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115). But this is not to say that such exhibitions are necessarily experimental – that is, that they trouble existing knowledge and practice. Many aspects of exhibitions that we now accept as standard were, of course, experimental innovations once. Henning points out that when the 20 Paul Basu and Sharon Macdonald Museum of Society and Economy in Vienna introduced spotlighting in the 1920s this was considered a noteworthy innovation. So too, some time later, was the use of film within exhibitions.

It models certain ways of thinking, or certain ways of understanding our own cognitive practices: to click is to make a choice, to follow a link, to associate one event or piece of information with another. This process of the ‘‘externalization’’ of the mind closes the gap between subjective mental processes and objective, machinic processes. ’’ This argument would suggest that interactivity, which seemed initially to promise agency over ‘‘numbed passivity,’’ actually does the opposite, increasing alienation.

Nevertheless, there were different ways and degrees of darkening the auditorium, depending on the value attached to the social space of the theater (Schivelbusch 1995, pp. 206–10). Generally though, in theater, and later in cinema, darkness magnified the intensity of the experience and allowed the viewer to isolate themselves and concentrate their attention (Schivelbusch 1995, p. 221). This happened regardless of content, and on the level of affect. The remediation of the museum might also be thought in terms of an affective impact.

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