M USEOLOGICA BRUNENSIA
STUDIE/ARTICLES
THE MUSEUM’S MISSION IN CONTEMPORARY SOCIAL AND CULTURAL REALITIES
ELENA MASTENITSA – LYUDMILA SHLYAKHTINA https://doi.org/10.5817/MuB2017-2-2
ABSTRACT/ABSTRAKT: potřebu najít způsob a metody, The Museum’s mission is jak inovovat tradiční kulturní interpreted by modern researchers The rapid and irreversible changes instituce včetně muzeí. Autorky as “an intended purpose defined that occur in the contemporary článku se zaměřují na otázku as generating culture, both present world dictate the need to find the poslání muzea v kontextu and future, based on preservation ways and methods to renovate globálních změn a společensko- and maintenance of the most valued traditional cultural institutions kulturní transformace. Podle nich parts of all types of heritage, as [...] including the Museum. The authors se v současné době v oblasti vize a policy statement, which outlines of this article focus on the issues pro muzea objevují dva souběžné the main purpose of the Museum, its of the Museum’s mission in the trendy, které se navzájem doplňují: role and public nature”.1 According context of global challenges and sociální inkluze a potřeba zachovat to Tomislav Šola, “the Museum’s socio-cultural transformations. As status muzea jako místa, které mission, as before, is the commitment noted by the authors, two current představuje alternativu každodenní to the common well-being and trends coexist and complement the reality, což jej přesunuje ze unwavering dedication to the social Museum vision: social inclusion známého prostředí do paradoxního, idea based on humanistic ethics”.2 and retaining the Museum status ale zároveň reálného prostoru, as a place alternative to the kde se lze setkat s minulostí, které The Museum’s mission: mundane everyday life, excluding nese otisky dávných dob s jejich pro et contra it from the familiar environment typickými rysy. V podmínkách into a paradoxical, but at the otevřené informační společnosti The views on the Museum’s mission same time real space, where one vystupuje do popředí schopnost are conditionally divided into two can meet the past, which bears muzeí uchovat hmotné i nehmotné camps: representations of museum the image of a bygone time with dědictví nashromážděné ve conservatives and those of museum its characteristic features. In sbírkách, a navíc vytvářet reformers. conditions of an open information inovativní kulturní produkty, society, the ability of the události a významy. Muzeum Conservatives assert a certain Museum to preserve tangible and by mělo být otevřenou, živou “sacredness of the Museum’s mission, intangible heritage accumulated strukturou zaměřenou jak na its rootedness in the sphere of top in its collections and, moreover, kulturní elity, tak na běžné values”.3 Under the sacral approach, to produce innovative cultural návštěvníky včetně zdravotně the most important area of the products, events and meanings, postižených. Utváření kultury Museum activities is that one where moves to the forefront. The a společnosti se stává hlavní an object becomes a monument; Museum needs an image of an prioritou v poslání muzea. therefore, preservation refers open, vibrant structure, targeted to the primary objectives of the equally at both the urban elite, KEYWORDS/KLÍČOVÁ SLOVA: Museum. From this point of view, and the mainstream audience the cultural value of an object including people with disabilities. museum – museology – cultural gains special importance and Cultural and social formations heritage – globalization – mission – working with visitors is reduced to become priority components of the social inclusion – edutainment – familiarizing them with supreme Museum’s mission. volunteer movement 1 Dictionary of current museum terms. Museum, muzeum – muzeologie – kulturní 2009, no. 5, p. 55. Poslání muzea v současné dědictví – globalizace – poslání – 2 ŠOLA, Tomislav. Eternity does not live here společenské a kulturní realitě sociální inkluze – edutainment – anymore. A glossary of museum sins. Tula, 2013, dobrovolnické hnutí p. 106. Rychlé a nezvratné změny 3 LEBEDEV, Alexey V. Museums of the future: information management. Moscow: Progress- v dnešním světě vyvolávají -Tradition, 2001, p. 64.
