Museum Management

La ricerca “25 anni al museo – Come Abbonamento Musei ha sostenuto i consumi culturali in Piemonte, Lombardia, e Valle d’Aosta dal 1998 ad oggi” si è occupata di analizzare l’andamento dei consumi culturali e l’impatto dell’Abbonamento Musei, evidenziando l’impatto positivo di questo strumento nello stimolare il numero di accessi agli istituti di cultura e alle mostre aderenti.

Secondo la studio, lo strumento promosso da AM ha stimolato il numero di accessi, apportando ai musei un volume di introiti aggiuntivi – nell’ultimo anno, rispetto a un sistema senza abbonamento – di oltre 920 mila euro in Piemonte e 398 mila euro in Lombardia. L’impatto di Abbonamento Musei sulla domanda di mostre e musei è più evidente in Piemonte, dove l’Associazione opera fin dalla nascita. Infatti, secondo le rilevazioni dell’Istat, i consumi culturali dei piemontesi si attestano sotto la media nazionale, all’ultimo posto tra le regioni del Nord-Ovest, motivati anche da un basso livello di scolarizzazione; al contempo però, il dato relativo ai soli consumi museali risulta opposto: in questa singola categoria culturale, il Piemonte mostra una costante propensione a posizionarsi tra le prime regioni in Italia per numero di visitatori “forti”.
Introdotto a Torino nel 1995, il pass di Abbonamento Musei consente per un anno l’accesso ai musei afferenti al circuito, che comprende più di 480 realtà in Piemonte, Lombardia e Valle d’Aosta tra musei, gallerie d’arte, castelli, regge, orti botanici, dimore storiche, luoghi di culto. L’Associazione inoltre vanta un database di oltre 337.000 appassionati di cultura, una preziosa risorsa per promuovere mostre e musei in modo efficace e connettere gli abbonati. Con un tasso di apertura delle newsletter del 34,01%, superiore alla media del settore, AM quindi ha la capacità di raggiungere un pubblico attento e interessato all’offerta culturale.

The tourism industry is one that supports the economy of a country. In establishing sustainable synergies in the tourism industry, museums are one of the attractions that can support the tourism industry. To maintain the existence of the museum, marketer generated content is one way to achieve the success of the museum in attracting visitors. The use of the internet that is increasingly accessible, this affects changes in the intensity pattern of visiting a place. This study describes the role of marketer generated content in perceived information quality and perceived customer services from the National Museum and Bank Indonesia Museum. Using Structural Equation Modeling (SEM) with a total of 168 respondents resulted in marketer generatedcontent capable of influencing the perceived information quality and perceived customer service. The perceived information quality is also able to affect the wishes of visitors. However, perceived customer services does not affect to visit intention. The findings of this study are able to contribute to the museum management so that they pay attention to the content that is created in order to influence the intention to visit.

Not to be cited.
Translated by Annissa Maulina Gultom in 2025 from Buku 3:  Penyajian Koleksi, Modul Bimbingan Teknis Bidang Permuseuman Tingkat Dasar, Direktorat Pelestarian Cagar Budaya dan Permuseuman, Direktorat Jendral Kenudayaan, Kementrian Pendidikan dan Kebudayaan, Jakarta 2012. Download from here: https://repositori.kemdikbud.go.id/29542/1/BUKU%203%20PENYAJIAN%20KOLEKSI.PDF

How do cities engage in diplomacy? Existing theory, which is typically based on the study of big cities, notes that cities usually act in global politics by forming networks and coalitions with other cities and NGOs, leveraging their positions as the gateways to globalization, and by fulfilling useful niches based on their unique histories, geographies, and expertise. This article will examine current theories of city diplomacy and aspects of International Relations (IR) theory through an examination of the case of Nagasaki’s city diplomacy. We propose further study of Nagasaki’s city diplomacy by examining activities such as the Mayors for Peace organization, Nagasaki’s domestic public diplomacy, and sister city relations.

Objectives: This study explores sustainable tourism practices in living museum management, focusing on strategies that enhance visitor engagement while ensuring heritage preservation and contributing to sustainable development. It aims to identify key sustainability practices, their implementation, and outcomes, balancing visitor experience and cultural conservation.

Methodology: A meta-synthesis systematic review was conducted on empirical studies related to sustainable tourism in living museums. The analysis incorporated highly reputable, peer-reviewed literature to identify patterns, best practices, strategies, and challenges in sustainability, particularly regarding environmental, cultural, and economic dimensions of living museum management.

