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segunda-feira, 22 de junho de 2015

The monuments of the Acropolis have withstood the ravages of past centuries, both of ancient times and those of the Middle Ages.

Until the 17th century, foreign travellers visiting the monuments depicted the classical buildings as being intact. This remained the case until the middle of the same century, when the Propylaia was blown up while being used as a gunpowder store. Thirty years later, the Ottoman occupiers dismantled the neighbouring Temple of Athena Nike to use its materials to strengthen the fortification of the Acropolis. The most fatal year, however, for the Acropolis, was 1687, when many of the building’s architectural members were blown into the air and fell in heaps around the Hill of the Acropolis, caused by a bomb from the Venetian forces. Foreign visitors to the Acropolis would search through the rubble and take fragments of the fallen sculptures as their souvenirs. It was in the 19th century that Lord Elgin removed intact architectural sculptures from the frieze, the metopes and the pediments of the building.



In 1833, the Turkish garrison withdrew from the Acropolis. Immediately after the founding of the Greek State, discussions about the construction of an Acropolis Museum on the Hill of the Acropolis began. In 1863, it was decided that the Museum be constructed on a site to the southeast of the Parthenon and foundations were laid on 30 December 1865.

The building program for the Museum had provided that its height not surpasses the height of the stylobate of the Parthenon. With only 800 square meters of floor space, the building was rapidly shown to be inadequate to accommodate the findings from the large excavations on the Acropolis that began in 1886. A second museum was announced in 1888, the so-called Little Museum. Final changes occurred in 1946-1947 with the second Museum being demolished and the original being sizably extended.

By the 1970s, the Museum could not cope satisfactorily with the large numbers of visitors passing through its doors. The inadequacy of the space frequently caused problems and downgraded the sense that the exhibition of the masterpieces from the Rock sought to achieve.

The Acropolis Museum was firstly conceived by Constantinos Karamanlis in September 1976. He also selected the site, upon which the Museum was finally built, decades later. With his penetrating vision, C. Karamanlis defined the need and established the means for a new Museum equipped with all technical facilities for the conservation of the invaluable Greek artifacts, where eventually the Parthenon sculptures will be reunited.

For these reasons, architectural competitions were conducted in 1976 and 1979, but without success. In 1989, Melina Mercouri, who as Minister of Culture inextricably identified her policies with the claim for the return of the Parthenon Marbles from the British Museum, initiated an international architectural competition. The results of this competition were annulled following the discovery of a large urban settlement on the Makriyianni site dating from Archaic to Early Christian Athens. This discovery now needed to be integrated into the New Museum that was to be built on this site.

In the year 2000, the Organization for the Construction of the New Acropolis Museum announced an invitation to a new tender, which was realized in accord with the Directives of the European Union. It is this Tender that has come to fruition with the awarding of the design tender to Bernard Tschumi with Michael Photiadis and their associates and the completion of construction in 2007.

Today, the new Acropolis Museum has a total area of 25,000 square meters, with exhibition space of over 14,000 square meters, ten times more than that of the old museum on the Hill of the Acropolis. The new Museum offers all the amenities expected in an international museum of the 21st century.


fonte: @edisonmariotti #edisonmariotti http://www.theacropolismuseum.gr/

MUSEOS, DIDÁCTICA Y SU EVALUACIÓN -- · en DIDÁCTICA PARA NIÑOS,INSTITUCIONES, MUSEO, MUSEOGRAFÍA, OPINIÓN. ·

En los últimos años los procesos y las técnicas de evaluación educativa han evolucionado de forma considerable, hecho que ha sido asumido, en muchos casos, por los propios museos. De esta manera, el análisis de proyectos y actividades educativas que se desarrollan en los museos se han transformado tanto cuantitativa como cualitativamente. En este sentido los métodos de valoración son mucho más rigurosos, sistematizándose los procesos de análisis, diversificándose los instrumentos y ampliándose enormemente los ámbitos temáticas e instituciones objeto de estudio.


Ya se han superado unas evaluaciones que se reducían, en los casos en los que se realizaban, a los estudios de público. En la actualidad se están teniendo en cuenta cada vez más elementos en los procesos de evaluación. Así, se valoran el papel que juegan las infraestructuras que inciden en las actividades educativas, las concepciones de gestores y responsables de la comunicación relacionadas con la visión del patrimonio que se transmite y cómo se plantea esa transmisión, así como las conexiones que se establecen con los docena tes del ámbito educativo formal en sus diferentes niveles, las propuestas de contenido, el diseño de recursos, materiales, las actividades educativas que marcan cómo se lleva a cabo la comunicación en los espacios de presentación del patrimonio, todo ello junto a las evaluaciones de público que siguen llevándose a cabo.


