Are Museum Exhibits In Quotes

And exactly how old are you MacRieve ?" "Twelve hundreds, give or take." "Great Hekate, you're a relic. Don't you have a museum exhibit to be in somewhere ?

All over the world major museums have bowed to the influence of Disney and become theme parks in their own right. The past, whether Renaissance Italy or Ancient Egypt, is re-assimilated and homogenized into its most digestible form. Desperate for the new, but disappointed with anything but the familiar, we recolonize past and future. The same trend can be seen in personal relationships, in the way people are expected to package themselves, their emotions and sexuality, in attractive and instantly appealing forms.

When they bombed Hiroshima, the explosion formed a mini-supernova, so every living animal, human or plant that received direct contact with the rays from that sun was instantly turned to ash. And what was left of the city soon followed. The long-lasting damage of nuclear radiation caused an entire city and its population to turn into powder. When I was born, my mom says I looked around the whole hospital room with a stare that said, "This? I've done this before." She says I have old eyes. When my Grandpa Genji died, I was only five years old, but I took my mom by the hand and told her, "Don't worry, he'll come back as a baby." And yet, for someone who's apparently done this already, I still haven't figured anything out yet. My knees still buckle every time I get on a stage. My self-confidence can be measured out in teaspoons mixed into my poetry, and it still always tastes funny in my mouth. But in Hiroshima, some people were wiped clean away, leaving only a wristwatch or a diary page. So no matter that I have inhibitions to fill all my pockets, I keep trying, hoping that one day I'll write a poem I can be proud to let sit in a museum exhibit as the only proof I existed. My parents named me Sarah, which is a biblical name. In the original story God told Sarah she could do something impossible and she laughed, because the first Sarah, she didn't know what to do with impossible. And me? Well, neither do I, but I see the impossible every day. Impossible is trying to connect in this world, trying to hold onto others while things are blowing up around you, knowing that while you're speaking, they aren't just waiting for their turn to talk -- they hear you. They feel exactly what you feel at the same time that you feel it. It's what I strive for every time I open my mouth -- that impossible connection. There's this piece of wall in Hiroshima that was completely burnt black by the radiation. But on the front step, a person who was sitting there blocked the rays from hitting the stone. The only thing left now is a permanent shadow of positive light. After the A bomb, specialists said it would take 75 years for the radiation damaged soil of Hiroshima City to ever grow anything again. But that spring, there were new buds popping up from the earth. When I meet you, in that moment, I'm no longer a part of your future. I start quickly becoming part of your past. But in that instant, I get to share your present. And you, you get to share mine. And that is the greatest present of all. So if you tell me I can do the impossible, I'll probably laugh at you. I don't know if I can change the world yet, because I don't know that much about it -- and I don't know that much about reincarnation either, but if you make me laugh hard enough, sometimes I forget what century I'm in. This isn't my first time here. This isn't my last time here. These aren't the last words I'll share. But just in case, I'm trying my hardest to get it right this time around.

This was like no library I had ever seen because, well, there were no books. Actually, I take that back. There was one book, but it was the lobby of the building, encased in a heavy glass box like a museum exhibit. I figured this was a book that was here to remind people of the past and the way things used to be. As I walked over to it, I wondered what would be one book chosen to take this place of honor. Was it a dictionary? A Bible? Maybe the complete works of Shakespeare or some famous poet. "Green Eggs and Ham?" Gunny said with surprise. "What kind of doctor writes about green eggs and ham?" "Dr. Seuss," I answered with a big smile on my face. "It's my favorite book of all time." Patrick joined us and said, "We took a vote. It was pretty much everybody's favorite. Landslide victory. I'm partial to Horton Hears A Who, but this is okay too." The people of Third Earth still had a sense of humor.

The ethereal beauty of the female semblance conceals that they really are dangerous like a great white shark in the most peaceful and deep water. (quote from the exhibit at the Cultural Museum)

What are the dead, anyway, but waves and energy? Light shining from a dead star? That, by the way, is a phrase of Julian's. I remember it from a lecture of his on the Iliad, when Patroklos appears to Achilles in a dream. There is a very moving passage where Achilles overjoyed at the sight of the apparition – tries to throw his arms around the ghost of his old friend, and it vanishes. The dead appear to us in dreams, said Julian, because that's the only way they can make us see them; what we see is only a projection, beamed from a great distance, light shining at us from a dead star… Which reminds me, by the way, of a dream I had a couple of weeks ago. I found myself in a strange deserted city – an old city, like London – underpopulated by war or disease. It was night; the streets were dark, bombed-out, abandoned. For a long time, I wandered aimlessly – past ruined parks, blasted statuary, vacant lots overgrown with weeds and collapsed apartment houses with rusted girders poking out of their sides like ribs. But here and there, interspersed among the desolate shells of the heavy old public buildings, I began to see new buildings, too, which were connected by futuristic walkways lit from beneath. Long, cool perspectives of modern architecture, rising phosphorescent and eerie from the rubble. I went inside one of these new buildings. It was like a laboratory, maybe, or a museum. My footsteps echoed on the tile floors.There was a cluster of men, all smoking pipes, gathered around an exhibit in a glass case that gleamed in the dim light and lit their faces ghoulishly from below. I drew nearer. In the case was a machine revolving slowly on a turntable, a machine with metal parts that slid in and out and collapsed in upon themselves to form new images. An Inca temple… click click click… the Pyramids… the Parthenon. History passing beneath my very eyes, changing every moment. 'I thought I'd find you here,' said a voice at my elbow. It was Henry. His gaze was steady and impassive in the dim light. Above his ear, beneath the wire stem of his spectacles, I could just make out the powder burn and the dark hole in his right temple. I was glad to see him, though not exactly surprised. 'You know,' I said to him, 'everybody is saying that you're dead.' He stared down at the machine. The Colosseum… click click click… the Pantheon. 'I'm not dead,' he said. 'I'm only having a bit of trouble with my passport.' 'What?' He cleared his throat. 'My movements are restricted,' he said. 'I no longer have the ability to travel as freely as I would like.' Hagia Sophia. St. Mark's, in Venice. 'What is this place?' I asked him. 'That information is classified, I'm afraid.' 1 looked around curiously. It seemed that I was the only visitor. 'Is it open to the public?' I said. 'Not generally, no.' I looked at him. There was so much I wanted to ask him, so much I wanted to say; but somehow I knew there wasn't time and even if there was, that it was all, somehow, beside the point. 'Are you happy here?' I said at last. He considered this for a moment. 'Not particularly,' he said. 'But you're not very happy where you are, either.' St. Basil's, in Moscow. Chartres. Salisbury and Amiens. He glanced at his watch. 'I hope you'll excuse me,' he said, 'but I'm late for an appointment.' He turned from me and walked away. I watched his back receding down the long, gleaming hall.

For a moment she could have sworn she was standing in one of those history-comes-alive museums--the kind that feature animatronic robots, the narration stylings of James Earl Jones, and the sort of exhibits that invade children's nightmares for years to come. But instead of a cyborgish John Wilkes Booth discharging his deadly bullet into the back of a plastic Lincoln's head, a very real version of the assassin was engaged in a furious arm-wrestling match with Elvis Presley. Lincoln was watching the tussle, amused. "Come on, John," he said. "You can do better than that." "He's all talk," Elvis whispered back. "Silence!" roared Booth. "I'm trying to concentrate!" Lincoln rolled his eyes.

