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2006/2 Abstracts

From Nordisk Museologi 2006/2, Abstract pp. 3-26


Title: The Gulag - between the duty to remember and the right to oblivion.

Abstract: Even though the terror regimes in Nazi Germany and Soviet Russia both resulted in many millions of victims, the commemorisation of these events are vastly different. There are plenty of memorials on the sites of German concentration camps, and new ones are continually added. In Russia, however, there are but few scattered memorials and only two Gulag sites — in Solovki and in Perm — with small museums that show conditions in the camps, while there are no national monuments nor a national museum on the subject. Almost all memorialisation projects, such as local collections and exhibitions, have been initiated by the Memorial Society or private individuals. Despite considerable difficulties, some projects are nevertheless being worked out, including the Gulag Museum in the Siberian city of Norilsk.

Key words: Gulag, Memory; monument, mourning, museum, oblivion.

*Marc Maure, museumsrådgiver, utstillingspro-dusent, styremedlem ICOFOM.

Address: Skarvaveien 95, 1350 Lommedalen, Norge. +4792 61 5709.
E-mail: museo@online.no

From Nordisk Museologi 2006/2, Abstract pp. 27-44


Title: The "canonisation" of the natural sciences.

Abstract: This paper concerns recent official attempts to place science in Denmark within the context of a cultural canon. Based on differentiation between Mode 1 and 2 knowledge production, the paper points out that such attempts are highly contextualised and contingent on their different modes of application. Consequently, they entangle scientific expertise with other social skills and qualifications. Like science museums and science centres, they are a means of dealing with science in the public agora, i.e. the public sphere in which negotiations, mediations, consultations and contestations regarding science increasingly take place. Analysing the ambiguities and uncertainties associated with the recent official placing of science within an overall cultural canon for Denmark, this paper concludes that even though the agora embodies antagonistic forms of interaction, it might also lead the way to producing socially robust knowledge about science.

Keywords: Cultural canon, science, Mode 1 and 2 knowledge production, Mode 2 society, agora, science museums, science centres.

*Kristian Hvidtfelt Nielsen, post.doc. at the Steno Department of Studies of Science and Science Education, University of Aarhus.

Address: Steno Department, Ny Munkegade, DK-8000 Aarhus C, Denmark.
E-mail: khn@si.au.dk

From Nordisk Museologi 2006/2, Abstract pp. 45-62


Title: Securing the cultural heritage associated with military history in Denmark.

Abstract: Securing the cultural heritage is one of the primary tasks of a museum of cultural history. However, this aspect of these museums' work rarely attracts attention nor is it subject to any substantial professional debate, despite it being of critical importance for a museums future opportunities for development. Since the 1990s, the cultural heritage work done at the National Museum of Military History in Denmark has moved from an object-oriented positivistic perspective to a research-based, problem-oriented and constructivist perspective, as well as moving to conducting active, research-based collecting. This article surveys this process of change and argues for the necessity of departing from ideas that are characteristic of 19th-century museum ideals.
The overall conclusion is that collecting should always be conducted as a response to a carefully considered problem that is based on a relevant research issue. This article accounts for the model chosen by the National Museum of Military History.

Keywords: Cultural heritage, collection, military history, research, research-based collecting, The Royal Danish Arsenal Museum, Danish National Museum of Military History.

*Jens Ole Christensen, museumsinspektør ved Statens Forsvarshistoriske Museum / Tøjhusmuseet siden 1991. Cand. phil. i historie 1989, ph.d. 1997, seniorforsker 2006. Arbejder primært med forsknings- og indsamlingsopgaver samt nye permanente udstillinger på Tøjhusmuseet.

Address: Jens Ole Christensen, Statens Forsvars-historiske Museum, Frederiksholms Kanal 29, 1220 København K.
E-mail:joc@thm.dk. www.sfhm.dkwww.sfhm.dk

From Nordisk Museologi 2006/2, Abstract pp. 63-82


Title: A new concept for presenting the artist J. E Willumsen - "Sensation and Thinking".

Abstract: In conjunction with the building of a new wing for The Danish J.F Willumsen Museum, Frederikssund, inaugurated in 2005, a new concept for the exhibition was prepared. The development of the new programme was based on several different considerations related to the collection and to current research in art perception, as well as to modern art fora in which the spectator actually becomes a part of the work of art. Many different introductions to the works were thus prepared, in which the spectator becomes involved in a range of different ways. In addition, all the new exhibition rooms were designed for a specific purpose and arranged completely differently as regards both subjects and the substances used. For example, the Room for Meditation, with three monumental paintings depicting ].F. Willumsen's death and resurrection, invites the spectator to reflect a while in spiritual peace. The artist's working process are made accessible, so it becomes possible to follow the difficulties, the stepping stones, the inspirations and the experiments he encountered. In order to ensure spectators the best possible opportunity to sense the art works, there is no texted signage on the walls. Only afterwards can the spectator read the relevant information, often including Willumsens own notes and letters. This is because it makes more sense to read the artist's own reflections than any curator's subsequent interpretation.

