domingo, 19 de julho de 2015

Museum of Jewish Heritage a Living Memorial to The Holocaust

The mission of the Museum is to educate people of all ages and backgrounds about the broad tapestry of Jewish life in the 20th and 21st centuries—before, during, and after the Holocaust.




Multiple perspectives on modern Jewish history, life, and culture are presented in the Museum’s unique Core Exhibition and award-winning special exhibitions.

Acclaimed public programs, including discussions, films, plays, and concerts, highlight the richness of Jewish culture and ideas.

The Museum’s mission extends across the country and the world with Fellowships at Auschwitz for the Study of Professional Ethics (FASPE) and initiatives with affiliate organizations: the Auschwitz Jewish Center and JewishGen.
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The Museum's collection contains more than 25,000 items about modern Jewish history and the Holocaust. Many of these items rotate into the Core Exhibition, while others are featured in temporary exhibitions. In addition, many can be viewed in the Museum’s searchable Online Collection.

The collection illustrates: life cycle and ritual observance, Jewish culture and education, Holocaust ghettos and camps, anti-Semitica and philo-Semitca, Nazi and collaborationist materials, non-Jewish victims of the Holocaust, founding of the State of Israel, the Six Day War and the Yom Kippur War, Jewish participation in the Civil Rights Movement, and the movement to save Ethiopian Jews.

Comprised of photographs, documents, textiles, Judaica, toys, musical instruments, posters, and other artifacts, the collection also includes approximately 4,000 audio and video testimonies by Holocaust survivors, liberators, rescuers, Jews who served in the Allied Armies during World War II, and many others.
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THEATER RESIDENCY - EXCLUSIVE ENGAGEMENT

5 PERFORMANCES ONLY 

My Report to the World: The Story of Jan Karski


A Workshop Staged Reading of a New Play by Clark Young and Derek Goldman

Featuring Academy-Award Nominated Actor DAVID STRATHAIRN as Jan Karski 

Directed by Derek Goldman


Starring Oscar-nominated actor David Strathairn (Good Night and Good Luck; Lincoln), the play recounts the astonishing and largely unknown story of Polish World War II hero and Holocaust witness Jan Karski.

Karski's determination to report on the extermination of Jews in his native Poland led him on a dangerous mission to alert America and Great Britain about the horrors of the Holocaust. A rousing adventure story with elements of a spy thriller, Karski's journey is an inspiring story of extraordinary heroism and courage.

The play travels from Karski's childhood in the Polish countryside to the Warsaw Ghetto and Nazi camps; from a fateful meeting with President Roosevelt to Karski's shattering and revelatory testimony in Claude Lanzmann's epic documentary Shoah. Through this theatrical journey, the enduring lessons of Karski's life — especially his belief in humanity, even in the darkest times — are revealed.

A post-performance Speaker Series will be offered on several dates, with David Strathairn in conversation with leading scholars and journalists.

The July 15 evening performance will feature award-winning author and journalist Andrew Nagorski.

On July 22, special guests include Father Leo O'Donovan (former President of Georgetown University) and Rabbi Elie Weinstock (Congregation Kehilath Jeshurun) in a discussion on "Heroes and the Holocaust."

On July 23, David Stathairn and director Derek Goldman will participate in a Q&A session.

Free, but RSVP is necessary as space is limited.


fonte: @edisonmariotti #edisonmariotti http://www.mjhnyc.org/findex.html

Clicar aqui para ler artigo série 2/7 - A linguagem cinemática: uma nova linguagem? O conteúdo parte para uma abordagem histórica sobre o uso inicial do videoteipe pelas artes plásticas, sua legitimação por grandes museus e seu posterior desdobramento para outras formas de arte englobadas sob o nome de arte-comunicação.

David A. Ross, vice-diretor do Setor de Televisão e Filme do Museu de Long Beach, Califórnia, curador da Exposição Vídeo Art USA no Brasil, revelou em 1975:

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Embora seja contemporânea ao apogeu do movimento Arte e Tecnologia do início da década de 1960, movimento este até certo ponto governado pelos caprichos da moda, as suas origens parecem hoje estar muito distanciadas de todas aquelas atividades. A arte do vídeo não surgiu como fruto da fascinação do artista pela tecnologia do vídeo como tal. Sua manifestação parece ter coincidido com uma integração mais ou menos fortuita de uma gama maior de questões estéticas específicas, que eventualmente produziu uma orientação generalizada pósobjeto. (ROSS, 1975, p. 87).
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Até então, tais equipamentos eram utilizados tão somente pelas grandes empresas de televisão devido ao seu alto custo aquisitivo e usados para a transmissão unilateral de informação (broadcasting), não havendo possibilidade nenhuma de serem utilizados para transmissões individuais.

