The muse, as well as the Museum is in all part, of diverse form and it does not need being materialized to be considered. In ' ' Museologia and Museu' ' the Museologia confirms as the study of the idea of Museum that assumes diverse meanings depending on the social reality that shelters it therefore each one of them if it not only differentiates of the others for the language but for the moral customs, values and a series of factors that give to each one of them the badge of ' ' exclusividade' '. That is, each society has the prerogative to construct its proper reality, its auto-narrative, being it mirror of its proper truths. The Museologia values in such a way what it is material how much the incorporeal one and to contemplate all they, appears the museolgicas sources: Traditional museum, Museum of Territory, Virtual Museum and the Global Museum. Scheiner detaches some of the theoretical beddings of the Museologia, namely: Recognition of its plural character; Perception of the existence of a Process; Understanding of the intrinsic Freedom; Study of the intrinsic processes related. How much to the trajectory the Museum can be: Territory, open space or construction; Furniture or property; Intellectual space of creation and production of culture; Space of exploration, experimentation and inquiry; Preservation of registers of the memory human being and the planet. Soon, the Museum can be in a psychic sphere, an extra physical place or intramuros, in a screen of computer, where it lives the virtual or same exclusiveness in the beliefs and rites of a people.

In a language technique they can be called Traditional Museum, Integral Museum, Virtual Museum, Metamuseu, fitting to the Museologia to understand these manifestations and to organize them, not necessarily of physical form. In ' ' Museum as Process: Contemporneos&#039 challenges; ' Scheiner assures that the contemporaneidade brings obtains a bigger easiness in dealing with the phenomenon Museum as Process (the Museum is not, but it is being). in this process we can act as agents and not more than form passive, as the old version of in the same ones that we see, but we do not influence. To follow, established in the evolution of the technology, it detaches the virtual museum as the expression of infinite possibilities, and where inhabits it harnesses it greater of the museum contemporary where if alternating change and permanence of unusual forms. The museum today is Imagtica that holds back and modifies the registers of the Real, creating in us the illusion of that we dominate our souvenirs and that we are capable to manipulate the memory in such a way as Product how much as Process. However, although the coexistence of the diverse types of expression of what it is Museum today, we must be positively prepared for the assertive one of that, together with the evolution of the individual and social beings, the technologies, science and all the mechanisms that today we have as familiar, will appear renewed paradigms that will be always the representative result of the period of training of evolution the one that all irremediably we are submitted, also bringing new forms to think the life and, therefore, what it will /ser museal.