Academic literature on the topic 'Museum exhibits Australia'
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Journal articles on the topic "Museum exhibits Australia"
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Batten, Bronwyn. "A Shared History? Presenting Australia's Post-Contact Indigenous Past." Journal of Interpretation Research 10, no. 1 (April 2005): 31–48. http://dx.doi.org/10.1177/109258720501000103.
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The colonial origins of museums have often influenced the ways in which they depict the past. In Australia, portrayals of the Indigenous past have focussed exclusively on “traditional life” or the prehistoric period of history, to the detriment of post-contact history. This paper examines ways in which museums around Australia are beginning to counter this trend. Museum exhibits that relate to Australia's shared, post-contact past are analyzed in the context of recent developments in museology. This analysis is combined with feedback generated from interviews with heritage professionals. The results suggest that in order to move towards inclusive interpretation of Australian history, multiple voices and perspectives of the past must be incorporated into interpretive programs. This paper argues that there are a variety of ways in which heritage interpreters can attempt to incorporate pluralist perspectives of the past into museum exhibits.
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Dean, David, and Peter E. Rider. "Museums, Nation and Political History in the Australian National Museum and the Canadian Museum of Civilization." Museum and Society 3, no. 1 (April 8, 2015): 35–50. http://dx.doi.org/10.29311/mas.v3i1.63.
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The role museums play in shaping the public’s understanding of the past has recently become a matter of considerable interest for historians and others. In Canada and Australia, portraits of their country’s history created by national museums have ignited considerable controversy. The Canadian Museum of Civlization’s Canada Hall was the subject of a review by four historians, chosen to examine the Hall’s portrayal of political history, while the National Museum of Australia faced a highly politicised public review of all of its exhibits soon after the museum opened. By analysing and interpreting the findings of these reviews, the authors raise questions about the ability of museums to respond to historical controversy, shifting historiographies and changing understandings of what is important in the past.
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Biber, Katherine. "Evidence in the museum: Curating a miscarriage of justice." Theoretical Criminology 22, no. 4 (May 11, 2017): 505–22. http://dx.doi.org/10.1177/1362480617707950.
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After the conclusion of criminal proceedings, criminal evidence sometimes survives in what is described here as an afterlife. In its afterlife, criminal evidence is preserved in various locations; this article explores the museum as a repository for evidentiary exhibits. It examines the case of Lindy Chamberlain, the victim of Australia’s most notorious miscarriage of justice, and the evidence that has survived since her exoneration. Drawing upon interviews with Chamberlain herself, and also the curator of the Chamberlain collections at the National Museum of Australia, this article examines the challenges posed by curating a wrongful conviction.
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Turner, Stephanie. "Negotiating Nostalgia: The Rhetoricity of Thylacine Representation in Tasmanian Tourism." Society & Animals 17, no. 2 (2009): 97–114. http://dx.doi.org/10.1163/156853009x418055.
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AbstractThe recently extinct thylacine, endemic to Australia, has become a potent cultural icon in the state of Tasmania, with implications for Australian ecotourism and Tasmanian conservation strategies. While the thylacine's iconicity has been analyzed by naturalists and cultural historians, its significance in Tasmanian tourism has yet to be examined. Thylacine representations in tourism-related writings and images, because of their high degree of ambivalence, function as a rich site of conflicting values regarding national identity and native species protection. Drawing on cultural studies of the thylacine and constructivist theories of tourism, this study identifies and documents three polarities in thylacine representation: the thylacine as wild yet domesticated, present yet absent, and an Australian national—yet distinctly regional—subject. A close reading of contradictory textual and visual elements in tourist guides, travel writing, specialized maps, and museum exhibits illuminates ongoing debates about Australian econationalism in the global tourism economy.
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bandt, ros. "designing sound in public space in australia: a comparative study based on the australian sound design project's online gallery and database." Organised Sound 10, no. 2 (August 2005): 129–40. http://dx.doi.org/10.1017/s1355771805000774.
