MANIFEST MANIFESTO. For a 21C museum. For et museum i det 21. århundrede

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1 MANIFESTO For a 21C museum MANIFEST For et museum i det 21. århundrede 1

2 21st century globalization information society interconnected immersive experiences enlightenment co-creation insight unleashing creativity intellectual explore the past we will scrutinize and contest what a museum is and how a museum is run emotional third place community life live in the present social funky rooms for the muses audience focused hybrid museum spiritual think about everything differently we will examine and challenge assumptions conventions and disciplinary boarders shape the future we will keep on creating tomorrow s museum with our audiences 21st century globalization information society interconnected immersive experiences enlightenment co-creation insight unleashing creativity intellectual explore the past we will scrutinize and contest what a museum is and how a museum is run emotional third place community life live in the present social funky rooms for the muses audience focused hybrid museum spiritual think about everything differently we will examine and challenge assumptions conventions and disciplinary boarders shape the future we will keep on creating tomorrow s museum with our audiences 21st century globalization information society interconnected immersive experiences enlightenment co-creation insight unleashing creativity intellectual explore the past we will scrutinize and contest what a museum is and how a museum is run emotional third place community life live in the present social funky rooms for the muses audience focused hybrid museum spiritual think about everything differently we will examine and challenge assumptions conventions and disciplinary boarders shape the future we will keep on creating tomorrow s museum with our audiences 21st century globalization information society interconnected immersive experiences enlightenment co-creation insight unleashing creativity intellectual explore the past we will scrutinize and contest what a museum is and how a museum is run emotional third place community life live in the present social funky rooms for the muses audience focused hybrid museum spiritual think about everything differently we will examine and challenge assumptions conventions and disciplinary boarders shape the future we will keep on creating tomorrow s museum with our audiences 21st century globalization information society interconnected immersive experiences enlightenment co-creation insight unleashing creativity intellectual explore the past we will scrutinize and contest what a museum is and how a museum is run emotional third place community life live in the present social funky rooms for the muses audience focused hybrid museum spiritual think about everything differently we will examine and challenge assumptions conventions and disciplinary boarders shape the future we will keep on creating tomorrow s museum with our audiences 21st century globalization information society interconnected immersive experiences enlightenment cocreation insight unleashing creativity intellectual explore the past we will scrutinize and contest what a museum is and how a museum is run emotional third place community life live in the present social funky rooms for the muses audience focused hybrid museum spiritual think about everything differently we will examine and challenge assumptions conventions and disciplinary boarders shape the future we will keep on creating tomorrow s museum with our audiences 21st century globalization information society interconnected immersive experiences enlightenment co-creation insight unleashing creativity intellectual explore the past we will scrutinize and contest what a museum is and how a museum is run emotional third place community life live in the present social funky rooms for the muses audience focused hybrid museum spiritual think about everything differently we will examine and challenge assumptions conventions and disciplinary boarders shape the future we will keep on creating tomorrow s museum with our audiences 21st century globalization information society interconnected immersive experiences enlightenment co-creation insight unleashing creativity intellectual explore the past we will scrutinize and contest what a museum is and how a museum is run emotional third place community life live in the present social funky rooms for the muses audience focused hybrid museum spiritual think about everything differently we will examine and challenge assumptions conventions and disciplinary boarders shape the future we will keep on creating tomorrow s museum with our audiences 21st century globalization information society interconnected immersive experiences 2 enlightenment co-creation insight unleashing creativity intellectual explore the past we will scrutinize and contest what a museum is and how a museum is run emotional third place community life live in the present social funky rooms for the muses audience focused hybrid museum spiritual think about everything differently we will examine

3 MANIFESTO For a 21C museum MANIFEST For et museum i det 21. århundrede

4 4

5 The MUSE UM is a hybrid museum covering art, archaeology, natural history, local and social history as well subjects that cross these disciplines. We are distributed on six museum sites and five archives in North West Jutland, Denmark. MUSE UM er et hybrid-museum, som dækker kunst, arkæologi, naturhistorie og historie, såvel som tværfaglige emner. Vi er fordelt på seks udstillingssteder og fem arkiver i Nordvestjylland. 5

