Exhibition Design Quotes

In a free country it is the duty of writers to pay no attention to duty. Only under a dictatorship is literature expected to exhibit an harmonious design or an inspirational tone.

The fundamental claim of intelligent design is straightforward and easily intelligible: namely, there are natural systems that cannot be adequately explained in terms of undirected natural forces and that exhibit features which in any other circumstance we would attribute to intelligence.

The greatest witness we can give another is grace. Showing mercy and grace is a privilege. Do you have the capacity to exhibit this?

The design of redemption is to exhibit the grace of God in such a manner as to fill all hearts with wonder and all lips with praise.

The importance of curiosity in reinforcement learning algorithms suggests that a brain designed to learn through reinforcement, such as the brain of early vertebrates, should also exhibit curiosity.

Men (women were not found to exhibit this bias) who believe that they are objective in hiring decisions are more likely to hire a male applicant than an identically described female applicant. And in organisations which are explicitly presented as meritocratic, managers favour male employees over equally qualified female employees.

Rousseau already observed that this form of government is more accurately an ‘elective aristocracy’ because in practice the people are not in power at all. Instead we’re allowed to decide who holds power over us. It’s also important to realise this model was originally designed to exclude society’s rank and file. Take the American Constitution: historians agree it ‘was intrinsically an aristocratic document designed to check the democratic tendencies of the period’. It was never the American Founding Fathers’ intention for the general populace to play an active role in politics. Even now, though any citizen can run for public office, it’s tough to win an election without access to an aristocratic network of donors and lobbyists. It’s not surprising that American ‘democracy’ exhibits dynastic tendencies—think of the Kennedys, the Clintons, the Bushes. Time and again we hope for better leaders, but all too often those hopes are dashed. The reason, says Professor Keltner, is that power causes people to lose the kindness and modesty that got them elected, or they never possessed those sterling qualities in the first place. In a hierarchically organised society, the Machiavellis are one step ahead. They have the ultimate secret weapon to defeat their competition. They’re shameless.

Opening night is in a week. Already announced to the papers, already sent out in the newsletter in fancy, glossy, full-color glory. Which means I have two days, max, to finish the framing—easily a week’s worth of work—and then four days for drilling the star maps I’ve already marked on the plywood, painting, wiring, installing, and finessing.Leaving me only one day—the day of the evening gala—to clean and get the actual exhibits set up. It’s impossible. I will make it happen or die trying. I don’t realize I’ve said that last part aloud until I notice Michelle’s horrified face.

The desire to make art begins early. Among the very young this is encouraged (or at least indulged as harmless) but the push toward a 'serious' education soon exacts a heavy toll on dreams and fantasies....Yet for some the desire persists, and sooner or later must be addressed. And with good reason: your desire to make art -- beautiful or meaningful or emotive art -- is integral to your sense of who you are. Life and Art, once entwined, can quickly become inseparable; at age ninety Frank Lloyd Wright was still designing, Imogen Cunningham still photographing, Stravinsky still composing, Picasso still painting. But if making art gives substance to your sense of self, the corresponding fear is that you're not up to the task -- that you can't do it, or can't do it well, or can't do it again; or that you're not a real artist, or not a good artist, or have no talent, or have nothing to say. The line between the artist and his/her work is a fine one at best, and for the artist it feels (quite naturally) like there is no such line. Making art can feel dangerous and revealing. Making art is dangerous and revealing. Making art precipitates self-doubt, stirring deep waters that lay between what you know you should be, and what you fear you might be. For many people, that alone is enough to prevent their ever getting started at all -- and for those who do, trouble isn't long in coming. Doubts, in fact, soon rise in swarms: "I am not an artist -- I am a phony. I have nothing worth saying. I'm not sure what I'm doing. Other people are better than I am. I'm only a [student/physicist/mother/whatever]. I've never had a real exhibit. No one understands my work. No one likes my work. I'm no good. Yet viewed objectively, these fears obviously have less to do with art than they do with the artist. And even less to do with the individual artworks. After all, in making art you bring your highest skills to bear upon the materials and ideas you most care about. Art is a high calling -- fears are coincidental. Coincidental, sneaky and disruptive, we might add, disguising themselves variously as laziness, resistance to deadlines, irritation with materials or surroundings, distraction over the achievements of others -- indeed anything that keeps you from giving your work your best shot. What separates artists from ex-artists is that those who challenge their fears, continue; those who don't, quit. Each step in the artmaking process puts that issue to the test.

To apply quantum theory to the entire universe... is tricky... particles of matter fired at a screen with two slits in it... exhibit interference patterns just as water waves do. Feynman showed that this arises because a particle does not have a unique history. That is, as it moves from its starting point A to some endpoint B, it doesn’t take one definite path, but rather simultaneously takes every possible path connecting the two points. From this point of view, interference is no surprise because, for instance, the particle can travel through both slits at the same time and interfere with itself. In this view, the universe appeared spontaneously, starting off in every possible way.

To suggest that the first cause, the great unknown which is responsible for something existing rather than nothing, is a being capable of designing the universe and of talking to a million people simultaneously, is a total abdication of the responsibility to find an explanation. It is a dreadful exhibition of self-indulgent, thought denying skyhookery.

Not every visitor was enchanted. William Morris, the future designer and aesthete, then aged seventeen, was so appalled by what he saw as the exhibition’s lack of taste and veneration of excess that he staggered from the building and was sick in the bushes.