Finding: This study reveals that living museums effectively engage visitors through immersive experiences while advancing sustainable tourism. Key strategies include collaboration with local communities, cultural asset preservation, and environmentally responsible practices to minimise ecological impacts. Furthermore, a holistic approach integrating environmental, cultural, and economic sustainability strategies enhances their roles as heritage custodians and strengthens local development.

Conclusion: Living museums provide immersive cultural experiences while balancing heritage conservation and visitor engagement. Their commitment to sustainability, through cultural preservation, ecological responsibility, and economic viability, ensures long-term resilience and meaningful community participation. By integrating comprehensive strategies, these institutions reinforce their role as protectors of heritage and catalysts for sustainable regional development.

O artigo realiza um relato de experiência das atividades de apoio ao salvamento de acervos museais e arquivísticos alagados na cidade de Porto Alegre em 2024, que foram realizadas por estudantes extensionistas vinculados a três projetos de Extensão do Departamento de História do Instituto de Filosofia e Ciências Humanas da Universidade Federal do Rio Grande do Sul. Relata o apoio às ações coordenadas pelo Arquivo Público do Estado do Rio Grande do Sul no que se refere aos acervos arquivísticos, bem como a colaboração nas medidas iniciais de proteção ao acervo arqueológico sob guarda do Museu de Porto Alegre Joaquim Felizardo, vinculado à Secretaria Municipal da Cultura de Porto
Alegre. O artigo propõe breves comentários sobre as relações entre ameaças climáticas e preservação de acervos culturais, além de refletir sobre a experiência prática da atividade extensionista nas instituições
em contexto de crise.

Conceptual Photography Work Ideas. Traditional games have begun to be forgotten by children. Childhood is a momentum that does not escape the excitement and the developing process where what is gained when a child is very influential to become a better person. The presence of electronic games outperforms children's interest in playing games that make children prefer modern games rather than traditional games. This is the formulation of the problem, namely how to develop an idea and visualize the conceptual photography artwork that raises the theme of traditional children's games in g Naga Village with the aim of introducing hope for early childhood children who have been influenced by modern games. The author has the idea to create two-dimensional works with the type of conceptual photography to visualize activities that are commonly done by children in the past. Folk game is a learning medium that can help in the process of child development both in terms of child cognition. Works made from observations in order to get the correct data about traditional games then pour into ideas. Make a property, look for a model, determine the setting where to work and edit the image, so that it becomes a communicative art work of photography and has new innovations by printing photos in wood media with 75 X 50 cm in size as many as five works. Some of these processes are a challenge for the author to reintroduce children about traditional games through appreciation of this work.

Repositórios  digitais  são  fundamentais  na  museologia  contemporânea,  pois  ampliam  o  alcance  e  a  interatividade  do  público  com  as  coleções,  transcendendo  as  limitações  físicas  e temporais dos espaços museológicos tradi-cionais. O artigo aborda a importância da di-gitalização de acervos em museus, focando no estudo  de  caso  do  Instituto  Evandro  Chagas  em  parceria  com  o  curso  de  museologia  da  Universidade  Federal  do  Pará.  O  objetivo  é  explorar o processo inicial de digitalização da coleção, destacando desafios e a importância do  trabalho,  com  ênfase  em  três  metadados  específicos. A  metodologia  integra  pesquisa bibliográfica  e  análise  qualitativa,  incluindo entrevistas  com  profissionais  envolvidos  no processo. Os resultados revelam as vantagens da digitalização para a acessibilidade e gestão de  coleções,  especialmente  em  contextos  de  acesso físico limitado.  A conclusão ressalta a relevância da digitalização para a comunicação e gestão museológica, oferecendo um modelo para instituições com desafios semelhantes.

ASHRAE's indoor climate design classes for general museums, galleries, archives and libraries are well known: AA (most strict), A, B, C and D (least strict). Museum staff often select class AA, presuming to gain the best overall preservation result that is possible. However, the exact consequences on the energy demand are unknown and therefore barely taken into account when selecting a class. This study quantifies the energy demand of four museum zones with different quality of envelopes (ranging from historical to state-of-the-art museum envelopes), conditioned according to ASHRAE's climate classes. The lower and upper limits of indoor temperature and relative humidity, and the resulting energy demand are determined using building simulations. The conclusions: (i) conditioning according to class B significantly saves energy compared to class A, while class B is still considered as precision control and protects most artefacts; (ii) moving down one class, e.g. from class AA to A, saves relatively more energy for a state-of-the-art building than for a historical building; (iii) Subclasses A d (larger daily fluctuations) and A s (seasonal adjustments, but smaller daily fluctuations) pose the same risk on the collection, but subclass A d requires less humidification and dehumidification than A s , so larger daily fluctuations may be preferred above seasonal adjustments.

