What does a museum mean? A narrative approach to museum impact

This paper presents ‘narrative’ as a theoretically informed qualitative perspective to explore and substantiate such abstract concept as ‘museum impact’. It argues that the impact of museums is best understood via the meanings visitors make and negotiate in the long-term. This provides critical insights into what a museum visit means and how its impact is negotiated within time and space. I lay out the theoretical rationale and methodological approach for the research project underpinning this paper while future publications will provide empirical findings and theoretical conclusions.

The reflexive museum - opening the door to behind the scenes

In this paper I argue for a shift in conceptualising exhibitions: from products to be presented to processes to be revealed. I will explore how museum theory and praxis are inextricably intertwined and can be brought into fruitful dialogue within an exhibition setting. By revealing the processes leading to the definition of categories and the interpretation of identities, and by giving faces to decisions made, the ‘reflexive museum’ can become an embodiment of democracy, which does not silence controversies but gives diversity public voices. First, I sketch out recent academic musings on museological approaches. Then I present some examples of exhibitions in Germany in which these theories have been put into praxis. I conclude by arguing for a symbiotic relationship of museum theory and praxis enabling the museum to realise its unique potential as a dynamic ‘playground’ between academia and the public.

Beyond the rational museum : toward a discourse of inclusion

Museum discourse is not inclusive in that it neglects or negates the affective potential of museums. Affect is precognitive sensation, it is unexpected, and leaves a more lasting impression than re-cognition. The museum’s role in the shaping of histories, and its origins in class and gender exploitation are important areas of discourse, however, the focus on these issues also limits discourse. Ideologically driven critique seems unable to explain the experiential affect of exhibits of art and material culture. Arguably, an alternative museum with a contradictory set of meanings has always existed alongside the rational museum of critical discourse. Some critics do acknowledge that their disciplines seem unable to grapple with this ‘alternative museum’, however, there is not a critical vocabulary of affect with which to give it appropriate expression. Gilles Deleuze’s philosophical ideas give relevance to affect, and are useful in shaping or ‘shocking’ a way toward a more inclusive critical discourse, which might lead toward more inclusive museum practices.

Museum development and cross-cultural learning in the Kelabit Highlands, Borneo

The article discusses an aspect of the first phase of the Kelabit Highlands Museum Development Project. Deakin University and the Rurum Kelabit Sarawak collaborated in a field school for post-graduate cultural heritage and museums studies students that was held in Bario in June 2012. The article provides details about the learning framework and research activities that were designed to facilitate exchange and cross-cultural learning between the students and local participants.

Narrating heritage's living stories : a comparative study of China's Suojia ecomuseum and Australia's Melbourne living museum of the West

The Ecomusée, as emerged in France in the 1970s, is a form of open-air museum that aims to maintain collections in their original environments with local communities serving as curators and managing their own heritage. This approach and philosophy implies and is dependent upon democratic principles in the conservation and interpretation processes. Since the 1990s, China has adopted the ecomusée concept for the conservation of selected ethnic villages to relieve tensions between poverty and heritage conservation. However, does this concept really work in China? To answer this question, the Suojia Ecomuseum, the first such initiative - has been selected as a case study and assessed using the mixed methodologies of on-site observation, documentation and semistructured interviews. This process has identified several issues and problems associated with this ecomuseum. It demonstrates that Suojia Ecomuseum has not achieved international benchmarks, neither philosophical nor practical expectations have been met. This conclusion challenges the internationally acknowledged notion that all ecomuseums develop and are operated using a bottom-up approach, that they were all community-based and democratic. These discrepancies lead to other questions about the differences between ecomuseums in China and elsewhere. In order to map and compare the differences between ecomuseums in China and in Western democracies, a detailed survey was undertaken using Melbourne’s Living Museum of the West, Australia. Applying the same methodologies as in China, a comparable examination was undertaken as to its background, objectives, management structures, programs and activities, and project outcomes as well as problems. The differences between Suojia Ecomuseum and Melbourne’s Living Museum are then explained and shown. They demonstrate quite diverse organisations with different objectives and management structures relating to different cultural and natural resources. However, the unexpected finding was that the futures of both ecomuseums relied on the financial support and passion of younger generations and hence were vulnerable.

Communities of memory? The Jewish holocaust museum and research centre, Melbourne

The Jewish Holocaust Museum and Research Centre (JHC), Melbourne, opened in 1984. Through the support of large numbers of Jewish people, it has become an impmiant part of their lives as they age, a place of solace and memorialisation. It is a second home for some, providing networking support within and between the different Jewish ethnic communities. This paper will draw on the JHC's ever growing videotestimony collection as well as oral interviews on the roles played by Melbourne survivor volunteers and others in developing the Centre. The survivors have experienced many different aspects of the Holocaust, have come from all over Europe and elsewhere, and 1 are sometimes culturally very different. It will discuss the role played by the various social and cultural communities in creating and responding to the JHC and the success they have had in establishing 'communities of memory' or, alternatively, representing and 1 contextualising the various social and cultural communities.

