quinta-feira, 9 de outubro de 2014

Temps difficiles pour le Musée régional de la Côte-Nord


Le Musée régional de la Côte-Nord, à Sept-Îles, connaît d'importantes difficultés financières. L'organisme a accumulé une dette de 100 000 $ et souffre d'un déficit de fonctionnement qui s'élève à 60 000 $.

La direction du musée a supprimé le poste de conservatrice aux beaux-arts et réduit le nombre d'expositions à deux par année.

« Le musée fonctionne à peu près avec la même subvention de fonctionnement depuis les 30 dernières années, indique le directeur général, Christian Marcotte. Si la subvention n'est pas indexée et que tous les coûts montent, à un moment donné, le budget ne peut plus suivre. »

La direction du Musée envisage également de fermer temporairement ses portes durant l'hiver. 
 

Le Musée régional de la Côte-Nord Le Musée régional de la Côte-Nord
 
 
 
fonte: @edisonmariotti #edisonmariotti http://ici.radio-canada.ca/regions/est-quebec/2014/10/08/001-musee-regional-cote-nord-difficultes-financieres.shtml 
 

Maroc: ouverture du premier musée d'art moderne et contemporain


Rabat (AFP) - Le musée Mohammed VI d'art moderne et contemporain (MMVI), premier musée d'envergure construit par le Maroc "depuis l'indépendance", selon ses responsables, a ouvert ses portes mercredi à Rabat, après dix années de travaux.




Ouverture du premier musée d'art moderne et contemporain à Rabat le 8 octobre 2014 (c) Afp
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Inauguré dès mardi par le roi, lui-même collectionneur d’œuvres, il s'agit également du premier musée du pays dédié à l'art moderne et contemporain.

Situé dans le centre de la capitale, l'édifice d'architecture andalouse classique aura nécessité un budget de près de 17 millions d'euros.

Il abritera durant six mois une exposition inaugurale intitulée "1914-2014: cent ans de création", regroupant quelque 400 œuvres de 150 artistes marocains, ont indiqué à la presse ses responsables.

Parmi ces œuvres, celles de l'artiste-peintre Farid Belkahia, décédé le mois dernier, mais aussi de Mohamed Chabaa, Mohamed Kacimi, Chaïbia Tallal ou Hassan El Glaoui, exposées pour la première fois dans un même musée. L'école marocaine de l'abstraction et de la figuration y sont toutes deux représentées.

C'est "une occasion unique de promouvoir au niveau national ces artistes (...), parfois davantage connus à l'étranger qu'au Maroc", a affirmé à l'AFP l'artiste-vidéaste, Abdelghani Bibt.

Le roi Mohammed VI "souhaite faire de la capitale un vrai carrefour culturel", a plaidé le président de la Fondation nationale des musées (FNM), Mehdi Qotbi, alors que le MMVI est le premier projet à être inauguré dans le cadre du programme "Rabat, ville des lumières".

Cette ouverture a coïncidé avec l'annonce de débuts des travaux du "Grand théâtre" de Rabat, dessiné par l'architecte irako-britannique Zaha Hadid.

Le musée Mohammed VI, qui se veut un espace d'exposition mais aussi "de production d’œuvres d'art et de formation", a d'ores et déjà noué des partenariats avec des institutions comme le Louvre, à Paris, et le Musée des civilisations de l'Europe et de la Méditerranée (Muceum) à Marseille (sud-est de la France) pour "former de nouvelles compétences et organiser des expositions conjointes".

Pour l'heure, aucun budget de fonctionnement n'a été annoncé, et les modalités d'entrée pour le public restent à définir.

Le musée compte sur les prêts de mécènes et de collectionneurs privés: "Un collectionneur qui dispose de 200 œuvres de Picasso et de Braque est disposé à les prêter", a notamment fait valoir M. Qotbi.
Sur le web : Maroc: ouverture du premier musée d'art moderne et contemporain
 fonte: @edisonmariotti #edisonmariotti http://tempsreel.nouvelobs.com/culture/20141008.AFP7820/maroc-ouverture-du-premier-musee-d-art-moderne-et-contemporain.html

$20 million bequest: Sculptor Bruce Beasley gives massive gift to Oakland Museum of California

Internationally known sculptor, Bruce Beasley of West Oakland, is an immensely practical man. At age 75 and in fine health, he has made the unusual plan to bequeath his two-block cluster of studios and sculpture gardens -- plus many of his own massive abstract works, personal archives of his illustrious career and an endowment for future sculpture-related events and programs -- to the Oakland Museum of California.