Cult (totalistic type): a group or movement exhibiting a great or excessive devotion or dedication to some person, idea, or thing and employing unethically manipulative techniques of persuasion and control (e.g., isolation from former friends and family, debilitation, use of special methods to heighten suggestibility and subservience, powerful group pressure, information management, suspension of individuality or critical judgement, promotion of total dependency on the group and fear of leaving it, etc) designed to advance the goals of the group's leaders, to the actual or possible detriment of members, their families, or the community.

Even if we have a reliable criterion for detecting design, and even if that criterion tells us that biological systems are designed, it seems that determining a biological system to be designed is akin to shrugging our shoulders and saying God did it. The fear is that admitting design as an explanation will stifle scientific inquiry, that scientists will stop investigating difficult problems because they have a sufficient explanation already. But design is not a science stopper. Indeed, design can foster inquiry where traditional evolutionary approaches obstruct it. Consider the term "junk DNA." Implicit in this term is the view that because the genome of an organism has been cobbled together through a long, undirected evolutionary process, the genome is a patchwork of which only limited portions are essential to the organism. Thus on an evolutionary view we expect a lot of useless DNA. If, on the other hand, organisms are designed, we expect DNA, as much as possible, to exhibit function. And indeed, the most recent findings suggest that designating DNA as "junk" merely cloaks our current lack of knowledge about function. For instance, in a recent issue of the Journal of Theoretical Biology, John Bodnar describes how "non-coding DNA in eukaryotic genomes encodes a language which programs organismal growth and development." Design encourages scientists to look for function where evolution discourages it. Or consider vestigial organs that later are found to have a function after all. Evolutionary biology texts often cite the human coccyx as a "vestigial structure" that hearkens back to vertebrate ancestors with tails. Yet if one looks at a recent edition of Gray’s Anatomy, one finds that the coccyx is a crucial point of contact with muscles that attach to the pelvic floor. The phrase "vestigial structure" often merely cloaks our current lack of knowledge about function. The human appendix, formerly thought to be vestigial, is now known to be a functioning component of the immune system.

What are the true reasons why the purchaser is planning to spend his money on a new car instead of a piano? Because he has decided that he wants the commodity called locomotion more than he wants the commodity called music? Not altogether. He buys a car, because it is at the moment the group custom to buy cars. The modern propagandist therefore sets to work to create circumstances which will modify that custom . . . He will endeavor to develop public acceptance of the idea of a music room in the home. This he may do, for example, by organizing an exhibition of period music rooms designed by well-known decorators who themselves exert an influence on the buying groups . . . Then, in order to create dramatic interest in the exhibit, he stages an event or ceremony. To this ceremony key people, persons known to influence the buying habits of the public, such as a famous violinist, a popular artist, and a society leader, are invited. These key persons affect other groups, lifting the idea of the music room to a place in the public consciousness which it did not have before. The juxtaposition of these leaders, and the idea which they are dramatizing, are then projected to the wider public through various publicity channels . . . The music room will be accepted because it has been made the thing. And the man or woman who has a music room, or has arranged a corner of the parlor as a musical corner, will naturally think of buying a piano. It will come to him as his own idea.

What do you mean? What do you demand of your captain? Are you then so easily turned from your design? Did you not call this a glorious expedition? And wherefore was it glorious? Not because the way was smooth and placid as a southern sea, but because it was full of dangers and terror; because at every new incident your fortitude was to be called forth and your courage exhibited; because danger and death surrounded it, and these you were to brave and overcome. For this was it a glorious, for this was it an honourable undertaking. You were hereafter to be hailed as the benefactors of your species; your names adored as belonging to brave men who encountered death for honour and the benefit of mankind. And now, behold, with the first imagination of danger, or, if you will, the first mighty and terrific trial of your courage, you shrink away, and are content to be handed down as men who had not strength enough to endure cold and peril; and so, poor souls, they were chilly and returned to their warm firesides. Why that requires not this preparation; ye need not have come thus far, and dragged your captain to the shame of a defeat, merely to prove yourselves cowards. Oh! be men, or be more than men. Be steady to your purposes and firm as a rock. This ice is not made of such stuff as your hearts may be; it is mutable and cannot withstand you if you say that it shall not. Do not return to your families with the stigma of disgrace marked on your brows. Return as heroes who have fought and conquered, and who know not what it is to turn their backs on the foe.

Shakespeare's plays are not in the rigorous and critical sense either tragedies or comedies, but compositions of a distinct kind; exhibiting the real state of sublunary nature, which partakes of good and evil, joy and sorrow, mingled with endless variety of proportion and innumerable modes of combination; and expressing the course of the world, in which the loss of one is the gain of another; in which, at the same time, the reveller is hasting to his wine, and the mourner burying his friend; in which the malignity of one is sometimes defeated by the frolick of another; and many mischiefs and many benefits are done and hindered without design.

Are you then so easily turned from your design? Did you not call this a glorious expedition? And wherefore was it glorious? Not because the way was smooth and placid as a southern sea, but because it was full of dangers and terror; because at every new incident your fortitude was to be called forth and your courage exhibited; because danger and death surrounded it, and these you were to brave and overcome. For this was it a glorious, for this was it an honourable undertaking.

