Historical Cooties

Imagine:

I have a gift for you.

It is this beautiful teacup and saucer.  Don’t you just love it?

I see you are a little cold, so let me pour you a cup of tea or coffee. 

You will be amazed at how perfect this cup feels against your lip.  The handle makes it a delight to hold.  And the German porcelain keeps your beverage so warm.

I know – aesthetically it is so lovely.  Exactly your taste, isn’t it!

Did you know that this is Adolf Hitler’s favorite teacup too?  This is the actual cup he drank from every morning.

 

So . . . did you take a sip?   

For most readers, if not all of you, I bet the answer is no.  Some of you might have even dropped it.

But why?  It is just a porcelain cup and saucer.  It is, in and of itself, a neutral object.  It isn’t like drinking out of the cup would infect you with any of Hitler’s traits.  And yet I still bet you didn’t take a sip.

That teacup and saucer, it is like they have historical cooties, isn’t it?

 

I’ve been thinking about historical cooties or, more accurately, the idea of magical contagion recently.  It is the idea that an object can become infected with, well, cooties of some sort, and then pass those cooties to others, much like in my example of Hitler’s teacup.  It includes the essential qualities of authenticity, in that an object has to be the authentic object for it to apply, but it adds in an intangible and much more visceral, emotional response that is rooted in the object’s contagious qualities.  Magical contagion isn’t necessarily logical, but it is extremely powerful. 

Psychologists who study this concept often do so in terms of revulsion, much like in my example of Hitler’s teacup, but I suspect magical contagion applies to objects in positive ways as well.  If I wear a dress that was worn by Princess Diana, will glamorous cooties rub off on me?  What if I were writing at Jefferson’s desk?  Would my words flow that much better?  Perhaps.

Of course, magical contagion is all in our heads.  Those objects are just objects.  It is their associations, and how we feel about those associations, that make them contagious, and give them historical cooties (or, if applicable, art cooties). 

In our recent work examining the most meaningful experiences adults have had in museums, we were struck by how original objects formed the foundation for the largest segment of the experiences we collected.  They were particularly crucial for the most immersive experiences, and for those times when visitors felt the strongest emotional connections with the museum and its content.  The idea of authenticity, we felt, explained much of this, but perhaps this idea of magical contagion, which goes even deeper than authenticity, has more to contribute to the connections that are created.

It may also help us better understand why the majority of meaningful experiences we collected are from art and history museums, with comparatively few from science museums/centers.  In fact, psychologists who study the idea of magical contagion have also identified this very issue, noting that science tends to be an “alienating” experience because it separates people from their very humanness, and thus our emotions.  (I realize scientists will cry heresy at this . . . I think science is magical to scientists, and to many children, but that that magic gets lost and is not conveyed often enough or easily to the general public of adults.)

 

All of this leads to just more and more questions for us as we continue to pursue how visitors create meaning in museums for themselves, and how museums have the capacity to emotionally engage and change our visitors.  We are pushing ourselves to examine what goes on in people’s brains and hearts during museum experiences, from history to art to science (and everything in between).  If it takes delving deep into psychology or philosophy, well, we are up for that as well. 

And while we’ll be sharing our in-depth findings with our clients, we’ll share some interesting bits and pieces with you along the way as well. 

 

As a final note, I take no credit for the term “magical contagion,” but instead credit psychologists Carol Nemeroff and Paul Rozin.  As for historical cooties . . . I am afraid that concept is all mine.

 

What do you think?  Simply click on “comments” below to share your thoughts (and if you are reading this from your e-mail subscription, go to our blog to comment).

 

- Susie

Comments

[Beth]

I'm distantly familiar with the phenomenon of originality/authenticity, but I think I should delve more deeply. I absolutely love "historical cooties" as a term. I'm wondering how I can make this into some kind of program! What an interesting idea.

[Phil Katz]

This is closely related to the notion of "charisma," the uncanny power that emanates from holy people and their relics -- and reminds us that museums had their origins, in part, in the collections of relics maintained by the Church. The term "dark charisma" has been used to describe Hitler, so it might be another synonym for "historical cooties" in the example you give here (http://www.warrelics.eu/forum/history-research-3-reich-ww2/the-dark-charisma-of-adolf-hitler-234999/).

[Marilyn]

Fun to read... beautifully written and very interesting. I need to do further research. Marilyn

[Matthew Wright]

I love this. I think historical cooties will have to start being used around here!

