terça-feira, 25 de novembro de 2014

1,700-Year-Old Silk Road Cemetery Contains Mythical Carvings

A cemetery dating back roughly 1,700 years has been discovered along part of the Silk Road, a series of ancient trade routes that once connected China to the Roman Empire.

The cemetery was found in the city of Kucha, which is located in present-day northwest China. Ten tombs were excavated, seven of which turned out to be large brick structures.

One tomb, dubbed "M3," contained carvings of several mythical creatures, including four that represent different seasons and parts of the heavens: the White Tiger of the West, the Vermilion Bird of the South, the Black Turtle of the North and the Azure Dragon of the East. [See photos of the ancient Silk Road cemetery]


A cemetery dating back around 1,700 years has been discovered in Kucha, a city in China. The city played an important role along the Silk Road trade routes that connected China to the Roman Empire. Archaeologists have uncovered 10 tombs in the cemetery, seven of which are large structures made with bricks. This image shows part of the cemetery facing north.
Credit: Chinese Cultural Relics
View full size image

fonte: @edisonmariotti #edisonmariotti http://www.livescience.com/48878-ancient-silk-road-cemetery-discovered.html

SHANGHAI.- The 10th edition of Shanghai Biennale, China's longest running contemporary art biennial, opened on 23 November.



Taking place at Power Station of Art, China's first state-run contemporary art museum, the event incorporates works by over 70 artists. Chief curator Anselm Franke, Head of Visual Art and Film at the Haus der Kulturen der Welt in Berlin, has devised a programme drawing on both contemporary and historical works, as well as music and cinema, under the theme 'Social Factory'. 



Franke commented: ‘Few cities in the world represent the image of a society-in-the-making as dynamically as Shanghai. This city characterises China’s rapid modernisation and ascent to world power. And yet, Shanghai also embodies materially and as image, a promise for the post-industrial future – the China that will no longer be the “world factory”, but rather a “social factory” Fostering relations between artists working in China and their international counterparts, the 10th Shanghai Biennale: Social Factory exhibition explores notions of subjectivity and creative process in an age of technological mediation. 

Highlight works include Ming Wong’s long-term project that focuses on Sci-Fi in Chinese modernity, Hou Chun-Ming’s work exploring the role of fathers in Asia, and Carlos Amorales’s mixed media installation that is both a sculpture and also a collective musical instrument. 

The exhibition presents the variety of ways international artists have reflected on the construction of societies from Edgar Arceneaux’s large project on Detroit as post-industrial city to Natascha Sadr Haghighian’s humorous reflections on the construction of artists’ identity. New insight is being offered into the work of artists such as Chen Chieh-jen, one of Taiwan’s most influential artists. 

Key themes for the exhibition include the ancient Chinese principle “seek truth from facts”, which was famously invoked by Mao Zedong in 1938 and which later became a guiding principle within the radical social and political transformations that China underwent in the 20th century. Visitors to the power station of art will be greeted in the lobby by specially commissioned robotic piano installation by Peter Ablinger that plays a complex tune to form the words ‘Seek truth from facts’. 

The Chinese woodcut movement – which began in Shanghai in the 1920s – is another important reference for this Biennale. 

There is a focus on the recently deceased artist Zhao Yannian, whose powerful rendering of The Story of Ah Q was produced as a response to the political and social upheavals in China in the 1960s and 70s. 

The 10th Shanghai Biennalel includes works by: Yan Jun, Liu Ding, Zhao Liang, Zhou Tao, Keywords Lab, Trevor Yeung, Firenze Lai, Gao Shiqiang, Li Xiaofei, Zheng Guogu, He Xiangyu, Huang Ran, Hu Liu, Zhao Yannian, Sun Xun, Liu Chuang, Yun-Fei Ji, Ten Miles Inn/ David Crook & Isabel Crook, The Imagine Park/ Yuan Wenshan, Wang Ziyue, Li Xiuqin, Huang Wenhai, Wang Bing, Huang Ming-chuan, Chen Chieh-jen, Yin-Ju Chen, Musquiqui Chihying, Hou Chun-ming, Yu Cheng-Ta, Neïl Beloufa, Narimane Mari, Peter Ablinger, Peter Friedl, Martin Beck, Nadia Myre, Susan Schüppli, Adrian Melis, Aleksandra Domanović, Harun Farocki, K.P. Brehmer, Nicholas Bussmann, Jutta Koether, Loretta Fahrenholz, Tibor Hajas, Shambhavi Kaul, Ashish Avikunthak, CAMP (Shaina Anand & Ashok Sukumaran), Natascha Sadr Haghighian/ Uwe Schwarzer/ Robbie Williams, Péter Dobai, Armin Linke, Ko Sakai & Ryusuke Hamaguchi, Lawrence Abu Hamdan, Carlos Amorales, Willem de Rooij, Mona Vatamanu & Florin Tudor, Anton Vidokle, Ming Wong, Erik Steinbrecher, Tang Chang, Stephen Willats, Art & Language, Adam Broomberg & Oliver Chanarin, Suzanne Treister, Edgar Arceneaux, Jen Liu, Louise Lawler, Joseph Cornell, Ken Jacobs, Sharon Lockhart, Daria Martin, Adam Avikainen, Lucien Castaing-Taylor & Véréna Paravel, J.P. Sniadecki & Libbie Dina Cohn, Ho Tzu Nyen, Tyler Coburn. The curatorial team for the 2014 edition is led by Anselm Frank (Chief Curator) with Freya Chou, Cosmin Costinas, Liu Xiao (Co-curators); Hila Peleg (Curator for the Film program); Nicholas Bussmann (Curator for the Music Program) and Zhu Ye (City Pavilion: Urban Work & Shop Curator). 