To establish evolutionary interrelatedness invariably requires exhibiting similarities between organisms. Within Darwinism, there's only one way to connect such similarities, and that's through descent with modification driven by the Darwinian mechanism. But within a design-theoretic framework, this possibility, though not precluded, is also not the only game in town. It's possible for descent with modification instead to be driven by telic processes inherent in nature (and thus by a form of design). Alternatively, it's possible that the similarities are not due to descent at all but result from a similarity of conception, just as designed objects like your TV, radio, and computer share common components because designers frequently recycle ideas and parts. Teasing apart the effects of intelligent and natural causation is one of the key questions confronting a design-theoretic research program. Unlike Darwinism, therefore, intelligent design has no immediate and easy answer to the question of common descent. Darwinists necessarily see this as a bad thing and as a regression to ignorance. From the design theorists' perspective, however, frank admissions of ignorance are much to be preferred to overconfident claims to knowledge that in the end cannot be adequately justified. Despite advertisements to the contrary, science is not a juggernaut that relentlessly pushes back the frontiers of knowledge. Rather, science is an interconnected web of theoretical and factual claims about the world that are constantly being revised and for which changes in one portion of the web can induce radical changes in another. In particular, science regularly confronts the problem of having to retract claims that it once confidently asserted.

Any chemist reading this book can see, in some detail, how I have spent most of my mature life. They can become familiar with the quality of my mind and imagination. They can make judgements about my research abilities. They can tell how well I have documented my claims of experimental results. Any scientist can redo my experiments to see if they still work—and this has happened! I know of no other field in which contributions to world culture are so clearly on exhibit, so cumulative, and so subject to verification.

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...

We often judge other people by a stricter standard than we use for our own actions. Sometimes we rush to condemn another person but make excuses when we exhibit the same behavior. We may try to impose double standards, but God never does. His standard is the same for all of us—perfection. Since we’ve all sinned, none of us can measure up, no matter how good we think we are. Fortunately, God offers us a way to meet his requirement by accepting the sacrifice of his perfect Son. Since God uses the same measuring stick for everyone, it makes no sense for us to impose double standards on people.

On the busiest day, October 7, almost 110,000 people were admitted. At one point, 92,000 were in the building at the same time—the largest number of people ever to be indoors in a single location to that time. Not every visitor was enchanted. William Morris, the future designer and aesthete, then aged seventeen, was so appalled by what he saw as the exhibition’s lack of taste and veneration of excess that he staggered from the building and was sick in the bushes.

The contemporary design argument does not rest, however, on gaps in our knowledge but rather on the growth in our knowledge due to the revolution in molecular biology. Information theory has taught us that nature exhibits two types of order. The first type is produced by natural causes-shiny crystals, hexagonal patterns in oil, whirlpools in the bathtub. But the second type-the complex structure of the DNA molecule-is not produced by any natural processes known to experience.

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.

Everyone has had the experience of suddenly feeling intense physiological and psychological shifts internally at trading glances with another person; such shifts can be exquisitely pleasurable or unpleasant. How one person gazes at another can alter the other’s electrical brain patterns, as registered by EEGS, and may also cause physiological changes in the body. The newborn is highly susceptible to such influences, with a direct effect on the maturation of brain structures. The effects of maternal moods on the electrical circuitry of the infant’s brain were demonstrated by a study at the University of Washington, Seattle. Positive emotions are associated with increased electrical activity in the left hemisphere. It is known that depression in adults is associated with decreased electrical activity in the circuitry of the left hemisphere. With this in mind, the Seattle study compared the EEGS of two groups of infants: one group whose mothers had symptoms of postpartum depression, the other whose mothers did not. “During playful interactions with the mothers designed to elicit positive emotion,” the researchers reported, “infants of non-depressed mothers showed greater left than right frontal brain activation.” The infants of depressed mothers “failed to show differential hemispheric activation,” meaning that the left-side brain activity one would anticipate from positive, joyful infant-mother exchanges did not occur — despite the mothers’ best efforts. Significantly, these effects were noted only in the frontal areas of the brain, where the centers for the self-regulation of emotion are located. In addition to EEG changes, infants of depressed mothers exhibit decreased activity levels, gaze aversion, less positive emotion and greater irritability. Maternal depression is associated with diminished infant attention spans. Summarizing a number of British studies, Dale F. Hay, a researcher at the University of Cambridge, suggests “that the experience of the mother’s depression in the first months of life may disrupt naturally occurring social processes that entrain and regulate the infant’s developing capacities for attention.

neuroscientist Peggy La Cerra observes . . . The hallmark of animalian intelligence systems is the capacity to predict likely costs and benefits of alternative paths of behavior. This logic is evident in our most ancient ancestors, bacteria. [As an example] E. Coli is a single-cell organism with a single molecule of DNA. This simplest of animals exhibits a prototypical centralized intelligence system that has the same essential design characteristics and problem solving logic as is evident in all animal intelligence systems including humans.24

The conflict between science and religion has a single and simple cause. It is the designation as religiously canonical of any conception of the material world open to scientific investigation....As a matter of fact, most of the dogmatic religions have exhibited a perverse talent for taking the wrong side on the most important concepts of the material universe, from the structure of the solar system to the origin of man. The result has been constant turmoil for many centuries, and the turmoil will continue as long as religious canons prejudge scientific questions.

