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tions, and made a compare between the structure of museum and prison. He attempted to apply Foucault’s ideas into his museum studies. In ‘The Eye of Power’, Foucault discussed the space and vision relation. He argued that, as architecture ceases to making power manifest, it comes to serve the purpose to regulate public’s behavior by means of new organizations of the relation between space and vision instead. This character is obvious in museum practice. Still, Foucault analyzed the idea of ‘panopticon’ put forward by Bentham in prison architecture to provide a panorama effect. It is a technique with the democratic aspiration of a society rendered transparent to its own controlling gaze, not only for regulation, but making the crowd itself the ultimate spectacle. Besides, Foucault invented the concept of heterotopies to consider the space of museum corresponds to utopia, which isolated space and time at the same time. The arrangement of relations between the public and exhibits combine the functions of spectacle and surveillance. It forms an illusory rather than substantive controlling vision, towards a specular dominance over a totality.

 

As to the relations of museum and prison, Bennett regards the prison and the museum as different set of institutions according to knowledge and power relations, because they run in opposite directions yet also parallel in histories. In the eighteenth century, the prison is a relatively permeable institution function for making power publicly manifest; however, it has increasing separated from society as punishment within the closed walls of the penitentiary since the nineteenth century. The course of the museum’s development, by contrast, had transformed from the originally private and exclusive spheres into the public domain since the mid-nineteenth century. This embodies the inverse symmetry of trajectories, rather than Crimp’s idea of parallel directions development.

 

2.1.3 Museum as Exhibition

 

As a culture institution, museum is the place for ‘showing and telling’, function of collection and exhibition are mixed together in the same space. Heidegger described the ‘world-as-exhibition’, (M. Heidegger 1977) a depiction of the world as ‘ordered and organized’ in the age of the world exhibition. As Weibel and Latour observed, the museum exhibition is ‘a highly artificial assemblage of objects, installations, people and arguments’, and yet these elements are brought into relation with one another within the exhibition. Bennett analyzed how the museum may be regarded as a cultural artifact constructed through its ‘scientific’ taxonomies, exploring the techniques of display and the performance of expertise to engage within the complexity.

 

The routing of museum exhibition is continuously under change. Originally, artifacts were collected based on exotic and uniqueness. In the sixteenth century, according to Foucault, knowledge was based upon notions of ‘similitude’ and ‘resemblance’. The seventeenth century witnessed the beginning of the growth of a particular kind of taxon本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。