new museology

ou 'from being about something to being for somebody', Steven Weil, aqui.

para ver: 'The Foucault Effect in Museum Studies".

"Foucault's use of episteme has been asserted as being similar to Thomas Kuhn's notion of a paradigm, as for example by Jean Piaget.[2] However, there are decisive differences. Whereas Kuhn's paradigm is an all-encompassing collection of beliefs and assumptions that result in the organization of scientific worldviews and practices, Foucault's episteme is not merely confined to science but to a wider range of discourse (all of science itself would fall under the episteme of the epoch). While Kuhn's paradigm shifts are a consequence of a series of conscious decisions made by scientists to pursue a neglected set of questions, Foucault's epistemes are something like the 'epistemological unconscious' of an era; the configuration of knowledge in a particular episteme is based on a set of fundamental assumptions that are so basic to that episteme so as to be invisible to people operating within it. Moreover, Kuhn's concept seems to correspond to what Foucault calls theme or theory of a science, but Foucault analysed how opposing theories and themes could co-exist within a science.[3] Kuhn doesn't search for the conditions of possibility of opposing discourses within a science, but simply for the (relatively) invariant dominant paradigm governing scientific research (supposing that one paradigm always is pervading, except under paradigmatic transition). In contrast, Foucault attempts to demonstrate the constitutive limits of discourse, and in particular, the rules enabling their productivity; however, Foucault maintained that though ideology may infiltrate and form science, it need not do so: it must be demonstrated how ideology actually forms the science in question; contradictions and lack of objectivity is not an indicator of ideology.[4] Kuhn's and Foucault's notions are both influenced by the French philosopher of science Gaston Bachelard's notion of an "epistemological rupture", as indeed was Althusser.", da wiki, claro, a propósito dos vários epistemas que vão informando a concepção de museu. como coleccionadora, amante do barroco, o  epistema renascentista da Wunderkammer atrai-me. ('Knowledge is acquired through discovering hidden relationships among objects', daqui)

para chegar a hoje -nos Estados Unidos- 'from a sales to a marketing approach'.



refrescante: " a history of art was fabricated as paintings were organized by period, school (meaning country), and artists. The appearance of a work became less important than chronology. Arts were separated from "crafts"; western objects from non-western.", no mesmo New museum theory and practice: an introduction de Janet Marstine, sobre a abertura do Louvre, epistema moderno.