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urther ideas can be extended from the above theme raised by Cummings, in how objects may sit within time and space. By applying quantum theory to museum objects, we understand that ‘particles are unstable; not a solid thing that just exists permanently in a particular state, but they are affected by and always changing and responding to their historical and cultural moment.’ This consideration serves to bypass a one-dimensional museum narrative of the object as operating within a specific temporal or spatial moment. Dudley’s object-led approach to curation cites how objects can provide interpretation for one another, by facilitating links between relationships. However Dudley appears to approach discourses surrounding new materiality with a more one-dimensional perspective of the multiple places and times that objects are situated. This is explained well by Bergsdóttir, who asserts ‘comparing them [museum objects] rests on the presupposition that entities are fixed and pre-existing, whereas diffrac-tion considers how entities come together and create conditions for objects that come into being in the world as just one possibility of many.’ Hence giving a greater consideration of where objects are situated by considering an object’s materiality with a lens of multiplicity, in that objects are not just understood through layers, but through multiple planes of existence. Through multiple perspectives, greater considerations can be weighted on the prevalence of nonhuman actors in relation to the object. It is admittedly arguable that this multi-perspectival approach may not be appropriate to all exhibitions, in proving a challenge to interpret for audience accessibility and on a practical level for museum practitioners. However Morton suggests something that can be brought forward and applied to museum practice; It’s time to start turning up the volume on the thing we’re accessing and turn down the volume of the ‘correlater’. This cannot be measured, although contemporary practice already appears to prominently showcase voices of objects and participants, instead of the curator’s voice at the forefront of museum narratives. When the question ‘who are museums for?’ ¬is asked – current answers largely focus on diverse people, individuals and communities, who ‘interact’ with and encounter the museum. To conclude, this study has expanded on this human-centric assertion using object-oriented ontology; by using examples to illustrate how nonhumans intra-act with museums. A fresh reflection of this question highlights a continuous thread that emerges from this exploration, which is the ‘intra-action’ between nonhumans and the museum. ‘The notion of intra-action recognises that distinct agencies do not precede, but rather emerge through, their intra-action’. Karen Barad’s term includes how human and nonhumans are co-consecutive and have ever-changing agencies and relationships; a continuous assertion in accounting for spatial and temporal fluidity. Consequently when the question of who museums are for is asked, it is useful to obser
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