O Video Home System (VHS) abriu a possibilidade de o audiovisual ser empregado por uma parte da população em sistemas de transmissão descentralizados, ampliando o potencial do videoteipe como forma de comunicação. Happenings e obras interdisciplinares salientaram a necessidade de uma arte mais de acordo com o seu tempo, como as atividades do grupo Fluxus (Alemanha, 1961) e os happenings organizados por artistas, como: Kaprow, Oldenburg e Dine, precursores de atividades artísticas que passam a empregar os recursos do vídeo.

O interesse pela arte do vídeo começou a contar com o apoio de fundações, como a Fundação Rockfeller, e, no início dos anos 70 do século passado, já havia um clima receptivo às obras de artistas que trabalhavam com o videoteipe em galerias de arte, onde começou a ser exposto lado a lado com obras da arte cinética.

Howard Wise, dono de uma galeria em Nova York, organizou a exposição T.V. as a Creative Medium com trabalhos de Paik, Frank Gillette, Ira Schneider e outros. Tal exposição revelou um maior entrosamento entre os aspectos sociopolíticos da televisão (como sistema dominante de comunicação) com outras possibilidades técnicas de sintetização da imagem por intermédio de computadores e dispositivos eletrônicos. 

Essa dicotomia desaparece quase completamente com trabalhos de artistas, como Beryl Korot, de tendência mais sociológica, e escultores mais formalistas, como Richard Serra, autor de Television Delivers People (1973), que passam a se preocupar com as decorrências sociais da televisão.

Inicia-se paralelamente um movimento entre os museus norte-americanos, como o Museu de Arte de Rose, da Universidade de Brandeis, que inaugura uma exposição sobre a arte do vídeo, e o Museu Everson de Syracuse, em New York, e o Museu de Arte de Long Beach, que inauguram novos departamentos de vídeo, organizando exposições em circuitos fechados. 

Outros, como o Metropolitan Museum of Art, em Nova York, e o Fine Arts Museum, em Boston, produzem programas educativos e transmissões sobre essa nova forma de arte, cujo foco principal gira em torno do interesse ativo pela televisão. Pensa-se o vídeo não só para a exibição de trabalhos artísticos, mas também para a instalação de canais de TV especializados em arte, ocasionando uma validação da arte do vídeo.

A maioria dos trabalhos realizados nessa época consiste em uma variedade incrível de atitudes, formas e estilos, evidenciando a extraordinária vitalidade do videoteipe como instrumento de criação. Essa dupla aplicabilidade do vídeo, de um lado, como ferramenta artística para a execução de trabalhos de arte, e, de outro, como forma de exibição de conteúdos artísticos, desdobra-se para se tornar ferramenta comunicacional em museus em práticas expositivas, estendendo-se a sua utilização posterior em webmuseus, demonstrando a evolução da utilização do VT pelas artes em geral e a importância que passa a ter para a área.

Esse novo elemento tem como consequência uma verdadeira “revolução” nas artes plásticas, nas últimas décadas, com a introdução da fotografia, do vídeo e mais recentemente das novas tecnologias digitais. Com a transferência da imagem numérica, do virtual para o museu, “o problema se torna mais complexo com as novas imagens, que remetem à simulação e não à representação, ao cálculo e não ao traço, à interatividade e não à fixidez, enfim, a outro regime de imagem”. (SOULAGES, 2005, p. 13).

Simultaneamente, o artista plástico passa a incorporar à obra de arte a música e o som. A primeira das artes a explorar os recursos eletrônicos, fazendo disso “sua radical novidade, seu valor e força”. (SOULAGES, 2005, p. 19), perpetrando a evolução a outras mídias eletrônicas. Em 1952, Bem F. Laposky, nos Estados Unidos, e Herbert W. Franke, na Áustria, conceberam, respectivamente, suas “Abstrações Eletrônicas” e seus “Oscilogramas”, consideradas as primeiras imagens da computer art. 