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values stored in museums. natural and social environment in all the human life is increasingly According to conservatives, the its manifestations”.7 influenced by actions and events Museum collections should be kept that occur far enough from its under the state ownership and Museologists T. G. Shumnaya immediate social environment. the state is bound to provide full and A. S. Balakirev are convinced Transition from traditional society support to museums. that the contemporary Museum to technogenic computerized Reformers came into the spotlight “attempts to leap into the sphere virtual civilization is catalyzed in the 1990s and they are critics of the actual culture production”.8 by the globalization process and of conservatives. Their views are Its activities build upon the causes axiological transformation. closely intertwined with the trends specific cultural needs of visitors, in the Museum development in which, in turn, account for the Today, understanding the mission light of the globalization impact. religious and ethnic identity, and overarching goal of the They are convinced that the state socio-professional characteristics, Museum is actualized by the patronage over museums should age, etc. “The Museum is a unique context of globalization, as well be gone; hence, the preservation social formation intended to serve as as the establishing information of heritage should be based on a place of meetings and productive society, which is characterized the principle of its active use. intercultural interaction, information by segregation and isolation, In the view of modernizers, and value exchange between loneliness in “the global village”, “partnership-based, project-oriented different communities, ethnic communications via personal but and network technologies will groups, generations, professional, non-personalized communication become the most efficient method age-specific, territorial and other channels (email, mobile phones, of fundraising and formulating the subcultures.”9 etc). People have lost their roots long-term development strategies and are left with scraps of cultural for the Museum’s activities”.4 The Challenges of the global world contacts and fragments of identity. general idea of this approach is and global culture Modern man is focused on the to refocus the Museum activities consumption of spiritual “fast food” from the internal (collection and Transformation of the Museum’s and creates an “intellectual GMO”. research) to external (individual mission is determined by the and society) scope. Thus, the challenges of modern times. A new paradigm of transmodernism priority of communication over Among them is globalization, came as a response to these the storage function is stated and a complex and multi-component processes. It is determined by the educational model is gradually process, which is based on the the emerging human need of replaced by information and information revolution. It has communion, increased desire communication model. a decisive influence on all spheres for impressions, feelings and of social life and human activity – experience, to fill the emotional According to A. M. Kulemzin, “the politics, economics, culture, void that was created by the primary mission of the Museum is language, education, spiritual postmodern world. According to not just performing specific functions and moral development, inter- R. Jonsen, transmodern reality is but is more extensive and includes, ethnic and inter-confessional full of stories that make a natural inter alia, shaping the mindset of the relations. Globalization represents source for the development of wide population”.5 The same idea a powerful factor of spatio- museums. In turn, the history relies is shared by S. I. Sotnikova who temporal transformation in modern on reality and human experience considers that “the Museum is an human existence. Geographical that can be proposed to other instrument for shaping the basics of and state borders become more people. The scientist suggests a person’s mindset”.6 T. Y. Yureneva transparent; transcontinental links that in the society of the future, argues that the contemporary and cross-cultural communication information will be transferred Museum “should play the leading are intensified. In other words, with the help of pictures, stories, role in human perception of his myths and legends, instead of 7 YURENEVA, Tamara Y. The museum in world culture: monograph. Moscow: Russian word, 2003, letters and digits adopted in the 4 Ibid, p. 65. p. 464. information society. Pictures and 5 KULEMZIN, Anatoly M. Ideological aspects of 8 SHUMNAYA, T. G. (ed.). Museums of historical images will become a new common mseology. Bulletin of Kemerovo State University of profile. Cultural mission. Moscow, 2008, p. 62. Culture and Arts, 2012, no. 18, p. 31. language. A sense of permanence 9 MORKOVKIN, Y. V. Development strategy and continuity will be in the 6 SOTNIKOVA, Svetlana I. Natural history for the cultural institution. Market models of museum: from scientific factology to formation economic activity, case study of Ryazan historical top requested and people will the bases of ecological culture (historical journey). and architectural museum-reserve. Handbook for “buy emotions”, stories and new In Abstracts of the scientific conference, November head staff of the cultural institution, 2004, no. 3, 25–26, 1997. Moscow, 1997, pp. 20–22. p. 33. experience that should be of high
