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We already know the conventional definition of what is an exhibition, “A representation is an ordered ordered from objects placed next to each other to be seen by the public (Moles, 1983). This idea has been exposure we somewhat obsolete, let porqu. miseolgicas In theories that even a shuffled with exasperating often said, learnedly discussed, that the exhibition involves three important factors..

1 The effect on the viewer or visitor exhibits These objects are carriers of meaning that contribute to an explanation of the content of the exhibition

2 Treating themes of exhibition both in whole and in each of its constituent elements. This represents the way otcnica applied to dependerdel number of objects and their mode of insertion into the A thematic whole, the selection of objects in relacina how representative or significaci being n with respect to the subject;

3 The location of objects within the space, ascomo of connection established between them; media technicians and equipment used and own character of the exhibition hall. The arrangement of the exhibition through the application of museums science knowledge: the expository discourse.

SamuelWeidmann:EVEPhoto: Samuel Weidmann

Let us continue with the methodology a bit more: These three components have important quantitative and qualitative consequences and its interpelacin will emerge a wide variety of techniques of exposure (Gradner and Heller 1960; Bruce, 1964; Pope-Hennessy, 1975 and Velarde, 1988). And we; however, we must always remember that the main objective is to create an exhibition idneas conditions for visitor-object dialogue occurs … This is what one is in the books of the theory to the museum specialist, and when the theory is applied to the strongly museographer. To us all a little stir when we read these things. It seems that the theorists are not just realize that there is something called “reality” and we are told from the pulpit to humans, they seem to be, what you should and should not do When designing a museum.

JoanBaran:EVEPhoto-illustration: Joan Baran

What you get with dissemination of the theorist in these cases, is that we are not evolving fast enough to meet the needs of visitors; what they want and need – the children, adolescents, teens, thirty something, the forties with or without children, the maturity and third male and female age -. Museums bored stones in a wide, why? Because museums in its big majority – not slab offer visitors so visitors need. We are in the year 2014, twenty-first century, the perception of people with relacina around them, has never been as complex as now, what is the reason? The huge excess of information that we can access and, in addition, using many media gadgets to get to that information, all easy. Want it or not, what has brought about this evolution in the perception of reality by society is that people have we become little patients with the information we received: we want it all and we want it now. Not given even a chance to minimal hesitation or waiting. This form of “reading” is now a reality that society and has imported fashion bit2bit within our field actuating are museums, makes the whole approach and museographic be museolgical change and, should evolve immediately.

JulianTuwimDesign: Julian Twin

To start and concretizing not enrollndonos ms, that you are going to leave us if we blah blah comment that we take very much in the training programs of the teaching of the Museologist the term “creativity “and their development, their learning – lords creativity is not a natural gift, it is a tool -. Habrquien think that creativity is a gift you either have or do not have, that no one is born with, and therefore can not teach and less applied to something “as metodolgico” as is the Museologist. It is a grave mistake to think as. We have had the opportunity, recently, to test the interest of our futures muselogos applied creativity in their field, and we have been very surprised to evil by escassima response. Everything points to the interest poqusimo incorporate creativity into what they understand as museolgic speech. We are scared because that’s like saying that new generations will have more of the same, that is, great speeches, few solutions tailored to the expectations of society and much less for the future evolution. We continue to aspire to functionality? Review and approve live? No, no, please here not.

SteveBonner:EVEPhoto: Steve Bonner

These new muselogists they must ve somehow creative professionals, they will have to treat with very creative people, for example, if we deal with Lucasfilm to ride an exhibition. Lucasfilm needs in dealing with the people who know what it s creativity. Because you can ensure you’re dealing with Hemos suffered muselogists squared head. The seamless as exoticism, deal with professionals from North Europe to build an exhibit where they think always under creation. If a student museologist is not able to de with creativity to improve reality, it is going to be a wrong subject. No creativity no nothing, as in of Silicon Valley just to say: “we kake this world a better place to live”. Teachers, please let you speak from the pulpits and take a look at what is happening outside, you are leaving out the creativity and the brutal simplicity of thought, no way, don’t do that, ‘t be discussed again on another occasion.

StarWarsIdentities:EVEUno de los carteles promocionales de la exposición: Star Wars Identities, propiedad de Lucasfilms