quinta-feira, 12 de maio de 2016

Cultura e tecnologia - O fim do dinheiro está próximo? ProXXIma 2016 em São Paulo, Brasil. --- Culture and technology - The end of the money is next? Proxxima 2016 in São Paulo, Brazil.

O Uber dos bancos tradicionais está próximo.


Com a digitalização crescente das transações monetárias, o fim do dinheiro em papel moeda é quase inevitável.

O fim do dinheiro está próximo? Para grande parte do mundo, a moeda digital está em vias de acabar com o papel-moeda

O dinheiro, como o conhecemos, apareceu na Suécia por volta de 1660. Coincidentemente, o primeiro país do mundo no qual as cédulas devem ser extintas. É claro que houve outras moedas em civilizações mais antigas, como a China, romanos, gregos e fenícios. Mas, formalmente, o papel-moeda tornou-se aceito a partir da Suécia. Portanto, as cédulas com a qual os mais de 200 países do mundo fazem transações têm, pelo menos, 350 anos. Com a digitalização dos meios de pagamento, no entanto, é uma questão de tempo para que cédulas, moedas e o sistema financeiro tradicional passem por um processo de “uberização”, ou seja, tal e qual tem acontecido com a ruptura do modelo tradicional de táxis no mundo, surja um (alguns) Uber para romper também com o setor.


E esse foi o tema do debate da palestra “O fim do dinheiro”, sobre qual será o futuro do papel-moeda num mundo em que tudo é negociado por meios eletrônicos e na forma de dados. O debate aconteceu no segundo e último dia do ProXXIma 2016, que é realizado em São Paulo (SP) e teve a participação do economista e cientista social da USP, Gilson Schwartz, do presidente da Cubo e Bitinvest, Flávio Pripas, e do diretor de inovação do Banco Original, Guga Stocco, mediados pelo diretor da Bites, Manoel Fernandes.

Segundo os palestrantes, com a digitalização, o papel-moeda perde sentido. Apenas a China, onde esse movimento é bem intenso, as transações peer-to-peer (a grosso modo, transações de computador a computador), chegaram a US$ 66,9 bilhões sem que um só banco tradicional participasse do processo. Schwartz, da USP, afirma que o impacto sobre as receitas dos bancos convencionais deve passar dos US$ 850 bilhões em 2015 para US$ 1,2 trilhão em 2023, com a migração em massa dos recursos financeiros sendo geridos por meios eletrônicos ao invés de passarem pelas portas de conglomerados financeiros atualmente estabelecidos. “Os bancos vão penar”, afirma Schwartz.

No Reino Unido, que é considerado o centro financeiro mundial por excelência, mais de 2 milhões de pessoas não têm contas bancárias. Por outro lado, cerca de 90% dessas pessoas têm smartphones, pelos quais é possível fazer qualquer transação financeira sem bancos que intermedeiem o processo. E são vários os setores envolvidos – os consumidores, o varejo, os fornecedores de celulares, os criadores de apps, os desenvolvedores de softwares, os próprios bancos tradicionais e os fornecedores de tecnologia. Quando se fecha o círculo com esses fornecedores numa cadeia que inclui o e-commerce e o pagamento sem transações bancárias, definitivamente, é o fim do dinheiro. O e-commerce movimenta US$ 1,6 trilhão e opera mais de 12 milhões de lojas em todo o mundo.

Para Pripas, da Cubo, as transações se misturarão com mídia nos próximos anos. Schwartz diz que a moeda virtual é mídia. O surgimento do Banco Original, 100% digital, é exemplo desse desaparecimento dinheiro físico. “Antes, os bancos migraram para a web; depois, para o celular. Mas, apenas como cópias das agências bancárias. Agora, é necessário efetivar o banco digital e fazer transações como se fosse um post no Facebook ou uma busca no Google”, exemplifica Stocco, do Original.

