Museum Theory

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Группа авторов. Museum Theory

Table of Contents

List of Illustrations

List of Illustrations

Guide

Pages

Museum Theory

LIST OF ILLUSTRATIONS. Color plate section

Chapter illustrations

EDITORS

GENERAL EDITORS

CONTRIBUTORS

ACKNOWLEDGMENTS

EDITORS’ PREFACE TO MUSEUM THEORY AND THE INTERNATIONAL HANDBOOKS IN MUSEUM STUDIES

INTRODUCTION: MUSEUM THEORY An Expanded Field

Background

Overview

Theoretical positioning

Emerging themes

Notes

References

1. THINKING (WITH) MUSEUMS. From Exhibitionary Complex to Governmental Assemblage

The perspective of the exhibitionary complex

Limitations of the exhibitionary complex

Museums as governmental assemblages

Conclusion

Notes

References

2. FOUCAULT AND THE MUSEUM

The discourse of the museum

Seeing and the power of the museum

Museum fragments and the space between saying and seeing

Conclusion: Seeing in the space of the already said

References

3. WHAT, OR WHERE, IS THE (MUSEUM) OBJECT? Colonial Encounters in Displayed Worlds of Things

Colonial encounters

The thing returns the gaze

Prosopopoeia: The object’s point of view

Notes

References

4. ANARCHICAL ARTIFACTS. Museums as Sites for Radical Otherness

The times are a-changing

Affect, not emotion

The museum as screen

Beyond the horizon

Theory behaving badly

References

5 (POST) CARTOGRAPHIC URGES. The Intersection of Museums and Tourism

Introduction: Being in Venice

Mobilities and performance

Embodiment

Materiality and mobility

Concluding remarks

Note

References

6. MUSEUMS, HUMAN RIGHTS, AND UNIVERSALISM RECONSIDERED

Universal museums

Declaration of Universal Museums (2002), human rights, and universalism

Human rights and museums

New human rights museums

The International Slavery Museum

Federation of International Human Rights Museums

Canadian Museum for Human Rights

Museums and human rights discourses in conflict

Conclusion: The particular and the universal – the international public sphere

Note

References

Further Reading

7. THE DEMOCRATIC HORIZONS OF THE MUSEUM. Citizenship and Culture

Horizons: Democracy, citizenship, participation. Democracy: Crisis and contestation

Versions of citizenship

Participation and museums

Museums and civic cultures. Civil society, voice, and visibility

Civic cultures: Six dimensions

Knowledge: New modes

Values: Anchored in the everyday

Trust: Optimal, horizontal

Spaces: Communicative contexts

Practices: Embodied agency and skills

Identities: Empowered collective agents

Museums and cultural citizenship. A critical note

The museum as a site for cultural citizenship

Civic museums

Note

References

8. MUSEUMS, ECOLOGY, CITIZENSHIP

Greener museums?

Back at the Design Museum

Philosophical dimensions/dementia

Political-economic issues

Conscripting museums

Environmental ripostes

Kicking back

Notes

References

9. REFLEXIVE MUSEOLOGY. Lost and Found

In theory

Into the Heart of Africa: A reflexive experiment

Canonization

Irony, postmodernism, and reflexivity

Exposing colonial museology and ideology

The artist as ironic trickster

Postcolonial reflexivity

Concluding remarks: Integrating reflexivity and practice

Notes

References

10. THE ART OF ANTHROPOLOGY. Questioning Contemporary Art in Ethnographic Display

The parallel epistemologies of contemporary art andethnographic artifacts

The aesthetics of new cultural museums

Institutional critique within the ethnographic museum

The freedom of the artist in the ethnographic museum?

Pasifika Styles

The Weltkulturen Museum

Art and assemblage in ethnographic museums

Conclusion

Acknowledgments

Notes

References

11. CHANGE AND CONTINUITY. Art Museums and the Reproductionof Art?Museumness

Transcending elitism: A contradictory desire

Merging art and culture: A bridge too far

Art museum without walls?

Conclusion

Note

References

12. COOL ART ON DISPLAY. The Saatchi phenomenn

“The Saatchi phenomenon” and neoliberalism

Newspeak: British Art Now

The cool capitalist shark

Coda: The capitalist pyramid

Notes

References

13. CONTENTIOUS POLITICS AND MUSEUMS AS CONTACT ZONES

Contentious politics and museums as contact zones

The Poor People’s Campaign: What kind of theory do we need?

What is a good theory?

Museums as contact zones: Toward a movement-relevant theory?