6 Three of our sites are on Fur, a picturesque little island in the Limfjord Tre af vores udstillingssteder ligger på Fur, den lille maleriske ø i Limfjorden 6

7 Fur Fossils 55,000,000 million years A museum for the amazing Moclay fossils of the Eocene Era where modern life was born after the death of the dinosaurs. Our Fossil Hunt allows visitors to engage hands-on with science and with our geological past. The sanded up harbour on Fur A fisherman s hut telling the story of fishing life and of the harbour, dug out by hand by the fishermen of Fur in 1911 only to be sanded up later by the currents in the Limfjord. The fisher-farmers farm on Fur Farmers on Fur were at the same time fishermen. Our small farm from 1856 is the only remaining farm of that kind in the area. The rest of our sites are on the Salling peninsula: Glyngore Culture station In the town s former 1884 railway station we have a local history museum which we will develop into a cultural venue for the village. Skive Intersection Our hybrid place where art, archaeology, natural history, local and social history meet. We will develop this into a cultural hub for the local community and visitors alike. Spottrup Medieval Castle The best preserved medieval castle in Denmark. Double moated and finished in 1520, the Castle is the perfect setting for our summer events like jousting and sword fights. Finally, we have 5 archive centres: The Archives of Fur, Sallingsund, Skive, Spottrup, and Sundsore house the written memories of our local area Through these 11 sites, we will become a meeting place for locals and a destination for national and international visitors. Fur Fossiler år Et museum for de fantastiske molerfossiler fra den eocæne epoke, hvor det moderne liv opstod efter dinosaurernes uddøen. Vores fossiljagter giver besøgende mulighed for bogstavelig talt at få fingre i videnskaben og vores geologiske fortid. Den tilsandede havn på Fur En fiskerhytte fortæller historien om fiskernes liv og om havnen, som i 1911 blev gravet ud med håndkraft af fiskerne. Senere tilsandede havnen igen på grund af Lim fjordens strøm forhold på stedet. Fisker-bondens gård på Fur Furs bønder var også fiskere. Vores lille gård fra 1856 er den eneste bevarede gård af sin slags i området. Resten af vores udstillingssteder ligger på halvøen Salling: Glyngøre Kulturstation I byens forhenværende jernbanestation fra 1844 har vi et lokalhistorisk museum, som vi vil udvikle til også at blive et kulturhus. Krydsfelt Skive Vores hybrid-museum, hvor kunst, arkæologi, naturhistorie, historie mødes. Vi vil udvikle dette til at blive et kulturelt centrum for både lokalsamfundet og besøgende udefra. Spøttrup Middelalderborg Den bedst bevarede middelalderborg i Danmark. Med dobbelt voldgrav stod borgen færdig i 1520, og den udgør de perfekte rammer for vores sommeraktiviteter som fx Bispens Marked og ridderturneringer.. Endelig har vi fem lokalarkiver: Arkiverne på Fur, Sallingsund, Skive, Spøttrup og Sundsøre huser de skriftlige erindringer fra lokalområdet Med disse 11 besøgssteder vil vi blive et mødested for lokalbefolkningen samt en destination for nationale og internationale besøgende. 7

