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Two museologies

Today
have fallen two stories relevant to the world of museology. Or at least that aroused the attention and reflection. On the one hand the Journal of New Spain of Asturias has brought the news that "Langreo commission approves the project Tragsa Samuño Ecomuseum ( http://www.lne.es/secciones/noticia.jsp?pRef=2008091000_37_673835__Nalon -Langreo-commission-approves-Tragsa-project-Ecomuseum ). The other news is the appearance of the awaited project to build a spectacular museum that will honor the victims of 11-S in New York ( http://www.soitu.es/soitu/2008/09/09/vidaurbana/ 1220981962_531824.html )

We find two ways to museology. In the first case we speak of an eco-museum, an institution which, in essence, part of the community matrix to use its assets rather than for aesthetic contemplation but to strengthen its identity (and community), and social performance, cultural and off economically than they. In the second case we speak of a museum to contemplate which is part of the spectacle of the great urban museums and, now in its presentation, has been marked by the concepts of aesthetic spectacle. However, two museologies, two radically different ways of understanding a museum but the two with the same purpose: to preserve an intangible heritage. In the first case to preserve the identity of a local population. An identity that is symbolic because it is the people who feel one of a series of material artifacts or a particular landscape. Heritage has no value in itself, is the human being (which I use and live with him) who inflicted the net asset value. In the second case we speak of keeping feelings, emotions, sadness and melancholy.

Apart from these qualifications is interesting the way they are going to perform the work to build these "containers" of memory.

The permanent exhibition has been commissioned to Tragsa ( http://www.tragsa.es/ ), A publicly held company that employs no more than 2000 employees and over their projects eventually hire about 11,000 workers. Tragsa born in 1977 and has the objective is to design and construction of infrastructure and equipment required for modernization and improvement of agricultural production systems, technologies for better water management, forestry and conservation activities and improvement of natural environment services for the protection and enjoyment of natural areas and the marine environment. Navigating the website does not appear a strong history of museological infrastructure, but less so in ecomuseology. Bearing in mind that start ecomuseums a pedagogy of social awareness and practice of freedom in the style of Paulo Freire, and community social action by the person who will manage this heritage: the community. An eco-museum is a living thing, not a building is not an infrastructure. An eco-museum is an equation where Heritage, Community Planning and complement. Do not know the museum and museum project, but we know that they have not called ecomuseológico project.

For the second case we have the debate between the content and the mainland. We live in society, the culture of simulation. New York will build a museum that is more spectacular, or so it seems, what will house: a spirit of support, solidarity and practical Yorkers who developed the day of the tragedy.
We can not ignore that we are in the Anglo-Saxon culture and entertainment mecca of finance, but it can not cover up the true essence of what is to be preserved in the museum. The museum is a medium, the exposition half, the end is coming and make public relevant to what you're getting.

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project images for reflection.

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Ludo. You're Awful, I Love You Santogold

power-pop band from St. Louis, Missouri signed with Island Records.Tomaron its name from a 1986 fantasy film called Labyrinth directed by Jim Henson, produced by George Lucas, where he played David Bowie and Jennifer Connelly. Of all the creatures that appear in the film there is a giant who helps the protagonist named Ludo ... but better, check it out. / / / Andrew Volpe, Tim Ferrell, Marshall Fanciullo, Matt Palermo and Tim Convy were grouped and called The Dog And Everything, Anything But Joey and Upside, until 2004: Ludo. In 2005 they recorded an EP Broken Bride is a rock opera. Until 2007 that as Ludo signed with Island and the February 26, 2008 "You're Awful, I Love You" luz.Y saw his first single "Love Me Dead", has even been adapted for commercial U.S. series House. / / / The first time I heard I thought "oh no! Other" My Chemical Romance, because the tone of voice is very parecidoy ce especially in this song seems at first glance. But you hear better, "Love Me Dead "has the charm it had in its early MCR (because after it abused its label), the melancholy" I Miss You "by Blink 182 and a pinch of talent to Burton. / / / will have to listen the entire disk to see if there was a flash theatrical Andrew Volpe (lyricist)

Video: "Love Me Dead"

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The concept of heritage has evolved significantly during the twentieth century but mainly from the sixties and seventies. If we specify more we can target the meeting in Rio de Janeiro in 1957 and the round table of Santiago de Chile, 1972. The latter also coincided with the declaration of World Heritage in Paris.

In essence, we have jumped from a centralized concept of heritage in the monument as a mark previously pursued by our past, to a holistic concept where the importance lies not so much on the historical value and / or aesthetic value of the property but in value and evocative documentary.

According to the Convention for the Safeguarding of Intangible Cultural Heritage UNESCO belonging to the Cultural Heritage Intangible is the mainspring of our cultural diversity and its maintenance a guarantee for continuing creativity .

For this same Convention this intangible heritage is evident in the following areas.

· oral traditions and expressions

· Performing Arts

· Social practices, rituals and festive events

· Knowledge and practices concerning nature and the universe

· traditional craftsmanship

This uses these arts these oral traditions how you can manage, who decides which ones to keep and which to eradicate. Overall, the decision should be based on a democratic consensus in the room with the voices and votes of the individuals participating in these traditions, governmental powers and collective movements and associations. They, their dialogues are those who can make the most of an intangible heritage.

And why? The fundamental question of expense (both financial and temporal) in the recovery of a heritage resource. Bernard Deloche stated that The man with no identity, alienated or amnesia, is a sort of "traveling without luggage, transparent and uprooted . We must not forget that our collective identity as it shapes our history. And how are our history documents. Heritage is one of the most valuable documents we have tangible, enduring in time for future generations. The documentary value, emotional and pragmatic material that heritage puts the immateriality of it. The evocative power it off. Hence, whenever any artifact of the past is worthy of attention. Intangible heritage will always be the soul of tangible heritage.

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Intangible Heritage Revolver forward defenses

periodof Today begins a new job. auqnue already started some weeks before and / or others, those that make us feel we really We retreat and disengagement.
paraece In general terms, in addition to returning from an idyllic past, the news is not hlagüeñas. Growing economic crisis, growing unemployment, suffered one of the most dramatic tragedies for years, and so on. However, positivist view, we can come to saying: what begins well ends badly.
New forms of politics are emerging around the world, closer to its target (see the case of Obama), new commitments, which do not fool with flowers of volatility, "it seems that blunt for these new times. We can add the innate ability that has the human effort crisis.Personalmente creative moments of this course work, personal and academic, is that of the ecomuseology, which will begin to join in this national and international scene, the lines where they have to go all these experiences ecomuseales (in sense of community museums, eco museums in the area, etc. ..) that reflect, indeed, a real sense of commitment to restore the cultural identity that we build ourselves over time and serves as a pillar of development

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