In sizing up the notion of public memory, rhetoricians would be remiss not to consider the increasing influence of new media on today's remembrance culture. This article addresses memorial functions of the internet in light of recent scholarly debates about virtues and drawbacks of modern “archival memory” as well as the paradoxical link between the contemporary public obsession with memory and the acceleration of amnesia. To explore the strengths and limitations of the internet as a vehicle of collecting, preserving, and displaying traces of the past, the article examines The September 11 Digital Archive, a comprehensive online effort to document public involvement in recording and commemorating the tragedy of 11 September, 2001.

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Between Archive and Participation: Public Memory in a Digital Age

This article reviews empirically oriented studies from the United States and Europe con- cerning visitor experiences in museum exhibitions in order to pinpoint similarities and differences among them. In the last 20 years, only a few scholars have tackled this research question in multifac- eted empirical ways, although some of them have done so extensively. By comparing theoretical and methodical issues, as well as important results, we are able to outline several analytical building blocks that compose a complex framework of visitor expectations, experiences, and outcomes. Gath- ering credible data on experiences of visitors in exhibitions or museums, a method dating back to the tracking records of Robinson (1928), is an ongoing challenge for the empirically inclined science of museum studies. Social scientists at universities and museums have been asking for 20 years: What are the findings regarding factors, structures, and consequences of exhibition experiences? Where are the blind spots? Which questions should be researched?

Experiencing Exhibitions: A Review of Studies on Visitor Experiences in Museums

Raphael was one of the most important artists of the Italian Renaissance and one of the most important and influential in the entire history of art. His practice of 'synthetic' or 'critical' imitation became a model of creative method; his engagement with the principle of decorum revealed its deeper expressive and philosophical significance and the operation of his workshop helped to redefine the nature of the work that artists do. Robert Williams draws upon the history of literature, philosophy, and religion, as well as upon economic history, to support his detailed and illuminating accounts of Raphael's major works. His analyses serve as the foundation for a set of hypotheses about the aims and aspirations of Italian Renaissance art in general and the nature of art-historical inquiry.

https://jps.library.utoronto.ca/index.php/renref/article/download/32893/25233

Raphael and the Redefinition of Art in Renaissance Italy

‘The feeling of exclusion’: Young peoples’ perceptions of art galleries

The augmentation of visitor experiences with location-based technologies has been available for some time Through in-depth studies of users during these experiences the field is building a rich picture of user behaviour in relation to certain location-based technologies However, little work has explored the use of mobile camera phones and 2D barcodes on situated signs and their properties as a way of delivering such augmented visitor experiences In this paper we present a study of people engaged in such a location-based experience at London zoo in which they use mobile camera phones to read 2D barcodes on signs at the animal enclosures in order to access related content Through the fieldwork we highlight the social and collaborative aspects of the experience and how particular characteristics of the mobile phone and barcode technology shape these behaviours The paper also highlights some of the non-instrumental aspects of the location-based experience, in particular in relation to the importance of collecting location-based content We explore the social aspects of collecting as well as certain competitive elements it introduces into people's behaviour This creates an interesting tension in that aspects of the application encourage cooperation and sharing among the visitors whereas others encourage competition In the course of presenting the fieldwork, we explore this tension further

Collecting and Sharing Location-based Content on Mobile Phones in a Zoo Visitor Experience

