This paper discusses exhibition installation as an aesthetic medium. Drawing on Germano Celant’s writing on installation, we advance an interpretation of artists’ engagement with installation resulting in room-size works in the first half of the 20th century, as part of the evolution of exhibition installation towards the convergence of art and design. The paper also address the problem of intermediality as discussed by Juliane Rebentisch, and its implications for installation and attempts to tests Rosalind Krauss’s reconception of the medium against (...) Rebentisch’s criticism, while analyzing Krauss’s disapproval of installation art, including the room-size works of the avant-garde. (shrink)

Reconfigurations of the Exhibition Space – Case Study: Cristi Rusu Exhibition at the Plan B Gallery. In this paper I focus on a case study concerning the Cristi Rusu exhibition, The Only Thing I Am Sure about in This Life Lies above My Head, from the Plan B Gallery in Berlin (March 6 – April 11 2020). By integrating some interventions specific to land art in the gallery space (and, therefore, transforming it), Cristi Rusu manages to transgress the conventional limits (...) imposed by the idea of a white cube gallery neutral space. The art gallery’s space functions as a medium for developing artistic discourse as the project tries to detach from the tradition and ideologies already incorporated in a certain place and time, in search for the sublime. (shrink)

This research was undertaken to explore audience members learning ethics from two national museum exhibitions: The Return of Sherlock Holmes (RSH) and Human Body Exploration (HBE) in Taiwan. Based on literature review of ethics for museums, there are four dimensions related to exhibition ethics: environment, marketing, education, and services. Therefore, the purpose of this research was to examine the relationships within the dimensions of environment, marketing, education, and services of exhibition ethics and to understand the differences in exhibition ethics (...) between RSH and HBE. The total number of valid questionnaires was 191 for RSH and 152 for HBE. The research method analysis of variance was applied to examine whether there were significant differences between individual's basic data and four different dimensions of exhibition ethics in museums. As survey data revealed, exhibition ethics had significant relationships with four dimensions (serviceability, education, environment, and marketing) and significant differences to the demographic variable, such as age. We suggest that exhibition agents should emphasize exhibition contents more than relative commodities, thereby possibly attracting audiences to visit the museum exhibitions. In addition, the exhibitions that were related to sensible issues should be divided into different levels regulated in terms of audience age and the degree to which parents, teachers, or narrators at the museum could negatively influence a younger visitor's perception of an exhibition and thereby museums. Finally, during busy periods, the museums should control visitor numbers to maintain visiting quality. Therefore, the museums should be able to create added value to attract more audience members to visit the exhibition. (shrink)

This article attempts to explain how the Stockholm Exhibition of 1930 was uniquely different from previous exhibitions and sought to resolve a longstanding tension between a vision of the future and longing for the past. In particular, it addresses how ideas of the everyday were redirected towards functionalism in a joyful festive context through the agency of consumer desire. It also explains how the exhibition attempted to relate to Skansen, a nearby museum of the Swedishvernacular and how Gunnar Asplund’s (...) concepts of functionalism reflect Heidegger’s principles of dwelling. Finally, using Foucault’s concepts of ‘other’ spaces, it shows how the Stockholm Exhibition served as a heterotopia of the future that collaborated actively with a heterotopia of the past to make a more convincing case to a mass audience about the appropriateness of functionalism in Sweden. (shrink)

In Grundgesetze der Arithmetik, Frege tried to show that arithmetic is logical by giving gap-free proofs from what he took to be purely logical basic laws. But how do we come to judge these laws as true, and to recognize them as logical? The answer must involve giving an account of the apparent arguments Frege provides for his axioms. Following Sanford Shieh, I take these apparent arguments to instead be exhibitions: the exercise of a logical capacity in order to (...) bring us into a state of judgement. I provide an account of what sort of inferential capacities are at play in such exhibitions, and explain how they lead us to judge that Frege’s primitive laws are general and undeniable. I will also situate my account with respect to other rival interpretations, particularly the elucidatory interpretations of Joan Weiner and Thomas Ricketts. (shrink)

