quarta-feira, 11 de fevereiro de 2015

Cultura e cozinha brasileira - RABADA - Receita de Claude Troisgros, do livro Culinária nordestina encontro de mar e sertão.

Perfil da chef francês Claude Troisgros

O encontro dos paladares do sertão e do litoral marca a cozinha típica de oito estados nordestinos. Além do ensaio antropológico de Raul Lody e de um prefácio do chef francês Claude Troisgros, o livro traz 398 receitas de pratos originais e dos famosos doces nordestinos, ricamente ilustradas com fotografias a cores de Humberto Medeiros. Enfocando e associando alguns aspectos da história da região com seus pratos típicos, a obra faz parte da série A Formação da Culinária Brasileira.

RABADA

Ingredientes
2 kg de rabada fresca
Sal a gosto
Cebola e alho
Pimenta - do - reino a gosto
Cheiro verde
3 colheres de molho de tomate
4 colheres de sopa azeite

Modo de fazer
Lave primeiramente a rabada com vinagre
Depois tempere com sal, pimenta - do - reino e cheiro verde
Numa panela de pressão de 7 litros, junte o azeite
Depois, acrescente a cebola picada e o alho
Quando estiver dourado, jogue a rabada e mexa para agregar o tempero
Adicione água até que cubra a rabada, tampe e deixe cozinhando, após pegar pressão por 30 minutos
Em seguida, quando a rabada estiver mole, despeje o molho de tomate, verifique o sal e a pimenta
Deixe ferver mais um pouco e desligue
Deixe esfriar um pouco até que o óleo suba todo
Com uma concha retire todo o óleo que fica por cima, deixando o prato mais suave

fonte: @edisonmariotti #edisonmariotti http://www.editorasenacsp.com.br/portal/produto.do?appAction=vwProdutoDetalhe&idProduto=19801

Receives Signed Shirt from German World Cup Winners It will be exhibited in the Brazilian Museum of Football, located inside the stadium Mineirão.



An event as surprising as Brazil's 7-1 thrashing at the hands of Germany at last year's World Cup is not easily forgotten, especially given that Brazil were playing at home.






The match has already entered in the history books, and has attracted the attention of museums.

At the request of Minas Arena, the company in charge of the Mineirão, the site of Brazil's historic defeat, the German consulate has donated a shirt signed by the World Cup-winning squad.

It will be exhibited in the Brazilian Museum of Football, located inside the stadium.

"This shirt is a souvenir for the Mineirão stadium, where Germany consolidated their path to victory at the World Cup in Brazil. Here we saw a match that made football history and put Belo Horizonte on the map for all Germans. We have a lot of affection for the people of Minas Gerais and we here we leave a little of our history too," said Harald Klein, the German consul, as he handed the shirt over to museum staff.

According to Minas Arena, the number of German tourists visiting the stadium has increased since the World Cup, as have questions regarding objects from the German World Cup campaign.

For Thiago Costa, the museum coordinator, the shirt will be important to commemorate a moment of football history that took place in the stadium.

"That match was unforgettable. Our children and grandchildren will talk about it, about the German team that destroyed Brazilian sovereignty. It's very important that this shirt is part of our collection," he said.

Translated by TOM GATEHOUSE



FROM SÃO PAULO - BRAZIL


fonte: @edisonmariotti #edisonmariotti http://www1.folha.uol.com.br/internacional/en/sports/2015/02/1587770-mineirao-receives-signed-shirt-from-german-world-cup-winners.shtml

Read the article in the original language
    Agência I7/Minas Arena    
Belo Horizonte's Mineirão receives a signed shirt from German World Cup winners

15 Ideas para el Museo Local | Idea 11 · en CREACIÓN, CULTURA, MUSEOGRAFÍA, MUSEOLOGÍA, TECNOLOGÍA. ·


Para explicar historias,
recurrid a sistemas baratos y versátiles:
las historias a través de aplicaciones
de realidad aumentada (RA).



Los marcadores de realidad aumentada son los herederos de los códigos QR, ya sabéis, esas cosas cuadradas tan raras y feas que, cuando las enfocamos con el teléfono móvil-celular y los escanéa una aplicación, nos facilita visualizar un contenido preconfigurado. Esos códigos QR han evolucionado mucho, transformándose como os decimos en marcadores. La aplicación que usamos es otra también, la denominaremos realidad aumentada (RA). Todo pasa por el uso de esa extensión de nuestra mano que nos convierte en una espacie de androides: el smartphone y las tabletas. Estas experiencias de realidad aumentada, a partir de ahora: RA, son fáciles de producir ya que hay websites en internet que nos ayudan a generar la gráfica en diferentes colores, con textos, ilustraciones, fotografías, sonido, etcétera.

