Теоријска полазишта музејске комуникације

Abstract

Од формирања првих музеја па до данашњих дана, под музејском ко- муникацијом се подразумева начин на који музеј, као пошиљалац поруке, успоставља везу са светом у којем постоји. Иако се суштина размене информација није мењала, из- менили су се ставови како и због чега се то ради. Наиме, данас је у центру интересова- ња музејских посленика да установу повежу са заједницом, да посетиоце мотивишу да критички посматрају друштвене феномене и да их охрабре на дијалог. Рад даје преглед развоја музејске комуникације од њених почетака до савременог доба, кроз упоредну анализу развоја теоријске мисли и рецентних истраживања на „истоку” и на „западу”. У обзир се узимају практични модели потекли из комуникологије, али и каснији прин- ципи који су примарно настали за музејски амбијент. Додатно, дају се препоруке за про- мишљање комуницирања у музејима (у) будућности.

Any communication, including the one in a museum environment, implies an exchange of information through a pre-determined system of signs, usually through language. If it is thus simply defined, the existence of communication science that studies it is questioned, and the necessity to pay attention to this phenomenon even in museology is especially unclear. Since the establishment of the first museums to the present day, museum communication has referred to the way in which a museum, as a sender of a message, establishes a connection with the world in which it exists. Although the essence of the information exchange has not changed, the views on how and why it is done have changed. Namely, museum specialists today are focused on connecting the institution with the community, motivating visitors to critically observe social phenomena, and encouraging them to dialogue. However, questions are raised on how to achieve this, to what extent exhibitions help us in this, and to what extent we rely on other forms of information exchange in museums. Earlier approaches were based on the evaluation of visitors, and it was of crucial importance if the visitor correctly grasped the message presented to him by the exhibition. The visitor was thus always regarded as a “wide audience”, while demographic and other factors were only partially analyzed and taken into account. Conversely, the current trend implies approaching the audience as individually as possible, complying with the view that the process of communication is much more complex. Taking this into consideration, an increasing number of researchers are trying to find the answer in the relationship between the motivation of a visitor to enter the museum and the concepts the visitor creates af­ter leaving it. This is not surprising, because it has long been accepted that the audience already has an existing narrative even before the visit and that it largely influences the further perception of satisfaction, as well as behaviour and learning in the museum. Social networks and media are suggested as a sustainable model of communication in/for the future. They quickly, cheaply, and simply reach a wide audience, thereby overcoming time, space, and even economic obstacles, ensuring participation, but also a feedback loop. In this regard, the paper provides an overview of the development of museum communication from its beginnings to modern times, through a comparative analysis of the development of theoretical thought and recent research in the East and the West. Practical models derived from communication science are taken into account, but also later principles that were primarily created in/for the museum environment.