Mentes sensibles: Investigar en educación y en museos (Spanish Edition)

Synonyms and antonyms of investigar in the Spanish dictionary of synonyms. I certainly think it would be very interesting for somebody to do a study of the whole question of storage. Optical storage media can facilitate the type of research done in academic libraries. No less prestigious an authority than a Royal Commission was appointed to inquire into the charges brought against the man principally responsible for that volume. Thus, a predominant feature of such software packages is the user related interfaces, which permit a non-programmer to comprehend and interrogate the data stored.

Kaiser also investigated the effect of grouping subheadings of a subject. It is paramount to put designers themselves under the spotlight for investigative purposes. When the profession once more brought censorship under the spotlight in the 70s, it was less critical and more loath to take a stand. Russia has launched an investigation into why a manned space capsule returned to earth hundreds of miles off course. The surviging chronicles, annals, and histories have been extensively quarried for the information they reveal about the events of their time.

Homicide detectives are currently investigating the case and no charges have been filed against her though police have not yet cleared her name. In small museums that develop a more local action towards heritage, it is easier to standardize the plural and singular experiences and ways of seeing.

In these museums where the collective view is easily constructed, their action is usually perceived as more effective, and social change can be achieved in less time. To Heinich, in the encounter with heritage, the confrontation with the object is a singular moment, responsible for the mediation between the stage of acquisition of common resources and the ulterior stage of restitution of conclusions. On the contrary, in a wider sense, the encounter with heritage is made of different moments in time: The subject is, then, singular and shared. He is unique and particular but also a collectivity individualized.

To the visitor in an ecomuseum, the artificial positions of subject and object are incorporated into a double operation of an intimate experience with the community — as a subject imbedded in the ecomuseum discourse — and, at the same time, through the distant view constructed over this community — as the object of the museum. That way, the relations between people, as a group, can be confirmed, or, on the contrary, put into question by the museum action. The individual and the community in the ecomuseum: The museum performance is the experience of the self in a museum; it is, then, an identitary experience.

The ecomuseum, in particular, represents a collective identity that is lived by individuals in a group. The singularity of the visitor is imbedded in the sociality of the community by the museum cultural action. However, we may recollect that the breach between subject and object is, in fact, artificial and constructed by a particular appropriation of reality. In the case of museums, this breach is a historic phenomenon that distinguishes Modernity in the West. And he points out that with the process of colonization, the big European museums have explored further the constructions of identities responding to two essential questions: Ecomuseums and local museums present the particularity of having their actions oriented towards individual experiences.

The intimate experience of the visitor is, then, more easily reached by the ecomuseum. According to Hugues de Varine: We can say that the classic museum preserves for the contemplation of individuals, while the community ecomuseum uses for the development of the 18 group.

This notion of communitary development — dear to the theorists of New Museology — turns the ecomuseum into a laboratory of individual and collective experiences within a group that is musealized in relation to a heritage that is the material support for these same experiences.

In the first case, the group recognizes itself as a group or community that shares a heritage and that exists as the main object of the museum. These shared values, then, are defined by the process of recording things as heritage through musealization. The museal grammar will make the group exist as a representation in the musealized space in a way that people can experiment their identity as a reality, but also as an exercise of social reflection. According to this thought, seeing is an open experience, because seeing will always be an operation that is accomplish by a subject.

A museum will never be able to prescribe how people see. What visitors see and what they feel in an exhibition or in a musealized space will be determined by the previous social and cultural experiences of each individual. However, museums generally resort to particular languages used to lead their audiences to see in a certain way.

The language of art is, in particular, used to that specific end25, even when not in an obvious way, as in the case of museums of primitive art or in ecomuseums. The National Center of Research on Cultural Action and Art Creation CRACAP, in French, created in the same year 29 served as the basic structure for the creation of a museum in which the language of art would be combined with the discourse for the preservation of the local history.

Contradicting the traditional approach that separates art from ethnology in museums, the ecomuseum has been using art as a social tool. The example of Le Creusot shows how in a museum that has a clear social end, the language of art has been adopted as a tool to reach the audience. At Le Creusot, art — and contemporary local art, in particular — has been the medium between people and their heritage, as well as their memory in the museum territory.

A research with the local inhabitants was organized to extract what could be considered more meaningful about the popular garden. Furthermore, the gardens and gardening at the industrial community of the Creusot were important parts of the life of its inhabitants in many ways. Some testimonies collected to give meaning to this exhibition provide some clues to the transformation of the traditional kitchen garden into the ornamental garden, as a work of art in itself: We were criticized; people used to blame us, saying: They should benefit from that.

