Efnisyfirlit

• Cover Page
• Half Title page
• Title Page
• Copyright Page
• Dedication
• Contents
• List of Figures
• List of Contributors
• 1 Museum Materialities Objects, sense and feeling
• The museum object and materiality
• Reconfiguring the museum object
• Engaging with objects in museums
• Self-evident materiality?
• Museum processes and sensory and emotional experience
• Subject—object distinctions
• Acknowledgements
• Notes
• References
• Part 1 Objects
• 2 Photographs and History Emotion and materiality
• Introduction
• Positionings
• Visual documents or bundled objects?
• Inside the museum
• Outside the museum
• Conclusion
• Acknowledgements
• Notes
• References
• 3 Remembering the Dead by Affecting the Living The case of a miniature model of Treblinka
• What is affect?
• The importance of the personal
• The impact of the miniature on the affective power of the model
• What then is the role of interpretation?
• Notes
• References
• 4 Touching the Buddha Encounters with a charismatic object
• Introduction
• The moment of contact
• Encounters: ‘idolatory, iconoclasm and co-option’
• Continuities in the biography of the Sultanganj Buddha
• Iconoclasm and the burial of the Sultanganj Buddha
• Idolatry and the resurrection of the Sultanganj Buddha
• Institutional co-option
• Echoes of earlier events
• ‘Idolatry’ and adoption
• Iconoclasm and ‘active repatriation’
• Mythology and polemic
• Unpacking charisma
• A human-like non-human
• Conclusion: the multiple sources of charisma
• Notes
• References
• 5 Contemporary Art An immaterial practice?
• Notes
• References
• 6 The Eyes Have It Eye movements and the debatable differences between original objects and reproductions
• Acknowledgments
• Notes
• References
• Part 2 Engagements
• 7 Experiencing Materiality in the Museum Artefacts re-made
• Intention
• The project
• Reflections
• References
• 8 Virginia Woolf’s Glasses Material encounters in the literary/artistic house museum
• Virginia Woolf’s glasses
• Painted cupboard, Vanessa Bell’s bedroom
• Dressing table, spare bedroom
• Notes
• References
• 9 When Ethnographies Enter Art Galleries
• The Animitas project
• Images as ethnographic depictions
• The making of ethnographic texts and images
• Exhibits and audiences
• Representing violence and audiences’ reactions
• Notes
• References
• 10 Engaging the Material World Object knowledge and Australian Journeys
• Re-discovering objects
• Object biography
• Object knowledge
• An object-centred exhibition
• Conclusion
• Note
• References
• 11 Watch Your Step Embodiment and encounter at Tate Modern
• Notes
• References
• 12 Reconsidering Digital Surrogates Toward a viewer-orientated model of the gallery experience
• Historical context
• Recasting the object/viewer paradigm: examples from information seeking theory
• Toward a theoretical model of the ‘gallery effect’
• The effect of physical space
• The effect of the five senses
• The effect of personal experience
• A viewer-oriented model of the gallery experience
• Final observations: viewer-orientation in the era of customized content
• Note
• References
• Part 3 Interpretations
• 13 Dancing Pot and Pregnant Jar? On ceramics, metaphors and creative labels
• Silent object
• Object as metaphor
• Creative Space at BCM
• A ‘biscuit for bisque’
• Looking with the mind’s eyes
• The object sings
• Writing creative labels
• Personal meanings vs. public interest
• Conclusion: working with communities
• Acknowledgements
• Note
• References
• 14 Myth, Memory and the Senses in the Churchill Museum
• History, memory and affect in museums
• National memory and the Second World War: 1940 — myth and history
• British national identity and Churchill
• Churchill’s image
• Churchill’s speeches
• The Churchill Museum
• Listening
• Image
• Conclusion
• Acknowledgements
• Notes
• References
• 15 Dreams and Wishes The multi-sensory museum space
• Introduction
• Making sense
• Language and emotion
• Objects and the dream theme
• African Worlds and ‘Inspiration Africa!’ at the Horniman Museum, London
• Dream cushions: at the museum/school frontiers
• Thinking of dreams away from the museum: school reflections
• Conclusion
• Notes
• References
• 16 Making Meaning Beyond Display
• Agents of change
• Artists and curators
• Storage stuff
• Openness to re-meaning
• Inter-artefactuality
• Interpretative communities
• The last tram
• Mutual understanding
• Iceboxes
• Acknowledgements
• Notes
• References
• 17 Authenticity and Object Relations in Contemporary Performance Art
• Acknowledgements
• References
• Afterword
• Towards a new paradigm for material culture
• Disjunctive interpretation
• Feelings across cultures
• References
• Index