Crafting the Past: Theory and Practice of Museums

How do we know something is real? We say something exists when it is tangible and we can touch it; it is factual when we can compare it to other known variables, and historic when it fulfils our expectation of the past. There are objects and activities that blur these categories and cause people to...

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Autor principal:	Katherine Ambry Linhein Muller
Formato:	article
Lenguaje:	EN
Publicado:	EXARC 2013
Materias:	theory living history interpretation open-air museum heritage newest era usa Museums. Collectors and collecting AM1-501 Archaeology CC1-960
Acceso en línea:	https://doaj.org/article/9b3fefbda8864d1692b9aedf8c65b34b
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id	oai:doaj.org-article:9b3fefbda8864d1692b9aedf8c65b34b
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spelling	oai:doaj.org-article:9b3fefbda8864d1692b9aedf8c65b34b2021-12-01T14:42:31ZCrafting the Past: Theory and Practice of Museums2212-8956https://doaj.org/article/9b3fefbda8864d1692b9aedf8c65b34b2013-02-01T00:00:00Zhttps://exarc.net/ark:/88735/10097https://doaj.org/toc/2212-8956How do we know something is real? We say something exists when it is tangible and we can touch it; it is factual when we can compare it to other known variables, and historic when it fulfils our expectation of the past. There are objects and activities that blur these categories and cause people to accept alternative histories. A museum is one such example. The buildings are constructed for displays, the people are only performers and the sounds and smells are fabricated, but the experiences, though they vary from person to person, are real. At museums the public and the interpreters interact in a shared space but not a shared mindset. By borrowing from Mark Leone’s critical theory it is possible to examine the dissonance between the museum’s production of history and the public’s perception.Katherine Ambry Linhein MullerEXARCarticletheoryliving historyinterpretationopen-air museumheritagenewest erausaMuseums. Collectors and collectingAM1-501ArchaeologyCC1-960ENEXARC Journal, Iss 2013/1 (2013)
institution	DOAJ
collection	DOAJ
language	EN
topic	theory living history interpretation open-air museum heritage newest era usa Museums. Collectors and collecting AM1-501 Archaeology CC1-960
spellingShingle	theory living history interpretation open-air museum heritage newest era usa Museums. Collectors and collecting AM1-501 Archaeology CC1-960 Katherine Ambry Linhein Muller Crafting the Past: Theory and Practice of Museums
description	How do we know something is real? We say something exists when it is tangible and we can touch it; it is factual when we can compare it to other known variables, and historic when it fulfils our expectation of the past. There are objects and activities that blur these categories and cause people to accept alternative histories. A museum is one such example. The buildings are constructed for displays, the people are only performers and the sounds and smells are fabricated, but the experiences, though they vary from person to person, are real. At museums the public and the interpreters interact in a shared space but not a shared mindset. By borrowing from Mark Leone’s critical theory it is possible to examine the dissonance between the museum’s production of history and the public’s perception.
format	article
author	Katherine Ambry Linhein Muller
author_facet	Katherine Ambry Linhein Muller
author_sort	Katherine Ambry Linhein Muller
title	Crafting the Past: Theory and Practice of Museums
title_short	Crafting the Past: Theory and Practice of Museums
title_full	Crafting the Past: Theory and Practice of Museums
title_fullStr	Crafting the Past: Theory and Practice of Museums
title_full_unstemmed	Crafting the Past: Theory and Practice of Museums
title_sort	crafting the past: theory and practice of museums
publisher	EXARC
publishDate	2013
url	https://doaj.org/article/9b3fefbda8864d1692b9aedf8c65b34b
work_keys_str_mv	AT katherineambrylinheinmuller craftingthepasttheoryandpracticeofmuseums
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Crafting the Past: Theory and Practice of Museums

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