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Few institutions are warier of copies than museums. Few fields of
knowledge are more prone to denounce copies as fake than the
heritage field. Few discourses are as concerned with authenticity,
aura, originals and provenance as those concerning exhibiting and
collecting. So why is it that these are institutions, fields and
discourses where copies proliferate and copying techniques have
thrived for hundreds of years? Museums as Cultures of Copies aims
to make the copying practices of museums visible and to discuss,
from a range of interrelated perspectives, precisely what function
copies fulfil in the heritage field and in museums today. With
contributions from Europe and Canada, the book interrogates the
meaning of copies and presents copying as a fully integrated part
of museum work. Including chapters on ethnographic mannequins,
digitalized photos, death masks, museum documentation and
mechanical models, contributors consider how copying as a cultural
form changes according to time and place and how new forms of
copying and copy technologies challenge and expand museum work
today. Arguing that copying is at the basis of museum practice and
that new technologies and practices have been taken up and
developed in museums since their inception, the book presents both
heritage work and copies in a new light. Museums as Cultures of
Copies should be of great interest to academics, scholars and
postgraduate students working in the fields of museum and heritage
studies, as well as visual studies, cultural history and
archaeology. It should also be essential reading for museum
practitioners.
Routes and roads make their way into and across the landscape,
defining it as landscape and making it accessible for many kinds of
uses and perceptions. Bringing together outstanding scholars from
cultural history, geography, philosophy, and a host of other
disciplines, this collection examines the complex entanglement
between routes and landscapes. It traces the changing conceptions
of the landscape from the Enlightenment to the present day, looking
at how movement has been facilitated, imagined and represented and
how such movement, in turn, has conditioned understandings of the
landscape. A particular focus is on the modern transportation
landscape as it came into being with the canal, the railway, and
the automobile. These modes of transport have had a profound impact
on the perception and conceptualization of the modern landscape, a
relationship investigated in detail by authors such as Gernot
BAhme, Sarah Bonnemaison, Tim Cresswell, Finola O'Kane, Charlotte
Klonk, Peter Merriman, Christine Macy, David Nye, Vittoria Di
Palma, Charles Withers, and Thomas Zeller.
Few institutions are warier of copies than museums. Few fields of
knowledge are more prone to denounce copies as fake than the
heritage field. Few discourses are as concerned with authenticity,
aura, originals and provenance as those concerning exhibiting and
collecting. So why is it that these are institutions, fields and
discourses where copies proliferate and copying techniques have
thrived for hundreds of years? Museums as Cultures of Copies aims
to make the copying practices of museums visible and to discuss,
from a range of interrelated perspectives, precisely what function
copies fulfil in the heritage field and in museums today. With
contributions from Europe and Canada, the book interrogates the
meaning of copies and presents copying as a fully integrated part
of museum work. Including chapters on ethnographic mannequins,
digitalized photos, death masks, museum documentation and
mechanical models, contributors consider how copying as a cultural
form changes according to time and place and how new forms of
copying and copy technologies challenge and expand museum work
today. Arguing that copying is at the basis of museum practice and
that new technologies and practices have been taken up and
developed in museums since their inception, the book presents both
heritage work and copies in a new light. Museums as Cultures of
Copies should be of great interest to academics, scholars and
postgraduate students working in the fields of museum and heritage
studies, as well as visual studies, cultural history and
archaeology. It should also be essential reading for museum
practitioners.
Routes and roads make their way into and across the landscape,
defining it as landscape and making it accessible for many kinds of
uses and perceptions. Bringing together outstanding scholars from
cultural history, geography, philosophy, and a host of other
disciplines, this collection examines the complex entanglement
between routes and landscapes. It traces the changing conceptions
of the landscape from the Enlightenment to the present day, looking
at how movement has been facilitated, imagined and represented and
how such movement, in turn, has conditioned understandings of the
landscape. A particular focus is on the modern transportation
landscape as it came into being with the canal, the railway, and
the automobile. These modes of transport have had a profound impact
on the perception and conceptualization of the modern landscape, a
relationship investigated in detail by authors such as Gernot
BAhme, Sarah Bonnemaison, Tim Cresswell, Finola O'Kane, Charlotte
Klonk, Peter Merriman, Christine Macy, David Nye, Vittoria Di
Palma, Charles Withers, and Thomas Zeller.
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