5,500-year-old complete hand axe unearthed in prehistoric seabed in Denmark

Archaeologists from the Museum Lolland-Falster in Denmark made an extremely rare discovery when they unearthed a complete hand axe with handle still attached in what was once a seabed in prehistoric times. The 5,500-year-old artifact was found in what has been described as a ‘ritual hot bed’, in which a series of tools and other artifacts had been purposely placed vertically in the earth. 


Excavations just east of Rødbyhavn have been underway ahead of the construction of the Femern Belt Fixed Link, an 18km tunnel between Scandinavia and Germany. The dig site has already yielded some incredible finds, including 5,000-year-old footprints, which were found in close proximity to river barriers for fishing. Archaeologists believe the prints were left by fishermen who waded out into the silted seabed to tend to the barriers.


Stone Age footprints discovered near Rødbyhavn in Denmark. Credit: Museum Lolland-Falster.

Archaeologists also found an oar, two bows, and fourteen axe shafts, but were stunned to come across a complete narrow-necked flint axe in almost perfect condition. The artifacts had been preserved as a result of the unique conditions of the silted seabed, enabling even organic material to remain intact.

”To find such a well-preserved shafted axe is incredible,” Søren Anker Sørensen, an archaeologist with Museum Lolland-Falster, said in a press release made by the Museum Lolland-Falster.

The archaeological team believe that the dig area must have had a ritual significance because the axe and other items had been intentionally placed into the earth standing up vertically. Evidence of burial customs and sacrificial rituals during the Neolithic period are not uncommon in areas of marshes and wetlands in Scandinavia.

Excavations are continuing and researchers expect to find many more artifacts that they hope will shed more light on the ritual practices conducted by the ancient inhabitants of Scandinavia.

A video (in Danish) showing archaeologists working on the dig site, and featuring the discovery of the ancient footprints can be viewed below:



Featured image: The newly-discovered complete hand axe. Credit: Museum Lolland-Falster

- fonte: @edisonmariotti #edisonmariotti: http://www.ancient-origins.net/news-history-archaeology/5500-year-old-complete-hand-axe-unearthed-prehistoric-seabed-denmark-002363#sthash.pIxSJVEy.dpuf

LOST MUSEUMS OF NEW YORK - MUSEUMS AND COLLECTIONS, LOST WONDERS, MUSEUMS

Earlier this year, the metal façade of the American Folk Art Museum was dismantled and taken into storage as the Museum of Modern Art absorbs the institution's former home. The loss of the fortress-like architecture on West 53rd Street is just the latest in the merging and destruction of New York City's museums. These vanished museums — either closed completely or now invisible inside another, larger museum — all contributed to the cultural landscape of the city today, even if their names are mostly forgotten. Below are ten of these lost museums. 

SCUDDER'S AMERICAN MUSEUM
Broadway and Ann Street, Manhattan

Scudder's American Museum, in the former NYC poor house (via NYPL)

One of the first museums to draw the crowds in Manhattan was Scudder's American Museum, which ran from 1810 to 1841. First lodged in the city's former almshouse, it was started by John Scudder with the acquisition of some smaller museum collections, including the Baker's American Museum. Eventually it relocated to a five-story building at Broadway and Ann Street, where patrons could pay a small price to see an 18-foot live snake, taxidermy dioramas, a two-headed lamb, magic lantern slides, bed sheets from Mary, Queen of Scots, and some macabre curios like a wax figure cut by a guillotine. It was even open until 9 pm, to wander by candlelight.

As P. T. Barnum wrote in 1869: "People in all parts of the country had sent in relics and rare curiosities; sea captains, for years, had brought and deposited strange things from foreign lands; and besides all these gifts, I have no doubt that the previous proprietor had actually expended, as was stated, $50,000 in making the collection." In fact, Barnum was so impressed with the museum, he decided to buy it and transform it into the greatest spectacle the city had known. 

BARNUM'S AMERICAN MUSEUM
Broadway and Ann Street, Manhattan

Barnum's American Museum in New York (19th century illustration) (via columbia.edu)

When Barnum bought Scudder's American Museum in 1841, he turned the building at Broadway and Ann Street into a billboard blaring a jubilee of entertainment, from sideshow fakes like the Feejee Mermaid (really a monkey and fish sewn together) to living wonders like the Siamese twins Chang and Eng. A gargantuan Lecture Room hosted theatrical and educational events, and real animals as exotic as beluga whales delighted massive crowds.

Imitators sprung up all over the Bowery with dime museums, but Barnum was uncontested, at least until a devastating fire in 1865 that burned the whole place to the ground. Some reportedly cheered at the destruction of the sometimes banal and grotesque museum, but most were horrified at the loss of the city's major cultural destination. Barnum tried again with another location, but that, too, burned down in 1868, so instead he went on the road with the circus that still has his name. 

PEALE'S MUSEUM 
252 Broadway, Manhattan

Peale's Museum (1825 watercolor) (via Museum of the City of New York)

A rival of Barnum was Rubens Peale, son of naturalist and Baltimore and Philadelphia museum creator Charles Wilson Peale. Peale set up his own New York museum in 1825, like Barnum offering a mix of natural and sensational wonders on Broadway, although a little more refined. As the Bowery Boys explain in their thorough post on the museum, Rubens "was sensitive to some of the cheap ploys of [his father's] Philadelphia Museum (live animals, displays of human deformities) and tried to keep his New York museum a dignified affair, although today we would find its use of waxworks and flashy lectures rather silly."

Eventually he rechristened the Peale's Museum as the New York Museum of Natural History and Science, but séances and mesmerism were still known to take place within the walls. Unfortunately, Peale's wunderkammer was wrecked by the Panic of 1837, and the impossible competition from Barnum. 

