A Comprehensive Guide to The Types of Dubai Residence Visas.pdf
Ā
Tourism Lecture 8 - Dr Wes Kinghorn.pptx
1. This lecture is for
class viewing only
and is not to be
reproduced,
distributed or shared
in any form.
2. Media for this week:
A) Harry Potter
https://www.youtube.com/watch?v=xfjuBaWTLO4
https://www.youtube.com/watch?v=ATvoxagi-7g
B) Popeye
https://www.youtube.com/watch?v=z34e7ZBaxfE
https://www.youtube.com/watch?v=npUqfsI_L34
https://www.youtube.com/watch?v=IZ778ycQSGU
C) Santa Claus
https://www.youtube.com/watch?v=JH9jCaHWkhM
https://www.youtube.com/watch?v=HkkPitj41Cw
D) Anne of Green Gables
https://www.youtube.com/watch?v=miWcbeYnWGM
https://www.youtube.com/watch?v=AxlxZHi3JHA
https://www.youtube.com/watch?v=GncQtURdcE4
E) Alice in Wonderland
https://www.youtube.com/watch?v=KLIqErnQCuw
https://www.youtube.com/watch?v=JKEMavLsI9w
https://www.youtube.com/watch?v=k12NZLh_Xvg
F) Ghostbusters
https://www.youtube.com/watch?v=_QIbI4Wtgug
https://www.youtube.com/watch?v=WUs5qi_RFnM
G) Themed Restaurants
https://www.youtube.com/watch?v=hjkLP97L3Lc
https://www.youtube.com/watch?v=PCO0gVt_Hl8
H) Anime
https://www.youtube.com/watch?v=yvkE6Nq8Pc8
6. About todayās classā¦
Today we will take a tour of some
of the most innovative tourism
places on earthā¦
ā¦places that allow the tourist to
visit imaginary worlds.
7. About todayās classā¦
ā¢ 8 parts;
ā¢ Media clips will be followed by a
discussion of the related article;
ā¢ I have amalgamated the readings
into one document for you;
14. Immersive Theme Parks:
āUniversal Orlando's Wizarding World of Harry Potter ā¦
includes Hogwarts castle (home of the Forbidden
Journey ride) within Hogsmeade.
The Hogwarts Express train ride connects to Harry
Potter's version of London, which leads to Diagon Alley,
which includes Knockturn Alley and the Escape from
Gringotts ride.
Hogsmeade, Diagon Alley, and Knockturn Alley all
include shops and opportunities to cast "spells" using
interactive wands sold within WWoHP.ā
(Godwin 2017)
Godwin 2017
16. Story Worlds:
āStory worlds are defined as "places people
can visit and live in for a time"
(Lancaster 2001)
Alternative terms include
subcreated worlds, secondary worlds, diegetic worlds,
constructed worlds, and
imaginary worlds, media worlds, and many others.
(Wolf 2012)
Godwin 2017
17. Story Worlds:
Such imaginary worlds invite audience participation in
the form of speculation and fantasies, which depend
more onā¦
ā¦the fullness and richness of the world itself
than on any particular storyline or character within itā¦
ā¦quite a shift from the traditional narrative film/novel.
(Wolf 2012)
Godwin 2017
18. The Interface:
The concept of the interface (used within media studies
and fan studies scholarship) offers a productive means
to examine theme parks.
"The interface is a concrete material object that helps
open the door to another's imaginary universe.
It makes concrete the imaginary".
(Lancaster 2001)
The Owlery Owlā¦ā¦
Godwin 2017
19. The Interface:
Interfaces involve touch, not just sight.
Potentially, interfaces allow fans to see, hear, touch,
taste, smell, and interact with story worlds.
It is important not to confuse Lancaster's use of the
term "interface," a material object allowing physical
interaction with story worlds, with computer, new
media, or other electronic interfaces that allow virtual
interaction with story worlds.
(Wolf 2012)
Godwin 2017
20. Immersion:
Physical Immersion
ā¦in a theme
park ride or walk in video installation; the user is
physically surrounded by the constructed experience.
Conceptual Immersion
ā¦relies on the userās imagination; for example,
engaging books are considered 'immersive' if they
supply sufficient detail and description for the reader to
vicariously enter the imagined world.