Five years from today. Where, exactly, do you want to be?" Her eyes lit up. Sadie loves that kind of question. "Ooh. Wow. Let me think. December, getting close to Christmas. I'll be twenty-one..." "Passed out under the tree with a fifth of Jack, half a 7-Eleven rotisserie chicken, and a cat who poops in your shoes." Frankie returned our startled glances with his lizard look. "Oh, wait. That's me. Sorry." I opted to ignore him. "Five years to the day,Sadie." She glanced quickly between Frankie and me. "Do we need a time-out here?" "Nope," I said. "Carry on." "Okay. Five years. I will be in New York visiting the pair of you because, while NYU is fab, I will be halfwau through my final year of classics at Cambridge, trying to decide whether I want to be a psychologist or a pastry chef. You," she said sternly to Frankie, "will be drinking appropriate amounds of champagne with your boyfriend, a six-three blond from Helsinki who happens to design for Tory Burch. Ah! Don't say anything. It's my future. You can choose a different designer when it's you go. I want the Tory freebies." She turned to me. "We will be sipping said champagne in the middle of the Gagosian Galley, because it is the opening night of your first solo exhibit. At which everything will sell." She punctuated the sentence by poking the air with a speared black olive. "I love you," I told her. Then, "But that wasn't really about you." "Oh,but it was," she disagreed, going back to her salad. "It's exactly where I want to be. Although" -she grinned over a tomato wedge- "I might have the next David Beckham in tow." "The next David Beckham is a five-foot-tall Welshman named Madog Cadwalader. He has extra teeth and bow legs." "Really?" Sadie asked. Frankie snorted. "No.Not really.

That this is a practice contrary to the rules of criticism will be readily allowed; but there is always an appeal open from criticism to nature. The end of writing is to instruct; the end of poetry is to instruct by pleasing. That the mingled drama may convey all the instruction of tragedy or comedy cannot be denied, because it includes both in its alterations of exhibition, and approaches nearer than either to the appearance of life, by shewing how great machinations and slender designs may promote or obviate one another, and the high and the low co-operate in the general system by unavoidable concatenation.

In this book I contend that even when school appears to be successful, even when it elicits the performances for which it has apparently been designed, it typically fails to achieve its most important missions. Evidence for this startling claim comes from a by now overwhelming body of educational research that has been assembled over the last decades. These investigations document that even students who have been well trained and who exhibit all the overt signs of success—faithful attendance at good schools, high grades and high test scores, accolades from their teachers—typically do not display an adequate understanding of the materials and concepts with which they have been working.

By failing to make the obvious connection between an openly misogynistic culture and the mysterious lack of women, Levy contributed to the myth of innately talented hackers being implicitly male. And, today, it’s hard to think of a profession more in thrall to brilliance bias than computer science. ‘Where are the girls that love to program?’ asked a high-school teacher who took part in a summer programme for advanced-placement computer-science teachers at Carnegie Mellon; ‘I have any number of boys who really really love computers,’ he mused. ‘Several parents have told me their sons would be on the computer programming all night if they could. I have yet to run into a girl like that.’ This may be true, but as one of his fellow teachers pointed out, failing to exhibit this behaviour doesn’t mean that his female students don’t love computer science. Recalling her own student experience, she explained how she ‘fell in love’ with programming when she took her first course in college. But she didn’t stay up all night, or even spend a majority of her time programming. ‘Staying up all night doing something is a sign of single-mindedness and possibly immaturity as well as love for the subject. The girls may show their love for computers and computer science very differently. If you are looking for this type of obsessive behavior, then you are looking for a typically young, male behavior. While some girls will exhibit it, most won’t.

It’s clear that writing is a useful skill for any designer. Yet apart from a final-year dissertation or research paper, graphic designers are not encouraged to write at design school. This is odd, since words are the designer’s raw materials, much as coal is the raw material of the coal miner. Designers often say they can’t write. This is also odd, since many designers have a verbal facility for sharp phrases and economical expression. Most designers are better with words than they realize. This shyness with written language is partly caused by designers believing that they need to do everything visually. There’s a fear that they are betraying their design skills if they exhibit language skills. Yet the ability to handle text is a priceless attribute. Just think how often we struggle to make coherent typographic statements when forced to work with clumsy language: think of all those tortuous line breaks and bad configurations of type that could be eliminated with a few text edits. The ability to suggest and make text changes can often rescue work from second-rate status.

How do you build peaks? You create a positive moment with elements of elevation, insight, pride, and/ or connection. We’ll explore those final three elements later, but for now, let’s focus on elevation. To elevate a moment, do three things: First, boost sensory appeal. Second, raise the stakes. Third, break the script. (Breaking the script means to violate expectations about an experience—the next chapter is devoted to the concept.) Moments of elevation need not have all three elements but most have at least two. Boosting sensory appeal is about “turning up the volume” on reality. Things look better or taste better or sound better or feel better than they usually do. Weddings have flowers and food and music and dancing. (And they need not be superexpensive—see the footnote for more.IV) The Popsicle Hotline offers sweet treats delivered on silver trays by white-gloved waiters. The Trial of Human Nature is conducted in a real courtroom. It’s amazing how many times people actually wear different clothes to peak events: graduation robes and wedding dresses and home-team colors. At Hillsdale High, the lawyers wore suits and the witnesses came in costume. A peak means something special is happening; it should look different. To raise the stakes is to add an element of productive pressure: a competition, a game, a performance, a deadline, a public commitment. Consider the pregame jitters at a basketball game, or the sweaty-hands thrill of taking the stage at Signing Day, or the pressure of the oral defense at Hillsdale High’s Senior Exhibition. Remember how the teacher Susan Bedford said that, in designing the Trial, she and Greg Jouriles were deliberately trying to “up the ante” for their students. They made their students conduct the Trial in front of a jury that included the principal and varsity quarterback. That’s pressure. One simple diagnostic to gauge whether you’ve transcended the ordinary is if people feel the need to pull out their cameras. If they take pictures, it must be a special occasion. (Not counting the selfie addict, who thinks his face is a special occasion.) Our instinct to capture a moment says: I want to remember this. That’s a moment of elevation.