Günümüzde fiziksel ürünlerin ötesinde, onunla birlikte verilen hizmet ve kullanıcının bu hizmetle birlikte yaşadığı deneyim önem kazanmakta, dolaysıyla kullanıcı odaklı tasarım anlayışı ön plana çıkmaktadır. Bu gelişmelere bağlı olarak ‘kullanıcı deneyimi tasarımı’ kavramının gündeme geldiği görülmektedir. Bu, kullanıcının ürün veya hizmetle etkileşime girdiği süreçte elde edilen verilerden yola çıkarak tasarımı daha iyi bir noktaya getirmede kullanılan bir yöntemdir. Kullanıcının hissettikleri, ihtiyaçları ve yönelimi merkeze alınarak, daha verimli bir tasarım yapma ve kullanıcının deneyimini geliştirme çabasını barındırmaktadır.
Etkileşim tasarımı, ara yüz tasarımı, bilgi tasarımı, iletişim tasarımı gibi pek çok konuyu içeren kullanıcı deneyimi tasarımının, bilgi iletişim teknolojileri alanında yaygın olarak kullanıldığı görülse de aslında kullanıcının olduğu her alanı kapsamaktadır. Özellikle mekân ile kullanıcı arasındaki etkileşimin yoğun olduğu, sanat, kültür ve bilim yapıtlarının toplumlara ulaştırıldığı sergi mekanlarında kullanıcı deneyimi önem kazanmaktadır. Bu çalışmada sergi mekanlarında kullanılan yönlendirme tasarımlarının kullanıcılar üzerindeki deneyimi araştırılmış ve IV. İstanbul Tasarım Bienali (2018) örneği üzerinden incelenmiştir.
Sergiler, geçici olarak tasarlanan mekânlardır. Bu alanlar, yapıtların değişen içeriği ve konusuna bağlı olarak her seferinde yeniden tasarlanmaktadır. Ziyaretçi aynı alan içerisine girse de, farklı yerleşim ve sergileme biçimleriyle karşılaşmakta; renk, doku, mekân organizasyonu ve benzeri unsurlarla her seferinde yeniden tanışarak mekânı keşfetmektedir. Ziyaretçilerde karmaşaya ortam hazırlayan bu durum, yapıtın kendisini tasarlanan biçimde ifade edememesine de neden olabilmektedir. Dolayısıyla, sergi alanlarında başarılı ve kullanıcı odaklı bir yönlendirme tasarımı gereksinimi ortaya çıkmaktadır. Ziyaretçinin sergi alanında bulunduğu süreçte mekân ile arasındaki iletişimi sağlayan önemli bileşenlerden birisi yönlendirme tasarımıdır. Yönlendirme tasarımı, sergilerde ziyaretçilere rehberlik ederek yapıtların istenilen ve planlanan etkiyi yaratabilmesini ve doğru bir etkileşim oluşturulabilmesini sağlamaktadır. Etkinlik süresince ziyaretçiyle sürekli iletişim halinde olan gizli bir elaman olarak, sergilenen işlerin ve temanın anlaşılabilirliğini, okunabilirliğini ve verilmek istenen mesajı etkileme gücüne sahiptir.
Kullanıcı deneyiminin araştırıldığı bu çalışma kapsamında, bienal süresince sergilenen işleri gezen ziyaretçiler gözlenerek yönlendirme elemanları üzerinden mekanla etkileşimleri incelenmiş, inceleme sonucunda tasarımcının öngördüğü veya dikkate almadığı, tasarımla örtüşmeyen ziyaretçi yönelim vedavranışları keşfedilmeye çalışılmıştır. Bu bulgular sonucunda elde edilen verilerin sergi tasarımı alanında yapılacak yeni çalışmalara ışık tutacak bir kaynak oluşturması amaçlanmıştır.

