2020 | Building Peace through Heritage
known , and how we are able to interrogate and use what is known … It is a process of oscillation between observation and deduction , a dialogue ( Hooper-Greenhill , E ., 1994 , pp . 46-47 ).
So dealing with a polysemanticity which the object possesses in embryo , requires a complex and articulated and interpretive process , which while largely remaining dependent on the knowledge of the visitor , cannot be exclusively entrusted to the latter . It is necessary that the museum , right from conception , is sustantially structured like a real and proper media machine expressed through a museographic display conceived essentially in a story and able to relate to , from time to time , everyday cognitive experience personal to every visitor : from perceptive ability linked to the aesthetic experience of looking ( Bartoli , G ., et al ., 2001 ) to that of learning and from the emotional to the sensorial .
From numerous and varied research in the field of general education ( Bloom , B . S ., 1979 ; Tonar , C ., 2004 ) it clearly emerges that in order that a communication can effectively define itself educational it must contemplate the coexistence of the five celebrated fundamental functions : the incentive of affective disposition towards learning , the transmission of knowledge , the consolidation of learning , evaluation , and lastly , individualised compensation ( Vertecchi , B ., 2000 , pp . 5-6 ).
These functions can also be applied to a specific field of museum education . When however in this process of learning , as Bernardo Vertecchi rightly observes , it is necessary to operate an inversion between the acquisition of the competences which we normally call prerequisites and the experiences of motivation and of learning ( Vertecchi , B ., 1996 , p . 118 ). Since contrary to what happens in formal contexts , where the latter is a direct consequence of a study course , in the case of the museum visit the learning should be considered as a necessary requisite and indispensible for allowing a conscious use , which in its turn can determine further and more profound learning and consequential cognitive effect .
In particular , in order to ensure the effectiveness of museum communication it is necessary to trigger a series of mechanisms which can allow the visitor to pass from suggestion -which is in itself transitory- to learning ( Rauti , I ., 2001 , p . 63 ) which is really such when you reflect on this twofold occasion . It is based on the first of the above mentioned five functions , the heartfelt motivation of the visitor and how they use their learning .
For competence we do not mean knowledge of the field , that which was acquired at school , but the competences which are transversal or cross-curricular ( Vertecchi , B ., 1999 , pp . 95-97 ) from the moment that they go beyond the classic areas of learning which are purely school learning but when referring specifically to the cultural profile of the individual as an adult .
Museum teaching is beginning to assume a role which is increasingly relevant in the area of disciplines which are afferent to the museum organism , perhaps also in relation to the increasing awareness of the real ability of people to train and learn when they are adults , and so learning during the course of their lives , a concept which the English speaking countries synthesise with the expression lifelong learning ( Alberici , A ., 1999 , p . 75 ).
However , one of the most relevant differences between the two contexts -school and museum- was identified in the field of mediation . Firstly , the transmission happens through the teacher , secondly , it is the objects themselves which directly communicate the message , of which they are the carrier , that the criteria for exhibition are already on their own a form of mediation between object and visitor ( Cecconi , L . and Olmetti Peja , D ., 2004 , p . 143 ).
It is really on these exhibition criteria that it is necessary to intervene to make sure that the archaeological museum displays are designed neither as a silent catwalk show of krater ( mixing vessels ), amphorae , clay statuettes , metope , hydria ( large water jars ), and oil lamps or worse still , of insignificant pieces , nor should
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