Desencadeadas por esse movimento com a moeda virtual, as fintechs (financial technologies) já se mostram viáveis para que apareça, efetivamente, o Uber dos bancos: em 2010, foram investidos US$ 1, 8 bilhão em startups fintechs. No ano passado, esse volume saltou para US$ 19 bilhões. No Brasil, o processo está atrasado. Enquanto no mundo, com a Suécia à frente, reduz o número de agências bancárias (nos nórdicos, – 32%), a América Latina continua a investir no modelo da instalação física de banco, com expansão de 26% nas agências. No Brasil, foram mais 16% agências inauguradas no ano passado. Com as questões prementes de segurança, que envolvem o rastreamento de operações e combate à corrupção, no entanto, esse cenário deve mudar. E, daí, os bancos tradicionais terão que brigar tanto quanto os taxistas têm lutado contra o Uber.






Fonte: @edisonmariotti #edisonmariotti


--in via tradutor do googleCulture and technology - The end of the money is next? Proxxima 2016 in São Paulo, Brazil.

The Uber traditional banks is close

With the growing digitization of monetary transactions, the end of money in paper money is almost inevitable



The end of the money is next? For much of the world, the digital currency is on track to end the paper money

Money, as we know, appeared in Sweden around 1660. Coincidentally, the first country in which the ballots are to be extinct. Of course there were other currencies in most ancient civilizations, such as China, Romans, Greeks and Phoenicians. But formally, paper money became accepted from Sweden. So, the ballots to which over 200 countries around the world make transactions have at least 350 years. With the digitalization of means of payment, however, is a matter of time for bank notes, coins and the traditional financial system to undergo a process of "uberização", or such and what has happened to break the traditional model of taxis in the world, appears one (some) Uber to also break with the sector.

And that was the theme of the lecture discussion "The end of money" on what the future of currency in a world where everything is negotiated through electronic means and in the form of data. The debate took place on the second and final day of Proxxima 2016, which is held in São Paulo (SP) and was attended by the economist and USP social scientist, Gilson Schwartz, the president of the cube and Bitinvest, Flávio Pripas, and director of Original Bank of innovation, Guga Stocco, mediated by the director of Bites, Manuel Fernandes.

According to the speakers, with scanning, paper money loses its meaning. Only China, where this movement is very intense, the peer-to-peer transactions (roughly, computer transactions to computer), reached US $ 66.9 billion without one traditional bank participate in the process. Schwartz, USP, says that the impact on revenues of conventional banks should pass the $ 850 billion in 2015 to $ 1.2 trillion in 2023, with the mass migration of funds being managed electronically rather than pass through the gates of currently established financial conglomerates. "Banks will grieve," says Schwartz.

In the United Kingdom, which is regarded as the global financial center of excellence, more than 2 million people do not have bank accounts. Moreover, about 90% of these people have smartphones, by which it is possible to do without any financial transaction banks intermedeiem process. And there are several sectors involved - consumers, retailers, mobile providers, the creators of apps, software developers, the very traditional banks and technology providers. When it closes the circle with these suppliers in a chain which includes e-commerce and payment without banking it is definitely the end of the money. The e-commerce turnover of US $ 1.6 trillion and operates over 12 million stores worldwide.

For Pripas, the Cube, the transactions will be combined with media in the coming years. Schwartz says that virtual currency is media. The emergence of the Original Bank, 100% digital, is an example of this disappearance physical money. "Before, banks migrated to the web; then to the phone. But just as copies of bank branches. Now you need to carry the digital database and make transactions like a post on Facebook or a Google search, "exemplifies Stocco, the Original.

Triggered by this movement with virtual currency, fintechs (financial technologies) already show viable to appear, indeed, the Uber banks: in 2010, the company invested $ 1, 8 billion in startups fintechs. Last year, the volume jumped to $ 19 billion. In Brazil, the process is delayed. While in the world, with Sweden ahead, reduces the number of bank branches (in the Nordic - 32%), Latin America continues to invest in the model of the physical installation of the bank, an increase of 26% in the agencies. In Brazil, were 16% more branches opened last year. With the pressing security issues, involving screening operations and combating corruption, however, this scenario should change. And then, traditional banks will have to fight as much as the taxi drivers have been fighting the Uber.



