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By Michel Foucault

In France, a rustic that awards its intellectuals the prestige different nations provide their rock stars, Michel Foucault was once a part of a glittering new release of thinkers, one that additionally incorporated Sartre, de Beauvoir and Deleuze. one of many nice highbrow heroes of the 20th century, Foucault was once a guy whose ardour and cause have been on the carrier of approximately each innovative explanation for his time. From legislations and order, to psychological wellbeing and fitness, to strength and data, he spearheaded public knowledge of the dynamics that carry us all in thrall to a couple strong ideologies and pursuits. Arguably his most interesting paintings, Archaeology of Knowledge is a tough yet beautifully profitable creation to his principles.

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Having to think about goals and objectives can be enlightening and even liberating. But it can also mean we are taking ourselves much too seriously (Rounds 2004). Like so many others, I do not think people come to museums determined to absorb what we have laboriously put out for them. 16 In any case, the field has more than enough scholars telling us how to ensure learning happens more often and with a more diverse range of visitors. Instead, I want to build on the notion that other things are happening in museum exhibitions than education or learning.

And it was effective. I mean, that was something that stopped me in my tracks. I mean, I was born and raised, and always considered myself, an African-American, but for the first time I actually thought about my white ancestry that was so far back in generations. And it just kind of stopped me in my tracks. But then I went ahead and I walked in the “colored” door. I figured I had to go with what I knew. And that’s the experience that—I mean I will always remember that, because it was something so simple and yet so very, very effective for me as an African-American (M.

Nina Simon and Participatory Design Nowhere has the social dimension of museum exhibitions received more practical attention than in the work of Nina Simon, whose book, The Participatory Museum, was co-written with her readers and published online. 5 As Simon cogently explains, the interactivity of the Internet and social media provide a marvelous model for thinking about exhibitions. The museum can be viewed as a content platform rather than provider, opening up the possibility for ceaselessly evolving new ideas and exchanges with other users/ visitors.

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