PALEOZOIC MUSEUM 
Central Park, Manhattan

Sketch for the proposed Paleozoic Museum (1870s) (via Wikimedia)

Benjamin Waterhouse Hawkins caused a sensation in England with his concrete dinosaurs at the Crystal Palace in 1851, so in 1868 the Central Park commissioners asked that he make an American version. This Paleozoic Museum was planned as a looming iron and glass building at Central Park West and 63rd Street, where concrete extinct animals would mingle beneath skylights.

Frederick Law Olmsted, one of the Central Park designers, set out the foundations, but Hawkins made a crucially bad enemy by speaking out against the corrupt Boss Tweed. Tammany Hall in turn sent its thugs to the Hawkins workshop in 1871, and smashed everything to bits. The shattered dinosaurs are believed buried beneath Central Park. 

NAVAL LYCEUM 
Brooklyn Navy Yard

19th-century stereoscopic photograph of the Lyceum building at the Brooklyn Navy Yard (via NYPL)

Not to be left out, Brooklyn had its own 19th-century curiosity cabinet at the Navy Yard. Established in 1833, the Naval Lyceum was a mix of nautical history and materials like model ships and publications, with wonders amassed by sailors around the world. As one visitor described in 1839: "Handsome cabinets of shells and minerals, elegantly arranged; many rare birds, in a perfect state of preservation, with a large and valuable collection of natural and artificial curiosities from every quarter of the globe, are among the first objects, on entering, which salute the eye."

Waning support brought the museum to a close in 1889, and its objects were given to the Naval Academy in Annapolis. 

AMERICAN MUSEUM OF PUBLIC RECREATION
Coney Island, Brooklyn

Carousel animals in the American Museum of Public Recreation (via Brooklyn Public Library, Brooklyn Collection)

Down in Coney Island in 1929, rides inventor W. F. Mangels — responsible for such innovations as leaping carousel horses — decided the American amusement park needed its own museum. The American Museum of Public Recreation honored, as he told the New York Times, "human reaction to play as expressed through play facilities man has created and developed."

The museum with its carousel animals, ride models, and entertainment engineering displays didn't last long, however, and Mangels sold his collection in 1955. But some of it still survives in the city, and a tollhouse sign once used by tourist carriages that was part of this collection is going on display at the Coney Island History Project in 2015.

MUSEUM OF FAMOUS PEOPLE
133 West 50th Street, Manhattan

Triangle Shirtwaist Fire diorama at the Museum of Famous People (via authentichistory.com)

Before there was a Madame Tussauds in New York, there was the Museum of Famous People on West 50th Street. With around 50 dioramas of vinyl mannequins (a "dramatic advance over traditional wax museums," they claimed), the museum highlighted often harrowing New York history alongside global celebrities. This included the Triangle Shirtwaist Fire, the buying of Manhattan from the American Indians, Peter Stuyvesant with his peg leg, villains from Tammany Hall, and Houdini escaping from a trunk underwater.

Among the manic displays housed in underground passages was one of the Aaron Burr vs. Alexander Hamilton duel, which, as Fred W. McDarrah's 1967 Museums in New York describes, was "complete with birds chirping overhead and crickets down below." The museum closed in the 1970s, the fates of its plastic figures unclear. 

MUSEUM OF PRIMITIVE ART
15 West 54th Street, Manhattan

The Museum of Primitive Art (via Metropolitan Museum of Art)

Some of the collections currently inside New York's major institutions were once their own organizations, including the Museum of Primitive Art on West 54th Street. The rather insensitively named and organized museum focused on the art of "primitive" societies, which was a convenient and dismissive way to at once group indigenous art from the Americas, Oceania, and Africa, both ancient and contemporary.

The museum was opened in an Upper West Side townhouse in 1957 by Nelson A. Rockefeller, but closed in 1976, and its collections went to the Metropolitan Museum of Art. 

SPORTS MUSEUM OF AMERICA
26 Broadway, Manhattan

Sports Museum logo (photograph by Americasroof/Wikimedia)

A recent brief flame was the Sports Museum of America, which shut down after just nine months in 2009. It had high hopes to be the country's first museum exploring both the history and culture of every type of sport, and started strong hosting prestigious events like the Heisman Trophy presentation.

However, the recession and the inability to bring in the expected million visitors a year cut the dream short. 

THE GALLERY OF MODERN ART
2 Columbus Circle, Manhattan

Before and after for the Gallery of Modern Art, now the Museum of Arts and Design (photographs by Renate O'Flaherty & Beyond My Ken)

Sometimes a lost museum is hiding in plain sight. The Gallery of Modern Art, opened in 1964, once stood in a marble, modernist tower on Columbus Circle. Owned by George Huntington Hartford, it housed his collection, which was mostly concentrated on American and European paintings from the 20th century, its centerpiece being a painting by Salvador Dalí commissioned just for the museum called "The Discovery of America by Christopher Columbus."

Hartford rather hated the direction of American culture, particularly Abstract Expressionism which he deridedfor instigating an "ice age of art." The museum designed by Edward Durell Stone was his own statement of what art should be. It closed after only five years.

When the Museum of Arts and Design moved in, the redevelopment did away with the stern, porthole-pocked stone exterior and replaced it with more playful, if less visually striking, glass and terra-cotta. Now only the ghost of the previous museum is remembered in the current institution's silhouette.

fonte: @edisonmariotti #edisonmariotti http://www.atlasobscura.com/articles/lost-museums-of-new-york

En Albanie, Un musée dans un bunker cinq étoiles

HISTOIREIl aura fallu un quart de siècle après la chute du régime communiste pour que les Albanais puissent enfin voir le bunker antiatomique de l’ex-dictateur communiste albanais Enver Hoxha, construit dans le plus grand secret à l’époque de la guerre froide dans les entrailles d’une montagne proche de Tirana. Bâti entre 1972 et 1978, cet abri de 2 685 m2 aurait dû servir, en cas de guerre, de siège pour le Comité central et l’Assemblée populaire communistes. «Le bunker est relié par plusieurs galeries, hautes de 3,5 mètres et étendues sur cinq niveaux. 

