musei di storia e memoria by Eleonora Lupo

Cluster Casi Studio # 6

Musei, memoria e identitĂ // musei di storia e memoria della guerra: Heritage of war programme (WWII) // Eleonora Lupo Dip INDACO, Politecnico Milano Genova, 15 Dicembre 2010

APPROACH FOR RESEARCH IN MEMORY, NARRATIVE AND HISTORY emphasising the plural histories, the complex relationships between present and past, dealing with subordinate and marginalised histories, archive practices and the complexities of popular memory # Archives and Histories the digitising of collections and its implications for the preservation of and access to material; the curation of material for museum display, online use and for different users; creating community-based initiatives and resources that facilitate user-generated content; approaches to cataloguing and its relationship to research practices; the concept and role of the archive as a cultural â&#x20AC;&#x2DC;memory bankâ&#x20AC;&#x2122; # Community History critical exploration of diverse traditions and practices, and the production of new histories of community that explore social life as lived at the interstices of the local and national states, and shaped by the provision and experience (or lack) of health and housing, education and employment http://artsresearch.brighton.ac.uk/research/centre/centre-for-research-in-memory-narrative-andhistories

# Cultural Memory the study of the relationship between the past and the present and, crucially, of the ways in which individuals, groups and societies remember, rework, bury or forget aspects of the past in order to make sense of, repair or reconstruct the present. Cultural and political processes that produce â&#x20AC;&#x2DC;a sense of the pastâ&#x20AC;&#x2122; for a society or social group, and explore the inter-relation between collective remembering (and forgetting) and the personal memories of individuals. Representation of memory through narrative and other cultural forms # Oral History and Life History retrieve subordinate and marginalised histories by means of oral storytelling, usually in the context of an interview, as recovering the voices of those who have little or no access to the public stage on which history has largely been formed. Life historyâ&#x20AC;&#x2122; is a wider-reaching term indicating the importance of historical consciousness and understanding in everyday life: life history can take many different forms, including oral testimony, autobiographical writing, reminiscence work, the creation of images, construction of songs and performance of actions, amongst others, but is characterised by its ability to empower those recounting their life stories http://artsresearch.brighton.ac.uk/research/centre/centre-for-research-in-memory-narrative-andhistories

# Public History. focused on studies of semi-official sites of historical construction, interpretation and meaning, in particular the changing interpretations of objectified cultures through formalised structures of display and exhibition in museum and similar settings; reconstructing, for example, the histories of indigenous or oppressed peoples. http://artsresearch.brighton.ac.uk/research/centre/centre-for-research-in-memory-narrative-andhistories

Mappatura Musei di storia e memoria Musei della Guerra//WWI

Musei della Guerra//WWII

Musei della Resistenza

Holocaust Museums

PERSONE

CITTĂ&#x20AC;

NAZIONE

SOVRANAZIONALE

MoCA, Exhibit â&#x20AC;&#x153;Memory of NY Chinatownâ&#x20AC;?, 1990 exhibition which used a low tech dialogic approach of documentation of the history of the Chinese community of New York, its oral tradition, social practices and craftsmanship, being designed and realized in order to promote an exchange process between public and museum/curator in which people was involved and participated in the knowledge and interpretation of their own history: -use of media for recording; -dialogic stations, in which people could have been interacting, according with their time and interests, with the contents of the show, participating with their personal memories and reflections to the construction of a collective database of timelines and biographies (Kuo Wei Tchen, 1990).

exhibition in becoming // dialogic station

Banca della memoria, Memoro, 2007 Video documentazione e conservazione della memoria audiovisiva e fotografica del territorio, con racconti di persone nate prima del 1950 http://www.memoro.org/it

Key word//

Reykjavick 871 +-2/Making of a Nation, Gagarin, 2006 exhibition aimed to explore the settlement of Iceland using interactive multi-media content, as a form for interpretation: interactive storytelling in fact helped to place in an understandable context the archaeological objects and remains, which have been materially preserved to present time. http://www.minjasafnreykjavikur.is/desktopdefault.aspx/tabid-1794/ http://www.gagarin.is/index.php/id/127

adding intangible contents to material cultural heritage

Museum of Resistance, Studio Azzurro, 2000 a communicative â&#x20AC;&#x153;sensitive environmentâ&#x20AC;?, created by video interactive technologies, for the valorisation of that part of history of the Italian nation and people involved in the Resistance against fascism. http://www.studioazzurro.com/opere/musei/museo_della_resistenza

narrative structure // multimedia technologies

National World War I Museum, Ralph Appelbaum, 2007 The RAA concept for this new national museum makes it the first to identify the Great War as the defining, transformative event of the twentieth century. An interactive environmental Portrait Wall installation frames the entryway and features photographs of those who served in the war effort, while inside a pair of interactive Battle Maps lead visitors through some of the most important battles of the war. At the core of the museum are two large-scale interactive Great War Tables that provide innovative group and individual educational activities. http://www.secondstory.com/portfolio/lists/project/national-world-war-i-museum/overview

