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We offer tours of different durations and you`ll find something happening every day. Try a daytime Eye-opener tour, a Friday night spotlight tour or travel Around the world in 90 minutes. We have seven hands on desks where you can see objects up close and discuss them with our volunteers. Free 45-minute gallery talks with guest speakers and curators also take place regularly. Take a look below for more details. 

Explore some of the most famous objects on display at the Museum on this guided highlights tour, as well as some lesser-known but equally fascinating objects.

Take a close look at some of the objects from the collection at our Hands on Desks. Sessions are free and take place daily from 11.00–16.00, subject to availability, in the galleries listed below:

Even for infants just beginning to speak their first words, the way an object is named guides infants` encoding, representation and memory for that object, according to new Northwestern University research.

Encoding objects in memory and recalling them later is fundamental to human cognition and emerges in infancy.

Evidence from a new recognition memory task reveals that as they encode objects, infants are sensitive to a principled link between naming and object representation by 12 months.

During training, all infants viewed four distinct objects from the same object category, each introduced in conjunction with either the same novel noun (Consistent Name condition), a distinct novel noun for each object (Distinct Names condition), or the same sine-wave tone sequence (Consistent Tone condition).

Researchers then tested whether infants remembered which objects they had just seen during training. To do so, infants viewed each training object again, this time presented in silence along with a new object from the same object category. Infants encoding of the distinctions among the individual objects. Infants in the control Consistent Tone condition recognized only the object they had most recently seen.

Sandra Waxman, co-author of the study and the Lewis W. Menk professor of psychology in the Weinberg College of Arts and Sciences, said this provides the first demonstration that for infants as young as 12 months of age, whether and how an object is named has rapid and conceptually precise consequences on infants` representation of that object.

The researchers said this work sheds new light on the powerful and well-documented advantage of naming on infant object categorization, leaving little doubt that naming a set of distinct individual objects with the same noun invites infants to form an object category.

In the history of Western aesthetics, the subject matters that received attention ranged from natural objects and phenomena, built structures, utilitarian objects, and human actions, to what is today regarded as the fine arts. However, beginning with the nineteenth century, the discourse has become increasingly focused on the fine arts. This narrowing attention occurred despite the prominence of the aesthetic attitude theory in modern aesthetics, according to which there is virtually no limit to what can become a source of aesthetic experience. The tendency to equate aesthetics with the philosophy of art became widespread in twentieth century aesthetics, particularly within the Anglo-American tradition.

Challenges to this rather limited scope of aesthetics began during the latter half of the twentieth century with a renewed interest in nature and environment, followed by the exploration of popular arts. Everyday aesthetics continues this trajectory of widening scope by including objects, events, and activities that constitute peoples daily life. One of the findings of comparative aesthetics is that a greater emphasis is placed on the aesthetics of everyday life in many non-Western cultures than in the West (Higgins 2005).

Because everyday aesthetics was initially proposed as a way of overcoming modern Western aestheticss aesthetic life as its subject matter, its scope has not been clearly defined except as including what has not been covered by art-centered aesthetics. With the development of this discourse, however, questions emerged as to what constitutes and in everyday aesthetics. Inclusion of not only daily activities like eating, grooming, dressing, and cleaning but also occasional and even rare events such as parties, sporting events, holidays, weddings, and travelling calls into question whether should be understood literally.

Furthermore, what may count as an everyday activity for one person may be a special occasion for other people. Working on a farm constitutes a farmers occupation and lifestyle, diverse living environments determine what is included in their everyday life. For those residents in a densely populated urban area with a developed network of public transportation, as well as for those living in different parts of the world, riding in a car may be a rare occasion, while it is a daily routine for many living in typical American suburbs. Finally, some peopleeverydayeveryday,s life (such as a painting becoming a part of oneaestheticss Aesthetics). However, there are at least two points of particular interest and significance regarding the notion of in everyday aesthetics. First is the status of bodily sensations. They can be felt by us as we receive sensory stimulation such as the wafting smell of baked goods, the sensation of silk against our skin, the taste of sushi, or the feeling of massage. They can also result from bodily activities, such as running, chopping vegetables, using tools, or mowing the lawn. The debate regarding whether or not these bodily sensations belong to the realm of aesthetics proper is not new. The best-known classical treatment of this issue is Immanuel Kants bodily engagement. However, the issue becomes more acute with everyday aesthetics because our daily experience is permeated by sensory experiences and bodily activities (see Sections 7 and 8 for further discussion).