Archivo EVE

Para descargar estas aplicaciones solo hay que ir al website del desarrollado tecnológico, por ejemplo Total Inmersion entre otros muchos, y seguir los pasos de sus tutoriales. La ventaja que tiene las aplicaciones que sustituyen a los códigos QR, es que reconocen cosas y nos cuadraditos extraños en blanco y negro. Podemos pre-programar el sistema de RA para que reconozcan objetos, fotografías, ilustraciones e incluso rostros. Así, el museo puede ofrecer desde una simple información textual a geolocalizaciones, direcciones web, vídeos o solo audio. Estos sistemas de RA pueden generar dioramas digitales, es decir, dotar al objeto de un escenario virtual que podremos visualizar a través de la pantallita de nuestro smartphone o paleta, pudiendo añadirle audio en diferentes idiomas, algo que deja en el pleistoceno a los headphones actuales que ofrecen los museos y, además, al usuario de la aplicación le sale gratis.

Google Glasses

Además, estos sistemas incentivan la interactividad con los usuarios, les estimula, les puede plantear preguntas, enigmas, juegos y, además que no menos importante, a los niños les encanta.

No es necesario que insistamos en que estos sistemas pueden utilizarse en el museo para interesantes juegos de pistas, pueden geolocalizar los lugares de procedencia de los objetos, así como ayudar a descargar información complementaria y almacenar contenidos de todo tipo. Creemos que es una fórmula eficaz y barata de explicar la historia, publicitar el museo y ampliar el espacio físico transformándolo en un fabuloso mundo virtual. Las posibilidades son infinitas. Estos sistemas se pueden usar tanto dentro del museo como fuera ya que en principio la mayoría no necesita conexión a internet para que funcionen. Por lo tanto, para los equipamientos patrimoniales al aire libre son muy útiles, también en el casco urbano se pueden usar, solo necesitan una idea detrás. Podemos enumerar sus usos y bondades en 10 puntos:

1. Nos pueden ayudar a que sigamos indicaciones para hacer un recorrido interior (dentro del museo) o exterior (ciudad o lugar patrimonial). Un ejemplo fantástico es lo que se hizo para la catedral de Amiens.

2. Pueden ayudarnos a identificar lugares incluso como si fuera un juego. Promueven actividades culturales educativas que tienen éxito sobre todo entre los más pequeños.

3. Pueden desarrollar campañas educativas. Podemos crear marcadores efímeros, es decir, que sean reconocibles solo durante un tiempo determinado, aquel que dura la campaña en cuestión. Se distribuyen con el apoyo ciudadano, en la vía pública, en las tiendas, entidades y asociaciones, etcétera. Pueden convertirse en auténticas campañas de sensibilización y de educación alrededor del museo y del patrimonio.

4. Pueden desarrollar concursos educativos. Se pueden plantear concursos de toda índole y naturaleza muy variada que incluyen concursos de fotografía, pequeños filmes, relatos, música, y todo tipo de acciones relacionadas con uno o varios temas educativos que involucren a todo tipo de personas.

5. La RA facilita la narración de historias. Pueden convertirse en un excelente recurso para que el ciudadano narre y comparta episodios de su historia vividos en diferentes escenarios de nuestra ciudad. Es una forma de transmisión de la cultura usando recursos sencillos de expresión oral.

Archivo EVE

6. El antes y el ahora: “observar” la historia como si viajáramos en una máquina de transporte espacio-temporal. La comparación antes-después relacionada con la historia es una manera impactante de aprender y disfrutar del conocimiento de las cosas que ya han pasado. Podemos enfocar nuestro smartphone a un sitio concreto de la ciudad y visualizar como era ese mismo lugar hace, 500, 100 años, por ejemplo.

7. Los sonidos del tiempo: las distintas posibilidades que este sistema ofrece para recrear sonidos (el fragor de una batalla), en la ciudad, en el campo, en el sitio arqueológico, etcétera.

8. Escenarios de celuloide: muchos lugares se han convertido en platós de cine y televisión. La RA es una excelente herramienta para poder visualizar esos “corte” cinematográficos relacionados con lugares de una importancia especial.

