Museum as Interactive Space

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     The role of museum in the 21st Century as an interactive space with a

    viewer’s participation

    (Name)

    (Course Code and Name)

    (Date)

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    1. Introduction

     The thought of vising a museum always seems lively and delightful.

    ife gets a!rmed for some people who "nd meaning in their life #y visiting

    places where they can get to learn a#out their human history #y loo$ing into

    traditional pieces of art. %n the other hand& the people also mostly consider

    the visits to museums as a #oring activity& as they do not "nd meaning in it

    at all. 'owever& 21st century has witnessed these museums to #ecome an

    interactive space for most of the people where they can go and interact with

    each other too and not ust with the old sha##y paintings or sculptures. The

    modern museum has #ecome a sort of interactive place where people also

    discuss with each other a#out history and several incidents that have led to

    the formation of this particular era. This has #een helpful in reinvigorating

    the image of museums as one of the most interesting places to visit in view

    of many of the people. This should also #e noted that museums have #een

    playing a role of #eing an interactive space where the people would not only

    act as audience #ut also as participants.

     The researcher’s interest grew in to this aspect of art where the aspect

    of viewers #ecoming participants should #e considered. The idea to develop

    this research came from the eperience of the research made in the past

    that people spend a very little time in ma$ing engagement with the artwor$s

    displayed in museums due to which they "nd lesser meaning in any one of

    the pieces. The researcher has also witnessed a transformation in the role of

    museums in not ust #eing the silent places with lots of artwor$s displayed&

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    #ut also #ecoming an interactive place where the people can interact and

    discuss art. The viewers can witness the art and along with that participate in

    a fruitful discussion through which ideas can #e shared. That #eing said& the

    main purpose of this dissertation would #e to discuss the role of museum in

    21st century as an interactive space with a viewer’s participation.

    *n this regard& this dissertation is #asically divided into + chapters. The

    "rst chapter is introduction& as mentioned a#ove& in which the #rief idea

    a#out what is to #e discuss hereon has #een presented. ,long with that

    research -uestions along with aims and o#ectives of this dissertation will #e

    presented in introduction chapter. The second chapter will #e of literature

    review. This chapter will present scholarly research a#out role of museums in

    the past and how have museums transformed to #ecome an interactive

    platform for viewers to interact with each other. ,part from that& the

    literature review will also discuss how the theory of relational aesthetics

    presented #y Nicholas ourriaud has #een the fundamental theory in this

    su#ect and along with that a #rief introduction of three main artists will #e

    made in the chapter. Third chapter will #e a#out methodology and in which it

    will #e told how the data for analysis is collected and how the methodology

    has #een applied. /ourth chapter will present in #rief three main case studies

    #ased on theory of relational aesthetics. This means that these three cases

    will #e actually a#out those artists who have participated into these activities

    that are held museums as #eing interactive places. /ifth chapter will present

    "ndings #ased on case studies and the sith and last chapter will present

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    conclusions and recommendation concerning how the museums can #ecome

    more interactive places for enhancing viewers’ participation.

    1.1. Research Aims and Objectives

     The introduction a#ove has su!ciently provided the ideas a#out what

    is to #e done in this research. Thus the main aim of the researcher will #e to

    determine ways in which museum has #ecome an interactive space for

    maimiation of viewers’ participation. /or this purpose& case study analysis

    will #e employed. The main o#ective #ehind that is to loo$ through the past

    and in 21 st

     century that how the museums have #een treated #efore and how

    they can #e utilied for spreading awareness among viewers a#out displayed

    artwor$s.

    1.2. Research questions

     The main research -uestion in this regard is given as follows

    How justifed and sucient is the role o museum in 21st  century as being an

    interactive space or participation o viewers?

     This research -uestion along with many other -uestions of peripheral

    importance will #e addressed at the end of this research.

    2. Literature Review

     The main o#ective of literature review in this regard is to eplore past

    studies and theories through which role of museum& as #eing an interactive

    space& can #e determined. The literature section will also descri#e

    importance of participation of viewers in the museum and its rising trend in

    21st century. *n this regard& past practices concerning activities held in

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    museum for spreading awareness of art and understanding artwor$ among

    visitors will also #e presented.

    2.1. Theory of Relational Aesthetics

     Theory of 4elational ,esthetics proposed #y Nichoas ourriaud in 1556

    is considered as the most vigilant theoretical contet for accommodating the

    new generation of artists. The artists considered here are those who

    especially emerged in 1557s. The central premise of this theory is that

    artistic practice of the 1557s can #e most comprehended in form of a shift of

    paradigm in which the practice of art is more focused upon concept of inter8

    human relations as well as production of socia#ility models.

     The standard formula considered true in the modern art is that every

    single thing is an art. The latest step in the process of considering anything

    an art is that of relational aesthetics& which also means the posing of

    production of social eperiences #y artist as an art ma$ing. *n his own #oo$&

    ourriaud de"ned relational aesthetics as a set of artistic practices that

    consider as their practical and theoretical point of departure the complete

    human relations as well as their social contet rather than a private and

    independent space. This also means that the proects concerning relational

    aesthetics #asically di9er from traditional social as well as physical space of

    any museum or art gallery and also any appropriated atelier or artist studio.

    *n addition to that& the relational aesthetics also ta$es the completeness of

    life as the main su#ect as it is lived. *t also ta$es it as the socially dynamic

    environment& which is other than ma$ing the e9orts for imitative illustration

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    of artistic o#ects that are detached from routine life. This has also #een seen

    in case of still life of Dutch aro-ue& which is soundest eample relating to

    this theory.1 

    :imilarly& relational aesthetics has also #een de"ned #y critics in di9erent

    other ways. The central o#ective of most of the art deduced from relational

    aesthetics is creation of a social situation or environment. :imilarly& it is also

    depicted that eperience of a viewer in a particularly constructed social

    environment is also considered as an art.2 *n addition to that& the main tas$

    of the artist in this regard is also to #ecome the channel for such a social

    eperience. *n this manner& a physical space is often created #y the artists&

    as it can #e used for speci"c social program or event.0 *n this regard& it has

    further #een suggested that any form of event can #e considered in case of

    relational aesthetics& such as communal meal& music show& or even a friendly

    discussion. *n this regard& this concept is also fully applica#le in case of

    museum #ecoming an interactive space where artists can present their art in

    any form suita#le.

     The framer of this theory is a champion of art. :uch an art is #asically

    derived from eperimental production of social relationships and #onds.

    ourriaud himself calls these #onds as ;invention of models of socia#ility’. 'e

    also considers the modern discourse as a great improvement over the art of

    1557s& which was more focused on traditional as well as o#ect8#ased art.

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    Critics suggest that there are o#vious ris$s involved in collection of diverse

    range of practices that can #e added into this latest group of relational art.

    :