O primeiro filme totalmente mediado por computadores foi produzido em 1966, por John Withney Jr., ano em que se criou o primeiro ambiente de Realidade Virtual na Harvard University, a “Espada de Damocles”, coordenado pelo Professor Associado Ivan Shuterland. Trata-se de um complexo sistema interativo de desenho por computador. Os primeiros trabalhos produzidos com o auxílio de computadores utilizavam-se ainda de máquinas analógicas para gerar as imagens e da película cinematográfica para registro e exibição.


Continuação: dia 20/07/2015 as 12h00min série 3/7 

fonte: @edisonmariotti #edisonmariotti
produção bibliográfica de Giselle Gubernikoff

Giselle Gubernikoff

Possui o 1o. Ano de Jornalismo pela Fundação Armando Álvares Penteado (1971), graduação em Artes/Cinema pela Escola de Comunicações e Artes da Universidade de São Paulo (1976), mestre em Artes/ Cinema pela Universidade de São Paulo (1985), doutora em Artes/ Cinema pela Universidade de São Paulo (1992), livre-docência em Ciências da Comunicação/ Publicidade pela Escola de Comunicações e Artes da Universidade de São Paulo(2000). Professora Titular pela ECA USP em Artes Visuais/Multimídia e Intermídia na especialização Fotografia, Cinema e Vídeo (2002). Atualmente é professora titular do Departamento de Artes Visuais da Escola de Comunicações e Artes da Universidade de São Paulo. Tem experiência na área de Audiovisual/ Cinema, com ênfase em Produção, Roteiro e Direção Cinematográficos, atuando principalmente nos seguintes temas: mídias digitais e novas tecnologias de comunicação, linguagem cinematográfica, produção audiovisual, cinema publicitário, representação feminina, cinema brasileiro, cinema e consciência cultural e museologia e mídias digitais.
(Texto informado pelo autor)

The National Museum of History of Azerbaijan is a scientific research, cultural and educational establishment that is occupied with collecting, study, exhibit and propaganda of material and spiritual monuments concerning all periods of Azerbaijan history.

The museum was created by the name of “The educational museum of native land” on June 15, 1920 attached to “Musexcursion” subdivision which was newly established at the department of out-of-school work of People’s Education Commissariat of Azerbaijan SSR.The materials of “Istiglal” museum opened on the occasion of anniversary of Parliament of Azerbaijan Democratic Republic on December 7, 1919, formed its main base. From July, 1920, it was called “The educational museum of native land – Istiglal (Independence) ” in honour of the above-mentioned museum. 





From October, 1920 to March, 1936 it was named as Azerbaijan SSR State Museum. From July, 1920 History Museum was placed in the palace built by a prominent oil baron and philanthropist, Hadji Zeynalabdin Taghiyev in 1895-1901. The museum received its first visitors in May, 1921.

In the initial period of its establishment such departments as History, Archaeology and Ethnography, Botany and Zoology, Mineralogy and Geology, Fine Arts and Artistic Craft, Public Education, Auxiliary Educational Institutions, as well as the Society on Exploration of Azerbaijan - Native land and the Commission on Ancient Monuments’ Guard functioned in the museum. The Society on Studies and Exploration of Azerbaijan established in 1923 and functioning in close relationship with the museum united the said society and the commission under its direction. The following years in accordance with the demand of the period structural changes were made at the museum repeatedly.

The increase of attention to the political-educational issues of the growing generation in the mid 1930s, the realization of the demands of the Party and the Government for the necessity of demonstrating the “privileges” of the socialist society at the museum expositions made the study of history and its propagation in accordance with the totalitarian regime policy one of the burning issues of the day. The increased attention to the teaching of history at schools was accompanied by the establishment of new type history-regional ethnography museums.Under the decree of the Council of People’s Commissars (CPC) of Azerbaijan of March 31, 1936 the rebuilding of Azerbaijan State Museum resulted in the establishment of the museum of a history profile and its being handed over the administration to the newly-set up Azerbaijan branch of the Academy of Sciences of the USSR under the name of Azerbaijan History Museum. 