The experience of a museum space

Drawing on a long-term narrative study of global visitors to the Museum of New Zealand Te Papa Tongarewa (Te Papa), this paper illuminates the experience of a museum space. It sheds light on the interpretive interplay between museological space, content and narrative throughout the construction of meanings by museum visitors. I argue that these spatial dynamics emerge as a condition of meaning-making, or hermeneutic foundation, which facilitates the subsequent processes of meaning-making, or interpretations. The hermeneutic examination of the research material treats Te Papa as a physical space or form with its individual components such as architecture, exhibition design and display. This is followed by an inspection of content which reveals the key function of ‘narrative’ as a human meaning-making tool in mediating the mutual relationship of spatial form, museological content and meaning. The empirical insights into the complexity of the visitor experience reveal that representational and non-representational dimensions, or narrative and embodiment, are inextricably entangled in the quest for meaning.

Seasons of the Upper Yarra Valley : a report to the Museum Victoria

This report has been prepared on commission for the Museum Victoria to provide cultural and ethno-ecological advice in proposing theoretical principles to enable the design of a section of the Climate-Seasons zone of the Gallery of Life in the new Melbourne Museum complex

Testimony, memory, and art at the Jewish Holocaust museum, Melbourne, Australia

Taking its cue from Charlotte Delbo’s powerful writing about the Holocaust in which she highlights the role of sense memories, this chapter begins with the proposition that sense memories – as distinct from narrative or vicarious forms of memory – are a particularly effective vehicle for the communication of past trauma in the present. The paper explores the potential value of this proposition for the display of objects in a Holocaust museum which are given meaning by the voices of the survivor community and their focus on the importance of testimony. The chapter undertakse an analysis of how the sense memories of survivors animate specific objects on display, exploring the ways in which these objects help the Museum to create a bridge between the survivor community and the wider general public (Auerhahn and Laub, 1990). I argue that built into that process there is a requirement that audiences listen in a manner that makes them a witness to past traumas. This listening process, I want to argue, offers not only an opportunity for healing on the part of survivors but also, following Simon (2005), the exchange of a ‘terrible gift’. That gift, I will suggest, places the visitor as a witness to past traumas and builds an ethical request that they should actively work against future genocides. Central to that possibility, I want to argue, is the way in which the process of witnessing a sense memory is an affective experience for the viewer leading to the potential production of empathy.

Extracting DNA from museum bird eggs, and whole genome amplification of archive DNA

We present a comprehensive protocol for extracting DNA from egg membranes and other internal debris recovered from the interior of blown museum bird eggs. A variety of commercially available DNA extraction methods were found to be applicable. DNA sequencing of polymerase chain reaction (PCR) products for a 176-bp fragment of mitochondrial DNA was successful for most egg samples (> 78%) even though the amount of DNA extracted (mean = 14.71 ± 4.55 ng/µL) was significantly less than that obtained for bird skin samples (mean = 67.88 ± 4.77 ng/µL). For PCR and sequencing of snipe (Gallinago) DNA, we provide eight new primers for the ‘DNA barcode’ region of COI mtDNA. In various combinations, the primers target a range of PCR products sized from 72 bp to the full ‘barcode’ of 751 bp. Not all possible combinations were tested with archive snipe DNA, but we found a significantly better success rate of PCR amplification for a shorter 176-bp target compared with a larger 288-bp fragment (67% vs. 39%). Finally, we explored the feasibility of whole genome amplification (WGA) for extending the use of archive DNA in PCR and sequencing applications. Of two WGA approaches, a PCR-based method was found to be able to amplify whole genomic DNA from archive skins and eggs from museum bird collections. After WGA, significantly more archive egg samples produced visible PCR products on agarose (56.9% before WGA vs. 79.0% after WGA). However, overall sequencing success did not improve significantly (78.8% compared with 83.0%).

New and improved molecular sexing methods for museum bird specimens

We present two new avian molecular sexing techniques for nonpasserine and passerine birds (Neognathae), which are more suitable for use with museum specimens than earlier methods. The technique for nonpasserines is based on a new primer (M5) which, in combination with the existing P8 primer, targets a smaller amplicon in the CHD1 sex-linked gene than previously. Primers targeting ATP5A1, an avian sex-linked gene not previously used for sex identification, were developed for passerines. Comprehensive testing across species demonstrated that both primer pairs sex a range of different species within their respective taxonomic groups. Rigorous evaluation of each method within species showed that these permitted sexing of specimens dating from the 1850s. For corn bunting museum specimens, the ATP5A1 method sexed 98% of 63 samples (1857–1966). The M5/P8 CHD1 method was similarly successful, sexing 90% of 384 moorhen specimens from six different museum collections (1855–2001). In contrast, the original P2/P8 CHD1 sexing method only identified the sex of less than half of 111 museum moorhen samples. In addition to dried skin samples, these methods may be useful for other types of material that yield degraded or damaged DNA, and are hence potential new sexing tools for avian conservation genetics, population management and wildlife forensics.

Castlemaine Art Gallery and Historical Museum : history and collections

A publication of works from the permanent collection and a history to mark the centenary of the Castlemaine Art Gallery and Historical Museum. The photographs have been produced using superimposed exposures of polarised and non-polarised light; a technique for the optical and digital enhancement of colour saturation, reflection reduction and surface effects in reprography of painting developed by James McArdle.