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domingo, 28 de dezembro de 2014

Legendary Lia Fáil - The Coronation of High Kings in Ancient Ireland

Lia Fáil is a stone found at the Inauguration Mound on the Hill of Tara in County Meath, Ireland. Also known as the Coronation Stone of Tara, the Lia Fáil served as a coronation stone for the High Kings of Ireland. According to legend, all of the kings of Ireland up to Muirchertach mac Ercae, 500 AD, were crowned on the stone. Lia Fáil has been translated to mean “stone of destiny.”
Legendary Lia Fáil – The Coronation of High Kings in Ancient Ireland

The Stone of Destiny, Lia Fáil, found on the Hill of Tara in Ireland

The Stone of Destiny, Lia Fáil, found on the Hill of Tara in IrelandThe Stone of Destiny, Lia Fáil, found on the Hill of Tara in Ireland. Wikimedia, CC

According to a collection of writings and poems known as the Lebor Gabála Érenn, the semi-divine race of the Tuatha Dé Danann were responsible for bringing the Lia Fáil to Ireland. They traveled to the Northern Isles to learn many skills and magic in the cities of Falias, Gorias, Murias and Findias. They traveled from the Northern Isles to Ireland, bringing a treasure from each of the cities, including the Lia Fáil, the Claíomh Solais or Sword of Victory, the Sleá Bua or Spear of Lugh, and the Coire Dagdae or The Dagda's Cauldron. The Lia Fáil is said to have come from the city of Falias. Many believe that this legend explains how the stone arrived in Ireland.

A plate of The Dagda, representing the legendary members of the Tuatha Dé Danann

A plate of The Dagda, representing the legendary members of the Tuatha Dé DanannA plate of The Dagda, representing the legendary members of the Tuatha Dé Danann. Public Domain

One traditional tale about the Lia Fáil is that long ago the stone would utter a shout, or would “roar with joy” whenever a king of the true Scottish or Irish race stood or sat on the stone, or placed his feet upon it. Stones that make sounds or speak are a common component in old Irish folk tales. Through the stone’s power the king would be rejuvenated and would enjoy a long reign. According to the legend, Cúchulainn was angered when the stone did not cry out for his protégé, Lugaid Riab nDerg. In retaliation, Cúchulainn struck the stone with his sword, splitting it. From that day forward, the stone never cried out for anyone again, except for Conn of the Hundred Battles. Although Cúchulainn had split the stone in anger, seemingly destroying the powers that allowed it to cry out, the stone roared under Conn, according to the the Lebor Gabála Érenn. However, in another writing, Baile in Scáil, Conn only walks over the stone by accident, as it had been buried after being destroyed by Cúchulainn. Regardless of whether Conn tread upon the stone intentionally, or by accident, it is said it roared for him, and legend held true as Conn enjoyed a long reign as king.

Cúchulainn, is the central character of the Ulster (Ulaid) cycle in the in medieval Irish mythology and literature

Cúchulainn, is the central character of the Ulster (Ulaid) cycle in the in medieval Irish mythology and literatureCúchulainn, is the central character of the Ulster (Ulaid) cycle in the in medieval Irish mythology and literature. According to tale, he split the Stone of Destiny in anger. Public Domain

The Lia Fáil remains erect on the Hill of Tara to this day, a site which has been in use by people since Neolithic era. It is a menhir, or upright standing stone, and many such prehistoric stones were thought to be magical by later cultures. The ancient history of the stone provides a strong symbolic link between the Celtic people of Scotland and Ireland.

The Hill of Tara is an archaeological complex featuring many ancient monuments, such as the ‘Mound of Hostages’

The Hill of Tara is an archaeological complex featuring many ancient monuments, such as the ‘Mound of Hostages’The Hill of Tara is an archaeological complex featuring many ancient monuments, such as the ‘Mound of Hostages’, seen above. In tradition Hill of Tara is known as the seat of the High Kings of Ireland. Wikimedia, CC

The Irish legends surrounding the stone have been retold and reimagined over time, but the stone remains a symbol of the kings who were crowned upon it, and represents the mythical powers which caused the stone to roar with joy when a king stood upon it. Unfortunately, the stone has been vandalized on two occasions. In 2012, it was struck repeatedly with a hammer, leaving eleven areas of damage. In 2014, red and green paint were poured over the stone, covering 50% of the surface. In spite of this damage, the symbolism of the Lia Fáil within Irish culture remains.

