Postings on this blog from 2011 to 2015 relate to my PhD research into museums, media and fashion resulting in the dissertation, Mobile museology: An exploration of fashionable museums, mobilisation and trans-museal mediation, which was succesfully defended on September 18th 2015.
Drawing together perspectives from museology, digital culture studies and fashion theory, this thesis considers changes in and challenges for current-day museums as related to ‘mobile museology’. This concept is developed for and elucidated in the thesis to describe an orientation towards the fashionable, the ephemeral, and towards an (ideal) state of change and changeability. This orientation is characterised with the triplet concepts of mobile, mobility, and mobilisation, as related to mobile media and movability; to ‘trans-museal’ mediation; and to the mobilisation of collections, audiences and institutional mindsets.
The research project’s transdisciplinary and exploratory approach takes inspiration from critical design, minding Latour’s (2004a) call for rethinking critical approaches in the humanities. Through a creative process, focused on designs for framing fashion in everyday contexts and involving prospective users and professionals from Designmuseum Danmark, the project reflects on and seeks to articulate matters of concern in digital heritage and museum practice.
With this elaborated departure of theorisation and methodological considerations, the dissertation compiles three research articles with a selection of blog posts from the research project blog, included with an aim to illustrate the reflective and processual project methodology, and to present ideas-in-the-making relating to trans-museal mediation, some of which are elaborated in the ensuing articles.
Article one, ‘Museum metamorphosis à la mode’, proposes a fashion perspective on ongoing museum developments. Based on a reading of Foucault’s ((1967)1986) concept of heterotopia, it is argued that museums today seek to represent the ephemeral present, by offering fashionable exhibitions and events. Outlining the history and key positions of fashion museology, the article suggests the current trend for fashion exhibitions as an illustration of this point. Presenting the case of the exhibition Shoe Obsession, the article considers the perspective of transcending the museum space to capture contemporary dress in everyday life situations.
Article two, ‘Augmenting the agora: media and civic engagement in museums’, questions the idea of social media holding a vital potential for the democratic development of the museum. Describing a confluence of new media affordances with new museological ideals and political demands, and drawing on Flichy’s (2007) analysis of the Internet imaginaire, the article traces the ideological underpinnings of this discourse. Presenting select examples of participatory museum projects, the article points to potential problematics of such interactions, which, it is suggested, may pay lip service to genuine civic engagement.
The third and final article, ‘Heteroscopia: a musealising gaze at the everyday’, traces a current interest in musealising the everyday, by transcending the museum space or framing the extra-ordinary in the ordinary. The article introduces the concept heteroscopia, inspired by Foucault ((1967)1986), but also by Gumbrecht’s (2004, 2006) ideas about aesthetic experiences in the everyday, to denote a musealising gaze, observing the duality of aesthetic materiality and cultural meaning in objects in or outside the museum.
The project’s key perspectives – the conception of mobile museology; the fashion perspective; the notion of heteroscopia; and also the project’s methodological considerations – are considered in the conclusion as theoretical contributions to museological discourse.