It in its turn gave rise to the separation of other non-history profile scientific fields in addition to the Theatre Museum separated from the former State Museum in 1934 and to the establishment of new museums (Museum of History of Nature, Art Museum, Museum of Religion and Atheism History, Literature Museum, etc. ).The mass repression and the war taken place at the end of the 30s and at the beginning of the 40s rarefied the rows of scholars and museum worker. 

History museum which used to be an independent body till 1941 turned into museum department within the Institute of History, Language and Literature of Azerbaijan branch of the Academy of Sciences of the USSR. Azerbaijan History Museum functioned under the same name attached to Azerbaijan Academy of Sciences of the USSR that was established in 1945.

From 1920 to 1941 organizing exhibitions mainly on different historical themes both at Taghiyev’s house and Shirvanshahs’ Palace the museum (in 1941-1952 the CPC of Azerbaijan SSR, later renamed Council of Ministers, was placed at Taghiyev’s house) much preferred research (especially archaeological) works in the years of war and the following years.

Given back of Taghiyev’s estate to the museum in 1953 and the measures taken by the state in the field of the museum-building created conditions for the establishment of the scientific exposition at the Azerbaijan History Museum reflecting the history of our people from the ancient periods up to now.

One needs frequently use the words “the first” or “for the first time” while speaking about activity of the Azerbaijan History Museum. 

In fact, from 1925 to 60s, till carrying out excavations was given to History Institution of Academy of Sciences, History museum functioned as an archaeological center of the Republic and archaeological investigations carried out in Khojaly, Nakhchivan, Gabala, Ganja, Kharaba Gilan, Orengala, Mingechevir, etc. by archaeologists of History Museum Davud Sharifov, Yevgeni Pakhomov, Ishag Jafarzade, Movsyum Salamov, Saleh Gaziyev, Mammadali Huseynov , etc. laid the ground for the scientific investigation of the ancient monuments of material culture in the territory of Azerbaijan. 

Artefacts discovered during these expeditions and ethnographic expeditions organized by the Museum and stored at the museum departments today, enriched museum collection and became a source for many books and dissertations.

Beginning from the 60s though the museum didn’t organize archaeological expeditions, it became the centre of a new area - underwater archaeological investigations. In 1968 – 1972 a divers’ group led by Viktor Kvachidze investigated the Caspian sea and seaside territory ( Byandovan I, Byandovan II, Bilgeh, etc. ) and discovered underwater archaeological materials which have a special place in the exposition today. They discovered medieval residences (Mughan, Gushtasfi) and founded research activity of them.



The rich collection of the museum has served as a source for booklets, catalogues, albums and articles published in different years.The books published tastefully by the museum under the name “National garments” ,“Jewelry”, “Oriental arms”, “Copperware ” , “Carpets and All Kinds of Carpets and Rugs”, “Azerbaijani embroideries”, “Archaeological material”, “Numismatics” and “Underwater archaeology” were received with great interest. Also the publication of “The catalogue of gold and silver objects found during archaeological excavations ” in 1966 and the album “The ancient adornments of Azerbaijan” in 1972 roused a great interest for history lovers. In the years of 1970-1980 a two-volume book by name “The exhibits speak” came out , covering the description and the information on the original and rare exhibits concerning our contemporary history.

An original “The Statehood in Azerbaijan and its symbols” book-album came out in 2000. Besides reflecting a greater material kept at the museum funds it comprises our state symbols for the first time in Azerbaijan-based history studies.

The Museum-related works published and research sessions-related materials devoted to the results of research works carried out in the Museum in 1950-1990 comprise its research editions. Continued since 2001 under the name of “Azerbaijan History Museum ” this work has been edited by name “Azerbaijan History Museum- 80 ”, “Azerbaijan History Museum -2002 ”, “Azerbaijan History Museum- 2003”, “Azerbaijan History Museum -2004”. The said works being the collection of scholarly work mainly rely on the Museum materials, reflect the characteristic features of the collected exhibits, the organization of expositions from scientific point of view, the duties of museum management studies and the scientific activity of the Museum research workers. In 2002 the “Maestro Niyazi” catalogue made on the memorial collection preserved at the Museum funds in 2003. the “Multi Media” CD (with financial aid of UNESCO) devoted to the collection of the Azerbaijan History Museum came out. It should be noted that these works comprise only the least part of editions come out with signature stamps of the Azerbaijan History Museum throughout its activity.