- fonte: @edisonmariotti #edisonmariotti ings-ancient-ireland-002504#sthash.mbcUlLhB.dpuf

The Future of Travel Is About Connecting the Digital With the Physical

Good museums and attractions aren’t in competition with the digital realm.

The better ones embrace the capabilities of mobile devices and location-specific content to improve a visitor’s experience. Few know this better than the Metropolitan Museum of Art’s Chief Digital Officer, Sree Sreenivasan.

A pioneer in both digital and social media, Sreenivasan stepped into his role at the Met in August 2013 with a mandate to create a virtuous circle between real world and digital visitors.

In his presentation for the Skift Global Forum, Sreenivasan explains how he’s done just that, while also providing direction for other destinations and attractions trying to find their own way. 


fonte: @edisonmariotti #edisonmariotti


The Meaning of “Culture”

There’s something innately funny about Merriam-Webster’s announcement, earlier this month, that “culture” is their 2014 Word of the Year. “Culture” is the “Scary Movie” of words of the year, which, ordinarily, are supposed to reflect culture (“vape,” “selfie”) without actually being “culture.” Merriam-Webster’s editors are at pains to clarify that they weren’t trying to be meta (which, incidentally, would’ve made a great word of the year back in 2000). The word “culture,” they explain, was simply the word that saw the biggest spike in look-ups on their Web site. Confusion about culture was just part of the culture this year. People were desperate to know what “culture” meant.

It goes without saying that “culture” is a confusing word, this year or any year. Merriam-Webster offers six definitions for it (including the biological one, as in “bacterial culture”). The problem is that “culture” is more than the sum of its definitions. If anything, its value as a word depends on the tension between them. The critic Raymond Williams, in his souped-up dictionary, “Keywords,” writes that “culture” has three divergent meanings: there’s culture as a process of individual enrichment, as when we say that someone is “cultured” (in 1605, Francis Bacon wrote about “the culture and manurance of minds”); culture as a group’s “particular way of life,” as when we talk about French culture, company culture, or multiculturalism; and culture as an activity, pursued by means of the museums, concerts, books, and movies that might be encouraged by a Ministry of Culture (or covered on a blog like this one). These three senses of culture are actually quite different, and, Williams writes, they compete with one another. Each time we use the word “culture,” we incline toward one or another of its aspects: toward the “culture” that’s imbibed through osmosis or the “culture” that’s learned at museums, toward the “culture” that makes you a better a person or the “culture” that just inducts you into a group.

There’s a historical sense, too, in which “culture” is a polemical word. In the nineteenth century, Williams explains, “culture” was often opposed to “civilization.” Civilization, the thinking went, was a homogenizing system of efficient, rational rules, designed to encourage discipline and “progress.” Culture was the opposite: an unpredictable expression of human potential for its own sake. (It’s for this reason that a term like “the culture industry” has an oxymoronic ring.) Today, we don’t often use the word “civilization”— we prefer to talk, more democratically, in terms of culture—but we’re still conflicted. We can’t help but notice how “civilized” life seems both to facilitate culture and to deaden it. Museums make it easy to see art, but they also weigh it down. Rock and roll sounds better in a club than in a concert hall.

These are solid, perennial reasons to look up “culture” in the dictionary. But why did more people than usual look it up this year? The editors at Merriam-Webster decline to speculate. They note, merely, that “the term conveys a kind of academic attention to systematic behavior.” Here’s my theory: more people looked up “culture” this year because it’s become an unsettling word. “Culture” used to be a good thing. Now it’s not. That isn’t to say that American culture has gotten worse. (It has gotten worse in some ways, and better in others.) It’s to say that the word “culture” has taken on a negative cast. The most positive aspect of “culture”—the idea of personal, humane enrichment—now seems especially remote. In its place, the idea of culture as unconscious groupthink is ascendent.

