Abstract
Guest Editorial: The Vocal Turn
Highlights
In the Museum Without Walls – first published in 1947 as part of his multi-volume The Voices of Silence – French politician and author André Malraux proposed an imaginary museum composed as a non-chronological sequence of photographs of ‘great’ artworks from pre-history to the 20th century, ranging from African to Asian and European cultures
The papers included in this issue of the Journal of Conservation & Museum Studies reflect on the museum’s newfound openness to the voice
The voice is an overlooked means of recording an institution’s own history, revealing the labyrinth of offices, store rooms and galleries to be a dense network of stories and recollections (Sue Hawkins, Linda Sandino)
Summary
In the Museum Without Walls – first published in 1947 as part of his multi-volume The Voices of Silence – French politician and author André Malraux proposed an imaginary museum composed as a non-chronological sequence of photographs of ‘great’ artworks from pre-history to the 20th century, ranging from African to Asian and European cultures. The elderly, the young, those with physical and emotional impairments, help transform the 21stcentury museum into a complex discursive social space, which in turn has the capacity to reform other institutions devoted to the production and sharing of knowledge – perhaps foremost among them, the university. Objects once considered mute remnants of dynamic social and economic processes are seen today as inseparable from the stories – both ‘popular’ and those supported by formal research – surrounding them, such as the testimonies of their makers and users.
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