Resumen de Museos de arte y TICs: usos, tipologías, ejemplos y derivaciones
- español
Los museos de arte, y de manera muy especial aquellos que albergan obra moderna y contemporánea, están acudiendo a las TICs en busca de una conexión, de un ¿puente¿ entre el público y sus colecciones. Son muchas las formas de empleo de las TICs dentro de los programas de musealización didáctica de estos espacios, desde aquellos que las incluyen como herramienta para la interpretación, hasta aquellos otros que las emplean para configurar un museo ¿tecnológico¿ paralelo. Así, proponemos una ordenación y análisis de las diferentes formas de uso de las TICs por parte de los museos de arte, reflexionando sobre las museologías y museografías de la educación que permanecen latentes tras ellas, y proponiendo, en cada tipología, algunos ejemplos de museos europeos, americanos y africanos.
- English
Art museums -and specially those that shelter modern or contemporary art - are using the TICs in search of a connection, a "bridge" between the public and their collections.
The bad relation that takes place, in many occasions, between art and public forces the persons in charge of the museums - specially to the managers of making the departments of education and diffusion - to looking for all kinds of solutions, often to innovating and, almost always, acting of "forefront". If to this fact we add the incorporation of the TICs in the new forms of contemporary creation, we think that this need is intensified in the museums, rooms and, in occasions, galleries, dedicated to exhibiting the most recent work. This way, in the use of the TICs we find "ultramodern" offers that, from the museums of modern and contemporary art, spread to the museums of art in general, to other kind of museum, to formal education and to other spaces of non formal education.
There are a lot of ways of employing the TICs inside the didactics programs of these spaces, from those that include them as tool for the interpretation, up to those others that use them to form a "technological" parallel museum. This way, we propose in the present papper an arrangement and analysis of the different forms of use of the TICs on art museums, thinking about the museologies of education that remain latent after them, and proposing, in every typology, some examples of Spanish, American, Canadian, English, French, Tunician and Italian museums. Finally, we propose a reflection on the repercussion and derivations that these different ways of approximating to the TICs suppose for the Didactics of the Social Sciences in formal education.