The gift, said to be unprecedented by a living artist, is valued at about $20 million, making it the largest single private gift in the museum's 45-year history. Beasley and museum officials will reveal details of the plan on Thursday morning during a reception at the artist's Lewis Street studios -- someday to be called the Bruce Beasley Sculpture Center -- situated in an off-the-radar neighborhood tucked in the shadow of Oakland's main U.S. Post Office.
 
"I've never heard of a major artist in his lifetime making a gift like this, not only of his art, but property and financial support for future programs," Lori Fogarty, OMCA's executive director, said in a phone interview. 
 
Making a point about his generosity, she noted that while some of his work will be exhibited there, "it's not just all about him."
 
"It's about the field of sculpture," she said. "And it's incredibly generous of his family as well. They clearly understand what he wants, his vision for the future."
 
Rare gift
Beasley says the relationship with the Oakland museum is a "logical marriage," considering his deep ties to Oakland where he's lived, worked as a community activist, and created massive sculptures since bursting into the art world in 1962 at the height of the abstract sculpture movement.
 

"I've had the great honor and privilege to spend my whole life doing what I love, making sculpture," a modest Beasley said last Friday, leading a private tour of the four buildings and expansive gardens involved in the bequest. In one cavernous warehouse, the trim, tall artist was dwarfed by one of his "Rondo" pieces, a 22-foot high sculpture of stainless-steel links -- like giant metal hula hoops -- destined for a city park in Fremont next spring.
 
"I wanted to do something to give back to the field and help young sculptors get started," Beasley said. "Sculpture is the most difficult of all the visual arts for a variety of reasons." Sculptors need larger studios and materials are more expensive than for most other artists. Also, the work is hard on the body, pieces are hard to transport, difficult to show and sculptors require more exhibition space.

"Being a sculptor," he says, "truly takes the strongest calling."
His vision is specific in its intent -- the bequest requires the center be strictly dedicated to sculpture, and Beasley hopes it will serve as a resource for local and international artists. But other details will be left up to museum officials for things like community programs, exhibition space, classes and talks by visiting scholars.

West Oakland-based sculptor Bruce Beasley poses for a photo with one of his Stainless steal ringed sculptures in the future Bruce Beasley Sculpture Center
West Oakland-based sculptor Bruce Beasley poses for a photo with one of his Stainless steal ringed sculptures in the future Bruce Beasley Sculpture Center in West Oakland, Calif., on Friday, Oct. 3, 2014. Beasley is bequeathing his two-block studio and garden space, a legacy gift, to the Oakland Museum of California. (Laura A. Oda/Bay Area News Group) ( Laura A. Oda )
 
And the timing of this ultimate gift is certainly not set in stone, as it rests on the advent of Beasley's death, which may be a long time coming. 

"You've seen how healthy he is -- when this actually transpires, I hope to be long retired by then," Fogarty joked. In the meantime, some prototype studio tours and community events may begin as early as 2015.

Making plans
Many of Beasley's sculptures in museums and public spaces around the globe -- the cast bronze "Foray III is on the second level of OMCA's sculpture gardens -- involve strong geometric shapes, playing with a sense of balance/imbalance, "that edge where it feels just a little precarious," he said. Though he hopes always to evoke an emotional response, Beasley is known for his analytical and even technological approach -- he long ago began computer modeling his designs, and now is excited to incorporate the latest in 3D printing techniques to produce more precise forms for bronze casting. An upper room in one of the buildings on the property -- the oldest structure on the site, built in 1912 as a grist mill -- is filled with computer screens and a commercial-sized 3D printer.

Even so, he doesn't employ technological advances because they're "the latest thing," he says, but rather as a means to an end, to solve production problems and create the pristine curves, twists and turns that wouldn't be possible with traditional methods.

He took the same analytical approach to planning the bequest.
"About 20 years ago, I started asking other sculptors about estate issues, what they planned to do with their work," he said, continuing the tour past a set of coiled granite shapes that just returned from a traveling exhibit in China. "(The sculptors) all said they had no plans, and they would just leave it to their spouses and that was about it," he said. "That seemed irresponsible to me, a burden on families, so I felt I wanted to solve that problem."

About a year ago, he began delving into estate law and researching various options, rejecting the idea of a private institution and finally opting for a union with OMCA, trusting officials there with the studios and garden compound he has developed for more than 50 years, and where he and his wife, Laurence, raised their son and daughter. Their private home will not be part of the bequest, however.

"It took a lot of confronting the reality of death and the ending of things and all to plan out the bequest. But I'm totally realistic about this -- I'm 75, and 75 is not the new 50," he said, chuckling. "This isn't half way. There is an upper limit."