8 Our name reflects our vision The name of an organisation should reflect its soul and its vision. In 2008, when our museums and archives were first merged, the new organisation was given the generic name, Museum Salling. But the individual sites kept their old, generic names: Skive Museum, Skive Art Museum, Fur Museum, Spottrup Castle and Glyngore Museum. The result was brand confusion and no real sense of a shared vision or purpose. Se, we began the process that led to the ideas expressed in this document. We wanted a new name for the organisation to reflect our new ideas for our museum. As the MANIFESTO says: We need a museum fit for the 21st century, that is for 21st century people and 21st century life. We needed a name and logo to reflect that. A vision-led branding process created the name MUSE UM and we expressed it with our new logo. Vores navn afspejler vores vision Navnet på en organisation skal reflektere dens sjæl og dens vision. I 2008 da vores museer og arkiver oprindelig blev fusioneret, blev den nye organisation døbt Museum Salling. Men de individuelle udstillingssteder beholdt deres gamle navne: Skive Museum, Skive Kunst museum, Fur Museum, Spøttrup Borg og Sallingsund og omegns Museum. Dette resulterede i brand-forvirring og en manglende fælles vision eller formål. Derfor indledte vi den proces, der førte til ideerne udtrykt i dette dokument. Vi ønskede et nyt navn på organisationen, der ville afspejle vores nye ideer for vores museum. Som MANIFESTET udtrykker: Vi har brug for et museum, der er tilpasset det 21. århundrede, som henvender sig til det 21. århundredes mennesker og livet i det 21. århundrede. En visionsstyret branding-proces skabte navnet MUSE UM og logoet. 8

9 The name MUSE UM proudly signifies that we are a museum, a type of institution with a heritage that can be traced back to Renaissance Italy. The Bauhaus-like characters in the logo reflect those classical roots. Navnet MUSE UM er en stolt tilkendegivelse af, at vi er et museum; en institution, hvis traditioner kan spores tilbage til renæssancen i Italien. De Bauhaus-inspirerede bogstaver i logoet afspejler disse klassiske rødder. MUSE The word museum originally denoted a temple for the muses, the Greek goddesses inspiring art and science. Modern muses don t want a temple. They want funky rooms speaking to the mind and talking to the senses. That is what we will provide. SE The Danish word for see. RUM The Danish word for room. Our museum will have rooms in which there are things to see, to be dazzled by, to engage with and to participate in. An institution needs to orient itself towards its time. We symbolize that by rotating the SE. We want you to see, and think about, everything. But from a different angle. So, at MUSE UM, we summon the modern muses and invite the contemporary users to be challenged and to co-create tomorrow s museum experience. MUSE Ordet museum betegnede oprindelig et tempel for muserne; de græske gudinder, der var inspirationskilder for kunst og videnskab. Moderne muser vil ikke have templer. De vil have funky rum, der taler til sind og sanser. Dette er, hvad vi vil skabe. SE Se tingene på en ny måde. RUM Rum kan findes og opleves inde, ude eller virtuelt. Vores museum skal have rum, hvori der er noget at se på, at blive betaget af, at engagere sig i og at deltage i. En institution skal orientere sig imod tidsånden. Vi symboliserer dette ved at rotere SE. Vi ønsker, at man skal se, og tænke over, alting. Blot fra en anderledes vinkel. Således hidkalder vi på MUSE UM de moderne muser og inviterer vor tids brugere til at lade sig udfordre og bidrage til at medskabe 1 morgendagens museumsoplevelse. 1 co-create 9

