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Margareta von Oswald and Verena Rodatus

about colonialism have come to loom large in relation to ethnological museums in many parts of the world. A major site of such debates in contemporary Germany is the Humboldt Forum, a cultural center that will host displays of objects from both the

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Jeanette Atkinson, Tracy Buck, Simon Jean, Alan Wallach, Peter Davis, Ewa Klekot, Philipp Schorch, Wing Yan Vivian Ting, Caroline Turner, Glen St John Barclay, Jennifer Wagelie, and Graeme Were

Steampunk (Bradford Industrial Museum, UK)

Framing India: Paris-Delhi-Bombay . . . (Centre Pompidou, Paris)

E Tū Ake: Māori Standing Strong/Māori: leurs trésors ont une âme (Te Papa, Wellington, and Musée du quai Branly, Paris)

The New American Art Galleries, Virginia Museum of Fine Arts, Richmond

Scott's Last Expedition (Natural History Museum, London)

Left-Wing Art, Right-Wing Art, Pure Art: New National Art (Museum of Modern Art, Warsaw)

Focus on Strangers: Photo Albums of World War II (Stadtmuseum, Jena)

A Museum That Is Not: A Fanatical Narrative of What a Museum Can Be (Guandong Times Museum, Guandong)

21st Century: Art in the First Decade (QAGOMA, Brisbane)

James Cook and the Exploration of the Pacific (Art and Exhibition Hall of the Federal Republic of Germany, Bonn)

Land, Sea and Sky: Contemporary Art of the Torres Strait Islands (QAGOMA, Brisbane) and Awakening: Stories from the Torres Strait (Queensland Museum, Brisbane)

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Why Looking at Objects Matters

An Argument from the Aesthetic Philosophy of Alexander Gottlieb Baumgarten

Adam Bencard

Within museum studies, there has been a recent interest in engaging with objects and their material effects as something other than vehicles for human cultural meaning. This article contributes to this interest by offering a philosophical argument for the value of close sensory engagement with physical things, an argument found in the works of the eighteenth-century German philosopher Alexander Gottlieb Baumgarten (1714–1762), who is famous for fathering the modern philosophical discourse on aesthetics. Baumgarten outlines what he terms sensate thinking, defined as an analogue to rational thinking, and insists that this form of thinking can be analyzed and sharpened according to its own rules. I discuss how Baumgarten’s aesthetics might be useful for how the curator approaches objects in exhibitions and for understanding how visitors’ sensory engagement with the objects can be important beyond the deciphering of historical narratives and conceptual meanings.

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Andrea Scholz

The demand for the inclusion of source communities into the practices of ethnographic museums has arrived in Germany, as part of a wider debate around decolonization and collaboration (see Förster 2013: 201; Golding and Modest 2013 ; Jebens 2016

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

resonators (courtesy of the Isabella Stewart Gardner Museum). Fleeting music also plays off silence in “Undertone,” a sound installation by German artist Moritz Fehr. Placed in the Dutch Gallery, the site of the infamous and unsolved theft in 1990 of some of

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Reassembling The Social Organization

Collaboration and Digital Media in (Re)making Boas’s 1897 Book

Aaron Glass, Judith Berman, and Rainer Hatoum

combination of original and duplicate cylinders, at the Archives of Traditional Music (ATM) in Bloomington, Indiana; the Berlin Phonogramm-Archive (BPA) in Germany; and the American Folklife Center (AFC) at the Library of Congress in Washington, DC. Boas made

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Engaging Anthropological Legacies toward Cosmo-optimistic Futures?

Sharon Macdonald, Henrietta Lidchi, and Margareta von Oswald

Memory Studies Reading Group of the Culture, Media and Creative Industries (CMCI) and German Department. NOTES 1. Conference website (see ). 2. In more recent work, he still keeps the focus on

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Analyzing Museum Collections in Scandinavia

New Insights in Revised Modernity and Its Implications on Archaeological Material

Niklas Ytterberg

of Copenhagen, Moesgaard Museum (Denmark), University of Gothenburg, Bohusläns Museum, Kontoret för Keramiska Studier (Ceramic Studies) (Sweden), University of Oslo/Museum of Cultural History (Norway), University of Kiel (Germany), and the University

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Steven J. Hoffman, Fanny Wonu Veys, Joseph P Feldman, Natasha Barrett, Elsa Lenz Kothe, Antonino Crisà, Sayantan Mukhopadhyay, Masaaki Morishita, and Ewa Klekot

aimed at the tourist industry. This section includes some of the controversial work of a non-Marquesan, the German Andreas Dettlof, often accused of improper appropriation. Dettlof tries to deeply anchor the Marquesan culture in the twenty-first century

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Repatriation as Inspiration

Multigenerational Perspectives on American Archaeology-Museum Relationships

April M. Beisaw and Penelope H. Duus

Collections (1890–1935) The systematic collecting of Native America began in the late nineteenth century when people like George Gustave Heye (1874–1957), a German railroad engineer, and Charles Fletcher Lummis (1859–1928), an American journalist, founded