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Center for the Future of Museums ERIH - European Reference Index for the Humanities Bergen and Strasbourg, 9th July 2014 The European Science Foundation (ESF) and the Norwegian Social Science Data Services (NSD) are pleased to announce that the transfer of the European Reference Index for the Humanities (ERIH) to NSD has been completed and ERIH PLUS is now accessible at the NSD website: Following the memorandum of understanding signed in January 2014, NSD will now operate the new reference index for scientific journals in the humanities and social sciences. Our goal is to enhance the global visibility of high-quality research in the humanities and social sciences across Europe, and to facilitate access to research journals published in all European languages. We are pleased to announce that ERIH PLUS is ready to receive submissions for the inclusion of journals. To be included, scientific journals must meet the benchmark standards described here. For further information, contact: erihplus[at]nsd.uib.no.

Archives, libraries and museums as communicators of memory in European Union projects Zinaida ManžuchInstitute of Library and Information Science, Faculty of Communication, Vilnius University, 3 Universiteto Str., Vilnius, LT-01513, Lithuania Introduction This paper explores the roles ascribed to archives, libraries and museums in communication of memory in European Union projects. Memory communication is acknowledged as one of the essential reasons for the existence of these institutions. Since the 1990s issues of memory institutions and heritage communication have become particularly visible in European Union programmes (Manžuch and Knoll 2005), which are the major instruments for the implementation of European Union strategic objectives. The paper aims to provide answers to these research questions: What aspects of heritage communication are prevalent in the projects? The first research question addresses the need to clarify the elements and/or processes of heritage communication that are most visible in the projects. Related work Memory and heritage conceptions Memory

Le Blog rfcpatrimoine AUTHORS ON MUSEUMS: IT'S ALL ABOUT SPACE For the third piece in our series, the novelist Anthony Horowitz picks his local museum: Tate Modern ... From INTELLIGENT LIFE Magazine, Spring 2009 It seems almost superfluous to be writing about Tate Modern, which is hardly one of London’s more unexpected pleasures. You’ll find it on just about any list of the top ten tourist sites in the city, holding its own against the Tower of London and Madame Tussauds—not bad for an institution that boasts “Ideas & Objects: Around Minimalism” as one of its attractions. I’ve chosen the Tate Modern first because it is my local art gallery, a short stroll from my home in Clerkenwell. What sets the Tate apart from any other gallery in London, and possibly the world, is its vast Turbine Hall, which once housed the building’s power generators. Were you here for Olafur Eliasson’s “Weather Project” in 2003, when hundreds of us lay on our backs, gazing at a splendiferous, glowing, artificial sun? My own favourite was more recent. ~ Alexandra Lennox

Homusée Le réseau HOmusée rassemble 11 musées d'ethnologie membres de Musées et Société en Wallonie (MSW). Les musées d'ethnologie portent leur thématique autour de l'homme et de la vie en société, que cette société soit circonscrite sur base d'un territoire, d'une profession ou d'un secteur d'activité(s), de religion ou de croyance Un musée appartient au réseau "HOmusée" dans la mesure où l'ensemble de ses fonctions sont relatives à l'identité (professionnelle, territoriale, culturelle, croyances, etc.) dans une optique d'altérité. Une déclaration d'adhésion est signé auprès de chaque membre en précisant, la mission et les objectifs poursuivis.

Objets de musée, n’avez-vous donc qu’une vie ? 1Qu’ils soient placés dans la pénombre d’un rayonnage de réserve ou sous les éclairages d’une vitrine, les objets ethnographiques de musée ont bien des choses à nous dire, un réel vécu à raconter. 1 Depuis l’emploi du terme « ethnologie » par Alexandre César Chavannes en 1789, le premier projet de (...) 2Le musée ne constitue pas un « cimetière » (Moles 1972 : 43) pour les choses matérielles qui ont perdu toute utilité, pour des « objets morts » (Hainard 1989 : 17). Tout au contraire, il est le théâtre d’une deuxième naissance. 3Mais par quel processus l’objet renaît-il dans le musée sous les traits d’un « témoin scientifique » ? Paul Hugo Herdeg, Salle d’Asie du musée de l’Homme, 1939. Initialement, chaque section géographique associait aux objets éthnographiques les « types » physiques de leurs producteurs, comme le musée d’Ethnographie le proposait autrefois par le biais des mannequins. © musée du quai Branly, Paul Hugo Herdeg © musée du quai Branly, Laniepce

Museum 2.0 Randolph Starn | A Historian's Brief Guide to New Museum Studies | The American Historical Review, 110.1