An interesting question is whether symmetry with respect to translation, and indeed reflection and rotation too, is limited to the visual arts, or may be exhibited by other artistic forms, such as pieces of music. Evidently, if we refer to the sounds, rather than to the layout of the written musical score, we would have to define symmetry operations in terms other than purely geometrical, just as we did in the case of the palindromes. Once we do that, however, the answer to the question, Can we find translation-symmetric music? is a resounding yes. As Russian crystal physicist G. V. Wulff wrote in 1908: "The spirit of music is rhythm. It consists of the regular, periodic repetition of parts of the musical composition...the regular repetition of identical parts in the whole constitutes the essence of symmetry." Indeed, the recurring themes that are so common in musical composition are the temporal equivalents of Morris's designs and symmetry under translation. Even more generally, compositions are often based on a fundamental motif introduced at the beginning and then undergoing various metamorphoses.

a harbinger of a third wave of computing, one that blurred the line between augmented human intelligence and artificial intelligence. “The first generation of computers were machines that counted and tabulated,” Rometty says, harking back to IBM’s roots in Herman Hollerith’s punch-card tabulators used for the 1890 census. “The second generation involved programmable machines that used the von Neumann architecture. You had to tell them what to do.” Beginning with Ada Lovelace, people wrote algorithms that instructed these computers, step by step, how to perform tasks. “Because of the proliferation of data,” Rometty adds, “there is no choice but to have a third generation, which are systems that are not programmed, they learn.”27 But even as this occurs, the process could remain one of partnership and symbiosis with humans rather than one designed to relegate humans to the dustbin of history. Larry Norton, a breast cancer specialist at New York’s Memorial Sloan-Kettering Cancer Center, was part of the team that worked with Watson. “Computer science is going to evolve rapidly, and medicine will evolve with it,” he said. “This is coevolution. We’ll help each other.”28 This belief that machines and humans will get smarter together is a process that Doug Engelbart called “bootstrapping” and “coevolution.”29 It raises an interesting prospect: perhaps no matter how fast computers progress, artificial intelligence may never outstrip the intelligence of the human-machine partnership. Let us assume, for example, that a machine someday exhibits all of the mental capabilities of a human: giving the outward appearance of recognizing patterns, perceiving emotions, appreciating beauty, creating art, having desires, forming moral values, and pursuing goals. Such a machine might be able to pass a Turing Test. It might even pass what we could call the Ada Test, which is that it could appear to “originate” its own thoughts that go beyond what we humans program it to do. There would, however, be still another hurdle before we could say that artificial intelligence has triumphed over augmented intelligence. We can call it the Licklider Test. It would go beyond asking whether a machine could replicate all the components of human intelligence to ask whether the machine accomplishes these tasks better when whirring away completely on its own or when working in conjunction with humans. In other words, is it possible that humans and machines working in partnership will be indefinitely more powerful than an artificial intelligence machine working alone?

While there are deeper regularities in the Universe than the simple circumstances we generally describe as orderly, all that order, simple and complex, seems to derive from laws of Nature established at the Big Bang (or earlier), rather than as a consequence of belated intervention by an imperfect deity. “God is to be found in the details” is the famous dictum of the German scholar Aby Warburg. But, amid much elegance and precision, the details of life and the Universe also exhibit haphazard, jury-rigged arrangements and much poor planning. What shall we make of this: an edifice abandoned early in construction by the architect? The evidence, so far at least and laws of Nature aside, does not require a Designer. Maybe there is one hiding, maddeningly unwilling to be revealed. Sometimes it seems a very slender hope. The significance of our lives and our fragile planet is then determined only by our own wisdom and courage. We are the custodians of life’s meaning. We long for a Parent to care for us, to forgive us our errors, to save us from our childish mistakes. But knowledge is preferable to ignorance. Better by far to embrace the hard truth than a reassuring fable. If we crave some cosmic purpose, then let us find ourselves a worthy goal. --Pale Blue Dot: A Vision of the Human Future in Space

AESTHETIC SIMPLICITY For some people simplicity is an aesthetic value, so one further sense that might be attached to the notion of simple living is a preference for an uncomplicated, uncluttered living environment. Imagine, for instance, an apartment with white walls, white trim, bare wood floors, simple wooden furniture, plain white kitchenware, white towels in the bathroom, and white blankets on the simple wooden beds. Or a house where the brick walls and overhead beams are left exposed, the furniture is rustic, and any artwork on display is clearly local and amateurish. Or a study containing nothing but a desk and a chair. All these are interiors that people deliberately create for themselves. Simplicity of this sort is not necessarily frugal. The uncluttered apartment could be in the center of Paris; the plain wooden furniture might be custom-made. Wittgenstein designed a house in Vienna for his sister Margaret characterized by austere, almost minimalist aesthetic lines, yet built with no concern for cost. But although such setups may not be cheap, they make no exhibition of expense. And the styles have symbolic significance. They bespeak sympathy with the plain, the unpretentious, the unostentatious. They connote honesty, purity, and a mind focused on essentials. In the case of country retreats, closeness to nature may also be sought and expressed.