By Angela Hill
Oakland Tribune fonte: @edisonmariotti #edisonmariotti http://www.mercurynews.com/entertainment/ci_26688898/sculptor-bruce-beasley-bequeaths-west-oakland-studio-complex

Contact Angela Hill at ahill@bayareanewsgroup.com, or follow her on Twitter @GiveEmHill.

Contact Angela Hill at ahill@bayareanewsgroup.com, or follow her on Twitter @GiveEmHill.



Science and Tech Museum silent as asbestos report surfaces

A new report says asbestos, not just mould, is the problem at the Canada Science and Technology Museum — but officials aren’t discussing the problem publicly.

The museum closed Sept. 11 because of mould inside its south wall. It will remain closed at least until January.

But on Tuesday the local riding’s MP, Liberal David McGuinty, told the Citizen he has learned the mouldy wall is supporting a roof that contains asbestos, complicating the repairs.

Museum officials won’t discuss the situation.

The Citizen has been asking since the closing was announced on Sept. 11 for basic information about the nature of the problem, what needs to be done to fix it and the estimated cost.

But the museum has said repeatedly it doesn’t know enough to answer. On Tuesday its vice-president, Yves St-Onge, sent the Citizen an email saying that management won’t discuss the situation “as our assessments and plans remain incomplete at this time.”

The museum has turned down all requests for interviews.

The museum falls under the direction of Heritage Minister Shelly Glover. But her office said this week, also by email, that the minister isn’t really responsible: “With regards to our discussion on the phone this morning, I can tell you that like all museums, the Science and Technology Museum is responsible for its own operations, including its media relations activities. Any requests for interviews must be directed to the Museum’s staff. Have a good afternoon.”

And the Public Service Alliance of Canada says it knows what is going on but won’t tell. More email from a media officer: “I checked with the local at the Museum. They have been kept informed about the situation with the mould and have had positive relations with the museum’s management since this issue emerged. In view of this, we do not believe that it’s our position to be offering details to the media about the mould issue. The Museum should provide that information to the media and public directly. Sorry I can’t be of more help.”

We asked whether PSAC could simply share what its members have been told. Another email: “I’m afraid not.”

The federal director of the Canadian Taxpayers Federation calls the situation “a complete abdication of responsibility” by authorities. The public owns the building and deserves to know what’s being down with it, said Gregory Thomas.

“Not only should we have this information, but we’re going to get this information sooner or later,” he said. “It doesn’t look good on the government or the minister or the union to be stonewalling like this.

“Ultimately the minister will be accountable to Parliament. Let’s hope the opposition does its job.”

“It’s completely unacceptable and it speaks to, I think, a complete abdication of responsibility on behalf of the government and the minister. They need to give their heads a shake and come clean to Canadians about what happened at the museum.”

At Carleton University, communications professor Mary Francoli notes that Canada was one of the first countries to join the Open Government movement, and its goal is “to make information available to the public by default.” The action plan around this hasn’t been completed.

The reality, she adds, “hasn’t always jived” with the intent. “We’re not there yet.”

“You can see information commissioner after information commissioner just talking about how dire things are in Canada.”

Francoli said she doesn’t understand the desire to keep quiet on this topic. She said it reminds her of the case a few years ago when the National Research Council refused to talk about its research on falling snow.

“Why isn’t anybody biting? It’s mould. It happens,” she said. “So I don’t know what they would be trying to hide about it, really. Maybe the cost, the extent. Maybe people are worried about the long-term health impact on the employees. I don’t know. It’s strange.”

McGuinty said the government has ignored the aging museum while pouring large amounts into renaming the Museum of History and commemorating the War of 1812.


fonte: @edisonmariotti #edisonmariotti http://ottawacitizen.com/news/local-news/science-and-tech-museum-silent-as-asbestos-report-surfaces

Memorial da Inclusão recebe exposição de fotos feitas por cegos. EXPOSIÇÃO “Não Vi”

Fruto de uma parceria da Secretaria de Estado dos Direitos da Pessoa com Deficiência de São Paulo e o Centro Universitário SENAC, a exposição traz 12 imagens que são resultado de um curso, projeto de extensão do Centro Universitário SENAC, ministrado pelo fotógrafo João Kulcsár, na ADEVA - Associação de Deficientes Visuais e Amigos - em maio deste ano.




O Memorial da Inclusão recebe a partir desta quarta-feira, 08 de outubro a exposição “Não Vi”, que traz uma série de fotos feitas por pessoas cegas.



A exposição oferece aos videntes imagens em tamanho 50cm x 75cm. Já para as pessoas com deficiência visual, títulos em braile e fotos menores, trabalhadas em relevo para que eles possam "visualizá-las" por meio do toque.