A natural language argument may be valid in at least two nonequivalent senses: it may be interpretationally or representationally valid (Etchemendy in The concept of logical consequence. Harvard University Press, Cambridge, 1990). Interpretational and representational validity can both be formally exhibited by classical first-order logic. However, as these two notions of informal validity differ extensionally and first-order logic fixes one determinate extension for the notion of formal validity (or consequence), some arguments must be formalized by unrelated nonequivalent formalizations in order (...) to formally account for their interpretational or representational validity, respectively. As a consequence, arguments must be formalized subject to different criteria of adequate formalization depending on which variant of informal validity is to be revealed. This paper develops different criteria that formalizations of an argument have to satisfy in order to exhibit the latter’s interpretational or representational validity. (shrink)

Discussions of installation art often develop out of an analysis of its similarities and differences to other art forms. Doing so helps to ground it into critical engagement we are well familiar with. In this paper I take a different approach. I look at installation art in relation to a cognate practice not ordinarily understood as art-making: that of exhibition-making. We will see that this comparison is illuminating since installation art and exhibitions have two kinds of meaning-bearing properties in (...) common: display and site-responsiveness. I will explore this shared ground, and make some remarks on how this helps illuminate the deep relationship between installation art and exhibition-making. (shrink)

ArgumentIn the 1920s and 1930s, the growing importance of habitat dioramas at the American Museum of Natural History forced staff members to reconsider what counted as scientific practice and knowledge. Exhibit-makers pressed for more scientific authority, citing their extensive and direct observations of nature in the field. The museum's curators, concerned about their own eroding status, dismissed this bid for authority, declaring that older traditions of lay observation were no longer legitimate. By the 1940s, changes inside and outside the museum (...) had destroyed any lingering notions that what exhibit-makers garnered from observing raw materials constituted scientific knowledge. (shrink)

The Brownian motion of small particles interacting with a field at a finite temperature is a well-known and well-understood phenomenon. At zero temperature, even though the thermal fluctuations are absent, quantum fields still possess vacuum fluctuations. It is then interesting to ask whether a small particle that is interacting with a quantum field will exhibit Brownian motion when the quantum field is assumed to be in the vacuum state. In this paper, we study the cases of a small charge and (...) an imperfect mirror interacting with a quantum scalar field in (1 + 1) dimensions. Treating the quantum field as a classical stochastic variable, we write down a Langevin equation for the particles. We show that the results we obtain from such an approach agree with the results obtained from the fluctuation-dissipation theorem. Unlike the finite temperature case, there exists no special frame of reference at zero temperature and hence it is essential that the particles do not break Lorentz invariance. We find that that the scalar charge breaks Lorentz invariance, whereas the imperfect mirror does not. We conclude that small particles such as the imperfect mirror will exhibit Brownian motion even in the quantum vacuum, but this effect can be so small that it may prove to be difficult to observe it experimentally. (shrink)

This book contains the proceedings from Weaponising Speculation, a two-day conference and exhibition that took place in Dublin in March 2013. Weaponising Speculation was organised by D.U.S.T. (Dublin Unit for Speculative Thought) and aimed to be an exploration of the various expressions of DIY theory operative in the elsewheres, the shafts and tunnels of the para-academy. The topics covered all come under the welcoming embrace of speculation, spanning a broad range: from art, philosophy, nature, fiction, and computation to spiders, culinary (...) cosmology, and Oscar the Grouch. The book itself aims to be more than just a collection of essays and catalogue of artworks, but also a documentation of the event as a whole"--Publisher website, August 19, 2020. (shrink)