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quality, integrity and stimulating understandable and rateable to any evaluates the Museum object to creativity. It is the creativity person, “homely”, in a sense. his/her taste. that should make the basis of intellectual and emotional visitor’s In small towns and settlements, New economic conditions in contacts with the Museum.10 Being creation of new museums dedicated the post-Soviet territory gave a space that links the timeless and to the events that occurred on the rise to the “brand museums”. the individual, the past and the same territory, or a person that Their characteristic feature is present, the Museum unites them left a mark in the history of the that the Museum’s concept is into an integral whole and makes region, emphasizes their cultural based on a brand, an image, the past real. significance and uniqueness, or an idea supposed to attract which determines the mission visitors. For example, Georgia The process of globalization that of regional or local museum. is known as the cradle of wine levels cultural differences, erases It should be noted that the and winemaking culture. It is national features and consequently idea of creating such museums therefore not surprising that there leads to the erosion of identity belongs to ambitious people who exists a Museum of Wine and is opposed by “glocalization”, often consider the Museum as Winemaking at the private winery which is understood as the a commercial project, as well. This in Velistsikhe village surrounded adaptation of elements of modern resulted in a fairly large group by vineyards. Here, the history culture to the local conditions of private museums and their and brewing technology is visually of different countries and local intensive growth is registered as demonstrated in a special building, traditions of different peoples. The a global trend. At the moment, the and a winery tasting lounge and heterogeneity of regional forms of exact number of private museums a shop are also present. human activity becomes the norm. in Russia can not be identified. This can stand as a basis both to Their number increases daily and Such museums sometimes appear keep and to revive the material their geography covers the whole in settlements that do not feature and spiritual culture of a nation or country, as evidenced by just a few the cultural and historical an ethnic group, to assimilate and examples: the Furniture Museum heritage great enough to attract develop local cultural traditions, in Moscow, V. I. Deryabkin’s tourists and thus play the role as well as to preserve local Museum of Gramophones and of artificial “catalyst” of interest civilizations. The Museum can and Phonographs in Saint-Petersburg; to the place; sometimes they should become the focal point of “Nevyansk Icon” Museum in emerge as a complement to the these trends. Ekaterinburg; “Music and Time” attractive historical and cultural Museum in Yaroslavl, etc. Similar environment. The major objective In our view, “glocalization” in the projects exist in other cities, too. of these establishments is to Museum development during recent Thus, the Marzipan Museum in transform the Museum programs decades was vividly demonstrated Kaliningrad is dedicated to the into a tradeable Museum product, by creating single-subject, exquisite confectionery produced along with the development of specialized museums dedicated traditionally on this land, its concepts, such as “trademark”, to a single topic, subject, or area history, geography, ingredients “brand”, “house style”, “marketing of human activity, a natural or and existence in the culture. The chart”, and “promotion strategy”. social phenomenon. This trend is Museum founders hope to bring the observed both in metropolia and in culinary brand back to its historic Another example of the brand small towns or rural areas. In big place of origin by combining the museum is Vologda Butter Museum cities, such museums can be viewed past and the present in the culture located on the territory of the as a way to resist unification and of this region. Architectural and Ethnographic the power of stereotypes brought Museum Semyonkovo, the Vologda by globalization. This confrontation Museums of culinary products – oblast. It is placed in a peasant reflects an intention to preserve marzipan, marshmallow, cakes, home and visitors are familiarized the Museum as a space of genuine butter, cheese, vodka – are always with the origins of butter-making, items bearing the memory of the popular with the public. Probably, which made a brand of the Vologda past, a desire to make museums this is because a museum object region. In this Museum, visitors takes a special status – it becomes gain knowledge through the really accessible to every visitor. It encounter with the historical epoch 10 AHMAS, Christina. Museum in the transmodern era. In Museology in the 21st century: can be seen in the exhibition or be and participation in traditional problems of learning and teaching. Materials of the bought and taken away. Moreover, ceremonies. The reconstructed International scientific conference, Saint Petersburg, May 14–16, 2008. Saint Petersburg, 2009, p. 131. every visitor is an expert who peasant farmyard gives an idea of