(Wolf 2012)
Godwin 2017
21. Immersion:
Via multisensory material interfaces, theme parks
enable not only the most basic physical immersion of
rides or attractionsā¦
ā¦but also conceptual immersion in story worlds that
inspire those forms of entertainment.
(Godwin 2017)
Godwin 2017
22. In an immersive theme parkā¦
ā¦all of the material thingsāthe
streets, the bricks, the tables and chairs, the lights, the
fountains, etc.āthat make up the themed or immersive
space can be used to tell immersive stories and/or
create specific feelings or moods in guests.
(Lukas 2013)
Godwin 2017
23. In an immersive theme parkā¦
Corporate-created and controlled theme parks frame
and market āfan activitiesā to encourage consumption.
Yet fans and other visitors, active as always, often use
such merchandise as additional interfaces to participate
in WWoHPās attractions and to facilitate immersion in
the wizarding story world.
(Godwin 2017)
The Magic Wandā¦
Godwin 2017
25. Suspension of disbelief:
āthe willingness to
accept the world of the imagination as real
ā¦which allows [fans] to renew and extend their
belief in the imaginary beyond the confines
of the book or film.ā
(Reijnders 2011)
Not only a fan's mind but also a fan's body experiences
immersion in a story world via such suspension of
disbelief: both conceptual and physical immersion.
(Godwin 2017)
Godwin 2017
26. Theme parks:
āā¦are the multidimensional descendant of the book,
film, and epic"
in whichā¦
āā¦rides are mechanisms designed to position the
visitor's point of view, much as the camera lens is
aligned, moving riders past a series of meticulously
focused vignettes to advance the narrative.ā
(King and O'Boyle 2011)
Godwin 2017
27. Theme parks:
ā¦have changed their emphasis from
rides perceived as spectacles where guests passively
view wonders letting a story unfold around themā¦
ā¦to understandings of ridesā¦featuring
interactivity and immersionā¦
..allowing visitors active participation or even
taking the lead role in the adventure.
(Baker 2016)
Godwin 2017
38. The Story of Popeye Village:
āA small road in north-west Malta provides access to a
cliff-top car park, but the settlement that it serves is no
ordinary fishing village. Vaguely reminiscent of small
ports along the sleepy backwaters of New Englandā¦
Gold and Gold
39. The Story of Popeye Village:
āA small road in north-west Malta provides access to a
cliff-top car park, but the settlement that it serves is no
ordinary fishing village. Vaguely reminiscent of small
ports along the sleepy backwaters of New Englandā¦
ā¦the quays and clapperboard houses of āSweethavenā
in fact only date from 1979, when a film production
company, jointly created by Paramount Pictures and
Walt Disney Productions, selected the hitherto-
undeveloped inlet of Anchor Bay to construct a set for
the film Popeye, a musical based on the cartoon
character created by Elzie Crisler Segar.ā
(Inge 1990)
Gold and Gold
40. The Story of Popeye Village:
After the completion of locational work in 1980, the
setās future was uncertain. The filmmakers
painted the buildings with grey protective paint and
left, passing ownership to the Malta Film Facility.
Gold and Gold
41. The Story of Popeye Village:
After the completion of locational work in 1980, the
setās future was uncertain. The filmmakers
painted the buildings with grey protective paint and
left, passing ownership to the Malta Film Facility.
The Malta Film Facility hesitantly decided to
retain Sweethaven as an attraction, seeking to generate
revenue by drawing in tourists interested in visiting the
sites of the filmās production.
Gold and Gold
42. As Popeye faded into cinematic historyā¦
ā¦the landscapes of Sweethaven became shaped by new
attractions related to the packaging of Maltese tourism.
Gold and Gold
43. As Popeye faded into cinematic historyā¦
ā¦the landscapes of Sweethaven became shaped by new
attractions related to the packaging of Maltese tourism.
During 2017, these included demonstrations of local
handicrafts (especially by silversmiths), 15-minute boat
rides round the bay, sun-bathing decks, a beach lido,
a winery offering free tastings, a year-round Christmas
display ā¦ a nine-hole mini-golf course and provision of
adventure playgroundsā (Gold and Gold 2012)
Gold and Gold
44. As Popeye faded into cinematic historyā¦
ā¦the landscapes of Sweethaven became shaped by new
attractions related to the packaging of Maltese tourism.
