1參見 Hilde Hein, The Museum in Transition: A Philosophical Perspective. Smithsonian, 2000 和 Hilde Hein, Public Art: Thinking museums differently. Lanham, MD: Rowman & Littlefield, 2006;另見 Bergqvist, A., “Framing Effects in Museum Narratives: Objectivity in Interpretation Revisited,” Royal Institute of Philosophy Supplement 79 (2026): 295–318.
2參見 Lind, M., Seven years: The Rematerilization of Art from 2011 to 2017. Sternberg Press, 2019; Lind, M., Selected Maria Lind writing. Sternberg Press, 2020.
3我對展覽作為論述人工製品的哲學觀點借鑒 Gregory Currie’s Narrative and Narrators: A Philosophy of Stories. Oxford: Oxford University Press, 2006. 另見 Michael Baxandall, “Exhibiting Intention: Some Preconditions of the Visual Display of Culturally Purposeful Objects,” in Ivan Karp and Steven Lavine (eds.), Exhibiting Cultures: The Poetics and Politics of Museums Display. Smithsonian Institution, 1991.
4Ivan Gaskell, “Museums and Philosophy – Of Art, and Many Other Things, Part II,” Philosophy Compass 7/2 (2012), 90. 另見 David Carrier, Museum Skepticism: A History of the Display of Art in Public Galleries. Durham, NC and London: Duke University Press, 2006.
5參見:https://thesilentuniversity.org
6《靜默大學》最初在倫敦啟動,獲得藝術導向的非政府組織德爾菲納基金會(Delfina Foundation)支持,並與展示室(The Showroom)和倫敦南岸的泰特現代美術館(Tate Modern)合作。
7Lind, M., Seven years: The Rematerilization of Art from 2011 to 2017. Sternberg Press, 2019; Lind, M., Selected Maria Lind writing. Sternberg Press, 2020.
8Lind, M., Tensta Museum: Reports from New Sweden. Sternberg Press, 2021.
9Fulford, K.W.M. and Bergqvist, A., “The Participatory Turn in Museum Curation as a Model for Person-Centred Clinical Care,” In M. Poltrum et al (eds.), The Oxford Handbook of Mental Health and Contemporary Western Aesthetics. DOI: https://doi.org/10.1093/oxfordhb/9780192866929.013.60 , 2023.
10滕斯塔當代藝術館(Tensta Konsthall)由藝術家兼社工 Gregor Wroblewski 於1998年創立,當時斯德哥爾摩為歐洲文化之都;現為一批專注社區互動的文化場所之一。相較之下,《沉默大學》在倫敦泰特現代美術館的呈現,雖策展創新,但更偏向傳統藝術館「教育平台」模式,通過 Ahmet Ögüt 主導的年度駐留計劃,與各類庇護者、移民和難民背景講師合作舉辦週系列工作坊,為那些因移民身分無法在英國運用祖國專業和學術背景的人們提供發聲機會。參見:https://www.tate.org.uk/about-us/projects/silent-university
11參見:https://cimam.org/news-archive/situating-the-curatorial [最後訪問於2025年2月20日]。
12參見 Bergqvist, A., “Moral Perception, Thick Concepts and Perspectivalism,” in A. Bergqvist & R. Cowan (eds.) Evaluative Perception. Oxford University Press, 2018: 258-281.
13Bergqvist, A., “Framing Effects in Museum Narratives: Objectivity in Interpretation Revisited,” Royal Institute of Philosophy Supplement 79 (2026): 295–318.
14限於篇幅無法充分論證的是,共創性質的共享決策本身帶來價值爭議挑戰;詳見 Bergqvist, A., “Shared Decision-Making and Relational Moral Agency: On Seeing the Person Behind the ‘Expert by Experience’ in Mental Health Research,” Royal Institute of Philosophy Supplement 94 (2023): pp. 170-200.