120 research outputs found
Presentasjon av Brita Brenna
No full textBrita Brenna er førsteamanuensis i museologi ved Universitetet i Oslo. Arbeidsplassen er Institutt for kulturstudier og orientalske språk, hvor hun er ansatt for å bygge opp et mastergradsstudium i museologi med oppstart høsten 2010. Mens man har hatt mindre kurs i museologi og andre tilbud innen kulturminnevern, vil dette være den første muligheten til å fullføre et masterløp i museologi i Norge.
Nature and texts in glass cases: The vitrine as a tool for textualizing nature
No full textWhat can glass cases teach us about how nature is written or read? This article seeks to understand the work done by glass cases in Bergen Museum in Norway around 1900 specifically, and more generally how glass cases was an important tool for making natural history museums into textual media. In this article it is claimed that when we focus on how natural history museums manufacture culturally specific museum nature, it is a legacy of a reform movement that set out to “discipline” museum nature around 1900 in order to make nature legible for “everyman”. An important museum movement by the end of the nineteenth century worked to make natural museums into places were one could learn by reading, not by touching or engaging with the natural objects, qua objects. This insistence on making nature readable, it is claimed, should make us cautious about analysing natural history museums as texts
Museums and museologies in Norway
No full textThe Norwegian museum landscape has been refurbished during the last decades. Smaller and topographically scattered units have been merged into large museum conglomerates, small streams of funding have become regular rivers of governmental financial support, and the notion of the societal role has become the landmark for all museums to navigate by. Museological research and education has grown from being a wild flower to become a modest perennial in the museum field. This article will from such a modest museological perspective outline some of the basic features of the changes museums and museology has gone through. The particular perspective from which the author views the field is the MA-programme in museology at the University of Oslo
«Det monterløse museum»: En etnografisk undersøkelse av et arkeologisk universitetsmuseum som møtested for arkeologiske praksiser og museal gjøren
No full textAvhandlingen undersøker prosesser som er virksomme i kunnskapsproduksjonen i det tverrfaglige fagmiljøet og i formidlingen ut mot publikum ved Arkeologisk museum, Universitetet i Stavanger. Dette gjør den ved å studere hva som skjer i møter på museets utendørs kunnskapsarenaer. Mine undersøkelser befinner seg i skjæringspunktet mellom arkeologi, museologi og kulturvitenskap/kulturhistorie. Jeg trekker frem nyere perspektiver på publikum, kunnskap og sted ved hjelp av analytiske begrep som kunnskapsproduksjon, møtested, involvering, minne, fortelling, besøkende og stedsmuseum. Undersøkelsen har blitt gjort ved hjelp av kvalitative metoder som deltagende observasjon, intervjuer og visuell analyse. Møter mellom aktører i tilknytning til universitetsmuseets utgravninger blir i analysen presentert gjennom mine gjenfortellinger og med utgangspunkt i observasjoner, samtaler og intervjuer med museets ansatte. Jeg foretar en etnografisk analyse av hva som skjer i kunnskapsproduksjonen i arkeologisk feltarbeid innenfor en museal kontekst.
Gjennom undersøkelsene har jeg funnet en særegen museo-arkeologisk kunnskapsproduksjon. Særpreget ved aktørenes arbeid ute i felt er hyppigheten og mangfoldet av steds-, tids- og erfaringstilknyttete tolkninger. Tolkningene tar aktørene med seg fra felt i form av fortellinger eller minner fra arbeidet med arkeologiske strukturer eller utvalgte, betydningsfulle stedselementer. Ekspertmøter mellom museets fagfolk skjer i form av omvisningsmøter i lokalitetene. Eksterne aktører bidrar inn i prosjektene med lokal kunnskap, og gir ny forståelse av spesifikke steder i lokalmiljøet. Kunnskapen blir overført gjennom aktiv formidling fra arkeologenes side og danner grunnlag for samarbeid og nyutvikling av metode.