RESUMO
Objetivo: Este estudo tem como objetivo analisar as estratégias de acessibilidade implementadas pelo Museu de Arqueologia Regional (MAR), evidenciando como essas ações podem ampliar o acesso ao patrimônio cultural e servir como modelo para outras instituições. Busca-se demonstrar a relevância de práticas inclusivas na promoção da equidade e na valorização da diversidade cultural.
Metodologia: A pesquisa adota uma abordagem qualitativa, de natureza exploratória e descritiva, utilizando o método dedutivo. Os dados foram coletados por meio de revisão bibliográfica, análise documental e experimentação, com foco em materiais institucionais, relatórios de projetos, publicações acadêmicas relacionadas às iniciativas do MAR, bem como a implementação de adequações às ações realizadas. A análise foi conduzida com base em abordagens interpretativas, considerando as dimensões físicas, sociais e simbólicas do patrimônio cultural.
Originalidade/relevância: Este trabalho aborda um gap teórico importante ao explorar como práticas acessíveis podem ser integradas à gestão cultural. A temática é relevante no campo acadêmico por articular acessibilidade, inclusão e patrimônio cultural, oferecendo uma análise prática e inovadora por meio do estudo de caso do MAR.
Resultados: Os resultados indicam que as iniciativas do MAR, como exposições táteis, oficinas adaptadas e treinamentos de equipes, ampliaram significativamente o acesso ao patrimônio cultural e promoveram a inclusão de públicos historicamente marginalizados. Essas ações demonstram como a acessibilidade pode ser integrada de forma eficaz à gestão cultural, fortalecendo o impacto social das instituições.
Contribuições teóricas/metodológicas: O estudo contribui ao demonstrar a viabilidade de práticas acessíveis e sua replicabilidade em diferentes contextos. Além disso, reforça a importância da inclusão como um eixo central na gestão de espaços culturais, ampliando a compreensão teórica sobre a relação entre acessibilidade e patrimônio cultural.
Contribuições sociais e ambientais: As ações analisadas no MAR promovem inclusão social ao democratizar o acesso à cultura, fortalecendo os laços comunitários e valorizando a diversidade. Adicionalmente, destacam-se os benefícios para a preservação do patrimônio cultural como um recurso sustentável e acessível para gerações futuras.
PALAVRAS-CHAVE: Acessibilidade cultural. Inclusão social. Gestão do patrimônio.

21. yüzyılda insanüstü hız ve toplumsal yaşama etkileri, kısa sürede büyüyen ve değişe yerleşimler, kent mimarisinin ömrünü kısaltmakta, beraberinde kent kimliği, kültürü ve tarihi bu hıza ayak uyduramayıp zarar görmektedir. Mimarlık eğitimi bağlamında öğrenciler, yaşadıkları kentlerin kimliğini, kültürünü ve tarihini şekillendiren mimari ögeleri ne ölçüde biliyorlar sorusu bu araştırmanın çıkış noktasını oluşturmuştur. Müzelerin değişen ve yenilenen işlevleriyle mimarlık eğitimi süreçlerinde etkili öğrenme alanları oldukları bilgisiyle Ankara özelinde gerçekleştirilen bu çalışmada, mimarlık eğitimi veren öğretim elemanları ve öğrencilerle gerçekleştirilen uygulama ve görüşmelerden elde edilen veriler, mimarlık
eğitimine başladıklarında öğrencilerin, yaşadıkları kentin mimarlık tarihine ilişkin çok az bilgiye sahip oldukları yönündedir. Önerilen eğitim çalışmasında Ankara’da eğitim gören mimarlık öğrencilerinin mekânları deneyimleyerek, üreterek ve paylaşarak, yaşadıkları kentin tarihini zengin bir içerikle tanımaları sağlanırken; beraberinde mimarlık eğitimlerinin müze eğitimi ölçütleri ve yöntemleri ile desteklenmesi ve bu yolla, öğrencilerin kentlilik bilinçlerinin geliştirilmesi amaç edinilmiştir. Bu doğrultuda kent tarihi ile ilgili derslerin içerik ve kazanımları incelenerek mimarlık öğrencileri için hazırlanan müze eğitimi paketinin uygulama bulguları; öğrencilerin müze eğitimi etkinliklerine gönüllü olarak katıldıklarını, aktif rol aldıklarını ve bilgilendiklerini, memnuniyetlerini ve müze eğitimine tekrar katılma isteklerini ifade ederek eğitimi tamamladıklarını göstermiştir. Bu araştırmada mimarlık fakültelerinde okutulan kentlerin mimarlık tarihine ve kente dair derslerin örgün eğitim programındaki içeriklerinin güncellenebileceği, mimarlık eğitiminin okul dışı faaliyetleri kapsamında müze eğitimi çalışmaları ile desteklenebileceği, her kentte benzer yeni
araştırmalar ve uygulamalar yapılabileceği sonucuna varılmıştır.
Anahtar Kelimeler: Müze eğitimi, okul dışı öğrenme, mimarlık eğitimi, kent tarihi, Ankara