The research works carried out in the Museum besides developing the Science of History in Azerbaijan also fulfil the main function of the Museum: they form the face of the museum i.e. its exposition. Though the results of various expeditions, valuable archaeological, ethnographic, numismatic materials and documents gained after intense searches are exhibited in the exposition of the Museum and they witness the centuries-old culture and history peculiar to our people.

In 2005 began capital restoration and reconstruction of Azerbaijan History Museum.Consequently,Taghiyev’s palace obtained its past exterior and interior view again. In November, 2005 the museum was given national status under order of Cabinet of Ministers.


fonte: @edisonmariotti #edisonmariotti
http://www.azhistorymuseum.az/index.php?mod=5&item=84&id=261

série 5/6 - Muzeu de istorie a farmaciei: Prima farmacie montanistică din România.

A continuat tradiţia preocupărilor agricole şi zootehnice ale familiei: a fost membru ordinar şi corespondent al Societăţii de Ştiinţele Naturale, consilier al Ministerului Agriculturii din Budapesta, membru al Comisiei Judeţene de Statistică Agricolă, în 1895, iar în 1932, în România întregită, membru în Biroul Camerei Agricole Caraş.




În 1912, Max a colaborat cu savantul Carré în studierea agalaxiei contagioase a oilor. În 1923, farmacistul orăviţean colabora cu Donatien şi Bride, care descoperă microbul agalaxiei oilor. De asemenea, el a încercat să introducă în ţinut culturile grâului Tisa şi Ödvös, cultivarea bumbacului, porumbul italian, soiul „cinguantin” şi porumbul „canadian.”

Asemenea unui fermier pasionat, a adus, pentru prima dată în zona cărăşană, rase de porci Berckshire şi Yorkshire şi, pentru a găsi noi calităţi lânii, a încrucişat oile Batca şi berbecii Merinos. După obţinerea Diplomei de Merit la Expoziţia Agricolă de la Lugoj, în 1924, la Expoziţia Judeţeană Agricolă de la Cacova, Maximilian a primit Premiul I şi o Diplomă Specială pentru creşterea porcilor Berckshire.

Între anii 1937 -1942, farmacia din Oraviţa a fost condusă de Artur Knoblauch. Aceasta a activat până în luna aprilie a anului 1949, ultimul farmacist Knoblauch purtând tot prenumele Augustin. „Ultimul farmacist, ultimul cu această meserie, a fost lăsat în pace de comunişti şi s-a pensionat abia în 1954. Descendentul lui a murit în 1997. El ne-a dat actele şi ne-a ajutat cu clădirea (n.r. pentru transformarea acesteia în muzeu). Dar, el a murit fără să ştie că, în ciuda actelor lui, foarte corecte, foarte legale, noi nu am obţinut toată clădirea, existând, din 1976, o altă situaţie a compartimentării ei”, ne-a spus prof. dr. Ionel Bota.

Domnul Bota ne-a mai spus că familia Knoblauch se află pe lista fondatorilor Teatrului Vechi şi liceului din Oraviţa sau că, în fiecare an, în preajma zilei de 15 august, toţi membrii care au mai rămas în toată lumea cu acest nume se adună anual într-un loc prestabilit, într-un anumit oraş din Europa, unde organizează o mică sărbătoare. În 2006, au ajuns şi în Oraviţa. „<> într-o duminică străzile oraşului, cartierul vechi şi lumea nu ştia ce se întâmplă. Erau descendenţii familiei Knoblauch”.



Pe baza documentelor păstrate din farmacie se pot realiza studii de sociologie medicinală, pentru a se afla care au fost cele mai frecvente boli din secolele trecute.