The woman’s essence has always been the most powerful force much like nature has always been Satan’s church. Quote from the Vampire exhibit at Hallands Kulturhistoriska museum 2012

Trying to exhaust himself, Vaughan devised an endless almanac of terrifying wounds and insane collisions: The lungs of elderly men punctured by door-handles; the chests of young women impaled on steering-columns; the cheek of handsome youths torn on the chromium latches of quarter-lights. To Vaughan, these wounds formed the key to a new sexuality, born from a perverse technology. The images of these wounds hung in the gallery of his mind, like exhibits in the museum of a slaughterhouse.

To visit a museum is fine, to be a museum piece is terrible! - Gioconda and Si-Ya-U

If my trauma were made into an art museum, the most popular exhibit would showcase portraits of every man who has ever raped me, snarling.

I had made this mistake once before, on a school trip to the Victoria and Albert Museum, when I followed a sign marked WOMEN, thinking it was an exhibition on the changing roles of women in society, and actually ended up standing in the ladies' toilets.

Even on the worst days, details of her old life seemed like a museum exhibition, artifacts to study and understand in historical context.

I wondered how i would feel going into some museum and seeing the houses and stolen artifacts of my people stuck away in some exhibition hall. As i spoke i realized that most of the “history” i had been taught about the Indians was probably lies invented by the white man.

The Joker's henchmen break into the museum and empty the display cases; this occurs repeatedly, again and again: finally it can be reckoned upon beforehand and becomes a part of the exhibition.

And exactly how old are you, MacRieve?” “Twelve hundred, give or take.” She glanced back at him, as though gauging if he was jesting. When he raised his brows, she said, “Great Hekate, you’re a relic. Don’t you have a museum exhibit to be in somewhere?

Hazel used his trick. "They got no starfish there?" "They got no ocean there" said Doc. "Oh!" said Hazel and he cast frantically about for a peg to hang a new question on. He hated to have a conversation die out like this. He wasn't quick enough. While he was looking for a question Doc asked one. Hazel hated that, it meant casting about in his mind for an answer and casting about in Hazel's mind was like wandering alone in a deserted museum. Hazel's mind was choked with uncataloged exhibits. ...

You live in the greatest museum imaginable. Isn't it time you left the lobby and took a look at some of the incredible exhibits?

I've the run of the place, and so i spend some time exploring, climbing steep stairs into thin turrets whose windows give me a bird's-eye view of the land surrounding Spence. I flit past locked doors and dark, paneled rooms that seem more like museum exhibits than living, breathing places. I wander until it is dark and past the time when I should be in bed, not that I think anyone shall be searching for me.

If you have walked into a museum recently - whether you did so to attend an art exhibition or to escape from the police - you may have noticed a type of painting known as a triptych. A triptych has three panels, with something different painted on each of the panels. For instance, my friend Professor Reed made a triptych for me, and he painted fire on one panel, a typewriter on another, and the face of a beautiful, intelligent woman on the third. The triptych is entitled What Happened to Beatrice and I cannot look upon it without weeping. I am a writer, and not a painter, but if I were to try and paint a triptych entitled The Baudelaire Orphans' Miserable Experiences at Prufrock Prep, I would paint Mr. Remora on one panel, Mrs. Brass on another, and a box of staples on the third, and the results would make me so sad that between the Beatrice triptych and the Baudelaire triptych I would scarcely stop weeping all da

Remembering those days always aroused a mixture of emotions in her—something akin to, but not quite, nostalgia. Nostalgia was often romanticized; with these memories, there was no reason to make them any more romantic than they already were. Nor did she share these memories with others. They were hers, and over the years, she’d come to view them as a sort of museum exhibit, one in which she was both the curator and the only patron.

I STILL WALK THROUGH THIS LIFE LIKE A LITTLE BOY IN A MUSEUM, SURROUNDED BY THE EXHIBITS I’VE SPENT A LIFETIME STUDYING, AND WHEN I FINALLY COME FACE-TO-FACE WITH SOMETHING OR SOMEONE THAT HAS INSPIRED ME ALONG THE WAY, I AM THANKFUL. I AM GRATEFUL.

Lou Reed is unimpressed by applause, and lives a life detached from custom. His stare is cold and his romanticism is brutal. His songs are half-sung melodies of menace. He might drop dead any second, and is therefore the real thing. Examined ravenously like a museum exhibit, Lou Reed is evidently spiked to excess, and strangely loveable.

Tough topics are only tough for those who don't want to approach conversation, who don't like problematizing the status quo and nuancing the narrative.

Dreams are the museum for artists.

writing was not a stage or a museum exhibit— it was an echo chamber, a way to talk to someone, even if that someone was my own voice bouncing back at me.

The great proliferation of museums in the nineteenth century was a product of the marriage of the exhibition as a way of awakening intelligent interest in the visitor with the growth of collections that was associated with empire and middle-class affluence. Attendance at museums was as much associated with moral improvement as with explanation of the human or natural world.

And you know women, they're both back there turning it into the crime of the century. Planting it in a little garden in the center of their hearts and watering it with feelings. Talking about it, sharing it. You're a cheat, you're a heartbreaker, you're like a museum exhibit, Everything That's Wrong with Guys.

At school you were taught about chemicals in test tubes, equations to describe motion, and maybe something on photosynthesis – about which more later – but in all likelihood you were taught nothing about death, risk, statistics, and the science of what will kill or cure you. The hole in our culture is gaping: evidence-based medicine, the ultimate applied science, contains some of the cleverest ideas from the past two centuries, it has saved millions of lives, but there has never once been a single exhibit on the subject in London’s Science Museum.

I still walk through this life like a little boy in a museum, surrounded by the exhibits I've spent a lifetime studying. And when I finally come face to face with something or someone who has inspired me along the way, I'm thankful. I'm grateful. But it's one thing to meet a hero in passing, it's another thing when they become your friend.

Finns are enthusiastic museum-goers, and Helsinki has an enviable selection. There are so many that you’ll have to rigorously prune most of them, but there are enough must-see galleries and exhibitions to keep you busy for several days.

When you choose to be a poet, when you choose to spill like this, bleed like this, cry like this, your pain becomes an exhibit. A place for people to walk through and then leave when they are ready. No one ever asks a museum if it's okay.

My grandparents’ stories are my inheritance; each one is an heirloom I carry. Each one is a monument to an era that still courses through my grandfather’s veins. Each story is a memorial that still sits in my grandmother’s bones. My grandparents’ voices are a museum I am still learning how to visit, each conversation with them a new exhibit worthy of my time.

