A trawl through exhibition halls and storage rooms reveals a drive to do better.
Yes, the Apple iPhone changed the world. Yes, it belongs in a museum. So, of the 38 models produced so far, and the billions of handsets sold, which should be preserved? How do curators choose? And what does the choice say about them, their museums, their nations and science?
Interactive exhibits, such as this one on sediment motion at the Exploratorium in San Francisco, California, let visitors play with ideas.As nineteenth-century governments and philanthropists cottoned on to the vast financial rewards that could be gleaned from the proceeds of science and engineering, institutions dedicated to scientific education popped up across the wealthy world.
In recent decades, curators have had to grapple with how to collect and display digital media. The video gamehas cultural significance, but the disc it comes on doesn’t make much of an exhibit — it seems “taxidermized”, Alberti writes. And logistical problems can stymie attempts to bring such software back to life. Museums need the hardware to play the disc, and the means to convert its contents to other formats when the original becomes obsolete.
Some are now seeking to shed light on this past. The Science and Industry Museum in Manchester, UK, for example, explored the links between slavery and the city’s historical cotton trade in its 2018 project Textiles Respun. The Science Museum of Minnesota in St Paul’s ongoing exhibition RACE: Are We So Different? invites conversations about the biological and social realities — and unrealities — of human variation.
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