Exhibitions dedicated to the theme of "Red China" occupy an important place in the dissemination of "red" culture, the continuity of the "red" gene and the intensification of "red" education. They reflect the political agenda, have a distinct content and the uniqueness of the text material. Being an important element of the spread of "red" culture, exhibitions on the theme of "Red China" integrate elements of this culture into people's daily lives and play an active role in preserving (...) and multiplying the "red" gene. In this article, the systematization and generalization of knowledge in the field of narrative strategy of exhibitions on the theme of "Red China" is carried out from the point of view of ontology, structure and narrative carrier, which at the present stage is important for building a strong socialist ideology. Exhibitions on the theme of "Red China" are an important way of materialization, visualization and dissemination of "red" culture, as well as an effective means of its popularization. The study found that the "Red" exhibitions should have a "revolutionary content", have a "political character", be "mutually recognized by the authorities and the people", take on the main responsibility for providing people with common access to material and spiritual culture. From the point of view of the communication function of the "red" exhibitions, they are an important means of organizing ideological and political education by the Communist Party of China, strengthening social harmony and promoting basic values. (shrink)

With the internationalisation of the Chinese market, Confucian ethics began to draw researchers' attention. However, little research has been conducted in the specific application of Confucian ethics in marketing communication. This article fills in the research gap by examining how Confucian ethics underpins the discourse of Chinese Expo invitations. Chinese sales managers' views are incorporated into the analysis as substantiation of findings. Confucian ethics embraces both qing (emotion) and li (reason) and relevant ethical values such as guanxi (connections), qing, and (...) mianzi (face) play an important role for advertising Expos and trade fairs. The study also highlights the complexities of Chinese Expo advertising that is embedded in inviting behaviour. These findings shed light on understanding Confucian ethics in marketing communications in general and have implications for ethical international marketing and advertising practices. (shrink)

In museum settings, caregivers support children's learning as they explore and interact with exhibits. Museums have developed exhibit design and facilitation strategies for promoting families' exploration and inquiry, but these strategies have rarely been contrasted. The goal of the current study was to investigate how prompts offered through staff facilitation vs. labels printed on exhibit components affected how family groups explored a circuit blocks exhibit, particularly whether children set and worked toward their own goals, and how caregivers were involved in (...) children's play. We compared whether children, their caregivers, or both set goals as they played together, and the actions they each took to connect the circuits. We found little difference in how families set goals between the two conditions, but did find significant differences in caregivers' actions, with caregivers in the facilitation condition making fewer actions to connect circuits while using the exhibit, compared to caregivers in the exhibit labels condition. The findings suggest that facilitated and written prompts shape the quality of caregiver-child interactions in distinct ways. (shrink)

We provide results allowing to state, by the simple inspection of suitable classes of posets , that the corresponding intermediate propositional logics are maximal among the ones which satisfy the disjunction property. Starting from these results, we directly exhibit, without using the axiom of choice, the Kripke frames semantics of 2No maximal intermediate propositional logics with the disjunction property. This improves previous evaluations, giving rise to the same conclusion but made with an essential use of the axiom of choice, of (...) the cardinality of the set of the maximal intermediate propositional logics with the disjunction property. (shrink)

Recent years have brought enormous growth in the number of women-only art exhibitions. These exhibitions are accompanied by discussions that concentrate on curatorial feminist activism. In this text, I propose a different perspective by taking into consideration all exhibitions where the participants were determined by social category and which were organized in one country during one year. This perspective not only allows us to remark on and analyse activities that otherwise remain unnoticed but also encourages us to (...) extend our understanding of politics behind women-only initiatives. These exhibitions are generally intended to increase the capital of women artists, and to shift forces within the art and social fields in favour of women. However, as my analysis demonstrates, the organizers of different exhibitions occupy different places both in the art field and in the social field, and it is their position that determines, to a large extent, what changes they envision, what objectives they – in consequence – have and how they formulate their politics. This text also offers a reflection on whether the objectives behind organizing women-only shows has been constant or if they are a result of the current situation of women. (shrink)