During 2017, these included demonstrations of local
handicrafts (especially by silversmiths), 15-minute boat
rides round the bay, sun-bathing decks, a beach lido,
a winery offering free tastings, a year-round Christmas
display ā¦ a nine-hole mini-golf course and provision of
adventure playgroundsā (Gold and Gold 2012)
ā¦activities at best only tangentially related to
the adventures of the strip-cartoon sailor.
Gold and Gold
45. Landscape and film ā a complex relationship
The film-makers forever altered the landscapes of the
bay.
Gold and Gold
46. Landscape and film ā a complex relationship
The film-makers forever altered the landscapes of the
bay.
The attractions of the āPopeye Villageā are now
consumed by paying tourists who visit what is
effectively a 20,000-square-metre theme parkā¦
Gold and Gold
47. Landscape and film ā a complex relationship
The film-makers forever altered the landscapes of the
bay.
The attractions of the āPopeye Villageā are now
consumed by paying tourists who visit what is
effectively a 20,000-square-metre theme parkā¦
ā¦with the additional expectations that the experience
of theme parks elsewhere bring.
Gold and Gold
48. Landscape and film ā a complex relationship
Taken together, there has clearly been no
fixity surrounding the interpretation of the
landscapes of thisā¦
ā¦paradoxical, fictional-yet-existing place.
Gold and Gold
54. Part 3: Shared illusions in real places
Pretes 1995: (pp 8-14)
55. Santa becomes an industry:
Though Santa Claus has a longer history of living in
Lapland, the idea of using this connection as a tourism
marketing tool was realized only in the 1980s.
The Finnish Tourist Board, eager to promote Finland's
tourism image, wanted to create some new marketing
program that would reflect positively on Finland in
general and on Lapland in particular.
Pretes 1995
56. Santa becomes an industry:
The Santa Claus idea, though focused only on Lapland,
would attract tourists in greater numbers and would
have spill-over benefits in the rest of Finlandā¦
ā¦since foreign tourists inevitably pass through Helsinki
and might be convinced to visit other parts of the
country as well.
Pretes 1995
58. Santa Claus Land:
The idea of establishing Santa Claus as a tourism
attraction was debated sporadically in Finlandā¦
Pretes 1995
59. Santa Claus Land:
The idea of establishing Santa Claus as a tourism
attraction was debated sporadically in Finlandā¦
ā¦but nothing took shape until 1984, when a Santa
Claus Work Group was formed by the Finnish Tourist
Board, a state agency.
Pretes 1995
60. Santa Claus Land:
The idea of establishing Santa Claus as a tourism
attraction was debated sporadically in Finlandā¦
ā¦but nothing took shape until 1984, when a Santa
Claus Work Group was formed by the Finnish Tourist
Board, a state agency.
That same year, the governor of
Lapland declared the entire province
Santa Claus Land.
Pretes 1995
61. Santa Claus as Spectacle:
The Santa Claus Village and its related constructions are
clearly contrived touristic sightsā¦
ā¦tourists perceive the inauthenticity of the
attraction, yet are nonetheless attracted to the sight.
The authenticity of the Santa Claus
Village lies in its representational
connection to the idea of Christmas
and Santa Claus.
Pretes 1995
62. Santa Claus as Spectacle:
The nostalgia for childhood, to become and remain a
child, and to find meaning in a perceived or
romanticized happier childhood, is a powerful
motivating force.
Santa Claus and his village become simultaneously
commodity, spectacle, and representation:
Christmas is now available in a
consumable form.
Pretes 1995
63. Nowā¦
ā¦letās spend a few moments and experience the āsense
of placeā in Santa Claus Land.
Sit back, soak in the images and atmosphere and
imagine yourself there, immersed in this world.
Pretes 1995
75. Anne and Prince Edward Island:
Anne is associated with the PEI (and Canada) as a
whole; however, the Anne tourist industry thrives near
sites historically linked to Montgomery.
Tourists can visit the north shore sites of Montgomeryās
birth, childhood, employment, marriage, and burial;
thehome sites of her maternal (Macneill) and paternal
(Montgomery) grandparents, and of
her Campbell cousins.
Gothie 2016
76. Anne and Prince Edward Island:
Green Gables Heritage Place, operated by Parks
Canada, interprets the house upon which Montgomery
claimed to have based her most famous setting.