Todas as fotografias exibem um código QR, com um vídeo do autor se apresentando e falando um pouco da sua obra, uma espécie de audiodescrição.

A exposição fica no espaço até 27 de novembro e pode ser visitada de segunda a sexta, das 10h às 17h.



EXPOSIÇÃO “Não Vi”
Data: de 08 de outubro a 27 de novembro
Horário: de segunda a sexta, das 10h às 17h.
Local: Memorial da Inclusão
Endereço: Av. Auro Soares de Moura Andrade, 564 - Portão 10 - Barra Funda - São Paulo – SP (próximo da estação Barra Funda do metrô/trem)
Entrada gratuita

Archaeologists find prehistoric cattle tooth within mound of Iron Age stones on Skomer

The first excavations on Skomer, in Pembrokeshire, have revealed huge burn mounds made by hungry prehistoric settlers

The post-excavation view of the external face of the western round house of huts on Skomer, Pemrbokeshire, where archaeologists have been working© Crown copyright: Royal Commission on the Ancient and Historical Monuments of WalesA cattle tooth left in a cooking mound and fire-cracked stones used for boiling water have paved the prehistoric way to dating the sweeping settlement of Skomer Island in Pembrokeshire, where archaeologists say the ancient, well-preserved field systems date from between 520 to 458 BC.

This was the first time archaeologists had been allowed to excavate on the island. Opening a trench, they aimed to explore the “long and complex” history of settlements and farming on Skomer, informed by three years of careful research by wildlife and science experts and universities.



The trench from the south, showing southern revetment stones© Crown copyright: Royal Commission on the Ancient and Historical Monuments of Wales“Skomer is a fragile protected landscape,” explained Dr Toby Driver, who joined the group from the Royal Commission in Aberystwyth.

“Already we have discovered previously unknown Neolithic and Bronze Age ritual stone settings, and demonstrated that the field systems may date back to at least the later Bronze Age.

“But despite half a century of modern archaeological interest, we still had no scientific dates for the roundhouses and fields on Skomer.

“It was decided to target a prehistoric burnt mound or cooking mound of fire-cracked stones, which stands immediately outside one of the paired roundhouses.

“This mound built up from numerous cooking episodes in the adjacent house. Our excavation discovered a cattle tooth from within the mound of stones, which has now been radiocarbon dated to the late Iron Age.

“Beneath the mound we found a sealed land surface containing Neolithic or Bronze Age worked flint tools.

“A second radiocarbon date from blackthorn charcoal, in the upper soil layers, gave an early Iron Age date, possibly from burning and clearance on the land, which showed our burnt mound and the houses it belongs to arrived after the early Iron Age.

“Both dates are accurate to within 62 years.”

The boiled water took around three hours to cook a joint of meat. The burnt mounds outside the roundhouse clusters are said to be “huge”, dominating the Iron Age landscape alongside the conical thatched house roofs.

“Skomer is a fragile protected landscape, and our archaeological research to date has focussed on non-invasive investigation of the prehistoric fields and settlements,” said Dr Driver.

“This has included new aerial photography, airborne laser scanning, ground geophysics and walkover surveys.

“These new dates confirm pre-Roman settlement on Skomer. Even so, the burnt mound covers a substantial earlier field wall showing that the island was already well settled and farmed in previous centuries.”

As well as its huts and fields from the prehistoric period, the island is well-known for its puffins and breeding seabirds.


Visit the Royal Commission database for more.
What do you think? Leave a comment below.



High view of the external wall face of round house© Crown copyright: Royal Commission on the Ancient and Historical Monuments of Wales

A utilised stone or hammerstone© Crown copyright: Royal Commission on the Ancient and Historical Monuments of Wales

Post-excavation recording of a burnt mound© Crown copyright: Royal Commission on the Ancient and Historical Monuments of Wales

Recording the excavation trench through a cooking mound of burnt stones on Skomer Island. The exposed stone wall of the Iron Age roundhouse can be seen at the end of the trench© Crown copyright: Royal Commission on the Ancient and Historical Monuments of Wales

Backfilling the trench in April© Crown copyright: Royal Commission on the Ancient and Historical Monuments of Wales

More from Culture24's Archaeology section:

fonte: @edisonmariotti #edisonmariotti http://www.culture24.org.uk/history-and-heritage/archaeology/art501691-archaeologists-find-prehistoric-cattle-tooth-within-mound-of-iron-age-stones-in-skomer

The Antiquities Authority recently unearthed an ancient mikve ritual bath and a water cistern that was scribbled on by Australian World War II soldiers near Beit Shemesh.



