| 000 -LEADER |
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| fixed length control field |
05523nam a22002417a 4500 |
| 003 - CONTROL NUMBER IDENTIFIER |
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| control field |
NMP |
| 005 - DATE AND TIME OF LATEST TRANSACTION |
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| control field |
20240215111530.0 |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION |
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| fixed length control field |
240215b ph ||||| |||| 00| 0 eng d |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER |
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| International Standard Book Number |
9781138646063 (hardback : alk. paper) |
| 040 ## - CATALOGING SOURCE |
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| Transcribing agency |
NMP LIBRARY |
| 050 00 - LIBRARY OF CONGRESS CALL NUMBER |
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| Classification number |
AM 151 |
| Item number |
E94 2020 |
| 245 10 - TITLE STATEMENT |
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| Title |
Exhibitions as research : |
| Remainder of title |
experimental methods in museums / |
| Statement of responsibility, etc. |
edited by Peter Bjerregaard. |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. |
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| Place of publication, distribution, etc. |
Abingdon, Oxon ; |
| -- |
New York, NY : |
| Name of publisher, distributor, etc. |
Routledge ; |
| -- |
Taylor & Francis Group, |
| Date of publication, distribution, etc. |
2020. |
| 300 ## - PHYSICAL DESCRIPTION |
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| Extent |
xi, 197 pages : |
| Other physical details |
illustrations (some color), map ; |
| Dimensions |
26 cm. |
| 490 0# - SERIES STATEMENT |
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| Series statement |
Routledge research in museum studies ; |
| Volume/sequential designation |
29 |
| 504 ## - BIBLIOGRAPHY, ETC. NOTE |
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| Bibliography, etc. note |
Includes bibliographical references and index. |
| 505 ## - FORMATTED CONTENTS NOTE |
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| Formatted contents note |
Part I Cross-disciplinary collaboration<br/>1 Sketches for a methodology on exhibition research<br/>Rethinking research and knowledge in times of an evolutionary crisis<br/>The LAB<br/>Background and layout<br/>The "Hitler stone" and Grossraum<br/>Challenges<br/>multi-disciplinary exhibition research<br/>Concluding remarks<br/>Notes<br/>References<br/>2 Joining transdisciplinary forces to revive the past: Establishing a Viking Garden at the Natural History Museum, Oslo<br/>Background<br/>The idea<br/>Garden on a ship in a garden: A multi-disciplinary process<br/>The solution: The Viking time machine<br/>Why a Viking Garden?<br/>Challenges relating to the exhibit<br/>Institutional challenges<br/>Viking garden spin-offs<br/>A platform for new research<br/>Conclusions<br/>Glossary<br/>References<br/>3 Ethnography, exhibition practices and undisciplined encounters: The generative work of amulets in London<br/>Introduction: Ethnographic fieldwork and exhibition practices<br/>Ethnography, representation and new museology revisited<br/>The tragedy of representational ambitions<br/>Making amulets: Materiality and collaboration<br/>Undisciplined amulets: Setting free exhibition research<br/>Acknowledgements<br/>References<br/>Part II Sensing knowledge<br/>4 Exhibitions as philosophical carpentry: On object-oriented exhibition-making<br/>Waking up inside an object<br/>Amplifying the dark noise of objects<br/>Philosophical carpentry and ontographical experiments<br/>Philosophical carpentry in exhibition-making<br/>The alien object in exhibition-making<br/>Notes<br/>References<br/>5 Museum objects in the marketplace<br/>Museum versus market as research<br/>A need for attention<br/>Why The Lagoon?<br/>Museum meeting the market at The Lagoon. This is how we do it<br/>the case<br/>Interacting and observation<br/>Objects<br/>knowledge<br/>value<br/>Disparagement?<br/>Materiality and things<br/>Nature versus culture<br/>Objects displayed with sales products<br/>The visitor, collaboration and self-reflections<br/>References<br/>6 Exhibition-Making as aesthetic Inquiry<br/>Introduction: Exhibition-making as "collapsology"<br/>Rethinking the Museum of Cultural History<br/>From "colonisation" to "COLLAPSE"<br/>Exploring "collapse"<br/>Workshop I: Material images of collapse<br/>Workshop II: The board game<br/>Workshop III: What's in a pattern?<br/>"Collapsology"-in-the-making<br/>Acknowledgements<br/>Notes<br/>References<br/>7 Object-spaces?: Sensory engagements and museum experiments<br/>Introduction<br/>"Objects"<br/>Displaying experiments<br/>"Spaces"<br/>Experimenting with display<br/>Object-spaces?<br/>Acknowledgements<br/>Notes<br/>References<br/>Part III Collaborating with audiences<br/>8 Exhibitions, engagement and provocation: From Future Animals to Guerilla Archaeology<br/>Introduction<br/>Future Animals<br/>Outcomes<br/>Interdisciplinary working<br/>Creativity<br/>Audience research<br/>Back to the Future<br/>Guerilla Archaeology<br/>Guiding principles<br/>Interdisciplinary teams and practices<br/>Creative, provocative and playful interactions<br/>Engaging young adult audiences<br/>Stimulate new research<br/>Guerilla Archaeology in action<br/>Enquiry-led research<br/>Exhibitions to action<br/>Acknowledgements<br/>References<br/>9 Developing and promoting research in a museum thirdspace: Breaking barriers where people walk<br/>In the museality of thirdspace<br/>The well-known<br/>a long story<br/>The unknown<br/>the humans and colonisation<br/>Improvisations<br/>the experimental process<br/>Developing "Where people walk"<br/>observations of "Meet the Researchers"<br/>Step 1. Dialogues 1-3<br/>Step 2. Participation<br/>Step 3. Partnership and cooperation. Step 4. Dialogue 4<br/>Reflective analyses of the outreach<br/>Outcome of the project<br/>changes in the Museum<br/>Museum arrangement<br/>Museum researcher and expert<br/>Non-museum people<br/>Conclusion<br/>Notes<br/>References<br/>10 Visitor dialogue and participation as knowledge generating practices in exhibition work: What can museum experts learn from it?<br/>Introduction<br/>A backdrop: the sociological turn of science communication studies<br/>The case of "The Laboratory"<br/>"The Colonising Project" at NTNU<br/>project plan and project organisation<br/>"The Laboratory Room": a room but no laboratory<br/>"The Laboratory" and its visitor workshops<br/>Visitor workshop on nature management as knowledge generating practice<br/>Experimental footmarks: "The Laboratory" and the final exhibition<br/>Acknowledging new knowledge from a visitor participation experiment<br/>Acknowledgements<br/>Notes<br/>References<br/>11 How the exhibition became co-produced: Attunement and participatory ontologies for museums<br/>The worlds of the day centres<br/>A participatory ontology: methods of non-representation and of attunement<br/>The exhibition becoming co-produced<br/>Oral histories: editing and creating conditions for audiences to lean-in<br/>A modest politics of potential: participatory ontologies for museums<br/>Acknowledgements<br/>References<br/>Index |
| 546 ## - LANGUAGE NOTE |
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| Language note |
in English. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
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| Topical term or geographic name entry element |
Museum exhibits |
| General subdivision |
Planning. |
| 650 #0 - SUBJECT ADDED ENTRY--TOPICAL TERM |
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| Topical term or geographic name entry element |
Museum buildings |
| General subdivision |
Designs and plans. |
| 700 1# - ADDED ENTRY--PERSONAL NAME |
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| Personal name |
Bjerregaard, Peter. |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) |
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| Source of classification or shelving scheme |
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| Koha item type |
Books |
| Suppress in OPAC |
No |