"MISSÄ SUOMEN SIELU ON ASUVA" - Suomi maailmannäyttelyissä viime vuosisadan lopulla

[...] Kansakunnalla, joka erityisenä kansakuntana tahtoo toisten rinnalle kohota....on näet myös velvollisuutensa muihin kansakuntiin nähden. Meidän on otettava tarkempi selko siitä, mitä he vanhemman sivistyksen pohjalla ja yhteisen sivistämishalun johdattamina ovat tehneet ja meidän on aina valppaasti heidän edistystänsä ja pyrkimuksiänsä seurattava niin aineellisella kuin aatteellisella alalla [...] Ulkomaailmasta on meidän opittava ja ennakkoluulottomasti omaksuttava se, mikä meidän luonteellemme soveltuu; mutta omalle pohjalle on aina rakennettava

Metamorphosis of Value in the Battle Between Preservation and Allowing Decay

It seems that nothing that occurs in our society today may pass untouched by the hand of preservation, which treats every happening as a past in becoming. If preservation is a product of modernity, as I will argue, so is our multifaceted relationship to objects. Museums are bulging under the pressure of their enormous collections. Experts together with politicians governed by economic rationalities, battle with the issue of what to preserve, and what to let go. At the same time, in another realm of reality, we are producing billions of tons of trash and refuse every year – material stuff, of which a large part ends up in the oceans, or in enormous landfills all over the world, tightly packed and, without question, very well preserved for coming generations of archaeologists to dig up. Museology is supposed to study man’s “specific relation” to reality, particularly the material reality, and to offer guidance in how to cope with heritage in the future. This paper presents a post-humanist approach to museums and preservation at the one end and our everyday material discards and destruction of value at the other.Il semble que rien de ce qui se produit dans notre société d'aujourd'hui ne peut être laissé sans passer par la préservation , envisageant chaque événement comme un passé en devenir. Si la préservation est un produit de la modernité, comme je le soutiendrai, il en va de même de notre relation multifacettes avec les objets. Les musées sont pleins à craquer sous la pression de leurs énormes collections. Experts et politiciens, régis par la rationalité économique, bataillent avec la question de ce qu'il faut conserver et ce qu'il faut laisser aller. Dans le même temps, dans un autre domaine de la réalité, nous produisons des milliards de tonnes de déchets dont une grande partie se retrouve dans les océans ou dans d'énormes décharges disséminées dans le monde entier, sans aucun doute très bien conservées pour les générations à venir afin que des archéologues puissent les déterrer. La muséologie est censée étudier la "relation spécifique" de l'homme à la réalité, en particulier la réalité matérielle, et offrir des conseils sur la façon de faire face au patrimoine du futur. Cet article présente une approche post-humaniste d’une part sur les musées et la préservation et d’autre part sur nos rejets quotidiens et la destruction de valeur

Rävens fruktsamhetsegenskapers arvbarhet

Pro gradu-työ 1991vokKirjasto Aj-

Repeatability of subjective grading in fur animals III. Grading of live blue foxes in different environmental conditions

Association between repeatedly scored body size and fur characteristics were studied in live blue foxes. Gradings in cages and outside cages in lamplight and daylight were also compared. Colour tended to be easier and clarity more difficult to evaluate than the other traits. Differences between judges in accuracy of grading were greater than between various grading environments. The grading was more reliable outside cages than within cages. The most uniform results were obtained when the same judge graded the animals in the same environmental conditions

Museology exploring the concept of MLA (Museums-Libraries-Archives) and probing its interdisciplinarity

In a world where social relations and knowledge are mediated more and more by data, institutions like museums, libraries, and archives – recognized for mediating and transforming information – have been grappling with enabling individuals’ access to information and information literacy. Museums, libraries, and archives are institutions that create, maintain, and alter different kinds of information systems, each for their specific purposes. To explore the differences and similarities among th..

Ihmiseen luottava kettu voi hyvin

Siniketun ja hopeaketun luottavaisuus ihmistä kohtaan on kohtalaisesti periytyvä ominaisuus. Siten luottavaisuutta voidaan pysyvästi edistää valinnan avulla. Kettujen luottavaisuuden lisääntyminen näyttää parantavan pentutulosta. Pelkkä luottavaisuus ei kuitenkaan takaa hyvää turkislaatua.vo

Hedelmällisyyden ja eläimen koon perinnölliset tunnusluvut siniketulla

ei saatavill

Tankar kring det "museologiska företaget"

Some reflections on «the museologicalproject» Firstly, this article provides a very brief survey of the discussion about museology as a «field of research and study», a debate which has been going on among ICOFOM-members for the last twenty to thirty years. ICOFOM was founded in 1976 in answer to demands from the field of museum practice, which changed radically in the 1970s. Since that time the crucial question has been: Is museology a discipline or is it not? What is the object of knowledge and the subject of research in museology?

Danse macabre i musernas hus – om museernas roll och villkor idag

Danse macabre on the museum scene – notes on the decline and fall of the museum idea The museum idea in Europe is closely linked to the concept of the nation state. Now that this concept is losing its dominant role, the role of the museum and its public funding is also being questioned. The crisis in societal credibility is foreshadowed by the real or imminent bankruptcy of museums (specific Danish and Swedish instances are quoted in the text). The battle to regain public confidence and approval is well under way. The scene is set for the danse macabre. Different methods are being chosen. Many museums cling to their traditional functions of preservation and education – and their pedagogical work is most easily accepted, encouraged and subsidized when the space for history teaching in compulsory school is continuously shrinking. Others concentrate on acquiring sponsoring from trade and industry and of course seek support from various foundations. A regrouping of Swedish national collections was suggested as early as 1920 by Gregor Paulsson to better adapt the museum institution to the needs of contemporary society – into a quality museum (for the general public), a study museum (for researchers) and a museum of the present (to serve the need of future orientation). This was a proposal that pointed the way forward and is still relevant.The crisis in the museums is principally political and financial resulting in an institutional lack of resoluteness and uncertainty about purpose and societal legitimacy. To survive it will be necessary to acknowledge the end of the national saga and the reality of cybernations and the Dream World, Museums could find their raison d’être serving as dynamic houses of culture, as Kenneth Hudson suggested in the 1980s. The institutions should accept the museum as medium and think of themselves as process-oriented entities whose job it is to support and inspire their communities and visitors/users. They should obviously adapt to the virtual reality produced in a dynamic digital process where the content is similar to an open oral tradition. The museum should be the cultural storyteller and commentator in its community and tradi- tional museum education should be given up in favour of these new roles. According to Kenneth Hudson the museum should become a club, or perhaps – as Bernard Déloche suggests – a café philosophique. Another possible way forward is such cooperation as that pro- moted in the ABM project where archive, library and museum are amalgamated into a historical workshop. For the e-topia imagined by William Mitchell the paper concludes with conceiving a museum of the future consisting of a physical building supplemented and expanded to a virtual museum.