000			06246nam a22004573i 4500
001			EBC6369051
003			MiAaPQ
005			20240724114602.0
006			m o d |
007			cr cnu||||||||
008			240724s2020 xx o ||||0 eng d
020			_a9781789383133 _q(electronic bk.)
020			_z9781789383119
035			_a(MiAaPQ)EBC6369051
035			_a(Au-PeEL)EBL6369051
035			_a(OCoLC)1200754701
040			_aMiAaPQ _beng _erda _epn _cMiAaPQ _dMiAaPQ
050		4	_aN72.S3 .P678 2020
082	0		_a701.05
100	1		_aJuler, Edward.
245	1	0	_aPost-Specimen Encounters Between Art, Science and Curating : _bRethinking Art Practice and Objecthood Through Scientific Collections.
250			_a1st ed.
264		1	_aBristol : _bIntellect, Limited, _c2020.
264		4	_c©2020.
300			_a1 online resource (356 pages)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
505	0		_aFront Cover -- Half Title -- Frontspice -- Copyright Page -- Table of contents -- Acknowledgements -- Introduction -- Notes -- References -- 1 Narratives of the 'Fetish' -- Acknowledgements -- References -- 2 Curating Interobjectively in Museums -- 'A Scientific Encounter': Envisaging the Myth of the Museum -- The Museum's Omniscience -- Presenting Objects in the Academy: The Poetics of Academic Space -- Towards an Interobjective Curatorial Practice: Exercises in Diplomacy -- The Collection as Collectivity-'How to Redefine the Collectives?' -- Three Scenes from an Exhibition -- Object Encounter #1: Kelly Richardson and Annibale Carracci -- Object Encounter #2: Murray Ballard and Anon. -- Object Encounter #3: Daniel Brown and Jan Breughel -- Notes -- 3 'A Readiness to Find What Surrounds Us Strange and Odd': Objects in the Alternative Curiosity Museum -- Museums: Laboratories of the Marvellous? -- Cabinets of Curiosities: 'Boudoirs Earmarked for Experts'? -- Museum of Jurassic Technology: A Detective Challenge -- Museum der Unerhörten Dinge: 'A Literary Wunderkammer' -- Wonder in the Face of Abundance or Wonder in the Face of Rarity? -- The Alternative Curiosity Museum as 'Wild Museum' -- Musée de la Chasse et de la Nature: Wonder and Critical Awareness -- Curiosity as a Way of Seeing, Thinking and Caring -- Notes -- References -- 4 Art, Science and the Mutant Object -- The Live Specimen -- Mutant Objects -- Neither Animal, Nor Vegetable Nor Mineral -- Notes -- References -- 5 Blind Summit/Models of Subjectivity: Surrealism, Physics and Psychoanalysis -- Notes -- References -- 6 Glimpsed Phantoms of Sensation -- Or, a Psychogeographical Investigation of Various Anatomical Specimens with Reference to Chr -- Notes -- References -- 7 … as far back as I will remember -- Jardin des Plantes, Montpellier, South of France -- Call Me by My Name.
505	8		_aFrom Alexandria to Carthage -- Life's Rich Pageant -- Better Living through Chemistry -- Pansexuality -- I, post-specimen -- I, superspecies -- Living in the Homogecene -- Acknowledgements -- Notes -- References -- 8 Poetry and the Pathology Museum: A Model of Difference -- Notes -- References -- 9 The Scientist and the Magician -- Introduction -- A Compendium of Vignettes, or, Imagining-and Imaging-'Energy' -- Deus ex machina: From the Magic Lantern to the Layden Jar -- #1: A First Experiment-Imagining Electricity -- Reflecting upon the Presence of Magic in Artwork, and Artistry of Magic and Science: Some Inconclusive Conclusions -- Notes -- References -- 10 Choosing, Unpicking and Connecting: On Drawing Museum Objects -- Choosing -- Unpicking -- Connecting -- Notes -- References -- 11 Post-Specimens and Present Ancestors: Passing Fables &amp -- Comparative Readings at The Wildgoose Memorial Library-An Artist's Re -- Some Background Information about My Practice as an Artist -- Some Context for the TAC's Claim for Repatriation of Human Remains from the NHM's Collection -- At the Natural History Museum, London, 21 November 2006 -- An Artist's Response (i) -- The TAC's 'Submission to the Trustees of the Natural History Museum for the Repatriation of Tasmanian Aboriginal Human Remains' -- Some Other Perspectives on the History of Tasmania in the Nineteenth Century -- An Artist's Response (ii) -- Some Correspondence Concerning Human Remains in the NHM Collection -- An Artist's Response (iii) -- An Artist's Response (iv): Passing Fables &amp -- Comparative Readings at The Wildgoose Memorial Library -- Conclusion -- Acknowledgements -- Notes -- References -- 12 Moving beyond the Specimen: From Drawing Objects to Drawing Processes -- Changing Environment: Changing Practice -- Morphological Interest Leads to the Natural History Museum and Its Collections.
505	8		_aOn Drawing -- Drawing from the Museum Specimens -- Annotating Morphology -- Isomorphology -- Isomorphogenesis -- Conclusion -- Notes -- References -- 13 Desiccation, Suspension, Extraction: The Inhuman Art of Christine Borland -- Introduction -- The Desiccated -- The Suspended -- The Extracted -- Conclusion -- Acknowledgements -- Notes -- References -- Afterword Specimen-What's at Stake? -- Biographies -- Index -- Back Cover.
520			_aExamines how scientific objects in museums and other collections act as inspiration to contemporary art practice, its histories, curating and aesthetics. Cross-disciplinary essays from leading arts professionals explore how scientific encounters in museums provoke new modes of creative thinking about art, science and curating. 84 col. illus.
588			_aDescription based on publisher supplied metadata and other sources.
590			_aElectronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.
650		0	_aArt and science.
655		4	_aElectronic books.
700	1		_aRobinson, Alistair.
776	0	8	_iPrint version: _aJuler, Edward _tPost-Specimen Encounters Between Art, Science and Curating _dBristol : Intellect, Limited,c2020 _z9781789383119
797	2		_aProQuest (Firm)
856	4	0	_uhttps://ebookcentral.proquest.com/lib/orpp/detail.action?docID=6369051 _zClick to View
999			_c21684 _d21684