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farming methods in the northern the sustainable social and cultural In 2001, the International Council village. development of the mankind. By of Museums (ICOM) adopted the end of the 20th century, in a decision on granting the status The emergence of these museums addition to collecting, storing, of the Museum to a wider range of confirms the notion of increasing researching, and exhibiting Space institutions. These include: demand for individuality, and Time, museums started originality, project creativity and dealing with Action. The idea • natural, archaeological and non-standard thinking in the of “new museology”, offering ethnographic monuments and era of globalization; attention to innovative museumification sites and historical monuments the unique and authentic is not purposes, changed decisively the and sites of a museum nature that declined. This expands the view earlier concept of the Museum acquire, conserve and communicate on the essence and frontiers of the complexes, which started rapid material evidence of people and heritage and is particularly relevant integration into the environment, their environment; in view of the anthropogenic, “conquering” new territories and technogenic and military threats covering more places in the open • institutions holding collections of irreversible loss of the heritage space (architectural ensembles, of and displaying live specimens objects or its entire layers. natural complexes, mines, placers, of plants and animals, such as quarries, industrial facilities, etc.). botanical and zoological gardens, Cultural heritage and the The emergence and development aquaria and vivaria; Museum in the postmodern of ecomuseums presents to visitors situation the unity of geographical and • science centres and planetaria; cultural characteristics of the The global trend in the 20th entire region. The ecomuseum • non-profit art galleries; century was the scientific became a universal type of the conservation institutes and comprehension of the heritage, Museum and developed intensively exhibition galleries permanently which made possible classifying in different countries.11 maintained by libraries and archive the monuments into groups of centers; monuments and memorial sites. In Changing attitudes to the the second half of the 20th century, heritage and the Museum • nature reserves; the range of heritage objects under explains the pathos of debates in the aegis of UNESCO expands the international museological • international/national/regional/ gradually and a diverse, different- community. Analysis of the socio- local museum organizations, scale material evidence of human cultural conditions suggests that ministries or departments or public activities and the environment is “a change in the ‘Museum paradigm’ agencies responsible for museums included. Today, the concept of takes place today – transformations as per the definition given under heritage refers to artifacts and of the Museum’s system are so this article; natural objects, without limitations significant and irreversible that we in time and space, regardless of should speak of the birth of a new • non-profit institutions or whether they were intentionally understanding of the Museum, organizations undertaking collected and preserved for the formation of a fundamentally new conservation, research, education, future generations or inherited concept of the evocation of museality, training, documentation and other from the antecedents. At the rather than of certain changes in the activities relating to museums and threshold of the 21st century, the Museum”.12 This aspect is closely museology; concept of preserving heritage studied by O. S. Sapanzha, who became a social imperative; efforts indicates the transformation of the • cultural centers and other entities were made towards realizing the cultural form of “the Museum”, as that facilitate the preservation, fact that the heritage belongs to such.13 continuation and management the society and, by accepting it, the of tangible or intangible heritage 11 KUKLINOVA, Irina A. Ecomuseums and the society is committed to preserve it. concept of regional cultural identity (Case study resources (living heritage and of France). In Global cultural space. Proceedings digital creative activity); of the International scientific forum, April 12–16, We can observe the revision of 2005. Saint Petersburg: Centre for cultural studies, attitudes to the natural and cultural 2005, pp. 346–348. • such other institutions as the heritage, which is more visibly 12 SAPANZHA, Olga S. The theory of the museum Executive Council, after seeking the transformed into the basic value and museality: historiographical overview and advice of the Advisory Committee, historical typology. Monograph. Saint Petersburg: of the modern civilization. It is the NEE “Express” risograph, 2011, p. 4. considers as having some or all of heritage that plays a crucial role in 13 Ibid. the characteristics of a museum,
