A Sweethaven Summer by Courtney Walsh

By Courtney Walsh

A light scrapbook finds secrets and techniques that reconnect previous associates in a spot known as Sweethaven.
Campbell Carter has come to Sweethaven looking for solutions approximately her mother's heritage. in advance of wasting a conflict with melanoma, Suzanne Carter despatched letters to adolescence associates from her fatherland of Sweethaven, Michigan. Suzanne's 3 neighbors -- Lila, Jane, and Meghan -- haven't spoken in years, but each one has items of a scrapbook they made jointly as women. Suzanne's letters have lured all of them again to the idyllic lakeside city, the place they meet Campbell and start to recollect what was once so distinctive approximately their lengthy Sweethaven summers. because the scrapbook finds secrets and techniques from the prior, previous wounds are mended, lives are replaced, and friendships are restored -- simply as Suzanne meant.

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He mentioned filing systems, color slides, three-dimensional imaging, and a ‘‘radio picture service’’ (Moholy-Nagy 1925, pp. 25–6). Four years later, he produced his ‘‘Room one’’ for the Film und Photo exhibition in Berlin. Here he displayed photographic reproductions of various shapes and sizes without accompanying text. In 1930, he exhibited a machine, the Licht-Raum Modulator (Light–Space Modulator). This was operated via push-buttons and, through rotating metal plates, projected abstract patterns of light onto walls and ceiling.

Lampugnani, V. Magnago (2006) Insight versus entertainment: untimely meditations on the architecture of twentieth-century art museums. In S. ), A Companion to Museum Studies. Oxford: Blackwell, pp. 245–62. Latour, B. (1987) Science in Action. : Harvard University Press. Latour, B. (1999) Pandora’s Hope: Essays on the Reality of Science Studies. : Harvard University Press. Law, J. and Hassard, J. ) (1999) Actor Network Theory and After. Oxford: Blackwell. Macdonald, S. (2002) Behind the Scenes at the Science Museum.

By bringing together the chapters which follow, we hope not only to generate new knowledge about experimental exhibitions but – like the exhibitions described here – to provoke readers to consider the potential of exhibition experiments not only to meddle in the world of museums but also to intervene and make trouble beyond. 22 Paul Basu and Sharon Macdonald Notes 1 We thank all of those who participated in the panel and its discussion, and the conference organizers for their support. 2 This is borrowed from the title of chapter IV of Shapin and Schaffer 1985.

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