10 10 Martin Bigum Advice for the young at heart, 1993

11 THE MUSE UM MANIFESTO MUSE UMs MANIFEST 11

12 1 In the 21st century, Mankind is facing unprecedented possibilities and unparalleled challenges. The information age, globalization, science and technology have given us power and technical knowledge and have radically changed our lives. But we also need ethical and moral insight in order to navigate this new world and to make sense of our lives. All this requires new ways of thinking, new ways of doing things and new institutions. We will create a museum fit for the 21st century, a museum that has something to say; a museum that unleashes creativity and cocreates insight; a museum which is collections based, curatorially informed and audience focused; a museum with a human face providing a third space anchoring community life. Insight The RSA proposes that the 21st century needs a new and updated Enlightenment 2. We concur. The original 18C Enlightenment was the Age of Reason. We propose that the new enlightenment will be the age of Insight - into history, philosophy, culture, art, science and not least into ourselves. Co-creation Louise Govier defines co-creation as museum and gallery professionals working with our audiences (both existing and potential) to create something new together 3. The most ground breaking work on co-creation in practice is pioneered by Nina Simon at Santa Cruz Museum of Art & History 4. Third place The third place (or third space) was termed by Ray Oldenburg 5. He argues that we need social surroundings for community building, separate from the home (the first place), and the workplace (the second place). Third places are important for civil society, democracy, civic engagement, in establishing feelings of a sense of place. Can we go on like this? Will the ideas and values which transformed our world in the last two centuries be sufficient to find solutions to the challenges we now face or do we need new ways of thinking? Matthew Taylor 6. 2 Twenty-first century enlightenment (2010) found on about-us/rsa-pamphlets/21st-century-enlightenment Leaders in co-creation? Why and how museums could develop their cocreative practice with the public, building on ideas from the performing arts and other non-museum organisations (2009:5) found on cloreleadership.org/cms/user_files/fellow_fellowship_research_projects_ download_report/74/louise%20govier%20-%20clore%20research%20 -%20Leaders%20in%20Co-Creation.pdf See her excellent blog Museum or The Participatory Museum (2010). 5 The Great Good Place (1989) 6 op.cit. 12

13 1 I det 21. århundrede har menneskeheden hidtil usete muligheder og står overfor udfordringer uden sidestykke. Informationsalderen, globalisering, videnskab og teknologi har givet os magt og teknisk viden og har ændret vores liv radikalt. Men vi behøver etisk og moralsk indsigt for at kunne navigere i denne nye verden og finde en mening med livet. Alt dette kræver nye måder at tænke på, nye måder at gøre tingene på og nye institutioner. Vi vil skabe et museum der passer til det 21. århundrede; et museum der har noget at sige; et museum der slipper kreativiteten løs og medskaber indsigt; et museum der er samlingsbaseret, kuratorisk informeret og publikumsfokuseret; et museum med et menneskeligt ansigt, der som et tredje rum forankrer samfundslivet. Indsigt RSA fremsætter den ide at, der er brug for en ny og opdateret Oplysningstid 2 i det 21. århundrede. Vi er enige. Den op rindelige Oplysningstid i det 18. århundrede var ra tionalitetens tidsalder. Vi foreslår at den nye oplysningstid vil blive indsigtens tidsalder; indsigt i historie, filosofi, kultur, kunst, videnskab og ikke mindst os selv. Co-creation Louise Govier definerer co-creation som fagfolk på museer og gallerier, der samarbejder med deres publikum (både nuværende og potentielle) for at skabe noget nyt i fællesskab 3. Det mest banebrydende arbejde med co-creation i praksis foretages af Nina Simon ved Santa Cruz Museum of Art & History 4. Det tredje sted Det tredje sted (eller tredje rum) blev betegnet som sådan af Ray Oldenburg 5. Hans argument er at vi behøver sociale omgivelser for at opbygge fællesskaber uden for hjemmet (det første rum) og arbejdspladsen (det andet rum). De tredje rum er vigtige for civil samfundet, demokratiet og borgernes engagement i skabelsen af en følelse af et sted. Kan vi fortsætte sådan her? Vil de ideer og værdier, som forandrede verden i løbet af de sidste to århundreder, være tilstrækkelige til at finde løsninger på de udfordringer, vi står overfor i dag, eller har vi brug for nye måder at tænke på? Matthew Taylor 6. 13