In that context the gardens were, then, an exchanging network related to work and to neighbors, as much as an object of admiration and contemplation shared by the community. This exhibition has shown visitors the audience of the ecomuseum, including the local inhabitants the landscapes that are invisible even to themselves, their signs and mental landscapes seen as works of art. In that way art has been used to re-signify the territory and the elements of the local heritage at Le Creusot; it has repaired the relations between individuals and their history.

There is not a single object at Le Creusot that has not been defined as a work of art as well as a social object, and sometimes a utility. These objects are, at first, objects of reflection for the subjects — the actors and visitors of this heritage. Between the mirror and the reflection: The belief in the fact that there is an actual breach between subject and object in the ecomuseum is only natural when used in the name of the reification of the created image. If, by contrast, cinema, theater and literature have exploited this separation in a critical manner, as an aspect of performance in the West, in the universe of museums we usually create its reification.

Learning what museums intend when separating subject from object in the museal experience is learning to see and to feel the museum in a certain way. With that experience all museums place us in an ambiguous relation with ourselves and our heritage. In other words, we own a heritage that can have unknown owners. This paradox makes us subjects and objects at the same time. The social experience in a museum is an experience in its whole; the social-museal complex comprehends all aspects of human life — art and society among them. All museums can be considered social museums when visitors are, at the same time, the audience and the theme of the museal discourse, or, in other words, subject and object of the museum.

And they can also be seen that way when these two positions are thought not so much as musealized truths, but more as social categories that are historically constructed. We regard this experience as the relationship visitors have with museums and the ability of these institutions to cater to each individual visitor, creating meaningful, special and unique experiences. Against this background, we shall discuss the limits and challenges posed by the changes museums have undergone in the last few decades. The impact of these shifts on the relationship with visitors in terms of their expectations and personal agendas shall also be discussed.

The discussion shall be based on theoretical references from the field of museum communication and education. Our goal is to contribute to the debate on the contemporary concept of museums in relation to their visitors. We understand that museums establish communication dynamics with their audiences based on different communication models, defined according to the priorities of each particular museum.

The audiences in turn, are no longer limited to being mere passive spectators. The response of museums — in an ever more competitive world in terms of media offerings — has been to cater for these needs by transforming their discourse and establishing new and compelling forms of communication with their audiences. But how far can this shift go?

Could this represent the role of museums in the twenty-first century? This article seeks to elaborate on this discussion drawing on theoretical references from the field of museum communication and education. Initial thoughts on the experience of museum audiences The notion that museums are part of the mass media has been touched on by some authors and advocated by Pastor Homs1.

This author proposed a model which includes the typification of visitors as broad, undifferentiated, lacking in self-awareness, incapable of working as a group, and passive in nature, while defining communication as one-way from communicator to recipient. The authors does however, acknowledge 1 Maria Immaculada Pastor Homs.

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The interactive or interpersonal model is characterized by individual or small groups of visitors that are differentiated, self-aware, interconnected and active, for whom the communication proposed is based on a variety of methods and is constructed via a two-way process which shares power equally and includes feedback. Along the same lines, Hooper-Greenhill2 proposed an overview of the educational theoretical perspectives involved the educational work of museums. According to this author, there are two distinct approaches based on the influence of theories of knowledge epistemological and of learning: With regard to the impact of these perspectives on the museum environment, Hooper- Greenhill cites a lack of consensus on the best approach for establishing an effective communication process between museum collections and their audiences, but confirms that both approaches figure in the work of museum professionals and in the way the public uses these spaces.

However, the author highlights the need to establish investigative processes which consider the processes of reassigning meaning which the visitor makes in contact with the objects exhibited. In her view, the best way of capturing this process is by extrapolating quantitative instruments toward more sociological and qualitative approaches.

This perspective runs counter to that which museum professionals typically face in their everyday practice. In museum appraisal, particularly from an outsiders perspective potential sponsors, governments, among others , a key indicator of the institutional success of museums always lies in visitation, normally determined using a quantitative approach.

These institutions face a constant challenge balancing the need for good performance on these indicators while also creating a meaningful experience for visitors. But what constitutes a meaningful experience for visitors at museums? Experience is what we go through, what happens to us, what touches us.

It is not what goes on, what happens or what touches. Countless things go on every day, yet little happens to us. The educator Milene Chiovatto, expounding on the ideas of the same author, in relation to fostering meaningful experiences in museums proposed that: The experience, as we go through it, shapes us and changes us.

It is the way we give meaning to events that 2 Eilean Hooper-Greenhill ed. Knowledge from experience is consequently particular, subjective, relative, contingent and personal. These concepts of experience only apply if we view knowledge, and the learning processes based on it, from a more personal perspective, being included and consolidated in accordance with the subjectivities and 4 particularities of the learner.