MÁRKETING PARA MUSEOS: PENSAR COMO UN CONSUMIDOR. - en CULTURA, DISEÑO, GESTIÓN,INSTITUCIONES, MUSEO, MUSEOGRAFÍA, OPINIÓN, PATRIMONIO. ·

Recordamos aquella vieja estrategia del “véndeles lo que quieran comprar”, de la que hablábamos ayer. “Véndeles lo que necesitan” o “dales lo que te piden”. Aproxímate a tu objetivo (target) desde su perspectiva, no la tuya. Debes pensar en ofrecer al público tu producto o servicio, pero siempre a partir del conocimiento que tengas de sus necesidades y como les puedes ayudar a satisfacerlas.

BC Diary 


En un sentido comercial positivo y correcto, (cuando el producto o servicio ofrece valores universales y así se comunican al público), significará que debemos planificar la venta desde la perspectiva del deseo potencial del comprador hacia nuestro producto o servicio, sin turbios mensajes intermedios. A continuación, se deberá dedicar tiempo a entender las necesidades de nuestro público para suministrarles esa versión correcta de nuestro producto o servicio. A partir de ahí, deberemos construir el mensaje de venta más adecuado dirigido a ese comprador potencial. 

Man’s Hat Shop 

Esa forma correcta de entender y conocer al detalle lo que motiva determinado tipo de comportamiento, es muy útil en la construcción dela estrategia de marketing de la que hablábamos ayer. Echando mano a la investigación, se puede obtener la información que necesitamos de un a manera bastante sencilla, está todo on line – hoy con la herramienta que supone Internet, no tenemos excusa para no tener información -. Como casi ejemplo anecdótico, tomemos, por ejemplo, un caso relacionado con el “macho moderno” o “supermacho”, el desodorante “Axe” de Unilever, que se ha convertido en “la marca de cosmética masculina más popular en el mundo”. 



Tener una buena comprensión de lo que agita al comportamiento humano es fundamental. Podemos conseguir mucha información, o mejor, debemos obtenerla primero, para hacer una previa investigación de mercado que sea correcta. Como decíamos, el caso del spray desodorante “Axe” de Unilever, que se ha convertido en la “más popular marca de cosmética masculina del mundo”. Lo que la investigación sobre lo que empuja al comportamiento de machos humanos entre 18 y 24 años de edad, reveló (sorpresa, sorpresa) que están, en su mayor parte, interesados en atraer a las mujeres. Parece ser que al menos no las quieren como amigas en un principio, parece, por lo que dicen los estudios, que es sólo cuestión de sexo. 



Esta es la idea básica de la que partimos. ¿Un poco confusa? 

Si aplicamos entonces esta idea básica, significará que en lugar de potenciar los atributos funcionales esenciales del producto, similar a la forma en que puede mantenernos sudor-free, o ayudarnos a oler menos a choto (que es la función del producto y su razón de existir), las campañas, promociones publicitarias y de marketing se centrarán exclusivamente en regalarnos una promesa muy improbable: “Usar este producto nos ayudará a conseguir chicas.” 


El producto en realidad vende “lo que necesitas para no oler a sudor” o, mejor dicho “usar el producto para disfrazar el olor a sudor para oler a camionero hipster sensible”. El producto está haciendo su trabajo de “aleja pestes”, es una solución anti-transpirante, ni más ni menos, pero está vendiendo una idea de motivación masculina que encaja perfectamente con las aspiraciones de su público objetivo, así se hace el camino hacia el éxito. 

Axe 

Esta idea y su aplicación, se pueden programar aplicándose a cualquier marca de consumo, ya sea un fabricante de productos electrónicos o un museo (consumo de ocio). La tendencia natural, es saber cómo nuestro producto o servicio satisface una necesidad para promoverlo apoyado por ideas positivas y correctas, en la medida de lo posible, sobre todo en el caso de los museos. Esto puede funcionar perfectamente; un museo puede apelar en su comercialización a la necesidad que tiene una madre o un padre, para proporcionar experiencias educativas para sus hijos, sabiendo que el deseo, por encima de la mera necesidad, es el sentimiento más potente como motivador de la conducta humana. 