Excavations reveal ancient mikve and WWII graffiti





THE MIKVE discovered near Beit Shemesh over the summer. (photo credit:Israel Antiquities Authority)



The Antiquities Authority recently unearthed an ancient mikve ritual bath and a water cistern that was scribbled on by Australian World War II soldiers near Beit Shemesh.

The excavation, which began in mid-July, was a test excavation carried out prior to the widening of Route 38 at the Haela Junction. The Antiquities Authority found not only the 1,900-year-old mikve, but also a massive 1,700-year-old water cistern, the ceiling of which was engraved with the names of the Australian soldiers.

According to Yoav Tsur, excavation director of the Antiquities Authority, the mikve was used as far back as the second century CE.

“We found fragments of magnificent pottery vessels there dating to the second century CE, among them lamps, red burnished vessels, a jug and cooking pots,” Tsur said. “Apparently the mikve ceased to be used during the second century CE, perhaps in light of the Bar-Kochba revolt.”

While the mikve was an intriguing find, the more surprising discovery was Australian soldiers’ graffiti. Although the graffiti is only decades old, it indicates that the water cistern was exposed in the 1940s.

Assaf Peretz, an archaeologist and historian with the Antiquities Authority, identified the graffiti as the names corporals Scarlett and Walsh, along with the initials RAE, the numbers NX7792 and NX9168 and the date 30/05/1940.

“Since the initials Cpl. signify the rank of corporal,” Peretz said, “we can assume that these were soldiers who wanted to leave their mark there.

An inquiry with the proper authorities revealed that the numbers engraved inside the cistern are actually soldiers’ serial numbers and that RAE stands for Royal Australian Engineers.”

“A search in the Australian government archives revealed the following information: Cpl. Philip William Scarlett was born in Melbourne in 1918, was drafted into the army in 1939, survived the war and died in 1970, shortly before his 52nd birthday.

His comrade, Patrick Raphael Walsh, was born in 1910 in Cowra, was drafted in 1939, survived the war and died in 2005 at the age of 95. It seems that the two were members of the Australian Sixth Division that was stationed in the country at the time of the British Mandate and was undergoing training prior to being sent into combat in France,” he said.

According to Tsur, “The finds from this excavation allow us to reconstruct a double story: about the Jewish settlement in the second century CE, probably against the background of the events of the Bar-Kochba revolt, and another story, no less fascinating, about a group of Australian soldiers who visited the site about 1,700 years later and left their mark there.”

Tsur said he’s not sure if the Antiquities Authority will return to the site for more excavations, but these discoveries will be preserved. The Israel National Roads Company has agreed to the Antiquities Authority’s request to change the junction’s construction plan to preserve the finds there and rehabilitate them as part of the landscape alongside the road.

fonte: @edisonmariotti #edisonmariotti http://www.jpost.com/Israel-News/Excavations-reveal-ancient-mikve-and-WWII-graffiti-378388

Edital apoia ações culturais em universidades e institutos Educação e cultura

Chamada busca contribuir com a formação de estudantes de ensino superior e educação profissional. Inscrições até 14 de novembro

O Ministério da Educação (MEC) e o Ministério da Cultura (MinC) acabam de abrir edital para que instituições federais de ensino superior e de educação profissional interessadas em apoio do governo na área de cultura apresentem planos visando o desenvolvimento, fortalecimento e inovação da cultura e das artes.

A chamada visa contribuir para a formação artística, cultural, cidadã e crítica de estudantes que integram a educação superior e a educação profissional e tecnológica. Os recursos serão de, no mínimo, R$ 500 mil e, no máximo, R$ 1,5 milhão.

A iniciativa tem a finalidade de desenvolver e fortalecer o campo das artes e da cultura no País, com ênfase na inclusão social e no respeito e reconhecimento da diversidade cultural.

Os Planos de Cultura formulados pelas instituições deverão articular e promover a interface entre educação, arte e cultura, estabelecendo objetivos, ações e metas que serão desenvolvidos por um período de até dois anos, considerando sua relação com as manifestações, expressões, produções artísticas e culturais e seu território.

Os formulário das propostas serão disponibilizados nos sites do MEC e MinC e deverão ser impressos e enviados até 14 de novembro de 2014, pelo serviço Sedex, para o Ministério da Cultura, no endereço Quadra 09, Lote C, Torre B, 10o andar - Edifício Parque Cidade Corporate, CEP: 70.308-200 – Brasília (DF).

A divulgação prévia dos resultados deve acontecer no dia 31 de março de 2015, e a homologação será divulgado nos sites do MEC e do MinC no dia 4 de maio de 2015.
 
