![]() He obtained these high-powered binoculars while taking part in the Occupation of Japanĭog tags with silencer. George Wiszneauckas served with the US Army Signal Corps from 1941-1946 and participated in the campaign to liberate the Philippines. The Japanese fleet heading to Hawaii in December 1941 maintained strict radio silence and this allowed it to deliver a devastating surprise attack on the American fleet anchored at Pearl Harbor. Radio surveillance also served as another tool for trying to track the movement of the enemy fleets. Before the development of radar later in the war, naval commanders attempting to locate the enemy typically had to rely on observations from personnel standing watch on deck or by dispatching search planes. The binoculars used by the Japanese Imperial Navy were produced by the Japanese Optical Industries Corporation (Nippon Kōgaku Kōgyō Kabushikigaisha), which is known today as Nikon. ![]() George Wiszneauckas Collection of the Institute on WWII, Florida State University. Have been photographed by Christopher White, Pensacola, Florida. The artifacts and historic photographs of Patrick M. WWII have been photographed by Jon Nalon, Tallahassee, Florida. The artifacts and historic photographs of the Institute on This larger, global narrative will reveal the power of the object in theĬontext of the human experience of war and that such individual stories will World War II and the Museum of Fine Arts at Florida State University hope that ![]() Physical objects as manifestations of cultural history. Society and material culture that are exemplified through the integration of Underlying this exhibition are connections between war and Personnel and civilians who were thrust into a global conflict of unparalleled Is to highlight the personal and human experiences of a wide range of military The intended goal of twenty-first century museum approaches World War II with the hope of achieving the optimal method of extracting such Highlights the power of an object in the context of the human experience during ThisĮxhibition seeks to integrate such materials into a larger narrative that Previously, many museums simply acted as repositories forĭisparate military hardware such as guns, uniforms, and vehicles. Physical vestiges of World War II are the connections between war and societyĪnd the integration of physical objects into displays as manifestations ofĬultural history. Underlying the exhibition with its accentuation on the With the names of friends and relatives? What is the contemporary relevance and Personal items belonging to a former enemy, such as Japanese flags embossed The public respond favorably to our choices and interpretation? How do museumsĭeal with contested historical issues such as repatriation of war trophies, and How do we evoke the human experience of World War II through artifacts? Will Instance, how can we exhibit causes, effects, and concepts by way of objects? With suchįine colleagues, the Institute personnel examined the archetypal methodologyĪnd organization of many traditional museums. The Ringling Museum’s Coville Collection united with photographic collectionsįrom the Institute by Curator Chris Jones to create Witness to War. ![]() Annika Culver, as well as selections from (The Design of War and the Bill Mauldin Collection) and the Oliver L. Installations brought together from generous lenders such as Dr. The Human Experience of WWII was comprised of separate Kurt Piehler, PhD, Director, Institute on World War II
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