What do you mean? What do you demand of your captain? Are you, then, so easily turned from your design? Did you not call this a glorious expedition? “And wherefore was it glorious? Not because the way was smooth and placid as a southern sea, but because it was full of dangers and terror, because at every new incident your fortitude was to be called forth and your courage exhibited, because danger and death surrounded it, and these you were to brave and overcome. For this was it a glorious, for this was it an honourable undertaking. You were hereafter to be hailed as the benefactors of your species, your names adored as belonging to brave men who encountered death for honour and the benefit of mankind. And now, behold, with the first imagination of danger, or, if you will, the first mighty and terrific trial of your courage, you shrink away and are content to be handed down as men who had not strength enough to endure cold and peril; and so, poor souls, they were chilly and returned to their warm firesides. Why, that requires not this preparation; ye need not have come thus far and dragged your captain to the shame of a defeat merely to prove yourselves cowards. Oh! Be men, or be more than men. Be steady to your purposes and firm as a rock. This ice is not made of such stuff as your hearts may be; it is mutable and cannot withstand you if you say that it shall not. Do not return to your families with the stigma of disgrace marked on your brows. Return as heroes who have fought and conquered and who know not what it is to turn their backs on the foe.

What do you mean? What do you demand of your captain? Are you then so easily turned from your design? Did you not call this a glorious expedition? And wherefore was it glorious? Not because the way was smooth and placid as a southern sea, but because it was full of dangers and terror; because, at every new incident, your fortitude was to be called forth, and your courage exhibited; because danger and death surrounded, and these dangers you were to brave and overcome. For this was it a glorious, for this was it an honourable undertaking. You were hereafter to be hailed as the benefactors of your species; your names adored, as belonging to brave men who encountered death for honour and the benefit of mankind. And now, behold, with the first imagination of danger, or, if you will, the first mighty and terrific trial of your courage, you shrink away, and are content to be handed down as men who had not strength enough to endure cold and peril; and so, poor souls, they were chilly, and returned to their warm fire-sides. Why, that requires not this preparation; ye need not have come thus far, and dragged your captain to the shame of a defeat, merely to prove yourselves cowards. Oh! be men, or be more than men. Be steady to your purposes, and firm as a rock. This ice is not made of such stuff as your hearts might be; it is mutable, cannot withstand you, if you say that it shall not. Do not return to your families with the stigma of disgrace marked on your brows. Return as heroes who have fought and conquered, and who know not what it is to turn their backs on the foe.

What do you mean? What do you demand of your captain? Are you, then, so easily turned from your design? Did you not call this a glorious expedition? And wherefore was it glorious? Not because the way was smooth and placid as a southern sea, but because it was 266 Frankenstein full of dangers and terror, because at every new incident your fortitude was to be called forth and your courage exhibited, because danger and death surrounded it, and these you were to brave and overcome. For this was it a glorious, for this was it an honourable undertaking. You were hereafter to be hailed as the benefactors of your species, your names adored as belonging to brave men who encountered death for honour and the benefit of mankind. And now, behold, with the first imagination of danger, or, if you will, the first mighty and terrific trial of your courage, you shrink away and are content to be handed down as men who had not strength enough to endure cold and peril; and so, poor souls, they were chilly and returned to their warm firesides. Why, that requires not this preparation; ye need not have come thus far and dragged your captain to the shame of a defeat merely to prove yourselves cowards. Oh! Be men, or be more than men. Be steady to your purposes and firm as a rock. This ice is not made of such stuff as your hearts may be; it is mutable and cannot withstand you if you say that it shall not. Do not return to your families with the stigma of disgrace marked on your brows. Return as heroes who have fought and conquered and who know not what it is to turn their backs on the foe.

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

During [Erté]’s childhood St. Petersburg was an elegant centre of theatrical and artistic life. At the same time, under its cultivated sophistication, ominous rumbles could be distinguished. The reign of the tough Alexander III ended in 1894 and his more gentle successor Nicholas was to be the last of the Tsars … St. Petersburg was a very French city. The Franco-Russian Pact of 1892 consolidated military and cultural ties, and later brought Russia into the First World war. Two activities that deeply influenced [Erté], fashion and art, were particularly dominated by France. The brilliant couturier Paul Poiret, for whom Erté was later to work in Paris, visited the city to display his creations. Modern art from abroad, principally French, was beginning to be show in Russia in the early years of the century … In St. Petersburg there were three Imperial theatres―the Maryinsky, devoted to opera and ballet, the Alexandrinsky, with its lovely classical façade, performing Russian and foreign classical drama, and the Michaelovsky with a French repertoire and company … It is not surprising that an artistic youth in St. Petersburg in the first decade of this century should have seen his future in the theatre. The theatre, especially opera and ballet, attracted the leading young painters of the day, including Mikhail Vrubel, possibly the greatest Russian painter of the pre-modernistic period. The father of modern theatrical design in Russia was Alexandre Benois, an offspring of the brilliant foreign colony in the imperial capital. Before 1890 he formed a club of fellow-pupils who were called ‘The Nevsky Pickwickians’. They were joined by the young Jew, Leon Rosenberg, who later took the name of one of his grandparents, Bakst. Another member introduced his cousin to the group―Serge Diaghilev. From these origins emerged the Mir Iskustva (World of Art) society, the forerunner of the whole modern movement in Russia. Soon after its foundation in 1899 both Benois and Bakst produced their first work in the theatre, The infiltration of the members of Mir Iskustva into the Imperial theatre was due to the patronage of its director Prince Volkonsky who appointed Diaghilev as an assistant. But under Volkonsky’s successor Diagilev lost his job and was barred from further state employment. He then devoted his energies and genius to editing the Mir Iskustva magazine and to a series of exhibitions which introduced Russia to work of foreign artists … These culminated in the remarkable exhibition of Russian portraiture held at the Taurida Palace in 1905, and the Russian section at the salon d'Autumne in Paris the following year. This was the most comprehensive Russian exhibition ever held, from early icons to the young Larionov and Gontcharova. Diagilev’s ban from Russian theatrical life also led to a series of concerts in Paris in 1907, at which he introduced contemporary Russian composers, the production Boris Godunov the following year with Chaliapin and costumes and décor by Benois and Golovin, and then in 1909, on May 19, the first season of the ballet Russes at the Châtelet Theatre.