Fonte:  @edisonmariotti #edisonmariott Portal Brasil, com informações da Imprensa Nacional

Virada Científica da USP terá 24 horas com 100 atividades no fim de semana

Público infantil é o foco da iniciativa: museus e campus estarão abertos. Serão oferecidas palestras, oficinas e jogos neste sábado e domingo.


Cidade Universitária, Universidade de São Paulo: vista do novo prédio da Reitoria (Foto: Ana Carolina Moreno/G1)

A cidade de São Paulo vai receber, das 8h de sábado (11) às 8h de domingo (12), a primeira Virada Científica promovida pela Universidade de São Paulo (USP). Serão 24 horas com mais de 100 atividades, a maioria delas com foco no público infantil.

saiba mais
O evento, que tem objetivo de aproximar a sociedade do universo da ciência, vai oferecer oficinas, experimentos, jogos, palestras e sessões de cinema.
Em São Paulo, as atividades serão realizadas em diversas unidades da USP: Cidade Universitária; Instituto Butantan; Instituto de Pesquisas Tecnológicas (IPT); Faculdade de Medicina (Zona Oeste); Casa de Dona Yayá; Centro Universitário Maria Antônia (Centro); e Parque CienTec (Zona Sul).
Além dessas atividades, a virada vai proporcionar também entrada franca em alguns museus da cidade: Museu de Arte Contemporânea da USP (MAC); Museu de Arqueologia e Etnologia; Museu de Anatomia Veterinária; Museu Oceanográfico; museus do Instituto Butantan; e Museu de Geociências.
A virada também vai acontecer no interior, na Escola de Engenharia de Lorena, e em Itu, no Museu Republicano “Convenção de Itu”. Em Santos, no litoral, também haverá atividades no Engenho dos Erasmos.
Ciência no cinema
Como parte da programação, alguns institutos terão sessões de cinema gratuitas com filmes que trazem a ciência como base. O Cinusp, por exemplo, terá obras como A Invenção de Hugo Cabret e Jimmy Nuetron. Já o Instituto Oceanográfico promoverá a exibição de Procurando Nemo com um bate-papo sobre a ciência que existe por trás do longa.
O Cinusp fica na rua do Anfiteatro, 181 e as sessões acontecem das  9hs às 22hs no sábado e das 0h às 7h no domingo. O Instituto Oceanográfico fica na praça Oceanográfico, 191 com sessões às 9h às 14h.
Visita aos laboratórios
A Escola Politécnica promove um tour guiado pelos laboratórios. Um deles é o Tanque de Provas Numérico, que tem como uma das funções prever o comportamento de plataformas de produção e exploração de petróleo. Entre as atividades, está a visita a um simulador de uma cabine de avião. O Instituto de Física levará o público a conhecer oito laboratórios, entre eles, o de Física Nuclear.

A Escola Politécnica fica na Avenida Professor Luciano Gualberto, 380 e as visitas acontecem das 13h às 17h. O Instituto de Física fica na rua do Matão, na Travessa R, 187. Os tours acontecem das 9h às 16h.

Observação do céu
O Instituto de Astronomia, Geofísica e Ciências Atmosféricas terá, durante o dia, um planetário inflável e digital que irá simular chuvas de meteoro e a posição das constelações dos dois hemisférios. À noite, três telescópios profissionais auxiliaram os visitantes a observar o céu.
O Instituto fica na rua do Matão, 1226. O planetário digital funcionará das 10h às 22h. A observação noturna acontece a partir das 18h e continua até o nascer do Sol.

Observação de aves
No domingo, os visitantes poderão viver a experiência de caminhar por uma trilha com cerca de dois quilômetros, dentro do Instituto Butantan. Nela, os observadores poderão encontrar aves típicas da Mata Atlântica que só pode ser encontradas nas redondezas do instituto. Antes da caminhada, haverá um curso sobre observação e fotografia de aves no Instituto de Física.

A oficina  acontece no Auditório sul do Instituto de Física, que fica na rua do Matão, Travessa R, n 187, das 13h às 17h. A saída para a observação terá concentração no portão do Instituto Butantan, dentro da USP, às 6h45.

Corpo humano
Para a virada, o Instituto de Biociências trará uma célula humana aumentada 130 mil vezes onde os visitantes poderão fazer um passeio e receber explicações sobre a função de cada parte que a compõe. O instituto fica na rua do Matão, Travessa 14, 321. A exposição acontece no saguão André Dreyfus, das 9h às 17h.


Serviço:
Data: das 8h de sábado (11) às 8h de domingo (12).
Locais: Cidade Universitária; Instituto Butantan; Instituto de Pesquisas Tecnológicas (IPT); Faculdade de Medicina (Zona Oeste); Casa de Dona Yayá; Centro Universitário Maria Antônia (Centro); e Parque CienTec (Zona Sul).