La naturaleza misma de la publicidad, impulsada por el ansia consumista de nuestra sociedad, ilustra este punto. Nuestras vidas y nuestros hogares no se llenan sólo ni principalmente de las cosas que necesitamos, sino más bien de las cosas que deseamos o de las que estamos convencidos que son necesarias para hacernos felices. En realidad, no elegimos comprar el último iPhone o decidimos visitar un museo porque realmente los necesitamos. La motivación real es el deseo. Los queremos. Queremos disfrutar del placer que entregarán a nuestras vidas. “No nos los podemos perder”. 


La marca Apple hace que la quieras hasta rozar la locura. Nosotros, ya desde 1992, caímos en sus redes para no abandonar a la marca del mordisco jamás. En aquellos tiempos en que un ordenador o computadora Apple costaba lo que valía un coche nuevo (ya han pasado 24 años y seguimos siendo igual de fieles a la marca), nosotros nos echamos a sus brazos frutales con la billetera en ristre. Museos, teatros, cualquier institución que ofrece una experiencia orientada al público, harían mas que bien en fijarse en esa clase de fidelidad, y en las mismas motivaciones para que se haga posible. Esto es lo que a las personas nos mueve: la pura motivación apasionada por algo. 


Si pensamos en que la compra de un producto de Apple es muy diferente a comprar un ticket de un museo, ya que los museos ofrecen un bien fundamental al mundo que no ofrecen las computadores ni de lejos, entonces estaremos subestimando seriamente el papel de la marca Apple en la mente de las personas. 

El deseo, más que la pura necesidad, es el gran motivador del comportamiento humano. 

Pensamos que estos productos y experiencias harán que nuestras vidas sean mucho mejores y, de alguna manera, lo hacen (nosotros dependemos totalmente de Apple). Esta es la razón por la que pagamos mucho dinero por y para ellos, y lo hacemos constantemente (bread and butter). ¿Nos gustaría proporcionar buenas experiencias a las personas para que mejoren sus vidas, y se sientan mejor por haber deseado tenerlas? Apple ha descubierto la manera de hacer esto verdad a partir de sus productos. Cualquier institución orientada hacia el público debería hacer lo mismo, museos incluidos. 

Café Nº Um 

Lo más probable, es que ya estemos ofreciendo lo que la gente necesita. El truco en el marketing de museos es – como en cualquier tipo de marketing de consumo -, pensar más allá de lo que hacemos o cómo lo hacemos, debemos pensar en la razón por las cual nuestro público nos quiere, o nos va a querer. ¿Qué tenemos en el museo que pueda convertirse en objeto de deseo? Podemos preguntar al público o iniciar una conversación con ellos para descubrirlo. 



Fonte: @edisonmariotti #edisonmariotti

The New San Francisco Museum of Modern Art Opens to the Public on Saturday, May 14, 2016. --- Museu de arte contemporânea em São Francisco será o maior dos EUA

Designed by Snøhetta, the Expanded SFMOMA Offers Free Access to Ground-Floor Galleries and Free Admission for Visitors 18 and Younger

Highlights from the Renowned Fisher Collection, Hundreds of Works Promised through the Campaign for Art and the New Pritzker Center for Photography Inaugurate Museum
Released: April 28, 2016 · Download (175.1 KB PDF)

Snøhetta expansion of the new SFMOMA, 

opening May 14, 2016; photo: © Henrik Kam, courtesy SFMOMA.



SAN FRANCISCO, CA (April 28, 2016)—The transformed and expanded San Francisco Museum of Modern Art (SFMOMA) opens to the public on Saturday, May 14, 2016. Purpose-built to showcase the museum’s celebrated collection, the new SFMOMA was designed by the architecture firm Snøhetta, and seamlessly integrates a 10-story expansion with the original Mario Botta–designed building. With nearly three times more gallery space than before, the museum is opening with 19 special exhibitions, including a curated selection of 260 postwar and contemporary works from the distinguished Doris and Donald Fisher Collection, the first presentation of more than 600 works promised through the museum’s Campaign for Art, cherished favorites from SFMOMA’s permanent collection and works specially commissioned for the new museum. The expansion includes 170,000 square feet of new and renovated indoor and outdoor galleries tailored to the collection, enabling SFMOMA to display more of its outstanding holdings of modern and contemporary artworks.