Keywords: Communication between the art work and the spectator, activating the guests, the artistic process, art works from the "bottom" of the archives, many different accessions and artistic working methods.

*Leila Krogh holds a Ph.D. in art history from The University of Copenhagen, and she did part of her graduate studies at Columbia University, New York in 1967-68. From 1973 to 2006 she was director of The J.F. Willumsen Museum in Frederikssund, with a break from 1990 to 1992, when she served as chairman for The Committee for Visual Arts at The Danish Art Foundation. Leila Krogh has written about the art of J.F. Willumsen and his collection, on museology subjects and site-specific art in public places in Denmark

Address: J.F. Willumsens Museum, Jenriksvej 4, 3600 Frederikssund.
Phone: +454731 0773.
Site: www.jfwillumsensmuseum.dk
E-mail: jfwmus@frederikssund.dk

From Nordisk Museologi 2006/2, Abstract pp. 83-96


Abstract: This article is concerned with visual elements of exhibition design in cultural history museums and the way they produce meanings. The aim is to open up and analyze the process of constructing meanings from a visual point of view. Examples are chosen from the authors own artistic museum installations, which act as test spaces in the research. Cultural history museums can act as a treasure box for artistic work, and vice versa, contemporary art and design can give valuable tools for display habits in cultural history museums.

Keywords: Exhibition design, atmosphere, museum meanings, artistic practices.

*Outi Turpeinen DA (Doctor of Arts), researcher, teacher and artist, School of Visual Culture, University of Art and Design, Helsinki, Finland, www.uiah.fi/-oturpein

Address: School of Visual Culture, University of Art and Design, Hämeentie 135 C, 00560 Helsinki, Finland, +358-40-5387079.
E-mail: oturpein@uiah.fi

From Nordisk Museologi 2006/2, Abstract pp. 97-114


Abstract: Complicated technical museum objects differs greatly from traditional museum objects. This article tests both the museological concepts of authenticity and originality and the concepts of conceptual, factual and actual identity with two aircraft in the collections of the Aviation Museum of Central Finland. The main issue is how these concepts may help to solve some problems of conservation, restoration and presentation. This article is an translated and slightly edited excerpt of the PhD thesis "Tavallisesta kuriositeetiksi — Kahden Keski-Suomen Il-mailumuseon Messerschmitt Bf 109 — lentokoneen museoarvo (From Commonplace to Curiosity — the Museum Value of two Messerschmitt Bf 109 Aircraft of the Aviation Museum of Central Finland"), examined in the University of Jyväskylä, Finland, on March 24, 2006.

Keywords: Aircraft, authenticity, originality, conceptual identity, factual identity, actual identity, conservation, restoration.

*Hannu Valtonen is a retired Lt. Col from the Finnish Air Force and a retired Director of the Aviation Museum of Central Finland. He is the first Finnish PhD of Museology.
Email: hannu.valtonen@kolumbus.fi

From Nordisk Museologi 2006/2, Abstract pp. 115-119


Title: Art and the natural sciences under the same roof.

Abstract: In the fall of 2006, the Steno Museum (Aarhus, Denmark) exhibited the installation Room One created by the American artist Rosamond Purcell. This installation consists of a full-size model of Museum Wormianum, the Danish physician Ole Worm's curiosity cabinet, dating from the 17th century. This is a work of art —yet it depicts a naturalist's laboratory. When one adds that it has also been called the first museum in Denmark, it seemed an obvious step to make the artwork the occasion of a symposium on the relationship between art, science and museums. At this symposium, the artist, along with a number of science historians and museum curators, discussed the definitions of art and science then and now, and spoke about the attempts to transcend the disciplinary boundaries that take place within the museums. Different ways of exhibiting were brought into focus, and Purcell s installation formed the basis for many interesting discussions about the museum as a place of learning and of aesthetic experience.

Keywords: Art, natural sciences, Ole Worm, interdisciplinary fields, museum, Room One, classification.

*Hanne Teglhus er museumsinspektør, ekstern lektor, mag.art. på Steno Museet og Center for Museologi, Aarhus Universitet.