Preço: entrada gratuita.
Programação completa: prceu.usp.br

fonte: Do G1 São Paulo @edisonmarioti #edisonmariotti 
 

Museos = Comunicación + Visitantes – Ruido en INSTITUCIONES, MUSEOGRAFÍA, MUSEOLOGÍA, OPINIÓN. ·


“Una verdad sin interés puede ser eclipsada
por una falsedad emocionante.” Aldous Huxley

Ayer comentábamos, que musealizar es comunicar en los museos de nueva generación. Humberto Eco comentaba (“Psicología del Vestir”): “quien se anuda una corbata por la mañana ante el espejo, sin pensar en que los transeúntes con los que se encuentre en la calle puedan generar una idea a partir de la visión de esa corbata, sea como sea, habiendo elegido esa corbata construye un mensaje al exterior” (H. Eco 1976). La corbata es comunicación, el traje es comunicación, el coche es comunicación, un museo es comunicación; queremos decir que el museo no se libra de las leyes de la comunicación humana.

Imagen: Tebe-Interesno (FFFFFound)

Cuando dos seres humanos se encuentran, quedan sujetos a un conjunto de leyes de la comunicación que deberían ser bien conocidas entre los responsables de los museos y centros de interpretación del patrimonio:

1. No hay momento en que no estemos comunicando.

2. Cuando existen contradicciones entre el mensaje verbal y el no-verbal, el mensaje no verbal casi siempre tiene mayor impacto, el hecho prevalecerá sobre el verbo.

3. El aspecto negativo de un mensaje tiene mayor impacto que la suma de todos sus aspectos positivos.

4. Una comunicación se considera completada cuando el mensaje que se envía es el que realmente se recibe y no un mensaje distorsionado y confuso.

5. Todo, absolutamente todo lo que percibimos es comunicación, incluidos sonidos (no hablados o interpretados), olores y sabores.

“Food” de Nancy Dwyer

Estas cinco reglas, son las que rigen entre personas y son perfectamente aplicables a los museos: un museo siempre está comunicando algo al visitante. Un museo con polvo, descuidado, antiguo, oscuro emite el mismo mensaje que un restaurante en las mismas condiciones. Nos indicará la escasa valoración que se tiene sobre el equipamiento o del servicio en cuestión. Eso es lo que menciona la primera regla mencionada anteriormente.

Archivo EVE

Por otra parte, la segunda reglas es muy clara: si existe contradicción entre el lenguaje verbal y el no verbal, será el no verbal el que responda a la realidad y por ello tiene mayor impacto y credibilidad; si en un museo se plantea como objetivo la difusión de los contenidos científicos entre un gran espectro de público, pero los materiales de difusión son malas fotocopias, este lenguaje no verbal es el que nos dice que a los responsables del museo no les importa demasiado el cuidado del equipamiento, y que los visitantes no son su objetivo prioritario en absoluto.

Imagen: Micah Panama

Hay que recordar, que aunque nos empeñemos en construir muchos mensajes positivos, un solo mensaje negativo es más poderoso que todos los demás. Podemos decir que nuestra investigación es seria, que lo que el museo expone es muy importante, que hacemos un trabajo riguroso, pero si las vitrinas están sucias de polvo, los visitantes se quedarán con esta visión: abandono.



Symbol: Ömer Durmaz

Los museos transmiten muchos y diferentes mensajes a los visitantes, todo estos mensajes deben tenerse muy en cuenta siempre, sin distracción. Los museos transmiten mensajes de forma indirecta e incontrolada, hay que evitarlo al máximo. No solo basta con aplicar un proyecto museológico y museográfico impecable. Todo las demás percepciones humanas son muy importantes y hay que tenerlas muy en cuenta a la hora de construir una imagen global positiva y sin distorsiones, evitando los mensajes negativos en la medida de lo posible.

