Experimenting with Representation:
            <i>Iconoclash</i>
            and
            <i>Making Things Public</i>

Weibel, Peter; Latour, Bruno

doi:10.1002/9780470696118.ch4

Cited by 52 publications

(18 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…This dialogical terrain reflects the continuous making, becoming and emerging of a public sphere and lends empirical weight to its theoretical reconceptualization 'from a substance … to a movement' (Weibel and Latour, 2007). It also clearly shows that Māori's postcolonial political involvement is not confined to the internal procedures of Te Papa, but reaches into other public spheres of political negotiations and contestations.…”

Section: The Reflexive Museummentioning

confidence: 97%

Mana Taonga and the public sphere: A dialogue between Indigenous practice and Western theory

Schorch

Hakiwai

2013

International Journal of Cultural Studies

View full text Add to dashboard Cite

Recent re-conceptualizations of the 'public sphere' facilitated a much needed shift in thinking about identity politics 'from a substance … to a movement' (Weibel and Latour, 2007). This laid the foundation for dissolving the 'emanatist vision' (Bourdieu, 1990) of self-explanatory and perpetual systems and structures towards the interrogation of actions and performances that simultaneously constitute and are affected by such wider socio-political realities. Most academic contributions, however, remain on a normative or theoretical level without offering empirical insights.This article introduces Mana Taonga as an Indigenous Ma -ori concept of cultural politics embedded in current museum practice at the Museum of New Zealand Te Papa Tongarewa (Te Papa). It creates a dialogue between Indigenous Ma -ori practice and Western theory leading to a refined understanding of performative democracy within a museum as forum, or public sphere. The authors argue that a specific museum offers a particular place, space and empirical reality to interrogate seemingly universal concepts such as 'culture' and 'politics' by blending theoretical notions with an awareness of institutional contexts and practices.

show abstract

Section: The Reflexive Museummentioning

confidence: 97%

Mana Taonga and the public sphere: A dialogue between Indigenous practice and Western theory

Schorch

Hakiwai

2013

International Journal of Cultural Studies

View full text Add to dashboard Cite

show abstract

“…We advocate for understanding scripts in a context where they are entangled in the socio-material and material-semiotic practices that comprise the learning spaces we have set out to design. We perceive learning spaces, in our case classrooms and museum exhibition spaces, as assemblages [47], [48], constituted by the enactments of students, teachers, and exhibition staff in concert with the material objects that make up the learning space [49]. The actors of our assembly are both human and non-human, media and interactions, and includes the material; i.e.…”

Section: Inscriptions and Enactmentsmentioning

confidence: 99%

Enacting Science Inqury Scripts across Contexts and in Hybrid Spaces

Smørdal

Slotta

2014

2014 International Conference on Intelligent Networking and Collaborative Systems

View full text Add to dashboard Cite

We have found ourselves struggling with the design of digital technology to support scripted collaboration in science education. There are two emergent trends that challenge current understanding of collaborative scripts: One is the merging of real and virtual worlds to produce new environments and visualizations where physical and digital objects co-exist and interact in real time. The other is the merging of embodied experiences from science centres and museums with the activities in the science classroom to produce fun, engaging, and reflective experiences. Further, these environments are inherently social, facilitating dialogue and social exchange.For design of collaborative science learning these trends are challenging, as a network of scripts typically is needed, addressing collaboration, the inquiry process, the epistemological interactions, and the flow of materials that is being consumed and produced. These scripts are inscribed into a range of technologies; such as web-based environments, mobile applications, tangible and physical interfaces, social networks, and spatial, embedded and embodied simulations in immersive learning environments as found in science centres. In this paper we look into a design based research intervention that took place in a Secondary Norwegian school and at the Norwegian Museum of Science and Technology.Based on our experiences we identify a need for new concepts that can increase the awareness in design to the role of scripts in complex environments, and suggest a socio-material and material-semiotic approach that emphasize how scripts are inscribed and entangled in the social and in the material resources, and how they are enacted in epistemological and social activities by students, teachers, and museum educators.

show abstract

“…According to Latour, 'Making Things Public' drew on the double meaning of the term representation which in political science implies 'to gather the legitimate people around some issue' and in science and technology to 'present[s] or rather represent [s] what is the object of concern to the eyes and hears of those who have been assembled' exposing enactors, networks, and inscriptions. 'Contemporary avant-garde artists', observe Weibel and Latour (2007), 'respond sensitively to social changes by chaining the structure of their approach to their work and entering into new alliances with new forms of enactments' (p. 107). 'Making Things Public' thus engaged with ways of participation and agency within networks of human and non-human enactors in ways that were pertinent for an understanding of performativity for both the exhibition and the experiment.…”

Section: The Redefinition Of the Analogy Of The Exhibition As An Expementioning

confidence: 99%

The Exhibition as an Experiment: An Analogy and Its Implications

Albano¹

2018

Journal of Visual Culture

View full text Add to dashboard Cite

The analogy of the exhibition as an experiment suggests innovative curatorial approaches that challenge institutional practices. This analogy has however a historical precedence in modernism when it became paradigmatic of the exhibitions at the Museum of Modern Art in New York in the 1940s, defining the curatorial approach of its founding director Alfred J Barr. This article considers this early use of the analogy of the exhibition as an experiment and further reflects on its redefinition at the turn of the 20th century by examining how both the notions of the exhibition and of the experiment have changed over time. In particular, the article examines the different meanings and practices inferred by the concepts of the exhibition and the experiment in the first decades of the 20th century and in the present. It outlines how correspondences between cultural and scientific paradigms can be deployed to tease unacknowledged synergies between two modes of knowledge production (i.e. the art exhibition and the experiment) and address questions of presentness, authority and legitimacy that they imply.

show abstract

Experimenting with Representation: Iconoclash and Making Things Public

Cited by 52 publications

References 0 publications

Mana Taonga and the public sphere: A dialogue between Indigenous practice and Western theory

Mana Taonga and the public sphere: A dialogue between Indigenous practice and Western theory

Enacting Science Inqury Scripts across Contexts and in Hybrid Spaces

The Exhibition as an Experiment: An Analogy and Its Implications

Contact Info

Product

Resources

About