Оглавление
Группа авторов. Museum Media
Table of Contents
List of Illustrations
Guide
Pages
Museum Media
LIST OF ILLUSTRATIONS. Color plate section
Chapter illustrations
EDITOR
GENERAL EDITORS
CONTRIBUTORS
ACKNOWLEDGMENTS
GENERAL EDITORS’ PREFACE TO MUSEUM STUDIES AND THE INTERNATIONAL HANDBOOKS OF MUSEUM STUDIES. Museum Media
The International Handbooks in Museum Studies
Diversification and democratization
Disciplinarity and methodology
Organization of the International Handbooks
Acknowledgments
MUSEUM MEDIA An Introduction
Changing times
Mediazation and transmediation
Bringing things to life
Atmospheres of display
Reinventing exhibition space
Audience participation
New roles
Media objects
Notes
References
1. MUSEUMS AND MEDIA ARCHAEOLOGY. An Interview with Wolfgang Ernst
Acknowledgments
Notes
References
2. MEDIA ARCHAEOLOGY OF/IN THE MUSEUM
Media archaeology and the memory booms
“The persistence of vision”
The “Big Picture Show,” Imperial War Museum North
Conclusion
Notes
References
3. MUSEUMS AND THE CHALLENGE OF TRANSMEDIATION. The Case of Bristol’s Wildwalk
Wildwalk and the NHU’s blue-chip wildlife documentaries
Wildwalk and the “new zoos”
Wildwalk as a hybrid museum
Conclusions
Notes
References
4. MEDIATIZED MEMORY. Video Testimonies in Museums
Video testimonies: Communicative memory as cultural memory
The mediatization of the witness to history
Turning video testimonies into museum objects
Turning communicative memory into cultural memory
Exhibiting video testimonies
Video testimonies as didactic means
Conclusion
Notes
References
5. VISIBLE AND INVISIBLE INSTITUTIONS. Cinema in the French Art Museum
Film studies beyond the cinema, museum studies through the screen: An overview
Setting the scene: Cinema and/in the French art museum
Cinema and curatorship: Cinema and the twenty-first-century French art museum
Cinematic rifts: Institutional tensions in the twenty-first-century French art museum
Concluding thoughts
Notes
References
6. THE MUSEUM AS TV PRODUCER. Televisual Form in Curating, Commissioning, and Public Programming
The era of expansion: Television at Long Beach Museum of Art
Television and “new institutions”
Art museums after the age of television
Broadcast form in public programming
Television production and contemporary art commissioning
Conclusion: Coproduction, partnership, and publicity
Acknowledgments
Notes
References
7. SIMKNOWLEDGE. What Museums Can Learn from Video Games
Prehistoric simulation: The case of Walking with Dinosaurs
Video games: Beyond the interactive database
Simulacral knowledge
Notes
References
Further Reading
8. THE LIFE OF THINGS
The values of originating communities
The power of touch
The power of touch exemplified: Time to Hope
Variable lives
Acknowledgments
Notes
References
9. LIGHTING PRACTICES IN ART GALLERIES AND EXHIBITION SPACES, 1750–1850
Patrician top lighting and sculpture galleries
Patrician top lighting and picture galleries
Royal Academy
National Gallery
Artificial light: Education in museums and galleries
Artificial light in commercial exhibition spaces
Artificial illumination in private collections
Thomas Hope
Sir John Soane
Sir John Fleming Leicester’s gallery and Thomas Gainsborough’s Cottage Door
Artists’ studios and galleries
Notes
References
Further Reading
10. THERE’S SOMETHING IN THE AIR. Sound in the Museum
The mediumship of sound
Sound art
Politics of sound
Affective spaces
References
Further Reading
11. AESTHETICS AND ATMOSPHERE IN MUSEUMS. A Critical Marketing Perspective
The aesthetic economy and atmospheres
Marketing research on retail space and atmospheres
A critical marketing approach
Museums, commerce, and atmosphere
Challenging atmospheres
The pragmatic aesthetics of museum visiting
Conclusion
Notes
References
12. MUSEUMS, INTERACTIVITY, AND THE TASKS OF “EXHIBITION ANTHROPOLOGY”
Freedom, control, and confusion in the art museum
To touch or not to touch?