According to this author, it is vital for museums that wish to serve society, to embody and adhere to what is expected of service providers, whose core operating characteristics include inseparability, variability, intangibility and perishability. Adopting these values implies a shift in the way museums function in society: Museums need to put on new exhibitions, for instance, as opposed to running the same exhibition for years. Concerning the aspects of variability and intangibility on which we wish to focus our attention, these aspects are associated with the notion of a meaningful experience for the individual.

Because it is the subjectivity of the individual that, in relation to the cultural references conveyed by the museum polysemic objects within a communication framework which refrains from imposing a one-way discourse and seeks processual construction of meanings together with the visitor, results in a singular experience for each visitor. And the meaningfulness of this experience is dictated by the intangibility — irrespective of objectives, strategies, appraisal — where the outcome of this experience for the individual is unpredictable.

Language about facts and certainties has been replaced by language about context, meaning, and discourse. It would appear that these onetime Towers of Babel comprise, as foretold, not a synopsis of wisdom but a multitude of voices. Objects, it follows, hold multiple stories and meanings, and, depending on the context, all of those 6 stories and meanings are potentially valid. Nevertheless, it is important to consider that this view of the museum experience, as being constructed through interaction of the individual with the museum, is a recent concept among museum professionals.

The literature on the subject, particularly from the s, is substantial and provides key ideas such as an emphasis on the importance of public participation in all stages and activities in the museum operating chain, to encompass not only museum practices per se, but also involvement in the decision-making that shapes these practices and integrates them coherently.

Models explaining the different levels of public participation can be found in the studies by the authors Anik Meunier and Virginie Soulier7 Cristina Bruno8 and Gerard Corsane9, whose proposals and analyses are grounded in the strong underlying of different audiences having a say in the decision over what should or should not be preserved and exhibited by museums. Discussions on multi- culturalism, pluralism and cultural diversity figure strongly in the realm of museums posing new challenges to the institutions which should respond by implementing new 6 Lisa C.

Roberts, From knowledge to narrative: Smithsonian Institution Press, , pgs. Corsane, Gerard, Heritage, museums and galleries. This move toward greater public participation and a dialogic perspective can also be seen in art museums. According to Meyer, this shift commenced in the s, largely owing to the impact of what she terms the influence of post-modern theories on the field of the history of art and education, changing the way museum educators viewed the role of the public in these institutions.

This change reflects the extent to which visitors — with their habits, roles and personal expectations — gained importance for museum educators throughout the twentieth century. This idea led, in the early s, to a widespread perception of the needs 10 Duncan F. Museum Management and Curatorship, 20, p. Studies in Art Education. A Journal of Issues and Research, v.

A Journal of Issues and Research, 46, n. The role of the educator was to function like an ethnographer who has the task of interpreting the cultures of visitors and scholars for one another. Museum educators wanted to empower visitors as freely functioning agents not dependent on morsels of scholarly information in order to navigate the 15 strange, labyrinth world of museums. Although, as Mayer pointed out, educational practices of museums have not kept pace with the theoretical tendencies driving them, their effects have led to a transformation in the educational habits of museums.

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The discourse of the expert is no longer the only voice heard in these spaces, in which the needs of the public are now also considered, while museum educators have taken on a major supporting role. Thus, we reject the notion of museum audiences as a large homogenous mass, in favor of communities of interest, or the so-called interpretive communities. These communities can be identified by groups which share the same interpretative strategies, i. Working together with communities has been the main goal of museums inspired by the so-called New Museology and Social Museology. Interventions resulting from these facets of Museology regard the museum as a space to cater for social needs, where museum professionals often act as catalysts and enablers in community-based projects.

In many cases, it is acknowledged that all of a 15 Idem, p. What we know is what we need to know to enable us to take our place in a particular society or group [ The interpretive community both sets limits for and constrains meaning, and enables meaning. Interpretive communities are not stable, but may change as people move from one to another.

The educational role of the museum. Os museus e a qualidade - Distinguir entre museus com "qualidades" e a qualidade em museus. Cadernos de Socio- museologia, Reiterating, this work is characterized by a focus on the social group as opposed to an emphasis on individuals. However, although communicational and educational actions of museums are devised with groups and communities in mind, the experiencing and taking part in experiences at museums shall always be individual and subjective in nature.