Does artificial intelligence (AI) exhibit consciousness or self? While this question is hotly debated, here we take a slightly different stance by focusing on those features that make possible both, namely a basic or fundamental subjectivity. Learning from humans and their brain, we first ask what we mean by subjectivity. Subjectivity is manifest in the perspectiveness and mineness of our experience which, ontologically, can be traced to a point of view. Adopting a non-reductive neurophilosophical strategy, we assume that the point (...) of view exhibits two layers, a most basic neuroecological and higher order mental layer. The neuroecological layer of the point of view is mediated by the timescales of world and brain, as further evidenced by empirical data on our sense of self. Are there corresponding timescales shared with the world in AI and is there a point of view with perspectiveness and mineness? Discussing current neuroscientific evidence, we deny that current AI exhibits a point of view, let alone perspectiveness and mineness. We therefore conclude that, as per current state, AI does not exhibit a basic or fundamental subjectivity and henceforth no consciousness or self is possible in models such as ChatGPT and similar technologies. (shrink)

ABSTRACT Despite the increasing interest in science exhibitions, there has been hardly any work on mobile science exhibitions and their role within science diplomacy – a gap this thematic issue is meant to fill. Atomic mobile exhibitions are seen here not only as cultural sites but as multifaceted strategic processes of transnational nuclear history. We move beyond the bipolar Cold War history that portrays propagandist science exhibitions as instances of a one-way communication employed to promote the (...) virtues of the two major and conflicting political powers. Instead, Science Diplomacy on Display follows mobile atomic exhibitions as they move across national borders and around the world, functioning as spaces for diplomatic encounters. Exhibitions play a vital role not only in the production of knowledge and the formation of political worldviews but also as assets in diplomatic negotiations and as promoters of a new worldview in which nuclear stands at the centre. They are powerful iconic diplomatic devices, that is systems of representations that capture the diplomatic processes in action and make the nitty-gritty details of international relations visible. This issue seeks to trace the multiple and often contradictory meanings that mobile exhibitions took on for various actors. (shrink)

Science museums aim to provide educational experiences for both children and adults. To achieve this goal, museum displays must convey scientifically-relevant relationships, such as the similarities that unite members of a natural category, and the connections between scientific models and observable objects and events. In this paper, we explore how research on comparison could be leveraged to support learning about such relationships. We describe how museum displays could promote educationally-relevant comparisons involving natural specimens and scientific models. We also discuss how (...) these comparisons could be supported through the design of a display—in particular, by using similarity, space, and language to facilitate relational thinking for children and their adult companions. Such supports may be pivotal given the informal nature of learning in museums. (shrink)

The size of animal exhibits has important effects on their lives and welfare. However, most references to exhibit size only consider floor space and height dimensions, without considering the space afforded by usable features within the exhibit. In this paper, we develop two possible methods for measuring the usable space of zoo exhibits and apply these to a sample exhibit. Having a metric for usable space in place will provide a better reflection of the quality of different exhibits, and enhance (...) comparisons between exhibits. (shrink)

Healthcare professionals must make decisions for patients based on ethical considerations. However, they rely on clinical ethics consultations (CEC) to review ethical justifications of their decisions. CEC consultants support the cases reviewed and guide medical care. When both healthcare professionals and CEC consultants face ethical problems in medical care, how is their judgment derived? How do medical judgments differ from the ethical considerations of CECs? This study examines CECs in Japan to identify differences in the ethical judgment of clients and (...) CEC consultants. (shrink)

A methodological framework is presented for the analysis of the discursive function of the science exhibit, which is treated as a multimodal “text” with conceptual, structural, and operational features encoding science knowledge. This analytical model is founded on Bernstein's theory of cultural codes (classification and framing) and socio-linguistics (formality). By using this framework, it is hoped that the museum researcher, the science museum practitioner, and the science communicator are empowered to retrieve the science exhibit “message,” to reconstruct the image of (...) the represented science, and the socio-cultural positioning of the model visitor in the communicative context of the science museum. (shrink)

In 1819, a ship called Le Rôdeur was carrying enslaved Africans from Bonny Island in modern Nigeria to Guadeloupe. The ship’s crew and its enslaved cargo were s.