Furnished to depict the 1890s-era Green Gables
(āthe house is decorated the way she imagined the
house in the novel,ā a guide explains), with bedrooms
staged to represent each fictional inhabitant, Green
Gables is the centerpiece of a complicated map of real
and imaginary places inhabited variously by
Montgomery, āAnne,ā and the tourists who
follow in their stead.
Gothie 2016
78. Anne and Prince Edward Island:
Spatial cues reinforce the boundaries between fact
and fictionā¦
ā¦as visitors approach the barn, the large barn door,
folded open like a book cover, reveals the iconic Green
Gables, framed as if it were an illustration on a page.
Gothie 2016
79. Anne and Prince Edward Island:
The lifelike staging of Montgomeryās fictional Green
Gables, from the storybook reveal through the barn
doors to the significant props displayed in the houseā¦
ā¦creates a compelling materialized imaginary
thatā¦
ā¦permits tourists to āfeelā as if they
are arriving at āGreen Gables.ā
Gothie 2016
80. Anne and Prince Edward Island:
The touristās (and tourism industryās) focus on the
earliest moments of Montgomeryās eight-volume series
of books suggests the appeal not only of
Anne as a child but also of Anne asā¦
Gothie 2016
81. Anne and Prince Edward Island:
The touristās (and tourism industryās) focus on the
earliest moments of Montgomeryās eight-volume series
of books suggests the appeal not only of
Anne as a child but also of Anne asā¦
ā¦an outsider.
(as is the tourist ā as are we all at times)
Gothie 2016
82. Anne and Prince Edward Island:
Green Gables Heritage Place and other tourism
venues on Prince Edward Island cater
to the desire of thousands annually to arrive.
Gothie 2016
83. Anne and Prince Edward Island:
Green Gables Heritage Place and other tourism
venues on Prince Edward Island cater
to the desire of thousands annually to arrive.
Wearing red braids, tourists temporarily
inhabit Anne Shirley at her youthful moment of
arrival as a child and as an outsider.
Gothie 2016
84. Anne and Prince Edward Island:
Green Gables Heritage Place and other tourism
venues on Prince Edward Island cater
to the desire of thousands annually to arrive.
Wearing red braids, tourists temporarily
inhabit Anne Shirley at her youthful moment of
arrival as a child and as an outsider.
Worn for several hours or several seconds,
massproduced, hacked, or home-grown, red
braids advertise the wearerās affinity for Anne.
Gothie 2016
90. Part 5: Immersive theatre experiences
Alston 2013: (pp 128-131)
āTowards a Definition of Immersive Theatre: Hedonism,
narcissism and the experience industryā
91. Immersive Theatre Defined:
āImmersive theatreā may be broadly identified as
theatre thatā¦
ā¦surrounds audiences within an aesthetic space.
In which they are frequently, but not alwaysā¦
ā¦free to move and/or participate.
(Alston 2013)
Alston 2013
92. Aliceās Adventures in Wonderland have been portrayed
on the screen many timesā¦
Disney for example interpreted her this wayā¦
Alston 2013
109. Immersive Theatre:
Once spectatorship is acknowledged as an embodied
and potentially affective activity, all theatre and
performance is, or at least has the potential to be, an
immersive activity.
In defining immersive theatre, it seems likely
that its distinguishing attributes will be
differences of degree, not kind.
(Alston 2013)
Alston 2013
110. Immersive Theatre:
Immersive theatre may be distinguished by the
sensory acts that it demands of audiences, such
as touching and being touched, tasting, smelling
and movingā¦
ā¦this latter often (but not always)
being characterized by freedom to move within
an aesthetic space.
(Alston 2013)
Alston 2013
112. Immersive Theatre:
Audiences are likely to find themselves
functioning as something more than an
audience, either as a character cast within
a given world, or as some kind of hyper-self,
even a pastiche of oneselfā¦
ā¦once confronted with a range of participatory
demands pining towards some kind of
revelation.
Alston 2013
121. Dark Rides:
The dark ride is a format of immersive media that
originated in the amusement parks of the USA in the
early 20th century.
Whilst their numbers have decreased, classic rides from
the 1930s to the 70s, such as the Ghost Train and
Haunted House experiences have been referenced is
films, games and novels of the digital era.
Although the format is well known,
it is not well defined.
Zika 2018
122. Dark Rides today:
Dark rides are still built today and represent some of
the most successful and innovative experiences at parks
across the globe.