A collector is anxious to acquire specimens to illustrate a period or a school, and forgets that a single masterpiece can teach us more than any number of the mediocre products of a given period or school. We classify too much and enjoy too little. The sacrifice of the aesthetic to the so-called scientific method of exhibition has been the bane of many museums.

the center of the American Museum of Natural History’s Hall of Biodiversity, there’s an exhibit embedded in the floor. The exhibit is arranged around a central plaque that notes there have been five major extinction events since complex animals evolved, over five hundred million years ago. According to the plaque, “Global climate change and other causes, probably including collisions between earth and extraterrestrial objects,” were responsible for these events. It goes on to observe: “Right now we are in the midst of the Sixth Extinction, this time caused solely by humanity’s transformation of the ecological landscape.

museums have never existed when art is in good health and creative vitality flourishes. Museums are no more than cemeteries of art, catacombs in which the remains of what were once living things are arranged in sepulchral promiscuity (...) - Théophile Thoré (1861)

The world’s oldest map, the Babylonian Map of the World, had a little circle bored through the center. Scholars explained that the hole had come from using a compass to trace the two outer rings of the map. Oghi was captivated more by that hole than by the geometric shapes engraved in the clay tablet, and had stared at it for a long time in the darkened exhibit room of the British Museum. That dark, narrow hole went as deep as the memory of an age that no one could ever return to. The only way to reach that lost age was through that hole, but the hole itself could never be reached.

Standing on your own feet, naturally, is as tiresome and dangerous as standing your ground; and when the wild dogs begin to circle grinning round you with their dripping tongues hanging out and you know that with mock servility they like to go for your toes first, why, then, you should stand on someone else’s feet, or head if necessary. It is a point of faith for me never to be Hitler; he stood his ground in his own two shoes in his own little hole almost to the end, the fool. But I may disguise myself as any other animate or inanimate object in what follows. I can be eight lame women with falsies, eight cracked chamber pots, or -- let’s get right to the point -- a gladiator who is actually constructed of old clothes, brooms, and a paper plate with a face daubed on in finger-paints, not to mention two vagrants inside each shirt-sleeve and pant-leg, moving Goliath’s limbs at my say-so; but as long as you believe in the gladiator, you are whipped, and the Museum people will set out on your track, and then once they catch you, don’t think I won’t come study your exhibit until I can convince your own sweetheart that I am you come back from the dead. For I am Big George, the eternal winner.

The women paused to regard the taxidermied creatures with awe. Predictably, Pandora went forward with her hand outstretched. “Pandora,” Lady Berwick snapped, “if you molest the exhibits, we will not be returning to the museum.” Turning, Pandora gave her a pleading glance. “A giraffe is right there—it once roamed the African savannah—don’t you want to know how it feels?” “Indeed not.” “There’s no sign that says we can’t.” “The railing implies it.” “But the giraffe is so close,” Pandora said woefully. “If you would look the other way for five seconds, I could reach out and touch it so easily . . . and then I wouldn’t have to wonder anymore

In the spirit of being a reflective practitioner of ourselves we must notice your own behavior as an educator and realize how it influences other. Recognize your privileges: race, gender, ability, career, citizenship, language is all privilege. Imagine how you feel in the visitors shoes and adjust to best help them process and contextualize.

To Mahmoud, Harshaw looked like a museum exhibit of what he thought of as a “Yank”—vulgar, dressed too informally for the occasion, loud, probably ignorant and almost certainly provincial. A professional man, too, which made it worse, as in Dr. Mahmoud’s experience most American professional men were under-educated and narrow, mere technicians.

Why is it important to look at fiction writing through the lens of emotional experience? Because that’s the way readers read. They don’t so much read as respond. They do not automatically adopt your outlook and outrage. They formulate their own. You are not the author of what readers feel, just the provocateur of those feelings. You may curate your characters’ experiences and put them on display, but the exhibit’s meaning is different in thousands of ways for thousands of different museum visitors, your readers. Not

Museums always take a point of view by what they choose to exhibit and what they decide not to exhibit.

He had often thought of Bombay as the museum of failures, an exhibit hall filled with thwarted dreams and broken promises.

The world had become like an exhibit at Ward’s museum: pretty and nostalgic and watered down, something old and sealed off you weren’t allowed to touch. - Pg. 204

But now it's the museum backdrop for the exhibition of grief.

How twisted is the world when you shoe could become part of a museum exhibit?

I resolutely refuse to believe that the state of Edward's health had anything to do with this, and I don't say this only because I was once later accused of attacking him 'on his deathbed.' He was entirely lucid to the end, and the positions he took were easily recognizable by me as extensions or outgrowths of views he had expressed (and also declined to express) in the past. Alas, it is true that he was closer to the end than anybody knew when the thirtieth anniversary reissue of his Orientalism was published, but his long-precarious condition would hardly argue for giving him a lenient review, let alone denying him one altogether, which would have been the only alternatives. In the introduction he wrote for the new edition, he generally declined the opportunity to answer his scholarly critics, and instead gave the recent American arrival in Baghdad as a grand example of 'Orientalism' in action. The looting and destruction of the exhibits in the Iraq National Museum had, he wrote, been a deliberate piece of United States vandalism, perpetrated in order to shear the Iraqi people of their cultural patrimony and demonstrate to them their new servitude. Even at a time when anything at all could be said and believed so long as it was sufficiently and hysterically anti-Bush, this could be described as exceptionally mendacious. So when the Atlantic invited me to review Edward's revised edition, I decided I'd suspect myself more if I declined than if I agreed, and I wrote what I felt I had to. Not long afterward, an Iraqi comrade sent me without comment an article Edward had contributed to a magazine in London that was published by a princeling of the Saudi royal family. In it, Edward quoted some sentences about the Iraq war that he off-handedly described as 'racist.' The sentences in question had been written by me. I felt myself assailed by a reaction that was at once hot-eyed and frigidly cold. He had cited the words without naming their author, and this I briefly thought could be construed as a friendly hesitance. Or as cowardice... I can never quite act the stern role of Mr. Darcy with any conviction, but privately I sometimes resolve that that's 'it' as it were. I didn't say anything to Edward but then, I never said anything to him again, either. I believe that one or two charges simply must retain their face value and not become debauched or devalued. 'Racist' is one such. It is an accusation that must either be made good upon, or fully retracted. I would not have as a friend somebody whom I suspected of that prejudice, and I decided to presume that Edward was honest and serious enough to feel the same way. I feel misery stealing over me again as I set this down: I wrote the best tribute I could manage when he died not long afterward (and there was no strain in that, as I was relieved to find), but I didn't go to, and wasn't invited to, his funeral.

There's a lot of pointing. A festival of pointing and at very close range to other people's eyes, given the width of the space. Also detracting from the exhibit's potential tranquility is the display cabinet of pinned specimens along one wall. I found this disturbing from the start. You don't see a whole lot of stuffed polar bears in the polar bear exhibit at the zoo, for instance. And butterflies have phenomenal vision so it's not like they can't see the mass crucifixion in their midst. I was offended on behalf of the butterflies and thus pleased with my offense. Let the empathizing begin! This volunteering thing was working already. I am a good person, hear me give!

Frederick A. Murphy, a virologist who had helped to identify Marburg virus. He was and is one of the world’s leading electron-microscope photographers of viruses. (His photographs of viruses have been exhibited in art museums.)

I wear worn-out words everwhere I go. In the museum of political depression, which is the world-at-large, I'm routinely mistaken for an item in an exhibition about the havoc of modernity, for I'm always out of step with the clock of the historical.