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or as supporting museums and high spirituality and elitism of this museum, a pharmacy museum, professional museum personnel institution”.17 a theater museum, a library through museological research, museum, a factory museum, education or training.14 Foreign museologists take etc., become more common. a challenging approach to the For instance, there is a private Smearing “the Museum” definition management of such institutions. Museum and Theatre of Wine involves the risk of possible loss of The management recommendations in Kislovodsk, which combines the phenomenological significance of the European and American a shop, a museum exhibition and of this socio-cultural institution. experts include the following: a tasting room, where tasting elite Reflections on the future of the wines is accompanied by a lecture Museum gave birth to the concept • the museum-type institution on the history and traditions of the “post-museum”, which is should not only demonstrate of winemaking and theatrical close to the ideas of “neighborhood the exhibit but also provide the sketches. In Elabuga, there is an museums” in the USA and relevant explanation; active Museum-Inn-Theater, in St. “community museums” in Latin Petersburg – Museum-pharmacy, America.15 Russian museologists • visitors are allowed not only etc.20 use this term to denote an to view the exhibit but also to institution that has reinterpreted touch it, to see the processes of its Another type of the Museum itself and is committed to share its restoration or replication and even institution is the so-called authority with the community it to take part in these processes; “economuseum”, the term serves.16 suggested by the Canadian • the museum-type institutions museologist S. Simar. An The Museum world in the 21st should provide visitors an “economuseum is a museum-type century: the frontiers and opportunity to relax, have fun and institution, which functions as horizons of the development a good meal.18 a combination of the Museum and small workshops focusing on the Expanding the frontiers of In this regard, British museums creative use and perpetuation of the Museum world led to the make an illustrative example. traditional skills and craftsmanship. introduction into scientific An interesting visitor activity is The name ‘economuseum ’ is to terminology the concept of implemented in the Museum of the emphasize the economic component “museum-type institution”, which Moving Image in London. This is of such cooperation. Heritage sites separates from the classical a unique Museum of cinema and are used as a ‘source of inspiration’, interpretation of the “Museum” television including 50 diverse new items are created upon the concept. According to M. E. Kaulen, rooms, which present the first traditional technology, and the craft the “level of museality” among steps of the Hollywood directors, as such is preserved as an object of the “museum-type institutions” the Chinese shadow theater, and intangible cultural heritage”.21 As that populate the current Museum the Soviet propaganda films. In a rule, these “new items” are sold world can vary considerably, ”from the Department of television and in shops, which make an integral traditional museums implementing animation, visitors can take part part of the economuseum, and non-traditional forms of Museum in the movie filming, get all the a demonstration of the product activities, to institutions that have details of film production, act as manufacturing, with direct almost nothing in common with the a TV presenter, make one’s own involvement of visitors in this Museum and have appropriated this cartoon and even take a film test process represents an important name to themselves as a label, a sign for a Hollywood movie.19 attraction for the visitor-buyer. of quality, a would-be guarantee of Institutions that represent In our opinion, expanding the a combination of the Museum with range of documented objects another institution, e. g., a school does not diminish the role of 14 ICOM Russia Charter [online]. [cit. 2017-10-11]. the Museum in its societal Available from www:
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community attempted to structure idea of the participatory democracy recent social practices of museums scientific research by formalizing that implies a decentralized, dictate the need of volunteer work the definition published in the collective decision-making in all to be focused on people with ICOM “Museum Code of Ethics” in areas of public life. Thus, the disabilities. The Metropolitan 2006: “A museum is a non-profit, processes described by scientists Museum programs for visitors with permanent institution in the service as shaping a new “culture of dementia and those on the autism of society and its development, participation” take place in many spectrum envisage voluntary open to the public, which acquires, areas of public life.23 cooperation. It can be assumed conserves, researches, communicates that the volunteers’ expectations and exhibits, for purposes of study, The Museum in the context of of their humanistic service are education and