(Creighton, 2016)
In 2018 Warner Brothers opened the largest indoor
theme park in the worldā¦
(GulfNews 2018)
ā¦and virtual reality company The Void added nine new
locations in the US alone.
(Fogel 2018)
Zika 2018
123. Thematic Journey:
At the end of the boardwalk in Blackpool England is the
Pleasure Beach Amusement park, built in 1896, it
features the oldest running electric dark ride on earth.
A GHOST TRAIN
Zika 2018 (image Tyron Tribulations)
124. Thematic Journey:
Even before the concept of the theme park had arrived,
the dark ride design created the sense of a fantastic but
sequential journey that could be understood and
engaged with before the experience began.
Everything from the rideās name, the faƧade design and
in most cases the shapes of the carts themselves built
context for the ride theme.
Zika 2018 (image Tyron Tribulations)
125. 360 Degree Imagery:
In the 1950s new āwall-lessā track designs placed items
away from simply the front viewing position of the cart,
forcing the rider to look, left, right, above & behind.
SPOOKARAMA
Zika 2018 (image NY Historical Society)
126. Triggered sound:
In 1954, in Sylvan Beach, Laffland features great
examples of rudimentary sound devices that required
no electricity to function.
At various moments in the Laffland ride, a thud and a
crash are heard from outside of the riders facing
direction, without any visual cue.
LAFFLAND
Zika 2018 (image Theme Park Review)
127. Perspective and Illusion:
The goal of the dark ride is to transport
the audience somewhere fantastic, regardless of the
physical footprint of the ride, the attraction must create
the illusion of greater space. In the 1960s dark rides,
this was achieved with painted perspective.
There were extensive experiments with perspectival
illusion, sometimes extending the space with mirrors.
Zika 2018
129. Light and Touch:
Where lighting is completely
mediated and controlled, the use of haptic feedback
can be applied to enhance the illusion and the feeling of
unease in the dark ride design.
For exampleā¦
ā¢ crash doors;
ā¢ rocky cave surface;
ā¢ webs in den of spiders,
ā¢ etc.
Zika 2018 (image Abandoned Theme Parks)
130. Todayā¦
ā¦little has changed from the earliest iterations of the
format, from controlling light and vision, utilizing
hidden haptic and sound devices to creating thematics
to prepare audiences for a journey.
Whether on large scale or small, these are still the
building blocks for transporting audiences to new
realities.
Zika 2018
131. Todayā¦
Virtual reality offers cost benefits by
limiting the infrastructure needed for
traditional attractionsā¦
ā¦but this evolution, albeit cheaper, works best when it
observes the legacy of the dark rideā¦
ā¦to achieve the most comprehensive immersion
possible.
Zika 2018
140. Characteristics of themed restaurants:
ā¢ There is an organizing concept or narrative that is
drawn from widely-known cultural resources.
Beardsworth and Bryman 1999
141. Characteristics of themed restaurants:
ā¢ There is an organizing concept or narrative that is
drawn from widely-known cultural resources.
These typically include cinema, sport, fashion,
popular music, popular history, the natural world
and locality (drawing, for example, on cultural
stereotypes of place, nationality and ethnicity).
Beardsworth and Bryman 1999
142. Characteristics of themed restaurants:
ā¢ The narrative is made visible and tangible in the
physical structure of the restaurantās interior and
very often of its exterior.
Beardsworth and Bryman 1999
143. Characteristics of themed restaurants:
ā¢ The narrative is made visible and tangible in the
physical structure of the restaurantās interior and
very often of its exterior.
This process of giving the narrative a physical
presence for the consumer involves the use of a
variety of devices, including physical artefacts,
sound, decor, logos, menu terminology, uniforms
and merchandise.
Beardsworth and Bryman 1999
144. Characteristics of themed restaurants:
ā¢ Eating is not the central defining feature of a visit to
a themed restaurant.
Beardsworth and Bryman 1999
145. Characteristics of themed restaurants:
ā¢ Eating is not the central defining feature of a visit to
a themed restaurant.
Although the diner is concerned with taking in
nutrients, an equally compelling logic of the occasion
is the consumption of the theme itself and the
ambience it has been used to generate.
Beardsworth and Bryman 1999
147. Other features shared with other restaurants:
ā¢ The menu is typically standardized and the dishes
are designed to facilitate efficient production and
presentation.
