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PRACTICAL WORK No. 1

GUIDELINES

is going to a museum and "cut it".

other words: choose a sector, area, item or place, may be an exhibit, the lighting, flooring, windows, per staff, even an audience.
not we forget two things:

1 - WE'RE IN A MUSEUM, AND THAT IS CHOSEN OR TAPERED PORTION THEREOF.

2 - WE'RE STUDYING MUSEOLOGY

chosen then be observed (the cut), taking notes as needed, or photos. Outside the museum, be written about him l or you want to say.

style, literary form, focus, etc., are left to the discretion of the group, seeking professional treatment of the subject. Photos can be incorporated. The work group is preferably within the possibilities of each. The format of the sheet will be A4, printed, no folder, just the leaves fastened together. Do not forget to put the names. The work will be discussed in the classroom with other students.

Delivery: Friday April 9 in class.
Luck, and the museum.

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INSTRUMENTS, TOOLS AND SUPPLIES

What will we use in a year?

This question is usually done when I know that in Museology "is drawn."

We also know that the economic situation does not always buy all the equipment that should, but we can make a basic list of items to get. We say "get" because even though these elements must be used, not necessarily must be purchased and may be provided by friends or acquaintances.

Of course, the use will be extended by three years of the race: Museology I, II and III.

Several of these items will be used throughout the year, others will be used according to the project of each group.

The elements used are:

drawing tools:

• brackets of 45 ° and 30 °, medium (30 cm.'s Side approx.).
• common Scalimetre plastic
• Rules 20 to 30 cm.
• tape measure 3 to 5 mt.
• Rule T
• A table for drawing at home.
• HB pencil and B
• microfibers or black pens for the last ink (optional)
• Erasers Ink white (not "two flags")
• color micro fiber and

drawing tools of potential use and according to the group project:

Template
• health 1:50 (there is one in library)
• drawing compasses
• pistols

Paper and supplies:

• A4 Sheets
• Paper 60 g plant. or 35 x 50 Finnish
• 35 x 50 white construction paper

We take for granted that the items listed can be purchased in groups, or shared for use. REPEAT THAT YOUR PURCHASE IS NOT MANDATORY, BUT THAT WILL BE REQUIRED FOR (all) THE RACE.

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THE DEFINITION OF MUSEUM
The dictionary says:
institution dedicated to the acquisition, preservation, study and exhibition of objects of value to science, for art, for culture or for the development of human knowledge: art museum, archaeological museum. / / Building or premises for the exhibition, properly ordered, of these objects. / / Building used for the study of literature, science and liberal arts. / / Fig place where there are many works of art.

The definition of "art" is another, and had its own history. Recall that at the time of the first definitions of ICOM (International Council of Museums, UNESCO-dependent), was only 2 years old who had finished 2nd. World War devastated museums, and heritage destroyed, sold or stolen, and it was recently established UNESCO (November de1945).
To define the museum, ICOM (year 1946) believed - and believes - that was based on certain characteristics, both economic and functional and social. Let us briefly
chronological journey through the "official" definition.

0. ICOM was created in May 1946, a year after the UNESCO.

1. Article 3 of the Statutes of ICOM, 1947, provided that the ICOM:

"recognizes the quality of any institution museum preserves and presents permanent collections of cultural or scientific basis for study, education and delight. "

2. In 1951, Article II said

"The word museum refers to all permanent institution here, given the general interest with a view to preserving, studying, evaluating, by various means and essentially expose for pleasure and education of the public a set of items of cultural value: collections of art objects, historical, scientific and technical, botanical gardens and zoos, aquariums ... "and" shall be treated as public libraries, museums and centers of files containing the permanent showrooms. "

3. In 1961, Title II, Article 3 makes clear:

" The ICOM Museum recognizes the quality of any institution which has sets of cultural property for conservation purposes, study, education and delectation.

