Taking stock: museum studies and museum practices in Canada

Carter, Jennifer; Castle, Christine K.; Soren, Barbara J.

doi:10.1080/09647775.2011.621728

Cited by 3 publications

(2 citation statements)

References 4 publications

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“…UK, US, Australia, Canada, the Netherlands), museum work over the last couple of decades or so has been moving closer to a mainstreamed model of a postgraduate degree-based profession (Carter, Castle, & Soren, 2011;Davies, 2007;Lorente, 2012;McClellan, 2007;Welsh, 2013), with museum studies courses designed specifically as a pre-service professional course to feed graduates into the museum labor market (although this is not tightly regulated and set as a requirement for entry into museum work, as is the case in nursing for example). Not unlike any other type of university-based professional course (e.g.…”

Section: Museographic Bricolage and Durationmentioning

confidence: 99%

“…teaching, nursing, engineering, social work), one of the major pedagogic challenges for such courses is to reconcile and in a way deconstruct in actu the theory/practice binary (Davis, 2011;Dubuc, 2011;Macleod, 2001;Mason, 2006;Teather, 1991), in an attempt to marry together what Ryle identifies as the two incommensurate modes of knowing: knowing-that and knowing-how (Ryle, 1949(Ryle, /2009. Many museum studies courses seek to address this challenge through incorporating a work-based learning component and 'workplace immersion' (Dubuc, 2011, p. 499) within the courses in the form of accredited placements and internships as well as partnerships with museums in the design and delivery of the courses (Carter et al, 2011;Davis, 2011;Dubuc, 2011;Welsh, 2013). There have been variable degrees of success in achieving some integration of the two modes of knowledge, with '[t]he dilemmas surrounding theory and practice,' as Dubuc (2011, p. 500) notes, still 'unresolved.'…”

Section: Museographic Bricolage and Durationmentioning

confidence: 99%

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Encountering the Creative Museum: Museographic creativeness and thebricolageof time materials

Tlili

2015

Educational Philosophy and Theory

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The aim of this article is to trace some lines of thinking towards a conceptualization of the uniqueness of the creative work of museums, the mode of creativeness that belongs exclusively to museums, or at least that museums are capable of by virtue of the types of materials and forms as well as activities unique to what will be referred to as museography. This is linked to the question of what it is that constitutes the uniqueness of museum work as a professional field. The article characterizes the uniqueness of museum professional knowledge primarily in terms of a mode of creativeness, or bricolage in Levi-Strauss's sense, mediated through the museographic form, and applied to the chance assemblies of materials to generate museumspecific modes of engaging questions-across science, culture, and society-particularly through creating unique temporal arrangements, or durations, that provoke thought, learning, and engagement on museographic terms. Museography's originality, it is argued, consists in a bricolage that works through the museum's unique material and form to create learning resources and encounters, museographic assemblages that depart from a conception of linear time as the space of evolutionary narrative to facilitate the experience of Bergsonian durations.

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