In the postwar decades, “culture” was associated with the quest for personal growth: even if you rejected “establishment” culture, you could turn to “the counterculture.” In the eighties, nineties, and aughts, it was a source of pride: the multiculturalist ethos had us identitying with our cultures. But today, “culture” has a furtive, shady, ridiculous aspect. Often, when we attach the word “culture” to something, it’s to suggest that it has a pervasive, pernicious influence (as in “celebrity culture”). At other times, “culture” is used in an aspirational way that’s obviously counterfactual: institutions that drone on about their “culture of transparency” or “culture of accountability” often have neither. On all sides, “culture” is used in a trivializing way: there’s no real culture in “coffee culture” (although the coffee at Culture, a coffee shop near my office, is excellent). But, at the same time, it’s hard to imagine applying the word “culture” to even the most bona-fide “cultural institutions.” We don’t say that MOMA fosters “art culture,” because to describe art as a “culture” is, subtly, to denigrate it. In 1954, when the magazine Film Culture was founded, its name made movie lovers sound glamorous. Today, it sounds vaguely condescending.

This year, there was the rise of the powerful term “rape culture.” (It was coined a long time ago, in a 1975 documentary film called “Rape Culture” that focussed, in part, on an organization called Prisoners Against Rape; Ariel Levy, in a recent piece for this magazine, defines it as “a value system in which women are currency, and sex is something that men get—or take—from them.”) The spread of the idea of “rape culture” hasn’t just changed how we think about rape; it’s changed how we think about culture. Among other things, “rape culture” uses the word “culture” in a way that doesn’t involve, on any level, the idea of personal enrichment. Instead, the term’s weight is placed, fully and specifically, on Williams’s other two aspects of culture: on the subterranean, group-defining norms (misogyny, privilege) that encourage violence against women, and on the cultural institutions (movies, fraternities) that propagate those norms. The term works, in part, because of its dissonance. You can’t see the word “culture” next to the word “rape” without revising your ideas about what “culture” means.

No comparable “culture” term has been invoked in relation to the deaths of Michael Brown, Eric Garner, and the other African-Americans killed, recently, in encounters with the police. But those events have also pushed us to think about “culture” as an inhumane, malevolent force. And I suspect that many of us have also been keeping our own inner ledgers, where we track the ways in which “culture” has seemed, more and more, like the kind of thing you’d want “civilization” to overrule.

That’s not to say, necessarily, that music culture or art culture or book culture has gotten worse—or that our collective way of life has gone downhill. It’s our sense of the word “culture” that has grown darker, sharper, more skeptical. But, if words are tools for thinking, then this year “culture” has been used to think about the parts of our society that function poorly. That may even be a sign, in a way, of an improvement in our culture. If our increasingly analytical, sociological way of thinking about “culture” is helping us to improve the culture, that’s a positive development. Confusion over its evolving meaning is a good reason to look up “culture” in the dictionary, but so is an interest in understanding the world and making it better.

All this might make you wonder: Does it even make sense to have a single word, “culture,” with such divergent uses? Maybe not; many people, Williams writes, have called “culture” a “loose or confused” term. It’s possible to imagine a more rational system, in which one word describes the activities of artistic and intellectual life, another our group identity, and a third our implicit norms and ways of living. Those terms, whatever they might be, would be narrower and simpler—but they’d also be less accurate. They would obscure the overlap between life, art, and politics.

And they’d be less meaningful, too. “Culture” may be pulling itself apart from the inside, but it represents, in its way, a wish. The wish is that a group of people might discover, together, a good way of life; that their good way of life might express itself in their habits, institutions, and activities; and that those, in turn, might help individuals flourish in their own ways. The best culture would be one in which the three meanings of “culture” weren’t at odds with one another. That’s not the culture we have at the moment; our culture is fractured, and so our sense of the word “culture” is, too. But it’s possible to imagine a world in which our collective attitudes and institutions further everyone’s individual growth. Maybe, in such a world, the meaning of “culture” would be more obvious; we wouldn’t have to look it up.

fonte: @edisonmariotti #edisonmariotti

Conférence des Amis du musée bigouden.

