Là où dialoguent les musées: The Museum of New Zealand Te Papa Tongarewa at the Musée du Quai Branly

<p>The opening of the Musée du quai Branly in 2006 signalled a new approach to the display of Māori and Pacific collections in France and the beginning of a new relationship with the Museum of New Zealand Te Papa Tongarewa. Between 2006 and 2012, the two museums were brought together by two challenging events: the repatriation of toi moko (Māori tattooed heads) from France to New Zealand and the 2011 exhibition Maori: leurs trésors ont une âme at the quai Branly. Through a close study of the repatriation and exhibition, and interviews with participants, this thesis considers the questions these events raise. How can museums with very different approaches to the treatment of artefacts negotiate issues of repatriation and the exhibition of sacred objects? How should colonial-era anthropological collections be exhibited today? What is the place of contemporary indigenous art in the museum? By focusing on the exchanges between two institutions, Te Papa and the quai Branly, this thesis suggests how conversations at an individual level can lead to shifts in the perception and exhibition of museum objects, and how dialogues between museums internationally can contribute to an evolution in the treatment and display of indigenous artefacts and art in museums.</p>

Là où dialoguent les musées: The Museum of New Zealand Te Papa Tongarewa at the Musée du Quai Branly

<p>The opening of the Musée du quai Branly in 2006 signalled a new approach to the display of Māori and Pacific collections in France and the beginning of a new relationship with the Museum of New Zealand Te Papa Tongarewa. Between 2006 and 2012, the two museums were brought together by two challenging events: the repatriation of toi moko (Māori tattooed heads) from France to New Zealand and the 2011 exhibition Maori: leurs trésors ont une âme at the quai Branly. Through a close study of the repatriation and exhibition, and interviews with participants, this thesis considers the questions these events raise. How can museums with very different approaches to the treatment of artefacts negotiate issues of repatriation and the exhibition of sacred objects? How should colonial-era anthropological collections be exhibited today? What is the place of contemporary indigenous art in the museum? By focusing on the exchanges between two institutions, Te Papa and the quai Branly, this thesis suggests how conversations at an individual level can lead to shifts in the perception and exhibition of museum objects, and how dialogues between museums internationally can contribute to an evolution in the treatment and display of indigenous artefacts and art in museums.</p>

ILLUMINANCE DISTRIBUTION MEASUREMENT OF MUSEUM EXHIBITS USING DIGITAL IMAGING LUMINANCE METER

The method for estimating the illuminance distribution in the vertical plane of museum objects (paintings) using a digital imaging luminance meters (ILMD) is considered. In order to pass from the luminance distribution to the illuminance distribution, a screen with reflective properties close to diffuse (Lambert) reflection is used. The theoretical and experimental uncertainty estimation of the measurement method done.

Là où dialoguent les musées: The Museum of New Zealand Te Papa Tongarewa at the Musée du Quai Branly

<p>The opening of the Musée du quai Branly in 2006 signalled a new approach to the display of Māori and Pacific collections in France and the beginning of a new relationship with the Museum of New Zealand Te Papa Tongarewa. Between 2006 and 2012, the two museums were brought together by two challenging events: the repatriation of toi moko (Māori tattooed heads) from France to New Zealand and the 2011 exhibition Maori: leurs trésors ont une âme at the quai Branly. Through a close study of the repatriation and exhibition, and interviews with participants, this thesis considers the questions these events raise. How can museums with very different approaches to the treatment of artefacts negotiate issues of repatriation and the exhibition of sacred objects? How should colonial-era anthropological collections be exhibited today? What is the place of contemporary indigenous art in the museum? By focusing on the exchanges between two institutions, Te Papa and the quai Branly, this thesis suggests how conversations at an individual level can lead to shifts in the perception and exhibition of museum objects, and how dialogues between museums internationally can contribute to an evolution in the treatment and display of indigenous artefacts and art in museums.</p>

Là où dialoguent les musées: The Museum of New Zealand Te Papa Tongarewa at the Musée du Quai Branly