In the 21st century, superhuman speed and its effects on social life, settlements growing fast and changing in a short time shorten the life of urban architecture, and urban identity, culture,
and history cannot keep up with this speed and are damaged. In the context of architectural education, the question of "to what extent architectural students know about the architectural elements that shape the identity and history of the cities they live in" is the starting point of
this research. With the awareness that museums are effective learning areas in architectural education processes with their changing and renewed functions, this study was conducted specifically in Ankara. The data obtained from the applications and interviews conducted with
the faculty members and students who teach architecture education indicate that students have quite limited knowledge about the architectural history of the city they live in when they start their architectural education. In the proposed educational study, architecture students studying in Ankara are enabled to get to know the history of the city they live in with rich content by experiencing, producing, and sharing the spaces; The aim is to support architectural education with museum education criteria and methods and, in this way, to develop students' urban awareness. In this regard, the application findings of the museum
education package prepared for architecture students by examining the content and achievements of courses related to urban history show that: Students participated in museum education activities voluntarily, took an active role, and were informed. They expressed their desire to participate in museum education again. Consequently, it has been concluded that the contents of the courses related to cities and their architectural history in the formal education program can be supported by museum education within the scope of the informal activities of architectural education. Similar new research and applications can be applied in each city.
Keywords: Museum education, informal education, architectural education, urban history, Ankara city

There is a tendency in Romanian historiography that neglects the political context of the postwar era, especially when it comes to legislative framework of the organization and functioning of museums during communism. In Romanian historical writing many times there was a confusion between legal norm and museum practice. Certain (apparently generous) legal provisions regarding the record of cultural objects and the administration of artistic heritage were taken for granted, ignoring the international legislation and museum practice. In this article I tried to highlight the abovementioned obvious contrast in Romania in the first postwar years by referring to the 1948 correspondence of Bucharestbased communist authorities with the International Council of Museums (ICOM). The diplomatic correspondence clearly shows the lagging behind of the newly established Soviet type Romanian People's Republic at that time, that is the period between 1946 and 1948. The questionnaire filled with important information, sent to ICOM by the Romanian governmental officials probably at the end of May 1948, is an extremely relevant document, because it also represents a significant first balance sheet moment of the first postwar years in the museum field. It was an opportunity to follow what the communist authorities have achieved in this cultural sector and what criteria they used in order to classify museums and art collections. I was interested too in how the property regime evolved in the case of certain collections, especially since in 1948 many nationalizations took place. I also addressed the issue of museum scientific research and the historical archives of museums. Finally, the correspondence with ICOM was an opportunity to follow the controversial history of some museums, mentioned in the answers to the questionnaire or in other related documents .

El presente Trabajo de Fin de Grado versará sobre la política de exposiciones
temporales de la Fundación Juan March, con el objetivo principal de dar a conocer un método de trabajo basado en las “exposiciones de tesis”, aquellas que, sin olvidar su componente visual ulterior, basan sus planteamientos en una idea novedosa para la Historia del Arte, desarrollada en colaboración con los mayores especialistas posibles.
No obstante, esta especialización en el discurso expositivo sólo es posible por la labor que la propia Fundación Juan March desarrolla desde la segunda mitad de los años setenta, como principal institución difusora de arte contemporáneo en la España de la Transición, por lo que en primer lugar, analizaremos el pasado de la Fundación.
Asimismo, y para contextualizar la manera de trabajar de la Institución, haremos un breve análisis del tipo de exposiciones que se suelen llevar a cabo en el resto de museos y centros de arte mundiales (si bien haciendo especial hincapié en los madrileños), para contraponer las exposiciones de tesis a las que llaman exposiciones blockbuster, tan habituales en nuestros días. Por último, comprobaremos la teoría expositiva de la Fundación, analizando pormenorizadamente una de las últimas muestras: la exposición Klee: maestro de la Bauhaus.

O artigo objetiva refletir as características do público que visitam os museus na cidade do Recife e reconhecer a importância da disciplina de estudo de público para os estudantes de graduação em museologia e áreas afins. O estudo foi conduzido dentro da disciplina eletiva intitulada

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The culture of design, using the tools of visual communication, of product and strategic design, starts a virtuous cycle between product and territory. The reported cases are about experiences of projects developed in the Mediterranean context.

Museum International is delighted to present this Open Edition that converges around the theme ’Re-imagining the Museum’, bringing forth a wide range of perspectives that critically reflect on contemporary museum issues and practices. As ICOM’s flagship academic publication, Museum International is one of the few journals on museum and heritage studies that actively seeks to bring a practical perspective to museum theory and scholarship, and enjoys a readership among museum practitioners across the world.

