Evaluating the impact of ‘Second Moon’: the questionnaire

Second Moon

Did you experience Katie Paterson’s artwork ‘Second Moon’ – in an exhibition, at an event, or through using the ‘Second Moon’ App? Are you willing to reflect on your experience through a short online questionnaire?

The questionnaire has been designed by researchers here at ICCHS as part of a wider study, developed in collaboration with Locus+ and Tyne and Wear Museums and Archives, exploring the impact of ‘Second Moon’ on UK and international audiences. The feedback captured in the questionnaire will be used for academic purposes and will be shared with the project partners, their funders and the public. Personal information captured as part of the study will remain anonymous.

Happy to share your experiences with us? Please click here to go to the online questionnaire.

‘Second Moon’ is an artwork by award winning artist Katie Paterson. It tracked the journey of a small moon fragment as it circled the Earth on a year long man-made orbit via commercial airfreight, from September 2013-September 2014. ‘Second Moon’ was commissioned by Locus+ in partnership with Newcastle University and Tyne & Wear Archives & Museums. ‘Second Moon’ made its final landing at Newcastle’s Great North Museum on Saturday 20th September.

For more information about this study please contact Rebecca Farley, r.farley@newcastle.ac.uk, International Centre for Cultural and Heritage Studies, Newcastle University.



ICCHS Research Seminar Series 2014-15: opens with a session by Janet Marstine

Janet Marstine, from the University of Leicester is the first visiting speaker in our 2014-15 series of ICCHS Research Seminars.

ICCHS Research Seminar,  Wednesday 29 October, 1-2pm, Room 1.06, 18 Windsor Terrace

Janet Marstine: The Value of ‘Ordinary’ Ethics in Visitor Generated Content: Developing Shared Authority in Museum Policy and Practice.

Ordinary ethics, defined by anthropologist Michael Lambek as the judgments we all make every day through our speech and actions, is embedded in museums’ visitor-generated content. Janet Marstine’s talk will argue that museums might better recognise the value of ordinary ethics as embodied by visitor-generated content and utilise this discourse to help shape ethics policy and practice. Analysing the case study of Ansuman Biswas’ 2009 ‘Manchester Hermit’ project, Janet will demonstrate that ordinary ethics, captured through visitor-generated content, has the capacity to create shared authority between museums and communities in negotiating difficult ethical issues.

Dr. Janet Marstine is Programme Director in Art Museum and Gallery Studies at the University of Leicester and is a specialist in museum ethics. Janet is currently developing a new book for the Routledge Museum Meanings series, Critical Practice: Artists, museums, ethics, which investigates the museological implications of artists’ interventions. Her previous publications of museum ethics include: 

Marstine, Janet, Bauer, Alexander and Haines, Chelsea. (eds.). 2013. New Directions in Museum Ethics. London and New York: Routledge.

Marstine, Janet. (ed.) (2011). Routledge Companion to Museum Ethics: Redefining Ethics for the Twenty-First Century Museum. London and New York. Routledge.

All welcome. No need to book. Please just come along!

Keep visiting this blog for details of future events in the Research Seminar Series – to be announced soon.

POSTER_ICCHS Research Seminar 29 Oct 2014

The end of Britishness? ICCHS research into identity, heritage and museums in the context of the Scottish Referendum.

Photo of couple dancing at a ceilidh..

Couple dancing at a ceilidh. Photo: Abdelhamid Alhassi (2011).

After months of intense debate and speculation, Scottish voters have woken today to the news that Scotland will remain in the United Kingdom. Announcements from politicians in both Holyrood and Westminster this morning show that, despite the majority No vote, the results have major implications for people living on both sides of the Border, particularly as questions of Englishness and political representation become more prominent.

Discussions of heritage and a shared sense of identity (whether Scottish or British) have been present within both the Yes Scotland and Better Together campaigns and it will be fascinating to watch whether discussions of cultural distinctiveness or similarity continue in the next few years. A number of research projects undertaken by staff at ICCHS have examined the relationship between heritage and identity in the UK and European context that further our understanding of these issues.

Katherine Lloyd’s PhD research analyses the way in which young people in Scotland negotiate issues of place and heritage in the formation of national identity. Her work unpicks common assumptions about the relationship between British and Scottish identities for the younger generation, by examining the multiple and shifting forms of place identification amongst this group. It also explores the role of ethnicity in shaping understandings of identity and considers the responses of young people to the visual ‘tartan and turban’ imagery frequently associated with so-called ‘New Scots’. In doing so, it interrogates the clear cut distinctions made between so-called ‘civic’ and ‘ethnic’ forms of Scottishness frequently seen in political debates. See Kat’s recent article ‘Beyond the rhetoric of an “inclusive national identity”: Understanding the potential impact of Scottish museums on public attitudes to issues of identity, citizenship and belonging in an age of migrations’ in the special Scottish Issue Cultural Trends: 23 (3).

Rhiannon Mason’s book Museums, Nations, Identities examines the role of museums in the formation of national identity in Wales. Other articles examine broader questions of the representation of various aspects of Britishness, Englishness and Scottishness. More recently, she has also looked at questions of postnationalism, cosmopolitanism, and globalisation and the implications of these pressures for the future of national museums.

Whatever your thoughts on the results of the referendum, this is an exciting time for research on heritage and national identity in the UK and wider European context – watch this space for further updates and analysis!

Seminar: ‘Generous Interfaces for Cultural Collections’ – 29th September

A seminar by Mitchell Whitelaw organised by Newcastle University Institute for Creative Arts Practice (NICAP)

Monday Sept 29th 1.00pm – 2.00pm

Doctoral Training Suite (Room 5.65)

5th Floor Daysh Building

After a decade or more of digitisation, the collections of galleries, archives, libraries and museums are increasingly available in digital form. In this seminar Australian academic Mitchell Whitelaw will argue that our interfaces have not kept up; the standard search-and-list approach demands a query, shows too little, and discourages exploration. In this talk Whitelaw will introduce and demonstrate what he calls “generous interfaces”: rich, explorable, browsable representations of cultural collections.

Mitchell Whitelaw is an academic, writer and practitioner with interests in new media art and culture, especially generative systems and data-aesthetics. His work has appeared in journals including Leonardo, Digital Creativity, Fibreculture, and Senses and Society. In 2004 his work on a-life art was published in the book Metacreation: Art and Artificial Life (MIT Press, 2004). His current work spans generative art and design, digital materiality, and data visualisation. Mitchell is an Associate Professor in the Faculty of Arts and Design at the University of Canberra, where he leads the Digital Treasures program in the Centre for Creative and Cultural Research.

All Welcome – please feel free to bring your lunch with you.

For more information about the seminar and NICAP activities contact mel.whewell@ncl.ac.uk