Astăzi, farmacia este o secţie a Muzeului de Istorie a Culturii Oraviţa – Valea Caraşului, din cadrul Centrului Cultural „Teatrul Vechi Mihai Eminescu”, având denumirea independentă de Muzeul de Istoria Farmaciei Montanistice Bănăţene, înfiinţat în 1993. Clădirea care găzduieşte muzeul a fost declarată monument istoric, având cod LMI CS-II-m-B-111405).





fonte: @edisonmariotti #edisonmariotti
colaboração: 

Corina Teretean




continuação: 21/07/2015  05:00hs ( Brasil ) série 6/6

Eesti Meremuuseum - The Estonian Maritime Museum

Paksu Margareeta suurtükitornis asub põhiekspositsioon, mille rõhk on Eesti vanemal merenduse ajalool ning mis hõlmab väärikas valikus laevamudeleid. Teine ekspositsioon asub Lennusadama angaaris, kus on oma koha leidnud allveelaev Lembit ja paljud teised elusuuruses eksponaadid. Lennusadamas asuvad ka Meremuuseumi 8 laeva, eesotsas aurik-jäämurdjaga Suur Tõll.


Meremuuseumi lähiaastate plaanide seas on jätkuvalt tutvustada merendust ja mereajalugu. Suuremate investeeringutena on plaanis 1981. aastast pärit Paksu Margareeta ekspositsiooni uuendamine ning Lennusadama staabihoone ja kai renoveerimine.

MEREMUUSEUMI VALDKONNAD

Eesti Meremuuseum uurib Eesti merenduse ja kalanduse ajalugu.

Teadustegevuse eesmärgiks on muuseumis säilitatava materjali tõlgendamine. Valdav osa meremuuseumi kogudes olevast ainesest pärineb 19.-21. sajandist. Seetõttu katab ka uurimistegevus valdavalt nimetatud perioodi.

Valdkonnad:

Laevaehitus ja veesõidukite areng

Teema hõlmab ühelt poolt veesõidukite tehnilist ja konstruktsioonilist arengut. Teisalt aga laevaehituse traditsioone ja Eesti vanemat laevaehitust.

Reisilaevaliiklus

Eesti geograafiline asendi ja saarte rohkuse tõttu on reisilaevaliikluse läbi aegade olnud merenduses olulisel kohal. Seega keskendub meremuuseumis uuritav Eesti eripiirkondade ja Läänemere äärsete riikide vahelisele laevaliiklusele.

Kaubalaevandus

Selles teemas on Eesti Meremuuseum peamiselt keskendunud 19. sajandi ja 20. sajandi esimese poole kaubalaevanduse uurimisele.

Mereharidus

Merehariduse alguseks Eestis peetakse aastat 1864, mil asutati Heinaste merekool. Merekoolide ajaloo uurimine keskendub nii koolidele, haridusprogrammidele kui ka üksikutele mereharidusega seotud isikutele.

Hüdrograafia ja navigatsioon

Eesti ligi 4000 km pikkust liigendatud ja rohkete saartega rannajoont uhuvad nii läänest kui ka põhjast mereveed. Suhteliselt madal ja kariderohke rannikumeri on laevasõiduajaloo jooksul valmistanud palju muret meresõitjatele, nii võõrastele kui ka omadele. Meremuuseum on oma uurimustes keskendunud meremärgistuse ja tuletornide ajaloole, tulevikus vajavad läbi uurimist veel kogudes olevad eritüübilised navigatsiooniinstrumendid ja merekaartide kogu.

Randumiskohad ja sadamad

Randumispaiga mõiste hõlmab kõiki neid kohti rannikul, kus teostatakse ja/või on teostatud randumise protsessi. Seejuures võivad nimetatud kohad olla nii konstruktsioonidega kui ilma nendeta; paiknedes rannikul, suudmealadel, jõe ja/või järvekallastel.

Randumiskohtade ja sadamate uurimine on sageli seotud mõne teise uurimisvaldkonnaga, olgu selleks siis reisi- või kaubalaevaliiklus või navigatsioon ja hüdrograafia. Samas võib sadamate uurimine hõlmata ka sadamates paiknevaid objekte: tööstusi, laevaehitusettevõtteid jms.

Meresõjandus

Uurimissuund Eesti Mereväe ajalugu 1918-1940. Eestiga seotud meresõjandussündmused ning üldine meresõja ajalugu sõjandusarengu kontekstis.

Meremeeste elu-olu

Meremeeste elu-olu uurimine hõlmab ühelt poolt nii rannikukultuuri uurimist kui meremeeste igapäevaelu laevas. Viimane pikem uurimustöö sellel teemal käsitles meremeeste kirju, mille põhjal avatakse 2013. aasta suvel Paksus Margareetas näitus „Soolase elu kirjad“.