Otro aspecto sobre el que está incidiendo la evaluación en los últimos años es el uso de la tecnología en la educación patrimonial, analizándose su empleo para la mejora de la comunicación en las instituciones museísticas y en los espacios musealizados, incluso el papel que los dispositivos móviles pueden jugar en el propio proceso de comunicación.

Archivo EVE

En la propuesta que nosotros desarrollamos se parte de la necesidad de establecer unos criterios de análisis estables y priorizados, en los que se compruebe la interconexión de todos los factores y elementos que inciden en los procesos de comunicación patrimonial, desde una perspectiva global y sistémica, partiendo de una visión de la educación patrimonial de carácter holístico, simbólico-identitario, interpretativo, participativo y socio-crítico. Aunque la evaluación en museos no está muy extendida, son ya considerables las aportaciones que se han realizado respecto a los diferentes modelos, técnicas y procesos de evaluación museística, desde el empleo de métodos cuantitativos o cualitativos, para una evaluación previa, sumaria, formativa o correctiva, a través de observaciones sistemáticas, participativas o indirectas, entrevistas, cuestionarios o grupos de discusión, hasta emplear diferentes agentes de información (público, gestores, monitores, actividades, recursos, asociaciones… ).

fonte: edisonmariotti #edisonmarioti  Espacio Visual Europa (EVE)

Museu Paço da Liberdade se vestiu com as cores da bandeira da França para celebrar a "Festa da Música Francesa".

É com muito carinho que agradecemos a todos que foram prestigiar o Paço da Liberdade este fim de semana."Festa da Música Francesa".




Isabelle Sabrié, em performance no Paço da Liberdade encerrando a noite da "Festa da Música Francesa", alunos da Aliança Francesa que apresentaram "Un monde Parfait". As bonecas, estão expostas nos salões do Paço da Liberdade, contam "A evolução do Vestido na França da Idade Média aos Anos 50” e fica em cartaz até o dia 5 de julho. A entrada é gratuita. O trabalho é da artista Fernanda Gomides que retrata a história da França e seu reflexo na moda.

O espaço será dedicado à cultura e nele deverão ocorrer diversas exposições artísticas. O espaço também conta com um museu arqueológico, onde será possível conhecer a própria história do local.

De acordo com a presidente do Manauscult, Inês Daou, no local, agora funcionará um museu. "A idéia é que o local seja um espaço novo, um espaço interativo, um espaço em que a cidade possa se ver e estar presente também. A idéia, acima de tudo, é contar a história destes 343 anos de Manaus", comentou Inês Daou.

A entrega do palácio fez parte do plano de revitalização do centro histórico da capital, outras novas obras devem ser entregues. "A biblioteca pública municipal, a Praça do Congresso, a Camâra Municipal, o relógio municipal são algumas das obras incluídas no plano de revitalização. É fundamental que o povo reconheça sua cultura, sua identidade, saiba do patrimônio histórico rico que Manaus tem e da sua história bonita", disse Raphael Assayag, secretário municipal de requalificação do centro.


Paço Municipal, (Foto: Marcos Dantas / G1 AM)

fonte: @edisonmariotti #edisonmariotti http://g1.globo.com/am

colaboração: Luciana Nobre 

Cultura brasileira: - Manaus com arte - fotorrealismo com EDSON QUEIROZ -- Brazilian culture: - Manaus with art - photorealism with Edson Queiroz

Perfil - Nasceu em 1969, no Paraná da Eva, interior do Amazonas, Brasil. 

Estudou no Instituto Federal do Amazonas.

Em Manaus fez coletivas e individuais

Luciana Nobre, a esposa, viaja com Edson e escreve sobre a foto.