Un vrai cinq étoiles pour le système communiste», explique Astrit, un des gardiens de cet ouvrage qui doit être transformé en musée. L’édifice souterrain compte quelque 106 pièces dont des salles de réunion, de cinéma, un service d’écoutes et une pièce réservée aux transmissions. 

«L’idée de le construire avait surgi après une visite au Corée du Nord, en 1964», précise Edlira Prendi, porte-parole du ministère de la Défense, selon qui ce bunker figurait encore récemment sur une liste d’objectifs classés «top secret» par l’armée albanaise. Vivant dans la crainte d’une agression extérieure, Enver Hoxha avait par ailleurs fait construire plus de 700 000 bunkers pour la défense du pays.

fonte: @edisonmariotti #edisonmariotti http://www.liberation.fr/monde/2014/11/23/en-albanie-un-musee-dans-un-bunker-cinq-etoiles_1149301

Faille dans l'enquête sur l'attentat contre le musée juif de Bruxelles (médias)

Une information de premier ordre a été ignorée par la police de Bruxelles (médias belges)

"Un policier belge surveille l'entrée du musée juif de Bruxelles le 9 septembre 2014"Emmanuel Dunand (AFP)

Une information clé sur l'auteur présumé de l'attentat contre le musée juif de Bruxelles a été ignorée par la police de Bruxelles, a révélé la presse belge.

Selon le quotidien La Dernière Heure, un policier a reçu l'appel d'un informateur indiquant reconnaître la kalachnikov apparaissant sur les vidéos diffusées par la police où l'on voit Mehdi Nemmouche sortir l'arme d'un sac.

Le policier en question est alors chargé par son supérieur de rédiger un rapport confidentiel dans les plus brefs délais et de le transmettre aux services concernés, "ce que le policier a tardé à faire", note le quotidien belge.

Le parquet de Bruxelles a néanmoins souligné jeudi dans un communiqué qu'"il n'y a à ce jour pas de lien concret démontré entre l'attentat au Musée juif et les informations récoltées" par un indicateur de la police fédérale.

"Entrée du musée juif de Bruxelles le 25 mai 2014, où la tuerie perpétrée vient de faire sa 4e victime avec le décès de l'employé belge"Thierry Roge (BELGA/AFP/Archives)


"Début août 2014, le parquet de Bruxelles a été avisé que quelques jours après l'attentat au Musée Juif, des informations peut-être pertinentes relatives à l'achat de l'arme utilisée avaient été récoltées via un indicateur de la police fédérale. Cette information n'aurait peut-être pas été reprise dans un rapport confidentiel ni transmise à l'autorité judiciaire, ou éventuellement de manière inadéquate", précise le communiqué, cité par La Dernière Heure.

Une enquête, toujours en cours, a ensuite été ouverte à charge du fonctionnaire de police impliqué, a confirmé le parquet de Bruxelles.

Mehdi Nemmouche est soupçonné d'avoir ouvert le feu le 24 mai au Musée juif de Bruxelles, tuant deux personnes de nationalité israélienne, une retraitée française et un employé belge décédé des suites de ses blessures.

Il avait été arrêté le 30 mai à Marseille (sud de la France), dans un autocar ne provenance de Bruxelles. Des armes similaires à celles de la tuerie avaient été retrouvées dans ses bagages, ainsi qu'une caméra embarquée. Pendant sa garde à vue, d'une durée exceptionnelle de cinq jours, il était resté muet.

fonte: @edisonmariotti #edisonmariotti http://www.i24news.tv/fr/actu/international/europe/51984-141123-l-attentat-contre-le-musee-juif-de-bruxelles-aurait-pu-etre-evite

Aperçus d'une civilisation ancienne au Musée de Roussillon

Le Musée d’archéologie de Roussillon a servi le thé à ses invités lors d’un 5 à 7, hier, soulignant le lancement d’une toute nouvelle exposition temporaire, Arts de la Chine: aperçus d’une civilisation ancienne, qui met en valeur le bronze, la céramique et le jade de cette civilisation étonnante.





L’activité a permis de créer une ambiance pour que les convives apprécient cette exposition qui offre «un accès privilégié à la culture et aux traditions ancestrales de la Chine», souligne Frédéric Hottin, l’archéologue du musée.

On y trouve une impressionnante collection d’objets qui ont été réalisés à l’aide des trois matériaux (bronze, céramique et jade) dont la fabrication remonte jusqu’à 1600 avant J.-C.

«Il est impressionnant de constater tout le savoir-faire artisanal et technologique dont les anciennes dynasties chinoises faisaient déjà preuve à l’époque et le profond symbolisme qui se cache derrière les motifs, les inscriptions et les gravures réalisés sur les artéfacts», ajoute-t-il.

Cette exposition explore aussi les impacts et l’influence des pratiques artisanales et artistiques chinoises sur le commerce international de la Chine. Les croyances chinoises en lien avec les représentations animales figurent également parmi les thématiques abordées. 

Dans les trois langues

Arts de la Chine: aperçus d’une civilisation a été réalisée par le Musée royal de l’Ontario. Son contenu est rédigé à la fois en français, anglais et chinois et propose plusieurs activités destinées aux groupes scolaires.

Le Musée d’archéologie de Roussillon accueille le public du mercredi au dimanche, de 9 h 30 à 16 h 30. Les groupes peuvent aussi planifier une visite du lundi au vendredi sur réservation.

Pour plus d’information ou faire une réservation, il faut téléphoner au 450 984-1066, visiter le www.archeoroussillon.ca ou la page Facebook du Musée (www.facebook.com/archeoroussillon).

