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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.
An introduction to one of the star objects in Mathematics: The Winton Gallery, an electronic storm surge modelling machine.
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.
Calling on the Science Museum’s First World War exhibition Wounded: Conflict, Casualties and Care, this article outlines the challenges of curating a coherent display within such a vast context. It also explores how the narrative and interpretive approaches taken were influenced by an earlier, unrealised proposal – one whose bold concept was reflected in the rewarding and sometimes unexpected qualities that emerged in the final exhibition.