Sandino, Linda

UAL Research Online

This series of oral interventions – by architects, archeologists, artists, curators, historians, musicians, theorists, and writers – aims to understand how the voices emanating from objects and subjects in the museum impact the institution’s traditional remit of researching, collecting and displaying objects. How do these voices condition the visitor’s affective and sensory experience? How do the narratives told by the museum through objects change over time? Which voices have been suppressed, and why? What can museums do to preserve the immaterial traces of the voice? And what new technologies and outreach strategies are required to listen to and broadcast voices both in and outside of the museum? Voicing the Museum ArtefactWednesday 4 May 6pm – 8.30pmUCL Haldane RoomExhibiting the Voice:  Inside the MuseumWednesday 11 May 6pm – 8.30pmUCL Institute of Archaeology  Room 209Exhibiting the Voice:  Outside the MuseumWednesday 18 May 6pm – 8.30pmUCL Institute of Archaeology  Room 209Preserving the Voice Wednesday 25 May6pm – 8.30pmUCL Institute of Archaeology Room 209 The friction between orality and materiality provokes an episte mological tension  in how material artefacts are studied and understood. Case studies discussed in this session will highlight how vocal engagements are transforming the way researchers and curators interpret material collections, and how this transformation calls for  the application of alternative research methodologies and approaches. Sarah Byrne (UCL), Debbie Challis (Petrie, UCL),  Emma Poulter (British Museum)  and David Toop (London College of Communication) Until recently, the audioguide was the privileged conduit for the voice in the  museum. But audioguides offer limited interaction with visitors, and are often viewed  as accessory to the display. In light of the contemporary museum’s heightened  concern with orality and intangibility, artists, architects and curators will share their experiences in giving the voice a more central and creative role in exhibition contexts.Steve Cross (UCL), Colin Fournier (UCL), Marysia Lewandowska (Konstfack)  and Sarah Lowry (Foundling Museum)What is it about the unrivalled presence of voice that can translate meaning  about a specific time or place, and transpose the listener to another time/place? Voices inscribe sites with meaning and emotion, creating a ‘sense of place’ or,  to the contrary, a sense of displacement, uncanniness. How can the museum  harness this affective charge of the voice to expand beyond its walls?Toby Butler (University of East London), Paul Elliman (Yale School of Art), Seph Rodney (London Consortium) and Imogen Stidworthy (Jan van Eyck Academy) Because a highly unstable medium, subject to the speaker’s lapses and vagaries,  the voice presents a challenge for museum collections mandated to tell coherent, consensual, and ‘objective’ stories. Archivists, historians and archae ologists  in this session will consider the place of the voice in museum store rooms  and archives, and the means by which to preserve past and present voices.Susan Hawkins (Kingston University London), Jack Maynard (Tate),  Linda Sandino (V&A and University of the Arts London) and Hilary Young (Museum of London)Voices in (and around) the MuseumWednesday Evenings, May 2011UCL Mellon Programme and UCL Centre for Museums, Heritage and Material Culture StudiesCo-organised by Sarah Byrne and Antony Hudek. Free to attend. For more information please visit www.ucl.ac.uk/mellon-programUCL Mellon Programme and UCL Centre for Museums, Heritage and Material Culture StudiesUCL Mellon Programme and UCL Centre for Museums, eritage and Material Culture Studies

Curatorial narratives at the V&A: "but there’s another invisible level only you see"

http://ualresearchonline.arts.ac.uk/3946/1/mellonposter.pdf

Curatorial narratives at the V&A: "but there’s another invisible level only you see"

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