What I felt at that moment wasn’t sorrow for the 9/11 victims, but mortification. Tiny Ecuador gave precious pottery as a token of its heritage. My nation, the hemisphere’s richest, offered only this: Share our fear and feel our pain. In a venue designed to promote global amity and understanding, the United States chose to emphasize how divided and troubled the world remained. It was a minor thing, really, a display in a little-visited Dominican museum. But still, the exhibit rankled: my own small wall of shame.

The undocumented immigrants who died on 9/11 worked in restaurants, in housekeeping, in security. They were also deliverymen. The 9/11 Memorial and Museum now stands where the Twin Towers once stood. They have an exhibit that gutted me when I saw it. It’s a bicycle, presumed to have belonged to a deliveryman, a bike that was left tied to a pole near the Twin Towers. Visitors to the site had left acrylic flowers—red, white, and blue roses and carnations. They also left a rosary on the bicycle. It became a makeshift memorial. There was a note on the street next to the bike. EN MEMORIA DE LOS DELIVERY BOYS QUE MURIERON. SEPT 11 2001. “In memory of the delivery boys who died.” Delivery boys. That’s how I know it was the delivery boys who put up that sign, who left those acrylic flowers, men like my dad.

The prospect of physical discomfort has not deterred anyone from buying, or sitting in, chairs that hurt. A painful chair, however, is more willingly bought and endured if it carries the imprimatur of a museum or some other respectable design authenticator. Randall Jarrell noted, with great wit but no exaggeration, that there are people who "...will sit on a porcupine if you first exhibit it at the Museum of Modern Art and say that it is a chair. In fact, there is nothing, nothing in the whole world that someone won't buy and sit in if you tell him that it is a chair...

The Louvre and all the museums were closed and when one read at the head of an article “Sensational Exhibition” one might be certain it was not an exhibition of pictures but of dresses destined to quicken “those delicate artistic delights of which Parisian women have been too long deprived.

After watching Donald Trump on C-Span the other day, one can see it being easy to be convinced that what the public sees, at least from the press coverage, is just a bit of “reality television” spilling over into real life. His performance at the gathering was reminiscent of what may have happened had Archie Bunker walked out of the cartoon world of the television sitcom and went to speak at posh affair filled with the wax museum of Washington politicos and the buzzard-esque scowls of the press. All eyes fixed on the performer giving yet another exhibition of theatrical prowess.

[There is an] immense advantage to be gained by ample space and appropriate surroundings in aiding the formation of a just idea of the beauty and interest of each specimen... Nothing detracts so much from the enjoyment ... from a visit to a museum as the overcrowding of the specimens exhibited.

--she gazed at places but could not enter them, witnessed beauty but could not experience it. It was as though she had been excised neatly out of each moment. The world had become like an exhibit at Ward's museum: pretty and nostalgic and watered down, something old and sealed off you weren't allowed to touch.

If magic is energy, then using it is about guiding it's flow rather than possessing it and squirreling it away. Some people seem to me to approach magic as though adding spells and charms and even gurus to their museum – sometimes a secret museum. My worry is that this leaves you weighed down with exhibits too precious to use or to let go of when you need to move on.

Gor," she breathed when she picked up the nearly empty tureen. "Someone done eat the soup!" "Never!" Angus said, his eyes as wide as saucers. "All of it," she said, holding the tureen toward Angus. He peered into it as if expecting to see a hole in the bottom. "Well, I'll be." "It was excellent," Dougal said. Angus sent Dougal a look of respect. "Ye must have an iron stomach." "Indeed," Mary said, a worried look on her face. "I beg yer pardon, me lord, but do ye feel well? There was a bit of pepper in that soup." Dougal shrugged. "I'm fine. And I must get that recipe to give to my own chef." "Gor!" Mary blinked at him, unable to look away. Angus did the same. Dougal smiled inquiringly at Sophia. "I feel as if I've become an exhibit at the British Museum.

Memory is your museum, your cabinet of curiosities, your 'Wunderkammer.' It will never be full; there is always room for something new and strange and marvelous. It will never need dusting. It will last as long as you do. You can't let the public in to walk around it, but you can take out the exhibits and share them, share what you know. You will never be able to stop collecting.

This diversity of social and semi-governmental institutions and organizations gives us not merely an insight into the immense complexity of an urban society, but also an inkling of the huge efforts and even violence required if they are to be disciplined, levelled down and made uniform. We come to realize all the things that must be done to ensure that the hundreds of newspapers and magazines follow the same linguistic line, the theatre repertoires are made to conform, and the libraries and bookshops are purged of the works of writers who have not kept up with the times. What must happen to ensure that museums, whose exhibitions and displays necessarily reflect long-term efforts, accept the inevitability of a new line and a new course? And what must be done to ensure that hundreds of schools and hundreds of thousands of schoolchildren feel ready to accept a new canon

Fashion is art, and I’m not just talking about the Chado Ralph Rucci exhibit locked up at the Met. It’s one of the few kinds of art that everybody gets to participate in. Fashion turns each of us into our own museum. We curate ourselves at the closet door each morning. And for some people, that’s the only creative decision they ever get to make. It’s a pair of khakis and a T-shirt, but to the guy who picks them, it’s an exhibition. Of style.

Reading his autobiography many years later, I was astonished to find that Edward since boyhood had—not unlike Isaiah Berlin—often felt himself ungainly and ill-favored and awkward in bearing. He had always seemed to me quite the reverse: a touch dandyish perhaps but—as the saying goes—perfectly secure in his masculinity. On one occasion, after lunch in Georgetown, he took me with him to a renowned local tobacconist and asked to do something I had never witnessed before: 'try on' a pipe. In case you ever wish to do this, here is the form: a solemn assistant produces a plastic envelope and fits it over the amber or ivory mouthpiece. You then clamp your teeth down to feel if the 'fit' and weight are easy to your jaw. If not, then repeat with various stems until your browsing is complete. In those days I could have inhaled ten cigarettes and drunk three Tanqueray martinis in the time spent on such flaneur flippancy, but I admired the commitment to smoking nonetheless. Taking coffee with him once in a shopping mall in Stanford, I saw him suddenly register something over my shoulder. It was a ladies' dress shop. He excused himself and dashed in, to emerge soon after with some fashionable and costly looking bags. 'Mariam,' he said as if by way of explanation, 'has never worn anything that I have not bought for her.' On another occasion in Manhattan, after acting as a magnificent, encyclopedic guide around the gorgeous Andalusia (Al-Andalus) exhibition at the Museum of Modern Art, he was giving lunch to Carol and to me when she noticed that her purse had been lost or stolen. At once, he was at her service, not only suggesting shops in the vicinity where a replacement might be found, but also offering to be her guide and advisor until she had selected a suitable new sac à main. I could no more have proposed myself for such an expedition than suggested myself as a cosmonaut, so what this says about my own heterosexual confidence I leave to others.