Allveearheoloogia

Eesti Meremuuseum tegutseb allveearheoloogia vallas alates 1978. aastast. Muuseumi kaasaegse varustusega uurimislaeva "Mare" abil tehakse suveperioodil aktiivseid välitöid, kus Eesti vrakiregistri koostamise eesmärgil otsitakse ja registreeritakse uppunud laevu. Valikuliselt tõstetakse üles esemeid muuseumi ekspositsiooni täiendamiseks. Aastail 1980 - 1994 tegutses muuseumi juures allveearheoloogiaklubi "Viikar".

1987. aastal tõsteti merepõhjast üles haruldane leid - Väikese väina kaldal asunud Maasi ordulinnuse reidilt leitud nn. Maasilinna laev - mis on dateeritud 16. sajandi keskpaika kuuluvaks ja mida eksponeeritakse Lennusadama näitusel.

1991. aastal uuriti teaduslikult Pärnu jõest leitud keskaegse laeva - Hansa koge - vraki pardaosa, mis tänapäevaks on üles tõstetud ja konserveeritud.

Koostöös Eesti Geoloogiakeskusega on uuritud Neugrundi veealust meteoriidikraatrit ja tehtud merepõhja geoloogilist kaardistamist. Mereinstituudi tellimusel on pandud mere põhja kunstlikke koelmuid kaladele.

Aastatel 2010-2013 osales Eesti Meremuuseum rahvusvahelises projektis Shipwher. 

2012. aastast osaleb Eesti Meremuuseum rahvusvahelises uurimisprojektis ARROWS. 

Kalandus

Kalapüük nii ranna- kui sisevetel on Eesti majanduselus läbi aastatuhandete olnud olulisel kohal. Esimesed asutuskohad tekkisid juba rannikualadele või jõgede lähedusse.

Kalanduse uurimine on Eesti Meremuuseumis käesoleval ajal pisut tagaplaanil, kuid aastakümneid tagasi tegutsenud kalandusosakond tegeles nii vanade kalapüügi meetodite kui kalurikolhooside ja ookeanipüügi uurimisega.

Välis-Eesti merendus

1940. aastatel jäi suur hulk Eestist pärit laevu ja meremehi teisele poole raudset eesriiet ning kuigi Nõukogude Liit tegi korduvaid katseid nende laevade tagasi saamiseks see siiski ei õnnestunud.

Seetõttu saamegi rääkida Välis-Eesti merendus organisatsioonidest ja laevandusettevõtetest, mis on kaduv, kuid suuresti veel avastamata uurimisala.

Purjesport

Purjespordi ajalugu jääb küll pigem Spordimuuseumi tegevusalade hulka, kuid harrastuslik purjetamine ja jahtklubide tegevus on üheks valdkonnaks, millega meremuuseum tegeleb. Purjespordis kasutatavate purjejahtide väljapanek asub Meremuuseumi Lennusadama ekspositsioonis.

Meremuuseumi ajalugu

1935. aastal asutatud Eesti Meremuuseumil on pikk ja keeruline ajalugu, mille talletamine ja läbi uurimine on lähiaastatel muuseumi üheks oluliseks uurimissuunaks.

fonte: @edisonmariotti #edisonmariotti http://www.meremuuseum.ee/et/


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The Estonian Maritime Museum


Fat Margaret cannon tower is located in the main exhibition, the pressure of which is the parent of Estonia's maritime history, which includes the selection of a stately ship models. The second exhibition is located in the Seaplane Harbour hangars found their place in the submarine Lembit, and many other life-size exhibits. By seaplane in maritime museum located eight ships, led by the steamer-icebreaker Suur Toll.


Maritime Museum are among the plans for the coming years will continue to introduce maritime and naval history. Larger investments are planned from 1981 onwards Fat Margaret exposure Lennusadam upgrades and renovation of the headquarters building and the quay.
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MARITIME MUSEUM AREAS
The Estonian Maritime Museum explores the history of the Estonian Maritime Affairs and Fisheries.


Research aims to interpret the material stored in the museum. The majority of the maritime museum collections because of the material comes from the 19th-21st century. Therefore, the research covers mainly the period mentioned.