À propos du Musée d’archéologie de Roussillon

Le Musée d’archéologie de Roussillon conserve, met en valeur et présente le riche patrimoine archéologique des 11 municipalités de la MRC de Roussillon. Son exposition permanente, Carrefour Archéo, présente, de façon chronologique et ludique, les objets emblématiques du passé de la région.

Au total, la collection du Musée regroupe plus de 25 000 objets, fragments de vase, serpe, fer à cheval, pièces de monnaie, jouets, et de nombreux autres artéfacts, dont certains datent de plus de 5000 ans avant aujourd’hui. (Avec la collaboration d’Hélène Gingras)

fonte: @edisonmariotti #edisonmariotti http://www.lereflet.qc.ca/2014/11/21/apercus-dune-civilisation-ancienne-au-musee-de-roussillon

Erawan Museum is the art of gigantic architecture; the outstanding, the eye catching, the blending of fine arts and decorative arts in interior design.

Surrounded by the pleasantness environment of Himmapan garden where attracts the thousand of tourist to visit. However…the Erawan Museum is not only the museum where collects and transmits the knowledge of art, religion, and culture. The aim of this elephant is to be the representative on the greatness of Suvarnabhumi as also a symbol of the Kingdom of Siam.



Erawan Museum is the learning tool in art and religion which encourages people to know the principle of four religions with the intention and ideology of Khun Lek Viriyabhun; to transmit and indoctrinate with the spirit of the philosopher for the purpose of introducing the art and culture; root of eastern civilization, to all humankind





To educate modern people on history because the past events are like a compass and a rudder for a vessel's safe and smooth navigation.



- To use arts and heritage that have long been colleted and unceasingly high in value as evidences of the spiritual development in Eastern societies where religions serve as a tool to sustain world peace.



- To introduce to the world Asian traditions and cultures which also are used to instruct those who have been lost in scientific prosper which causes them to be materialism and worldly-minded.

- To make knoen the founder's wish to make the Erawan Museum the heritage of humankind that will eternally remain.


Since ancient times, the ancient kingdom of Siam and its culture have constantly grown more prosperous. Through our wisdom and insight, it would be everlastingly meaningful for our present and future if we could keep this cultural splendor last forever.

The question is why such precious culture has been undermined?

Is it because of people's oblivion of their national culture or possibly other hidden factors?

Thinking it over and over again, it is obvious that Thai cultural prosper has gradually been wilting away because its essence has never been widely and completely acknowledged among people through accessible tools which are in harmony with modernity.

With rare opportunities to learn about their long-inherited culture, how can people's cultural appreciation and recognition be attained?

Inspired by this realization, some actions must be taken right away!

With this in mind, it is our mission to exert all of our attempts to the cultural sustainable development.

Also, we are obliged to continue our mission determinedly and confidently no matter how variedly the cultural scope; Philosophy, Beliefs, Literature, Arts, History, Persons, Ways of Living etc., would expand.


The Erawan Museum
99/9 Moo 1, Bangmuangmai, Samut Prakarn, Thailand 10270 Tel. : 0-2308-0305 Fax : 0-2308-0304 info@ancientsiam.com - fonte: @edisonmariotti #edisonmariotti 

1º Colóquio de Gestão em Museus dos alunos de Museologia da UFRGS: Gestão em Museus

O Museu Estadual do Carvão e a Universidade Federal do Rio Grande do Sul (UFRGS) convidam a comunidade, profissionais, acadêmicos e pesquisadores em geral para o 1º Colóquio de Gestão em Museus dos alunos de Museologia da UFRGS: Gestão em Museus.

O evento será realizado no dia 02 de dezembro, das 18h30 às 21h30, no Auditório II da FABICO - Ramiro Barcelos, 2700 - Porto Alegre/RS.


Inscrições Gratuitas - Certificação PROREXT.

Para inscrever-se, basta acessar o link abaixo. Aos presentes serão emitidos certificados de participação.
O Museu Estadual do Carvão é objeto de estudo no evento, pois os acadêmicos de Museologia (UFRGS), através de exercício/atividade para a disciplina de "Gestão em Museus", colheram informações e o levantamento de sugestões para a elaboração do Plano Museológico do Museu Estadual do Carvão.


Após as apresentações, teremos Comentários e Coffee Break.

Att.
Equipe do Museu Estadual do Carvão. @edisonmariotti #edisonmariotti

Ronaldo Fraga dá consultoria para artesãos em João Pessoa-PB

O estilista Ronaldo Fraga está mais uma vez na Paraíba para desenvover produtos com artesãos em João Pessoa-PB. Durante quatros dias, o designer mineiro interagiu com 40 mulheres da comunicade da Penha e Muçumagro que trabalham com escamas de peixe e produzem biojoias. 


Estudo: Rosa de escamas com crochê de cobre. Foto do Instagram de Ronaldo Fraga (@fragaronaldo)

O objetivo do intercâmbio é contruir, por meio do design dos produtos, uma aproximação com o mercado, tornando o artesanato um vetor econômico para as comunidades envolvidas. “A técnica elas já têm. Vou fazer um trabalho de provocar um olhar diferente, de organizar, de dar unidade para que elas criem uma identidade e tenham sua própria marca”, explica o estilista.

Após a consultoria do estilista, a coleção criada será lançada no Salão de Artesanato, em dezembro, e em uma exposição no próximo ano.
 

Ronaldo Fraga realiza consultoria com artesãs de João Pessoa que trabalham com escamas de peixe. 

fonte @edisonmariotti #edisonmariotti babel das artes

Museus deverão enviar dados de visitas anuais ao Ibram

Resolução determina que instituições públicas e privadas precisam preencher questionário com dados básicos.

