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Provocative Papers / Documentos Provocativos
MUSEOLOGY AND HISTORYMartin R. Schaerer - SwitzerlandVicepresident of ICOMIt could be said, with tongue in cheek, that there are only historical museums. If wedefine the present as an extremely short period of time, museums really can only showthe past with objects from earlier times. And even an exhibition about – for example –future urban development can only be depicted using ideas and models fromyesterday. A town council debate simultaneously integrated into an exhibition or a newwork of art created at a private view might possibly be called borderline cases ofmusealization of the present. But these are extremely rare exceptions. This year’sICOFOM convention theme is therefore central to every museum and any museologicalconsideration.However, the theme is by no means as simple as one might surmise from thissomewhat provocatively trivial introduction. Starting from a few basic considerations, 1 Iwould like, in the following, to deal with the subject of “Museum/Museology and History”more theoretically than with reference to concrete historical exhibitions.Before getting down to history, the past, let me first make a few short comments on thepresent and the future.The present is everything that happens. The concept of “the present” – a constantlymoving entity – can be interpreted in very different ways. In a scientific sense, itcomprises a perceptual unit defined as lasting from two to three seconds.Philosophically it is the phase, indeterminate in length, between no-more and not-yet or(particularly in the non-linear-thinking eastern philosophies) one pole in the now/notnow duality. We wish to understand “the present” here with respect to the personwitnessing it in the psychological sense of a subjectively experienced unit of variableduration, as a moment of a given reality, as the duration of an experiential act, as thesimultaneous presence of perceptual contents, for example a meal, a visit to anexhibition, a theatrical performance, a morning with a like occupation, etc.By analogy, the future is everything that will happen. It is fundamentally unknown; it isunknowable. Scientifically speaking, one can only deal with present or past (perceptiblethrough the present) states of affairs concerning the future.A possible definition is "History as the present staging of past sets of circumstances",where “sets of circumstances” comprise ideas, happenings and things. According tothis, the past is everything that has ever happened anywhere. It is lost for ever; it canneither be known in its entirety nor ever be reconstructed.It is essential to remember that the past, here set on a par with history, does not existas such but can only be constituted with present thought processes and the methods ofhistorical science. A “reconstruction” is therefore fundamentally impossible. It istherefore always a matter only of approximations to a possible but never provable past– that is, a present staging of past sets of circumstances. This obviously applies to theindividual as well as to society. In the end, the same applies, for the view of history, foran object, of which we can only ever unambiguously prove its lack of authenticity, notits genuineness: “The historical reality, of which we can only ever say with certainty thatit has been, and perhaps how it has not been, but never, in the end, how it has been,exists in our heads thanks to our powers of imagination.” 2 In this connection, Flusser’sdistinction between two kinds of past is important: “Past is what we collect [what ismusealized] and to which we can have recourse under certain circumstances, our1I refer to my publication: Schärer, Martin R.: Die Ausstellung, Theorie und Exempel. Munich 2003(Wunderkammer 5), in particular pp. 15-17 und 88-95, which also contains many bibliographical details2 Heinisch, Severin:Ausstellungen als Institutionen (post-)historischer Erfahrung. In: Zeitgeschichte15(1987):337-342,34035
Page 1 and 2: ICOMInternational Council of Museum
Page 3 and 4: Contents/IndiceMuseology and Histor
Page 5 and 6: Garma, Estela y Sansoni, Andrés (A
Page 7: Heritage in process in a continent
Page 10 and 11: (Copenhagen/Denmark, 1655) 1 , the
Page 12 and 13: Exótica: diferentes clases de plan
Page 14 and 15: Conferences / Conferencias
Page 16 and 17: The fall of the Berlin Wall and the
Page 18 and 19: of migrants from southern regions t
Page 20: work together as public historians
Page 23 and 24: History gets mythologized not just
Page 25 and 26: eunificación alemana no implicaron
Page 27 and 28: través del saber histórico. Esto
Page 29 and 30: El individualismo como un elemento
Page 31 and 32: La exposición ofreció (en una for
Page 33: 4. Hans-Martin Hinz, Museums - Cult
Page 37 and 38: about the past. The fact that any h
Page 39 and 40: That year, the Swiss Confederation
Page 41 and 42: ha sido-, existe en nuestras mentes
Page 43 and 44: las cosas. El museo, por necesidad,
Page 45 and 46: Mucho se ha dicho sobre el rol de l
Page 47 and 48: eine Vergegenwärtigung vergangener
Page 49 and 50: einfachsten ist), ferner bei Führu
Page 51 and 52: deren Reduktion auf einige "schöne
Page 53 and 54: Nada mais natural, portanto, que o
Page 55 and 56: estabelecidos. Mas isto não signif
Page 57 and 58: entre Diferentes. E o que importa a
Page 59 and 60: pelo menos buscar integrar o presen
Page 61 and 62: fundamente en la oralidad - han per