AGENDA DEL MES DE OCTUBRE 2014 – JORNADAS PROFESIONALES:
¿La cuadratura del círculo? Investigación, museos, públicos: Un compromiso común para una comunicación eficaz
ICOM CECA & UMAC Annual Conference 2014
La inscripción se cierra el 25 de septiembre
Alejandría
http://www.alexandria-2014.org/?lang=es
NATHIST Conferencia 2014 Comité Int. para los museos y colecciones de ciencias naturales
Conference 11 to 16 October in Zagreb and Krapina, Croatia, is approaching quickly
Zagorje (Croacia)
http://icomnathist.wordpress.com/2014/07/22/dont-forget-icom-nathsit-registrations-and-abstracts/
VIII Encontro Ibero-Americano de Museus Caminhos de futuro para os museus: tendências e desafios na diversidade
Encontros e Congressos 13, 14 e 15 de outubro
Museu Nacional de Etnologia, em Lisboa
http://www.patrimoniocultural.pt/pt/agenda/meetings-and-conferences/viii-encontro-ibero-americano-de-museus-caminhos-de-futuro-para-os-museus-tendencias-e-desafios-na-diversidade/
ICME Conferencia anual Comité Int. para Museos y Colecciones de Etnografía
14-10-2014 al 16-10-2014
Mimara Museum. Zagreb (Croacia)
http://www.icme-conference2014.com
Rethinking Museums & Sustainable Development for the Global Profession
ICOM-ICTOP in Hanoi and Ha Long Bay, Vietnam, Oct. 21-25, 2014.
http://ictop2014.inclusivemuseum.org
X CONGRESO Qué y cómo exponer en museos y espacios patrimoniales
23-10-2014 al 24-10-2014
Donostia-San Sebastián (Gipuzkoa)
http://www.irun.org/oiasso/home.aspx?tabId=1020
III Encuentro Transfronterizo de profesionales de Museos. Museo y Accesibilidad
24-10-2014 al 25-10-2014
Museo de Huelva. Huelva.
http://etpmuseos.com
XII Jornadas Museológicas Chilenas “Colecciones – museos – ciudad”
28-10-2014 al 30-10-2014
Valparaíso (Chile)
http://icomchiletesting.wordpress.com


fonte: @edisonmariotti #edisonmariotti EVE Museografía

Prehistoric paintings suggest Indonesians began making art 40,000 years ago

Prehistoric paintings at least 40,000 years old that depict animals — including one known as a “pig-deer” — and the outline of human hands in seven caves on the Indonesian island of Sulawesi are rewriting the history of art.




A Babirusa ("pig-deer") and a hand stencil are pictured in this undated handout image provided by Kinez Riza. REUTERS/Kinez Riza/Handout via Reuters.











Scientists said on Wednesday they used a highly precise method to determine the antiquity of the paintings. They found the artwork was comparable in age to the oldest-known rock art from Europe, long thought to be the cradle of the early human cultural achievement embodied by cave painting.

“It was previously thought that Western Europe was the centerpiece of a symbolic explosion in early human artistic activity such as cave painting and other forms of image-making, including figurative art, around 40,000 years ago,” said dating expert Maxime Aubert of Australia’s Griffith University.


The fact that people in Sulawesi were doing the same things as contemporaries in Europe indicates cave art may have emerged independently at about the same time around the world, including Europe and Southeast Asia, added archeologist Thomas Sutikna of Australia’s University of Wollongong.

“Rock art is one of the indicators of an abstract mind of the past human, the onset of what we might consider to be one of the hallmarks of ‘modern’ humans,” Sutikna added.

The study focused on 14 cave paintings: 12 human hand stencils and two naturalistic animal depictions, one showing an animal called a babirusa, or “pig-deer,” and the other showing what probably is a pig.

They were painted in limestone caves near Maros in southern Sulawesi, a large island east of Borneo.

Most of the artwork was created with a pigment called red ochre to produce red- and mulberry-colored paintings. The art’s existence had been known for decades, but its age had never been determined. Some experts estimated it was maybe 10,000 years old.

The scientists used a method based on the radioactive decay of tiny quantities of uranium in small mineral growths dubbed “cave popcorn” that formed on some of the paintings.

The oldest Sulawesian artwork, a hand outline at least about 40,000 years ago, was comparable in age to the world’s oldest-known rock art image, a red dot from Spain’s El Castillo site.

The ages for the animal paintings at the famed Chauvet and Lascaux cave sites in France are more recent – between about 26,000 and 18,000 years old – than Sulawesi’s figurative animals, which are at least 35,000 years old. The babirusa image represents the oldest-known, reliably dated figurative depiction, Aubert said.

The artists made hand images by blowing or spraying paint around hands pressed against rock surfaces.

“Archaeologists love to say things like ‘ability X is what makes us human,’ but in the case of the origins of art they are probably right. Our species is compelled to make art. And in one form or another, it is inherent in almost everything we do,” said archaeologist Adam Brumm, also of Griffith University.

The study appears in the journal Nature.
(Reporting by Will Dunham. Editing by Andre Grenon)

fonte: @edisonmariotti #edisonmariotti http://www.rawstory.com/rs/2014/10/prehistoric-paintings-suggest-indonesians-began-making-art-40000-years-ago/