The new building enables SFMOMA to be more welcoming and better connected to the city than ever before, with free public access to nearly 45,000 square feet of ground-floor galleries, as well as a permanent commitment to free admission for all visitors 18 and younger.

“We are so excited to open the doors and welcome the public to the new SFMOMA. We have an incredible new building, an expanded collection with thousands of new works of the highest quality, and a staff that is proud to share what they’ve been working on for the past three years. This is your SFMOMA and we can’t wait to share it with you,” said Neal Benezra, the Helen and Charles Schwab Director of SFMOMA.

To celebrate the grand opening of the new SFMOMA on May 14, the museum is hosting ribbon cutting festivities beginning at 8:30 a.m. SFMOMA distributed more than 5,000 free timed tickets for Opening Day and tickets are now sold out. Visitors with timed tickets are encouraged to arrive 30 minutes prior to their ticket time and the museum will open to ticket holders at 11 a.m. Neighboring institutions in the Yerba Buena cultural district also are offering free admission on May 14, with performances and artistic activations throughout the day. While tickets to the museum’s galleries on free Opening Day are sold out, tickets are available to purchase online for May 15 and onward at sfmoma.org.
SFMOMA Collection and Inaugural Exhibitions

SFMOMA is one of the foremost museums of modern and contemporary art, with an exemplary collection of more than 33,000 works of architecture and design, media arts, painting, photography and sculpture, as well as a groundbreaking 100-year partnership to show the Doris and Donald Fisher Collection, one of the world’s greatest private collections of postwar and contemporary art. Among the 260 selections on view from the Fisher Collection at the opening are important works of American abstraction, Pop, Minimal and figurative art by artists such as Chuck Close, Ellsworth Kelly, Lee Krasner, Roy Lichtenstein, Agnes Martin and Andy Warhol; works of German art after the 1960s by such artists as Sigmar Polke and Gerhard Richter; a broad range of Alexander Calder works from the late 1920s to the late 1960s; and sculpture by leading British artists including Tony Cragg, Richard Deacon, Barbara Hepworth and Richard Long.

Supported by a strong community of collectors, SFMOMA also has received more than 3,000 promised and outright gifts of artworks from 230 donors through the Campaign for Art. The inaugural exhibitions highlight the range and quality of 600 of these newly committed and acquired modern and contemporary works, including special installations focused on photography, contemporary art and drawing.

Photography has long been a cornerstone of SFMOMA, and the new Pritzker Center for Photography, made possible by the Lisa and John Pritzker Family Fund, offers the largest exhibition, interpretation and study space dedicated to photography in any art museum in the United States. The inaugural exhibition in the Pritzker Center’s permanent collection galleries includes works drawn from the museum’s collection illustrating photography’s complex and ever-changing relationship with time by artists such as Dawoud Bey, Julia Margaret Cameron, Henri Cartier-Bresson and Phil Chang.

SFMOMA’s vibrant commissioning program is being inaugurated in the new museum with a site-specific textile mural by Dutch designer Claudy Jongstra. New galleries dedicated to the art and artists of California underscore SFMOMA’s commitment to artists of the Bay Area and beyond, including David Ireland, Lynn Hershman Leeson and Wayne Thiebaud, in addition to artworks by California artists integrated throughout the museum. Architecture and design exhibitions on view at opening explore the lineage of graphic design, as well as the process behind Snøhetta’s design for the new SFMOMA. A thematic media arts presentation centering on the notion of place presents works by five artists, including a surveillance-based installation by artist Julia Scher that has been conceived and adapted for each of SFMOMA’s sites using evolving technologies from 1993 to 2016. In addition, the first of a series of installations focused on selections from SFMOMA’s permanent collection provides fresh perspectives on cherished works, such as Henri Matisse’sFemme au chapeau (Woman with a Hat) (1905) and Mark Rothko’s No.14, 1960 (1960), among others.
A Transformed Home for SFMOMA

SFMOMA’s leadership worked closely with Snøhetta to design the new museum as an outward-looking and engaging gathering space. Connections to the surrounding neighborhood and city were carefully considered, along with bringing the benefits of landscape and the outdoors to the museum spaces. New pedestrian pathways around the museum and a new public entrance on Howard Street better integrate SFMOMA into the South of Market (SoMa) neighborhood and activate the surrounding streetscape.

