Museum use is a process of ideological negotiation, and thus museum users are active agents, not empty vessels waiting to be filled with curatorial narrative. Ensuing dialogues argue over trivia as well as important ethical issues. Discussants take up topics that range over specific public programs, the object maker's motivations and intentions, the choice of a subject, the phrasing of a caption, or the selection of objects on display. These discussions are held in hushed conversations in crowded galleries, in casual conversations within museum hallways, or with animated gestures on the front steps. In the course of this dialogic social practice, each participant's cultural repertoire is enhanced and grows. Every dialogic event is part of a socio-cultural continuum that will engender other events, with other participants. The comments made by visitors in a visitor comment book are therefore instances of the specificities and the universality of that discussion.

Timelines serve as the organizing structure for many exhibitions. This essay explores the use of the timeline in museums in an attempt to understand its appeal and its meaning. The article considers the nature of narrative, and of chronology specifically, as well as the history of the timeline and of its use in museum exhibitions. Raising questions about the message sent by chronological ordering, the essay encourages exhibition developers to consider how exhibits might move beyond the timeline to provide visitors with a more nuanced historical understanding and a more active relationship to the past. If we stop taking the timeline for granted, we might find ways to complicate chronology while still taking advantage of its power.

How does what we remember about history relate to true historical understanding, and how can the museum become a location for these conversations? During the summer of 2011, the National Museum of American History challenged audiences to consider issues of historical memory and national history through the performance of an interactive museum theater program, The Time Trial of John Brown. Using the Time Trial approach as a case study, this article reveals that interactive theater in museums can provide a platform from which audiences assert their own historical understanding while learning firsthand about their role in creating a shared knowledge of American history. As the role of museums evolves in the twenty-first century, new attention must be paid to this personal process of examining and creating history and memory through performance. It is through performance and participation that history and memory are both examined and created by the audience.

This article examines two exhibition installations that integrate high-resolution digital archeological datasets (photography and 3D architectural models) with immersive, interactive display systems. These analogous installations, Pure Land: Inside the Mogao Grottoes at Dunhuang and Pure Land: Augmented Reality Edition, allow visitors to engage in different ways with a full-scale augmented digital facsimile of Cave 220 from the UNESCO World Heritage site, the Mogao Grottoes, Gansu Province, northwestern China. The peerless treasuries of paintings and sculptures at Dunhuang are extremely vulnerable. Comprehensive digitization has become a primary method of preservation at the site. The digital facsimiles of this cultural paragon can be transformed, providing formative personal experiences for museum visitors. The Pure Land projects contribute to new strategies for rendering cultural content and heritage landscapes. Interpreting these installations through the lens of phenomenology and panoramic immersion helps situate them at the forefront of virtual heritage today.

Museums today grapple with the reconciliation of traditional models of authority with the expectation to incorporate new voices in cultural interpretation. At the same time, society is increasingly empowered by a social Web that provides collaboration, connectivity, and openness. This paper frames the dialogue of authority and openness around parallel theories within the museum and technology communities, offering Wikipedia as a platform for facilitating new perspectives in collaborative knowledge-sharing between museums and communities. Expanding on the metaphors of the museum as “the Temple and the Forum” and the Web as “the Cathedral and the Bazaar,” this essay argues that issues of democratization, voice, and authority in museums can be addressed through Wikipedia's community, process, and its potential as a model for a new Open Authority in museums.

The creation of a comprehensive digital asset management strategy for a museum can seem like a daunting or even impossible task, but it need not be. This paper will show how the creation of a comprehensive digital asset management strategy document, outlining the administrative principles, policies, technical specifications, and operating guidelines for digital initiatives, can be accomplished in discrete, manageable tasks. Once created, such a document can form the backbone of an institution's digital activities and provide the basis for an RFP for a digital asset management system. This paper proposes a model framework for institutional digital asset management plans, including standards, tasks, and decisions. Each of the elements in the framework is discussed in both general, best-practice terms and also specifically, presenting case studies and lessons learned from Corning Museum of Glass.

In February 2012, the Smithsonian's National Museum of Natural History (NMNH) convened 100 colleagues from 43 organizations to initiate a collaborative learning research agenda focused on examining important areas for innovation to better serve twenty-first-century audiences. The conference organizers anticipated that scientists, educators, exhibit professionals, and other members of the natural history community would identify and prioritize research questions about what, how, why, when, and where people learn about natural history. We prepared to engage in a conversation about how natural history museums could change what they do. The participants' overwhelming passion for their work, and for natural history museums and their transformative potential for society, quickly turned the conversation toward how natural history museums should change what they are. The result was an emergent learning research agenda situated within a broader vision for natural history museums.

Carnegie Museum of Natural History and the University of Pittsburgh are engaged in a research and practice partnership to bring new learning sciences findings and theories into contact with the design and deployment of innovative natural history learning experiences. In this article, we describe four strands of work: 1) connecting people to nature; 2) engaging people of all ages in complex and current scientific debates of regional consequence; 3) partnerships to build a strong regional learning ecology for nature and science; and 4) iterative professional development to support staff as they work with new definitions of learning and engagement in the museum.

The Twenty-first Century Learning in Natural History Settings Conference at the Smithsonian Institution, Washington, D.C. (2012) has been more influential than similar conferences, resulting in new work streams and international collaborations for the Learning Research and Evaluation team at the Natural History Museum, London (NHM). The conference offered a rare opportunity to discuss issues relevant to our unique workplace and to be surrounded by an instant peer group. Although the event itself brought personal and professional satisfaction, it is the impact of the conference on our institution that has been most fulfilling. The conference has enabled us to think bigger—to think about the sector as a whole and the role the NHM can play as a large national museum.