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Democratizing the Digital Collection

New Players and New Pedagogies in Three-Dimensional Cultural Heritage

Jane-Heloise Nancarrow

ensure its utility? And how do we navigate the problems presented by the digitization and printing of cultural heritage in a wider learning environment? This article assesses the feasibility of all stages of three-dimensional museum artifact production

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Museum Mediators in Europe

Connecting Learning in a Field of Experience

Alice Semedo

Learning networks do not arise from nothing. They are born out of personal connections, exchanged conversations, constructed spaces, and shared visions. Other broader contexts (e.g., the theoretical contexts or funding policies available within a globalized economy) are also part of this landscape. The Museum Mediators in Europe course is one of such learning networks that came to be in 2013 with the aim of representing institutional and professional needs of mediation professionals in the European countries involved in this project: Portugal, Spain, Italy, Denmark, and Estonia. The project argues that a clearly defined set of best practices in museum education is called for and that leadership/mentoring programs for museum mediators should be utilized to foster professional learning communities within museums.

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John Reeve, Ian Wedde, Elizabeth Plumridge, and Conal McCarthy

BIENKOWSKI, Piotr, Communities and Museums as Active Partners: Emerging Learning from the “Our Museum” Initiative

CLIFFORD, James, Returns: Becoming Indigenous in the Twenty-First Century Ian Wedde

MATHUR, Saloni, and Kavita SINGH, eds., No Touching, No Spitting, No Praying: The Museum in South Asia; AHMED, Hilal, Muslim Political Discourse in Postcolonial India: Monuments, Memory, Contestation; PETERSON, Derek K., Kodzo GAVUA, and Ciraj RASSOOL, eds., The Politics of Heritage in Africa: Economies, Histories and Infrastructures; BARNES, Amy Jane, Museum Representations of Maoist China: From Cultural Revolution to Commie Kitsch

SILVERMAN, Ray, ed., Museum as Process: Translating Local and Global Knowledges; ONCIUL, Bryony, Museums, Heritage and Indigenous Voice: Decolonising Engagement; LEVITT, Peggy, Artifacts and Allegiances: How Museums Put the Nation on Display; MURAWSKA-MUTHESIUS, Kataryna and Piotr PIOTROWSKI, eds., From Museum Critique to Critical Museum; BALZAR, David, Curationism: How Curating Took Over the Art World and Everything Else

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Repatriation as Inspiration

Multigenerational Perspectives on American Archaeology-Museum Relationships

April M. Beisaw and Penelope H. Duus

present by reexamining the practices of those who built our archaeological museum collections. Learning from their mistakes can help explain why repatriation has been both necessary and difficult, and how it has helped chart a more responsible and

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With an Open Mind and Open Heart

Collections Care at the Laboratory of Archaeology

Kate Roth

“great sort of informal way” to follow the protocols as well (Andrew Martindale, interview with the author, October 2014). The introduction of the term ancestors similarly came through members learning it from communities and then using it and speaking

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“The Changing of the Guards”?

British Prehistoric Collections and Archaeology in the Museums of the Future

Catherine. J. Frieman and Neil Wilkin

the MicroPasts project team, Andrew Bevan, Chiara Bonacchi, Daniel Pett, Adi Keinan-Schoonbaert, and Jennifer Wexler. We owe our title to Bob Dylan, who reminds us that compromise and mutual learning are difficult, and may even push us to the brink of

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Conjunctures and Convergences

Remaking the World Cultures Displays at the National Museum of Scotland

Henrietta Lidchi

curiosity, advancing knowledge and learning, and encouraging appreciation of science, culture, technology, and art. In all these discussions of universalism, we have various proposals as to the role of museums in fostering a cosmopolitan consciousness in its

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Sheila K. Hoffman, Sarita Sundar, Masaaki Morishita, Fabien Van Geert, and Sharon Ann Holt

, identity, culture, place, economics, and politics. This conceptual connection views the biennale “site” as a place of continuous discovery—a place of digging, learning, and uncovering layers. This is the ethos that the founders, Riyas Komu and Bose

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Julie Gough, Jonathan Jones, Kelli Cole, Shari Lett, Glenn Iseger-Pilkington, Billie Lythberg, Jennifer Walklate, Jeanine Nault, Jake Homiak, Joshua A. Bell, and Natasha Barrett

cultural selfhood that is bound up in identity. This use of belonging, I argue, allows us to move beyond the potential exoticization that still hovers, spectrally, over many identity-based schemes. In “Responding to the Global Contemporary: Learning to Live

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Unpacking the Museum Register

Institutional Memories of the Potlatch Collection Repatriation

Emma Knight

individuals leave the institution—the collection of oral histories may be a useful tool for future research. Repatriation does not constitute a loss but can instead benefit museums through reciprocal learning opportunities and the establishment of long