Museum Media

1 Cover

2 Title page Museum Media Edited by Michelle Henning General Editors Sharon Macdonald and Helen Rees Leahy

3 Copyright

4 LIST OF ILLUSTRATIONS

5 EDITOR

6 GENERAL EDITORS

7 CONTRIBUTORS

8 ACKNOWLEDGMENTS

9 GENERAL EDITORS’ PREFACE TO MUSEUM STUDIES AND THE INTERNATIONAL HANDBOOKS OF MUSEUM STUDIES

10 MUSEUM MEDIA An Introduction

11 PART I: The Museum as Medium 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

12 PART II: Mediation and Immersion 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 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 Museums, commerce, and atmosphere 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

13 PART III: Design and Curating in the Media Age 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 Museums as zones of stability in representing the present Scenography as the creation of performative spaces The practical realm: Stapferhaus Lenzburg 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 Exploring tangibles at Sheffield General Cemetery Discussion and Conclusions Acknowledgments Notes References

14 PART IV: Extending the Museum 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 “From we do the talking, to we help you do the talking” Are we there yet? Finding the participant in the mobile experience Museum mission and the mobile economy 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

15 INDEX

16 End User License Agreement

1 Chapter 1FIGURE 1.1 “Who Built the Internet?” display at the National Media Museum, Bradf...FIGURE 1.2 8 mm film cameras in storage at the National Media Museum.

2 Chapter 2FIGURE 2.1 Roman Ondák, Snapshots from Baghdad, 2007. Single use camera with und...FIGURE 2.2 Melik Ohanian, Invisible Film, 2005, video projection, 90 minutes. (F...FIGURE 2.3 Julien Maire, Exploding Camera, 2007, exhibited in the Persistence of...FIGURE 2.4 A precursor to the “Big Picture Show,” main exhibition hall, Imperial...