo produtores de equipamento, fornecedores, lighting designers, cenógrafos, profissionais de sonorização, arquitetos, técnicos de montagem e operação, instituições ensino especializadas, associações de área, entre outros. O foco deste trabalho se concentra em demonstrar como a análise de demandas de tecnologia cênica articuladas pelos sistemas de produção cultural, em particular na região Nordeste do Brasil, possibilitam compreender modelos de organização em curso, contribuindo para o desenvolvimento de uma reflexão multidisciplinar acerca dos processos de produção artística de natureza cênica e como esta produção é afetada pelos limites e possibilidades dos aspectos que caracterizam uma economia destas produções
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Pós-graduação em Artes - IA
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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Pós-graduação em Educação - IBRC
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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Pós-graduação em Música - IA