The iconic eastern façade of the Snøhetta-designed expansion, inspired in part by the waters and fog of the San Francisco Bay, is comprised of more than 700 uniquely shaped and locally fabricated FRP (fiberglass reinforced polymer) panels. Throughout the day, the movement of light and shadow naturally animates the rippled surface. Silicate crystals from Monterey County embedded in the surface catch and reflect the changing light.

Craig Dykers, founding partner of Snøhetta and leader of the firm’s design team for SFMOMA, said, “Our design seeks to create an intimate experience, welcoming a diversity of visitors to the magnificent collection, and fostering a connection between the visitor and museum for years to come. All of the senses will be engaged as part of the experience. Wonderful day lit staircases lead visitors from floor to floor, the galleries create a comfortable viewing experience of the art, and terraces allow for moments of repose, to be reinvigorated by fresh air, sunlight and vistas of the city between galleries. The visitor should sense that the building is inspired by one of the great cities of the world, San Francisco.”

Visitors are welcomed to the new museum by two main entrances, leading to ground floor exhibition spaces that are free to all. The entrance on Third Street welcomes visitors to the reimagined Evelyn and Walter Haas, Jr. Atrium, where the iconic oculus floods the space with natural light. Alexander Calder’s 27-foot-wide mobile, Untitled (1963), is suspended beneath the oculus, drawing the eye upwards, and a new sculptural stair leads visitors to Helen and Charles Schwab Hall, the main gathering space on the second floor.

On Howard Street, a new museum entrance adjacent to the glass-walled Roberts Family Gallery, allows visitors to enter the museum through Schwab Hall. Now presenting Richard Serra’s monumental sculptureSequence (2006), the Roberts Family Gallery is a vibrant space visible to passersby, creating a visual connection between the city and the museum and showcasing SFMOMA’s community-focused mission. Inside, a set of maple-faced Roman steps provides an informal public gathering spot and seating area.

From both entrances, stairs lead visitors to Schwab Hall, the hub of the new museum. Visitors can enjoy a rotating installation of artworks, such as Sol LeWitt’s joyful Wall Drawing 895: Loopy Doopy (white and blue)(1999), or obtain admission to explore the rest of the museum. From here, a maple-clad stair leads upward to the third-floor Pritzker Center for Photography and the galleries above.

The new galleries in the Snøhetta-designed expansion are intimate in scale and create ideal conditions for viewing the artworks. Diverse gallery spaces support the display of specific collections and works of various scales. Minimal, flexible, column-free galleries permit countless temporary wall layouts—a blank canvas for the curators. At opening, visitors can experience a contemplative, octagonal-shaped gallery devoted to seven works by Agnes Martin and loft-like galleries on the seventh floor that offer space for contemporary artworks.

Terraces adjacent to many galleries extend exhibitions into the city, displaying outdoor sculptures and offering unparalleled views of San Francisco. The new third-floor Pat and Bill Wilson Sculpture Terrace is home to the largest public living wall in the United States with more than 19,000 plants and 21 native species. This curated sequence of spaces allows visitors to move between incredible artworks to broad overlooks, and enjoy views of the city as they circulate through and up the museum.

Complementing the museum’s incredible art galleries, the new SFMOMA features dynamic educational program and performances. The new Koret Education Center serves students, teachers and lifelong learners with a resource library and studio classrooms. SFMOMA partnered with Bay Area innovator Meyer Sound to install sound solutions throughout the museum, including a state-of-the-art Constellation acoustic system in the newly renovated Phyllis Wattis Theater. The Wattis Theater screens archival film and offers cutting-edge 4K projection. The new Gina and Stuart Peterson White Box is a uniquely flexible space, with a theatrical truss that supports a variety of performances, events or large scale artworks.

