Comparison of Modern and Traditional Museums of the 19th Century

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MUSEUM 5

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Introduction
The article is an examination of a comparative a modern and traditional museum of the 19th century. It presents an argument. It holds the views that musicological are environmentally constructed utilizing display method designed carefully to ensure selected objects and crafted information (Branham, 1994). Such is necessary to ensure that communication is made on the ideological narratives and selected historical to visitors. The views interaction with those objects and museum is very essential, and the most comparison made base on that perception. The critical inquiry is the role played by the shifts in the mission, execution, and conception of the display in the museum act upon the visitors (Bennett, 2013). The examination is done on the impacts of the institution of the sex, political class, colonial projects and race as displayed in the American dime museum. Visitors were allowed to consume exhibition of artifacts, arts, technological marvels, rarities, human curiosities display and performance of live theatricals. These institutions were managed and run by capitalists’ entrepreneurs for economic profit. The promotion was done under the egalitarian edification for women, children and men without putting into consideration their wealth or social stature (Hein, 2002). Many questions being raised about the usefulness of these museums to the society.
The economy of space during construction of this museum is based on the entrepreneurial proprietors based on the predicted profits (Hein, 2002). Such proves that money was the guiding principle in the construction of the museum. The marketing was done in this museum as educational but contained an exciting, risqué and crisp display that appears crowds are spreading across the socio-economic class (Bennett, 2013). The respect in the facility was maintained through having sanctioned spaces that strict social code of contact and conduct between persons was temporarily subverted. The consumption of the objects by the visitors took place there in both figurative and literal levels, treats and souvenirs for purchasing were available in all museum. The article also tries to show explosively the growth of museum across the United States urban centers in the mid to late 19th century which is contextualized by examination of the political shifts and social, cultural environment of those times (Hein, 2002). There was an increased public proclamation following the revolution on the moral, social, religious and aesthetics that was necessary to rest in the hand of ordinary citizens (Branham, 1994). Lack of educational focus of these museums made the displaying freaks and spurious to be closed down to allow professional institutions that promote the scholarship over amusement.
Religious fabricating was another issue addressed in this article. The construction of the museum was manipulated to provide the visitors with sacrality of the place (Branham, 1994). The intention of the Walters to prove the sacred of the museum by use of gallery to represent the existence of the objects on the wall which was essential in showing the holy of space. Such resulted in numerous dilemmas and challenges to the both architectural theoretical and gallery curator (Branham, 1994). The sacred space was used to backdrop the enhancement of liturgical object meaning on the display or gathered objects to prop certain spatial entity. Scholars are questioning the ability of gallery to prove it’s sacred with the requirement for many explanations. The fact that these museums were constructed for the economic purpose also works against the holy of space in the museum.
The selection of particular objects for artifacts framework construction, display, and explanation writing labels gave the context followed by the visitors to enter, which helped in forming the cultural harmony (Branham, 1994). According to Michel Foucault, a problematic idea on the institutional truth factual truth and unique labeling idea may result as an error leading to the altering of the histories. He further argues that multiplicity of experience that is unlimited makes it impossible for any individual to understand fully another or come up with universalized narrative that can apply to all people.
It is rare that the name of the curator or author will be presented when producing exhibition with are selected has the objects which displayed with classificatory labels and text explained inside cultural institutions. The particular display is constructed and conception by the available technicians, curators, and specialists who are commonly available in many large museums (Branham, 1994). The assumption not of the rationality, singularity and truth are currently the guides for modern music environment embodied in the system of display and classification.
It is essential to note that even if the traditional museum works as hybrid environment promoting cultural fluidity while supporting the idea of space as truly democratic is deterred when post-colonial discourse is applied (Bennett, 2013). Most colonial politics has been framed in museological projects. Exploration of colonial dominance, race, and social enactment has been freaked shown in the traditional museum. When the museological analysis is done, museum environment is constructed on space to recontextualize interactions between visitors and objects. When the museum space is provided, the sanctioned areas are acquired (Bennett, 2013). The museum has continued to reinforce cultural hierarchies throughout the 20th century, recently egalitarian turning towards popular culture ratification.

References
Bennett, T. (2013). The birth of the museum: History, theory, politics. Routledge.
Branham, J. R. (1994). Sacrality and aura in the museum: Mute objects and articulate space. The Journal of the Walters Art Gallery, 33-47.
Hein, G. E. (2002). Learning in the Museum. Routledge.