Dimanche, les Amis du musée racontent l'histoire qui a uni les ateliers de broderie Le Minor et l'artiste Dom Robert, qui a créé pour les tapisseries d'Aubusson.
Dom Robert et son univers pictural tiré de la nature.

Les Amis du musée bigouden proposent une conférence illustrée sur Dom Robert et la Maison Le Minor. Gildas Le Minor retracera les circonstances qui ont conduit sa grand-mère, Marie-Anne, à collaborer avec l’artiste-moine bénédictin, grand nom de la tapisserie d’Aubusson. Le fruit de cette rencontre, on l’a sous les yeux à l’exposition qui se tient actuellement au château, avec de superbes tapisseries brodées éclatantes de couleurs. Un hymne joyeux et jaillissant à la nature.
Un parcours singulier

Annick Fleitour, la présidente des Amis du musée bigouden, et Serge Duigou retraceront le parcours singulier de l’artiste, aristocrate mondain devenu moine bénédictin dans le Tarn. C'est son exil en 1947 dans le Finistère qui l'a conduit à la belle aventure des tapisseries brodées, à Pont-l’Abbé.

Ce dimanche 28 décembre, à 16 h, à la Maison pour tous de Pont-l’Abbé (rue du Petit-Train). Animation par Annick Fleitour, Gildas Le Minor et Serge Duigou. Ouvert à tous. Entrée : 4 €.

fonte: @edisonmariotti #edisonmariotti

Musée : les enfants adorent les dinosaures

Pour la deuxième année consécutive, le musée des Dinosaures propose des ateliers pour les enfants pendant les vacances de Noël. Pour ceux qui souhaitent découvrir le dur métier de paléontologue, ils choisiront l'atelier fouilles (7-12 ans) avec découverte d'ossements de «dinos» à la clé (les os d'un petit dino herbivore de 5 m de long dont on taira le nom, sinon c'est tricher). Pour ceux qui voudraient ramener un souvenir unique du musée, il faudra choisir l'atelier empreintes de pas (5-12 ans) avec, entre autres, la réalisation d'un moulage d'une empreinte de pas d'un petit dino carnivore appelé liliensternus (là, on peut le dire!). En 2014, des dizaines d'enfants sont venus fêter leur anniversaire au musée. Le temps d'un après-midi, ils découvrent le monde des dinosaures à travers des ateliers, une chasse aux dinosaures, la visite de lieux d'habitude fermés au public, et un goûter chez «Maurice Raptor».
Ateliers, goûters, chasse aux dinosaures : les enfants ne manqueront pas d'occupations au Musée en 2015.

À noter également que le «Dinoblog» est devenu cette année le blog francophone de référence en paléontologie. Ouvert en 2012, il attire de plus en plus de lecteurs intéressés de près ou de loin par la paléontologie ( blog). Ce blog aborde en effet tous les thèmes de la paléontologie sous la plume de quatre paléontologues de renom. Leur objectif : la science pour tous avec en prime beaucoup d'humour. Ce n'est pas parce que c'est de la science qu'on ne peut pas rigoler un peu !

Pour 2015, un événement sera proposé autour du Dinoblog au début de l'été : des conférences, des fouilles pour tous sur le gisement de Bellevue, de nouveaux ateliers pour les plus petits, et une expo temporaire. On a hâte d'y être!

fonte: @edisonmariotti #edisonmariotti

Museu Pelé terá coral de fim de ano para celebrar ano de inauguração

Apresentação será no próximo domingo (28), a partir das 19h30. Visitas no Museu poderão ser feitas normalmente das 11h às 20h.

