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Block 2- Mediation Factors - Coggle Diagram
Block 2- Mediation Factors
2.2. Accoridng to heritage settings
What is Cultural Heritage settings
Places such as museums, archeological sites, interpretation centres, theme parks and natural or urban environments that have been purposefully preserved in order to disseminate knowledge of historical and
cultural
importance.
Monumental ensembles
Specific problems that affect cultural tourism in museums
5.
Decodng the space or physical context can be a difficult task.
6.
They may respond to different aesthetic concepts, far from the ones existing in the present day and yet, perform similar functions to thoe they used to.
7.
They have lost the social context and the human reationship built in the ast.
3.
With the passage of time they have lost their three-dimensional features!
8.
Many times visitors ignore the historic importance of the ensemble or its revelance for Mankind.
2.
With the passage of time... They are fragmented complexes; a part of a larger structure that has disappeared.
9.
Many times they undergo unfortunate restorations.
1.
They have undergone changes along time (stages) and their original appearance has been altered). (Cluny Abbey)
10.
They are the result of extensive diachrony (historic evolution).
Certain monumental ensembles must be studied from a diachronic angle (evolutive), and interpreters must strive to make visitors understand this historic evolutioon and the changes that the ensemble have gone through in every period of time.
An example
: Old London Bridge.
To respond to the specific problems affecting cultural tourism in
Monumental ensembles
the following
Invariables
must be posed
5.
Large ensembles must be the excuse to explain the ideas, lifestyle and aesthetics of former times.
6.
Fake reconstructions must not be hidden: they are part of the discourse of heritage over time.
4.
Monumental ensembles must be related to the protagonists of their history: stones, actually, tell us about the people who worked them and enjoyed the buildings made of these materials.
7.
When visiting an ensemble, primary sources must be sought whenever possible.
3.
To understand an ensemble at present, images showing the ensemble in former times must be shown.
8.
In order to understand a monumental ensembles, it must be compared to an existing one.
2.
Try to make people imagine what it was like by recovering the volumetric image while brimg faithful to the original.
Virtually.
Reconstruction in situ: anastylosis.
3D.
Augmented reality.
Apps.
9.
A script, a theme, a story... must be told.
1.
Three dimension techniques are the only way to conceptualise the physical space.
10.
The visit to large monumental ensembles must be an exercise of imagination and a trip back in time.
There are numerous hidden meanings in monumental ensembles... it is the interpreters' duty to bring them to light.
Large urban ensembles (cities)
Problems
and
specific invariables
that affect cultural tourism in large urban complexes
5.
Occasional visitors rarely get to know and see the city's most hidden face...
The city has many more faces beyond the "ideal touristic image": we must not hide them but reveal them instead!
6.
Tourists may be confused by the large dimension of cities.
Several tools may be necessary to facilitate a better understanding of cities.
4.
There is overlying and chrono-cultural strata.
When it comes to interpreting cities, we must be able to "read" the different stratigraphic layers to understand the time stages they have gone through.
7.
Most often, tourist only get to see the external face of the city.
We must show tourists the city's innermost layers (underground).
3.
Urban functions have changed with the pass of time.
Cities are functional spaces for their residents. Thus, we must explain each city's main function including the functional changes experienced along time.
Industrial
Touristic
Residential.
Business.
8.
We must be attentitve. If we do not pay enough attentin, we will only gasep the present moment of the city.
To understand the present moment of cities, it must be compared to past graphic images.
2.
The city is the result of its own history; understanding the current city without knowing this history may prove to be difficult.
When we interpret... we need to read between the lines and ask "why" to understand a city, its history and urban fabric.
9.
The city also changes during the day!
It is recommendable to visit the same sites and corners of the city at different times of the day.
1.
City urban growth is no easily appreciated at first sight or from ground level.
To understand the city, know what it is like and how it has evolved a "bird's" eye view would give us comprehnsion of the urban ensemble as a whole.
Visitors and tourists want to know the city! How are we going to help them do it?
As interpreters we must help them "read" and "decode the city's heritage elements. We must provide "the keys" to enable them to discover the city's assets by themselves. We should never do tht for them!
Museums
Specific problems that affect cultural tourism in museums
5.
Visiting a museum requires long time, which results in bisitors getting tired.
6.
There are barely any decoders (museums should no longer be the hermetic receptacles that we once knew.
4.
In general, they lack eduational museography.
7.
Quite often questions our mind shoud be able to answer are not posed in museums.
3.
Exhbits and artifacts are out of context very often.
8.
Information is not prioritised.
2.
Great museums do not have a script.
9.
In general the public finds it difficult to figure out a timeline.
1.
The first museums are the result of random collections.
10.
Current aesthetic ideals do not necessarily coincide with those from the past.
To respond to the specific problems affecting cultural tourism in
Museums
the following
Invariables
must be posed
5.
Behind each object there are people: these have to be brought to light.
6.
Every object is the result of its time: the object cannot be understood without its time context!
4.
We must try to organize the museum objects and atifacts following a scrit that makes sense.
7.
The passage of time involves some difficulties. To understand, comparisons have to be made!
3.
We must help visitors "read" some objects previously chosen and also how to establish relationships with the rest of the artworks.
8.
Our starting point must always be based on what we already know.
2.
The choice of artifacts on display, allows for several visits avoiding the déjàvu syndrome.
9.
Very often objects pose more mysteries. It is positive that visitors leave the musem with new questions to solve.
1.
What does a museum have in common with a library?
10.
Objects do not speak for themselves. The best thing we can do is to question them!
Mediation and Interpretation
Cultural heritage does not speak for itself
A heritage element can be shown and presented but this is not enoguh... a mediation element - whit a clear educational objective - is necessary to facilitate the visitor the keys for heritage interpretation.
The Interpretative Triangle (Interpretative Process)
People
Site or object
Media