@nwilkinbm.bsky.social
I find it all endlessly fascinating and always keen to discuss it with other prehistorians like you, with so much success as speaking to wide audiences - there’s not been enough of that! 😃
July 2, 2025 at 5:36 PM
I find it all endlessly fascinating and always keen to discuss it with other prehistorians like you, with so much success as speaking to wide audiences - there’s not been enough of that! 😃
I think it’s really important we don’t assume we ‘know’ what audiences want or need from deep history. Or think spoken/written evaluations are neutral. We tried something new by looking at social media responses and the kind of materials and objects they shared: www.tandfonline.com/doi/full/10....
From overlooked objects to digital ‘icons’: evaluating the role of social media in exhibition making and the creation of more participatory and democratic museums
This article highlights the opportunity for social media to play a greater role in critically and democratically evaluating museum displays and exhibitions in order to increase their popular appeal...
www.tandfonline.com
July 2, 2025 at 5:36 PM
I think it’s really important we don’t assume we ‘know’ what audiences want or need from deep history. Or think spoken/written evaluations are neutral. We tried something new by looking at social media responses and the kind of materials and objects they shared: www.tandfonline.com/doi/full/10....
Ironically, we were piloting an effort to get away from ‘star’ pieces, so it’s a shame that didn’t come across. Much of that work was hard given institutional habits and only possible thanks to an AHRC project which allowed us to reflect on the exhibition: www.cambridge.org/core/journal...
Alternative icons: rethinking symbols of power in ‘The World of Stonehenge’ | Antiquity | Cambridge Core
Alternative icons: rethinking symbols of power in ‘The World of Stonehenge’ - Volume 98 Issue 400
www.cambridge.org
July 2, 2025 at 5:36 PM
Ironically, we were piloting an effort to get away from ‘star’ pieces, so it’s a shame that didn’t come across. Much of that work was hard given institutional habits and only possible thanks to an AHRC project which allowed us to reflect on the exhibition: www.cambridge.org/core/journal...
For Stonehenge there were key elements that the BM had never tried before. Some worked better than others. The ‘axe wall’ and the commissioned Rose and Rob St John sound-piece ‘half-life’ for Seahenge are often mentioned (glad you like the latter!)
July 2, 2025 at 5:36 PM
For Stonehenge there were key elements that the BM had never tried before. Some worked better than others. The ‘axe wall’ and the commissioned Rose and Rob St John sound-piece ‘half-life’ for Seahenge are often mentioned (glad you like the latter!)
Hi Rebecca. Always tricky with shows of this size. The teams spend a lot of time on narrative, often based on the exhibition book. But the label word count is relatively low for reasons of scale and comfort and flow, especially for Stonehenge back in Omicron/2022.
July 2, 2025 at 5:36 PM
Hi Rebecca. Always tricky with shows of this size. The teams spend a lot of time on narrative, often based on the exhibition book. But the label word count is relatively low for reasons of scale and comfort and flow, especially for Stonehenge back in Omicron/2022.