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  1. by , on - Discussion

    This in-conversation piece reveals the nature, rationale and context of the recent collaboration between film artist Bill Morrison and the Museum of Science and Industry for the exhibition Electricity: The spark of life. The development of Morrison’s art installation, Electricity, had an impact on the thinking processes and practices of both artist and curator, producing new shared interpretations of electrical energy and power.

  2. by , on - Research

    In this piece Anna Geurts and Oli Betts explore the concept of micro-fellowships, thinking about what short-term, high-yield collaborations between universities and museums can do to enhance the research capabilities of both.

  3. by on - Discussion

    This paper presents an account of a project that the Museum of Electricity and Life implemented to provide educationally disadvantaged children with opportunities to participate in cultural life and help them to develop new competences. The children accompanied their peer group as travel guides through the history of electricity. In the process they slipped into different roles and imparted their knowledge through short theatrical performances.

  4. by on - Research

    What if sounds were museum objects? Via an experimental curatorial practice, the author proposes a revised definition of the 20th century musical term ‘sound object,’ proposing it as the basis for a museological conception of sounds as heritage.

  5. by , on - Discussion

    This article presents the conceptual design of the recent travelling exhibition energie.wenden (literal translation: ‘turning energy around’). It uses a highly interactive and emotive approach, chosen to engage museum audiences with the pressing topic of energy transition.

  6. by on - Object focus

    An introduction to one of the star objects in Mathematics: The Winton Gallery, an electronic storm surge modelling machine.

  7. by on - Object focus

    This paper proposes the analogy of ventriloquism as a way of extending the discussion about how objects speak and are used to tell different stories to audiences in museums as ‘material polyglots’. It explores how the Science Museum has changed the voices, stories, and physical and instrumental functions of a particular object – the ‘Trainbox’ version of the Douglas Hartree’s Differential Analyser – since it was collected in 1949.

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