“Small” museums constitute one of the largest groups among Czech museums. This phenomenon corresponds to the situation in culturally developed countries with a longer museum tradition. The purpose of this article is to present “small” museums in the Czech environment and highlight their peculiarities. The research sample for our 2024 field research consisted of museums in Southern Moravia, which is not only one of the regions with the densest network of museums in the Czech Republic, but also one of the most typologically diverse. We focus on the management and administration of these small institutions and their activities.

This book explores museum crises. Through an investigation into the experience of the Imperial War Museum during the Second World War era, 1933-1950, it considers how crises disrupt museums and the contrasting defensive and revolutionary strategies which museums must adopt when mitigating crises. It is situated in a small but emergent literature concerning museums and crisis. Existing works mainly comprise contemporary studies on difficult museum experiences, predominantly financial difficulty, wherein the term crisis has been applied to describe an institution’s general state of malaise. This book, by contrast, presents an innovative and groundbreaking historical case study on a single museum facing wholesale physical and ideological collapse, deploying original crisis concepts to analyse different critical situations and the pathology underlying them.

El siguiente artículo resume los componentes teóricos y metodológicos tratados como bases para confeccionar una estrategia de Marketing Relacional en el Museo del Ron Havana Club en La Habana, Cuba. La investigación está orientada a elevar el nivel de integración del sistema de dirección del Museo para lograr el óptimo desempeño de todas las partes que integran o realizan el total de actividades y se propone que se realice bajo la concepción metodológica para la confección de una estrategia de negocio basada en el enfoque de marketing relacional. PALABRAS CLAVE: Sistema de dirección; Marketing relacional; Estrategia de negocios. THEORETICAL AND METHODOLOGICAL BASES FOR THE CREATION OF A BUSINESS STRATEGY BASED ON THE RELATIONAL MARKETING APPROACH TO ACHIEVE THE INTEGRATION OF THE MANAGEMENT SYSTEM OF THE HAVANA CLUB RUM MUSEUM ABSTRACT This article summarizes the theoretical and methodological components treated as the bases to prepare a Relational Marketing strategy at the Havana C...

With the museum functions updated in 2019 by the International Council of Museums (ICOM), it is seen that the museum of our age has more inclusive responsibilities. In addition to being a polyphonic environment for critical dialogues about the past and the future, the museum has to provide equal opportunities for participation in the heritage for all people, which changes the way of working within the framework of these responsibilities, intensifies the work in the museum and in this context, it is necessary to make more comprehensive plans for the future of the museum. Many museums, built in remarkable and largely futuristic architectural styles and increasing in number with this content, have taken the stage as a dizzying combination of art, culture, engineering and construction. With these features, museums are regarded as the designer, developer, maintainer and guarantor of the tradition. In addition to promoting the memories they secure for future generations with interesting methods and striking buildings, digitalization is considered among the contemporary expression methods of the new museology concept. Transforming the diversity of cultural, natural and technological heritage into formats that can keep up with time with advanced technologies in order to preserve, protect and sustain; in short, heritage should also be digitalized. In addition to the interesting museum architecture, digital archives, digital collections, digital exhibitions, video presentations and virtual exhibitions are the prominent museology practices of the 21st century. The digitalization tendency of museums can be considered as a reflection of technological developments. With an emphasis on culture, art, nature and technology with a focus on heritage, the role of museums in transferring this heritage to future generations continues to increase. New museology practices are on the agenda to ensure the global welfare and sustainability in all fields. However, it can be said that the museum has a place in the futuristic approach that connects the future of humanity to space research with the effect of technology. This study focuses on the online digital exhibition "The Future of Museums", hosted by Ankara University Cultural House between 09-20 November 2020, on the official website of Ankara University and emphasizes the role of the museums discussed in the exhibition in the construction of the cultural future in the digital world.

الخطة الإستراتيجية للمكتبة:
يمكن نشر الخطة الإستراتيجية للمكتبة على جميع العاملين من خلال ورقة واحدة يمكن أن تطوى داخل قلم ويتم وضع القلم داخل جيب كل موظف بحيث إذا استشكل عليه أمر، استخرج الخطة الإستراتيجية من القلم الموجود بداخل سترته، الخطة تتضمن الرؤية والرسالة ومؤشرات الأداء التي يعمل عيها جميع العالمين مقسمة حسب بطاقة الأداء المتوازن من الجيل الرابع

