For millions of people the world over, the annual visit to a department store to view the festive window displays and visit Santa in his winter wonderland is a treasured holiday tradition. In America, the Thanksgiving holiday is almost inconceivable without Macy's annual parade. But how did holiday traditions like this begin? Who are the behind-the-scenes magicians that conjure up this unique blend of imagination, showmanship, and salesmanship? Holidays on Display is a comprehensive overview of the art and industry of the holiday display. Author William L. Bird, Jr., traces its evolution as holiday decorations moved from shop windows to building exteriors and out into the street in the form of parade floats. In this fascinating and colorful history we are introduced to turn-of-the-century "trimmers" hiredby merchants to maintain product displays, and we marvel as advances in lighting, animation, and miniaturization lead to the incredible feats of creative self-expression practiced by today's window artists. Packed with rarely seen photographs and ephemera, Holidays on Display makes it easy to see why we have such lasting emotional attachments to animated Christmas windows, passing parades, and the ambient glow of holiday lights.

Two billion people around the world use Instagram, but so far social scientists have done little research on the platform. Despite Instagram's reputation for shallowness, the ongoing self-presentation it demands confronts users with profound dilemmas. Who are we? What do we want to show of ourselves? What do we aspire to be? On Display is a book about how people remake their worlds through social media. John D. Boy and Justus Uitermark provide an encompassing account of how a platform that is unfailingly polished and ruthlessly judgmental shapes us and our environments. They examine how personalities, relations, social movements, urban subcultures, and city streets change as they are represented on Instagram. Interviews and ethnographic vignettes render an intimate account of the desires and anxieties that animate the platform. Just as importantly, Boy and Uitermark reveal how Instagram is implicated in social inequalities. While previous accounts have argued that social media promote polarization, On Display shows that this is not the case for Instagram where users belong to large and diverse networks, compelling them to take many, often contradictory expectations into account. This means users shy away from producing statements or images that may cause offense as a way to preserve their public image and their social connections. Drawing on sociological theory, long-term qualitative inquiry in Amsterdam, and computational analyses, Boy and Uitermark argue that grasping the power of Instagram--and other social media platforms--requires seeing them not as digital networks of communication and sharing, but as a stage for the expression and affirmation of social status.

Rich with archival detail and compelling characters, Life on Display uses the history of biological exhibitions to analyze museums’ shifting roles in twentieth-century American science and society. Karen A. Rader and Victoria E. M. Cain chronicle profound changes in these exhibitions—and the institutions that housed them—between 1910 and 1990, ultimately offering new perspectives on the history of museums, science, and science education. Rader and Cain explain why science and natural history museums began to welcome new audiences between the 1900s and the 1920s and chronicle the turmoil that resulted from the introduction of new kinds of biological displays. They describe how these displays of life changed dramatically once again in the 1930s and 1940s, as museums negotiated changing, often conflicting interests of scientists, educators, and visitors. The authors then reveal how museum staffs, facing intense public and scientific scrutiny, experimented with wildly different definitions of life science and life science education from the 1950s through the 1980s. The book concludes with a discussion of the influence that corporate sponsorship and blockbuster economics wielded over science and natural history museums in the century’s last decades. A vivid, entertaining study of the ways science and natural history museums shaped and were shaped by understandings of science and public education in the twentieth-century United States, Life on Display will appeal to historians, sociologists, and ethnographers of American science and culture, as well as museum practitioners and general readers.

Political yard signs are one of the most ubiquitous and conspicuous features of American political campaigns, yet they have received relatively little attention as a form of political communication or participation. In Politics on Display, Todd Makse, Scott L. Minkoff, and Anand E. Sokhey tackle this phenomenon to craft a larger argument about the politics of identity and space in contemporary America. Documenting political life in two suburban communities and a major metropolitan area, they use an unprecedented research design that leverages street-level observation of the placement of yard signs and neighborhood-specific survey research that delves into the attitudes, behavior, and social networks of residents. The authors then integrate these data into a geo-database that also includes demographic and election data. Supplemented by nationally-representative data sources, the book brings together insights from political communication, political psychology, and political geography. Against a backdrop of conflict and division, this book advances a new understanding of how citizens experience campaigns, why many still insist on airing their views in public, and what happens when social spaces become political spaces.

An examination of world's fairs in Britain and its two most important 19th-century colonies, Australia and India; arguing that the fairs provided a forum for shaping both national and imperial identities.

During their active lives, scientific instruments generally inhabit the laboratory, observatory, classroom or the field. But instruments have also lived in a wider set of venues, as objects on display. As such, they acquire new levels of meaning; their cultural functions expand. This book offers selected studies of instruments on display in museums, national fairs, universal exhibitions, patent offices, book frontispieces, theatrical stages, movie sets, and on-line collections. The authors argue that these displays, as they have changed with time, reflect changing social attitudes towards the objects themselves and toward science and its heritage. By bringing display to the center of analysis, the collection offers a new and ambitious framework for the study of scientific instruments and the material culture of science. Contributors are: Amy Ackerberg-Hastings, Silke Ackermann, Marco Beretta, Laurence Bobis, Alison Boyle, Fausto Casi, Ileana Chinnici, Suzanne Débarbat, Richard Dunn, Inga Elmqvist-Söderlund, Ingrid Jendrzejewski, Peggy A. Kidwell, Richard Kremer, Mara Miniati, Richard A. Paselk, Donata Randazzo, Steven Turner.

Provides educators with information on how to plan creative museum projects that target content standards and develop students' understanding of required subject matter.

Reflecting on the contemporary proliferation of sites displaying culture in visitable form, this text introduces readers to fresh ways of thinking about tourism, leisure and heritage.

Life on Display traces the history of biological exhibits in American museums to demonstrate how science museums have shaped and been shaped by understandings of science and public education in twentieth-century society. Karen Rader and Victoria Cain document how public natural history and science museums’ ongoing efforts to create popular educational displays led these institutions to develop new identities, ones that changed their positions in both twentieth-century science and American culture. They describe how, pre-1945, biological exhibitions changed dramatically--from rows upon rows of specimen collections to large-scale dioramas with push-button displays--as museums attempted to negotiate the changing, and often conflicting, interests of scientists, educators, and the public. The authors then reveal how, from the 1950s through the 1980s, museum staffs experimented with wildly different definitions of life science and life science education, and how, in the process, natural history and science museums and science centers faced significant public and scientific scrutiny. The book concludes with a discussion of the ways corporate sponsorship and contemporary blockbuster economics influenced the content and display of science and natural history museums in the century’s last decades. As a dynamic historical account of how museums negotiated their multiple roles in science and society, Life on Display will attract a diverse audience of cultural historians, sociologists, and ethnographers of science, as well as museum practitioners.