Michelle Henning – författare

Henning reveals how museums can be theorised as a form of media. She discusses both historical and contemporary examples, from cabinets of curiosity, through the avant-garde exhibition design of Lissitzy and Bayer; the experimental museums of Paul Otlet and Otto Neurath; to science centres; immersive and virtual museums; and major developments such as Guggenheim Bilbao, Tate Modern in London and the National Museum of the American Indian in Washington D.C.

Museums, Media and Cultural Theory is unique in its treatment of the museum as a media-form, and in its detailed and critical discussion of a wide range of display techniques. It is an indispensable introduction to some of the key ideas, texts and histories relevant to the museum in the 21st century.

Henning reveals how museums can be theorised as a form of media. She discusses both historical and contemporary examples, from cabinets of curiosity, through the avant-garde exhibition design of Lissitzy and Bayer; the experimental museums of Paul Otlet and Otto Neurath; to science centres; immersive and virtual museums; and major developments such as Guggenheim Bilbao, Tate Modern in London and the National Museum of the American Indian in Washington D.C.

Museums, Media and Cultural Theory is unique in its treatment of the museum as a media-form, and in its detailed and critical discussion of a wide range of display techniques. It is an indispensable introduction to some of the key ideas, texts and histories relevant to the museum in the 21st century.

We live in a time in which photographs have become extraordinarily mobile. They can be exchanged and circulated at the swipe of a finger across a screen. The digital photographic image appears and disappears with a mere gesture of the hand.

Yet, this book argues that this mobility of the image was merely accelerated by digital media and telecommunications. Photographs, from the moment of their invention, set images loose by making them portable, reproducible, projectable, reduced in size and multiplied. The fact that we do not associate analogue photography with such mobility has much to do with the limitations of existing histories and theories of photography, which have tended to view photographic mobility as either an incidental characteristic or a fault.

Photography : The Unfettered Image traces the emergence of these ways of understanding photography, but also presents a differently nuanced and materialist history in which photography is understood as part of a larger development of media technologies. It is situated in much broader cultural contexts: caught up in the European colonial ambition to "grasp the world" and in the development of a new, artificial "second nature" dependent on the large-scale processing of animal and mineral materials. Focussing primarily on Victorian and 1920s–30s practices and theories, it demonstrates how photography was never simply a technology for fixing a fleeting reality.

We live in a time in which photographs have become extraordinarily mobile. They can be exchanged and circulated at the swipe of a finger across a screen. The digital photographic image appears and disappears with a mere gesture of the hand.

Yet, this book argues that this mobility of the image was merely accelerated by digital media and telecommunications. Photographs, from the moment of their invention, set images loose by making them portable, reproducible, projectable, reduced in size and multiplied. The fact that we do not associate analogue photography with such mobility has much to do with the limitations of existing histories and theories of photography, which have tended to view photographic mobility as either an incidental characteristic or a fault.

Photography : The Unfettered Image traces the emergence of these ways of understanding photography, but also presents a differently nuanced and materialist history in which photography is understood as part of a larger development of media technologies. It is situated in much broader cultural contexts: caught up in the European colonial ambition to "grasp the world" and in the development of a new, artificial "second nature" dependent on the large-scale processing of animal and mineral materials. Focussing primarily on Victorian and 1920s–30s practices and theories, it demonstrates how photography was never simply a technology for fixing a fleeting reality.

MUSEUM MEDIA Edited by Michelle Henning

Museum Media explores the contemporary uses of diverse media in museum contexts and discusses how technology is reinventing the museum. It considers how technological changes—from photography and television through to digital mobile media—have given rise to new habits, forms of attention and behaviors. It explores how research methods can be used to understand people''s relationships with media technologies and display techniques in museum contexts, as well as the new opportunities media offer for museums to engage with their visitors.

Entries written by leading experts examine the transformation of history and memory by new media, the ways in which exhibitions mediate visitor experience, how designers and curators can establish new kinds of relationships with visitors, the expansion of the museum beyond its walls and its insertion into a wider commercial and corporate landscape. Focusing on formal, theoretical and technical aspects of exhibition practice, this in-depth volume explores questions of temporality, attachment to objects, atmospheric and immersive exhibition design, the reinvention of the exhibition medium, and much more.

MUSEUM MEDIA Edited by Michelle Henning

Museum Media explores the contemporary uses of diverse media in museum contexts and discusses how technology is reinventing the museum. It considers how technological changes—from photography and television through to digital mobile media—have given rise to new habits, forms of attention and behaviors. It explores how research methods can be used to understand people''s relationships with media technologies and display techniques in museum contexts, as well as the new opportunities media offer for museums to engage with their visitors.

Entries written by leading experts examine the transformation of history and memory by new media, the ways in which exhibitions mediate visitor experience, how designers and curators can establish new kinds of relationships with visitors, the expansion of the museum beyond its walls and its insertion into a wider commercial and corporate landscape. Focusing on formal, theoretical and technical aspects of exhibition practice, this in-depth volume explores questions of temporality, attachment to objects, atmospheric and immersive exhibition design, the reinvention of the exhibition medium, and much more.