Imperial Museum/ Churchill Museum, Cabinet war Room, Casson Mann, 2007 The Churchill Museum uses cutting-edge technology and multimedia displays to bring the exciting story of Winston Churchill to life. Central to the Museum is the state-of-the-art Lifeline exhibit – a 15-metre-long interactive table on which visitors can access information from every year of Churchill’s life, even drilling down to specific weeks and days. The Lifeline puts key events in Churchill’s life in context and engages users through a variety of animations and sounds. http://www.pan3sixty.co.uk/tours/cwr/qt-select.html

valori del patrimonio “storia/memoria”: stretta relazione tra elementi materiali e immateriali, ossia complessa connessione tra le testimonianze materiali (resti archeologici, artefatti di cultura materiale, documenti) e la storia vera e propria, sia essa grande Storia (la foondazione di una nazione o di una città, la guerra) e piccole storie (la vita delle persone) “singolarizzazione” particolarmente complessa a causa di “intangibilità” e “dispersione” territoriale e incorporazione in luoghi e persone Importanza delle dimensioni temporali (cronologia…)

qualità trasversali delle strategie e interventi di valorizzazione/mediazione progettuale realizzati intorno a “storia/memoria”: “musealizzazione integrata” di sistematizzazione/organizzazione del patrimonio (costruzione di relazione con contesto e altri beni) e progetto della fruzione/allestimento (relazioni esperianziali e interattive per i fruitori) capacità dell’intervento progettuale di dare dignità culturale/svelare valori culturali di unità materiali/immateriali altrimenti “deboli” la cui significazione è invece apprezzabile all’interno di una cornice sistemica (legittimazione e produzione di un patrimonio) presenza e applicazione di tecnologie a vari gradi e livelli: allestimenti interattivi in musei reali (Reykjavick Museum, Museo della Resistenza) visite virtuali in rete di musei fisici e interattivi (Churchill Museum, World War I Museum), musei/archivi/architetture narrative-fruitive solo digitali (banca della memoria). progettisti autorevoli

Erfgoedt van de Oorlog

heritage of war programme

Heritage of War Programme (2007-2009) Digital exhibitions & archives for intangible heritage, widespread diffused documents and physical collection and archives WWII related. Obiettivi (in ordine di prioritĂ ): conservazione, accessibilitĂ , public-oriented application Target group: individual affected by the war and their dependant, schoolchildren, parents and teacher, academics and professionals working in journalism and media. Contenuti (heritage materials): photograph, audiovisual, documents, print matter, archives, other objects, historic buildings and memorials, and personal testimonies (oral history or Eye witness account)

Heritage of War Programme (2007-2009) Attori: Netherland Ministry of Health, Welfare and Sport (promotore), State Agency for War documentation, War After care department archive, 122 organizzazioni e più di 200 progetti. Risorse economiche: complessivamente 23,7 milioni di euro, distribuiti a differenti istituzioni in varie ‘call’ (“Subsidy Policy Framework”)

Heritage of War Programme (2007-2009) Digital exhibitions & archives for intangible heritage, widespread diffused documents and physical collection and archives WWII related. Processo: The Netherland Red Cross (NRK) asked for a proposal for solution about the conservation of its archives of the War Aftercare department: a digitalisation process was started by the Department Victims and Remembrance WWII of the Ministry of Health. In the same year a large number of War and Resistance Museum started a digitalisation photos: â&#x20AC;&#x2DC;WWII image bankâ&#x20AC;&#x2122; The Health Ministry decided to proceed for an integrated safeguarding process: - Collecting different heritage materials; -Assessmnet of value of the material; - new or different perpective; -proportionality and economic sustainability criteria for digitalisation; - contextualisation of material in history -exploitation of already existing national collection.

