Senior Research Associate, Assembling Alternative Futures for Heritage (2015-2016)
AAFH — or ‘Heritage Futures’ — is a flagship four-year research project funded by the UK Arts and Humanities Research Council in the ‘Care for the Future’ strategic programme. Four interconnected themes, each led by a separate researcher, will ‘explore the potential for innovation and creative exchange across a broad range of heritage and related fields, in partnership with a number of academic and non-academic institutions and interest groups.’
I received a call from Sharon MacDonald in February of 2014, telling me about an exciting large-scale project that she had been developing with other colleagues. The project would explore and recalibrate the collecting and preserving of cultural and natural heritage in all its complex manifestations — material, digital, intangible — in the framework of 21st century social, technological and economic contexts, as well as the environmental shifts of the anthropocene. They were looking for a colleague to join the group as part of the funding bid package, a colleague who had the skills to address and effect inter-institutional and interdisciplinary knowledge exchange, and to guide in the formulation of exhibitionary experiments. With my experience of cross-polinating between museum and academia, and my extensive involvement with collecting institutions across the range from natural historical to biological and anatomical, including historical material culture and archival collections, Sharon felt I would be a good fit.
Sharon and I have known each other and each others’ work for many years, crossing paths notably at the Science Museum in the late 1990s, when I was creating Atomism & Animism, and she was researching and writing Behind the Scenes at the Science Museum. But this was an opportunity to actually work together for the first time, and I was delighted to accept. As a named researcher on the AHRC Grant Application, my areas of activity are outlined in the Case for Support as ‘Senior Research Assistant (knowledge exchange and cross-disciplinary working)’; facilitating ‘cross-WP KEPWs’, ‘interdisciplinary knowledge exchange, dissemination and impact’, ‘pop-up kiosk exhibitions and overall programme-level exhibition’.
Shortly after the grant was awarded, the full team held a working meeting to get to know each other, our areas of interest, and to explore the overarching links between each others’ research questions. The meeting was held in October 2014 at Linnaeus University in Kalmar, kindly hosted by one of the Co-Investigators, Cornelius Holtorf, who is Professor of Archaeology at Linnaeus University and Director of the Graduate School in Contract Archaeology.
The project got going in earnest in April 2015, and at our May planning meeting that year I contributed three overview presentations — one concerning exhibition practice and experiments, another concerning virtual research environments for the Team, and a third concerning planning and record-keeping for impact ‘narratives.’ During our workshops, my contributions and critiques concerning controlled vocabularies and metadata, current museum practice, and history-of-science approaches to understanding the move from material to molecular in biological collections were valued.
Over the following year, I produced several proposals for the integration of innovative exhibitionary practices into the field work, research programme, and knowledge exchange events of AAFH, as well as concepts and budgets for flexible pop-up displays that could work as well in public fora as they would in academic contexts. I outlined a number of these proposals in a lecture entitled ‘Ideas on the Move’, at the invitation of the Bikuben Foundation, Denmark, on the occasion of their symposium Considering Exhibitions (National Museum of Denmark, 23 August 2015).
I built a virtual research environment for the Team using Google Drive and tools, so that it was up and running rapidly — and then I restructured and migrated our data into Evernote so that the advantages of Evernote’s tagging and workchat would better support this highly distributed Team. My contributions to the VRE included a list of visual artists whose work and practices would be of value and interest to the Team members — in this way, I introduced them to the work of artists such as Yann Mingard, Bill Burns, Maria Thereza Alvez, Lisa Autogena, and the Boyle Family. I was also able to direct the Team to best practice guidelines in commissioning and working with artists. In the end, the project has mainly focused on filmmaking, with lead Creative Fellow Antony Lyons not only training all five research associates in filmmaking, but also bringing his own subsequent Arts Council Grant to the table.
I also built a quick-and-dirty website to rapidy profile the project online while I drew up a requirements document and spec-sheet for the real thing, researching best-fit designers. The Team went with the creative agency that I had identified — The District (Cambridge) — who have done a great job as you can see on the AAFH website.
As the Heritage Futures project developed, individual projects differentiated themselves and began their unique research trajectories. When I was offered the chance in later 2016 to take up the post of Deputy Director at the V&A Research Institute, where I would be in a position to begin actually experimenting with and operationalising process design in museum future-making, I took it.
[Image References: Svalbard Global Seed Bank Entryway, Norway, by Mari Tefre; Svalbard Global Seed Bank Underground Corridor, by Matthias Heyde; Group Photo, First Team Meeting, Kalmar 2014; IUCN: traditional medicines market, Wolong, China]