14 2Conventional museums and disciplines represent thinking from a bygone age. We will keenly and discerningly examine and challenge assumptions, conventions, and disciplinary borders. We will scrutinize and contest what a museum is and how it is run by creating an interdisciplinary, free-thinking hybrid museum. Disciplines are constructions Disciplines like art, archaeology, history, and geology are historical and human constructions which come, transform and go. They shape our perspectives, gives us a language and a methodology to analyse and understand the world. But they at the same time restrict our thinking. The same applies to the way we divide our collections. Contrary to common belief, collections are dynamic. The history of museums in the nineteenth and twentieth century shows a continuous shaping and reshaping of collections following disciplinary and political agendas 7. Mench and Mench. 7 From Disciplinary control to co-creation collection and the development of museum as praxis in the nineteenth and twentieth century, (2010: 41). Hybrid Museum A hybrid museum may transcend and cut across categories such as academic disciplines, time and place. It stands in contrast to the traditional single-themed museum which focuses on objects from a particular place and time from the perspective of a particular discipline. Hybridity can also refer to breaking down barriers between functions and places. The book shop may enter into the gallery space as museum objects may be seen in the museum café. The borders between the physical world and the cyber space can similarly be dissolved. The kind of hybrid museum we want to create does not reject traditional disciplines and disciplinary exhibitions. It supplements, challenges and transcends conventional thinking with interdisciplinary approaches. We believe that we thereby get a deeper understanding of disciplines and of the world. This hybrid thinking about disciplines, experiences, functions, media and exhibition technology will create considerably more exciting exhibitions for our audiences. The hybrid organisation which breaks down silos and organisational orthodoxy will unleash the creativity and energy needed to help rejuvenate the museum, people and society for the 21st century. 14

15 2Konventionelle museer og discipliner repræsenterer tænkning fra en svunden tid. Vi vil ivrigt og eftertænksomt undersøge og udfordre antagelser, konventioner og disciplinære grænser. Vi vil granske og anfægte, hvad et museum er, og hvordan det drives ved at skabe et tværfagligt, frit tænkende hybridmuseum. Discipliner er konstruktioner Discipliner som kunst, arkæologi, historie og geologi er historiske og menneskeskabte konstruktioner som kommer, ændres og forsvinder. De former vores perspektiver, giver os sprog og metodik til at analysere og forstå verden. Men samtidig begrænser de vores tænkning. Det samme gælder for måden, hvorpå vi opdeler vores samlinger. I modsætning til den gængse opfattelse er samlinger dynamiske. Museernes historie gennem det nittende og tyvende århundrede viser en stadig organisering og reorganisering af samlingerne i tråd med disciplinære og po litiske dagsordener 7. Mench and Mench. Hybridmuseum Et hybridmuseum kan transcendere og gå på tværs af kategorier som akademiske discipliner, tid og sted. Det står i kontrast til det traditionelle enkelt-tema-museum som fokuserer på genstande fra et bestemt sted og en bestemt tid ud fra et bestemt fagligt perspektiv. Hybriditet kan også henvise til en nedbrydning af barrierer mellem funktioner og steder. Kiosken kan indgå i galleriet såvel som museumsobjekter kan vises i museets cafe. Grænserne mellem den fysiske verden og cyberspace kan ligeledes opløses. Den type af hybridmuseum som vi ønsker at skabe, af viser ikke traditionelle discipliner og fagspecifikke ud stillinger. Det supplerer, udfordrer og overskrider konventionel tanke gang via en tværfaglig tilgang. Vi mener at vi på denne måde kan opnå en dybere forståelse af disciplinerne og af verden. Denne hybride tankegang omkring discipliner, erfaringer, funktioner, medier og udstillingsteknologi vil skabe betydelig mere spændende udstillinger for vores besøgende. Den hybride organisation, som nedbryder siloer og organisatoriske konventioner, vil frigøre den kreativitet og energi, som er nødvendig for at genskabe museet, mennesket og samfundet til det 21. århundrede. 15

