Encountering the creative museum: Museographic creativeness and the bricolage of time materials

Research output: Contribution to journalArticlepeer-review

5 Citations (Scopus)
276 Downloads (Pure)


The aim of this article is to trace some lines of thinking towards a conceptualization of the uniqueness of the creative work of museums, the mode of creativeness that belongs exclusively to museums, or at least that museums are capable of by virtue of the types of materials and forms as well as activities unique to what will be referred to as museography. This is linked
to the question of what it is that constitutes the uniqueness of museum work as a professional field. The article characterizes the uniqueness of museum professional knowledge primarily in terms of a mode of creativeness, or bricolage in Levi-Strauss’s sense, mediated through the museographic form, and applied to the chance assemblies of materials to generate museumspecific modes of engaging questions—across science, culture, and society—particularly
through creating unique temporal arrangements, or durations, that provoke thought, learning, and engagement on museographic terms. Museography’s originality, it is argued, consists in a bricolage that works through the museum’s unique material and form to create learning resources and encounters, museographic assemblages that depart from a conception of linear time as the space of evolutionary narrative to facilitate the experience of Bergsonian
Original languageEnglish
Pages (from-to)443-458
Number of pages16
JournalEducational Philosophy and Theory
Issue number5
Early online date22 Apr 2015
Publication statusPublished - 2016


  • Museum professional knowledge; Museography; Creativeness; Bricolage; Time; Duration


Dive into the research topics of 'Encountering the creative museum: Museographic creativeness and the bricolage of time materials'. Together they form a unique fingerprint.

Cite this