enjoyment, the a “culture of participation” fully implemented through such tangible and intangible heritage of practices. humanity and its environment.”22 One of the trends related to the principles of “culture of The Museum’s mission as The contemporary Museum is both participation” in museum activities a theoretical problem a repository and its contents. It is the development of a volunteer of museology has clear objectives and functions, movement. Examples of these a mission and message, since every activities in many countries are Current understanding of the Museum, regardless of its size and common and quite convincing. Museum’s mission is reflected profile, represents a manifestation The Fitzwilliam Museum at the in the ideas of new museology of ideas and intentions. The University of Cambridge invites concerned with the inclusion Museum spaces are in constant the volunteers to participate in of local community museums interaction with those who the description of the Ancient as custodians of the intangible visit them. They affect people’s Egypt collection; the ability cultural heritage. These approaches perception through fulfilling of the project participants to are closely linked to the theoretical specific objectives and thus create recognize and identify hieroglyphs bases and critical museology, which a new reality, where the focus is is particularly appreciated. An builds upon the recognition of the shifted from the subject to the example of a traditional interaction dialectical interconnection in the individual and the society. between the Museum and the society, its social institutions and society is mobilizing volunteers the surrounding reality. Proponents Thus, museums act as agents to collect items for the exhibition. of this theory draw attention to the of social inclusion and social An interesting and productive subjectivity of knowledge streamed responsibility of the culture. This experience is provided by the via the Museum instruments and is related to global processes Memorial and Historical Museum their dependence on economic, that change the self-perception in Volgograd, which addressed political, and cultural context of the society, its socio-cultural the city residents with a request of a particular historical era. institutions, and the principles to contribute the authentic objects Therefore, they are convinced of interaction within the society. for the First World War exhibition. of the need for a multifaceted In the late 1990s, the concept This request resulted in filling interpretation of different themes of web 2.0 social networks the exposition content with such and stories, as well as for the appeared, where the users act unique items as the Mosin rifle transformation of the Museum as co-developers and content bayonet, the regimental money exhibition into a discussion contributors. It has induced box, and the early XX century platform. great alterations in the principles Psalter. The most common practice of relations between people. of cooperation with volunteers Scientific approaches in critical Communication was progressively is their participation in cultural museology are associated with moved to social networks that and educational programs and the development of the theory allow maintaining contacts with actions. Other examples of active of Museum communication, people halfway around the world volunteering in Russia are: which recognizes the possibility and are easier and faster to the annual event “Night at the of different interpretation organize the like-minded people. Museum”, “Children’s days at of knowledge gained in the The 2.0 ideology appeared to be St. Petersburg museums”, etc. The Museum. The acceptance of consistent with the already existing plural truths, different views on 23 AGAPOVA, Daria. Culture of participation: the same cultural events and millions of dialogues. In SHCHERBAKOV, A. (ed.). 22 ICOM Code of ethics for museums. Moscow: Museum as an educational space: game, dialogue, phenomena should be clearly ICOM Russia, 2007, p. 16. culture of participation. Moscow, 2012, p. 9.
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demonstrated in the Museum creating a comfortable environment in the Russian Ethnographic exhibition. However, proponents for visitors with varying physical Museum (St. Petersburg), music of the critical museology consider and mental needs. Sociocultural and audio accompaniment at addressing the issues of societal practices for arranging the expositions, and even the odors importance to be central in their Museum’s accessibility should be (“Scents of Caravaggio”, the State approaches to the Museum’s implemented in close relationship, Hermitage project) are just few mission. Thus, O. Navarro believes both physical and attitudinal, illustrations of such practices. That that the Museum can not only which assumes conceptualization of is why recreation becomes part pose questions to the public but the Museum as a place for practical of the educational process in the also exert certain political and hermeneutics and the “factory Museum, when the education is no psychological influence on the of impressions”, encouraging longer aimed at awareness raising society.24 This thesis is developed the