The Power Of Touch Handling Objects In Museum And Heritage Context
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The Power of Touch
Despite the fact that we have a range of senses with which to perceive the world around us, museums and other cultural institutions have traditionally used sight as the main way to convey information. In everyday life, though, we use touch constantly in conjunction with sight. Why, then, does it play so small a role in the study and enjoyment of museum objects? Contributors to this volume explore how the sense of touch can be utilized in cultural institutions to facilitate understanding and learning.
Museums, Refugees and Communities
Museums, Refugees and Communities explores the ways in which museums in Germany, The Netherlands and the UK have responded to the complexities and ethical dilemmas involved in discussing the reasons for, and issues surrounding, contemporary refugee displacements. Building upon an ethnographic study carried out in the UK with refugees from the Democratic Republic of Congo, the book explores how object-led approaches can inspire new ways of thinking about and analysing refugees’ experiences and European museums’ work with their communities. Enlarging the developing body of research on museums’ increasing engagement with human rights and focusing in particular on the social, cultural and practical dimensions of community engagement practices with refugees, the book also aims to inform growing debates on museums as sites of activism. Museums, Refugees and Communities offers an innovative and interdisciplinary examination of museum work with and about refugees. As such, it should appeal to researchers, academics and students engaged in the study of museums, heritage, migration, ethics, community engagement, culture, sociology and anthropology.
Exhibiting Craft and Design
Exhibiting Craft and Design: Transgressing the White Cube Paradigm, 1930–present investigates the ways that craft and design objects were collected, displayed, and interpreted throughout the second half of the twentieth century and in recent years. The case studies discussed in this volume explain the notion the neutral display space had worked with, challenged, distorted, or assisted in conveying the ideas of the exhibitions in question. In various ways the essays included in this volume analyse and investigate strategies to facilitate interaction amongst craft and design objects, their audiences, exhibiting bodies, and the makers. Using both historical examples from the middle of the twentieth century and contemporary trends, the authors create a dialogue that investigates the different uses of and challenges to the White Cube paradigm of space organization.