Secretaria de Estado da Cultura: Cazelli, Sibele et al. Chiovatto, Mila Milene coord. Pastor Homs, Maria Immaculada. Cadernos de Sociomuseologia, 23 Roberts, Lisa C. From knowledge to narrative: Smithsonian Institution Press, El objetivo es defender que, antes de tratar y reforzar que cada individuo es importante para los museos, es necesario considerar algunas premisas: Museum for each one and every one of us: Each and Every One of Us, the paper presents thoughts about the following questions: How do we think of the individual in the context of exhibitions, mostly so generic, such as the big museums and their large exhibitions?

For whom and with whom are museums built? What are, in fact, museums? First of all, we intend to answer the questions about museums and then we talk about the theme. The objective is to indicate that before talking about the importance of the individual on museums, it is important to consider: Al considerar estas posibilidades tendremos dos premisas: Reglas disciplinarias controlan los cuerpos y movimientos.

Museos muchas veces ocupan antiguos palacios pero, aun cuando creados para abrigar colecciones, reproducen la imponencia de residencias majestosas. Ambos coexisten, constituyendo las dos facetas del Museo4. Signo es lo que da cuerpo al pensamiento, a las emociones, reacciones y que a su vez pueden ser externalizadas. Podemos nos apropiar de esa premisa e inserir en nuestro debate. No invitan, de esta forma, nadie para construyeren el proceso. Los profesores no son iguales a los alumnos por varias razones entre ellas porque la diferencia entre ellos los hace ser como han sido.

El primero fue cuando definimos museo. De igual manera, museos necesitan siempre considerar diferentes tipos de visones y abordajes sobre el mismo tema. De acuerdo con Maffesoli [ Carta de Lima, In: How do we think of the individual in the context of exhibitions, mostly so standard, such as the big museums and their large exhibitions? To whom and with whom are museums built? Contemporary discourse incorporates issues on the democratization of access and the ideal ways of developing museums.

But is it true? By considering such possibilities we have two alternatives: Museums consolidate habits and customs, which lead visitors to speak softly, walk in short steps, following a defined pathway without questions or surprises. Disciplinary rules control their bodies and movements.

Furthermore the richness of the objects on display and the lack of information about them only allow the visitors to pay homage to them, instead of trying to understand them. Often museums occupy old palaces but even when created to shelter collections, they reproduce the importance of majestic residences.

Such characteristics are undoubtedly present in the Louvre and the British Museum, as well as in different Brazilian museums. Those are not necessarily majestic palaces, yet in their majority they are labyrinths which lack proper signalization and can 1 embarrass any common citizen who adventures a visit through their doors. Each and Every One of Us, some questions arise: How can we consider the individual within the exhibition context? It is known that most exhibits are thoroughly standard, for example, big exhibitions in big museums.

For whom and with whom are museums developed? What are museums, of all things? This paper intends to approach some of these issues. First of all, we will try to answer the questions related to museums to finally focus on the questions related to the theme. The aim is to defend the idea that, before approaching and reinforcing that each individual is important to museums, it is necessary to consider some premises: The proposal considers the concepts of Museum, Memory and Heritage as the result of and action concerning heritage education.

During the months of August and January , a group composed of professors and students from the courses in History and the Social Sciences as well as members of the outreach community developed a pilot project on the theme of heritage education. After two months of theoretical reflection, the group 1 Translated by the authors.

The project addresses young audiences. Since it was decided that it is necessary to act in separate systematic and specific ways with each segment, activities with puppets, games and traditional foods were developed. Activities for children with appropriate games for their ages were planed for , aiming at reaching a great number of children in the region. The proposal is to explain through practice how different kinds of museums and heritage are relevant, whether identified by the Federal University of Alfenas or by the children themselves.

Another aim is to reinforce the idea that heritage is everywhere, only waiting to be recognized and evaluated - a movement that happens in the relationship between individuals and the world. The title of the project enables the development and reinforcement of the idea that museums relate to the persons that are connected to them — as a specific group or the community they represent - and this happens while activities are under way. And also that heritage is built by all of us: Reflecting on the concept of museum, Scheiner comments the duality that exists in the very essence of the Museum, by means of two myths: The rational dimension of the Museum is represented by Apollo — its classificatory, institutional face, which aims at conserving the product, not the process — a characteristic feature of modernity; the emotional dimension of the Museum is represented by Dionysus — passion, ecstasies, pulsion, the fluctuating aspects which develop through human relationships: Both coexist, as part of the double face of the Museum4.

As a movement towards re discovering the Dionysian expression of the Museum, Scheiner indicates the theories of Nietzsche and consequent thoughts which, in turn, lead to understanding the Museum as a phenomenon. In contemporary times, when truth is no more an absolute concept, it is possible and coherent to think about a Museum that is free and plural, able to exist in every space and every time. The traditional model of Museum is not annulled as a result of this conception: Scheiner proceeds, indicating that the relationship with the Museum originates in the realm of the imagination: Museum is thus a powerful symbolic construction, which takes form and develops by means of identity perceptions, using the games of memory and expressing itself over time and space, under the most diverse forms.