development of museum only but shapes it in cultural by R. Sandell who argues that pedagogical, mediation and and educational objectives of the the Museum is an agent of multimedia technologies. integrated personal development. social inclusion, which ensures involvement of all population Cognitive accessibility is Thus, the analysis of algorithms for groups isolated from the society for achieved through introducing the enhancement of educational some reasons (poverty, ethnicity, edutainment technology into function in the context of the unemployment, poor health, museum pedagogical practice. It phenomenon of the Museum etc.), and draws attention to the should be emphasized that under as a sociocultural institution, need of solving this problem at realities of the contemporary studied extensively by the the state level. With view of the Museum world, this approach authors27 demonstrates clearly great educational and cultural helps to overcome the active, that the “museum-textbook” potential available in the Museum, and sometimes aggressive, model gives way to the new its mission should be implemented introduction of amusements and “factory of impressions” model, as part of its functioning, which is entertainment.26 The aggressive as determined by the influence of to serve the society and facilitate use of entertainment programs in the ideas discussed above and the positive changes at different levels: the Museum activities is explained transmodern realities. individual, specific social groups by some experts as an attempt to and the whole society.25 cope with the “museum fatigue” The possibilities for creating problem and the cognitive vanity impressions and images are The Museum as an accessible of museum specialists against provided by the introduction environment: principles of uneducated visitors, in addition of multimedia, which facilitate organization and technology of to commercial motives. The development of the virtual functioning recreational component in the Museum departments and museum educational and mediation virtual exhibitions, as well as In humanistic discourse, changing practices is not just a relaxation the influence on personality, the vector of interaction between but an activity aimed at expanding due to the augmented reality the Museum and the society implies the horizons, developing the technology.28 An example of changing the Museum space, spiritual, intellectual and effective use of this technology is both in a direct and metaphorical emotional capacities of a person. seen in the State Darwin Museum sense. Thus, development of social Russian experience in edutainment in Moscow. It “brings to life” practices of the contemporary proves its importance in reading the zoological exhibition: the Museum involves the use of the meanings embedded in the animals step out from show-cases a wide range of technologies of museum objects and expanding and surround the viewer. Thus, interaction with the real and the sensual unidimensionality visitors get familiarized with the potential audience. One of them is of the Museum. The Knights’ behavioral patterns of each species, the introduction of the universal tournaments in the Vyborg their exterior characteristics design principles, which means Museum of local lore (Leningrad and movement patterns in an oblast), Ethnographic Pan Theater 27 SHLYAKHTINA, Lyudmila M. and Elena 24 NAVARRO, Oscar. History and memory in the N. MASTENITSA. Museum pedagogical conceptions 26 “Edutainment” (education + entertainment) contemporary museum: a few observations from in Russia: historical essays. Saint Petersburg: Saint is an informal term to denote combination of the point of view of critical museology. Problems of Petersburg State University of Culture and Arts education and entertainment, introduced in the museology, 2010, no. 2, pp. 3–11. Publishers, 2006. 271 p. 1980s. Later, the edutainment technology was 25 SANDELL, Richard. Social inclusion, the included actively in various socio-cultural spheres 28 The term “augmented reality” (AR) was museum and the dynamics of sectoral change. and became popular in recreation and educational introduced in 1990 by Tom Codell and David Museum and Society, 2003, vol. 1, no. 1, pp. 45–62. activities of the Museum. Miselli.
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interactive form. Moreover, the inclusion of tangible and intangible talents and abilities for self- audio accompaniment allows cultural and natural heritage into -analysis and critical evaluation visitors to explore the sounds the scope of museumification into the stream of vigorous activity. produced by each individual leads to the more comprehensive History teaches us that great species.29 understanding of the Museum as social changes do not happen in a cultural form and to speak of times of economic stability but Thus, multimedia systems and the changes in the morphology of instead in times of crisis, ordeal IT equipment feature a wide the Museum world that emerged and uncertainty, as in our days. range of functionality, allowing with museum-type institutions, Therefore, the Museum community to visualize the cultural heritage economuseums, etc. faces the task of creating new and to complement it with content and formats