Museientreprenörskap som praktik- och kunskapsfält

This study, “Museum entrepreneurship as practice and knowledge field”,examines how museum directors view museum entrepreneurship, why they thinkit is important and how it can develop. Results show that the museum directorsview entrepreneurship from a broad perspective that goes beyond a traditionalimage of entrepreneurship as exclusively an economic phenomenon. The resultsemphasize the need to turn to museum entrepreneurship as a way of thinkingabout renewal of museum activities, solving financial problems linked to decreesin public funding, find new sources of income and to create business models thathave potential to refine opportunities coming from digitalization. The need formuseum entrepreneurship is also about clarifying an awareness of what kind ofvalues are created and how these can be formed while maintaining integrity incollaboration with the rest of society. The results also show that there is a need todevelop museum entrepreneurship through collaborative research approaches.

Museumverse. A New Typology for User Positioning in Museum Dissemination

This article presents a new typology for user positioning in museum dissemination. First, I develop a framework for the typology by identifying relevant, central dimensions and variables within the area of user positioning in museum dissemination. Next, the individual types within the typology is studied and representative cases for each type described. Finally, the conclusion points to different uses and consequences of the typology.

Arosenius Translated. Digitisation as a Rephrasing of Meaning

To analyse and discuss the procedures through which a digital copy is brought into being as a representation of the physical original, this study offers an in-depth exploration of a single digitisation effort, that of the Ivar Arosenius Archive. Using Actor-Network Theory as a theoretical framework, this article argues that to digitise is to translate, a work that demands expert knowledge in a series of disciplines such as information science, image processing, archiving and conservation. The translation functions to rephrase the archival material with the purpose of making it mobile and conform to those protocols that define something as being digital, all while enrolling associations which strengthens it as a digital original. However, through this process, the multi-sensory archive is reduced to an ocularcentric archive, potentially losing meaning.

Reaching Out to be in Reach. Museum Communication in the Current Museum Zeitgeist

This article focuses on art museums as multi-layered media- and eventmakers. By discussing the National Gallery of Denmark’s Mysteries from the Museum podcast series and the event SMK Fridays, Louisiana’s digital platform Louisiana Channel and the Glyptotek’s Slow arrangements, we scrutinise these museums’ onsite and offsite outreach techniques and strategies. These are further discussed regarding the current museum zeitgeist, and how this relates to dominant cultural policy paradigms in Denmark. The article is based on interviews with museum professionals, observations of onsite events and document analysis; they indicate that museums constantly renew their outreach techniques and strategies, adding layers to their museum communication. While museums succeed in creating quality digital content and arranging events attracting attention and audiences, these productions do not challenge the power dynamics between museums and their users described in current literature on the museum zeitgeist, as in dominant cultural policy strategies in a Danish context.

Experiencing Authenticity at Alvar Aalto’s Experimental House

Experiences of authenticity are studied at Alvar Aalto’s Experimental House – today a modern house museum – which has gone through renovations and changes. Visitors were interviewed to find out how they feel about the authenticity of the place, if the changes affect their experience of authenticity, and if they share the same opinions. A review of the literature on the concept of authenticity is carried out and its implications for museum contexts is considered, and then the research questions are answered by analysing 30 interviews of visitors to the Experimental House.