And if perception is the background over which all acts gain relevance, the world is, more than a mere object, the natural environment and framework of all perceptions and thoughts. What really matters is the meaning that appears in the intersection of such experiences. More than representation, the Museum becomes, then, a creator of sense, based on relationships: Based on these statements, Gorgas defines Museum as a permanent construction related to social dynamics, as a space of power and an agent for cultural dynamics.

She specially emphasizes as a problem the responsibility of museums in the construction of their own image inside the community9. Heritage, in turn, says Scheiner, is a communicational act and as such, fundamentally supportive, constitutive of the identities and dynamics of the groups which share this substratum — either as producers or consumers When recognizing the phenomenological character of the Museum, we create the possibility that it is acknowledged through the world vision of each individual, by means of the different, multiple and complex interaction that each human being or society establishes with reality.

According to Santaella, We understand as phenomenon, a term derived of the Greek work Phaneron, anything that appears to the perception and to the mind. Phenomenology has as function to present formal and universal categories, related to the ways by 11 which phenomena are perceived by the mind. Understanding the Museum as a phenomenon, with multisemic characteristics, we may affirm that it is a semiotic instrument, linked to the idea of sign. But, what is a sign?

The first one is the icon, which is one aspect of its quality as related to the object of the sign. All signs are in some way imbued with the three facets, and while each of them predominates in a given sign, in a given space and time, they are always related to the perception and understanding of the interpreter The first question to be analyzed relates to the effects that signs may have on the observer, always keeping in mind the case of the Museum.

The first effect that a sign is apt to provoke is a simple quality of sentiment, that is, the emotional sphere. Icons usually produce this kind of interpretant, with more or less intensity: However, emotional interpretants are always present in every interpretation, even when we do not acknowledge them As for the Museum, emotional relations occur with greater frequency by means of identity perceptions, which refer to individual and collective memory.

Identity representations have essentially emotional attributes, imbued with a symbolic character of personal memory, which gains significance in the domains of the imagination, creation and affection The second effect of the sign is the energy, which corresponds to a physical or mental action, that is, the interpretant demands an expenditure of energy of some kind.

Indexes tend to produce this kind of interpretant, with more or less intensity, since they call our attention, direct our mental sights, or move us towards the object they indicate As for the applicability of the effects of the signs in the realm of the sign Museum, the energetic effect happens by means of a direct relation of the individual with what is presented in the museums, as mentioned by Scheiner: The third effect of a sign is the logic interpretant, that is, when the sign is interpreted through a rule that has been internalized by the interpreter.

Without such interpretive rules, signs could not signify, since the symbol is associated with the object that it represents by means of an associative habit which is processed in the mind of the interpreter and which leads the symbol to signifying what it signifies In all such cases, the body is a territory of identity, primordial patrimonial space, defining the multiple biological 19 and cultural relations that signify us. The communicational and pedagogical processes of the Museum do not happen only in the formal pathway of controlled didactic operations derived of the logos, but also involve a spontaneous relationship between imagination and the museum discourse.

The Museum establishes, thus, a true dialogue with the individual, prioritizing emotion, imagination and sentiments, through which it offers reason. The Museum gains form not only in the tangible environment of objects, but also through spontaneous relations It is thus necessary to ensure an ethical commitment to all of society and allow participation in a thorough, multidisciplinary way In this sense it is necessary to consider space in both its symbolic and geographic forms. According to Scheiner, it is in the local sphere where every human group designates and defines identity.

It is at local level that we define ourselves essentially as 'cultures', articulating our biological and cultural singularities in the symbolic constructor were we identify as 'presence'; it is at that same level that cultural forms are designed, as a product of kinship relations or vicinity bonds. To such effect, it is necessary to examine the importance of identities and of heritage, at local level - where the 24 individual interfaces still occur. This difference must be made in relation to the 20th century Heritage, as a sociocultural phenomenon - like the Museum - exists in and through a very specific relation between different realities and their connection to identity and memory; these are important instances that define and constitute human beings and their personal lives and history, which must be transmitted, recreated and communicated.

Thus, preserving the sense of presence and belonging is an effective way of ensuring social balance and a peaceful pathway towards economic development. Therefore, it becomes necessary to ask if museums couldn't be open to dialogue with those to whom they offer their discourse. Furthermore, all museums, even the big ones and the so-called 'national museums', should define in their policies and goals, who is their 'community', especially those that still dare refer to an idealized and artificial totality26; museums must consider the different groups that constitute this totality.