O Instituto Brasileiro de Museus (Ibram) dispôs sobre a regulamentação de dispositivos do Decreto nº 8.124/2013, relativos à obrigatoriedade de museus brasileiros informarem ao órgão federal seu quantitativo anual de visitação. A decisão foi publicada nessa sexta-feira (21), no Diário Oficial da União.
A resolução estabelece que todos os museus brasileiros, públicos e privados, deverão preencher questionário disponível no portal do Ibram, que estará disponível a partir de 2 de fevereiro de 2015, no qual serão informados dados básicos sobre cada instituição, o total de visitantes no ano de referência (ano anterior à coleta de dados) e técnica utilizada para a contagem de público.
A convocação para o envio do quantitativo anual de visitação será feita a partir da base de dados do Cadastro Nacional de Museus (CNM).
O período para preenchimento do questionário será de três meses. A resolução já está em vigor e a primeira coleta de dados será relativa ao ano de 2014. Assista vídeo explicativo sobre a importância da contagem de público em museus.
“Em paralelo, vamos lançar durante o 6º Fórum Nacional de Museus uma campanha de esclarecimento aos museus sobre como compartilhar esses dados conosco”, explica a coordenadora de Produção e Análise da Informação do Ibram, Karla Uzêda.
De acordo com a coordenadora, os museus receberão por via postal fôlderes com orientações sobre o preenchimento do questionário. Também será lançada uma cartilha sobre o assunto.
“O próprio formulário eletrônico será bem simples e didático, e a equipe do CNM estará à disposição dos museus para ajudar no processo”, completa. Entenda melhor os procedimentos na página do Cadastro Nacional de Museus.
Fonte: @edisonmariotti #edisonmariotti  Instituto Brasileiro de Museus

Caminhão-museu leva história de conflitos agrários a Marabá, no PA

Cidade no sudeste do Pará é a primeira no Norte a receber visita do projeto. 'Sentimentos da Terra' é fruto de parceria entre UFMG e MDA.

A cidade de Marabá, no sudeste do Pará, recebeu a visita de um caminhão transformado em museu que se propõe a revelar a história dos conflitos agrários no país. O município foi o primeiro da região Norte a receber a visita do projeto "Sentimentos da Terra" e escolhido pelo histórico de conflitos ocorridos na região.

"Por ser ponto importante nessa história de luta pela terra, uma região marcada por conflitos de indígenas, quilombos, grileiros, posseiros, a gente precisava recuperar essa história nesse mesmo local", explicou a coordenador do caminhão-museu, Marcela Teles.

O caminhão-museu já percorreu seis estados e 15 cidades brasileiras desde março do ano passado. O projeto, criado a partir da parceria entre a Universidade Federal de Minas Gerais (UFMG) e o Ministério do Desenvolvimento Agrário (MDA), é organizado sob forma de exposição interativa, com paineis e monitores em que o visitante pode saber mais sobre os conflitos pela posse da terra no Brasil.

"Eu aprendi sobre a Irmã Dorothy, que ela lutava pelos camponeses, pela Amazônia, que ela lutava pela terra e foi assassinada brutalmente", conta o estudante Mateus Ferreira.

Além de obter informações, quem visitou também pode se caracterizar como um dos personagens da história de conflitos, como o cangaceiro Lampião. O caminhão dispõe ainda com sala de leitura, área para palestras e cinema.

"Chamou muito minha atenção esse conflito com os seringueiros e envolvendo as terras, a floresta, a conservação", pontuou missionário peruano Jaime Forero, há seis meses na cidade.

fonte: @edisonmariotti #edisonmariotti http://g1.globo.com/pa/para/noticia/2014/11/caminhao-museu-leva-historia-de-conflitos-agrarios-maraba-no-pa.html



Museu da Inglaterra tenta localizar descendentes dos jogadores do Manaos Athletic


Ingleses tomaram conhecimento da história dos conterrâneos campeões do primeiro Campeonato Amazonense por reportagem do CRAQUE



História do Manaos Athletic agora é
conhecida na Inglaterra (Reprodução Internet)


O maior museu de futebol do mundo, o National Football Museum, de Manchester, Inglaterra, publicou em seu site oficial na internet um artigo sobre o Manaos Athletic, clube formado apenas por jogadores ingleses que, há cem anos, vencia o primeiro Campeonato Amazonense de Futebol.

A história do primeiro campeão amazonense, escrita pelo editor do CRAQUE, Leanderson Lima e publicada em edição bilíngüe (em português e inglês) de página dupla, foi veiculada no jornal A CRÍTICA de 17 de fevereiro de 2014, mesmo dia em que chegava a Manaus o técnico da Inglaterra na Copa do Mundo, Roy Hodgson.

Ao receber o treinador inglês na capital amazonense, o então governador do Amazonas, Omar Aziz, entregou-lhe o caderno CRAQUE com a matéria, num ato simbólico de conciliação e incentivo ao time inglês para fazer um bom jogo na cidade.

Agora, o Museu Nacional do Futebol tenta localizar descendentes dos ingleses que vestiram a camisa do Manaos Athletic


fonte: @edisonmariotti #edisonmariotti http://acritica.uol.com.br/craque/Museu-Inglaterra-descendentes-Manaos-Athletic_0_1254474547.html

Le Musée de l’Homme fait peau neuve

En octobre 2015, le Musée de l’Homme rouvrira ses portes. L’occasion pour le Muséum à J-1 an de l’inauguration de faire le point sur ce grand chantier exceptionnel après six ans de fermeture. L’Institution de la place du Trocadéro commence à reprendre vie et s’apprête à accueillir les équipes de recherche dans ses murs dès la fin du mois de novembre 2014.