I møter mellom arkeologer og publikum oppstår imaginære tidsreiser. Publikum blir innlemmet direkte eller indirekte i museets kunnskapsproduksjon, som del av stedets omvisningsfortelling, gjennom aktiviteter eller improviserte omvisningsformer. Universitetsmuseets forvaltningsutgravninger inngår i institusjonens museale prosesser, og er midlertidige steder for vitenskapelig kunnskapsproduksjon. Lokalitetene blir omgjort til møtesteder for produksjon, overføring og videreutvikling av kunnskap, hvor aktørenes samhandling er stedstilknyttet. Eksterne aktører er publikummere som overfører, utforsker og samproduserer kunnskap om steder universitetsmuseet graver ut. Samhandlingen med museets fagfolk er en form for involvering som forvandler lokalbefolkningen eller museumspublikummet til amatørarkeologer eller museo-arkeologiske medforskere. I et musealt utendørsrom blir publikummere oppdagere, gjennom å bli involvert i en pågående museo-arkeologisk kunnskapsproduksjonsprosess. Tidsreiser er slik sett ikke begrenset til aktiviteter i permanente museumsinstitusjoner, men oppstår i omvisningsfortellinger og utgravningsaktiviteter, som deler av et temporært formidlingstilbud. Gjestene blir presentert for og involvert i fortolkninger som er tilgjengelige i dette museet uten vegger.
Universitetsmuseets utgravningssteder blir omgjort til temporære stedsmuseer. På denne måten åpnes det for publikums egne opplevelser og fortidsforståelser, samtidig som slike møter involverer publikum i samproduksjon av kunnskap. Publikummerne blir omgjort til medskapere eller medprodusenter i et samproduksjonsmuseum. Universitetsmuseets utgravningssteder muliggjør en annen form for publikumsinvolvering i et «monterløst museum», enn hva museet kan tilby i sine permanente utstillinger. Et monterløst museumsrom oppstår. Museet får en utendørs kunnskapsarena som fungerer som et post-museum (Hooper-Greenhill, 2000) og tilbyr åpenhet, samarbeid, kunnskapsdeling og aktualisering av steder og fortellinger.This thesis examines processes at play in the knowledge production in the interdisciplinary academic community, as well as the dissemination directed towards the general public, at the Museum of Archaeology at the University of Stavanger. It does so by examining what takes place during meetings at the museum’s outdoor knowledge arenas. My study is located at the intersection between archaeology, museology, and cultural studies/culture history. I highlight recent perspectives on audience, knowledge, and place by the use of analytical terms such as knowledge production, meeting place, involvement, memory, narration, visitors and site museum. The study has been conducted using qualitative methods such as participatory observations, interviews, and visual analyses. In the analysis, encounters between actors in connection with the university museum’s archaeological excavations are presented through my own confessional and impressionist tales, which are based on observations, conversations, and interviews with museum staff. I have conducted an ethnographic analysis of what occurs in knowledge production in a museal context.
My study has uncovered a distinct museo-archeological form of knowledge production. The unique characteristic of the actors’ archaeological fieldwork is the frequency and diversity of interpretations connected to place, time, and experiences. The actors retain these interpretations from the field in the form of stories or memories from the work with archaeological structures, or through a selection of significant site elements. The museum experts have multidisciplinary meetings through walking tours of the sites. External actors contribute local knowledge to the project and provide a new understanding of specific places in the local community. The knowledge is transferred through active dissemination on the part of the archaeologists and creates the basis for collaboration and the development of new methods.