Page 63 and 64: socialmente, por medio de mecanismo
Page 65 and 66: ordenado, donde las identidades dej
Page 67 and 68: para construir sus discursos, promu
Page 69 and 70: have remained, for centuries, as an
Page 71 and 72: and present, of asynchrony and sync
Page 73 and 74: That is, to recreate order and meth
Page 75 and 76: time, museums must try to present,
Page 77 and 78: historia representada en objetos mu
Page 79 and 80: segundo, contamos con dos ejemplos
Page 81 and 82: El aburrimiento museográfico no qu
Page 83 and 84: simbólicas con las que esos objeto
Page 85 and 86:
powerful effect of the symbolic uni
Page 87 and 88:
Sans doute est-ce justement au nive
Page 89 and 90:
apparaît, aux yeux de l’historie
Page 91 and 92:
avec la notion de patrimoine. A bie
Page 93 and 94:
aussi évident que ces perspectives
Page 95 and 96:
museales. Lo esencial parece consis
Page 97 and 98:
y propuesto por el ICOFOM después
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descansaba, sin embargo, en una ló
Page 101 and 102:
Contrariamente a la lectura de los
Page 103 and 104:
MUSEU E MUSEOLOGÍA: ITINERÁRIOS E
Page 105 and 106:
A História que constituiu ponto de
Page 107 and 108:
Uma idéia percorre as instituiçõ
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intercambiar métodos, técnica e i
Page 111 and 112:
HISTORIA, MUSEOLOGÍA Y EL DONLucí
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observando lo que acontece en la pr
Page 115 and 116:
Si ce n’est qu’en Méditerrané
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On peut deviner, dans la salle d’
Page 119 and 120:
Mais une tradition historiographiqu
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Des travaux récents le font proven
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Je persiste à citer les propos de
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âtiment reconverti et ses équipem
Page 127 and 128:
cotton», on ne voit pas que cette
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Genève et autres lieux, juin-août
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En ce qui concerne les musealia exp
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escenario, sino que se construye en
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herencia que ha sido sustraída de
Page 137 and 138:
como la pluma que permite escribir
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la posibilidad de relacionar los co
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LA VIRTUALIDAD A LAS PUERTAS DEL SI
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Breves consideraciones:Por ser la E
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valor de la teoría y la reflexión
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Ahora bien, cabría preguntarnos aq
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como espacio introductorio, ya que
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UN ¿NUEVO? PARADIGMA EN LOS MUSEOS
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IntroducciónEl mundo generado por
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Pensamos que esta tarea debe ser un
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CARRETERO, Mario. VOSS, James F.(co
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Neustúpný foi um dos primeiros a
Page 161 and 162:
Influência do ICOFOMNo desenvolvim
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ainda os que praticam tais ensiname
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LE MUSÉE, LE PASSÉ ET L’HISTOIR
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1882 - 1883 Musée du Petit Sémina
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éapprendre « les leçons du pass
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musée, daté du 20 octobre 1982, e
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destiné à recevoir les restes de
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MUSEOLOGÍA E HISTORIA. UN ACERCAMI
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Existía la conciencia entre el gru
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aquellos sucesos o acontecimientos
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culturales, turísticos y económic
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estos del pasado pero esos mismos r
Page 185 and 186:
distintas realidades. La subcultura
Page 187 and 188:
de los testigos se hacían, con fre
Page 189 and 190:
MUSEUMS AND TOURISM: THE STUDY OFTH
Page 191 and 192:
igreja, um grande esforço de organ
Page 193 and 194:
O Museu histórico Abílio Barreto
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ecebendo uma grande demanda de visi
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THE ITALIAN CONTEMPORARY MUSEOLOGIC
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experts of “Art” any more, but
Page 201 and 202:
THE VISITOR AS A SUBJECT OF THE EXP
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presence of the public in museums i
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os vínculos só são possíveis co
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JANINI, Rubens José Macuco. Novas
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Los cambios recientes del concepto
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cuales sus experiencias biográfica
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ºLa relectura de las fuentes hist
Page 215 and 216:
of the limit to the human behavior.