16 Museums of the future must enable personal and collective insights, not just present knowledge and aesthetics. We will re-think the physical museum spaces and buildings to create compelling, immersive experiences which speak to the mind, the body and the soul, engaging the senses, triggering the imagination and stimulating creativity, delivering social, intellectual, emotional and spiritual audience 3outcomes. Immersive From Latin Immersus - to dip or to plunge + ive - having the nature, character, or quality of; given to. Definition 8 1. Pertaining to immersing or plunging into something 2. Providing information or stimulation for a number of senses, not only sight and sound 3. Generating a three-dimensional image which appears to surround the user Audience outcomes Traditionally museums have focused on providing object based information or aesthetic experiences through art. Howard Gardner s multiple intelligences theory 9 surely challenges museums to revise and ameliorate their communication approaches. John Falk s fundamental thesis, that people visit and make meaning from museum experiences based on their ability to fulfil identity-related goals and interests, is a big step in that direction 10. But we adhere to Morris Hargreaves McIntyre s (MHM) model of Visitor Outcomes, based on substantial audience research, divides visitor responses into twenty distinct types, arranged in four classifications: Social, Intellectual, Emotional or Spiritual which are related to Maslow s Hierarchy of Human Needs 11. Understanding something about museum visitors is not a nicety; it is a necessity 12 John Falk. 8 immersive 9 See for instance Gardner, Howard (1999) op.cit, pp Falk, John H Identity and the Museum Visitor Experience (2009) 11 Morris Hargreaves McIntyre (2005:9) Never Mind the Width, Feel the Quality, presented at The Museums & Heritage Show Ltd. 12 Falk op.cit. p

17 Fremtidens museer skal muliggøre personlig og kollektiv indsigt, ikke blot præsentere viden og æstetik. Vi vil gentænke de fysiske museumsrum og -bygninger for at skabe overbevisende totaloplevelser som taler til sind, krop og sjæl, aktiverer sanserne, sætter gang i fantasien, stimulerer kreativiteten og giver sociale, intellektuelle, 3følelsesmæssige og åndelige publikumsoplevelser. Publikumsoplevelser Traditionelt har museer fokuseret på at give genstandsbaseret information eller æstetiske oplevelser gennem kunst. Howard Gardners teori om multiple intelligenser 9 udfordrer klart museerne til at revidere og forbedre deres kommunikationstilgange. John Falks fundamentale tese om, at det er identitetsrelaterede mål og interesser, der motiverer mennesker til at besøge museer, og at besøgende skaber mening med museumsoplevelser baseret på deres evne til at få opfyldt disse, er et stort skridt i den retning 10. Men vi bruger Morris Hargreaves McIntyres (MHM) model af Visitor Outcomes som er baseret på solid publikums-research der opdeler svarene i 20 særskilte typer, opdelt i fire klas sifikationer: Social, intellektuel, følelsesmæssig eller spirituel som relaterer til Maslows behovs pyramide 11. At forstå noget om museumsgæster er ikke kun interessant; det er absolut nødvendigt 12. John Falk. 17

18 4 Triggered by the Internet, knowledge creation and how we learn is fundamentally changing. The wall between formal and informal learning is crumbling. We will create free-choice learning environments, co-creating ideas, knowledge, art and experiences with scholars, Pro-Ams, nerds, geeks and other users by encouraging and facilitating creativity, research, involvement and user generated content. We will animate the school curriculum. We will examine the past, debate the present and help shape the future. We believe that Co-creation as defined in section 1 will be a megatrend for museums in the 21st century The renaissance stimulated by the World Wide Web is generating multiple formats and channels of communication and creativity. These include blogs, wikis, instant messaging, and texting in the realm of writing, podcasting in audio, countless sites such as Flickr for distribution and sharing of images, and video shared via YouTube and other sites Collaborative projects such as Wikipedia demonstrate that a previously unexploited collective intelligence can be tapped when the right conditions are established Social media are changing the world in ways not yet understood. The effects are rippling through news, business, entertainment, and the political arena 13. Bull et. al. Interactive, on-line learning will revolutionize education. The education revolution will have as profound and as far-reaching an effect upon the world as the invention of printing. Not only will it affect where we learn; it also will influence how we learn and what we learn 14 Gerald Celente. Pro-Ams are amateurs working to professional standards Professionals in science and medicine, war and politics, education and welfare shaped the twentieth century through their knowledge, authority and institutions. They will still be vital in the twenty-first century. But the new driving force, creating new streams of knowledge, new kinds of organisations, new sources of authority, will be the Pro- Ams 15 Charles Leadbeater & Paul Miller. 13 Bull, G., Thompson, A., Searson, M., Garofalo, J., Park, J., Young, C., & Lee, J (2008). Connecting informal and formal learning: Experiences in the age of participatory media. Contemporary Issues in Technology and Teacher Education, 8(2). Retrieved from iss2/editorial/article1.cfm 14 Trends 2000 (1997: 249) 15 The Pro-Am Revolution (2004: 71) 18