Immediately across the bridge he encountered the other two. On his left, the Grand Palais, and on his right, the Petit Palais. If the great fair of 1889 had bequeathed Paris the Eiffel Tower, the next fair at the turn of the century had left these two magnificent pavilions: a facing pair of exhibition halls that started as handsome stone museums and, as they rose, turned into soaring Art Nouveau glass houses. They were like opera houses made of glass, he thought, and flanking the short avenue

In 1932 he and other leading eugenicists attended the Third Inter-national Congress of Eugenics, which was held in New York City. The exhibits were intended to show that eugenics was a “pure and applied science.” Major Leonard Darwin, the son of Charles Darwin, also presented his views at the meeting. The New York Times reported on the event. Eugenists from all over the world will attend the Third International Congress of Eugenics today and tomorrow at the American Museum of Natural History. At general and sectional meetings they will discuss advances in the study for the physical and mental improvement of the human race… It [the exhibit] will seek to emphasize the fact that eugenics is concerned primarily with racial and family-stock, quality in the turn-over of population from generation to generation. “As a pure science,” the announcement says, “eugenics tries to understand the forces which govern this turn-over, while as an applied science it strives to use these forces in the improvement of family-stocks and races.

And exactly how old are you, MacRieve?” “Twelve hundred, give or take.” She glanced back at him, as though gauging if he was jesting. When he raised his brows, she said, “Great Hekate, you’re a relic. Don’t you have a museum exhibit to be in somewhere?” He ignored her comments. “Another mystery—I dinna find a razor in your bag, but your legs and under your arms are smooth.” “I was lasered,” she said, then added, “I can hear your frown, Father Time,” surprising him because he was. She didn’t explain more, but he didn’t miss a beat. “Makes a man recall where else you’re so well groomed.” She shivered from a mere murmur in her ear. “I’m lookin’ forward tae touchin’ you there again.” “Ha! Why would you think that I would ever let you?” “I happen to ken that you’re a lusty one. And I’ve taken away your wee alternative. Tossed it into a river.” As she gasped, he said, “Took me a minute to figure out what it was—a minute more to believe you actually had it. Then imagining you using it? Had me in such a state, I could scarcely run without tripping over my own feet.” “You’re trying to embarrass me again. Give it up. I’m not going to be ashamed because I’m like every other girl my age.” “I doona want you to be ashamed—never in matters like that. And I ken you’re to turn immortal soon, know the need must be overwhelming. In fact, most females get confused by all their new lustiness,” he said. “Best to have a firm hand to guide them into immortal sex.” “And I’ll just bet that you’re happy to volunteer.” Making his tone aggrieved, he sighed, “If I must . . .

I am fascinated with how words are delivered rather uncomfortably, exchanged quite radically, exhibited like a Picasso in a museum ...center-stage, extracted metaphorically, gifted to the less fortunate, politely polished to others & technically yet literally thrust upon the disenchanted essentially with every fiber of my inner being. Even though books today are considered a relic. I still find the smell of a new one exhilarating but it's that alphabet bus of new prose that I look forward to devouring like a wolf walking into a hen house.

Poets may be the “unacknowledged legislators” but I don’t know if we’re that important. My fear overwhelms me at times; I gave you my fear, a withered gift. You are the true poet of the family. You gave me the cry of a baby in its mother’s arms, cotton candy at the circus, John Cage exhibits at the museum, lying under the light of the full moon. You gave me Fellini films and old Romances, a glass of Burgandy in a darkened restaurant where lovers cling to hope of passion and contentment. You gave me hope and love, but most of all, you gave me poetry.

I'm afraid, Ilya Isayevich, that you don't have the slightest idea what the function of the secret police is. Exhibits disappear from libraries, personal archives, from museums. They are stolen, sold, exchanged, sometimes consciously destroyed. But I can assure you, in the archives of the secret police nothing is ever lost. True, the number of people granted access to them is extremely limited. But, believe me, there is no place more reliable for safekeeping. Nothing every goes missing there! Moreover, it is the very place where historical truth is preserved.

The stars, he thought, had been watching him his whole life. They'd seen the whole thing go on and on. Him and the rest of all the people who had ever lived and ever would. It was like living in a museum exhibit or a dollhouse. It was so easy to imagine the hands of some enormous and indifferent God prying the house open and squinting at them as they went about their lives on their circuits like little automatons in an exhibit called The Late Americans. A God with a Gorgon's head peering down in judgment. What were you supposed to do in the face of that? Turn to stone?

Before hoarding became a phenomenon, people just called it “collecting” or “being nostalgic.” I don’t hoard, exactly, but I get it. It’s a response to our need and desire for purpose, order, definition, and a fortress. It’s a calling that requires constant management, control, and obsessive attention. I am amassing artifacts from the history of me. My garage is the storeroom and temporary exhibition hall of the yet-to-be-built museum documenting the rise and fall of the Marc Age. I am the curator. I decide the meaning and worth of the collection based on my feelings in a moment.

For something to become a work of art, a labeling process must take place that requires three participants: an artist who produces an apt object, a client or public, and a critic or connoisseur who mediates between the artist and the public to assure them of the artness of the thing. If I make a painting, it is not sufficient for the painting to be "art" that I consider it so, nor even that you, my friend and neighbor, admire it and hang it on your wall; it must be certified as art by competent authority and exhibited in the institutionally appropriate place, a gallery or museum.

It is spring 2007, and the block-long security lines into the Smithsonian Institution’s National Museum of American History (NMAH) are missing now while it is closed for renovation. The once controversial and “technically superb” exhibition Science in American Life is due to be phased out. The hot new museum exhibit is at the National Museum of Natural History’s (NMNH) Kenneth E. Behring Hall of Mammals. There, entering this multimedia, multisensory immersive installation, we are invited to a “Mammal Family Reunion—Come meet your relatives!”—in a savvy response to antievolution religious activism.

That’s what killed Elvis,” said Adrianne Noe. Noe is the director of the National Museum of Health and Medicine, which has its own megacolon, from an unknown party. As we were about to get off the phone, Elvis Presley dropped into the conversation. Noe related that she’d been standing by the megacolon exhibit one day and a visitor told her that Elvis had had one too. The man added that Presley had struggled with constipation his whole life and that as a child his mother Gladys had had to “manually disimpact” him. “He said that’s why Elvis was so close to his mother.” A quiet moment followed. “Really.

Humanism in Five Images 29. Humanist Politics: the voter knows best. 29.​© Sadik Gulec/Shutterstock.com. 30. Humanist Economics: the customer is always right. 30.​© CAMERIQUE/ClassicStock/Corbis. 31. Humanist Aesthetics: Beauty is in the eye of the beholder. (Marcel Duchamp’s Fountain in a special exhibition of modern art at the National Gallery of Scotland.) 31.​© Jeff J Mitchell/Getty Images. 32. Humanist Ethics: if it feels good – do it! 32.​© Molly Landreth/Getty Images. 33. Humanist Education: think for yourself! 33.​The Thinker, 1880–81 (bronze), Rodin, Auguste, Burrell Collection, Glasgow © Culture and Sport Glasgow (Museums)/Bridgeman Images.

Humanism in Five Images 29. Humanist Politics: the voter knows best. 29. © Sadik Gulec/ Shutterstock.com. 30. Humanist Economics: the customer is always right. 30. © CAMERIQUE/ ClassicStock/ Corbis. 31. Humanist Aesthetics: Beauty is in the eye of the beholder. (Marcel Duchamp’s Fountain in a special exhibition of modern art at the National Gallery of Scotland.) 31. © Jeff J Mitchell/ Getty Images. 32. Humanist Ethics: if it feels good–do it! 32. © Molly Landreth/ Getty Images. 33. Humanist Education: think for yourself! 33. The Thinker, 1880–81 (bronze), Rodin, Auguste, Burrell Collection, Glasgow © Culture and Sport Glasgow (Museums)/ Bridgeman Images.

