Curator: The Museum Journal最新文献

Museum workers have been conducting informal professional discourse on the Web for decades. Today, Reddit's “MuseumPros” is one such place where twenty-eight thousand individuals discuss the lived experiences of museum workers and develop collective actions, compare experiences in the sector, and strengthen professional networks by voicing their opinions, asking questions, seeking guidance, and sharing skills. As creators and moderators of MuseumPros, we have led this community from its inception by participating, mediating, and creating resources for the community. Broadly, this paper is an auto-ethnographic review which enables us to reflect upon this community and the values we instilled and to understand its uniqueness through its anonymity, diversity of voices, and methods of knowledge construction.

Audio description (AD) is an established part of museums' access programs for blind and partially blind (BPB) people. This paper explores the merits and caveats regarding “AD for all”, rolling out the provision for sighted people as well. It draws from four separate Access All Senses (AAS) events in three different London museums, each conducted under slightly different conditions. In addition to collecting nearly 100 audience feedback forms, this study has involved museum access staff, audio describers, and BPB art lovers. These events demonstrate that there is a demand among sighted people to include AD in museum tours as “guided looking”. The main concern regards the unintended consequences that could threaten the specific provision that BPB people need. A brief survey at the end offers examples of museum initiatives where AD is being rolled out while protecting these interests.

This essay locates the creation of the Bihar Museum within the context of emerging international and transnational aspirations, especially in the post-liberalization era, and the regional space of Bihar and its political economy. It argues that this positioning, where the museum is supposed to cater to both the regional and the transnational, or the local and the global, presents opportunities as well as challenges. In other words, the state's branding of its identity through the museum creates what James Clifford called the predicament of culture: a chronotopic imagination that speaks of both loss and revival. The essay posits that the new Bihar Museum creates an anticipation of a grand Bihari identity that seems imminent but is never fully realized.

Climate communication, including from museums, often advocates individual lifestyle changes, and while these are necessary, the biggest emissions reductions will come from the systemic transition to renewable energy sources. The importance of this systemic change and its attainability has been under-communicated in the public discourse, although bodies like the Intergovernmental Panel on Climate Change have increased their focus on it. We tested a message focusing on systemic aspects and actions that individuals can do to accelerate the renewable energy transition against a message advocating lifestyle change and a neutral message on the science of climate change. The neutral message elicited the highest levels of negative emotions, whereas the systemic message elicited higher levels of hope. These higher hope levels mediated increased behavioral intentions for doing the suggested system-aimed actions and for making lifestyle changes. Our results suggest that museums and climate communicators should prominently feature systemic aspects of climate change mitigation.

Agency is a central value within museums and science centers, but it has not been defined and operationalized in ways that can guide museum practice or support inclusion for new audiences. In this project, an interdepartmental group of science center staff co-created a conceptual framework for noticing and supporting visitors' agency. The framework includes four interconnected aspects of agency: physical environment, social engagement, choice and autonomy, and relevance and empowerment. Conceptualizing agency as multifaceted led to more expansive approaches for supporting it, allowing staff to move beyond open-endedness to consider a wider range of supports and structures that can make museum experiences more inviting and inclusive. The framework informed the development of practical tools for use by exhibit/program developers and facilitators. Tools are freely available and guide museum staff in questioning current practices and integrating the four facets of agency into planning, prototyping, and observation of interactive experiences.

This paper discusses using the concept map to study museum objects. The tool's original purpose, which was created in the 1970s by Joseph Novak, was to graphically represent the construction of knowledge of scientific topics by learners, particularly children. Concept maps start from the premise that new knowledge is always built on previous knowledge and allow the representation, organization, and relationship between concepts, which are seen as the primary elements of knowledge. Novak recognized that its potential is insufficiently explored and encouraged its application in different disciplines and fields that deal with concepts and their relationships. This incentive led the Museum of Astronomy and Related Sciences (Rio de Janeiro, Brazil) to adopt the concept map on an experimental basis to analyze objects in its collection. At first, the tool sought to emphasize the conceptual potential of museum objects and shed more light on their trajectory in time and space and the numerous possible connections with events, institutions, concepts, people, and other objects. In the initial experimental phase, the maps were included in papers presented at academic events and discussed with professionals dedicated to science and technology collections and other specialists in Museology and Information Science. In the second stage, maps began to be produced in greater numbers and on demand, focusing on objects selected for a temporary exhibition. Based on the assumption that museum objects are both unique and representative of a class of objects that share the same name and function, the maps constructed were based on Ingetraut Dahlberg's Theory of Concept, which distinguishes between general and individual objects and concepts.

This paper investigates how traumatic events are curated and narrated in the Nanjing Museum of the Site of Lijixiang Comfort Stations. Drawing on narrative therapy in museology, the paper offers a perspective for understanding and interpreting the narrative practice in public space. It follows the reconstruction of narrative structures through a variety of viewpoints, including spatial narratives, exhibition narratives, public engagement in response to traumatic memories, and the logical and emotional encounters in museums. Visitors' learning of traumatic experiences in the museum shows a kind of indissoluble connection, a type of empathetic mutual understanding, a kind of community engagement that contributed to the recovery, and a kind of responsibility to prevent such traumatic events from happening again.

As museum scholars and practitioners coming from quite different geographies and practicalities, we have chosen to focus on chattel slavery as an extreme form of incarceration in South Africa and the United States. In this essay we reflect on its legacies, referencing physical, psychological as well as cultural dimensions. We hold a mirror to power structures infected by commodification and violence as we examine the stories and tools of enslavement and refer particularly to the covert ways in which resistance was enacted. We bring a “sites of conscience” framework into the dialogue, believing that sites can be transformative tools for forging broader understandings both about what took place at these sites, and why it matters in the present. Our methods of engagement include mutual interviewing, based partially on autoethnographic reflection and, significantly, our own practices within museums and communities. Because of the organic nature of our dialogue, we present it as an essay rather than as a typical academic paper.