19 4 Måden vi skaber viden på og hvordan vi lærer, er under fundamental forandring på grund af internettet. Muren mellem formel og uformel læring er ved at smuldre. Vi vil skabe læringsmiljøer til selvvalgt læring, medskabe ideer, viden, kunst og oplevelser i fællesskab med akademikere, prof-amatører, nørder og andre brugere ved at stimulere og fremme kreativitet, forskning, engagement og brugergenereret indhold. Vi vil bringe skolepensummet til live. Vi vil undersøge fortiden, debattere nutiden og bidrage til at skabe fremtiden. Vi tror på at co-creation, som defineret i afsnit 1, vil være en megatrend for museerne i det 21. århundrede Den renæssance som World Wide Web stimulerer, genererer en mangfoldighed af formater og kanaler for kommunikation og kreativitet. Dette inkluderer blogs, wikis, online kommunikation og sms-beskeder indenfor forfattervirksomhed, podcasting, utallige websider såsom Flickr til distribution og deling af billeder og videodeling via YouTube og andre sider Samarbejdsprojekter som Wikipedia viser at en hidtil uudnyttet kollektiv intelligens kan udnyttes, når de rigtige betingelser er etableret Sociale medier ændrer verden på endnu ubegribelige måder. Effekterne går som bølger igennem nyheder, forretningslivet, underholdningsindustrien og den politiske arena 13. Bull o.a. Interaktiv, online læring vil revolutionere uddannelsesområdet. Uddannelsesrevolutionen vil få lige så dybtgående og vidtrækkende betydning for verden som opfindelsen af bogtrykkerkunsten. Dette vil ikke blot påvirke, hvor vi lærer; det vil også have indflydelse på, hvordan vi lærer og hvad vi lærer 14 Gerald Celente. Prof-amatører er amatører, der arbejder efter professionelle standarder Professionelle i videnskab og medicin, krig og politik, uddannelse og velfærd formede det 20. århundrede med deres viden, auto ritet og institutioner. De vil stadig være vitale i det 21. århundrede. Men den nye drivkraft der skaber nye vidensstrømme, nye former for organisationer og nye autoritetskilder, vil være prof-amatørerne 15 Charles Leadbeater & Paul Miller. 19

20 5 Our world is increasingly interconnected. Museums cannot afford to be insular, geographically or institutionally. We will bridge the global and the local by acting as an inclusive, real and virtual town square for locals, visitors and peers alike. We will seek local, national, and global collaboration with institutions and individuals who dare to think about everything, differently. You can t get away from the fact that globalization makes us interdependent. So it s not an option to shed it. Bill Clinton. If we think that globalization is only about trade: ships, products and money flowing we re thinking too narrowly. It s more. It s personal, alive and growing. It s information flowing around the world from person to person We are all changed, enriched, challenged in subtle ways by the reality that we can reach out and touch the world with the click of a mouse. We are global wherever we are. Lanie 16. Globalization of individuals as opposed to globalization of countries and multinational companies is what we experience today and what. Thomas Friedman calls Globalization People are at once rooted and rootless, local producers and global consumers, threatened in their identities, yet continually remaking those identities. Deciphering the Global analyzes such complex worlds, looking not merely at glocalization or transnationalization but at the global macrocosm within the human - social, economic and political - microcosm. Philip G. Cerny, Professor of Global Political Economy, Rutgers University. 16 Globalization is Alive and Personal, Connecting the World, Monday, May 4, 2009, accessed ( globalization-is-alive-and-personal.html). 17 The World is Flat (2007) 20