According to the book of Genesis, “God created man in his own image.” According to Aristotle, “men create the gods after their own image.” As should be clear by now, Aristotle seems to have been onto something, especially when it comes to the minds of gods. So, in theory, some of the more basic features of the human mind should be fairly standard equipment in gods, especially the gods of “primitive” religions. That seems to be the case, and one of these features deserves special consideration: the part of the human mind shaped by the evolutionary dynamic known as “reciprocal altruism.” In light of this dynamic, much about the origin of religion, and for that matter much about contemporary religion, makes a new kind of sense. Thanks to reciprocal altruism, people are “designed” to settle into mutually beneficial relationships with other people, people whom they can count on for things ranging from food to valuable gossip to social support, and who in turn can count on them. We enter these alliances almost without thinking about it, because our genetically based emotions draw us in. We feel gratitude for a favor received, along with a sense of obligation, which may lead us to return the favor. We feel growing trust of and affection for people who prove reliable reciprocators (aka “friends”), which keeps us entwined in beneficial relationships. This is what feelings like gratitude and trust are for—the reason they’re part of human nature. But of course, not everyone merits our trust. Some people accept our gifts of food and never reciprocate, or try to steal our mates, or exhibit disrespect in some other fashion. And if we let people thus take advantage of us day after day, the losses add up. In the environment of our evolution, these losses could have made the difference between surviving and not surviving, between prolifically procreating and barely procreating. So natural selection gave us emotions that lead us to punish the untrustworthy—people who violate our expectations of exchange, people who seem to lack the respect that a mutually beneficial relationship demands. They fill us with outrage, with moral indignation, and that outrage—working as “designed” —impels us to punish them in one way or another, whether by actually harming them or just by withholding future altruism. That will teach them! (Perhaps more important, it will also teach anyone else who is watching, and in the ancestral hunter-gatherer environment, pretty much everyone in your social universe was watching.) This is the social context in which the human mind evolved: a world full of neighbors who, to varying degrees, are watching you for signs of betrayal or disrespect or dishonesty—and who, should they see strong evidence of such things, will punish you. In such a social universe, when misfortune comes your way, when someone hits you or ridicules you or suddenly gives you the cold shoulder, there’s a good chance it’s because they feel you’ve violated the rules of exchange. Maybe you’ve failed to do them some favor they think they were due, or maybe you’ve shown them disrespect by doing something that annoys them. Surely it is no coincidence that this generic explanation of why misfortune might emanate from a human being is also the generic explanation of why misfortune emanates from gods. In hunter-gatherer religions—and lots of other religions—when bad things happen, the root cause is almost always that people in one sense or another fail to respect the gods. They either fail to give gods their due (fail, say, to make adequate sacrifices to ancestral spirits), or they do things that annoy gods (like, say, making a noise while cicadas are singing). And the way to make amends to the aggrieved gods is exactly the way you’d make amends to aggrieved people: either give them something (hence ritual sacrifice), or correct future behavior so that it doesn’t annoy them (quit making noises while cicadas are singing).

Sociobiologist Edward O. Wilson later said that there should be a “consilience” between art and science. 79 Former NASA astronaut Mae Jemison took selected images with her on her first trip to space, including a poster of dancer and former artistic director of the Alvin Ailey American Dance Theater Judith Jamison performing the dance Cry, and a Bundu statue from Sierra Leone, because, as she said, “the creativity that allowed us . . . to conceive and build and launch the space shuttle, springs from the same source as the imagination and analysis it took to carve a Bundu statue, or the ingenuity it took to design, choreograph, and stage ‘Cry.’ . . . That’s what we have to reconcile in our minds, how these things fit together.” 80 As a jazz musician once told me, musicians are mathematicians as well as artists. Morse’s story suggests that the argument started not because of the need to bring art and science together, but because they were once not so far apart. 81 When Frank Jewett Mather Jr. of The Nation stated that Morse “was an inventor superimposed upon an artist,” it was factually true. 82 Equally true is that Morse could become an inventor because he was an artist all the while. In one of the final paintings that laid him flat, the painting that failed to secure his last attempt at a commission, one he had worked fifteen years to achieve, Morse may have left a clue about his shift from art to invention, and the fact that the skills required for both are the same. He painted The House of Representatives (1822–23) as evidence of his suitability for a commission from Congress to complete a suite of paintings that still adorn the U.S. Capitol building. The painting has an odd compositional focus. In the center is a man screwing in an oil chandelier, preoccupied with currents. Morse was “rejected beyond hope of appeal” by the congressional commission led by John Quincy Adams. When he toured the picture for seven weeks—displayed in a coffee house in Salem, Massachusetts, and at exhibitions in New York, Boston, Middleton, and Hartford, Connecticut—it lost twenty dollars in the first two weeks. Compounded by a litany of embarrassing, near-soul-stealing artistic failures, he took to his bed for weeks, “more seriously depressed than ever.” This final rejection forced him to shift his energies to his telegraph invention. 83 By 1844 Morse went to the Capitol focused on a current that would occupy the work of Congress—obtaining a patent for the telegraph.