Fields of activity:


Shipbuilding and the development of the craft


The question involves, on the one hand and the technical craft of design development. On the other hand, however, the shipbuilding traditions of the elders, and the Estonian shipbuilding.


Ferry Travel


The geographical position of Estonia and the islands of the volume of passenger traffic has always been important in the maritime sector. Thus, the museum focuses on marine test specific areas of Estonia and the Baltic Sea region transnational shipping.


Commercial shipping


This topic is mainly focused on the Estonian Maritime Museum of the 19th century and the first half of the 20th century, the merchant marine exploration.


Maritime Education


Mere education is considered to be in the beginning of the year 1864, when the school was founded Heinaste sea. The investigation focuses on the history of the Sea School, both schools and education programs as well as individual maritime education-related parties.


Hydrography and Navigation


Estonia's nearly 4,000-km-long articulated and numerous islands wiped shoreline in west and north sea waters. Relatively low and kariderohke coastal sea ship travel history made much of a concern for sailors, as well as those of strangers. Maritime Museum has in his studies focused on the sea, and lighthouses marking the history, the future need to be explored further in collecting conveyers, navigational instruments and charts throughout.


Location to a land and sea ports


Landfall definition includes all those places on the coast, where activities and / or in the process of landing that is executed. Meanwhile, all these places have both with and without design; Located on the coast, estuaries, river and / or lake shores.


Randumiskohtade ports, and the investigation is often another related field of research, whether it is a passenger or cargo shipping or navigation and hydrography. However, the investigation may also cover ports in the ports of the objects: industries, like shipbuilding enterprises.


Meresõjandus


Research Direction of the Estonian Navy History 1918-1940. Estonia-related meresõjandussündmused and general maritime history of the war sõjandusarengu context.


Seamen's daily life


Seamen's life around the investigation on the one hand, both the coastal culture of investigation than the daily life of seafarers on board. The latest research on this subject more on seafarers' messages, which will be opened on the basis of the 2013 summer exhibition in Fat Margaret "Saltwater living letters."


Underwater


The Estonian Maritime Museum operates since 1978 in the field of Underwater Archaeology. The museum of modern equipped research vessel "Mare" by means of active field work carried out during the summer, with the aim of preparing the Estonian register of the wreck of the sunken ships are searched and recorded. Optionally lifted artifacts to complement the museum's exhibition. In the years 1980 - 1994 acted as the museum allveearheoloogiaklubi "urchin".


In 1987, was raised from the seabed to a rare find - a small shore of the Strait started Maasi been called the raid. Maasilinn ship - which is dated to the mid-16th century, belonging to the Seaplane Harbour, which is exposed in the exhibition.


1991 has been studied scientifically Pärnu River found a medieval ship - Hansa cog - pardaosa the wreck, which are today raised and preserved.


In cooperation with the Geological Survey of Estonia has studied meteorite and made Neugrund subsea geological mapping of the seabed. Maritime Institute of the order has been placed artificial spawning grounds for fish in the sea bottom.


In the years 2010-2013, Estonia participated in an international project SHIPWHER Maritime Museum.


Since 2012, the Estonian Maritime Museum will participate in an international research project ARROWS.


Fisheries


Fishing in inland waters than in coastal Estonian economy has been important in life through the millennia. The first body has already occurred in coastal areas or places close to the river.


Fisheries research is the Estonian Maritime Museum, this time a bit in the background, but decades ago and operating in the fisheries department, so the old techniques of fishing as a fishing collective farms and ocean fishing investigation.


Foreign Estonian Maritime


During the 1940s, was a large number of ships and seamen from Estonia to the other side of the Iron Curtain, and even though the Soviet Union has made repeated attempts to get back to their ships, however, it was not successful.


Therefore, we can speak of exile Estonian maritime shipping companies and organizations that are disappearing, but still largely unexplored research area.


Yachting


Yachting History Museum remains, although rather Sporting activities include, but recreational sailing and yacht club is one of the areas of activity, which is engaged in maritime museum. Yachting used sail yacht exhibition is located in the Maritime Museum of Seaplane Harbour exposition.


Maritime Museum of History


Founded in 1935, the Estonian Maritime Museum has a long and complex history, which are stored and carried out an investigation in the coming years the museum has one of the important research directions.