Museum Media. Группа авторов

York, it raises interesting questions about how an exhibition design can itself become an artifact, worthy of conservation. To recognize the dioramas as aesthetic objects worth preserving means acknowledging a change in function: these are no longer just preserved moments and spaces from nature, intended to educate and inspire visitors about the natural world; they are also time capsules of exhibition design, a specific moment in the history of the craft.

      8 8 Visitors are asked “to inhabit, for the duration of the game, a real environment. The meaning of an Exhibit is now dependent on the decisions of the visitors, just as, at an earlier stage, it was dependent on the artists who were the players. It is a game, a maze, a ceremony completed by the participation of the visitors. Which routes will they take, will they move through narrow or wide spaces, where will they decide to stop and assess the whole” (poster for an Exhibit, displayed at the ICA, February 2014; emphasis original).

      9 9 These are concerns heightened by early twenty-first-century scandals regarding data-gathering by both commercial organizations and security and surveillance agencies such as the National Security Agency (NSA) in the United States, and Government Communications Headquarters (GCHQ) in the United Kingdom.

      10 10 This international declaration can be found at http://www.mediaarthistory.org/declaration (accessed July 17, 2014).

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