Les plus belles renaissances ne font pas table rase du passé. Elles en assument l’héritage pour mieux se réinventer. Elles ne coupent pas les ponts mais jettent d’autres passerelles pour réinterroger ce qui fut et questionner ce qui vient. Ainsi en va-t-il du nouveau Musée de l’Homme dont la modernité réflexive conjugue l’attachement à une très noble histoire et l’émancipation qui sied à un musée-laboratoire du XXIe siècle". Télécharger le discours dans son intégralité (PDF - 88 Ko)


Un musée laboratoire

Le Musée de l’Homme, comme la plupart des sites du Muséum, réunira au sein d’un même bâtiment l’ensemble des cinq missions dans lesquelles l’institution s’engage quotidiennement en tant que :
lieu de diffusion auprès du public,
lieu de conservation des collections,
lieu de recherche, d’expertise scientifique et d’enseignement autour de l’Homme dans sa diversité biologique, culturelle, son évolution et son devenir,

Le Musée de l’Homme fait référence tant au niveau national qu’international. Véritable moteur dans la compréhension de notre passé, il a aussi pour vocation d’apporter un cadre deréflexion sur la capacité de notre espèce à s’adapter aux changements environnementauxdu point de vue biologique, culturel et social.

L’histoire naturelle et culturelle de l’homme

Le futur Musée de l’Homme invitera les visiteurs à un voyage poétique et didactique à la découverte de l’un des grands mystères qui s’offre à l’Homme : lui-même. L’exposition se déroulera en 3 grands moments : « Qui sommes-nous ? », « D’où venons-nous ? » et « Où allons-nous ? ».
Des collections prestigieuses

Des collections uniques et variées, réunies grâces à la multiplicité et la diversité des disciplines de nos chercheurs, viendront enrichir les recherches et le parcours muséographique. Avec 500 000 objets de préhistoire et 30 000 d’anthropologie biologique et culturelle, les collections du Musée de l’Homme se classent parmi les premières au monde dans ces domaines. Ces collections seront une opportunité pour le développement d’actions transversales aussi bien dans le domaine de la recherche que dans celui de la diffusion des résultats scientifiques auprès du grand public accueilli dans le futur Musée de l’Homme.
Un centre scientifique pluridisciplinaire

Le Musée de l’Homme réunira dans ses murs des chercheurs des sciences de la vie, de la terre et de l’Homme. Ils bénéficieront d’un ensemble de plateformes techniques de pointe, permettant la réalisation d’analyses génétiques archéologiques ou l’acquisition de données 3D. Ces recherches s’organiseront autour de trois thématiques complémentaires :
l’étude biologique de l’Homme et de son évolution
l’étude des comportements techniques, culturels et symboliques de l’Hommeles interactions entre les sociétés et l’environnement
Un lieu d’enseignement et de documentation

Le Musée de l’Homme, dans le cadre de l’école doctorale du Muséum « Science de la nature et de l’Homme : évolution et écologie », proposera un projet d’enseignement supérieur. Ce programme sera ouvert non seulement aux étudiants, mais aussi à la formation professionnelle continue. Les bénéficiaires de ce programme profiteront d’un contexte de formation privilégié grâce à des interactions quotidiennes avec les équipes de chercheurs sur place, et à l’accès direct aux collections. Ressources pédagogiques de premier plan, celles-ci sont aussi un atout précieux pour la formation à la recherche par la recherche.

Le Musée de l’Homme constitue ainsi l’un des plus ambitieux chantiers du Muséum national d’Histoire naturelle (MNHN) quelques mois après l’inauguration du nouveau Parc Zoologique de Paris et de la Galerie de Botanique, alors que la Grande Galerie de l’Evolution vient de fêter ses 20 ans et que la Galerie de Minéralogie s’apprête à rouvrir en décembre 2014.

fonte: @edisonmariotti #edisonmariotti http://www.developpement-durable.gouv.fr/Le-Musee-de-l-Homme-fait-peau.html


Daphné Bürki : Maîtresse stylée face à Léa Salamé, très sexy

Depuis 2010, treize hommes et une femme sont récompensés chaque année par le magazine GQ. Pour cette édition 2014 - qui s'est tenue le 19 novembre 2014 -, la cérémonie était organisée au musée d'Orsay, à Paris. Acteurs, chanteurs, journalistes, sportifs... de nombreuses personnalités étaient présentes à la soirée.




Daphné Bürki, toujours aussi stylée et décalée dans un costume masculin rétro, était la maîtresse de cérémonie de ce grand événement. Soutenue par son chéri Sylvain Quimène alias Gunther Love, la belle animatrice du Tube (Canal+) avait pour lourde tâche d'animer et de remettre les prix aux récompensés de la soirée.




En plus des 13 hommes honorés, la seule femme à avoir reçu le très envieux titre de Femme de l'année n'est autre que Léa Salamé, remplaçante de Natacha Polony dans On n'est pas couché sur France 2. Habillée d'une robe rose moulante Hugo Boss, la journaliste qui a longtemps collaboré avec i-Télé a dévoilé une partie de ses charmes même si, dans le dernier numéro du magazine GQ, elle a justement confié "ne jamais être dans la séduction."




La nouvelle recrue de Laurent Ruquier a récupéré son prix et réalisé un discours devant un parterre impressionnant de stars et de confrères comme Malika Ménard, Ophélie Meunier, Frédéric Taddeï, Stéphane de Groodt - Humoriste de l'année - JoeyStarr ou encore Xavier de Moulins, présentateur du JT d'M6.