Museums and the challenge of the smartphone
The tasks of exhibition anthropology
Notes
References
13. KEEPING OBJECTS LIVE
“May God keep us safe”
Killing off exhibits
Location, use, and museum scripts
In the company of witches
Clutter, unseen occupants, and life elsewhere
Feeling for “life”
Notes
References
14. TOTAL MEDIA
Museums in the context of placemaking
Working from the inside out
The emergence and context of the designer’s craft and the influence of film and theater
Interactivity, digital media, objects, and audiences
Notes
References
15. FROM OBJECT TO ENVIRONMENT. The Recent History of Exhibitions in Germany and Austria
Museum exhibitions: Classification and chronology
Stagings of the 1980s: The exhibition as montage and essay
Immersion and reflection: Developments from the spirit of the 1980s
Notes
References
16. MUSEUMS AS SPACES OF THE PRESENT. The Case for Social Scenography
Please touch
Social scenography: Approaches to the concept. Touch versus don’t touch
Static work versus performative, ephemeral work
Space versus place
Visitor-observer versus visitor-actor
White cube versus laboratory
Museums as zones of stability in representing the present
Scenography as the creation of performative spaces
The practical realm: Stapferhaus Lenzburg
Method 1: Personalization
Method 2: Self-questioning
Method 3: Participation
Method 4: Dialogic interaction
Method 5: Exposure
What can social scenography achieve?
References
17 (DIS)PLAYING THE MUSEUM. Artifacts, Visitors, Embodiment, and Mediality
Back and forth: Encoding, decoding, recoding
What kind of museum is at stake? What kind of knowledge? What kind of learning?
Conclusions: What kind of medium is the museum?
Notes
References
18. TRANSFORMING THE NATURAL HISTORY MUSEUM IN LONDON. Isotype and the New Exhibition Scheme
The origins and definition of the transformer
A need for change
The development of the New Exhibition Scheme
The Hall of Human Biology
The influence and legacy of Isotype at the Natural History Museum
Conclusion
Acknowledgment
Notes
References
Further Reading
19. EMBODIMENT AND PLACE EXPERIENCE IN HERITAGE TECHNOLOGY DESIGN
Designing for embodied and emplaced heritage experiences
Outdoor heritage sites: Offering possibilities for novel interactions
“Reminisce” at Bunratty Folk Park
Developing design scenarios
The “Reminisce” prototype
Exploring tangibles at Sheffield General Cemetery
Field studies and workshop
Prototypes
Discussion and Conclusions
Acknowledgments
Notes
References
20. OPEN AND CLOSED SYSTEMS. New Media Art in Museums and Galleries
Time and space
Interaction, and the participatory turn
Audience contributions to documentation
Audience contributions to art
Audience as curators?
Conclusions: Systems of museum media
Notes
References
21. DIFFUSED MUSEUMS. Networked, Augmented, and Self-Organized Collections
Not Here
The .museum (“Dot’s not a museum!”)
The vernacular museum
The Variable Museum
The self-organized museum
The disappearing museum
Conclusion
Notes
References
22. MOBILE IN MUSEUMS. From Interpretation to Conversation
The museum as distributed network
The multiplatform museum model
The distributed network model
“From we do the talking, to we help you do the talking”
Accessibility, relevance, and accountability
Quality
Sustainability
Location, location, location
Are we there yet? Finding the participant in the mobile experience
“Recruiting the world”
In the beginning: Early soundtracks and soundbites
“People say interesting things, and they say them in interesting ways”
“There is no such thing as a visitor”
Museum mission and the mobile economy
The value is in the network
Becoming a sustainable, radical mobile museum
Notes
References
Further Reading
23. MOVING OUT. Museums, Mobility, and Urban Spaces
Transdiscursive spaces and the mobile mise-en-scène: The Recovery of Discovery
Corporate museums and cultural zones: BMW Welt and Leeum Samsung Museum of Art
Boundary zones
Social activism and collaboration
Conceptual spaces
Mapping the mobile museum
Notes
References
Further Reading
24. BEYOND THE GLASS CASE. Museums as Playgrounds for Replication
Skirting the museum: A skirmish and a scrimshander
Museums as playgrounds
Re-enactment as experimental play
Mimetic pursuits: Copying as a competitive force
Objections to the playful museum
Things happening: Museum artifacts provoking play and emulation
The return to curiosity, scrimshawing, and play: Huizinga revisited
Museums as permeable playgrounds
Acknowledgments
Notes
References
25. WITH AND WITHOUT WALLS. Photographic Reproduction and the Art Museum
The cult of originality
Forms of attention
The invention of facture
Style
The play of images
Notes
References
26. THE ELASTIC MUSEUM. Cinema Within and Beyond
The expanded museum
The condensed museum
Conclusion
Notes
References
Further Reading
INDEX
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