OST, da coleção  de 2005 - 3/4 obras

Semear
Olho os frutos destas mãos... quantas desventuras!
E as erguendo, assim trêmulas, às alturas,
clemente, Senhor, novo querer extravaso:
reaproveita minh'alma... este sujo vaso...
Embora esta safra, passado de delitos...
Te rogo um presente: possa eu, aos aflitos,
Vítimas de meu plantio, do ódio refém,
Cavar novos sulcos às sementes do bem...
Que por meus olhos, ainda tão imperfeitos,
Me invada Tua luz, ao seco coração,
Pois só o orvalho do amor, a sombra alcança...
Me ensina a florescer junto ao enfermo leito,
nos campos da dor, do medo, da solidão,
E enfim perfumar minhas mãos de esperança...
Luciana Nobre



fonte: @edisonmariotti #edisonmariotti https://www.facebook.com/edsonoliveira.av?fref=ts
colaboração:  Luciana Nobre
fragmentos


--in
Brazilian culture: - Manaus with art - photorealism with Edson Queiroz


Profile - Born in 1969 in Paraná of Eva, the interior of Amazonas, Brazil.

He studied at the Federal Institute of Amazonas.

In Manaus did collective and individual

Luciana Nobre, his wife travels with Edson and writes about the photo.

The museum cannot be visited by the public. - MİT Museum of Espionage Opens its Doors.


MİT Museum of Espionage Opens its Doors. Sort Of

I am sure many people would like to be able to get in some of the worlds most famous national intelligence agencies museums. But, of course, looking at confidential content is forbidden, and only the curiosity and mystery remains. In Turkey however, the National Intelligence Organization (MİT) museum – MİT Casusluk Müzesi – opened its doors to the public for the first time in its existence, and shed some light into what this museum contains.




Spying “tools” used, bugs (one placed in a shoe for instance), various devices that recorded voices such as a soap, pen, plug fuse, tie, and more similar objects, all used between the Second World War and the end of Cold War are included in the museum’s collection. Almost 150 such items are now being evaluated as historical artifacts by the MİT, institution established in 1965 to replace the National Security Service (founded in 1926).

The museum only opened its doors for the public for a day in October 2013, upon request by a major Turkish daily, Hurriyet Daily, which explained that the museum serves to show “how great missions were completed by the MİT without enough resources.”

Apart from these items, there is a section labeled as “top secret”, which is kept in locked rooms, evidently for security reasons. In fact, if it weren’t for MİT’s 85th anniversary of foundation in 2011, the existence of the so called MİT Casusluk Müzesi (MİT Museum of Espionage) would be still a secret to many. There is no official name for the so called museum. Instead, MİT representatives prefer to refer to it as an archive, or collection. The media, however, has a different idea.

The museum cannot be visited by the public.

fonte: @edusinmariotti #edisonmariotti 
http://www.argophilia.com/news/turkeys-mit-museum/29875/#sthash.sZhWaKB7.dpuf

Un musée d'art moderne arabe ouvre en Israël pour promouvoir la paix

Les fondateurs de ce Musée d'art contemporain arabe, ont affirmé vouloir promouvoir "la paix et le dialogue"


Le premier musée d'art contemporain arabe en Israël a ouvert mercredi à Sakhnin (nord) avec l'objectif de promouvoir la paix et le dialogue.

Les fondateurs de ce Musée d'art contemporain arabe, un projet conjoint avec la mairie de la ville arabe de Sakhnin, ont affirmé vouloir promouvoir "la paix et le dialogue" dans cette région.

Le musée est situé dans une vieille maison arabe au sein d'un verger à Sakhnin, une ville de Galilée, une région où se côtoient juifs et Arabes.

L'exposition Hiwar ("dialogue" en arabe), qui a inauguré le musée, présente sculptures, peintures et films vidéos d'artistes locaux et étrangers reconnus.

"La ville de Sakhnin est idéale pour ce musée, au coeur de la Galilée", a expliqué à l'AFP son directeur Belu-Simion Fainaru.

"Nous avons pris des artistes de la région afin d'y développer l'art et nous allons présenter des œuvres qui mettront l'art à la portée de tous, juifs et Arabes", a-t-il ajouté.

M. Fainaru et sa co-directrice Avital Bar-Shay ont travaillé de concert avec le maire de la ville de Sakhnin afin d'encourager le multiculturalisme.

"Le but de ce musée est de permettre au monde de mieux connaître nos artistes -il y en tellement ici- afin de développer la vie culturelle et économique dans la région grâce à l'art", a déclaré le maire de la ville, Mazen Ghanayem.

"L'art ne connaît pas les frontières et peut réunir les gens dans un espoir de paix", a-t-il ajouté.

fonte: @edisonmariotti #edisonmariotti http://www.i24news.tv/fr/actu/international/moyen-orient/75239-150617-un-musee-d-art-moderne-arabe-ouvre-en-israel-pour-promouvoir-la-paix