9. Los sabores de la historia, el paladar del tiempo: el patrimonio gastronómico como forma educativa a través de las recetas o la complicidad de algún restaurante del lugar que rehaga menús ancestrales. También puede mostrar vídeos con elaboraciones de platos, fotografías, textos con información nutricional, etcétera.

10. Reconocer el patrimonio cultural: zonas de interés natural, jardines urbanos, parques, zonas verdes, etcétera, pueden ser los principales protagonistas de un recorrido cultural muy agradable. Desde el punto de vista educativo patrimonial, es tan importante saber quién construyó la catedral de una ciudad como qué árboles, arbustos y plantas hay en los jardines y calles por donde paseamos todos los días.

Imagen: HDR 3º nº: 6

Y los usos de la RA se siguen multiplicando… Solo necesitamos ideas, tiempo y un poco de conocimiento tecnológico para desarrollarlas.

IDEAS QUE CUESTAN POCO DINERO:

Saca el museo a la calle.

Si os ponéis de acuerdo con un grupo de teatro de aficionados de vuestra ciudad, seguro que podréis ofrecer a todo el mundo que lo quiera ver un espectáculo relacionado con el museo en la misma calle, si da lugar. Ahora, como somos muy modernos, a estas acciones las denominamos flashmobs, pero ya existen desde el año que se inventó la patata, y se pueden hacer también con música instrumental, a capella, mimo, pregones, etcétera. Solo necesitamos a un grupo de gente comprometida con la difusión del museo, que no se corten en público e imprimir unos grandes cartelones (banners de calle) dónde vaya a desarrollarse la acción, para que podamos ver claramente la imagen del museo que promueve el espectáculo.


fonte: @edisonmariotti #edisonmariotti

Drinking About Museums



Carolina Kaufman:      
 fonte: @edisonmariotti #edisonmariotti https://plus.google.com/u/0/111946850366857674006/posts?cfem=1
Going to Museums and the Web 2015!  Explore the Maker in You, join us at the Make-Show-Share-Again Workshop!  http://mw2015.museumsandtheweb.com/proposal/make-show-share-again/
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Make, Show, Share… Again! | MW2015: Museums and the Web 2015
Make, Show, Share… Again! Workshop Tina Shah, Art Institute of Chicago, USA, Carolina Kaufman, The Art Institute of Chicago, USA, Seema Rao, Clevel...  

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Social media use by museum visitors before, during and after their visit: a useful tool of customer care

As museum social media managers, have we ever really stopped to think about how our audiences use social networks before, during and after their visit to our institutions? How much useful it would be to reflect on these dynamics to plan better online strategies and maximize the limited resources at our disposal? Have we ever noticed how some of the information passing through social media could prove to be crucial to reconsider some key factors, such as curatorial choices, exhibition design, and audience research?




Last summer I had the chance to attend an interesting session of internal training on these issues conducted by Erin Blasco, Education Specialist at the National Museum of American History. I think some of the things Erin pointed out can be useful to address the topic of social media as a tool of customer care.
Part #1 – before the visit

The first moment in which the public interacts online with our museums is the one preceding the visit. The natural behavior of a contemporary visitor is to look for information on the web before deciding whether and when to go to a particular institution. He or she will search both practical information on the visit (such as where the museum is located, opening times, the cost of the ticket and the presence of any reductions) and possibly reviews and opinions from other users.

At this stage, our visitor will probably use Google (used today by 1.17 billion unique users per month) or a similar search engine, and he/she might give a look at Yelp, Foursquare or TripAdvisor, to get first-hand information from other people who have already visited. Besides, he or she might also share a post on Facebook or a tweet to ask friends something that will sounds like “Saturday trip to Milan: any advice? “.

How can a museum monitor this decision-making stages of the potential visitor? Platforms like Yelp and TripAdvisor are open social networks. The first thing to do is thus to look for the name of our museum and read comments and reviews of users. It is interesting to see what people are saying about us – which aspects of the museum are more liked by a Japanese rather than a European? By people who visit with family or friends? – but it’s even more important to reflect on the negative comments. By doing so, you can identify the critic points and take action on them to improve the perception and the offering of the institution. If possible, it would also be useful to respond to criticisms, providing explanations and thanking for reporting any problems, specifying what measures have been taken to solve them.