A programação de fim de ano do Museu Pelé, em Santos, no litoral de São Paulo, terá uma apresentação do coral Tiriolli Orquestra e Coral. A intenção dos organizadores é marcar o ano de inauguração do espaço com um show especial.

O evento será no próximo domingo (28), a partir das 19h30, com entrada gratuita, em frente ao Museu. Por conta da programação especial, o local permanecerá aberto para visitação das 11h às 20h. Interessados poderão comprar bilhetes até às 19h.

Em funcionamento desde junho deste ano, o Museu Pelé fica no Largo Marquês de Monte Alegre, s/nº, no bairro do Valongo.

fonte|: @edisonmariotti #edisonmariotti


Inscrições para as Exposições Temporárias 2015 do Marco estão abertas

O Museu de Arte Contemporânea de Mato Grosso do Sul (Marco) recebe até o dia 20 de janeiro inscrições para as Exposições Temporárias 2015, e quem estiver interessado em participar, é só verificar o edital com todas as informações necessárias, que já está disponível na sede do Museu e na página da Fundação de Cultura.

Os artistas ou grupos que querem participar das exposições devem enviar portfólios e fichas de inscrição preenchidas pelos Correios ou entregá-los pessoalmente no museu, de terça a sexta-feira, das 13 às 17 horas. As avaliações serão feitas pela Comissão Curatorial do Marco e obedecerão às regras estabelecidas em edital. Já os portfólios não deverão exceder o formato A3 (29,7cm x 42cm).

A comissão avaliadora informa ser é importante lembrar que não serão aceitas aobras para efeito de inscrição e nem para análise, material encaminhado em CD-ROM ou similares. O material deve estar contido em embalagem lacrada com o nome do artista e encaminhado ao Marco.

As Exposições Temporárias visam incentivar a pesquisa contemporânea em artes visuais, tornando-as acessíveis à população, e apresentando novas possibilidades artísticas. O museu dispõe de quatro salas para exposições temporárias e uma sala com exposição de longa duração de obras do seu acervo.

Serviço - Edital, ficha de inscrição, modelo de portfólio e mapa das quatro salas de exposições estão disponíveis na página eletrônica do Marco ( Outras informações sobre o Programa de Exposições 2015 podem ser obtidas no telefone (67) 3326-7449 ou por correio eletrônico: O Marco fica na rua Antônio Maria Coelho, 6000, no Parque das Nações Indígenas.

Fonte: @edisonmariotti #edisonmariotti Marcos Barbosa - ( )

Museos: Espectros y Apariciones · en CELEBRACIÓN, OPINIÓN, RELATO. ·

“De todos los fantasmas los peores
son los de nuestros antiguos amores.”
Arthur Conan Doyle

Si nos adentramos en el Barrio Romántico de León (España), podremos visitar la Real Colegiata de San Isidoro, iglesia-convento-museo que asegura poseer y exponer una de las reliquias más importantes de la cristiandad: el Santo Grial, el que allí se considera el verdadero cáliz del que bebió Jesucristo en la Última Cena. Habrá quien afirme que es real y habrá quien lo niegue, pero la autenticidad o no del Grial, expuesto públicamente desde hace más de un año, no es precisamente lo que nos ocupa hoy aquí.

En este sacro lugar, el museo de la Real Colegiata de San Isidoro, ocurrió algo verdaderamente sorprendente, un hecho singular que nadie a sabido explicar con coherencia. Una persona, concretamente un anciano de muy buena apariencia, visitaba el museo todos los días desde su apertura, desde primera hora de la mañana y hasta el cierre a mediodía. Como un creyente que acude devotamente a misa todos los días, este anciano visitaba el Santo Grial con la misma invariable ceremonia. Llegaba al museo, pagaba su entrada para dirigirse directamente a la cámara donde se encuentra el expositor blindado que guarda la reliquia, y se pasaba las horas observando la reliquia hasta la hora de cierre. Para los dos trabajadores que tiene el museo a turnos, ya no tenía curiosidad alguna ver al anciano todos los días hacer la misma rutina, contestando las preguntas de los visitantes más curiosos que se interesaban por el imperturbable el anciano. Al principio, todos se extrañaron con esas visitas continuadas del anciano desconocido, ya que nadie sabia quien era, nadie tenía ni idea de donde procedía el buen señor y no era normal pasar tantas horas seguidas observando el grial. La primera semana que el anciano comenzó a ir por allí, hace ya más de un año, uno de estos trabajadores le preguntó si era un estudioso de la reliquia, el anciano se limitó entonces a poner su dedo indice en los labios en señal de guardar silencio, algo que los trabajadores respetaron desde entonces, nada de preguntas. Todo resultaba invariable a lo largo de las semanas, el anciano hacía siempre lo mismo y a las mismas horas, invariablemente.