Otherwise, of whom and to whom are they speaking? From the moment the target community or communities are defined, with all their specific features of culture and identity, their hopes and demands, it becomes possible to reach everyone in every group, that is, the individual. We can appropriate this premise and bring it into our debate.

According to Scheiner , the exhibition is the main communication vehicle between museums and society — the main instance of mediation of museums, the activity that builds and legitimates their tangible existence She also declares that "Without exhibitions, museums could be study collections, documentation centers, archives, efficient technical reserves, research centers or conservation labs, or even very resourceful educational centers - but not museums " Scheiner also believes that it is through exhibitions that museums build and present a cultural narrative that defines them and gives them significance as agencies for sociocultural representation.

It is through exhibitions that museums re-present, analyze, compare, simulate, and build specific discourses - aiming to narrate to society the things of humankind and the things of the world. Exhibitions may thus constitute a bridge or link between nature and human culture as they are represented in museums. Every exhibition may thus be understood as a representation of the worldview of a 25 Ibidem. Exhibitions present aspects of the worldview of the different social groups to which they refer, expressing, in direct or metaphoric language, the values and cultural traits of such groups.

What matters is to identify how such representations are built, as a reflection and recognition of the many ways through which museums apprehend reality From the standpoint of Cury, "… museum exhibitions have a key responsibility to mediate the relationship between humankind and material culture" Museum visitors appropriate museological discourse which is then re elaborated, re created and disseminated; the actors museum professionals also participate in the shaping of museological discourse Relating Freire's ideas to what we have identified here, when we examine the fact that museums should be built by society, two different issues arise: In fact, museums are created by society — and this means not one thing or the other, but something that moves throughout both of them.

Museums are built in the interface between those who create them and the moment the visitor comes inside their doors. The first are somehow members of the society to which these museums relate; but this doesn't mean that those who create them have an effective dialogue with one and every individual that makes contact with the museum narrative, in the sphere where this relation occurs - the exhibition. What happens, considering Freire's ideas and terms, is that most museum professionals create narratives - or exhibitions — that are unable to dialogue with the visitors because they do not define to whom they are addressed.

They also prefer to use general terms such as 'public', 'audience', in order not to be responsible in defining a specific group and to be able to develop exhibitions according to their own interests. Nobody else is invited to the creative process. It is thus a non-democratic action, an 'expography of the oppressor' — as if it were possible to become an entity outside the social sphere through a non-dialectical relationship. The idea of 'making access more democratic' seems to imply that we hold the power of speech — and specifically in our case, the power to build expographic narratives; and that we generously enable 'outsiders' to participate in the process.

To democratize is, in fact, to make possible the development of a just, equalitarian relationship, truly related to the foundation of museums with a social vocation. Notwithstanding we are not promoting a role reversal since, as Freire argues, The dialogue between professors and students does not make them equal, but marks a democratic position between them.

Professors are not equal to students for many reasons, among them because difference is what makes them be what they are. If they were equal, one would become the other. For this reason dialogue does not even or reduce one to the other. Nor it is a favor that one does to the other, or an encompassing tactic that one uses to confuse the other. On the contrary, it implies a fundamental respect of the subjects engaged in the process, a respect that is broken or made impossible by 34 authoritarianism. Therefore, it is not a matter of making professionals and individuals become 'equal', in an ingenuous practice, but of enabling them to somehow build a dialogue that makes possible [the development of] narratives that represent a little bit of each one.

Trying to answer the questions already identified about imagining the individual in the context of the museum, we could identify some possible pathways. The first one was already identified when we defined Museum. Museums must also consider different types of visions and approaches of the same proposed theme. Once more, Paulo Freire shows the way: In brief, an exhibition can be presented emphasizing different ways of seeing the same subject. This way we can show that every narrative is multiple, increasing the possibilities of affecting the biggest number of people who visit the exhibition.

The search for understanding the world view of each society implies considering that the great popular majorities lack critical self-understanding, not because they are, as Freire points out, incapable, but because of the precarious conditions in which they live and survive, and also due to political and ideological alienation, convenient to those who detain the power. Nissen construye sus esculturas como glifos. Su elaboraciones resultan maravillosas: El resultado es extraordinario: Nissen deben recordarlo; los legos en la materia el resto de nosotros deben inventarle un sentido.

El juego no tiene final. Por supuesto, en Nissen, no vienen ni de su patria ni de su pasado. No son nunca literales. Lo que Nissen fabrica son fetiches: Nissen has made a number of artists books, several of which have been published. New York Dibujos de Brian Nissen: Nos revelan sus lenguajes y nos hablan de un orden propio. Llevan esa advertencia a los navegantes: Registros de radio y radar de las coordinadas no son veraces. En las primeras aparecieron ritmos de formas que se lanzaban de la izquierda a la derecha.