TCC(graduação) - Universidade Federal de Santa Catarina. Centro de Filosofia e Ciências Humanas. MuseologiaO presente trabalho aborda o conceito e questões relativas à acessibilidade em espaços museais, partindo dos pressupostos da Nova Museologia. Aborda também a compreensão desse conceito pelas instituições culturais e suas aplicações e ressalvas nesses espaços. Discute ainda as tipologias de acessibilidade e as possíveis soluções dadas, trabalhando numa perspectiva mais abrangente – a da inclusão social, ou seja, a interação dos públicos num mesmo espaço, sendo reconhecidas e respeitadas as suas diferenças. Propomos ao final deste trabalho a construção de material de apoio expositivo – um protótipo tátil – como possível junção entre a teoria e prática, entre o pensar e fazer museológico

ChatGPTのような大規模な言語モデルはさまざまなことに使用できますが、新しいバージョンの信頼性の向上は、社会全体にとって重要な知識の使用の実践を再編成する可能性もあります。 したがって、以前のバージョンのヒアリングやその他のエラーの後、ChatGPT4oは、現在蓄積されているすべての知識を数分以内にいくつかの言語で確実に受け取ることができます。また、このバージョンは、トレーニング中にすでに入力された質問に対する答えの情報を見つけられない場合にインターネットにアクセスできるため、現在の総知識をほぼ数分で手元に保つことができます。このデータマイニングのパターンに基づいて、私はここ数ヶ月でこの既成の知識をマイニングする実験を開始し、その結果が社会科学と歴史の分野における知識マイニングの要約です(Pokol 2024)。
      しかし、このような大規模な言語モデルの可能な進化的パフォーマンスをより包括的な理論的レベルで定式化したいのであれば、Niklas Luhmannに続く複雑さの時間化の考えに戻る必要があります。(ルーマン1984)これによれば、西洋文明の国々では、法律、政治、科学、経済、教育、健康圏、芸術圏などの機能サブシステム間で水平分化が起こっただけでなく、各サブシステム内でも時間分化が起こり、社会全体とサブシステムとの関係でも分化が起こりました。ルーマンは、この後者の分化を「複雑さの時間化」と呼んでいます。

This article explores different institutional approaches to exhibiting and maintaining living, plantbased sculptures, and installation art. By studying the creation and management of artworks by Gilberto Esparza, Michael Wang, Precious Okoyomon, and Daniel Lie, this article considers how cultural institutions can incorporate ethics of more-than-human care in their conservation practices. As each of these artworks grows, decays, and dies through differing states of institutional intervention (or lack thereof), their provocative experiments through the themes and aesthetics of queer ecology, vegetal technoscience, and botanical decolonization invite museum staff and visitors alike into biodynamic, multisensory engagements with multispecies collaboration that turn the white cube into soil and green.

Ilia Rabinovich (1965) s-a născut la Chişinău (Moldova). În 1973 a emigrat cu părinţii în Israel. Din 1998 până în 2000 a participat la programul postuniversitar al Academiei din Amsterdam „Rijksakademie” şi de atunci se află cu traiul în capitala Olandei. Fotografiile lui Ilia Rabinovich povestesc despre identitate, pe fondul structurilor sociale. Lucrările sale
reprezintă segmente din viaţă care comportă un sens bine definit, şi care contrastează cu acele segmente în care nu există indicii directe ale prezenţei umane. În aceste imagini pare că, temporar, memoria este lipsă. În acest anturaj specific se conturează în minte două modele: cel al excluderii şi cel al singurătăţii. Rabinovich reprezintă lumea exilului atât
din interior, cât şi din exterior. Pe de o parte, considerăm acest
lucru drept o expresie a legăturii cu (noul) fond cultural. Pe de altă parte, există atracţia faţă de aceste (înstrăinate) locuri. Este ca un fel de acceptare a stării de lucruri; de parcă nu mai există nici o cale de întoarcere. Rabinovich.

In Ecuador, its history and culture are crucial for the population identity and a major attraction for visitors to the country. Museums are main centers hosting all the cultural richness, traditions and customs of the nation which have valuable objects that represent the traditions and memory of the ancestors. Upon recognition of museums' importance for locals and tourists, this research analyzed the visitor's profile through the different rooms and the Archaeological Park of Pumapungo Museum in Cuenca city, administered by the Ministry of Culture and Heritage. The research methodology applied in this profile survey and its comparative analyzes was quantitative, through analysis of reading sources that collect the history of these sites, using magazines and cultural attractions, emphasizing the visitor profile survey whose main pillar is the elaboration of surveys, and data tabulation. Alongside, qualitative methodology is applied with case studies through interviews with technical experts in the field.

Compartilhamos o presente documento de orientação que tem o objetivo de apresentar perspectivas transformativas da acessibilidade, fornecendo subsídios teóricos, técnicos e legais às instituições museológicas e profissionais de museus para o provimento da acessibilidade cultural e o protagonismo das pessoas com deficiência na atuação e acesso aos museus.

