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Computer technology has transformed modern society, yet curators wishing to reflect those changes face difficult challenges in terms of both collecting and exhibiting. Collecting and Exhibiting Computer-Based Technology examines how curators at the history and technology museums of the Smithsonian Institution have met these challenges. Focusing on the curatorial process, the book explores the ways in which curators at the institution have approached the accession and display of technological artifacts. Such collections often have comparatively few precedents, and can pose unique dilemmas. In analysing the Smithsonian’s approach, Foti takes in diverse collection case studies ranging from DNA analyzers to Herbie Hancock’s music synthesizers, from iPods to born-digital photographs, from the laptop used during the filming of the television program Sex and the City to "Stanley" the self-driving car. Using her proposed model of "expert curation", she synthesizes her findings into a more universal framework for undertanding the curatorial methods associated with computer technology and reflects on what it means to be a curator in a postdigital world. Collecting and Exhibiting Computer-Based Technology offers a detailed analysis of curatorial practice in a relatively new field that is set to grow exponentially. It will be useful reading for curators, scholars, and students alike.
"From an insider's perspective, Robert C. Post ... offers insight into the politics of display and the interpretation of history. Never before has a book about the Smithsonian detailed the recent and dramatic shift from collection-driven shows, with artifacts meant to speak for themselves, to concept-driven exhibitions, in which objects aim to tell a story, displayed like illustrations in a book"--Dust jacket flap.
This ninth volume of the Artefacts series explores how artists have responded to developments in science and technology, past and present. Rather than limiting the discussion to art alone, editors Anne Collins Goodyear and Margaret Weitekamp also asked contributors to consider aesthetics: the scholarly consideration of sensory responses to cultural objects. When considered as aesthetic objects, how do scientific instruments or technological innovations reflect and embody culturally grounded assessments about appearance, feel, and use? And when these objects become museum artifacts, what aesthetic factors affect their exhibition? Contributors found answers in the material objects themselves. This volume reconsiders how science, technology, art, and aesthetics impact one another.
A critical exploration of today's global imperative to innovate, by champions, critics, and reformers of innovation. Corporate executives, politicians, and school board leaders agree—Americans must innovate. Innovation experts fuel this demand with books and services that instruct aspiring innovators in best practices, personal habits, and workplace cultures for fostering innovation. But critics have begun to question the unceasing promotion of innovation, pointing out its gadget-centric shallowness, the lack of diversity among innovators, and the unequal distribution of innovation's burdens and rewards. Meanwhile, reformers work to make the training of innovators more inclusive and the outcomes of innovation more responsible. This book offers an overdue critical exploration of today's global imperative to innovate by bringing together innovation's champions, critics, and reformers in conversation. The book presents an overview of innovator training, exploring the history, motivations, and philosophies of programs in private industry, universities, and government; offers a primer on critical innovation studies, with essays that historicize, contextualize, and problematize the drive to create innovators; and considers initiatives that seek to reform and reshape what it means to be an innovator. Contributors Errol Arkilic, Catherine Ashcraft, Leticia Britos Cavagnaro, W. Bernard Carlson, Lisa D. Cook, Humera Fasihuddin, Maryann Feldman, Erik Fisher, Benoît Godin, Jenn Gustetic, David Guston, Eric S. Hintz, Marie Stettler Kleine, Dutch MacDonald, Mickey McManus, Sebastian Pfotenhauer, Natalie Rusk, Andrew L. Russell, Lucinda M. Sanders, Brenda Trinidad, Lee Vinsel, Matthew Wisnioski
Wayne Clough, Secretary of the Smithsonian Institution, asks “How can we prepare ourselves to reach the generation of digital natives who bring a huge appetite—and aptitude—for the digital world?” He explains how the Smithsonian is tackling this issue in Best of Both Worlds: Museums, Libraries, and Archives in a Digital Age. Libraries and archives have already made many documents available through the Internet. The digital world presents a bigger challenge for museums; producing images of 3D objects is more complicated, and collections are built with exhibitions in mind rather than open access on computers. In 2009, the Smithsonian began digitizing its vast collections to make them accessible to the millions of people who do not visit the museums in person. “Digital access can provide limitless opportunities for engagement and lifelong learning.” Clough sees museums gradually moving beyond showcasing collections to engaging the public online so “visitors” can access the objects they find most interesting. Education has always been at the core of the Smithsonian. Today, the Smithsonian offers materials and lesson plans that meet state standards for K–12 curricula; online summits on many diverse subjects; the Collections Search Center website; and apps. The Smithsonian’s website, www.seriouslyamazing.com, draws people in with fun questions and then takes them deeper into the subject. The question “What European colonizer is still invading the U.S. today?” reveals not only the answer—earthworms—but also in-depth info on worms from environmental researchers. Clough concludes with this thought: “While digital technology poses great challenges, it also offers great possibilities.”
The Evolution of Washington, DC is a striking volume featuring select pieces of the extraordinary collection of Washingtoniana donated by Albert H. Small to the George Washington University in 2011. It showcases treasures such as an 1860 lithograph of the equestrian statue of Andrew Jackson in front of the White House and a contemporary print of old Potomac River steamboats. Other unique pieces include early designs for the White House, the Capitol, and the Washington Monument as well as presidential portraits and Civil War memorabilia. Each object--from architectural plans and topographical maps to letters and advertisements--tells a fascinating story, and together they illustrate the history of our nation's capital and indeed our nation itself.