Efficiency and social inclusion: implications for the museum profession

In the late 1980s Stephen Weil (1990) raised the question of the extent to which museum work could be considered a profession, the extent to which it had been professionalized, and in what ways this professionalization was facilitated or impeded by the changing circumstances of museum work, its organizational and governance context and its already multiplying roles vis-à-vis public culture and society at large. Although Weil‘s thoughts were situated in the American museum context of the mid-1980s, many of his thoughts apply to contexts beyond the US, and some of the questions he raised about the potential for professionalising museum work still resonate with the current situation of museum work. This paper tries to pose and approach a host of questions that, whilst in the main echoing Stephen Weil‘s mid-1980s reflections, are reconfigured in light of some sweeping changes in the nature of museum work, its mode of governance and its governing norms and values.

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.

Museum Studies Borderlands: negotiating curriculum and competencies

Given ICTOP‘s work on revising the curriculum guide using the competencies approach (2000-2008), the author asks whether it is possible to reflect some of the issues and conceptual underpinnings that are at play in the discourse of museology/museum studies as a field of study and pedagogy when designing curriculum when taking the competencies approach. Until we address this question, ICTOP‘s work will have little relevance for the design of syllabi/curriculum by post-secondary institutions. This presentation lays out some of the professional issues underlying and the role for critical reflexive professionalism which can bridge theory and practice, competencies and epistemological knowledge and s how a way forward. Then it moves to address some of the territories where critical discussion is at work that would extend the curriculum discussions of ICTOP, while pointing to some developments that offer a museology of possibilities.

Response to Anwar Tlili‘s paper -Efficiency and social inclusion: implications for the museum profession

I have been asked to respond to Anwar Tlili‘s paper, and I propose to do this in four steps. I will follow Anwar‘s line of arguments closely. I will be dealing in turn withStep no. 1: Profession and ProfessionalizationStep no. 2: Social InclusionStep no. 3: ManagerialismStep no. 4: Museum Education and Training

The National Museum of Mongolia successful strategies and lessons learned

Enkhnaran will discuss issues for professional education raised by museums and tourism companies, which share similar objectives in the sense that each aim to provide their guests with quality information entertainment and a memorable experience. With limited budget capabilities, it is especially important for museums to co-operate with tourist companies in order to attract new and repeat visitors as well as generate important revenue.

Differentiation and coordination within a composite training policy providing efficient support namely to isolated museum professionals

In Portugal, namely in municipal museums, the reduced percentage of museum professionals that have a stable administrative position imposes a high degree of polyvalence allowing them to coordinate, often by themselves, the quotidian activities at the museum(s) they run.

Type specimens of G.E. Post in Beirut and The Natural History Museum, London

The Flora of Syria, Palestine and Sinai, a pioneer Flora of the region, was published in 1896 by George Edward Post (1838–1909). Lesser known are his series of Diagnoses plantarum novarum orientalium, published in the Journal of the Linnean Society Botany, and 10 papers, Plantae Postianae, which appeared in Swiss journals from 1890 to 1900. A greatly expanded second edition of the Flora was prepared by John Edward Dinsmore and published in Beirut in 1932 and 1933. Post's plant collection is part of the Post Herbarium (BEI), with about 63 000 specimens, that has been well maintained, despite civil war and inadequate staffing. This work involves the identification of around 150 types in BEI and BM, and improvement of the accessibility of the specimens. © 2009 The Linnean Society of London, Botanical Journal of the Linnean Society, 2009, 159, 315–321.

Museum robots: multi-robot systems for public exhibition

Mobile robots provide a versatile platform for research, however they can also provide an interesting educational platform for public exhibition at museums. In general museums require exhibits that are both eye catching and exciting to the public whilst requiring a minimum of maintenance time from museum technicians. In many cases it is simply not possible to continuously change batteries and some method of supplying continous power is required. A powered flooring system is described that is capable of providing power continuously to a group of robots. Three different museum exhibit applications are described. All three robot exhibits are of a similar basic design although the exhibits are very different in appearance and behaviour. The durability and versatility of the robots also makes them extremely good candidates for long duration experiments such as those required by evolutionary robotics.