The Contemporary Museum | A collection of thoughts on, and experiments with, new technology in museums. Museum should reach out to all its citizens. THE National Museum of Australia on Acton Peninsula in Canberra was opened just over 10 years ago on March 11, 2001. For many people the dream of the museum has been realised only partially. Many see its short history only as a story of public controversy over frontier conflict. For many commentators the museum's building is the butt of architectural critique. The building has its enthusiasts and its detractors, but before the museum had a building it had legislation: the National Museum of Australia Act, framed in 1980.
If you read it, or any of the early planning documents about the museum, you will see that the focus was less on building an edifice than on building a collection. Ten years after opening the question facing the NMA remains: how can it best work in the national interest? A fundamental part of this is for the museum to make sense of some of the enduring stories that have contributed to our uniqueness and distinctiveness as a nation.
Apps. Academic writing. Health museums. Education. Events. Returning material. Dark tourism. The Ideas Festival. Scanner 3D May Save Vanishing Languages from Extinction | Huliq. The Institute is funding the research and development of a 3D optical scanner through a $507,233 interagency agreement with the Department of Energy’s Lawrence Berkeley National Laboratory (LBNL) announced Rep. Barbara Lee (D-CA) and IMLS Director Anne-Imelda Radice, Ph.D. Sept. 20. “This agreement underscores the federal commitment to making critical and irreplaceable collections held by the Phoebe A. Hearst Museum of Anthropology – and thousands of museums, libraries, and archives around the country – available to the widest possible audience while and respecting the sensitive nature of the recordings,” said Lee who represents Berkeley in the 9th Congressional District of California.
“The 2,700 wax cylinder recordings held by the Hearst museum are jewels in a treasure trove of early recordings that we hope will be rescued,” Radice said. Other rare recordings that would benefit from the technology include: Making Alternative Meaning out of Museum Artifacts. Seb Chan has a lovely, long interview up at Fresh+New with Helen Whitty about the Powerhouse Museum's new mini-exhibition, the Odditoreum. The Odditoreum is a temporary gallery for the summer school holiday in which the Powerhouse is displaying eighteen very odd objects alongside fanciful (and fictitious) labels written by children's book author Shaun Tan, schoolchildren, and visitors. The Odditoreum is another wrinkle in the study of visitors' understanding and interpretation of authenticity in museums.
That discussion has traditionally focused on visitors' ability to distinguish real artifacts from props and the question of whether an experience with a reproduction is lesser than, equivalent to, or superior to engaging with "the real thing. " But in the Odditoreum's case, it's not the object that's in doubt but the interpretation. The objects are real, the labels absurd. Here are a few design decisions I noticed that I think really add to the Odditoreum's success: No postcode but a wealth of history. UKMCG's Channel. International Association of Public Participation - IAP2 Australasia IAP2 Australia community consultation social. The cultural dividend.
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