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X-WR-CALNAME:International Council of Museums Committee for University Museums and Collections
X-ORIGINAL-URL:http://umac.icom.museum
X-WR-CALDESC:Events for International Council of Museums Committee for University Museums and Collections
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DTSTART;VALUE=DATE:20200204
DTEND;VALUE=DATE:20200207
DTSTAMP:20260516T092903
CREATED:20190919T121135Z
LAST-MODIFIED:20191227T095508Z
UID:5086-1580774400-1581033599@umac.icom.museum
SUMMARY:Joint Conference ICOM CIMUSET-CIM-CIM
DESCRIPTION:Playing and operating: functionality in museum objects and instruments\n4-6 February\, 2020\nCité de la Musique – Philharmonie de Paris\, France\n  \nSee final program   here. \n\nCALL FOR PAPERS\nDeadline for submissions: 22 October 2019 \nMuseum collections are formed by selections of objects that represent snapshots of the complexity of the world at different times. As such their value resides as much in their physical supports\, as in\nthe representation of the cultural networks of meanings and interactions of which they were part.\nFor some types of objects\, this includes a particularly strong ‘performative’ element\, where the object is a tool to accomplish an action: musical instruments\, vehicles\, clocks and watches\, machinery and objects of science and technology are few of the most obvious examples.\nFor decades\, museum approaches have been divided between emphasizing the preservation of the material support of the object\, and preserving its capability to operate\, for reasons that include\ndissemination as well as research. The use of alternatives\, such as replicas and digital modelling has also been explored\, sometimes controversially\, and few attempts have been made at producing\nguidelines for the care and preservation of few among these types of objects.\nThis conference aims at offering a platform to discuss and compare current approaches the preservation\, and interpretation of functional objects\, comparing practices across collections\, institutions and countries. It is hoped that\, by highlighting overlaps and differences\, it will be possible to develop a greater understanding of the practical and ethical reasons that inform different policies and that the outcomes of the conference will prepare the ground for a common set of guidelines that might build on the cross-disciplinary experience provided by a variety of objects that present common challenges. \nThe conference is particularly open to perspectives from curators\, conservators\, makers\, musicians and all key professional stakeholders dealing with the preservation and interpretation of functional objects across collections. \nThe conference is jointly organized by the International Committee for Museums and Collections of Musical Instruments and Music (CIMCIM)\, the International Committee for Museums of Science\nand Technology (CIMUSET) of the International Council of Museums (ICOM) and the Cité de la Musique – Philharmonie de Paris. It is generously supported by the International Council of Museums ICOM. The International Council of Museums is an international\norganisation of museums and museum professionals which is committed to the research\, conservation\, continuation and communication to society of the world’s natural and cultural\nheritage\, present and future\, tangible and intangible. \nSub-themes:\n\n1. The ontology of functional objects\nIt has been widely argued that the nature of an object is transformed as soon as it enters a museum collection. Moreover\, most functional objects have undergone changes\, repairs\, maintenance work\nand degradations\, either before or after entering a museum collection\, which might have transformed the way it operates and its outcome.\nHow relevant is the preservation of functionality – or the capacity to operate – in faithfully preserving and representing a museum object\, and how does it combine with the many conflicting priorities that regulate the life and choices of a museum collections? \n\n2. Interpretation of functional objects\nInterpretation and public engagement are traditionally among the main reason to operate functional objects in museums collections\, either within the museum galleries or taking them outside of the\nmuseum environment itself. This is often the case with musical instruments\, vehicles\, trains and several types of objects that would have operated in public spaces before entering a museum.\nHow can the impact of operating an original object be measured and justified\, if at all\, beyond the satisfaction of passing curiosity? How reliable is the message conveyed by operating an original and\nhow satisfactory are possible alternatives such as copies or digital reproductions. Can truly satisfactory alternatives be found\, compared to operating originals\, which could still deliver a fully satisfactory experience for the visitor? \n\n3. Good practice and risk management\nDuring the last decades\, approaches to operating museum objects have greatly changed leading to the production of sometimes contradictory policies and guidelines that reflect the spirit of their time.\nIndividual museums\, sometimes individual conservators\, have developed practices and protocols to support informed decision making and risk assessment/management. \nCan these policies and approaches be distilled in an overarching approach to operating objects held\nin museum collections? Where do they overlap and where are they unique to certain types of\ncollections? Which policies and practices are currently in place and how effective have they been in\ntheir implementation? \n\n4. Objects functionality in the 21st Century\nIn the last few years\, the rise of virtual object design and physical modelling has created new opportunities and alternatives to reproduce and demonstrate the functionality of objects. These\ninnovative approaches may question the very reason for making actual objects work.\nHow is the ongoing digital revolution changing the discussion on instruments playability and objects functionality? Can it provide a satisfactory alternative to understand functional objects? What can\nit contribute to the discussion on the usage of functional objects? \n\nAbstracts submission Guidelines:\nThe following types of contributions are invited:\n– Short papers\, 10 min. + 5 min. Q+A\n– Full papers\, 20 min. + 10 min. Q+A\n– Posters\nPlease send an abstract of no more than 300 words and a short CV of no more than 150 words including the following information.\nFamily name: \nGiven Name:\nMuseum/Organization:\nPosition:\nEmail:\nPlease specify if you are a member of: CIMCIM\, CIMUSET\, ICOM\nPlease specify if you are proposing a short paper\, a full paper\, or a poster.\nAbstracts must be sent to Mathilde Thomas by midnight (12:00 AM-GMT) 22 October 2019; late entries will not be considered. \nAccepted formats are MS\, word and .rtf.\nAll submissions will be vetted by the Review Committee.\nPlease note that the conference language is English.\nIt is planned to provide simultaneous French translation.\nN.B.: a limited number of travel grants will be available for invited speakers\, especially young professionals. \n
URL:http://umac.icom.museum/calendar/joint-conference-icom-cimuset-cim-cim/
LOCATION:Cité de la Musique\, Paris\, France
CATEGORIES:Conference
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