Global Journal of Human-Social Science, A: Arts and Humanities, Volume 21 Issue 12

between humans and nature, emphasized the importance of the scientific study of the environment. Furthermore, he strongly recommended that ecological and environmental education should be provided, as has been done in Anglo-Saxon and French-speaking countries. The aim is to increase knowledge of the environment and make individuals and society aware of the need to protect it. Like Stránský, he points out that it is necessary to follow a methodology centered on direct contact with reality, active participation and an interdisciplinary approach, which museums must adopt. Terradas is convinced that all museums, whether recently created, such as ecomuseums, or with a long history, have great potential. They understand the message of museological education and contribute to the renewal of their functions and language, making use of intermuseum programs. It should never be forgotten that museums should never be conceived as just exhibition centers, but as centers of initiatives that are concerned not only with visitors but also with offering the keys of interpretation for the observation of the environment. Another person who dealt with the subject of ecomuseums was Dolors Forrellad (1984: 28) who, commenting on the contributions of Mathilde Bellaigue, points out that curators of ecomuseums should be closely linked to the territory. She refers to several experiences in Catalonia which confirmed this statement and suggested that all the people, who work in museums should be fully committed to the work they do and to the place where the museums are located, as this way they will be in more direct contact with the public. c) The Collection of Objects and Selection Criteria Domènec Miquel et al . (1984: 5-7), based on the experience of the recently created Grup Tècnic de Museologia , within the Associació de Treballadors de Museus de Catalunya , presented their reflections on museum objects traditionally considered as "material testimonies." Given that we are surrounded by new technologies capable of fixing the intangible through videos and audio, they believe that it is necessary to go beyond the materiality of the museum object as a differential element and focus more on the concept of testimony. Objects are no longer considered as mere material testimonies. In this way, all natural elements, material or immaterial, which form the environment in which we live, become testimonies, regardless of their physical condition. All testimonies require subjects that recognize them and can access them – via a museum- and, at the same time, these testimonies can be sent to another subject that receives and uses these testimonies, i.e., the public. During this process, three elements need to be present: the reading through which testimony is interpreted as a document, the document or product of the reading made by the museum and offered to the public, and the added value that is given to it, whether cultural, economic or political. From that moment on, the object is susceptible to being selected and musealised. Without forgetting that today we collect those objects that represent the relatively recent past, leaving for tomorrow, the collection of our present by the existing conception of museological. When discussing original and substitute objects in museums, Miquel and Morral (1985: 135 ff.) point out that objects in museums can be viewed from different perspectives, either as material elements or as emotional elements that transmit contextualized information about them. From the moment we contemplate an object, this contemplation is mediated by the distance factor, which may be temporal or cultural and interposes an additional value between the visitor and the surrounding object, which may distort the authentic information it offers. When we speak of a substitute, on the other hand, this value does not exist because the distance is not present. Therefore, the substitute produces a feeling of disillusionment in the spectator. And even when the material used may coincide with that of the original object, there is no coincidence as far as the contextual impression is concerned. When a substitute enters a museum, it can be used as a reference to an original - replacing its physical presence - but also to reinstate the memory - replacing the documentary value of the original. Regarding substitute objects and their implications for museum work, Dolors Forrellad (1985: 169 ff.) raises the question of whether copies can serve as substitutes for originals that have disappeared or are in danger of disappearing, or as a complement that explains objects, and processes that are not evident. From a museological point of view, they can never be compared to the original. They are only useful when the original does not exist or is difficult to preserve. And the public must be warned, especially in the case of little- known works. d) Museology and Identity Preservation Commenting on the topic of museology and identity, Stránský (1986: 49) stated that, in analysing the relationship between identity and the social situation in developing and Latin American countries, participants' approach to a topic was one-sided, relying only on European social history. Thus, they only dealt with the cultural aspect and its ethnological, sociological, and historical connotations but did not touch upon the essential museological approach, nor did they realize the importance of the relationship that identity has with the terms: "development" and "memory". In their contribution to the colloquium, Miquel and Morral (1986: 211) emphasize that the problem of uniformity appears when a collective model is mythologized, and the individual renounces their own rules to adopt, artificially, those of the proposed model. Volume XXI Issue XII Version I 26 ( ) Global Journal of Human Social Science - Year 2021 A © 2021 Global Journals Zbyněk Zbyslav Stránský’s Museological Impact on Spain