The new SFMOMA is on track to receive LEED Gold certification, and is one of the first museums in the country to employ all LED lighting throughout the gallery spaces. This measure helped the museum meet its ambitious sustainability goals.
Digital Engagement

SFMOMA’s reinvented digital program, generously supported by Bloomberg Philanthropies, offers accessible, interactive experiences that break down the boundaries between art, entertainment and learning. The museum’s new app includes immersive phone-in-pocket audio journeys through the galleries, with brief reflections and fresh perspectives on artworks by composers, comedians, artists, playwrights and others; and a series of audio walks through San Francisco’s urban fabric, beginning inside the building and moving out into the SoMa neighborhood. 

The museum is incorporating digital tools into participatory learning environments, such as the Photography Interpretive Gallery, generously supported by the McEvoy Family, in the Pritzker Center for Photography, and two interactive spaces in the painting and sculpture galleries, which feature touch screens and digital tables that allow visitors to explore artworks and the careers of artists more deeply. Photography Interpretive Gallery exhibits are supported by Bank of the West. Additional support is provided by Nion McEvoy; a major grant from the National Endowment for the Humanities: Exploring the Human Endeavor; and the Institute of Museum and Library Services.
Visitor Amenities

The new SFMOMA offers visitors three dining opportunities—In Situ by Michelin three-starred Chef Corey Lee for lunch and dinner; Sightglass at SFMOMA for coffee and pastries, adjacent to the museum’s new Photography Interpretive Gallery; and Cafe 5 for light, California-fusion fare, which can be enjoyed either inside in the fifth-floor pavilion or outside in the Jean and James Douglas Family Sculpture Garden. 

The newly renovated Museum Store on the first floor features a wide selection of art books, home accessories and furnishings, artist-made jewelry, toys, prints and more. The new Satellite Store on the second floor showcases exclusive SFMOMA-branded items and art-related merchandise. The SFMOMA Museum Store also has a location on the departure level at the SFO International Terminal, open daily from 9 a.m. to 6 p.m., as well as online shopping at museumstore.sfmoma.org. Every purchase from the Museum Store supports SFMOMA’s exhibitions and education programs.
Support

SFMOMA has reached a capital campaign milestone of more than $610 million raised from more than 1,200 donors, including $305 million for the expansion project, $245 million for its endowment and $60 million in program and operating costs to support the museum’s three-year On the Go period.

SFMOMA is pleased to acknowledge Premier Sponsors Bank of America and Cadillac. Premier Sponsors partner with the museum throughout the year, helping underwrite art, education and community programs. Free Opening Day on May 14 is supported by PG&E, with additional support provided by the Yerba Buena Community Benefit District.
SFMOMA Hours and Admission

SFMOMA is open to the public seven days a week from 10 a.m. to 5 p.m. through Labor Day. Free public spaces open at 9 a.m. daily. The museum hosts extended hours on Thursdays until 9 p.m., giving visitors the opportunity to enjoy exhibitions and programs in the evening. 

Annual membership begins at $100, and members enjoy unlimited free admission (with advance reservation). Adult admission to SFMOMA is $25 and admission for seniors 65 years and older is $22. Admission for visitors ages 19 through 24 is $19. SFMOMA provides free admission to all visitors 18 and younger, furthering its goal of building the next generation of art lovers.

San Francisco Museum of Modern Art
151 Third Street
San Francisco, CA 94103

Founded in 1935 as the first West Coast museum devoted to modern and contemporary art, a thoroughly transformed SFMOMA, with significantly enhanced gallery, education and public spaces, opens to the public on May 14, 2016. With six art-filled terraces, a new sculptural staircase and Roman steps where the public can gather, access to 45,000 square feet of free art-filled public space and free admission for visitors age 18 and younger, SFMOMA is more welcoming and more connected to San Francisco than ever before.









