The article opens the basic issues of ethics in the case of
collection-creating and presentation activity of museums. It defines the contemporary position of museums within the modern information society as a space for memory transformation. It points out the ethical dimension of curator’s work, whose presentation and interpretation results are connected with the institution
more than elsewhere. The interpretation as well as the involvement
of the public into this activity is a fundamentally ethical task of the museum as a memory institution. In this connection, the running discussion concerns the model of the community museum or “eco-museum” as an institution that is defined by its relation to the organism (the museum) and its environment (the society). This institution distinguishes itself by the ability to respond to or to adapt itself to the conditions and to create a wide network of social relations.
V roce 1828 bylo na zámku v Kynžvartu otevřeno jedno z prvních veřejných muzejí. Ve sbírce na Kynžvartu byly i antické památky: řecké vázy, římské bronzy, mince atd., Rokyta 1958#., and Wirth 1966#.
Models of vernacular architecture are one of the best ways for the documentation of folk buildings. However, it is necessary to be aware of the fact that those models document the buildings visually, while their construction and material are documented only insufficiently. The research on the models showed that the models are made at more quality levels which differ in the fidelity of imitation of a constructional detail or material used. Even though the models will continue to be a suitable means to document vernacular architecture, it is necessary to replenish them with other documentation methods. The future of the models consists primarily in the presentation of folk buildings.
This article argues that understanding any space or site relies on a knowledge of its fourth dimension - the timescape. It will explore this by situating the investigation in the museum - a place of heightened contrivance which could easily be shallowly interpreted as "mere style". It will defend a new method of investigating museum temporality which combines both phenomenology and literary theory, and will replace the idea of geo-epistemology with geochronic epistemology: an understanding of context and situation which takes on time as well as spatial location. In so doing, it moves on from notions of the museum as a place out of time, situating it in the networks of meaning, power and politics in which we have lived and are living. Thus, "the whole space of the exhibition" as Lyotard said, "becomes the remains of all time": the Museum on the Edge of Forever., Tento článek pracuje s argumentem, že porozumění jakémukoliv prostoru či místu se odvíjí od znalosti jeho čtvrtého rozměru – krajiny času. Toto tvrzení probádává tak, že zasazuje výzkum do muzea – místa se zvýšenou mírou machinace, již by bylo snadno povrchně interpretovat jako "pouhý styl“. Článek obhajuje novou metodu zkoumání temporality muzea, jež v sobě kombinuje fenomenologii i literární teorii a nahrazuje myšlenku geoepistemologie geochronickou epistemologií: porozuměním kontextu a situaci, jež je umístěno jak v čase, tak v prostoru. Tím, že tak činí, se článek posunuje od pojetí muzea jakožto místa mimo čas a zasazuje jej do sítí významů, moci a politiky, v nichž jsme žili a stále žijeme. Takto se "veškerý prostor výstavy“, jak poznamenal Lyotard, "stává pozůstatkem všeho času: muzeem na okraji věčnosti., and Jennifer Walklate.