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the purpose of this paper is to articulate some of the ways in which australian sound practitioners are already designing sound in the public domain so that current trends and practices can be examined, compared and contrasted. this paper interrogates the new hybrid art form, public sound art, and the design processes associated with it as it occurs in public space in australia. the right to quiet has been defined as a public commons (franklin 1993). public space in australia is becoming increasingly sound designed. this article investigates the variety of approaches by sound artists and practitioners who have installed in public space through a representative sample of works drawn from the australian sound design project's online gallery and article, http://www.sounddesign.unimelb.edu.au, a site dedicated to the multimedia publishing of diverse sound designs installed in public space in australia, as well as its international outreach hearing place. works include permanent public and ephemeral sculptures, time-dense computerised sound installations, museum designs, exhibits in airports, art galleries, car parks, digital and interactive media exhibitions, and real-time virtual habitats on and off the web. the degree of interactivity in the sound-designed artworks varies greatly from work to work. stylistic features and design processes are identified in each work and compared and contrasted as a basis for examining the characteristics of the genre as a whole and its impact on the soundscape now and in the future.
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Friend, GR. "Ecological Studies of a Population of Antechinus bellus (Marsupialia : Dasyuridae) in Troprical Northern Australia." Wildlife Research 12, no. 2 (1985): 151. http://dx.doi.org/10.1071/wr9850151.
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A population of the fawn antechinus, Antechinus bellus, was monitored in tropical open-forest of the Northern Territory between June 1980 and January 1983. Sixty males and 66 females were captured and marked over 9525 trap-nights. The species exhibits the typical Antechinus life-history strategy, characterized by a highly synchronized mating period after which all males die. This field evidence supports earlier speculation based on laboratory studies and limited museum collections. Mating occurs over 2 weeks in late August and parturitions about a month later. Young remain attached to the nipples for 4-5 weeks and are suckled in the nest until weaned in early January. Reproduction patterns, population dynamics and changes in relative abundance resemble those in A. stuartii from south-eastern Australia. The life-history strategy of A. bellus contrasts with that of the regionally sympatric Parantechinus bilarni, in which fecundity is lower and males may survive to breed a second time. The strategy exemplified by A. bellus does not seem optimal for the wet-dry tropics, given the erratic nature of rainfall in the early wet season, which may influence the relative abundance of the insect food resource available for lactating females and newly weaned juveniles. However the existence of patches of structurally diverse open-forest may moderate environmental fluctuations and enhance resource availability, and thus be of critical importance for the survival of local populations.
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Braithwaite, RW, and AD Griffiths. "The Paradox of Rattus Tunneyi: Endangerment of a Native Pest." Wildlife Research 23, no. 1 (1996): 1. http://dx.doi.org/10.1071/wr9960001.
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An analysis of mark-recapture data for Rattus tunneyi in Kakadu National Park from a 7-year period was performed. Capture rates declined 500-fold during this period. The species exhibits a strong preference for riparian vegetation. The diet is primarily herbivorous, with little insect material. High-nutrient plant parts are generally chosen. Reproduction is most common in the wet season but some breeding extends throughout the year if unseasonal rain occurs during the dry season. Fire regime seems to have little effect on population numbers. The level of groundwater irrigating the riparian system and to a lesser extent current rainfall have a much stronger influence. Museum records show a contraction since European colonization from a near-total continental distribution to one-seventh of its former distribution along the north-west Australian and southern Queensland coast. The contraction from the more arid regions is likely to be due to the impact of introduced mammalian herbivores on the riparian habitats which previously functioned as refuge areas during periods of low water availability. Historically, R. tunneyi is likely to have fluctuated in distribution and abundance throughout the continent. In recent times, this has included irruptions into commercial crops in some areas. The loss of local refuges plus relatively poor powers of dispersal have resulted in the distribution now being fragmented, with the north-western and central east coasts of Australia providing the most significant habitat for the species.