Fonte: @edisonmariotti #edisonmariotti

Moxico vai ganhar museu e biblioteca em 2017, Luena em Angola. --- Moxico will make museum and library in 2017, Luena em Angola

Luena - O museu provincial e biblioteca para melhor preservar, divulgar a história e dinamizar o intelecto dos estudantes serão construídos em 2017, no Moxico, afirmou sexta-feira, no Luena, o director local da Cultura, Noeli João Manuel.


Em declarações à Angop, o responsável disse que caso a situação económica do país melhore, as infra-estruturas a serem construídas na cidade do Luena e arredores, enquadradas no Programa de Investimento Público (PIP), vão obrigar igualmente a intensificar à procura e recolha de utensílios museológicos em domínio da população.

Angola

O director explicou que a instituição possui e exibe na Casa da Cultura e instalações do Monumento à Paz, espaço provisório que está a servir na preservação de peças de carácter museológico e artesanais, assim como ajudar na investigação dos estudantes do ensino secundário e superior, 96 peças museológicas e mais de sete mil livros de diversos temas.

O responsável deu a conhecer que nestes locais estão patentes, em exposição permanente, alguns quadros de artistas plásticos locais e nacionais, como exemplo o “Tchicuvo” ou batuque, um instrumento musical de origem dos povos Cokwe, utensílio que servia para grandes e pequenas cerimónias culturais e em alguns momentos alertava o povo sobre a realização de um determinado assunto ou reunião.

Admitiu que anteriormente diversas peças museológicas e livros se perderam e se danificaram por falta de local adequado para protecção, factor que se evitou com o funcionamento da Casa da Cultura e instalações do Monumento à Paz.

Noeli Manuel frisou que recebem mais visitas de estudantes dos vários sub-sistemas de ensino e aprendizagem, com maior realce para os alunos do ensino primário.

Por outro lado, Noeli João Manuel reafirmou a que a instituição trabalha com as autoridades tradicionais para recuperar as peças museológicas, tais como bancos, panelas de barro, batuques, armas e outros s usados há mais de 50 anos e que fazem parte da identidade e da história dos povos da região.

Ao continuar em posse da população, o dirigente acredita que vão danificar não só a peça, mas também a sua história, limitando, assim, o acervo cultural do Moxico e do país, em geral.





Fonte: @edisonmariotti #edisonmariotti

http://www.portalangop.co.ao/angola/pt_pt/noticias/lazer-e-cultura/2016/4/18/Moxico-vai-ganhar-museu-biblioteca-2017,aba8cedc-13a4-4824-a6ee-0ac60a589fee.html


--in via tradutor do google
Moxico will make museum and library in 2017
Luena - The provincial museum and library to better preserve, disseminate the history and stimulate the intellect of students will be built in 2017, in eastern Moxico province, he said Friday in Luena, the local director of Culture, Manuel João Noeli.


Speaking to Angop, the official said that if the country's economic situation improves, the infrastructure to be built in Luena city and surroundings, framed in the Public Investment Programme (PIP), will also be required to intensify the demand and collection of museological tools in the field of population.


The director explained that the institution has and displays in the House of Culture and facilities of the Monument to Peace, temporary space that is serving the preservation of museum and craft character parts, as well as help in the investigation of students in secondary and higher education, 96 museum pieces and more than seven thousand books of various subjects.


The official informed that these sites are patents on permanent display, some pictures of local and national artists, as an example "Tchicuvo" or drumbeats, a musical instrument of origin Cokwe people, utensil serving for large and small ceremonies cultural and at times warned the people about achieving a particular subject or meeting.


He admitted that previously many museum pieces and books were lost and damaged by lack of suitable place for protection factor that prevented the functioning of the House of Culture and facilities of the Monument to Peace.


Noeli Manuel stressed that receive more visits from students of various teaching and learning sub-systems, with greater emphasis on the primary school students.


On the other hand, Noeli João Manuel reiterated that the institution works with the traditional authorities to recover the museum pieces, such as banks, clay pots, drums, weapons and others are used for more than 50 years and are part of the identity and the history of the peoples of the region.


To continue in possession of the population, the manager believes will damage not only to play but also its history, thus limiting the cultural heritage of Moxico and the country in general.