We couldn't afford to go inside. On other days, we would visit art museums. There was only enough money for one ticket, so one of us would go in, look at the exhibits, and report back to the other. On one such occasion, we went to the relatively new Whitney Museum on the Upper East Side. It was my turn to go in, and I reluctantly entered without him. I no longer remember the exhibit, but I do recall peering through on of the museum's unique trapezoidal windows, seeing Robert across the street, leaning against a parking meter, smoking a cigarette. He waited for me, and as we headed toward the subway he said, "One day we'll go in together, and the work will be ours.

The portrait was stolen on 21 August 1911 and the Louvre was closed for an entire week to aid the investigation of the theft. French poet Guillaume Apollinaire, who had once called for the Louvre to be burnt down, was arrested and put in jail. Apollinaire tried to implicate his friend Pablo Picasso, who was also brought in for questioning, but both were later released and exonerated. At the time, the painting was believed to be lost forever, and it was two years before the real thief was discovered. Louvre employee Vincenzo Peruggia had stolen it by entering the building during regular hours, concealing himself in a broom closet and walking out with it hidden under his coat after the museum had closed. Peruggia was an Italian patriot, who believed Leonardo’s painting should be returned to Italy for display in an Italian museum. Peruggia may have also been motivated by a friend who sold copies of the painting, which would skyrocket in value after the theft of the original. After having kept the painting in his apartment for two years, Peruggia grew impatient and was finally caught when he attempted to sell it to the directors of the Uffizi Gallery in Florence. The painting was exhibited all over Italy and returned to the Louvre in 1913. Peruggia was hailed for his patriotism in Italy and served only six months in jail for the crime.

In a scheduled world, you are told you have half an hour to peruse an exhibit at the museum; in a programmed world, you are strapped into the ride at Disneyland and conveyed through the experience at a predetermined pace. However richly conceived, the ride’s complexity is limited because its features are built-in, appearing and unfolding in sync with the motions of your cart. The skeleton dangles, the pirate waves, and the holographic ship emerges from the cloud of smoke. In the programmed life, the lights go on and off at a specified time, the coffee pot activates, the daylight-balanced bulb in the programmable clock radio fades up. Active participation is optional, for these events will go on without us and at their own pace.

In the church is a memorial to Mrs. Sarah Hill, who bequeathed 1 pound annually, to be divided at Easter, between two boys and two girls who “have never been undutiful to their parents; who have never been known to swear or to tell untruths, to steal, or to break windows.” Fancy giving up all that for five shillings a year! It is not worth it. It is rumoured in the town that once, many years ago, a boy appeared who really never had done these things—or at all events, which was all that was required or could be expected, had never been known to do them—and thus won the crown of glory. He was exhibited for three weeks afterwards in the Town Hall, under a glass case. What has become of the money since no one knows. They say it is always handed over to the nearest wax-works show.

We both had wanted to see a Mark Rothko exhibit at the Yale Art Gallery but, because of a labor dispute, some of the university's buildings, including the museum, were closed. As Bill and I walked by, he decided he could get us in if we offered to pick up the litter that had accumulated in the gallery's courtyard. Watching him talk our way in was the first time I saw his persuasiveness in action. We had the entire museum to ourselves. We wandered through the galleries talking about Rothko and twentieth-century art. I admit to being surprised at his interest in and knowledge of subjects that seemed, at first, unusual for a Viking from Arkansas. We ended up in the museum's courtyard, where I sat in the large lap of Henry Moore's sculpture Drape Seated Woman while we talked until dark.

After I left finance, I started attending some of the fashionable conferences attended by pre-rich and post-rich technology people and the new category of technology intellectuals. I was initially exhilarated to see them wearing no ties, as, living among tie-wearing abhorrent bankers, I had developed the illusion that anyone who doesn’t wear a tie was not an empty suit. But these conferences, while colorful and slick with computerized images and fancy animations, felt depressing. I knew I did not belong. It was not just their additive approach to the future (failure to subtract the fragile rather than add to destiny). It was not entirely their blindness by uncompromising neomania. It took a while for me to realize the reason: a profound lack of elegance. Technothinkers tend to have an “engineering mind”—to put it less politely, they have autistic tendencies. While they don’t usually wear ties, these types tend, of course, to exhibit all the textbook characteristics of nerdiness—mostly lack of charm, interest in objects instead of persons, causing them to neglect their looks. They love precision at the expense of applicability. And they typically share an absence of literary culture. This absence of literary culture is actually a marker of future blindness because it is usually accompanied by a denigration of history, a byproduct of unconditional neomania. Outside of the niche and isolated genre of science fiction, literature is about the past. We do not learn physics or biology from medieval textbooks, but we still read Homer, Plato, or the very modern Shakespeare. We cannot talk about sculpture without knowledge of the works of Phidias, Michelangelo, or the great Canova. These are in the past, not in the future. Just by setting foot into a museum, the aesthetically minded person is connecting with the elders. Whether overtly or not, he will tend to acquire and respect historical knowledge, even if it is to reject it. And the past—properly handled, as we will see in the next section—is a much better teacher about the properties of the future than the present. To understand the future, you do not need technoautistic jargon, obsession with “killer apps,” these sort of things. You just need the following: some respect for the past, some curiosity about the historical record, a hunger for the wisdom of the elders, and a grasp of the notion of “heuristics,” these often unwritten rules of thumb that are so determining of survival. In other words, you will be forced to give weight to things that have been around, things that have survived.

Visitors say, 'Real shrunken heads! Wow! How were they made? By slitting the skin, taking out the skull and brains and steaming them with hot sand? Gross!' But what no one asks is: how did they get here? What are they doing hanging up in a university museum in the south of England? Once you start to answer that question, you realize that shrunken heads like these are a product as much of European curiosity, European taste and European purchasing power as they are of an archaic tribal custom. It is time to turn the spotlight round and point it back at people like you and me, and at our ancestors, who were responsible for bringing hundreds of these heads into museums and people's homes and who delighted in them as much as -- if not more than -- the people who created them in the first place. After all, it is not the Shuar who are pressing their noses to the glass of an exhibition case in an Oxford University museum.

As they moved through the halls and galleries the children darting from one exhibit to another, he felt at peace with the world. There was nothing like a museum for calming the mind, for putting the problems of everyday life in their true perspective. Here, surrounded by the infinite variety and wonder of Nature, he was reminded of truths he had forgotten. He was only one of a million million creatures that shared this planet Earth. The entire human race, with its hopes and fears, its triumphs and its follies, might be no more than an incident in the history of the world. As he stood before the monstrous bone of Diplodocus - the children for once awed and silent - he felt the winds of Eternity blowing through his soul. He could no longer take so seriously the gnawing of ambition, the belief that he was the man the nation needed. What nation, if it came to that? A mere two centuries ago this summer, the Declaration of Independence had been signed but this old American had lain in the Utah rocks for a hundred million years -

Having become—with the passage of time—the anthropologist of my own experience, I have no wish to disparage those obsessive souls who bring back crockery, artifacts, and utensils from distant lands and put them on display for us, the better to understand the lives of others and our own. Nevertheless, I would caution against paying too much attention to the objects and relics of “first love,” for these might distract the viewer from the depth of compassion and gratitude that now arose between us. So it is precisely to illustrate the solicitude in the caresses that my eighteen-year-old lover bestowed upon my thirty-year-old skin as we lay quietly in this room in each other’s arms, that I have chosen to exhibit this floral batiste handkerchief, which she had folded so carefully and put in her bag that day but never removed. Let this crystal inkwell and pen set belonging to my mother that Füsun toyed with that afternoon, noticing it on the table while she was smoking a cigarette, be a relic of the refinement and the fragile tenderness we felt for each other. Let this belt whose oversize buckles that I had seized and fastened with a masculine arrogance that I felt so guilty for afterwards bear witness to our melancholy as we covered our nakedness and cast our eyes about the filth of the world once again.

