The Pros And Cons Of Re-Thinking Museums

1922 Words8 Pages
1.2. Re-thinking Museums
The second part of chapter one discusses the ways digitization is changing the face of museums and archives, in terms of the ways they curate device collections. This unprecedented and continuous shift has left many cultural institutions struggling to adapt and are forcing them to rethink how to maintain their unique qualities while at the same time adding value. Today, no organization is immune to the disruptions caused by digitization and technological innovation, forever changing the make-up of cultural institutions, and by extension, film and media museums and archives. There are new forms of (digital) museums and archives being developed, for instance via the Internet, ‘that make use of participatory media to
…show more content…
Hence, museums and archives re-think and re-imagine their function in the increasingly pervasive digital society and adopt or develop new ways of curating cultural heritage, in particular device collections.
What do the aforementioned terms define? What do they mean for the practices of cultural institutions, and by extension film and media museums and archives, and the new ways of curating their device collections? The phrase ‘museums of the future’ describes a faster, more effective cultural organization that can meet the changing expectations of visitors and communities, give global access to their collections to diverse audiences through an interactive approach. According to Lin (2005), a ‘museum of the future’ refers to ‘a total revolution affecting the museum in the aspects of management, preservation, display, architecture, circulation path, and its relationship with the surrounding environment. It is the motive power to force the museum to rethink the role it should play in the audience’ visiting experience’ (p. 6). In the same light, Simon Knell’s (2003) notion, that the digitization in the museum in terms
…show more content…
According to Suzane Keene (2004), the essence of the traditional museum – ‘as classifier, authoritative holder and producer of knowledge and as source of the “right” interpretation and view of society through place-based exhibitions – is a building’ (p. 3). By contrast, the museum of the future is more of a process or an experience, moving out into the spaces of the communities it serves. Therefore, a fundamental difference between the traditional museum and the museum of the 21st century is the type of space used to preserve and present cultural heritage and the modes of access and availability this space offers. Keene points out to another difference, which has to do with what is central to museums and archives – the object. As the importance of the meaning of the object and its past grows, so does the need to collect and present the intangible, as well as the tangible. The museum of the future sharpens its focus on collecting and exhibiting knowledge, rather than simply the object. Furthermore, with the perspective of new technologies, the process of digitization intensely defines the make-up of the museum of the future. Keene argues that, as inventories and catalogues of collections are increasingly digitized, ‘so they must become available as a single resource, together with related information provided by libraries, archives, sites and monuments’ (p. 4). Additionally, the

More about The Pros And Cons Of Re-Thinking Museums

Get Access