Methods drawn from the field of literary studies, for example, are used to design approaches for the analysis of objects of memory that reveal a hunger for new ways of questioning and tackling these issues. Applying the biographic approach to objects raises important methodological questions concerning their narrative, structure and chronology, the representation of change, their influence on the lives of humans, the communities and their material history and, above all, their interpretation and visibility in museums.
On the other hand, and through the incorporation of the intangible historical, emotional, spiritual and relational aspects ownership, belonging and identity of objects in museums, new avenues of inquiry are opened up which make it possible to call into question educational approaches that represent the museum as a heritage container.
Heritage, therefore, is regarded as the relationship capable of connecting cultural assets with the society they belong to and the time that inherits such assets. Within this logical framework, objects somehow become the carriers of an identity embodied in narratives, biographies or artistic constructions that present themselves manifestations of the bond formed between cultural assets and people. All these relations constitute different manifestations of what is actually the same approach: the generation of identity-based ties between individuals or groups and heritage assets.
Another topic which we would like to include in the forthcoming issue of MIDAS refers to the relationship between objects and learning in museums. It is often stated that objects facilitate learning through the development of observation and questioning skills, which in turn allows for emotional connections and for complex ideas to become comprehensible. In this regard, we encourage discussions on these concepts on the basis of research work inspired, for example, by case studies. The forthcoming issue of the MIDAS results from the current emphasis on bringing together several perspectives museological, curatorial, technical on the place of objects in museums — all with a view to critically mapping this domain.
The topics and issues proposed partially overlap and should allow for the confrontation of several perspectives, both theoretical and methodological, as well as the production of diversified materials. Topics Three major lines of analysis are preferably suggested:. Through the Internet, museums have transformed the way in which they interact with the public. Synergies are thus generated which promote a greater autonomy in the visitors and create new spaces for interaction. What are the new forms of subject-object spaces, virtual museums and social networks that have been brought into play?
Which are the new ways of story-telling that have emerged and, along with them, the voices that are being listened to in the new relational settings? Does the intimate, the personal, the micro acquire here a more important dimension by multiplying and building deeper connections with regard to heritage? What approaches are being currently used in museums and which evidences are being presented?
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How can education experts help museums engage in a discussion on object-based learning? How can museums use objects in a more creative way? And why is it that such approaches differ from others in terms of knowledge production? What are the impacts, the opportunities and the challenges involved in using digital technology in this context?
What could be the impact, for example, of 3D printing of objects aimed at object-based experience? Which technological powers will be available to us in the future? Against this background, further issues may still be explored. Alice Semedo.
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Assistant professor Faculty of Letters of the University of Porto. Within the MA in Museology I teach different courses that reveal the diversity of my teaching and research interests: museums and museology, the study and management of collections, and finally, policies and practices of communication in museums. I am particularly interested in the use of performative mediation objects in museums. I have participated in different research projects, published and organized conferences on topics relating to my research interests such as museological narratives and discourses, professional museological identity and contemporary missions for museums.
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Olaia Fontal. She is a university professor in Art Education at the University of Valladolid Spain , author of many books and articles indexed in the theme of heritage education. Specialist in Heritage Education, and professor of Research in Heritage Education at the University of Huelva, co-directed four doctoral theses in this area. There's a problem loading this menu right now. Learn more about Amazon Prime.
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