4. In 1968 there is another change. Title II, Article 3 is amended as follows:

"ICOM Museum recognizes the quality of all permanent institution that preserves and presents collections of objects of cultural or scientific research purposes, pleasure and delight. "

Currently, in its view, an international NGO, founded in 1946 under the auspices of UNESCO, and its statutes approved by the 16 General Assembly of the Hague Convention of 1989 and amended by the General Assembly of Stavanger 18 (Norway), 1995, as set out in Article 2:

"A museum is a permanent institution, non-profit, serving the society and its development, and open to the public , which deals with the acquisition, conservation, research, information transmission and display of material evidence of individuals and their environment for study, education and recreation. "

.

As you can see, there are several functions to be performed by the museum:

1) retain all expressions of human activity and natural
2) to investigate the cultural heritage;
3) educate humanity;
4) entertain the leisure of man.

To view the "official word" of ICOM:

http://icom.museum/definition_spa.html

Bibliography:
ALONSO, L. (1993) Museology. Introduction to the theory and practice of the museum. Madrid. Isthmus, Ed
HERNANDEZ HERNANDEZ, F. (1994) Manual of museology. Madrid. Synthesis, Ed
Dictionary of the English Language Manual Vox. © 2007 Larousse Editorial, SL

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PROJECT GROUP

Sent to gferneto@rosario.gov.ar by Tuny Cagliolo

Colleagues:

We are a group of professionals and students of the Preservation and Restoration he intends to call colleagues and partners to create a space for exchange of information, knowledge and experiences in order, in the future, to build a partnership that contributes to the development of the profession. This is an invitation to all those who study and work in conservation and restoration of cultural property and are interested in meeting to share knowledge and discuss ideas. The results of the meetings will be posted on a blog that will soon be created as a place of communication open to the entire community. Interested parties may send an email to: grupoconservacion@hotmail.com , confirming their interest in participating to be told the date of the first meeting to be held in April. Can forward this invitation to all those who believe that interest you.

count on your participation. Tuny
Cagliolo

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THE WORKSHOP 4-
Implemented by Ms. Sandra Squire and the arch. Cons Gustavo Fernetti Museums, has asked the City Museum to open a physical space for learning, so-called "Greenhouse", which will run throughout the year a series of workshops.
The idea is to try to reverse a basic problem of teaching of museology. The issue of museum practice concrete, real, everyday, the importance of making reasoned decisions, making a critical professional development of personal criteria for the activity based on the theory and experience in order to give students an anchor to reality museum.
These workshops, if approved the project, will include the presentation of specific issues surveyed in the museums of the region, in order to reflect on the actual operations of the museum.
The theme of the workshop will "And then ... What we do ...? "
The methodology will be 4 groups, in workshop mode vertical, to think the solution to a problem based on the museological concepts learned in the School of Museology. 4 questions will be formulated key, usually done by museum curators active. The attendance to the course is free, trying to form study groups linked to the museum, find results.
be given the relevant documentation such as photocopies in order to have a conceptual body "at hand" when thinking about solutions to the problem proposed. This will be real, if possible unresolved as to whether or solutions already designed preconceptions. Where possible, there will be objects and original documents provided by several museums, materials and tools for the job at hand. Finally
groups delivered a paper, stating the proposed solution to the problem.
The workshops will be held on Friday at 4 pm once a month and has asked the museum, in a note to the director, Arch. Raul D'Amelio, the form of the certificates of attendance and participation in the cycle.
.

.

To see the Greenhouse: http://www.museodelaciudad.org.ar/museo-invernadero.htm

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WHAT the museum is?
The definition seems inadequate training that deals with the "physics" of the museum. The part of the museum that deals with the right techniques or not, to provide a sample or exposure
This definition becomes more complex when we see that the museum is supplied in this field, experience that can only museology. Results grounds of the museum, the influence of the colors or the font of the brackets, the perception of sounds in the exhibition, the height of the panels or windows, and even the materials that have been used as part of an extensive body cumulative experience. But also solves the problems linked to the museum with their society: the generation of a communication with his audience, or the perception that the public has of the museum itself or are in the curating the concrete expression while a survey.
Museography part of a vast empirical body complex, which constitutes the support of a "theory", the museum itself, with its different views and ideologies. Thus, "museum theory", and while not saying so, ranging from the technological or communication, to the social, economic and political.
At the same time, it is specifying museology in the exhibition hall, museum curators what they think about the complexity of the museum and society. Knowledge, attitudes and values \u200b\u200bdesigned for and by the museum to be translated into colors, images, texts, sound, space, dimensions.
is therefore a spiral path, every exhibition is based on a concept and then gives an experience, then every experience generated after concept. Museography provides answers to problems, and then they are incorporated into the theoretical as solutions viable.
This feedback is not viable without constant evaluation, on a permanent critical in the proper selection of references for each case to solve. Nor can
-a risk of a dilettante - avoid "theoretical framework" of the museum, would circumvent the professionalism of museum curator.
Finally, can only act within the room of a museum by the reflection, which is the theory itself: think of a museum exhibition is thinking. We understand then the term closed spectrum theory as indisputable concepts, or as a look of scientific pretensions, but as a wide dynamic range of problems and responses, ranging from technical to social.
Since the museum curators tend to like the definitions, we can give one, then:

Museography exhibition is the practice of museology.

The Chair of Museology I tries to articulate that theory with practice that, to stop being a mere "common sense" and the professional work is affixed to creative thinking.

.

.

To see other views:

http://www.nuevamuseologia.com.ar/RafaelYunen.htm

http://cybertesis.upc .edu.pe/upc/2005/li_pg/pdf/li_pg-TH.4.pdf (down)

http://museosdevenezuela.org/Documentos/Normativas/Normativa5_1.shtml

http://books.google.com.ar/books?id=2A679PVK7xYC&pg=PA18&lpg=PA18&dq 22museograf% =% C3% ADa% 22 & source = bl & ots = sFjzSGPpIu & sig = -lmc1qXJXJimiXO-aJK1RRopSPM & hl = en & ei = u8i6SZqzAY3BtgeJx9HiDw & sa = X & oi = book_result & resnum = 6 & ct = result # PPA20, M1 (book)

http://arte.laguia2000.com/museos/los-conceptos-de-museologia-y-museografia-definicion-y-evolucion

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DRAWING PAPERS The technical drawing is usually done on paper (made also in the computer) and that role is not always the same.
We must differentiate between drawing paper, art papers and papers for use in museum (museological) the latter must be chemically neutral even though it is quite possible, at most, may require some alkalinity, so it does not affect objects that may come into contact with the paper.
drawing papers used in technical drawing are classified as White
: are common stock, have a load of glue and chalk mixture which makes them resistant to moderately absorbing. The ink is irreversible once made a drawing in these roles. Often have variable acidity. The best white papers are slightly alkaline (like paper SCHOELLER) to retard yellowing. It comes in various formats and weights (weight per m2)

Acid-free: are roles in general for printing ink, resistant to yellowing. The characteristic "acid-free" is generic, but some office papers are sold under that label, such as paper Okidata C5000, C7000 and C9000.
Sketch: large format white paper, with a larger load of glue on one side.
tracing: (also called "parchment" or "tailor") are very open frame roles, which allow light to pass through or are translucent. Serve to make drafts and sketches

greater brand paper, or documentary : white paper is high or very high quality, weighing from 70 to 100g/m2, smooth, textured iridis or satin. A great brand is the oldest European factory MAGNANI, but most production is for top quality art paper, card, original artwork, etc., and their quality is a very expensive material. Paper plant
: role is to deal with the sulfuric acid paper fibers, resulting in a very homogeneous mass, which is incorporated then resins, formerly Canada balsam. It is rigid, cracks forming white lines and is highly absorbent of humidity. China ink can be erased with rubber wheels or by scraping (commonly called "Gillette"). Is a paper document and is generally free of acids by an alkalinization process, with a pH around 8. Must be kept very well, because the humidity, however slight, deforms the fibers, the softening resins.
The weight per meter (weight) ranges from 60 g/m2 (light) to 200 g/m2 (extra dense).
Finnish: lightweight tracing paper (40 g/m2) or open weave paper treated with resin cheap. They are very thin, and are often used as a draft. The tracing paper is often treated replace it with some advantage, tracing paper of 60 g/m2. At 30 to 40 g/m2, for use in printing, is often called "Bible paper." Cardboard
: paper are heavyweight (over 110 g/m2) and used for presentation drawings. Cardboard
museological: are high pH, \u200b\u200bwhich is slightly alkaline. The pH is usually 8 or more. Museological papers have a reservation, this means they take longer to acidify, an effect that is evident in the yellowing. Nor have lignin, which affects its tannin content, objects in contact with the paper. The best-known brands are DEKORA, Schöller, WATT, and FABRIANO MUSEUM BOARD. The frequent indication to describe this type of paper is ACID FREE. Those used for technical drawing are very shiny (coated one or both sides, although there are opaque)
Paper graph: is often used in archaeological excavations in mapping. Paper
Japan: paper whose mass is made by soaking a cotton cloth. One of the most used museological materials, because it's not loading any queue or unknown chemicals. Highly absorbent, is not used for technical drawing, but for posters, labels, tabs, wrappers, envelopes, etc. contact with objects. They come in various weights, from paper to cardboard.