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Bigourdan, Nicolas, Kevin Edwards, and Michael McCarthy. "Steamships to Suffragettes." Museum Worlds 4, no. 1 (July 1, 2016): 138–54. http://dx.doi.org/10.3167/armw.2016.040111.
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ABSTRACTSince 1985 the shipwreck site and related artifacts from the steamship SS Xantho (1872) have been key elements in the Western Australian Museum Maritime Archaeology Department’s research, exhibition, and outreach programs. This article describes a continually evolving, often intuitive, synergy between archaeological fieldwork and analyses, as well as museum interpretations and public engagement that have characterized the Steamships to Suffragettes exhibit conducted as part of a museum in vivo situation. This project has centered on themes locating the SS Xantho within a network of temporal, social, and biographical linkages, including associations between the ship’s engine and a visionary engineer (John Penn), a controversial entrepreneur (Charles Broadhurst), a feminist (Eliza Broadhurst), and a suffragette (Kitty Broadhust), as well as to Aboriginal and “Malay” divers and artists. Achieved with few funds, the project may be a valuable case study at a time when funds allocated to museums and archaeological units are rapidly diminishing.
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KOWAL, EMMA. "Spencer's double: the decolonial afterlife of a postcolonial museum prop." BJHS Themes 4 (2019): 55–77. http://dx.doi.org/10.1017/bjt.2019.12.
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AbstractIn the mid-1990s, staff at Museum Victoria planned the new Melbourne Museum. The Indigenous gallery was a major focus at a time when many museums around the world forged new ways of displaying Indigenous heritage. Named Bunjilaka (a Woiwurrung word meaning ‘place of Bunjil', referring to the ancestral eaglehawk), the permanent Indigenous exhibit was a bold expression of community consultation and reflexive museum practice. At its heart was a life-size model of Baldwin Spencer, co-author of the classic anthropological monograph The Native Tribes of Central Australia (1899). When Bunjilaka was replaced with a wholly Indigenous-designed exhibit of Aboriginal Victoria in 2011, the model was informally retained by museum staff. Initially sitting awkwardly on a trolley in a narrow room where objects were processed for accession, Spencer himself remained unrecorded in any database. With no official existence but considerable gravity, he ended up housed in the secret/sacred room, surrounded by restricted objects that Spencer the man had collected. This article traces Spencer's journey from a post-colonial pedagogical tool to a transgressive pseudo-sacred object in an emerging era of decolonial museology. I argue that Spencer's fate indicates a distinct period of post-colonial museology (c.1990–2010) that has ended, and illustrates how the shifting historical legacies of science operate in the present.
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Edwards, Matthew L., and David B. Waisel. "49 Mathoura Road." Anesthesiology 121, no. 6 (December 1, 2014): 1150–57. http://dx.doi.org/10.1097/aln.0000000000000473.
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Abstract From 1930 to 1955, Geoffrey Kaye, M.B.B.S., was one of the most influential anesthetists in Australia. In 1951, he opened a center of excellence for Australian anesthesia at 49 Mathoura Road, Toorak, Melbourne, which Kaye affectionately called “The Anaesthestists’ Castle” and “49.” “49” was designed to foster the educational, research, and administrative activities that would allow Australian anesthesia to reach the level of practice and professionalism found in Europe and America. Kaye wholly financed the venture and lived on the second floor of the building. During his world-wide travels, Kaye had developed a friendship with Paul M. Wood, M.D., the originator of the American Library-Museum now known eponymously as the Wood Library-Museum of Anesthesiology. Through the letters Kaye sent to Wood, the authors see Kaye’s perception of the events surrounding the rise and fall of “49.” Kaye’s early letters were optimistic as he discussed the procurements and provisions he made for “49.” His later letters exhibit frustration at the lack of participation by members of the Australian Society of Anaesthetists. Kaye was truly a visionary for his time. He believed that the diffusion center which “49” was to become was not only realistic and achievable but also necessary if Australian anesthesia was to gain international prominence comparable to anesthesia in Europe and North America. In the end, the failure of “49” left Kaye estranged from Australian anesthesia for many years. How this estrangement affected Australian anesthesia is unknown.
