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Making exhibitions is a collaborative art, producing is a multi-layered unity of ideas and objects, of invention and manifestation, of content and form. However, there is an antagonistic dimension to it, because content and form are traditionally represented by the entirely different realms of curator and designer. Future successful developments in exhibition-making are dependent on whether this gap of antagonism can be bridged. space.time.narrative calls for a paradigmatic shift of focus. It puts forward a unique approach, breaking down traditional barriers and offering a wide-ranging theoretical context, redefining and expanding the parameters and the dynamics of the exhibition-format in terms of an open, narrative environment, which at its roots displays deep similarities with performance on stage, or installation in urban and rural space. The book breaks new ground by looking at the exhibition as a cultural format firstly within a great sweep of the arts in general, weaving a web of philosophical, museological, linguistic and media-theoretical references, which expands the contextual field of the profession. It then offers unique and important insights from within, in extreme close-up, by bringing together interviews with six of the leading exhibition designers who discuss the dynamics of the medium, its interactive dimensions, the soft parameters of the exhibition, and how to get to grips with the format as a complex narrative space, in which the public takes part. Curator and designer should reposition themselves professionally at the heart of the axis, which divides (or connects) content and form.
Over a mere three decades, the video game became the entertainment medium of choice for millions of people, who now spend more time in the interactive virtual world of games than they do in watching movies or even television. The release of new games or game-playing equipment, such as the PlayStation 2, generates great excitement and even buying frenzies. Yet, until now, this giant on the popular culture landscape has received little in-depth study or analysis. In this book, Mark J. P. Wolf and four other scholars conduct the first thorough investigation of the video game as an artistic medium. The book begins with an attempt to define what is meant by the term "video game" and the variety of modes of production within the medium. It moves on to a brief history of the video game, then applies the tools of film studies to look at the medium in terms of the formal aspects of space, time, narrative, and genre. The book also considers the video game as a cultural entity, object of museum curation, and repository of psychological archetypes. It closes with a list of video game research resources for further study.
This book explores the varied ways in which modernist and postcolonial innovations in fiction are motivated by crises and revolutions in the human perception and appropriation of space. 'Space' for the writers concerned has its political, historical, cultural and gender dimensions as well as its geographical identity.
This book explores the varied ways in which modernist and postcolonial innovations in fiction are motivated by crises and revolutions in the human perception and appropriation of space. 'Space' for the writers concerned has its political, historical, cultural and gender dimensions as well as its geographical identity.
Featuring contributions from leading scholars in the field, The Handbook of Narrative Analysis is the first comprehensive collection of sociolinguistic scholarship on narrative analysis to be published. Organized thematically to provide an accessible guide for how to engage with narrative without prescribing a rigid analytic framework Represents established modes of narrative analysis juxtaposed with innovative new methods for conducting narrative research Includes coverage of the latest advances in narrative analysis, from work on social media to small stories research Introduces and exemplifies a practice-based approach to narrative analysis that separates narrative from text so as to broaden the field beyond the printed page
In Gaming Matters, McAllister and Ruggill turn from the broader discussion of video game rhetoric to study the video game itself as a medium and the specific features that give rise to games as similar and yet diverse as Pong, Tomb Raider, and Halo.
" 'Narrative spaces' is about exhibitions, about their practice and principles. The book establishes a comprehensive theoretical, practical and cultural-historical framework and it defines the conceptual tools to probe the dynamics of the profession... 'Narrative spaces' uncovers the dramaturgical, scenographical principles of the exhibition as a narrative space and it inspires new approaches of exhibition design." -- From the back cover
Scenography has been acting as a transformative force to reform the traditionalexhibitionary complex. This has led to an unprecedented intersection wherescenography meets contemporary curating, which further informs a radical ideologicalshift in the frontier of the exhibition scene. This book aims to exploit a new land ofdiscussion to look into this intersection between scenographic practice andcontemporary curating, its mergence and the subsequent revolution it has caused. Byseeing museums and exhibition spaces as metaphorical stages, it fundamentallyreconfigures the infrastructure of curating practices, in terms of a shift in authorship,architectural embodiment of ideas, field of experience, layered narrative, dramaturgy andthe hybrid expressions of new media. Three case studies will demonstrate scenography’swide-ranged methodologies in dealing with contemporary issues. Cases include: BMWMuseum (Reopened in 2008), Cultures of the World (Opened in 2010) and Leonardo’sLast Supper: A Vision by Peter Greenaway (2008, 2010). The discussion cuts throughmajor discourses, both responding to the rise of the experience economy and theexpanding notion of curating, in parallel.
This open access book focuses on theoretical and empirical intersections between governance, knowledge and space from an interdisciplinary perspective. The contributions elucidate how knowledge is a prerequisite as well as a driver of governance efficacy, and conversely, how governance affects the creation and use of knowledge and innovation in geographical context. Scholars from the fields of anthropology, economics, geography, public administration, political science, sociology, and organization studies provide original theoretical discussions along these interdependencies. Moreover, a variety of empirical chapters on governance issues, ranging from regional and national to global scales and covering case studies in Australia, Europe, Latina America, North America and South Africa demonstrate that geography and space are not only important contexts for governance that affect the contingent outcomes of governance blueprints. Governance also creates spaces. It affects the geographical confines as well as the quality of opportunities and constraints that actors enjoy to establish legitimate and sustainable ways of social and environmental co-existence.
Ethnography centers on the culture of everyday life. So it is ironic that most scholars who do research on the intimate experiences of ordinary people write their books in a style that those people cannot understand. In recent years, the ethnographic method has spread from its original home in cultural anthropology to fields such as sociology, marketing, media studies, law, criminology, education, cultural studies, history, geography, and political science. Yet, while more and more students and practitioners are learning how to write ethnographies, there is little or no training on how to write ethnographies well. From Notes to Narrative picks up where methodological training leaves off. Kristen Ghodsee, an award-winning ethnographer, addresses common issues that arise in ethnographic writing. Ghodsee works through sentence-level details, such as word choice and structure. She also tackles bigger-picture elements, such as how to incorporate theory and ethnographic details, how to effectively deploy dialogue, and how to avoid distracting elements such as long block quotations and in-text citations. She includes excerpts and examples from model ethnographies. The book concludes with a bibliography of other useful writing guides and nearly one hundred examples of eminently readable ethnographic books.