For many people, museums are institutions that exist solely to preserve in time and ensure the conditions for keeping alive the memory of its citizens regarding the historical elements that characterize the past of a society. As incredible as it may seem, in addition to this role, museums also have an important contribution both to the creation of a proper system of social values and to the increase of the regional economic development. Museums operate by the same rules as any other organization: they have certain goals which, in order to be achieved, require processing resources which have to be turned into outputs. Furthermore, the business functions such as research and development, production, marketing, personnel, finance and accounting are also found in museums. Given the existing similarities, some questions arise: should entrepreneurship be applied to museums as it is for private organizations, or should it not? Which are the particularities and the role of museum entrepreneurship? What would be the effects of an active, innovative and creative museum behavior, focused on opportunities and results? Starting from the socioeconomic roles of the museums, this article aims at analyzing the distinctive features of museum entrepreneurship. As a case study we chose to present some of the most important museums in Romania that fare remarkably well thanks to their entrepreneurship orientation and commitment.

The recent explosion of social media and data analytics provides museums with new challenges and opportunities to develop enhanced knowledge and establish more effective strategies for visitor relationship management and service quality. In this chapter, we introduce a methodological framework and applied case study demonstrating how museums can establish an evidence-based quality evaluation process, based on a systematic analysis of large-scale visitor responses in online social media platforms, and use it to improve the quality of their offering to local and global communities. We introduce MUSEQUAL, a five-dimensional model for museum quality assessment, extending the HOTELQUAL standard for quality evaluation in the hospitality sector, and show how it can leverage an analysis of social media content extracted from TripAdvisor and Facebook to provide evidence-based insights for improving museum service provision in the dimensions of Display, Subject matter, Facilities, Services and Staff. Based on this model, we present, firstly, an automated analysis of several thousand user comments on TripAdvisor from three European museums using software and, secondly, a qualitative data analysis of visitor reviews of these museums on Facebook. Finally, on the basis of a critical summary of findings, we identify challenges and offer guidance on how such an approach may be used by museum professionals without specialised training in complex research methods and tools, to conduct a practical evaluation of complementary dimensions of museum provision, pointing to potential improvements in different aspects of museum work.

Des symptomes des changements en cours dans le monde du benevolat apparaissent regulierement. De toutes parts, on s’inquiete de la difficulte de recruter des benevoles et de renouveler les effectifs du benevolat. Des TLM, dits Toujours Les Memes, se retrouvent a des postes quasi a perpetuite. Au Canada, 25 % des benevoles ont contribue a 73 % de toutes les heures de benevolat. Devant ce probleme, plusieurs cherchent de nouveaux moyens de recrutement, de promotion. Bien sur, une plus grande efficacite de promotion et de recrutement peut combler les besoins a court terme. Toutefois, les changements qui s’imposent demandent des actions plus radicales et moins techniques. Manifestement, le benevolat moderne est radicalement different de celui qui a fonde le systeme quebecois de loisir base sur le territoire, la paroisse et la communaute et l’engagement a long terme. Aujourd'hui, l’individu, plus que la communaute, est le premier acteur au niveau de l’engagement benevole et il peut c...

A musealização é um termo recorrentemen-te  utilizado  para  abordar  os processos  de  agenciamento  e  de  preservação  de  objetos  e  de  obras  de  arte.  Neste    artigo,    busca-se desenvolver  a  noção  de musealização,  tendo  como  foco  a  documentação  da  arte  e  a documentação museológica de obras de arte contemporânea. Para tanto,    foram    realizadas análises de  referenciais teóricos e  foram    selecionadas obras para abordar a documentação a partir de documentos, vestígios e tecnologias. Cada    caso  citado    no  artigo    frisa  a  importância    da  documentação museológica como parte do processo de  musealização, para que, assim, a musealização seja reconhecida como discursiva e  reflexiva. Considera-se que  a  documentação  seja  um  processo  crítico,  bem  como o processo de documentação da obra de arte  contemporânea exige    um  olhar    atento  às  especificidades das  obras    e  das  necessidades institucionais, revelando o  caráter interpretativo e agenciador em sua prática.

Creating social stories to make a university museum accessible is not only a necessary service that every museum (including university museums) must offer to visitors on the autism spectrum. It can also be an excellent training opportunity for future museum professionals. Finally, it can contribute to the innovation of academic teaching, emancipating professors from theoretical teaching and enabling them to provide students with authentic tasks for authentic learning, which can take place in the real laboratory that is the museum.