Imaginary time travel occurs in encounters between archaeologists and the public. The public is directly or indirectly included in the museum’s knowledge production, as a part of the guided tour narrative, through activities or improvised forms of presentation. The archaeological excavations at the university museum are a part of the museum’s museal processes and are temporary places for scientific knowledge production. The sites are converted into meeting places for the production, transfer, and development of knowledge, in which the actors’ interaction is place-specific. External actors are members of the public who transfer, explore and take part in producing knowledge about the places being excavated by the university museum. Co-operation with the museum’s professional staff is a type of involvement that changes the local population or museum visitors into amateur archaeologists or fellow museo-archaeological researchers. In museal outdoor spaces, members of the public become discoverers, through becoming involved in an ongoing museo-archaeological knowledge production process. As such, imaginary time travel is not limited to activities in permanent museum institutions but is also tied to guided tour narratives and excavation activities, as parts of a temporary form of museum dissemination. The guests are presented with and involved in interpretations that are accessible in this museum without walls.
The university museum’s excavation sites are converted into temporary site museums. This opens up for the public’s own experience and understanding of the past, at the same time as such encounters involve the public in knowledge co-production. Members of the public become co-creators or co-producers in a co-production museum. The university museum’s excavation sites enable another way of involving the public in a ‘museum without cabinets’ than that which can be offered through its permanent exhibitions. A museum space without cabinets is formed. The museum gains an outdoor knowledge arena that functions as a post-museum (Hooper-Greenhill, 2000), offering openness, co-operation, knowledge sharing and the actualisation of places and stories
Stringens och spårskifte : Om Brita Egardts Hästslakt och rackarskam
No full textA potential Classic: On Brita Egardt's Hästslakt och rackarskam If ethnologists were to put together their own list of classic texts, what books should be included, and for what reasons? This question was posed as an invitation to a workshop at the 30th Nordic meeting of ethnologists and folklorists in June, 2006, and brought about, in the first place, a little handful of suggested books. This paper presents one of these: Brita Egardt's dissertation "Hästslakt och rackarskam" (app.: The slaughter of horses and the shame of the slaughterer), published in 1962. My suggestion is that this study can serve as a model for ethnologists because it is extremely cogently thought and argued, and because of its focus, at the end of the analysis, on general social phenomena and processes such as hierarchy, exclusion and stigmatisation. In addition, I reflect on the posthumous reputation of the author of the book, and suggest further reflection on two issues. The first is marginalisation in academic contexts. If such a fate should affect any of us, how can it be handled, and how can personal bitterness be avoided? The other issue is academic leadership, which I suggest is a composite phenomenon that ought to be thoroughly rethought
Terrorism and the law: historical contexts, contemporary dilemmas and the end(s) of democracy
No full textRecent proposals by the G7 (and Russia) to clamp down on "terrorists" and "terrorism" do not define that which is prohibited. Instead, a threat is communicated which in turn allows, among other things, greater attention to be paid officially to "camouflage" charities and "terrorist" use of the Internet . Nevertheless, it is somewhat of a truism to note that terrorist violence is ultimately defined or characterized, for purposes of legal prohibition, within a highly politicized atmosphere. Starting with a short summary of "anti-terrorist" codification efforts made this century, this article examines some of the "security interests" cited by governments today in their respective struggles against "terrorism." More specifically, it is argued that individual perceptions of personal and societal threat are heightened unnecessarily not only by a constant stream of governmental "anti -terrorist" rhetoric , but further, by an awareness of official and un official methods of "anti-terrorist" surveillance, and the use to which the information so obtained can be put
Probable Creatures - a Commentary
No full textIn Brian Ogilvieâs essay we encounter insects depicted as flying, hopping or crawling across disciplinary boundaries in early modern Europe. Before entomology was named and transformed into a discipline around the middle of the 18th century, those observing and describing insects were operating within what could be defined as different communities of practice (cf. Star and Bowker 1999). These would sustain separate conventions, aims and codes of representation, but at the same time the small creatures were straddling the borders separating them, these borders being both tightly drawn and highly permeable, as we can read in Ogilvieâs article. They were tightly drawn as the practitioners identified themselves as involved in different projects, and they were on the other hand highly permeable as the insects and their representations travelled easily from one community to the other
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