(30)--V1_20_Ambient Aesthetics Altered博物馆经营博物馆经营.pdfVIP

20 Ambient Aesthetics Altered subjectivities in the new museum Natalia Radywyl, Amelia Barikin, Nikos Papastergiadis, and Scott McQuire This chapter examines the interplay between new modes of cultural communica- tion, transnational subjectivity, and the forms through which museums seek to enhance public engagement. The Australian Centre for the Moving Image (ACMI) in Melbourne is taken as a case study for the emergence of an alternative form of contemporary subjectivity within the new museum. The aim is to demonstrate how ACMI’s initial curatorial, architectural, and experiential directives were designed to produce, rather than classify or represent, emerging forms of cultural consciousness. ACMI’s willingness to experiment with innovative representational technology is, as such, framed as a strategic attempt to position itself as a pioneer- ing new media institution and to engage in the production of alternative forms of cultural citizenship. The concept of “ambient aesthetics” is finally proposed as a key conceptual framework for evaluating how contemporary museums might articulate a new kind of “flexible” citizenship within a transnational public sphere. ACMI’s early public exhibitions often eschewed chronological histories of the moving image in favor of phenomenological displays of visual knowledge and embodied new media experiences designed for cross‐cultural consumption. This bold beginning was expressive of the critical junctions that defined the possibilities for museums at the turn of the twenty‐first century. The residual impact of post- colonial critique, combined with the emergence of new forms of transnational subjective experience, has exerted distinct but related pressures on the