Santo Grial expuesto en le museo de la Real Colegiata de San Isidoro (León, España)

Pero un día, la dirección del museo decidió instalar un circuito cerrado de televisión, con cámaras instaladas en todas las zonas de exposición, capacitando el control de todo el museo por una persona desde recepción. El día que finalmente comenzaron a funcionar las cámaras en la sala del Santo Grial, el anciano no apareció, fue el único día que faltó a su cita con la reliquia. Al día siguiente, sí acudió, y al entrar en recepción para comprar su entrada como siempre, el anciano se quedó con la mirada fija en el monitor que mostraba las imágenes de la sala del grial, según el testimonio del trabajador del museo que lo atendió. El anciano se quedó estático, fijando su mirada en el monitor sin pestañear durante unos minutos, hasta que el trabajador un poco preocupado le preguntó si se encontraba bien. El anciano sonrío y sin pronunciar palabra, se encaminó a la sala del Santo Grial, como hacía todos los días desde hacía meses.

El trabajador en recepción, extrañado por la reacción del anciano, le observó como caminaba atravesando las galerías del museo en las imágenes captadas por las diferentes cámaras del recorrido. Cuando el anciano apareció en la imagen de la cámara de la antesala del Santo Grial, se paró, miró hacia la cámara, sonrió y desapareció a la vista del trabajador. Nunca más se le volvió a ver por mucho que buscaron y buscaron, había desapareció para siempre, nunca más se supo de él*.
Fantasma captado en un museo de México

Curiosamente, las estadísticas sobre fenómenos inexplicables que ocurren en los museos muestran que lo paranormal ocurre normalmente en museos más bien pequeños, lugares con una antigüedad de al menos 50 años, no tanto en los museos grandes y más conocidos. Pero esto no quiere decir que en los museos grandes y famosos no haya fantasmas, haberlos los hay, pero parece que son más “vagos”. El Museo Reina Sofía de Madrid, reconstruido sobre lo que fue un hospital durante la guerra civil española, tiene en sus cimientos lo que fue un cementerio de enfermos, justo debajo de la puerta principal donde, cuando se hizo la remodelación del edificio, se encontraron grilletes, restos de esqueletos y tres monjas momificadas. Lo más extraño de todo es que desde la llegada al museo de la obra El Guernica de Picasso para su exposición, se oyen gritos de una persona, las puertas del museo se abren y se cierran solas, las alarmas se activan sin motivo. Una sesión de oüija realizada por expertos en fenómenos paranormales en una de las salas del museo, provocó que se manifestara un espíritu al que nombraron como “Ataulfo” y que predijo esa misma noche la muerte al día siguiente de un familiar cercano de uno de los participantes de la sesión de espiritismo en un accidente de tráfico, como así desgraciadamente ocurrió. Los espiritistas que estudiaron el caso confirmaron que el espectro era la presencia de un sacerdote que había muerto allí, y cuya alma sin descanso aun continua vagando por el museo.

Vigilante del Museo Reina Sofía empujado en el pasillo en uno de los pasillos del museo

Aparición captada por las cámaras de los archivos del Museo de Historia Americana de Washington DC

Feliz día 28 de Diciembre, el día de los Santos Inocentes…

(*) En este relato, la figura del anciano verdaderamente existe, lo que no es cierto es que haya desaparecido.