polyester, synthetic paper precision drawings or plotted, it comes in rolls with an exact weight of 100 g/m2, and very stable. If the paper gets wet, is not altered.

mention the roles that are not used specifically in technical drawing:
KRAFT paper or book: unloaded a grand role in the mass, but many in a d and the faces, which is brighter. It is usually very bad paper for museum, white, gray or brown, according to the fiber. It is often used for drafts or wraps. Canson
: textured cardstock for artistic drawing, the name comes from a trademark. Not museum. A brand known is Michelangelo.
colored paper handmade, painted: are just for display, not usually present different museological and takeovers, generally unknown composition.

To learn more about roles for museum use and the varieties available in the market, you can visit, for example, a firm specializing page DEKORA http://www.dekora.com.ar/prodres . php

elemental For a glossary on paper:

http://www.witcel.com.ar/servicios/glosario.htm

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AS BEGIN DRAW
more difficult The drawing is always done in pencil: it blurs, it's dirty, and the mine leaves irreparable grooves.

But the picture is faster to do, it reversible, if we work, y. .. and have to start somewhere.

should - so to speak - and start drawing:

1. Use HB pencil type, not too soft (it is very dirty) or too hard (mark too). To learn more about hardness of graphite mine, see "pencils" in the bar of topics, here next page.
2. Draw gently, without pulling the pen. Do not leave the line, continue it until the end
3. Turn the pencil to draw, the sharp tip lasts much longer than using it on one side (not "chanflea)
4. Do not use the scale ruler as a rule: for that are the squares.
5. If you do not have much confidence in being fair to draw, place a white paper under your hand.
6. Not interrupt lines. Is better "pass" and delete, to splice. That never looks good.
7. To erase using a soft rubber and white, not the "Two Flags" red and blue, because it produces patches are irreversible.
8. No need to erase everything to make a drawing, only necessary.
9. After outlining smoothly all the drawing, only then "play" with thicker lines only where necessary.

10. No hurry.
11. The lines should cross at the corners perfectly, giving better image to work.
12. If the blade is very dirty, you can cut a piece of white paper to serve as a template for deletion, removing stains, not just the lines.
12. Remove the auxiliary lines carefully, sometimes it is sharpening the rubber with a utility knife, leaving a sharp edge.

For the ink, if you follow these tips, things will be much easier.

input is irreversible ...

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TO DO WITH THE CHAOS: A SUGGESTION.
Sometimes we find museums professionals made with love, but without much planning. These museums, where objects are stacked in mixtures confusing things everyday stories, fossils, furniture donations, donations from people who felt that this vase, that gun or that chair should go to the museum.
Around ten or twelve years of the centenary of the village or neighborhood, the objects are piled to the museum a character very similar to antique, dusty and static.
Moreover, confusion undermines the conservation of the building and the objects themselves.

The rooms are so crowded that "where to start?

Dust and moisture are added together, the loose plaster falling on parts, labels become illegible and audiences start to dwindle. The museum is "always the same," a place full of things, but ... is a place for old things.
-proven solution is to remove ALL-planned mission. All.
Once removed, room by room, they will be saved in an auxiliary tank until you restore the building. So there will be no problems is to solve an emergency building industry is not it?.
But then comes the best.
The idea is not displaying everything. The suggestion is to keep the objects and rediscover from time to time. It mu and interesting to make a finding, for example, a sword that was known at the museum, but now with a whole different symbolism: find this sword.
surely have complaints. We can expect sentences how are you: "Where did that stop donated "or" have looted the museum . These phrases are common and may even bring labor or political problems.

be considered and convincing, because we are doing good.

