er tilknyttet det NFR-finansierte prosjektet pARTiciPED. Hun har saerlig kompetanse i kunnskapshistorie, vitenskapsstudier og kvalitativ metode, og har arbeidet med museumsfeltet og samfunnsfaget i laerer-

<div><p>The article discusses how a malformed set of twins turned into a museum object at the late eighteenth-century el Real Gabinete de Historia Natural in Madrid. Foregrounding the practices through which the twins transformed, it is made clear how museum objects result from de-centered processes. Two different enactments are discussed. The first encompasses the process by which the malformed set of twins transformed into a specimen of interest to the learned. The second enactment addresses how the twins were transported to Madrid through practices of charity. These two versions differed radically, yet they were intimately intertwined, and dependent upon one another.</p><div> </div></div>

Each fall, seventh-graders and teachers from the Norwegian region Vestfold in south-eastern Norway are invited to the Whaling Museum for a guided tour with museum educators. In the article, approaches from actor-network theory are used to analyze learning strategies among students and how knowledge emerges in the cooperation between students, museum educators, objects and museum surroundings. Knowledge is seen as a relational and ongoing process where human and non-human actors participate and affect one another. The point of departure for the analysis is taken from the students’ explorative behaviour during the visit to the museum.

This article analyzes a current exhibition, Climate for Change, which opened at the Norwegian Petroleum Museum in 2019. By engaging with the way in which the exhibition constructs a “we,” the article proceeds to examine how agency for mitigation is presented and analyzed. It assesses how futures are created and what types of futures emerge. These themes are addressed with reference to insights from museum research and energy humanities. The choices in the exhibition point toward a traditional understanding of continuities, of agency, and of future visions while tending toward a reduction of Norwegian accountability for climate change.

The article analyses the field of eighteenth-century Hispanic history of science, little known to northern scholars, with the use of concepts from actor- network theory, combining these with a traditional Scandinavian ethnological close-up study of objects. The introductory part discusses the production of flasks as a way of standardizing natural objects at the late eighteenth-century Royal Cabinet of Natural History. The following section analyses how eight lizards were integrated into a variety of practices on their way to the Madrid museum. Thereafter, five different images of an anteater are discussed as forming part of the museum’s outreaching practices of display. The article demonstrates a fruitful approach to the histories of museums and their objects: Objects are seen as “enacted realities” which incorporate in radically different practices, and many versions of them exist simultaneously. Museum objects stretch out and connect with ideas and actors, objects travel and are continuously being done, inside and outside the museum building.