Museos de arte y TICs: usos, tipologías, ejemplos y derivaciones

Art museums -and specially those that shelter modern or contemporary art - are\nusing the TICs in search of a connection, a "bridge" between the public and their collections.\nThe bad relation that takes place, in many occasions, between art and public forces the\npersons in charge of the museums - specially to the managers of making the departments of\neducation and diffusion - to looking for all kinds of solutions, often to innovating and, almost\nalways, acting of "forefront". If to this fact we add the incorporation of the TICs in the new\nforms of contemporary creation, we think that this need is intensified in the museums, rooms\nand, in occasions, galleries, dedicated to exhibiting the most recent work. This way, in the use\nof the TICs we find "ultramodern" offers that, from the museums of modern and\ncontemporary art, spread to the museums of art in general, to other kind of museum, to formal\neducation and to other spaces of non formal education.\nThere are a lot of ways of employing the TICs inside the didactics programs of these spaces,\nfrom those that include them as tool for the interpretation, up to those others that use them to\nform a "technological" parallel museum. This way, we propose in the present papper an\narrangement and analysis of the different forms of use of the TICs on art museums, thinking\nabout the museologies of education that remain latent after them, and proposing, in every\ntypology, some examples of Spanish, American, Canadian, English, French, Tunician and\nItalian museums. Finally, we propose a reflection on the repercussion and derivations that\nthese different ways of approximating to the TICs suppose for the Didactics of the Social\nSciences in formal education.

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