To counter this, nothing better to explain what to do: save the items to keep them, because they were so long in poor conditions that need to be restored.
and reclaimed objects are cataloged, and successive samples are planned. Perhaps it is appropriate to make an exhibition of the museum itself, how to conserve and how to display, and about the need to be rotated samples for a better understanding of heritage.
If in addition we make the museum is filled with children, people who entertain and learn, the complaints are a thing apart, and may rebut that "now is a lot more people and be happy." The idea then is to return dynamic the museum, using the mobility to do multiple tasks essential. Thus, the museum will be different every month.

Another suggestion: why not find out whether the museum objects are effects of the museum?

in case. The chaos can be repeated.

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PARTIAL REVIEW

The part is an instance of individual consideration, raised by the ROIS You can view this procedure in the transparency of students, or downloaded from the Internet at this educational site: http://www . ispbrown.edu.ar / redisperse / normativas_provinciales.htm .

The part consists of 5 (five questions) to note, more a question without notice No. 6, but mandatory response.

form is rendered with the "open book." has, according to specified by Student , A Recuperatorios instance.

• Question 1 is about the Monge system, involving complete a drawing.
• Questions 2, 3, 4 and 5 are about concepts given in class. Involve a relfexión by the student.
• Question 6 final is always the same, year after year. You should read the book "The System of Objects" by Jean Baudrillard (it's in library) and answer this simple question: why the book is named?

Hint: the answer conclusions is obvious that in the end.

Biblografía:

Baudrillard, Jean. 1991. The System of Objects. Contributor Francisco Gonzalez Aramburu. Translated by Francisco González Aramburu. Siglo XXI, 16 ed. Mexico DF

You can download parts of the book http://books.google.com.ar/

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practical work and final exam

practical work are essential to pass the subject. We will not leave drawers, but professionals who understand and can express themselves with pictures.

You have to deliver and 75% approve of these TP , to become a regular student and eventually render the subject.

In practical work we do four and a final working draft of the Museum, which ends in a draft inaugural exhibition.

:

Practical:

• No. 1. Visiting a museum (if any) to watch a "cut" of it and have a report that was seen.
• No. 2. Represent an object using technical drawing
• No. 3. Relieve a exhibition
• No. 4. Make an expository essay themed set.
• No. 5. Final practical work.

What are the practical work?

All papers are in equipment.

The number of members is free, but we recommend no more than 4 people per internal operational issues (usually quarrel in larger groups).

.

final TP Guidelines

• will be a draft Museum (Museum with all its parts ....) in the form of presentation folder
• will be a subject search (not research) for an inaugural exhibition in the form of paper with charts, drawings and photos.
• plans will be made on the sample: plants in scale 1:100 and 1:50, cuts and views necessary.
• all media will be drawn in scale 1:10, 1:20, 1:25 or similar, (windows, Anel, easels, pedestals, brackets ...) with located objects, drawing and clarifying text, dimensions, colors, etc.. Locate the human scale (person)

drawn recommend that you serve for the exam, because it must occur all at pay.

Formats

• A4 are given work 1, 2 and 3.
• Comes in A4 format TP final monograph (draft Museum).
• Comes in A4 format the essay topics and sample project.
• Plans for the inaugural exhibition are free format.

FINAL EXAM

.

The exam consists of a defense of the final N ° 5, and has four stages:

• Questions about why
  Museum
draft
• Rationale Sample
• travel Explanation for the sample thought
• theoretical questions

recommend that the paper is used in support of the explanation of the route: ordered the papers! A monograph messy mistakes the teacher and above all, misleads the student. N ada left worse image to see a student frantically searching examination the right image among the papers.

why we recommend a neat presentation, and a rational explanation for a trip planned. Is not to "show off" (not bad eh?) But in order to present clearly and without contradictions own ideas.

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