En le fue concedida la beca Guggenheim.

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Por estuvo trabajando collages de papel recortado, como fuera dibujando con tijeras, y hizo la serie Cacaxtla que fue exhibida en el Cooper Union de Nueva York. En esa muestra fue presentada en el City University de Nueva York. Pero la cultura que lo define como artista es en primer lugar la mesoamericana. El concepto mesoamericano de obra de arte era el de un objeto "investido de poderes especiales".

Pero es la planta reimaginada desde la perspectiva de una cultura guerrera. Se parece a la figura de un luchador armado y con armadura. No tiene ramas; proyecta una silueta, pero no da sombra. Su identidad es, de hecho, indeterminada: Las dos lecturas comparten una identidad: Y siempre existe la posibilidad de que una forma se haya colocado en tal lugar para completar la sintaxis de la obra como "algo necesario", sin aportar un sentido propio independiente.

Como todas las esculturas de Nissen, las chinampas se inspiran en los artistas que han sido sus pares en las eras moderna y posmoderna. Su estilo es inmediatamente reconocible. Los objetos que estos componentes forman no siempre se identifican con la primera. Nissen los ve como cascos con decoraciones puntiagudas. Algunas veces el reciclaje de formas lleva a resultados nuevos e incluso sorprendentes.

Consiste de planos blancuzcos y ondulados -como virutas- de diferentes anchos que se van dilatando progresivamente en ambas direcciones desde el centro, donde las "aguas" se han separado, creando una senda para que los Hijos de Israel puedan pasar entre los muros de agua, sobre el piso del Mar Rojo. Las palabras y los sexos ya no son literales; el verbo y el cuerpo son sujetos de metamorfosis constantes. Vemos estos cuerpos pero no podemos tocarlos. Y sin embargo, al hacerlo, tocamos la imagen. El personaje de Italo Calvino, Mr.

Palomar, experimenta la mente como piel. Una piel tocada, vista, recordada. La imagen da un paso adelante a fin de poseernos. Entonces Nissen nos pregunta: Morir es pasar un poco. La desnuda desciende por la escalera hacia nosotros: Llega a nosotros renovada como la primavera.

Bajo la piel de la mujer vive el dios de la metamorfosis, Xipe Totec, la desollada deidad azteca. Esperen el siguiente movimiento: Y otra vez Basur-Eros, Litter, Letter. Salvala del hambre de los animales. Trucos y trompos, spinning stunts: Las mejores obras de arte, dijo el Surrealista, son imperfectas porque dejan mucho que desear. La permanencia del arte de Nissen se cimienta en su impermanencia. Depende del margen desalojado para que el deseo lo lo ocupe.

Nissen celebra el deseo pero no se deja enganar por el. Deseamos a fin de suprimir la diferencia entre yo y el otro, entre el sujeto y el objeto del deseo. Quiero cambiar el objeto de mi deseo. Quiero que se vuelva Yo. Quiero suprimir la diferencia entre Yo y el Otro, Sujeto y Objeto. El cuerpo y el deseo de hacer posible lo imposible. Hacer de dos uno. Patina hacia el deseo. Seamos Uno otra vez. Seamos varios otra vez. El erotismo de Brian Nissen es policultural. Nissen trae libertad individualista anglosajona a un mundo de oscuras necesidades colectivas.

En el sexo, como en el carnaval, el tiempo se suprime; no existe nada, nada sucede fuera de las concentradas acrobacias del lecho.

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Vela irse volando con el globo. Vela la vela, velando. Dead prick, dire trick, spinning spunning spunish spanish games. Escoge tu propio signo. No 1' hay salida. O acude a la reventa. Coser las entradas al cuerpo es una de las perversiones descritas por Sade en las Jornadas de Sodoma.

Por lo tanto, el cuerpo es una manera de conocer a Dios porque Dios no es cuerpo. Toco la mano de la mujer que amo - Sylvia - detenida a mi lado, mirando la obra de arte.



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5. ::Brian Nissen::.

De alguna manera, debemos afirmar que nuestro tacto, nuestro acto sexual, derrota a la muerte. Salvala del hambre animal. La muerte le pertenece a la vida. Esto es lo que el artista Brian Nissen alcanza. En la vida o en la muerte. Se dice que en aquellos tiempos, los tiempos anteriores a la historia lineal, el arte no era Arte sino la expresion de toda una cultura. El arte prehispanico, por ejemplo, involucraba la existencia toda. A partir de fines del siglo XIX los artistas modernos empezaron a realizar actos de rescate, reconociendo la profunda necesidad humana de una continuidad espiritual.

