Posted by Toni on 31st May and posted in Uncategorized
In this text of 1993. DE Shaw insists that this is the case. The author argues it Memory-space-time-power. She affirms that they are, in the set, the essential, only bedding, also, of the Museologia and that its conjunction leads to the museolgico problem: the management of the references. It stimulates valuation and construction of symbols, making of them instruments of dynamics of education and fruitful fights. In Space-Territory it affirms that ' ' implementation of a museum is – or it would have to be – on to the conscience of a physical, social, cultural space, in a similar way that a museum ' ' in situ' ' he is on to the archaeological small farm, or astroroof to a terrestrial or celestial landscape. It says that the museum must become ' ' apreensvel, legible, understandable as territory in its especificidade, but also in its globalidade' ' in its sistmicas relations with the evolutivo space encircles that it, and that it lives in tension between especificidade and globalidade.
To follow, in Chapter MEMRIA-ESPAO-PODER, it assumes that all space is carrying of the traces of history, being responsibility of the muselogo, together with the community of the territory in question, to designate them, and still to the signs and symbols of the identity and to everything what education, awareness instrument can become, of development, of creation – being overcome the care of ' ' museificar' ' the territory, in harmony with its proper life: urban or agricultural, social, cultural, economic ' ' , come to stop, with this, plus a tension between conservation and development. For it, also exists a globalidade of the time: if the object of the museum in the account a history, at the same time in them formulates questions, in reason of the double instantaneidade of its presence and of ours. It still cites the industrial creation of sets of ten of ecomuseus and museums and criticizes the spalling of the subjects the vision that if of the one of this society, vision not only obsolete but, also, ' ' sadly envelhecida' ' defines them as museums of deterioration.