未知之城博物馆。第二部分

C. Manolache
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引用次数: 0

摘要

这篇文章讨论了各种项目(在现实世界或社交媒体上),这些项目与在米齐尔这个不知名的小镇创建一个博物馆有关。“无名小镇博物馆”是对一个不存在的小镇的记忆。这是因为大多数博物馆重建的都是已经不复存在的世界。尽管他们拥有并利用了大量的信息,但他们将这些信息作为乌托邦式实践的一部分,重新发明了它们。然而,知识并不等同于储存,在某种程度上,它也是一种想象力,它可以使创新成为可能。不同个人经历的图像和文本之间不可预测的联系,不仅使当地游客对小镇的历史敏感,而且使他们意识到自己是历史的一部分,他们可以通过培养和练习记忆来丰富历史。这篇文章认为,与使用陈词滥调和统一的观点相反,可以用一种更细致入微的方式来看待该镇和罗马尼亚的共产主义历史。作者以创意写作为技法,从精心挑选的图片中汲取灵感。”
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Museum of the Unknown City. Part II
"The article discusses various projects (in the real world or on the social media) to do with creating a museum in and about the unknown town of Mizil. The “Museum of the Unknown Town” is the memory of a non-existent town. This is because most museums reconstruct worlds that have ceased to exist. They reinvent them as part of a utopic exercise applied to the past, despite the overwhelming amount of information that they have at their disposal and which they employ. However, knowledge is not the same as storage, but rather, to an extent that differs from case to case, it is also imagination, which enables innovation. The unpredictable connections between images and the texts of different personal experiences have the power not only to sensitise local visitors to the town’s history, but also to make them aware that they are a part of that history, that they can enrich it by cultivating and practising memory. The article argues that the communist past of the town and of Romania in general might be viewed in a more nuanced way, as opposed to the use of clichés and a uniform viewpoint. The author makes use of creative writing as his technique, drawing inspiration from hand-picked images."
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