General introduction - What are museums for?. What are museums for? Creating historical effects: Introduction The fictions of factual representation, Hayden White Psychoanalysis and its history, Michel De Certeau Rome, the archetypal museum and the Louvre, the negation of division, Jean-Louis Deotte The poetics of the museum - Lenoir and Du Sommerard, Stephen Bann Telling objects - A narrative perspective on collecting, Mieke Bal. What are museums for? Instituting evidence: Introduction Collective memory and memoria rerum, Mary Carruthers Science-honour-metaphor - Italian cabinets of the 16th and 17th century, Giuseppe Olmi Natural history and the emblematic world view, William N. Ashworth Jr The museum - Its classical etymology and Renaissance genealogy, Paula Findlen Inventing Assyria - Exoticism and reception in 19th-century England and France, Frederick N. Bohrer. What are museums for? Building shared imaginaries/effacing otherness: Introduction Double visions, Homi Bhabha Teddy bear patriarchy - Taxidermy in the Garden of Eden, New York City, 1908-1936, Donna Haraway From princely gallery to the public art museum - The Louvre Museum and the National Gallery, London, Carol Duncan Museums and the formation of national and cultural identities, Annie E. Coombes Creating identity - Exhibiting the Philippines at the 1904 Louisiana Purchase Exposition, Beverly K. Grindstaff Performing identity - The museal framing of Nazi ideology, Sandra Esslinger The cosmic theme park of the Javanese, Shelly Errington What are museums for? Observing subjects, disciplining practice: Introduction Introduction - Museum without walls, Andre Malraux Of other spaces, Michel Foucault Power/knowledge - constructed space and the subject, Paul Q. Hirst Museums - Managers of consciousness, Hans Haacke The exhibitionary complex, Tony Bennett Orientalism and the exhibitionary order, Timothy Mitchell China in Britain - The Imperial collections, Craig Clunas. What are museums for? Secularizing rituals: Introduction The museum of modern art as late capitalist ritual - An iconographical analysis, Carol Duncan, Alan Wallach Animals as cultural signs - Collecting animals in 16th-century Medici Florence, Claudia Lazzaro Remarks on the collection of Rudolf II - The Kunstkammer as a form of representation, Thomas DaCosta Kaufmann Philip Hainhofer and Gustavus Adolfus's Kunstschrank in Uppsala, Hans-Olof Bostrom Museums in 18th-century Rome, Francis Haskell, Nicholas Penny The genesis and early development of the Royal Museum in Stockholm - A claim for authenticity and legitimacy, Magnus Olausson, Solfrid Soderlind The cultural logic of the late capitalist museum, Rosalind Krauss Collision, Neil Cummings, Marysia Lewandowska. What are museums for? Inclusions and exclusions - Representing adequately: Introduction Cultural reflections, Moira Simpson Histories of the tribal and the modern, James Clifford. (Part contents).

Grasping the World : The Idea of the Museum

Leonardo da Vinci's arguments for the supremacy of painting over the arts of poetry, music, and sculpture address issues that have been relevant to debates over the nature of representation since the time Plato discussed imitation until today, maintains Claire Farago in this wide-ranging critical analysis of the first important modern contribution to the comparison of the arts. This study systematically examines 46 passages compiled in the mid-sixteenth century from eighteen of Leonardo's notebooks and their relationship to the artist's holograph writings on painting, providing a critical transcription newly made from the Codex Vaticanus Urbinas 1270 and a new English translation with extensive notes that take into account Leonardo's scientific terminology, the highly contrived form of his rhetorical argumentation, and the role played by his original editors.

Leonardo da Vinci's Paragone

List of Figures vi Preface: Art Is Not What You Think It Is viii Acknowledgments xv Introduction: Art and/as Manifesto 1 First Incursion: Artistry and Authorship 19 Second Incursion: The Dangers of Art and the Trap of the Visual 33 Third Incursion: To See the Frame that Blinds Us 52 Fourth Incursion: Deconstructing the Agencies of Art 74 Fifth Incursion: Intersections of the Local and the Global 94 Sixth Incursion: Into the Breach of Art and Religion 121 Seventh Incursion: The Art of Commodifying Artistry 142 Index 165

Claire Farago

Papers

Grasping the World : The Idea of the Museum

Leonardo da Vinci's Paragone

Art Is Not What You Think It Is

Telling Objects: A Narrative Perspective on Collecting

Art is not What You Think it is: Preziosi/Art is not What You Think it is