Autre grand moment de la soirée, la danse d'Omar Sy quand il a reçu la titre d'Homme de l'année.

fonte: @edisonmariotti #edisonmariotti http://www.purepeople.com/article/daphne-burki-maitresse-stylee-face-a-lea-salame-tres-sexy_a150991/1#lt_source=external,manual

RECURSOS DE LA EXPOSICIÓN: INTERACTIVOS, AUDIOVISUALES Y PRODUCCIONES MULTIMEDIA · en DISEÑO, MUSEOGRAFÍA,MUSEOLOGÍA, OPINIÓN. ·

“Nunca cuentes
más de lo necesario”.
Richard Brinsley Sheridan


La mayoría de las personas percibimos la realidad que nos rodea con el uso nuestros sentidos naturales: vista, oído, olfato, tacto y gusto. Las personas que tiene alguno de estas capacidades sensoriales disminuidas o anuladas desarrollan las que nos están dañadas de forma progresiva. Por ejemplo, una persona que no puede ver aumenta su capacidad de percepción a través del oído, el tacto también el olfato y el gusto, ¿porqué no? Pero hay algo que es común en todos nosotros equilibrando nuestra capacidad de percibir: no podemos ver, ni oír, ni tocar, ni degustar, ni apreciar el perfume de la historia. La máquina del tiempo no está aun a nuestra alcance, es una quimera, no sabemos tan siquiera si es un proyecto viable, si algún científico visionario lo ha desarrollado ya, aislándolo del mundo en un laboratorio de física cuántica en Kazajastán o en China.

Imagen: Reinold Brown, “The Time Travelers”, 1964

Dejando por el momento la ciencia ficción a un lado, lo que sí está a nuestro alcance es lo que podríamos denominar la reconstrucción de la historia. A partir del conocimiento de un hecho concreto del pasado de la humanidad, a partir de un vestigio de esa historia, podremos desarrollar el conocimiento del episodio relacionado. Como aquí hablamos de museos, museología y museografía, aprovecharemos esta posibilidad de revivir la historia usando las herramientas que sí están a nuestro alcance hoy. Queremos hacer que la historia vuelva a nosotros de la forma más “real” posible, nuestro objetivo es crear un sistema en el que el público del museo pueda aprender del pasado a partir de un objeto pero con el uso de los sentidos, no solo el sentido de la vista que finalmente resulta tedioso cansino e incompleto. Los que nos seguís sabéis que nosotros defendemos la idea de que el museo debe generar conocimiento, pero también debe despertar nuestra memoria a partir de “sentir” el aprendizaje, del uso de nuestra emociones. Un museo verdaderamente accesible es aquel que tiene este objetivo muy en cuenta y trabaja para exhibir emocionando.


Los sistemas interactivos de los museos son aquellos que facilitan a los visitantes mecánicas de visita que van más allá de lo contemplativo, de lo pasivo, de lo anodino. Estos sistemas aplicados a las exposiciones de los museos ofrecen al visitante la posibilidad de que puedan realizar un “viaje en el tiempo sensorial” de forma interactiva, para poder sumergirse en la historia, incluso poder vivir intensamente el presente o vislumbrar el futuro. Los recursos que los museógrafos de última generación tenemos disponibles hoy para desarrollar contenidos emocionales, son básicamente estos cuatro:

1. Escenografías. Es un recurso con el que hay que tener mucho cuidado porque no se debe abusar de él. Como todo en la vida, el equilibrio también es muy importante a la hora de proyectar museografía. Hay secciones y áreas en el museo que sí deben aprovechar esta solución para hacer comprender la historia vital, contextualizando los objetos y añadiendo experiencia sensorial a los contenidos pasivos. Las últimas tendencias son la combinación de representaciones teatrales con escenografías virtuales, audiovisuales y películas interactivas en vivo. Las escenografías aportan a los visitantes un alto potencial emotivo y lúdico, donde podemos integrarnos al contenido y formar parte de él. Con el uso del re-actment esto lo podemos hacer fuera del museo también.

Ilustración: Duh, “Time machine”

2. Audiovisuales. Sobre todo fijándonos en los museos antropológicos y etnográficos, muchos de los objetos expuestos requieren complejas explicaciones para transmitir al visitante su función en la historia, su contexto cultural, valor religioso o simbólico. Este apoyo al conocimiento pueda hacerse con el uso de audiovisuales, en los que debe primar el sentido lúdico y un tono alejado de lo erudito para que no nos durmamos. El sonido debe ser un recurso muy importante teniendo en cuenta que los visitantes pueden llegar al contenido de forma individual o en grupo. Podemos trabajar con auriculares, smartphones, audioguías, campanas de sonido, altavoces, etcétera, siempre que no afecte al resto de la exposición.

3. Interactivos. El igual que con los audiovisuales, deberán mostrar sentido crítico y que no hayan sido redactados por un erudito. Los simuladores son los sistemas que más éxito están teniendo actualmente, sobre todo si se apoyan con dioramas haciendo la función del escenario. Esto permite que el usuario se “desplace” por la historia, siendo pasajero privilegiado en un viaje en el tiempo virtual. Ahora, con el uso de la realidad aumentada (RA) y su aplicación en smartphones, aun podemos hacer que la experiencia sea mucho más completa, e incluso de “usar y llevar” a casa y conectarse a experiencias complementarias desde la web del propio museo. También se puede experimentar con fragancias relacionadas con el contenido – una exposición de arte de la India en que el ambiente huela a sándalo y a madera -, por ejemplo. O el gusto, organizando unas jornadas gastronómicas en un restaurante o restaurantes asociados, relacionado sabores con la historia.

4. Grandes producciones multimedia. Son películas de alta definición que se proyectan en IMAX 3D. Tienen la desventaja de que se necesita unas condiciones espaciales determinadas dentro del museo como es una gran sala de proyección. Se deben utilizar para introducir el contenido o al final del recorrido, nunca en el medio de la visita.


En definitiva, estos sistemas son los que hacen que la visita al museo nos hagan disfrutar de una experiencia sensorial dentro del museo, que para nosotros es la mejor manera de adquirir conocimientos a partir de la exposición de un objeto, evitando convertir al visitante en un mero espectador pasivo (y muy aburrido).

Foto principal y para redes sociales:Wayne Wheelers’s Amazing Amendment Machine (National Constitution Center, Washington DC).

fonte: @edisonmariotti #edisonmariotti