Moreover, opening a business account on Yelp or TripAdvisor provides some useful analytics, such as how many people look for the museum, which devices they use, which is their behavior: do they check the map? Do they read more logistics information or reviews? Besides, they provide some basic marketing tools.

It would be just as useful to be able to keep monitored mentions of the museum on Facebook and Twitter, including those users who do not mention us directly by using the mention “@”, and simply look for hashtags or the plain name of our institution. Ideally, we should answer to these people, writing the opening hours to those seeking practical information, wishing a good visit to those who write “I’m coming to visit!” and suggesting an exhibition or an object to the undecided ones who write “What do you suggest to visit in Milan?”. Anyway, it is also useful to periodically read the answers given by their friends and followers, to understand what the perception of the museum is from the outside, and keep track of the “word of mouth”.

Pay also attention to social networks that you’re not considering: Pinterest, for example. There are many boards like “Places to visit in Milan”, for example, listing the points of interest in the various cities. Look for your museum also on this platform and build opportunities for interaction with users would communicate openness and participation.


Part #2 – during the visit

The second important moment in which the audience talk about/with us online is during their visit to the museum. Of course, we don’t have access to comments on private profiles on Facebook or to messages on WhatsApp, but if we keep our ears open we can intercept visiting behaviors through hashtags and mentions on Instagram, Facebook and Twitter.

The most common type of content shared by users during their visits is probably to say “I’m here!”. It can both emphasize the enthusiasm for the visit and the desire to put themselves in the spotlight in front of friends and contacts. In this category we find simple check ins – including those through platforms like Swarmapp – and photos taken outside the building or in the hall.

But the most curious shares – and also more interesting for the museum – are those ones with short texts and photographs of the exhibits: what are the most photographed objects or artworks? Why? Are we helping our audience to interact with these works? Could we give them greater emphasis or accessibility? Captions and explanatory panels in the proximity of this works capitalize on all this attention or are we losing an important opportunity to give information, educate and excite?

Another aspect not to be underestimated is the connection between people personality and the photographed object, that becomes, in some cases, a way to express a clear identity and to present it to friends and contacts (for example: “I’m the expert on contemporary art”, “I’m the archaeologist in the making”, “I’m the cool and funny one”, “I’m the mature person who reflects on universal themes”, “I’m so nerd”, etc.).

The more we pay attention to online discussions – for example, around a particular object in the collection, or a caption – the more opportunities we have to start conversations with the audience and create connections with them.

Another observation about this type of interaction: is there anyone who comments or posts photos more frequently, coming back to the museum additional times? It might be worth evaluating the idea of creating a list of ambassadors or “best fans” to whom we can ask direct opinions and advice, or to whom we can look at for targeted campaigns or simply to reward their loyalty.


Mart Museum of Rovereto: repost of visitors’ photos

But let’s stop for a second on the theme of photos in museums. Recently, the discussions around #museumselfie day have highlighted how selfies in museums might be just meaningless manifestations. Aren’t we risking to consider ourselves too elitist to adopt a behavior that is popular among the masses? A selfie with a roman bust or a picture of a detail on a painting might not have required a major intellectual effort, but is an expression of appropriation of the experience, a personalization of it. The act of taking a picture with a smartphone is a natural behavior for visitors, for all of us actually, and has a huge communication potential for the museum. Furthermore, is a social action as it implies involvement with other fellow visitors or social contacts.

In other words, don’t miss the opportunity to learn something about our public just because the way they interact with our collection does not seem “high culture”. In fact, by monitoring what objects people choose for their selfies we can better understand what they engage with and thus informing our educational strategy.


Pictures from #museumselfie day – collage by socialwebart.it
Part #3 – after the visit

Last but not least, social media are the perfect environment to discuss the visit once it has finished. In the better case, our tweet feed will include compliments of people happy with their visit. If this is not the case, it is crucial to be prepared to respond to complaints as well.

Once again, we have an opportunity to understand the malfunctions our public consider important, as well as to recover the relationship with an unsatisfied visitor.

In this sense, it is important to show how much the museum museum cares, using a nice and comprehensive tone. The unsatisfied visitor is actually helping us “get better” at delivering our mission by highlighting a problem. He/she might use a rather grumpy tone to tell us, but we should be able to turn his/her dissatisfaction in an opportunity to improve our service or at least show empathy.
 
 
fonte: @edisonmariotti #edisonmariotti http://www.svegliamuseo.com/en/social-media-al-museo-customer-care/