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- Adman, Per, et al.
(författare)
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171 forskare: ”Vi vuxna bör också klimatprotestera”
- 2019
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Ingår i: Dagens nyheter (DN debatt). - Stockholm. - 1101-2447.
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Tidskriftsartikel (populärvet., debatt m.m.)abstract
- DN DEBATT 26/9. Vuxna bör följa uppmaningen från ungdomarna i Fridays for future-rörelsen och protestera eftersom det politiska ledarskapet är otillräckligt. Omfattande och långvariga påtryckningar från hela samhället behövs för att få de politiskt ansvariga att utöva det ledarskap som klimatkrisen kräver, skriver 171 forskare i samhällsvetenskap och humaniora.
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| 2. |
- Owman, Caroline, 1966-
(författare)
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det meränmänskliga museet : Konservatorns bevarandepraktik som flyktlinje i modernitetens museum
- 2021
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis takes the conservator as a starting point to explore more-than-human aspects of the museum of modernity. Assuming that built-in obstacles impinge when museums today deal with environmental issues‚ it investigates new and alternative perspectives on the engagement with our immediate surroundings, in this case the museum objects. The objective of this study is to map museum processes hidden in the anthropocentric museum of modernity. The aim is to broaden the perspective on the museum to include what the museum structures of modernity have pushed aside: ongoing processes and becomings, and the myriad of energetic more-than-human agencies and temporalities constantly at work in a museum.The main empirical material consists of interviewes with conservators working in different departements and museums in Sweden. This material also includes my own experiences of working as a conservator and as an exhibition producer in various museums. There is a particular focus on the care of objects performed by conservators. The material also includes Swedish Government Official Reports (SOU) and one central text from the Ministry Publications Series (Ds). Furthermore, more-than-human agencies play an important role: enacted through the museum apparatus in shape of humidity and silverfish.Posthuman theory, environmental humanities and material feminism form the overarching theoretical framework as well as provide the analytical tools. Three main themes from these theoretical areas run throughout the entire thesis: anthropocentrism, more-than-human agency, dualistic thinking and dichotomies. All of which are applied to the empirical material. To conclude, museums have been part of modernity’s ambitions and ideals since they were established just over 100 years ago. This thesis shows how, in the structures of the museum, modernity’s ideas have persisted. Furthermore, these structures of thought appear and interfere, inter alia, in the conservator’s experiences of and thoughts about their work and professional identity. However, when working intimately with the museum objects more-than-human relational processes and other productive connections emerge, whereby the structures, derived from moderity’s thinking, are challenged in productive ways. This forms the line of flight that the title refers to; here perceived as a possibility for change, in a direction that could promote new ways for museums to tackle complex more-than-human issues, such as climate change and environmental matters.
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| 3. |
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| 4. |
- Simonsson, Märit, Fil dr
(författare)
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The most powerful material in westeros : fiction exhibitions and the authenticity of fiction objects
- 2022
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Ingår i: Museum & Society. - Leicester : University of Leicaster. - 1479-8360. ; 20:2, s. 250-263
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Tidskriftsartikel (refereegranskat)abstract
- This article examines authenticity in relation to exhibitions about films and television series and the objects they contain, defined here as fiction exhibitions and fiction objects. The study is based on an analysis of Game of Thrones: The Touring Exhibition. Material and constructed authenticity are examined and used in the analysis. It is concluded that the exhibition relates to both categories of authenticity, as it contains authentic material from the production of the series and constructs authenticity by emphasizing the fiction objects’ value. The value of objects is also discussed in relation to the representation of different fictional cultures in the exhibition. Comparing exhibitions and objects of fiction with exhibitions and objects of cultural history, the paper concludes that their authentic qualities are similar, confirming that fiction exhibitions and objects are no less authentic than exhibitions and objects in established museums.
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