Heritage of War web Platform themes, sources, education, exhibitions http://www.tweedewereldoorlog.nl/

Exhibition #1 heritage of war: section 1 http://www.tweedewereldoorlog.nl/static/exhibition3/index_wo2.html

Exhibition #1 heritage of war: section 1 links http://www.archieven.nl

Exhibition #1 heritage of war: section 2 http://www.tweedewereldoorlog.nl/static/exhibition3/index_wo2.html

Exhibition #1 heritage of war: section 2 links http://www.ettyhillesumcentrum.nl

Exhibition #1 heritage of war: section 5 http://www.tweedewereldoorlog.nl/static/exhibition3/index_wo2.html

Exhibition #1 heritage of war: section 5 links http://kitlv.pictura-dp.nl/

Exhibition #1 heritage of war: section 6 http://www.tweedewereldoorlog.nl/static/exhibition3/index_wo2.html

Exhibition #1 heritage of war: section 6 links http://www.tweedewereldoorlog.nl/static/exhibition3/index_wo2.html

Exhibition #2 Eerste 5 dagen (the first 5 days): narrative http://www.tweedewereldoorlog.nl/static/exhibition1/index_wo2.html

Exhibition #2 Eerste 5 dagen (the first 5 days): timeline geolocalizzata http://www.tweedewereldoorlog.nl/static/exhibition1/index_wo2.html

Exhibition #3 Bevrijding (liberazione): narrative http://www.tweedewereldoorlog.nl/static/exhibition2/index_wo2.html

Exhibition #3 Bevrijding (liberazione): timeline geolocalizzata http://www.tweedewereldoorlog.nl/static/exhibition2/index_wo2.html

valori del progetto (approccio tangible/intangible): Stretta connessione archivio/museo/fruizione: un sistema di mediazione che organizza una architettura narrativa intorno ai materiali di archivi/collezioni/musei sia materiali che immateriali, rendendoli fruibili ed esperienziabili ma senza perdere l’accesso alla fonte originaria e la possibilità di ricerca diretta dei materiali Piattaforma di archivio/museo on line, come architettura di accesso (sia narrativa che informativa) ad altri luoghi (archivi/musei) reali ma con interfacce di ricerca/fruizione on line nuove prospettive su una memoria difficile Limiti/potenzialità: È fruibile esclusivemente on line e non permette una partecipazione alla costruzione di una storia condivisa, mentre potrebbe essere geolocalizzata in eperienze di realtà aumentata. Modelli di interazione e metafore ‘convenzionali’: “naturale” vs “culturale”

Valori del progetto (metafore narrative, linguaggi e modalità di interazione) Digital Exhibit 1: Metafora informativo- didattico (rappresenta visivamente l’interrogazione/scorrimento dei materiali dell’archivio) Criteri di spazializzazione: simulazione reale (proiettore dia) Accesso: vari archivi dati e documenti Digital Exhibit 2: Metafora esperienzale narrativa legata ad esperienza soggettiva Spazializzazione: simulazione reale (interno domestico) time line dinamica con geolocalizzazione dei contenuti Accesso: contenuti (foto, video, audio) Digital Exhibit 3: Metafora esperienzale narrativa scenografica legata ad esperienza collettiva Spazializzazione: evocativa della molteplicità delle storie della memoria e delle tecniche di ordering/retriving, (cartoline singole e quinte sceniche con profondità di campo e livelli) time line dinamica cone geolocalizzazione contenuti Accesso: contenuti (foto, video, audio)

Siti di Alcuni Progetti: Calmeyer Archive: http://www.cbg.nl/ Sailing into danger: www.nimh.nl https://easy.dans.knaw.nl/dms http://getuigenverhalen.nl/ In search of Indonesian past: http://www.reisgidsindonesie.com/ Tarakaimâ&#x20AC;&#x2122;oils battle: http://www.tarakan.nl/ WWII from air (digital exhibition) Love children of war project Doctors in wartime: http://getuigenverhalen.nl/ http://niod.nl/ Filmed images of war: http://www.oorloginblik.nl/ Music in the war: www.wo2-muziek.nl

Scheda valutazione/check list l’attività di interpretazione di “riproposizione delle storie” è in alcuni casi atto di legittimazione/documentazione, in altri si lavora su una documentazione esistente. E’ propedeutica alla fruizione 122 istituzioni

23,7 milioni di euro 5 calls “subsidy policy Framework” architettura digitale 3 anni (2007-2009)

grazie eleonora.lupo@polimi.it