Contentious politics: The National Museum of African American History and Culture

Conclusion

Notes

References

14. EMOTIONS IN THE HISTORY MUSEUM

Emotions

Emotions in the museum

Museums, history, communities, collective identities, and emotions

Design as an emotional instrument

The use of media

Museums using objects for emotional effect

Narrative stories

Ethical considerations

Conclusion

Acknowledgments

Note

References

15. THE PRESENCE OF THE PAST. Imagination and Affect in the Museu do Oriente, Portugal

Museums and affect

Portuguese national identity and the empire

The Museu do Oriente

The Portuguese Presence in Asia

Captivating artifices

Utopian geographies

Elusive temporalities

Note

References

16. TOWARD A PEDAGOGY OF FEELING. Understanding How Museums Create a Space for Cross‐ Cultural Encounters

Genealogy

The significance of narrative structure

Conclusions

Note

References

17. THE LIQUID MUSEUM. New Institutional Ontologies for a Complex, Uncertain World

Dynamical forces and the liquid museum

Temporal reframing

Uncertainty

Complexity and nonlinearity

The transnationalizing effects of climate change andglobalization

Reworking the human and the social: Nature cultures

Becoming liquid

Museums as complex adaptive systems

The liquid museum: A strategic simplification

Museums as assemblage convertors

Conclusion

Note

References

18. THE DISPLACED LOCAL. Multiple Agency in the Building of Museums’ Ethnographic Collections

A brief revisionist perspective on the building of ethnographic collections

Reflecting back from Australia

Making Yolngu collections

Collections as distributed memory

A favorable conjunction of interests

Reflecting back

Baldwin Spencer

Alfred Haddon

The producers’ perspective

Conclusion

Acknowledgments

Notes

References

19. THE WORLD AS COLLECTED; OR, MUSEUM COLLECTIONS AS SITUATED MATERIALITIES

Zombies of anatomy

The other way around

Collections as situated materialities

Strategic omissions, hidden associations

The nation collected

Bodies of us and them as collected

Old and new worlds collected, or strategic resituatings

Acknowledgments

References

20. AMBIENT AESTHETICS. Altered Subjectivities in the New Museum

Cultures of distraction

The new museum

The Australian Centre for the Moving Image as “new”

The Screen Gallery

Ambient space

Play and pedagogy

Conclusion

References

21. MUSEUM ENCOUNTERS AND NARRATIVE ENGAGEMENTS

Background: Museums, visitors, and meanings

Theoretical framework: Interpretive engagements as narrative meanings

Translating theory into methodology: Narrative interviews at Te Papa

Stage one

Stage two

Stage three

Narrative engagements and cross–cultural meanings

Conclusion

Notes

References

22. THEORIZING MUSEUM AND HERITAGE VISITING

Heritage as a performance

Museums and the three Ls: Learning and lifelong learning

Methodology

Commemorating and learning a forgotten history: The 1807 bicentenary of the British abolition of the slave trade

Reinforcing and confirming: Museums and the performance of self

Conclusion

Acknowledgments

Notes

References

23. THE MUSEUM IN HIDING. Framing Conflict

Lyndell Brown and Charles Green. The museum in hiding

Amelia Barikin. Framing conflict

References

24. PRESERVING/SHAPING/CREATING. Museums and Public Memory in a Time of Loss

Museums in contemporary life

Preserving/shaping/creating the public memory of September 11

Note

References

25. SITES OF TRAUMA. Contemporary Collecting and Natural Disaster

The Victorian Bushfires Collection

Oral history, but more so

Forging change

Conclusion

Note

References

Index

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While not disagreeing with Bennett’s claim on the governmental nature of what a museum is, Hetherington’s contribution (Chapter 2) aims to complicate the story through a discussion of the limitations of the ways in which Foucault has been taken up within the new museology by pointing to a period in Foucault’s own writing in which he was concerned with the links between the discursive and the nondiscursive. Hetherington’s aim is to critique the limiting visions of two of the central ways in which Foucauldian thought has been taken up in discussions of the museum–Eilean Hooper-Greenhill’s notion of the museum as an institution concerned above all with the production of knowledge and Tony Bennett’s continued affiliation to Foucault’s theories on governmentality. Both, Hetherington argues, are narrow in their understanding of Foucault and miss out on Foucault’s own awareness, in the middle years of his work, of the tension between, as well as the entanglement of, discursive and nondiscursive forms of the production of meaning.

In many ways, Hetherington’s critique is a useful entry into one of the key questions motivating a significant number of our contributors–the need to understand museum experiences as involving nondiscursive modes of knowledge production. Thus we have a number of contributions concerned with identifying and discussing what is variously called emotion, feelings, and affect, which lead us to wonder whether we could identify a third phase of the new museology. If so, we think that the word “feeling” might well encapsulate what it might be about, as opposed to the word “meaning,” which was so important in the second wave described by Macdonald (2006; also see Phillips 2005 on the “second museum age”). While contributions differ in their response to questions including whether or not affect is different from emotion, whether or not its effects connect with reason, and whether or not they contribute to the governmental effects of museums, all of these contributors are concerned with discussing the significance of the nondiscursive for the ways in which we understand the work of museums and the experience of visitors while in them.

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