On a sloping promontory on its wooded north shore was a modestly sized building called the National Capital Exhibition, and I called there first, more in the hope of drying off a little than from any expectation of extending my education significantly. It was quite busy. In the front entrance, two friendly women were seated at a table handing out free visitors' packs - big, bright yellow plastic bags - and these were accepted with expressions of gratitude and rapture by everyone who passed. "Care for a visitors' pack, sir?" called one of the women to me. "Oh, yes, please," I said, more thrilled than I wish to admit. The visitors' pack was a weighty offering, but on inspection it proved to contain nothing but a mass of brochures - the complete works, it appeared, of the visitors' center I had visited the day before. The bag was so heavy that it stretched the handles until it was touching the floor. I dragged it around for a while and then thought to abandon it behind a potted plant. A here's the thing. There wasn't room behind the potted plant for another yellow bag! There must have been ninety of them there. I looked around and noticed that almost no one in the room still had a plastic bag. I leaned mine up against the wall beside the plant and as I straightened up I saw that a man was advancing toward me. "Is this where the bags go?" he asked gravely. "Yes, it is." I replied with equal gravity. In my momentary capacity as director of internal operations I watched him lean the bag carefully against the wall. Then we stood for a moment together and regarded it judiciously, pleased to have contributed to the important work of moving hundreds of yellow bags from the foyer to a mustering station in the next room. As we stood, two more people came along, "Put them just there," we suggested, almost in unison, and indicated where we were sandbagging the wall. Then we exchanged satisfied nods and moved off into the museum.

Fine art galleries are the excellent setups for exhibiting art, generally aesthetic art such as paints, sculptures, and digital photography. Basically, art galleries showcase a range of art designs featuring contemporary and traditional fine art, glass fine art, art prints, and animation fine art. Fine art galleries are dedicated to the advertising of arising artists. These galleries supply a system for them to present their jobs together with the works of across the country and internationally popular artists. The UNITED STATE has a wealth of famous art galleries. Lots of villages in the U.S. show off an art gallery. The High Museum of Fine art, Alleged Gallery, Henry Art Gallery, National Gallery of Art Gallery, Washington Gallery of Modern Art, Agora Gallery, Rosalux Gallery, National Portrait Gallery, The Alaska House Gallery, and Anchorage Gallery of History and Art are some of the renowned fine art galleries in the United States. Today, there are on the internet fine art galleries showing initial artwork. Several famous fine art galleries show regional pieces of art such as African fine art, American art, Indian fine art, and European art, in addition to individual fine art, modern-day and modern fine art, and digital photography. These galleries collect, show, and keep the masterpieces for the coming generations. Many famous art galleries try to entertain and educate their local, nationwide, and international audiences. Some renowned fine art galleries focus on specific areas such as pictures. A great variety of well-known fine art galleries are had and run by government. The majority of famous fine art galleries supply an opportunity for site visitors to buy outstanding art work. Additionally, they organize many art-related tasks such as songs shows and verse readings for kids and grownups. Art galleries organize seminars and workshops conducted by prominent artists. Committed to quality in both art and solution, most well-known fine art galleries provide you a rich, exceptional experience. If you wish to read additional information, please visit this site

They came in to look. I watched them. Most people go through museums like they do Macy's: eyes sweeping the display, stopping only if something really grabs their attention. These two looked at everything. They both clearly liked the bicycle picture. Yup, Dutch, I decided. He was a few steps ahead when he got to my favorite painting there. Diana and the Moon. It was-surprise surprise-of Diana, framed by a big open window, the moon dominating the sky outside. She was perched on the windowsill, dressed in a gauzy wrap that could have been nightclothes or a nod to her goddess namesake. She looked beautiful, of course, and happy, but if you looked for more than a second, you could see that her smile had a teasing curve to it and one of her hands was actually wrapped around the outside frame. I thought she looked like she might swing her legs over the sill and jump, turning into a moth or owl or breath of wind even before she was completely out of the room. I thought she looked, too, like she was daring the viewer to come along. Or at least to try. The Dutch guy didn't say anything. He just reached out a hand. His girlfriend stepped in, folding herself into the circle of his outsretched arm. They stood like that, in front of the painting, for a full minute. Then he sneezed. She reached into her pocket and pulled out a tissue.He took in and, without letting go of her, did a surprisingly graceful one-handed blow. Then he crumpled the tissue and looked around for a trash can. There wasn't one in sight. She held out her free hand; he passed over the tissue, and she stuck it right back into her pocket. I wanted to be grossed out. Instead, I had the surprising thought that I really really wanted someone who would do that: put my used Kleenex in his pocket. It seemed like a declaration of something pretty big. Finally,they finished their examination of Diana and moved on.There wasn't much else, just the arrogant Willings and the overblown sunrise. They came over to examine the bronzes. She saw my book. "Excuse me. You know this artist?" Intimately just didn't seem as true anymore. "Pretty well," I answered. "He is famous here?" "Not very." "I like him." she said thoughtfully. "He has...oh, the word...personism?" "Personality?" I offered. "Yes!" she said, delighted. "Personality." She reached behind her without looking. Her boyfriend immediately twined his fingers with hers. They left, unfolding the map again as they went, she chattering cheerfully. I think she was telling him he had personality. They might as well have had exhibit information plaques on their backs: "COUPLE." CONTEMPORARY DUTCH. COURTESY OF THE ESTATE OF LOVE, FOR THE VIEWING PLEASURE (OR NOT) OF ANYONE AND EVERYONE.

Calling-for-the-Date Small Talk •It was great to meet you at ______. I hope you had as good a time as I did. •Hey, I wanted to add something to our conversation the other night . . . •You mentioned ______. Do you have any idea where I can fi nd one? •I really enjoyed our conversation about ______, and felt like we kind of connected on that issue/ topic. Would you like to go for coffee this weekend so we can continue the discussion? •You mentioned to me that you like contemporary art.The art museum has a ______exhibition until next month. Would sometime in the evening this week work for you? •I remember you said that you were a fan of ______. I enjoy him, too. Do you want to go see his latest fi lm sometime over the weekend?

But they {journalists} are still viewed as a rather privileged category. True, they no longer can ride buses free or go to the movies for free as was the case in Mussolini’s day. But they can still get into most museums or exhibitions without paying. If you’re a smooth operator you can get complimentary tickets for shows or the opera. Until recently, you could get a 30% discount on all domestic flights (now it’s 15%). And if you have trouble with any of your utilities,the utility company’s press office will be glad to give you a have in working things out. In addition, since many Italian journalists have a different sense of what constitutes a conflict of interest from what we do in the United States, they often accept any manner of gifts or paid vacations from companies they regularly cover.

