Might the museology be a part of neurosciences?

Variant title
Mohla by muzeologie být součástí neurovědy?
Source document: Museologica Brunensia. 2016, vol. 5, iss. 1, pp. 5-14
Extent
5-14
  • ISSN
    1805-4722 (print)
    2464-5362 (online)
Type: Article
Language
English
License: Not specified license
Abstract(s)
The 1990s as well as the first decade after the year 2000 have brought numerous attempts of revisiting the fundamental questions related to the reasons for creating art, and the way museums use art for visualizing and planning exhibitions. The real support in these researches was found among neurocognitivists, who, like prof. Semir Zeki, analysed human brain' activity in museums context. This article reports how neuroesthetic was born and developing through art experience, and how museums have been changing when faced with these new approaches. What was noticed by John Onians in his Neuroarthistory, that "neuroscience also made it not just possible, but necessary, to bring back together things long treated as separate – the mind and the body, the sensory system and the motor system, cognition and the viscera" – changed practice in contemporary museums. Conclusion of this text is that the process of "museologising" of the world, we perceive nowadays as a global phenomena, has roots in neuroesthetic experience, transferring visitors to a tangible and multi-sensual world, quite different then virtual and digital everyday practice.
90. léta 20. století i první desetiletí století následujícího přinesly četné pokusy o revizi základních otázek týkajících se důvodů vzniku umělecké tvorby a způsobu, jakým muzea využívají umění k vizualizaci a plánování výstav. K těmto výzkumům významnou měrou přispěli kognitivní neurovědci, např. prof. Semir Zeki, kteří zkoumali aktivitu lidského mozku v muzejním kontextu. Tento článek pojednává o vzniku a vývoji neuroestetiky skrze uměleckou zkušenost a také o tom, jakým způsobem se muzea měnila v konfrontaci s těmito novými přístupy. Soudobá muzejní praxe je výsledkem proměny, o které se zmiňuje John Onians ve svém díle Neuroarthistory: "neurověda nejen umožnila, nýbrž si přímo vynutila opětovné spojení věcí, které byly dlouhou dobu vnímány jako oddělené – mysl a tělo, smyslové orgány a pohybový aparát, poznání a vnitřní orgány." V závěru tohoto textu se uvádí, že proces "muzeologizace" světa, který v současnosti vnímáme jako globální fenomén, má své kořeny v neuroestetickém zážitku přenášejícím návštěvníky do hmotného a mnohasmyslového světa, jenž je zcela odlišný od virtuální a digitální každodennosti.
Document
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