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Case for Support References

Time, Culture and Identity: the co-creation of historical research and co-development of visitor experience in China and the UK

[1] Jeffrey Johnson, 2012, “The Museumification of China”, M+ Matters, Of the Moment: China’s Museum Boom.

[2] Alice EKMAN, “The Distinctive Features of China’s Middle Classes”, Asie.Visions 69, June 2014; Morris, Hargreaves, Mcintyre for the British Council, Creating a global language for understanding arts audiences: China country report, 2014.

[3] Dagmar Schäfer and Jia-Ou Song, 2017, “Interpreting the Collection and Display of Contemporary Science in Chinese Museums as a Reflection of Science in Society”, In: Challenging Collections: Approaches to the Heritage of Recent Science and Technology, ed. Alison Boyle and Johannes Hagmann, Smithsonian Institution Scholarly Press, pp.88 -103.

[4] Hong Kong Science Museum, 2015. “Clocks and Watches’, Western Scientific Instruments of the Qing Court, 300-321.

[5] Baichun Zhang, 2012, “The Transmission of the European Clock-Making Technology into China in the 17th-18th Centuries”. In: Koetsier T., Ceccarelli M. (eds) Explorations in the History of Machines and Mechanisms. History of Mechanism and Machine Science, vol. 15. (Dorcrech: Springer).

[6] Ibid Nanni, 2012

[7] Ian White, English Clocks for the Eastern Markets: English Clockmakers trading in China and the Ottoman Empire 1580-1815, Antiquarian Horological Society, 2012

[8] Catherine Pagani, Eastern Magnificence and European Ingenuity: The Clocks of Late Imperial China, University of Michigan Press, 2001

[9] Joseph Needham, Wang Ling and Derek de Solla Price Heavenly Clockwork, Cambridge University Press, 1986

[11] Further information on audiences at the Palace Museum can be found in their publication: Palace Museum, 2008, Survey on Demographics of visitors to the Palace Museum, p.231

[12] See and





[17] Joseph Needham and co-workers, 1954, Science and Civilisation in China, (Cambridge: Cambridge University Press);Francesca Bray, Technology and Gender: Fabrics of Power in Late Imperial China, University of California Press, 1997; Dagmar Schäfer The Crafting of the 10,000 Things: Knowledge and Technology in Seventeenth Century China, University of Chicago Press, 2011

[18] E.P. Thompson, 1967, “Time, Work-discipline, and Industrial Capitalism”, Past and Present, 38:1, pp. 56-97.

[19] David Landes, 1983, “Revolution in Time: Clocks and the Making of the Modern World” (Harvard University Press: Cambridge: Mass.), pp. 1, 7.

[20] Giordano Nanni, 2012, The Colonisation of Time: Ritual, Routine and Resistance in the British Empire, (Manchester University Press)

[21] Judy Wajcman, 2015, “Pressed for Time: The Acceleration of Life in Digital Capitalism”,(Chicago: University of Chicago Press).

[22] DCMS Creative Industries Mapping Documents 1998

[23] Justin O’Connor, 2010,The Cultural and Creative Industries: A Literature Review

[24] DCMS Creative Industries Economic Estimates 2016

[25] HM Government Industrial Strategy: Creative Industries Sector Deal

[26] TechNation report 2017 HMG and TechNation


[28] State Ministry of Culture, 2009. Revitalization Plan of Cultural Industries.


[30] Wei, L.W. (2009) Creative Industries are Changing China. Beijing; Sejul Malde, Fit for China: Understanding what is needed to develop new online audiences for UK arts and heritage in China, 2016.

[31] Mandy Zuo, “How China is using technology to bring its ancient — and more recent past – back to life” South China Post, 81 February 2018.

[32] For example, see: exhibitions/photography-a-victorian-sensation/

[33] Susie Fisher, What do visitors make of the spectacular Mathematics: The Winton Gallery? Audience Evaluation November 2017; Fisher, Susie How did visitors experience the Robots exhibition at the Science Museum? November 2017; Sutton, T. Information Age Summative Evaluation: Interactive Models Summative Evaluation Report. 2015.