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experts of “Art” any more, but to students and scholars» 6 . On the contrary, a museum’stask should be to translate the language of specialized learning «into ways ofcommunication and perception that meet the public’s imagination and competence» 7 ,while maintaining the strength and depth typical of the academic world. The basic ideais that it is necessary to refer to a mixed mass audience. To that end, Clemente chosethe notion of unitary setting by which the museum becomes a stage, the place oflearning and of mass communication, where the message is not intellectually isolatedbut is received as a complete perceptive experience 8 . The unitary setting should takeits various aspects into account: the whole museum setting, with its tangible andintangible exhibits, the dialogue among them, panels, screens, and even the territorywhere the museum is located. Through such a museum experience, the visitor caneven reinterpret evidences of the living heritage, so that the museum becomes a factfindingguide of it 9 .The communicative relationship that develops between museum and visitor within themuseum system described by Clemente, should reach both the local and the“unknown” visitor, who is usually an outsider to the local cultural context of themuseum. Both will find their dialogic dimension in the museum messages. In particular,the local visitor will be able to establish an «interactive relation with such a museumthat accepts and fosters his informative and constructive potential (bringingphotographs, objects, giving information)» 10 . The museum defined by Clemente, shouldbe based on a wide and non coercive leading idea like the plot of an extemporary play,open to the dialogue and to the integrations of visitors 11 . This idea opposes a staticconcept of museum, as an improper place to represent the dynamic aspect of livingculture, and prompts the active participation and involvement of the population in themuseum, towards a wide understanding and vital sharing of their cultural heritage.ReferencesAlberto Mario Cirese, Cultura egemonica e culture subalterne, Palombo, Palermo 1971.Alberto Mario Cirese, Oggetti segni musei. Sulle tradizioni contadine, Einaudi, Torino 1977.Pietro Clemente, I musei: appunti su musei e mostre a partire dalle esperienze degli studi demologici in LaStoria fonti orali nella scuola, (Atti del convegno “L’insegnamento dell’antifascismo e della Resistenza:didattica e fonti orali”, Venezia 12-15 febbraio 1981), Marsilio Editori, Venezia 1981, pp.141-155.Pietro Clemente, “Museografia, estetica, comunicazione”, Nuove Effemeridi, IV, n.8, 1989, pp.97-102.Pietro Clemente, Graffiti di Museografia Antropologica Italiana, Protagon, Siena 1996.Pietro Clemente, Emanuela Rossi, Il terzo principio della museografia: antropologia, contadini, Carocci,Roma 1999.Roberta Tucci, “Etnomusicologia e museo”, La Ricerca Folklorica, XX, n.39, 1999, pp.125-130.Vincenzo Padiglione, Chi mai aveva visto niente. Il Novecento, una comunità, molti racconti, EdizioniKappa, Roma 2001.6 Id., Graffiti di museografia…cit., p.137. Since its beginnings this museographic rationalism is in contrastwith conceptions of museum-collection, that gather objects without any specific norms or rules, lettingprevail the aesthetic dimension of artefacts. Instead, the rationalist conception, referring to the principlesof Enlightment pedagogy, claimed «the dissemination of scientific knowledge by introducing audience toits concepts and conventions» (ibid., p.134). The rationalist museum of Cirese become the place of the“perspicuous representation” theorized by the philosopher Ludwing Wittgenstein, insofar as in its contextit is possible “to understand” catching nexuses more than “demonstrate” going back to the origins (cfr.Ludwig Wittgenstein, Bemerkungen über die Philosophie der Psychologie, Basil Blakwell, Oxford 1980).Cfr. Pietro Clemente, Graffiti di museografia…, cit., p.137.7 Pietro Clemente, Graffiti di museografia…, cit., p.139. Clemente then underlines the fact that «themuseum product is hence a TRANSLATED language, not a direct communication of scientificconventions. And its basic specification is that its communication must be above all non verbal, nonverbose, and not essayistic-scriptural».8 Ibid., p.142. In order to deepen the concept of unitary setting, cfr. Pietro Clemente, Graffiti dimuseografia…, cit., pp. 113-128 e 142-145; Id., “Museografia, estetica, comunicazione”, NuoveEffemeridi, IV, n.8, 1989, pp.97-102, and in Graffiti di museografia…, cit., pp.147-164.9 Pietro Clemente, Graffiti di museografia…, cit., p.116.10 Ibid., p.114.11 Ibid., p.117.199