The menu items are not necessarily related to the
theme itself. If there is such a relationship it is often
in connection with the naming of the items rather
than their culinary content.
Beardsworth and Bryman 1999
148. Other features shared with other restaurants:
ā¢ Dining conventions are essentially informal,
permitting variations in customer dress, demeanour,
levels of involvement, etc.
Beardsworth and Bryman 1999
149. Other features shared with other restaurants:
ā¢ There is an emphasis on accessibility in two senses:
First, in terms of literal geographical accessibility,
which usually involves proximity to large population
centres and/or well-developed transportation
facilities (usually by road), and;
Second, in terms of the cultural accessibility of the
thematic motif, i.e. it must be readily
comprehensible to large sections of the prospective
client population.
Beardsworth and Bryman 1999
150. The parodic restaurantā¦
ā¦is primarily concerned with engaging patronsā
imagination by placing them in āthe stylized atmosphere
and theatrical setting of a reconstituted realityā.
ā¦the ambience is created by emphasizing diversion and
entertainment and by relying upon devices drawn from
āpopular and stereotyped ideas and imagesā.
(Finkelstein 1989)
Beardsworth and Bryman 1999
151. Examples of the parodic restaurantā¦
ļ¼ a wild west saloon;
ļ¼ a village market;
ļ¼ a magic grotto;
ļ¼ a sailing ship;
ļ¼ a licentious eighteenth century tavern, or;
ļ¼ a Hollywood diner.
(Finkelstein 1989)
Beardsworth and Bryman 1999
154. Take a moment to considerā¦
ā¦close your eyes for a moment.
What themed restaurants have you visitedā¦?
Time
155. Break-out session!
Work in small groups (in your bubble) or alone!
ļ¼ Find a restaurant online that matches our
description of a themed restaurant.
ļ¼ Discuss the elements on the following page in
small groups ā or think about them on your
ownā¦
156. Characteristics of themed restaurants:
ļ¼ There is an organizing concept or narrative that is
drawn from widely-known cultural resources;
ļ¼ The narrative is made visible and tangible in the
physical structure of the restaurantās interior and
very often of its exterior;
ļ¼ Eating is not the central defining feature of a visit to
a themed restaurant.
Beardsworth and Bryman 1999
161. Theme Parks in Japan:
Though there are significant distinctions to be made
between museums and theme parks, in the case of
anime there are overlaps worth investigating.
Denison 2010
162. Theme Parks in Japan:
Though there are significant distinctions to be made
between museums and theme parks, in the case of
anime there are overlaps worth investigating.
āIn English, at least in British usage, a theme park is a
place to go with children, a fun-fair with rides and
excitement, but not usually much more . . . The
Japanese parks do sometimes have rides, but they are
not essential and they are often separated from the
main āculturalā areas by a long walk or boat trip.ā
(Hendry 2000)
Denison 2010
163. Theme Parks in Japan:
Though there are significant distinctions to be made
between museums and theme parks, in the case of
anime there are overlaps worth investigating.
Alsoā¦ āMost [Japanese theme parks] do, however,
include museums and displays about the people and
cultures represented, and several offer food, drink and
goods imported directly and advertised as unavailable
elsewhere in Japan.ā
(Hendry 2000)
Denison 2010
164. Anime Museums in Japan:
These statements could just as easily refer to Japanās
anime museums, such as the Toei Animation Galleryā¦
ā¦or, indeed, the Studio Ghibli Art Museum in Mitaka.
ļ Both focus on the culture of anime in Japan and not American-
style theme park roller coasters or other rides.
ļ Both feature short animated film screenings and souvenirs
that are exclusive to the museum spaces, making collection of
themed goods and special events part of the attraction of
visiting the sites. (Fujitsu 2002)
Denison 2010
166. Anime Museums in Japan:
The Studio Ghibli Art Museum, as seen in its
promotional and user discourses, represents a different
kind of tourist site to either of the polemical positionsā¦
ā¦of high cultural or McDisneyised
tourism.
Denison 2010
167. Anime Museums in Japan:
Viewed holistically, anime tourism therefore provides
inroads into a variety of culturesā¦
ā¦bringing together popular and academic discourses.
This āmuseum that is
not entirely like a museumā there is then
ample opportunity for a
variety of audiences to get lost together.
Denison 2010