Page 217 and 218:
j) un espacio que (im)posibilita el
Page 219 and 220:
hablar de “personas”. Y son jus
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comunes entre las personas que trab
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1. Ética y lealtad con los subalte
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Una posible respuesta la buscaremos
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SAN DIONISIO OCOTEPEC, OAXACA: ¿MU
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uniones de campesinos y asociacione
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fundación especial o un fideicomis
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en la reconstrucción de escenarios
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Durante la “post modernidad” la
Page 237 and 238:
El Museo, a través de las miradas
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(IM)POSTURAS MUSEOLÓGICASLO POLÍT
Page 241 and 242:
MUSEO, PATRIMONIO Y LEGITIMACIÓNEs
Page 243 and 244:
El ejemplo mencionado de los museos
Page 245 and 246:
Bibliografía- COROMINAS, J.: Breve
Page 247 and 248:
Le provocative paper de Martin Sch
Page 249 and 250:
Acquisition par rétention, ensuite
Page 251 and 252:
intéressantes parce qu’elles ill
Page 253 and 254:
auraient donné de l’importance
Page 255 and 256:
1 En tous cas les rapports annuels,
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presentación completadas con eleme
Page 259 and 260:
Mientras el material cultural tiend
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ayude al visitante a aprehender el
Page 263 and 264:
como el diseño. Mientras los educa
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7. HINDLE, Brooke.. Invention and E
Page 267 and 268:
des générations d’avant la Gran
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Il n’y a pas de « chaînon manqu
Page 271 and 272:
pour qu’il puisse en comprendre l
Page 273 and 274:
histoire s’inscrit désormais dav
Page 275 and 276:
por lo cual se constituyó una comi
Page 277 and 278:
En cada uno de estos casos se inten
Page 279 and 280:
comprender porqué no se manipulan
Page 281 and 282:
Promover al Museo Mitre como un esp
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HACIA UNA NUEVA REPRESENTACIÓN DE
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identitario del modo de ser actual.
Page 287 and 288:
a history and singular circumstance
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THE MUSEUM IS NOT TRANSPARENT: ENGA
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collector who is called “the eye
Page 293 and 294:
At the entrance to the exhibition t
Page 295 and 296:
the outcome is to show that the mus
Page 297 and 298:
EL DISCURSO MUSEOLÓGICO Y LA INTER
Page 299 and 300:
su proceso de maduración y desarro
Page 301 and 302:
dispuesta a crear sus propios relat
Page 303 and 304:
Cada vez que un museo acoge dentro
Page 305 and 306:
en los espacios donde tienen lugar
Page 307 and 308:
will use to show our museum narrati
Page 309 and 310:
message capable of recovering the m
Page 311 and 312:
as expressions of universes and cul
Page 313 and 314:
LA BÚSQUEDA DE LA IDENTIDAD DE LOS
Page 315 and 316:
Ética de los Museos HistóricosDe
Page 317 and 318:
De hecho los objetos son elementos
Page 319 and 320:
THE ETHICS OF MUSEUMS, THE CASE OF
Page 321 and 322:
atualmente, que reinterpretou o con
Page 323 and 324:
noção do território urbano e do
Page 325 and 326:
diversas tipologias de fenômenos d
Page 327 and 328:
MUSEOLOGY AND HISTORY: A LOCAL PERS
Page 329 and 330:
collage referencing “Fairview: A
Page 331 and 332:
other side of the equation, there w
Page 333 and 334:
The reality from which an object is
Page 335 and 336:
elation to the angle and place of o
Page 337 and 338:
Maroevic, I. (1993) Uvod u muzeolog
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nuevas perspectivas de acercamiento
Page 341 and 342:
documento. De ahí la dificultad qu
Page 343 and 344:
Cada visitante llega al museo con e
Page 345 and 346:
sin haberlo pensado con claridad. (
Page 347 and 348:
MIRROR, WINDOW OR SHOWCASE?THE MUSE
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UN MIROIR, UNE FENÊTRE OU UNE VITR
Page 351 and 352:
Un musée doit nécessairement comb
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OXÍMORON LAB. IV TH AND PTOLOMEO I
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Pero, si analizamos este proceso hi
