MUSEOLOGICAL INTERFACE: CONCEPT OF COMMUNICATION, IDENTITY AND IMAGE IN THE ARTISTIC AND CULTURAL PERSPECTIVE OF HERITAGE
DOI:
https://doi.org/10.29121/shodhshreejan.v3.i1.2026.73Keywords:
Museum Innovation, Documentary Language, Cultural Heritage, Identity, Art CollectionAbstract [English]
This research proposes an analysis and reflection on the communication of museums, in order to understand how the museum space can ensure a continuous and sustained communication of its identity, social memory, heritage and cultural policies. This study contributes to the affirmation of museums as potentializers with regard specifically to the “new cultural heritage” and the “New Museology”, in the case of technological solutions resulting from a certain set of ideological and deontological options, epistemological, theoretical and methodological, opposing themselves to “traditional cultural heritage” and “traditional Museology”. The importance of corporate identity in the success of museological activity promotes a rapprochement between museology and communication and indicates the models that best respond to the different needs resulting from documentary language and collection management, since the tool created in the area of Museology uses and intercepts knowledge and concepts that help in the continuous improvement of museum spaces. It is crucial that institutions can contribute to the protection and promotion of heritage, allowing their collections to have a longer life and consequently well-evaluated management, better experience and relevant experiences for the public, implying innovative museological practices that can reflect the role of museums as promoters of diversity and cultural creativity.
References
Abreu, J. P. C. G. (2013). Museums: Identity and Communication—Instruments and Contexts of Communication in Portuguese museology. https://repositorio.iscte-iul.pt/handle/10071/8782
Bambole, R. G. (2025). The Significance of Women's Leadership in the 18th Lok Sabha Elections. ShodhSamajik: Journal of Social Studies, 2(2), 138–145. https://doi.org/10.29121/ShodhSamajik.v2.i2.2025.54
Blanco, A. G. (1999). The Exhibition: A medium of Communication. Akal.
Bonsiepe, G. (1999). Interface: An Approach to Design (2nd ed.). Jan Van Eyck Academy. (Original Work Published 1995)
Brigola, J. C. (2008). The Institutional and Symbolic Crisis of the Museum in Contemporary Societies. Museologia.pt, 2(2), 155–161.
Duarte, A. M. da C. (2012). From the Collection to the Museum: Private Collecting of Modern and Contemporary Art in Portugal in the Second Half of the Twentieth Century: Contributions to the History of Museology. https://estudogeral.uc.pt/handle/10316/21153
Durand, J.-Y. (2007). That Obscure Object of Ethnographic Desire: The Museum. Etnográfica, 11(2), 373–386.
García Canclini, N. (2003). The Museum Between Culture and the Market: An Unstable Balance. Edições Instituto Politécnico de Coimbra.
Gonçalves, J. R. S. (2007). Anthropology of Objects: Collections, Museums and Heritage. Museum, Memory and Citizenship Collection.
Greca, I. M. (2006). Research in Science Education in Brazil and its Methodologies. In Research in Science Education ( 89–116). Editora Unijuí.
Heinich, N. (2021). What Activism Does to Research and Defending the Autonomy of Knowledge. Gallimard; Foundation for Political Innovation.
International Council of Museums. (2022). ICOM General Conference Prague 2022.
Lei n.º 47/2004. (2004, August 19). Diário da República, Série A, No. 195, 5379.
Lusophone Journal of Cultural Studies. (2020). Museums, Collections and Exhibitions—Colonial, Anti-Colonial and post-colonial, 7(2).
MacLean, F. (1997). Marketing the Museum. Routledge. https://doi.org/10.4324/9780203277744
Matos, A. P. (1998). Introduction: Museum Guide, Northern Region. In N. Dias (Ed.), Museum Guide (Ethnographic Collections): Northern Region ( 7–9). Olhapim Edições.
Nunes, B. M. A. L. (2017). New Museology in the Rehabilitation of Industrial Heritage. https://www.repository.utl.pt/handle/1000.5/14541
OECD, and Eurostat. (1997). Proposed Guidelines for Collecting and Interpreting Data for Innovation: Oslo Manual (3rd ed.).
Pavão, A. C., and Leitão, A. (2007). Hands-on? Minds-on? Hearts-on? Social-on? Explainers-on! In L. Massarani (Ed.), Dialogues and Science: Mediation in museums and Science Centres (40–47). Casa De Oswaldo Cruz; Fiocruz.
Primo, J. S. (2007). Museology and European Cultural Policies: The Portuguese Case. http://repositorio.uportu.pt:8080/xmlui/handle/11328/584
Ramos, S. dos S. (2013). Interactive Museums: A New Model of Relationsh ip? Museum-Public Communication in the Digital Age. https://comum.rcaap.pt/bitstream/10400.26/10937/3/STEPHANE_RAMOS.pdf
Raposo, P. (2015). "Artivism": Articulating Dissent, Creating Insurgencies. Cadernos de Arte e Antropologia, 4(2). https://doi.org/10.4000/cadernosaa.909
Real, F. (2011). On the Sustainability of the Côa Museum. Museologia.pt, 5, 34–45.
Semedo, A., and Lopes, J. T. (2005). Museums, Discourses and Representations. Edições Afrontamento.
Taylor, D. (2003). The Archive and the Repertoire: Performing Cultural Memory in the Americas. Duke University Press. https://doi.org/10.1215/9780822385318
Tostões, A. (2000). The Museum as a Programme in Contemporary Architecture: A Space for Leisure and a Place of Memory. In Museums and Museology in Portugal: An Iberian Route to the Future (128–135).
UNESCO. (2005). Report of the Expert Meeting on Inventorying Intangible Cultural Heritage. http://www.unesco.org/culture/ich/doc/src/O0036-EN.pdf
Wood, J. N. (2008). In J. C. Brigola, The Institutional and Symbolic Crisis of the Museum in Contemporary Societies (p. 159). Museologia.pt, 2(2), 155–161.
Yadav, P. S., Goar, V. K., and Yadav, N. S. (2024). Significance of Green Audit and Green Campus for Obtaining the NAAC Accreditation. ShodhSamajik: Journal of Social Studies, 1(1), 23–34. https://doi.org/10.29121/ShodhSamajik.v1.i1.2024.2
Downloads
Published
Issue
Section
License
Copyright (c) 2026 Ilda Maria Afonso Monteiro
This work is licensed under a Creative Commons Attribution 4.0 International License.
With the licence CC-BY, authors retain the copyright, allowing anyone to download, reuse, re-print, modify, distribute, and/or copy their contribution. The work must be properly attributed to its author.
It is not necessary to ask for further permission from the author or journal board.
This journal provides immediate open access to its content on the principle that making research freely available to the public supports a greater global exchange of knowledge.