of social information, thereby implementing Transformation of the meaning interaction to match the new era, the educational and recreational and purpose of the Museum is also as the old formats are no longer potential of the Museum via the associated with changes in the effective. created interactive game content. society demands and expectations Innovative technologies aid to the of an individual, thus determining security function by creating digital the ways of its interaction with REFERENCES: copies of an object, which makes the society. The mission of the possible studying all features of the contemporary Museum is governed AGAPOVA, Daria. Culture of original with all damage excluded. by the fact that it becomes an participation: millions of dialogues. In In addition, they provide remote active social agent that implements SHCHERBAKOV, A. A. Museum as an access to the cultural heritage, the objectives of cultural policy. educational space: game, dialogue, culture which largely contributes to solving Its mission also reflects the of participation. Moscow, 2012. 176 p. such pressing social problem as changing opportunities of the AHMAS, Christina. Museum in the contacts with population groups Museum to interpret cultural transmodern era. In Museology in the of limited mobility via remote and heritage, to actualize the past 21st century: problems of learning and mediated interaction. and to incorporate it into the teaching. Materials of the International contemporary life by addressing scientific conference, Saint-Petersburg, Some conclusions the objectives of practical May 14–16, 2008. Saint Petersburg, hermeneutics. By responding to the 2009. While we do not claim the modern global challenges and the CHUGUNOVA, Anastasia V. Socio-cultural completeness of the above needs of the visitor, the Museum image of the modern museum: models statements and conclusions, it formulates its mission relying on of architectural implementation. Saint can be asserted with confidence collections and technology, thus Petersburg, 2012. 22 p. PhD thesis, that the determinism of the making a visit to the Museum an Culturology. Museum’s mission reflects the unforgettable experience. We can Dictionary of current museum terms. objective factors, which expand not but agree with the American Museum, 2009, no. 5, p. 55–64. both the understanding of the museologist J. C. Dana who stated ICOM Code of ethics for museums. Moscow: Museum phenomenon and the that “the only and obvious task of ICOM Russia, 2007. range of its potential influence the Museum is to add happiness, ICOM Russia Charter [Access mode]. [cit. on the individual and society as wisdom and comfort to all members 2017-10-11]. Available from www: a whole. The sociocultural context of the society”.30 This idea has
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Petersburg: Centre for cultural studies, State Darwin Museum [online]. [cit. 2017-10- 2005, pp. 346–348. -11]. Available from www:
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pedagogics, associate professor postgraduálních studentů, kteří of Museology and cultural získali titul Ph.D v kulturních heritage department of Saint studiích. Členka Mezinárodního Petersburg State University of výboru pro muzeologii (ICOFOM) Culture. Graduated from historical a Mezinárodní rady pro muzea faculty of Saint Petersburg State (ICOM). Odbornice pilotního University, postgraduate study of projektu UNESCO/IFESCCO St. Petersburg State University of „Jak řídit muzeum – 21. století: Culture. Repeatedly participated Tematické regionální budování in international symposia, kapacity studijních a odborných conferences, scientific seminars setkání zemí CIS v rámci UNESCO/ and as expert in research projects. ICOM” (2014). The developer and leader of seminars to improve the skills of Museum employees held in Russia and the CIS. Аuthor of over 120 publications, including textbooks, monographs, scientific articles. Current scientific interests: theoretical problems of museology, museum communication, museum visitor, museum psychology and museum pedagogic. Scientific adviser of 6 post graduates, who got Ph.D.’s in cultural studies. Member of International Committee for Museology (ICOFOM) of International Council of Museums (ICOM). The expert of UNESCO/IFESCCO Pilot Project “Running a Museum – XXI Century: Thematic Regional Capacity-building UNESCO/ICOM Trainings and Expert Meetings for CIS Countries” (2014).
Přední odbornice v oblasti kultury a vzdělání v Ruské federaci. Má titul PhD v pedagogice, je docentkou muzeologie a kulturního dědictví na Státní univerzitě kultury v Petrohradu. Vystudovala historii na univerzitě v Petrohradu a studovala v postgraduálním programu Státní univerzity kultury. Opětovně se účastní mezinárodních sympozií, konferencí a vědeckých seminářů a je expertkou výzkumných projektů. Pořádá a vede semináře sloužící ke zlepšení dovedností muzejních pracovníků v Rusku a zemích CIS. Je autorkou více než 120 publikací, včetně učebnic, monografií a vědeckých článků. Ve své vědecké praxi se zaměřuje na teoretické problémy muzeologie, muzejní komunikaci a návštěvníky, psychologii a pedagogiku muzeí. Byla odbornou poradkyní šesti
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