Page 357 and 358:
obtenía pingües ganancias, por un
Page 359 and 360:
Pierre Bourdieu construye en relaci
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FALANDO DE CONHECIMENTO, MUSEUS EDE
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para a organização do Estado emer
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MUSEOS NACIONALES Y REPRESENTACIÓN
Page 367 and 368:
Los museos nacionales en América L
Page 369 and 370:
Al apropiarse de la cultura los mus
Page 371 and 372:
elaboradas; tales patrones ayudará
Page 373 and 374:
de la historia de los pueblos preco
Page 375 and 376:
Por que el hecho de denominarse por
Page 377 and 378:
Por un lado, la pulcra vitrina posi
Page 379 and 380:
Al comprender lo patrimonial como u
Page 381 and 382:
como ciencia social que estudia la
Page 383 and 384:
imagen del fenómeno documental mus
Page 385 and 386:
The aim of the presentation is to g
Page 387 and 388:
collection. The museum became the g
Page 389 and 390:
¿Solamente a partir de los pionero
Page 391 and 392:
- contribuir a definir la identidad
Page 393 and 394:
MUSEOS, HISTORIA, IMÁGENES, MÚSIC
Page 395 and 396:
Estas son necesarias en un texto hi
Page 397 and 398:
indígenas. De este modo, brindaban
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especialmente en los museos de antr
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403530252015105015141210108963 42 3
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LOS MUSEOS HISTÓRICOS: VELOS Y DES
Page 405 and 406:
son hechos neutros, todo está guia
Page 407 and 408:
otros” los que confirman la ident
Page 409 and 410:
ResumenHablar sobre museología e h
Page 411 and 412:
procedimientos, su trabajo de pesqu
Page 413 and 414:
simbólica, debían ofrecerse para
Page 415 and 416:
de los padres de la Compañía. Lib
Page 417 and 418:
Rodriguez Aguilar, María Inés, Ru
Page 419 and 420:
s´institue en tribunal. « Quand o
Page 421 and 422:
symbolique devaient s´offrir pour
Page 423 and 424:
de la Grande Librairie des Jésuite
Page 425 and 426:
MUSEALIZACIÓN DE LA HISTORIA MILIT
Page 427 and 428:
Hasta el día de hoy, no están cla
Page 429 and 430:
(Chile, 1973-1998) por Steve Stern,
Page 431 and 432:
pueblo, la participación humana lo
Page 433 and 434:
comunicación, sino que se debe ana
Page 435 and 436:
educando, promoviendo a la investig
Page 437 and 438:
Sino guiándolos hacia un concepto
Page 439 and 440:
MUSEO Y MUSEOLOGÍA, UNA PROPUESTAA
Page 441 and 442:
centrándose en la idea de que su o
Page 443 and 444:
Su “objeto material” 8 es el pa
Page 445 and 446:
LOS CASOS DE CURARREHUE Y SAN PEDRO
Page 447 and 448:
investigación. En este proceso de
Page 449 and 450:
arqueología. Para qué hablar de l
Page 451 and 452:
Todo lo anterior se ha ido implemen
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trazando las formas de proceder en
Page 455 and 456:
leading to misinterpretation and de
Page 457 and 458:
HERITAGE IN PROCESS IN A CONTINENT
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Esta é a base para o desenvolvimen
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que nos transporta de forma poderos
Page 463 and 464:
Mas que instrumento seria eficaz pa
Page 465 and 466:
CEMENTERIOS PATRIMONIALES, BIENES D
Page 467 and 468:
todo el paso del hombre. La protecc
Page 469 and 470:
heroicos, en los restos de los muse
Page 471 and 472:
FASCINATING HISTORICAL EVENTS OF TH
Page 473 and 474:
were thought not good enough to be
Page 475 and 476:
other rooms were needed for the Nat
Page 477 and 478:
that the budget was very tight. We
Page 479 and 480:
(Asmar, 1997: 3). Lebanon finally r
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-Arch. M. AE Série E Levant 1918-1
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Todavía son bastante recientes, so
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El mensaje es claro: los conflictos
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GARCÍA CANCLINI, Néstor. Culturas
Page 489 and 490:
ce changement muséologique au sein
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Les s fonctions institutionnelles c
Page 493 and 494:
faire l’étude. En peu de temps,
Page 495 and 496:
des visiteurs au cœur d’une vill
Page 497 and 498:
BibliographieArchitecture Intérieu
Page 499 and 500:
Por lo tanto, la relación entre Mu
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