Includes bibliographical references and index.

Part I Cross-disciplinary collaboration
1 Sketches for a methodology on exhibition research
Rethinking research and knowledge in times of an evolutionary crisis
The LAB
Background and layout
The "Hitler stone" and Grossraum
Challenges
multi-disciplinary exhibition research
Concluding remarks
Notes
References
2 Joining transdisciplinary forces to revive the past: Establishing a Viking Garden at the Natural History Museum, Oslo
Background
The idea
Garden on a ship in a garden: A multi-disciplinary process
The solution: The Viking time machine
Why a Viking Garden?
Challenges relating to the exhibit
Institutional challenges
Viking garden spin-offs
A platform for new research
Conclusions
Glossary
References
3 Ethnography, exhibition practices and undisciplined encounters: The generative work of amulets in London
Introduction: Ethnographic fieldwork and exhibition practices
Ethnography, representation and new museology revisited
The tragedy of representational ambitions
Making amulets: Materiality and collaboration
Undisciplined amulets: Setting free exhibition research
Acknowledgements
References
Part II Sensing knowledge
4 Exhibitions as philosophical carpentry: On object-oriented exhibition-making
Waking up inside an object
Amplifying the dark noise of objects
Philosophical carpentry and ontographical experiments
Philosophical carpentry in exhibition-making
The alien object in exhibition-making
Notes
References
5 Museum objects in the marketplace
Museum versus market as research
A need for attention
Why The Lagoon?
Museum meeting the market at The Lagoon. This is how we do it
the case
Interacting and observation
Objects
knowledge
value
Disparagement?
Materiality and things
Nature versus culture
Objects displayed with sales products
The visitor, collaboration and self-reflections
References
6 Exhibition-Making as aesthetic Inquiry
Introduction: Exhibition-making as "collapsology"
Rethinking the Museum of Cultural History
From "colonisation" to "COLLAPSE"
Exploring "collapse"
Workshop I: Material images of collapse
Workshop II: The board game
Workshop III: What's in a pattern?
"Collapsology"-in-the-making
Acknowledgements
Notes
References
7 Object-spaces?: Sensory engagements and museum experiments
Introduction
"Objects"
Displaying experiments
"Spaces"
Experimenting with display
Object-spaces?
Acknowledgements
Notes
References
Part III Collaborating with audiences
8 Exhibitions, engagement and provocation: From Future Animals to Guerilla Archaeology
Introduction
Future Animals
Outcomes
Interdisciplinary working
Creativity
Audience research
Back to the Future
Guerilla Archaeology
Guiding principles
Interdisciplinary teams and practices
Creative, provocative and playful interactions
Engaging young adult audiences
Stimulate new research
Guerilla Archaeology in action
Enquiry-led research
Exhibitions to action
Acknowledgements
References
9 Developing and promoting research in a museum thirdspace: Breaking barriers where people walk
In the museality of thirdspace
The well-known
a long story
The unknown
the humans and colonisation
Improvisations
the experimental process
Developing "Where people walk"
observations of "Meet the Researchers"
Step 1. Dialogues 1-3
Step 2. Participation
Step 3. Partnership and cooperation. Step 4. Dialogue 4
Reflective analyses of the outreach
Outcome of the project
changes in the Museum
Museum arrangement
Museum researcher and expert
Non-museum people
Conclusion
Notes
References
10 Visitor dialogue and participation as knowledge generating practices in exhibition work: What can museum experts learn from it?
Introduction
A backdrop: the sociological turn of science communication studies
The case of "The Laboratory"
"The Colonising Project" at NTNU
project plan and project organisation
"The Laboratory Room": a room but no laboratory
"The Laboratory" and its visitor workshops
Visitor workshop on nature management as knowledge generating practice
Experimental footmarks: "The Laboratory" and the final exhibition
Acknowledging new knowledge from a visitor participation experiment
Acknowledgements
Notes
References
11 How the exhibition became co-produced: Attunement and participatory ontologies for museums
The worlds of the day centres
A participatory ontology: methods of non-representation and of attunement
The exhibition becoming co-produced
Oral histories: editing and creating conditions for audiences to lean-in
A modest politics of potential: participatory ontologies for museums
Acknowledgements
References
Index

in English.