<p>The opening of the Musée du quai Branly in 2006 signalled a new approach to the display of Māori and Pacific collections in France and the beginning of a new relationship with the Museum of New Zealand Te Papa Tongarewa. Between 2006 and 2012, the two museums were brought together by two challenging events: the repatriation of toi moko (Māori tattooed heads) from France to New Zealand and the 2011 exhibition Maori: leurs trésors ont une âme at the quai Branly. Through a close study of the repatriation and exhibition, and interviews with participants, this thesis considers the questions these events raise. How can museums with very different approaches to the treatment of artefacts negotiate issues of repatriation and the exhibition of sacred objects? How should colonial-era anthropological collections be exhibited today? What is the place of contemporary indigenous art in the museum? By focusing on the exchanges between two institutions, Te Papa and the quai Branly, this thesis suggests how conversations at an individual level can lead to shifts in the perception and exhibition of museum objects, and how dialogues between museums internationally can contribute to an evolution in the treatment and display of indigenous artefacts and art in museums.</p>

Development of Digital Resources for the Digital Library “Scientific Heritage of Russia”

The paper describes methods of formation and presentation of digital objects of various types (printed publications, archival materials, museum objects, audio and video materials) for the Digital Library “Scientific Heritage of Russia”. A digital publishing hardware and software system has been created within the framework of the digital library project. The digital publishing hardware and software system consists of five subsystems: dispatching subsystem, content description subsystem, digitization subsystem, generating digital publications subsystem and content control and storage subsystem. Dispatching subsystem organizes the work on content creation. Content description subsystem describes objects of the digital library. Digitization subsystem produces digital copies of library items, archival and museum objects. Digital publications subsystem creates the final products: digital books, 3D models, etc. Content control subsystem controls the quality of the scanned books and metadata.

The mirror, the magus and more: reflections on John Dee's obsidian mirror

The obsidian mirror associated with the Elizabethan polymath and magus John Dee (1527–1608/1609) has been an object of fascination for centuries. The mirror, however, has a deeper history as an Aztec artefact brought to Europe soon after the Spanish conquest. The authors present the results of new geochemical analysis, and explore its history and changing cultural context to provide insights into its meaning during a period in which entirely new world views were emerging. The biography of the mirror demonstrates how a complex cultural history underpins an iconic object. The study highlights the value of new compositional analyses of museum objects for the reinterpretation of historically significant material culture.

Virtual museums using in the process of tourism disciplines studying

The article substantiates the feasibility of virtual museums introducing into the process of studying tourism disciplines. The main advantages of implementing virtual museums such as accessibility (in particular for people with disabilities, low-income and imposed isolation), interactivity, informativeness, time limitless, safety, reliability and modernity have been identified. The use of virtual museums in different forms of pedagogical activity is described: work in and out of the class, advanced training and diagnostic tools. The results of a student survey, which confirmed the expediency of virtual excursions using in the educational process (it is interesting for students, increases the level of mastering professionally oriented knowledge and skills, contributes to the development of a sustainable in-depth interest in communicating with museum objects, the development of creative abilities, the formation of media competence) are presented. It is shown that virtual museums provide an opportunity to fill the learning process with new interesting content through the use of modern Internet technologies.

Agents of Deterioration of Organic Museum Objects and Their Management: A Review

Museums stored a number of objects which shows our cultural and natural heritage. These heritage materials are rich source of educative materials and are organic in nature. After a passage of time these collection become deteriorate due to some agencies. Organic objects are of immense importance, that’s why their protection and preservation are very necessary. In this article the author summarizes different agencies of deterioration and their preventive conservation treatment.

Between Inhabited Interiors and Interiors on Display: Exploring Spatial Boundaries at Rosenborg Castle

When visiting museums, we meet various types of physical barriers, such as glass vitrines, railings, and extended ropes, which have been put there to protect the objects on display. Such barriers are often accused of creating an unfavourable distance to museum objects but can also be thought of in more positive terms, as this article will seek to demonstrate. Based on analyses of museum display boundaries at Rosenborg Castle in Copenhagen, where visitors can experience objects from The Royal Danish Collection within historic interiors, the article looks into the effects of such boundaries on the museum experience. The article explores the particular threshold experiences that take place at Rosenborg where you constantly fluctuate between, on the one side, looking at objects and interiors that have been put on display in front of you, and, on the other, being inside the historic interiors. It argues that this spatial ambiguity opens up productive, albeit obscure, in-between spaces for the museum visitor to inhabit and points to the importance of truly attending to the design of display boundaries when creating museum exhibitions.