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development of thailand tourism
development of thailand tourism
development of thailand tourism
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INTRODUCTION
In Bangkok, there have been a number of well managed cultural activities to preserve particularly a forever focus on the historic and religious heritage, for example, make a merit with nine temple tour of Bangkok or one day trip in Grand Palace and the temple of Emerald Buddha. Those are presented and treated as treasures of the nation’s artistic and cultural richness of the country and the people since 1965, a first year of emergence of TAT’s oversea office to promote Thailand through western eyes. It seems be a traditional uniqueness of Bangkok whereas it freezes experience of cultural tourism which one of obstacles to compete in a midst of dynamic modern world.
The Culture, Sports and Tourism Department of Bangkok’s effort to build a positive image of nation’s culture will value a role of contemporary visual art regarded as a cultural tourism and the significant contribution to economic and social benefit. The identification is to undertake a strategic plan on tourism for create a new awareness of Bangkok after the political turmoil and future direction and development over the next 3 years in co-operation with Tourism Authority of Thailand, Ministry of Foreign Affair and Office of Contemporary Art And Culture, Ministry Of Culture and public and private art related sectors.
Initially, Bangkok Art Council should be set up in order to not only work closer with The Culture, Sports and Tourism Department of Bangkok to encourage art related stakeholder synergy and to provide input to the first and following Agenda for new awareness of Bangkok.
The vision of Bangkok is to be perceived as a contemporary visual art destination and to be placed on the world art map and the objectives established through industry and...
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...s, Practice. 1st ed., Butterworth-Heinemann, Great Britain, pp.147-149.
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In Stephen Weil’s essay, he argues “the museum’s role has transformed from one of mastery to one of service” (Weil, 196). According to him, museums have changed their mission from one that cultures the public to one that serves
There are two books The pursuit of Quality: The Kimbell Art Museum written by Harry Abrams, and The 1939 Building of the Museum of Modern Art: The Goodwin-Stone Collaboration, written by Dominic Ricciotti. These two books investigate the change in architectural feats, and the layouts in which architects like Louis I. Kahn and Goodwin and Stone used in the changing times in which they lived. These two books and the chapters within them, showcase the change in the architecture and layouts of museum buildings. Yet, these books also show the change in museum models worldwide to alter the way individuals look at architecture and artwork. Both books speak of the ever changing museum models which took places from the early 1930s until the 1960s. The following quotes and instances mentioned in the history of the New York Museum of Modern Art and the Kimbell Art Museum describe how these two museums changed the course of how architects and artists design and fill museums.
Baxandall, Michael. "Exhibiting intention: Some preconditions of the visual display of culturally purposeful objects." Exhibiting cultures: The poetics and politics of museum display (1991): 33-41.
Worts, D. (1996). Visitors Make Their Own Meaning. In G. Durbin (Ed.), Developing Museum Exhibitions for Lifelong Learning (p123-130). London: The Stationery Office for the Group for Education in Museums.
“Art Museums and the Ritual of Citizenship.” in Exhibiting Cultures. Eds. Ivan Karp and Steven Lavine. Washington: Smithsonian Institution Press, 1991. Print.
This project made me understand that enjoying art and appreciating a building’s architecture are not contradictory purposes but complementary aspects of a museum visit. After we leave a museum we don’t only leave with knowledge about art but also with different states of mind that can only be shaped by the environment. The museum experience is a whole package of stimulants such as colour, space, light and movement.
One pleasant afternoon, my classmates and I decided to visit the Houston Museum of Fine Arts to begin on our museum assignment in world literature class. According to Houston Museum of Fine Art’s staff, MFAH considers as one of the largest museums in the nation and it contains many variety forms of art with more than several thousand years of unique history. Also, I have never been in a museum in a very long time especially as big as MFAH, and my experience about the museum was unique and pleasant. Although I have observed many great types and forms of art in the museum, there were few that interested me the most.
In terms of the claim mentioned before it is noteworthy to understand the functions of both modern art museums and churches and cathedrals of the past. By focusing on (1) the modern art museums vs. cathedrals and churches of the past (2) the ritual of experience museums and churches (3) secular knowledge that art museums provide and (4) why I think art museums are the new platform for artist. In this essay I will use examples such as the Louvre in Paris and The National Gallery in London along with St. Pauls Cathedral in London and the Sistine Chapel in Vatican City to support my argument.