A menudo el artista moderno busca su piedra de toque volviendo a los principios, no puede haber arte que no se alimente del continuum. Los mas deslumbrantes inventos solo son legibles si lo familiar es planteado dentro de un nuevo contexto. La invencion de un codice moderno realizada por Brian Nissen es un acto de re-cuperacion que no solo revive el ideograma como rico portador del significado, sino que ademas se expande hasta reconocer la voz que a su vez ha reconocido otras voces.

La voz de Paz, imborrable, da sin embargo lugar al flujo de otras narrativas que, apropiadamente, no tienen ni principio hi fin. Al adoptar el tradicional formato del codice prehispanico—el libro en acordeon— Nissen permitio que floreciera su metodo de libre asociacion. El poema que susurra bajo las paginas de este codice es en si un compendio de historia, imagenes, mitos.

Es un poema transhistorico porque habla con la voz del encantamiento, y alude a los grandes temas eternamente renovados, los que solo pueden ser transmitidos en esa lengua de Orfeo que se dirige directamente al ojo y al oido.

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Nissen es fiei al espiritu del poema. Sus simbolos parten de los prototipos eternos de los codices prehispanicos pero son polivalentes. Sus conjunciones de imagineria visual y poetica encierran siempre un misterio, porque muchos eran los misterios en los antiguos cultos. El lamento de Paz, a la vez temporal y atemporal, es el alma del codice de Nissen.

Estas seis divisiones estan basadas en diversos codices en los cuales los indios registraron su concepto del mundo. En el codice Nissen, la imperante metafora de la mariposa de obsidiana reagrupa a todas las demas. Aqui, la mariposa es la instigadora de diversas asociaciones. Nissen hila con motivos electronicos para sintetizar el elemento sonido el crujido de los insectos emergiendo de sus crisalidas o el rapido juego de chispas cuando la obsidiana es golpeada y la asociacion contemporanea que se encuentra en todos los motivos antiguos. Una vez mas, lo cotemporaneo se diluye en lo antiguo, en una combinatoria de imaginerias, como en todas las subsiguientes secciones que conducen hasta la imagen final, francamente estipulada en terminos contemporaneos: Diversos motivos se repiten a lo largo del codice Nissen, metamorfoseados como la mariposa para servir al contexto.

Si Nissen introduce objetos de uso cotidiano tales como chinchetas, tornillos, lavadoras, circuitos eletronicos, es para hacerlos rimar con imagenes extraidas del pasado, juntandolos en un gran continuum. Vico, el asombroso filosofo del siglo XVII, creia que los hombres cantaban antes de hablar, y hablaban poesia antes que prosa. El artista, el poeta, acopla objetos e ideas en una unica imagen concreta que puede ser leida por aquellos que conocen ei lenguaje. Nissen ha graduado su codice de tal manera que su vocabulario basico ilumina el todo.

Sin embargo el todo, en su simetria similar a la piedra, es una alusion a los verdaderos prototipos aztecas que aparecen en pinturas y en piedras. Incluyendo el disco con la musica de la palabra de Paz y con la musica atribuida por Carles Santos a otras epocas cuando eran divinos los sonidos del insecto, Nissen ha logrado redondear sus sujetos y rodearlos de un tiempo sin tiempo.

No obstante, intentare poner en palabras algunos pensamientos que el gozo me permite hurtarle a la cachonderia. El deseo asociado con la imposibilidad de mencionarlo produce un caudal de invenciones. Las distancias entre el deseo y su objeto son o han sido inmensas. Porque si el objeto es nuestro deseo, como dice Carlos Fuentes, 'tantalo, tientalo Huye de nuestro alcance", hemos de recrearlo cotidianamente, en cada gesto, en cada acto de nuestra vida diaria.

Nissen, alburero del pincel o del pincel alburero, le da alegria al ojo, al ojo interno del ojo. Hay que comerse, meterse el sexo por los ojos, por la lengua y por donde se pueda. En Carlos Fuentes, el albur desdobla al lenguaje, lo hace terso, lo torna en juego de espejos: Consiste en decir una cosa para entender otra, o lo que es lo mismo, en escuchar realmente lo que el sonido dice despojado de razones.

Y con su gran descubrimiento nos ha dejado totalmente sobre-cogidos y mas-turbados que nunca. Para reactivar la vida, los dioses se reunieron en Teotihuacan. Los dioses se aniquilaron sin que soplara el viento. Fue, como el ajolote al que dio nombre, un ser inmaduro, en permanente estado larvario, temeroso de mutar en estable salamandra.