power of touch exemplified: Time to Hope Variable lives Acknowledgments Notes References 9 LIGHTING PRACTICES IN ART GALLERIES AND EXHIBITION SPACES, 1750–1850 Patrician top lighting and sculpture galleries Patrician top lighting and picture galleries Royal Academy National Gallery Artificial light: Education in museums and galleries Artificial light in commercial exhibition spaces Artificial illumination in private collections Artists’ studios and galleries Notes References Further Reading 10 THERE’S SOMETHING IN THE AIR: Sound in the Museum The mediumship of sound Sound art Politics of sound Affective spaces References Further Reading 11 AESTHETICS AND ATMOSPHERE IN MUSEUMS: A Critical Marketing Perspective The aesthetic economy and atmospheres Museums, commerce, and atmosphere Conclusion Notes References 12 MUSEUMS, INTERACTIVITY, AND THE TASKS OF “EXHIBITION ANTHROPOLOGY” Freedom, control, and confusion in the art museum To touch or not to touch? Museums and the challenge of the smartphone The tasks of exhibition anthropology Notes References 13 KEEPING OBJECTS LIVE “May God keep us safe” Killing off exhibits Location, use, and museum scripts In the company of witches Clutter, unseen occupants, and life elsewhere Feeling for “life” Notes References
13 PART III: Design and Curating in the Media Age 14 TOTAL MEDIA Museums in the context of placemaking Working from the inside out The emergence and context of the designer’s craft and the influence of film and theater Interactivity, digital media, objects, and audiences Notes References 15 FROM OBJECT TO ENVIRONMENT: The Recent History of Exhibitions in Germany and Austria Museum exhibitions: Classification and chronology Stagings of the 1980s: The exhibition as montage and essay Immersion and reflection: Developments from the spirit of the 1980s Notes References 16 MUSEUMS AS SPACES OF THE PRESENT: The Case for Social Scenography Please touch Social scenography: Approaches to the concept Museums as zones of stability in representing the present Scenography as the creation of performative spaces The practical realm: Stapferhaus Lenzburg What can social scenography achieve? References 17 (DIS)PLAYING THE MUSEUM: Artifacts, Visitors, Embodiment, and Mediality Back and forth: Encoding, decoding, recoding What kind of museum is at stake? What kind of knowledge? What kind of learning? Conclusions: What kind of medium is the museum? Notes References 18 TRANSFORMING THE NATURAL HISTORY MUSEUM IN LONDON: Isotype and the New Exhibition Scheme The