Address: C. F. Møllers Allé, bygning 1100, 8000 Århus C.
E-mail: hanne.teglhus@si.au.dk

*Mette Kia Krabbe Meyer er ph. d., museumsinspektør på Steno Museet, Aarhus Universitet.

Address: C. F. Møllers Allé, bygning 1100, 8000 Århus C.
Privatadresse: Gothersgade 161, 3. th. 1123 København K.
E-mail: mette.kia@si.au.dk

From Nordisk Museologi 2006/2, Abstract pp. 120-125


Title: The 21st North Norwegian museum seminar in Tromsø was a process of self-examination.

Abstract: What are the museums doing? Do people really learn from museum collections or are the inherent restrictions so stringent that these collections are by nature unable to impart new knowledge and understanding? A reform of the Norwegian museum world has taken place in recent years — what methods can we now use to make our exhibitions more interesting?
The many small museums in northern Norway have tried to put on new exhibitions in order to support learning, debate and experience. But why don't we try to evaluate the methods used thus far and to analyse both our audience's understanding of new exhibitions and how they react to these? That might point our museums in new directions, so that they became more self-critical in future.

Keywords: Hands on, strict preservations, dialog/monolog, wide audience /small target groups.

*Gerd Johanne Valen var fra 1996 prosjektleder og museumsbestyrer for Gjenreisningsmuseet for Finnmark og Nord-Troms og hadde ansvaret for at det nye museet i Hammerfest ble åpnet for publikum i juni 1998. Fra 2003 var hun prosjektleder og senere museumsbestyrer for det nye Svalbard Museum som åpnet i april 2006 med ny basisutstilling i Svalbard Forskningspark.

Address: Gerd Johanne Valen, postboks 415, 9171 Longyearbyen. Norge.
E-mail: gerdjv@svalbardmuseum.no

From Nordisk Museologi 2006/2, Abstract pp. 126-130


Title: On bricks, memories, globalisation and crying. Conference held at the University of Aarhus (Denmark) on Emotional Geography.

Abstract: Ten speakers from a range of academic fields were invited to discuss the concept of Emotional Geography and to debate how spaces change as a result of contemporary culture, globalisation and the experience economy. The conference touched upon a broad variety of empirical cases from within tourism, art, branding, urban studies and media studies. The theoretical framework was also broad, extending from phenomenology to Actor Network Theory and Heidegger's concept of Dwelling.

Keywords: Space, emotions, tourism, branding, art, Internet, phenomenology, ANT.

*Kristine Munkgård Pedersen er cand.mag. i geografi og psykologi med speciale i urbanitet, byplanlægning og arkitektur. Hun har været ansat på Center for Regional og Turismeforskning og arbejder nu som ph. d. på projektet Innovative Oplevelseslandskaber på Institut for Interkulturel Kommunikation og Ledelse på Copenhagen Business School.

E-mail: kmp.ikl@cbs.dk

From Nordisk Museologi 2006/2, Abstract pp. 131-135


Title: The NODEM 06 Conference revisited.

Abstract: The article reports from NODEM 06, the Nordic Digital Excellence in Museums Conference, which was held in Oslo on 7—9 December 2006. The NODEM conference was set up to promote interaction and learning enhanced by technology and digital design in museums. The conference had an impressive, ambitious programme and proved to be a successful meeting involving Nordic and International scholars from a total of 13 countries, museum researchers and curators, hardware and software developers, designers, consultants and students from a wide range of academic fields, institutions and organisations. Keynote speakers from the EPOCH network, and from the field of digital museum design in Ireland and Australia, were invited, and research papers about 30 ongoing projects featuring digital mediation in museums were presented, with a critical focus that provided a thorough presentation and discussion of the main contributions and themes.

Keywords: Museums, digital media, digital learning, exhibitions, museal objects, art, digital design, cultural heritage, Nordic conference.

*Tore Slaatta (1957), Oslo. Professor ved Institutt for medier og kommunikasjon, UiO. Arbeider innenfor medie- og kultursosiologisk forskning i Europa med særlig vekt på globaliserings-prosesser innenfor kulturindustrien og institusjonelle utfordringer knyttet til urbanisering og teknologisk endring. Koordinerte medieforskningen i Makt- og demokratiutredningen (1998 - 2003) og har bl.a. utgitt "Den norske medieorden" (2003) og "Digital makt" (2001) og översatt Pierre Bourdieus "Science de la science et ré-flexivité til norsk" ("Viten om viten og refleksivitet", Pax, februar 2007).

E-mail: tore.slaatta@media.uio.no

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