At the advent of Museum Construction, it was as if these structures were being filled almost religiously to educate individuals on art. These pieces of art were filling palaces, homes, and other public structures to educate individuals on the wealth of the beneficiaries as well as the theme of the art that the walls would contain. Since that time, museum architectural deigns and the art held within the structures have changed very drastically. There has been a large shift recently in the museum community with individuals coming to art museums not out of their drive to be educated and enlightened, but rather to be entertained. This shows that individuals are choosing to visit, rather than being forced to out of what many may view as intellectual obligation. A prime example of a museum being seen and used as entertainment for its visitors is the Centre National d’art et de culture Georges Pompidou in Paris, France. The Pompidou art museum is a modern structure drastically different architecturally from many of those which came before it. Not only are individuals entertained and enthralled by the art within the structure, but passersby can be entertained by the strange, yet very modern façade of the Pompidou museum. The outer portion of the structure is just as much a piece of art as those housed inside. The structure was made to educate and help the population of France, in an educational artistic way, and that is exactly what it has done.
The Museum Effect turns things of lesser value or artistic appeal to the source culture than was originally intended and gives them a perhaps inflated level of importance as art in our estimation. It is described in the article as a way of seeing, or lens through which something is viewed (ex: art historically, culturally, socially, etc.). Alpers describes TME as such because nearly all items in museums were meant to be seen or used in some other manner and thus much of the original context has been removed and cannot be recreated. The inflation of importance of objects derived from the lack of contextual information and the museum’s tendency to present all things aesthetically are the driving forces causing TME. Alpers suggests that by acknowledging that TME exists, the museum community and visitors can help negate its harmful
Youngs, I. (2011). Museums enjoy 10 years of freedom. Available: http://www.bbc.co.uk/news/entertainment-arts-15927593. Last accessed 4th Nov 2013.
Museums are shaped by society as a place where it is known to be silent. As soon as people that visit the museum enter, they are greeted by silence, which is only followed by the footsteps of people walking on the marble floor. This silence is constructed upon the steady historical conventions and veneration for the remembrance, education, and facts museums provide that cast the museum niche in society. Although the museum does become a part of society, it does not mean society should become a part of the museum. If a museum commercializes itself, society will destroy what the museum stands for. A museum is not a place that should be seen as a circus, a freak show, or a theatre. A museum should be viewed as what it is, a place where knowledge
In 2007, Charles Esche and I published the book Mögliche Museen1 (Possible Museums), which is dedicated to the development of museums for Modern and contemporary art. Together with different authors, we explored the potential of public museums for renewal and education as well as for (critical) reflection on social change by using ten examples from the past fifty years. In this connection, we took a particular interest in those historical moments in which changes that were previously unthinkable suddenly seemed possible. Hence potential museums are also conceivable museums, ones that we can imagine as an alternative to existing concepts. We were interested in the ambivalence of these institutions that oscillate between ideals and social reality, requests for change and a great amount of inertia. In the light of this, museums can also always be perceived as “compromises,” as Allen Kaprow put it, “between what is and what should be.”2 Seen from today’s perspective I would like to modify Kaprow’s categorical imperative in favor of “what could be,” nevertheless, I consider his conclusions still as valid: it is precisely this rift that highlights a utopian moment in the sense that alternatives to a status quo, in whatever form, become imaginable. This flash of a utopian moment is perhaps the most important element of consistency in the history of museums.
The soul of a museum is the essence of identity by which it is defined; it is that which makes a museum a museum. The museum has identifiable requisites without which it would not be a museum. By using creative methods of exhibition, interpretation, and education as well as effective methods of collection and conservation, the museum becomes an integral aspect and a valuable resource in society. There are unique distinctions between the museum and other cultural institutions. Although the basic requirements of the definition of the museum have remained predominantly unaltered in modern history, the role of the museum in society has changed. Museums unite in purpose through their characteristics and features, are different from other cultural institutions, and have changed over time with respect to their role in society.
Today’s global competition, demands a country to keep the true identity., culture becomes the basic aspects that must be maintained, because of the existence of culture effects how closely humans in general act, and be friendly. Cultural or often we refer to as the culture has its own uniqueness, while others interest by the culture then this could make the place tourism.