Another important issue regarding the term in everyday aesthetics is the distinction between its honorific and classificatory use. In both aesthetics discourse and common vernacular, the term is generally used in the honorific sense. Hence, something having an aesthetic property is generally regarded positively and gaining an aesthetic experience is understood to mean that it is a meaningful and satisfying experience. However, increasing number of everyday aestheticians return to the root meaning of as sensory perception gained with sensibility and imagination, whatever its evaluative valence may be. Some things strike us with powerful positive aesthetic values, as in a great work of art or a spectacular landscape, while other things do not affect us much because they are boring, non-descript, or plain. Then there are those objects and phenomena that offend or disturb us profoundly because their sensuous appearance is hideous, monstrous, or appalling, without any overall redeeming value such as an artistic message. Everyday aesthetics casts a wide net for capturing these diverse dimensions of our aesthetic life. It is noteworthy that in academic discourses outside of philosophical aesthetics, is often regarded in the classificatory sense, such as the aesthetics of manners, which includes both polite and rude behaviors, and the aesthetics of politics which, among other things, refers to the social and political construction of what counts as the sensible (Mandoki 2007; Rancire 2009; Vihalem 2018).

The focus on negative aesthetics is particularly important in everyday aesthetics discourse because it leads to what may be regarded as its activist dimension. When confronted with negative aesthetic qualities, we generally dont or cans point of view. We are not literally engaged in an activity with the object other than aesthetic engagement. Even if we are inspired to act by art or nature, the resultant action is generally indirect, such as joining a political movement or making a contribution to an organization.

In comparison, the action we undertake motivated by negative aesthetics in daily life has a direct impact on life. On a personal level, we launder a stained shirt and iron it, clean the carpet soiled by spilled wine, repaint the living room wall, open a window to get fresh air after cooking fish indoors, tidy up the guest room, reformat a document for a clearer look, and the list goes on (Forsey 2016; Saito 2017a). These actions are taken primarily in response to our negative aesthetic reaction against stain, wrinkle, unpleasant color of the wall, fishy smell, mess and clutter, and disorganized look. On a community level, eyesore-like abandoned structures get torn down or given a make-over, a squalid neighborhood gets cleaned up, and ordinances are created to eliminate factory stench and cluttered billboards. At least we often work, or believe we should work, toward improving the aesthetics of everyday environment and life. Negative aesthetic experiences are thus useful and necessary in detecting what is harmful to the quality of life and environment and provide an impetus for improvement (Berleant 2012).

However, questions can be raised as to whether qualities such as messiness and clutter belong to aesthetics discourse. Appreciation of more typical aesthetic qualities, such as beauty, sublimity, elegance, grace, artistic excellence, powerful expression, and the like, is thought to require a certain degree of aesthetic sensibility or that needs to be cultivated. Moreover, their appreciation often demands a certain conceptual understanding of things, such as the objects oeuvre, and some basic information regarding nature, among others. Aesthetic experience, after all, is expected to promote a dialogical process between the experiencing agent and the object, thereby widening and deepening ones novels, Japanese Noh theater, and bogs, and the other end requiring very little education and practice, such as Norman Rockwell paintings, a military march, a sparkling jewelry piece, and a colorful flower garden. Some aesthetic qualities can be considered or heavy-weight while other aesthetic qualities are or light-weight, without disqualifying the latter from the realm of the aesthetic altogether. After all, they refer to our qualitative response to the sensory experience of the objects and phenomena and some experiences are more intense and profound than others without thereby denying the aesthetic dimension of more simple and easy experiences (Leddy 1995, 1997, 2012a, 2012b; Harris 2000; Ngai 2012; Postrel 2013; Mollar 2014).

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