[Catherine Gilbert]

This reminds me of Kiersten Latham's thinking on the Numinous Experiences with Museum Objects http://www.academia.edu/187458/Numinous_Experiences_with_Museum_Objects

[Bill Farmer]

Here at Fort Boonesborough, we see the positive effect of "Historical Cooties" when we hand someone a clay brick and ask them to look closely at it, feel the surfaces, etc. The Cooties reveal themselves when we explain that they are holding a brick made by slaves during the last quarter of the 18th century for what is likely the first brick house built in Kentucky. To watch the reactions is truly amazing.
"Historical Cooties" - I love it!
Bill Farmer, Fort Manager, January 15

[Katie Bowell, Museums Askew]

The idea of magical contagion (and historical cooties!) seems quite complementary to discussions I've had around the idea of "emotional safety" in museums - the steps taken to help people feel comfortable around objects heavy with emotional baggage. It can be a very real feeling, and it can definitely make it difficult at times to work with certain objects or content arcs. But it can also be amazing - I remember feeling extra sassy after working with some vintage showgirl outfits.

I wrote about my own process of "avoiding the risk of contagion," as it were, here: http://museumsaskew.com/2011/12/03/emotional-safety-in-museums/

[deborah]

What a wonderful read and spot on with the emotional catch. I work in an historical house museum and visitors comment on the power of physically experiencing real history of the object. Historical Cooties - great concept.

[Camilla]

Really quite inspiring! Thank you Susie. We too, will try to work on your thoughts for our visitor programs here at the science museum in Milan.

[Susie Wilkening]

Thanks to all of you for your comments. This is a complex topic, and I'm glad I was able to present it clearly enough to connect with you and provoke your thoughts. And special thanks to Phil, Catherine, and Katie for providing links to complementary posts . . . as we push deeper, this is helpful.

[KF Latham]

Good stuff, Susie! I was just going to suggest some publications/research, including my own, and I saw Catherine already posted it! Thanks, Catherine! And the good news, come April, you don't have the read the whole darn dissertation bc its coming out in an article. I'm also working now on another study--since 2011--on "the real thing" in museums which should wrap up perhaps this summer. You should also look at Elee Wood's work on objects as well as papers we've done together, especially this one on Phenomenological (Imaginative) Touch, Wood, E. & Latham, K.F (2011). The Thickness of the Things: Exploring the Museum Curriculum through Phenomenological Touch. Journal of Curriculum Theorizing, 27(2): 51-65.

[Tricia WR]

Thank you for your article. The phrase, "The Aura of the Original", was derived from Walter Benjamin's 1936 Marxist essay "The Work of Art in the Age of Mechanical Reproduction". Benjamin, W. (1968). Hannah Arendt. ed. At that time Hitler was the Chancellor of Germany. It is interesting that you chose 'Hitler's Tea Cup'.
Benjamin intended to describe a theory of art that would be "useful for the formulation of revolutionary demands in the politics of art." Though the essay is specifically about art within a Capitalist context, his insights on authenticity, particularly in regards to reproduction are applicable.
Benjamin also explores the affects and effects of exhibition. Comparing historic and religious works, meant for private and limited viewing, to modern art and its intentional publicity.
A bit cerebral and dense but interesting within this context.

[Susie Wilkening]

Thanks for your comment, Kiersten! I've been curious about your work, so I am glad you reached out and hope we can discuss our (complementary, I suspect) work in more detail.

And I did not expect to be referred to a Marxist essay, Tricia, but I'll take a look. Insights can often be found in unexpected places. Thank you.

[Sarah]

I am a young museum professional who dreams of helping visitors learn through experiences with those historical cooties. I saw it in the Smithsonian's American History museum at the touch carts and I got more than one case of the chills (and an overwhelming sadness) when visiting the Natural History Museum's Written in Bone. It was the exhibit that I have been the most emotionally tied to ever. I suggest looking up the Boy from Leavy Neck facial reconstruction to see what I mean.

Also, the television show Warehouse 13 does a fabulous job of showing a popular culture idea of historical cooties. I highly recommend it for the interesting perspective on objects in museums from a popular culture perspective.

[Kendra]

Rachel P. Maines and James J. Glynn wrote an article called "Numinous Objects" that was published in The Public Historian, Vol. 15, No. 1 (Winter 1993). They discuss relics, memorabilia, or icons that have psychological rather than material significance. Their term is "numinous" object or place. This is a fascinating subject that goes to the heart of why museums exist. http://www.researchgate.net/publication/227859009_Numinous_Objects

[Bob]

Do you think this will play a role in the way people experience exhibits that contain 3D replica's?

For instance, the Smithsonian Institure replicated a bronze statue of Thomas Jefferson using a 3D printer and placed it in the National Museum of African-American History.

I have read articles stating that some curators are contempleting the benefits of creating more of these replicas and safely archiving the originals.

For me persoannly, that would kind of devalue the entire experience.