Dissertations / Theses on the topic "Museum exhibits Australia"
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Styles, Catherine Anne, and castyles@ozemail com au. "An other place: the Australian War Memorial in a Freirean framework." The Australian National University. Centre for Women's Studies, 2001. http://thesis.anu.edu.au./public/adt-ANU20010904.111335.
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My thesis is that museum exhibitions developed according to Freirean praxis would constitute a better learning opportunity for visitors, facilitate the process of evaluation, and enact the favoured museum principles of dialogic communication and community-building.
¶This project constitutes a cross-fertilisation of adult education, cultural studies and museum practice. In the last few decades, museum professional practice has become increasingly well informed by cultural critique. Many museum institutions have been moved to commit to building communities, but the question of how to do so via exhibition spaces is yet to be squarely addressed by the museum field. In this thesis I produce a detailed evaluation of a museum's informal learning program; and demonstrate the potential value of adult education theory and practice for enacting museums' commitment to dialogic communication and community-building.
¶To investigate the value of adult education praxis for museums, I consider the Australian War Memorial's signifying practice - the site and its exhibitions - as a program for informal learning. I conduct my analysis according to Ira Shor's (Freirean) method for engaging students in an extraordinary re-experience of an ordinary object. Shor's program calls for students to investigate the object through three stages of description, diagnosis and reconstruction. Respectively, I testify to my initial experience of the Memorial's program as a visitor, analyse its signification in national, international and historical contexts, and imagine an alternative means of signifying Australia's war memory. The resulting account constitutes a record of my learning process and a critical and constructive evaluation of the Memorial as a site for informal learning. It provides a single vision of what the Memorial is, what it means and how it could be reconstructed. But more importantly, my account demonstrates a program for simultaneously learning from the museum and learning about its signifying practice. This dual educational and evaluative method would mutually advantage a museum and its visiting public. In a museum that hosted a dialogic program, the exhibitions would invite evaluative responses that staff are otherwise at pains to generate. Concurrently, visitors would benefit because they would be engaging in a more critical and constructive learning process. In addition, the museum would be enacting the principle of dialogic communication that underpins the project of community-building.
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Philp, Angela. "Museums and the public sphere in Australia : between rhetoric and practice." Phd thesis, 2006. http://hdl.handle.net/1885/109229.
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Styles, Catherine Anne. "An other place: the Australian War Memorial in a Freirean framework." Phd thesis, 2001. http://hdl.handle.net/1885/48203.
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My thesis is that museum exhibitions developed according to Freirean praxis would constitute a better learning opportunity for visitors, facilitate the process of evaluation, and enact the favoured museum principles of dialogic communication and community-building. ¶ This project constitutes a cross-fertilisation of adult education, cultural studies and museum practice. In the last few decades, museum professional practice has become increasingly well informed by cultural critique. Many museum institutions have been moved to commit to building communities, but the question of how to do so via exhibition spaces is yet to be squarely addressed by the museum field. In this thesis I produce a detailed evaluation of a museum's informal learning program; and demonstrate the potential value of adult education theory and practice for enacting museums' commitment to dialogic communication and community-building. ¶ To investigate the value of adult education praxis for museums, I consider the Australian War Memorial's signifying practice - the site and its exhibitions - as a program for informal learning. ...
Books on the topic "Museum exhibits Australia"
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Churcher, Betty. Treasures of Canberra. Braddon, Australian Capital Territory: Halstead Press, 2013.
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100 Stories From The Australian National Maritime Museum. UNSW Press, 2013.
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Professional Savages: Captive Lives and Western Spectacle. Yale University Press, 2004.
Find full textConference papers on the topic "Museum exhibits Australia"
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Basballe, Ditte Amund, and Kim Halskov. "Projections on museum exhibits." In the 22nd Conference of the Computer-Human Interaction Special Interest Group of Australia. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1952222.1952240.
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