80th verse: Imagine a world where weapons are vestiges of the past, displayed in museums to illustrate and warn the populace about an absurdly violent history. You’d see the conflicts on this planet exhibited from the perspective of human being as tiny microbes living on the same body, equally dependent on it and on one another for survival, yet killing each other and destroying their host anyway.

Since the Cinémathèque had emerged from a film society, their main focus was always to be on exhibition. Neither the British Film Institute nor the Museum of Modern Art had dedicated premises for showing films until several years after their inception, but the Cinémathèque from day one was all about presentation.

The images of these wounds hung in the gallery of his mind like exhibits in the museum of a slaughterhouse.

Well, then I spent three days in the Field Museum, eyeing the exhibits. Can you beat it? I walk around and walk around rubbering at mummies and bones and—well, I ain't kiddin', but they was among the three most interesting days I ever put in.

Well, then I spent three days in the Field Museum, eyeing the exhibits. Can you beat it? I walk around and walk around rubbering at mummies and bones and—well, I ain't kiddin', but they was among the three most interesting days I ever put in. And I felt pretty good, too, knowin' that no copper would be thinking of Dapper Pete as being in the museums.

fought back. A lot of it is not in the textbooks, but a lot of people fought back, and they were killed. You never hear about them anymore.’” Then, again, she said, “I lived it.” A silence settled between us, and I kept thinking about her refrain. I lived it. I lived it. I lived it. It echoed throughout the room and became the gravity around us. It crept into my ears and made a home in there. I watched the realization wash over her like a tide had risen around her body. There was so much I had not known about my grandmother’s life until this moment. So many painful experiences that she still carried deep in the marrow of her bones. I thought of how easily these memories might have slipped away with her, had we not sat down—these stories might have remained grains of sand at the bottom of an hourglass. I thought about all of the ways the world today is at once so different, and not so different at all. The exhibits at the museum were not abstractions for my grandparents; they were affirmations that what they had experienced was not of their imagination, and harrowing reminders that the scars of that era had not been self-inflicted. When my grandmother said, “I lived it,” what I heard was This museum is a mirror. When my grandmother said, “I lived it,” what I heard was My memories are an exhibit of their own. When my grandmother said, “I lived it,” what I heard was Always remember what this country did to us. When my grandmother said, “I lived it,” what I heard was Don’t let them tell you we didn’t fight back. When my grandmother said, “I lived it,” what I heard was I did not die. I have somehow made it here when so many did not. I escaped the jaws of

Bone beds turn up sporadically elsewhere, with spectacular examples in the Dinosaur National Monument in the USA and in Mongolia’s Gobi desert. In eastern England there are several within the early Cretaceous strata, which include, as well as bones, structures termed coprolites, some of which represent the petrified faeces of dinosaurs or marine reptiles. In the middle of the 19th century, when England’s population was booming and the farmers were struggling to feed everybody, it was discovered that these fragments (which, being bone, are phosphate-rich) made a superb fertilizer when crushed and acid-treated. A thriving and highly profitable industry formed to quarry away these ‘coprolite beds’. Some considerable figures were involved in this industry. John Henslow, Charles Darwin’s beloved mentor of his time at Cambridge, seems to have first encouraged the farmers of eastern England to use such fossil manure. William Buckland also became involved. An extraordinary combination of early savant of geology at Oxford and Dean of Westminster, he was the first to scientifically describe a dinosaur ( Megalosaurus); carried out his fieldwork in academic gown; reputedly ate his way through the entire animal kingdom; and coined the term ‘coprolite’, using these petrified droppings to help reconstruct the ecology of ancient animals. Later, he energetically collaborated with the celebrated German chemist Justus Liebig (who had worked out how to chemically treat these fossil phosphates to make fertilizer) to show how they could be used by agriculturalists, once demonstrating their efficacy by exhibiting, in Oxford’s Ashmolean Museum, a turnip, a yard in circumference, that he had grown with such prehistoric assistance. It is related strata (geologically rare phosphate-rich deposits, usually biologically formed) that are still a mainstay—if a rapidly depleting one—of modern agriculture. In a very real sense, these particular rocks are keeping us all alive.

In 1934, when Josef Albers designed, at the request of the architect Philip Johnson, the cover for the catalogue of the Museum of Modern Art’s Machine Art exhibition, brandishing a dramatic photo of an industrial ball bearing, Josef rejected the initial proofs from the printer, demanding that his name as designer be removed if its flaw was not corrected. Johnson wrote back contritely. He assured Josef that the margin between the edge of the paper and the powerful image of that glistening, perfectly functioning machine part would be reduced to a precise three millimeters in accord with Josef’s original design. Johnson understood the gravity of the mistake and the importance of measurements.

Conceptual Games. Dr Nathan pondered the list on his desk-pad. (1) The catalogue of an exhibition of tropical diseases at the Wellcome Museum; (2) chemical and topographical analyses of a young woman’s excrement; (3) diagrams of female orifices: buccal, orbital, anal, urethral, some showing wound areas; (4) the results of a questionnaire in which a volunteer panel of parents were asked to devise ways of killing their own children; (5) an item entitled ‘self-disgust’ - someone’s morbid and hate-filled list of his faults. Dr Nathan inhaled carefully on his gold-tipped cigarette. Were these items in some conceptual game? To Catherine Austin, waiting as ever by the window, he said, ‘Should we warn Miss Novotny?’ Biomorphic Horror. With an effort, Dr Nathan looked away from Catherine Austin as she picked at her finger quicks. Unsure whether she was listening to him, he continued: ‘Travers’s problem is how to come to terms with the violence that has pursued his life - not merely the violence of accident and bereavement, or the horrors of war, but the biomorphic horror of our own bodies. Travers has at last realized that the real significance of these acts of violence lies elsewhere, in what we might term “the death of affect”. Consider our most real and tender pleasures - in the excitements of pain and mutilation; in sex as the perfect arena, like a culture-bed of sterile pus, for all the veronicas of our own perversions, in voyeurism and self-disgust, in our moral freedom to pursue our own psychopathologies as a game, and in our ever greater powers of abstraction. What our children have to fear are not the cars on the freeways of tomorrow, but our own pleasure in calculating the most elegant parameters of their deaths. The only way we can make contact with each other is in terms of conceptualizations. Violence is the conceptualization of pain. By the same token psychopathology is the conceptual system of sex.’ Sink Speeds. During this period, after his return to Karen Novotny’s apartment, Travers was busy with the following projects: a cogent defence of the documentary films of Jacopetti; a contribution to a magazine symposium on the optimum auto-disaster; the preparation, at a former colleague’s invitation, of the forensic notes to the catalogue of an exhibition of imaginary genital organs. Immersed in these topics, Travers moved from art gallery to conference hall. Beside him, Karen Novotny seemed more and more isolated by these excursions. Advertisements of the film of her death had appeared in the movie magazines and on the walls of the underground stations. ‘Games, Karen,’ Travers reassured her. ‘Next they’ll have you filmed masturbating by a cripple in a wheel chair.