Det materielle punctum. En analyse av Plasthvalen.

Abstract

This thesis aims to explore Lotten G. Reinius interpretation of Rolan Barthes conceptual framework of studium and punctum. While Barthes focuses on photographs, Reinius extends the concept of punctum to the realm of museum objects, introducing what she terms the ‘materialistic punctum’. This concept emphasizes the multisensory aspects of engagement with objects, including, for example, weight, smell and visual details, as a means to uncover deeper layers of meaning (Reinius, 2008). Building on Reinius’s work, this thesis seeks to further develop the concept of the materialistic punctum, addressing its limitations. Access to sensory experiences such as touch and smell is often restricted to the professionals, limiting the broader applicability of the concept. I aim to expand our understanding by considering how the materialistic punctum can also encompass immaterial dimensions, particularly through the example of animals on display. By examining animals on display, or in storage, in museums, I investigate what constitutes a materialistic punctum, why certain features are perceived as such, and how this framework enhances our understanding of human-nature relationships. I argue that the way we display animals in museums perpetuates their anonymity, reducing them to mere objects in glass cages. The Plastic Whale serves as a central case study, exemplifying the intersection of natural and cultural narratives in museum context. This whale, which embodies both the natural aspects of animal life and the cultural symbolism of the Anthropocene, illustrates how the plastic in its stomach functions as a materialistic punctum. Beyond its physicality, the plastic transforms the whale into a cultural symbol, representing human impact on the natural world. By analyzing its two museum exhibitions, I demonstrate how the materialistic punctum can enhance visitors’ experiences, while a lack of such engagement diminishes the impact of the exhibition. Furthermore, I explore how the Plastic Whale, as a quasi-object, reveals untold stories that can help reposition taxidermy animals, and others, as active participants in museum narratives rather than anonymous exhibits. By bridging the dichotomy between nature and culture, museums can craft more engaging and tough-provoking narratives about human-animal relationships-stories that are at risk of being forgotten.