Museums, whatever their content, are logical design arenas. Their renewed vitality reflects a spreading curatorial perception that a museum is a designed situation more than it is a warehouse open to the public. This in turn has made it possible for a great many people, including children, to perceive museum-going as something to do, rather than something that is done to you.

Perhaps when I say I was expecting his suicide, it is only memory going back to revise itself. There is no reason an artistic and sensitive boy could not grow into a happy man. Where and how things went amiss with him I do not know, though even as a teenager, I recognized his despondency when at school the production of his play earned him jeers and a special exhibition of his car designs estranged him from his classmates. He was the kind of person who needed others to feel his existence.

The Greenbrier Bunker was one of America’s best-kept secrets for decades. Beneath the Greenbrier Resort in West Virginia, a bomb shelter was hidden from the general public. It was created for members of Congress in the event of an emergency, stocked with months’ worth of food and supplies. The bunker was kept a secret for over thirty years, and it was built alongside the Greenbrier Resort, in the town of White Sulphur Springs. Even the official historian of Greenbrier, Bob Conte, knew nothing about the bunker. Conte had all sorts of records and photos from the property, but nothing that revealed information about the bunker. It turns out that the bunker was built in case of an emergency during the Cold War. The space of the bunker has been compared to that of a Walmart store, with thick, concrete walls and an extensive air filtration system. Rows of metal bunkbeds line the walls, with enough beds for 1,100 people. The building of the bunker was called “Project Greek Island,” and hotel workers and locals were told the construction was for a new conference and exhibition center. It was even used for conferences by thousands of people who had no idea that it was actually designed to be a secret bunker. Down the hall from the sleeping quarters, there was a room designed to be the floor for the House of Representatives. A group of secret government employees disguised themselves as technicians, but they were really some of the only people in the world who knew about the bunker. It was their job to make sure there was a constant six-month supply of food, the most up-to-date pharmaceuticals, and everything that the members of Congress would need in the event of an emergency. The bunker was exposed to the public in 1992. Today, the Greenbrier property is home to not only the Greenbrier Resort, but also the Presidents’ Cottage Museum. As over twenty-five presidents have stayed there, the museum shows their experiences, the property’s history, and, now, part of the bunker. There is a new emergency shelter in place, but only a handful of people know its whereabouts.

Human bodies are extremely complicated and over the years I learned three important things about them, none of which I had been taught by lecturers or professors at my medical school. First, I learned that no two bodies are identical and there are an infinite number of variations. Not even twins are truly identical. When I first started to study medicine I used to think how much easier it would be for us all (doctors and patients) if bodies came with an owner's manual, but the more I learned about medicine the more I realised that such a manual would have to contain so many variations, footnotes and appendices that it wouldn't fit into the British Museum let alone sit comfortably on the average bookshelf. Even if manuals were individually prepared they would still be too vast for practical use. However much we may think we know about illness and health there will always be exceptions; there will always be times when our prognoses and predictions are proved wrong. Second, I learned that the human body has enormous, hidden strengths, and far greater power than most of us ever realise. We tend to think of ourselves as being delicate and vulnerable. But, in practice, our bodies are tougher than we imagine, far more capable of coping with physical and mental stresses than most of us realise. Very few of us know just how strong and capable we can be. Only if we are pushed to our limits do we find out precisely what we can do. Third, I learned that our bodies are far better equipped for selfdefence than most of us imagine, and are surprisingly well-equipped with a wide variety of protective mechanisms and self-healing systems which are designed to keep us alive and to protect us when we find ourselves in adverse circumstances. The human body is designed for survival and contains far more automatic defence mechanisms, designed to protect its occupant when it is threatened, than any motor car. To give the simplest of examples, consider what happens when you cut yourself. First, blood will flow out of your body for a few seconds to wash away any dirt. Then special proteins will quickly form a protective net to catch blood cells and form a clot to seal the wound. The damaged cells will release special substances into the tissues to make the area red, swollen and hot. The heat kills any infection, the swelling acts as a natural splint - protecting the injured area. White cells are brought to the injury site to swallow up any bacteria. And, finally, scar tissue builds up over the wounded site. The scar tissue will be stronger than the original, damaged area of skin. Those were the three medical truths I discovered for myself. Over the years I have seen many examples of these three truths. But one patient always comes into my mind when I think about the way the human body can defy medical science, prove doctors wrong and exhibit its extraordinary in-built healing power.

But this is not all. Even in a lively oral narration, it is not unusual to introduce persons in conversation with each other, and to give a corresponding variety to the tone and the expression. But the gaps, which these conversations leave in the story, the narrator fills up in his own name with a description of the accompanying circumstances, and other particulars. The dramatic poet must renounce all such expedients; but for this he is richly recompensed in the following invention. He requires each of the characters in his story to be personated by a living individual; that this individual should, in sex, age, and figure, meet as near as may be the prevalent conceptions of his fictitious original, nay, assume his entire personality; that every speech should be delivered in a suitable tone of voice, and accompanied by appropriate action and gesture; and that those external circumstances should be added which are necessary to give the hearers a clear idea of what is going forward. Moreover, these representatives of the creatures of his imagination must appear in the costume belonging to their assumed rank, and to their age and country; partly for the sake of greater resemblance, and partly because, even in dress, there is something characteristic. Lastly, he must see them placed in a locality, which, in some degree, resembles that where, according to his fable, the action took place, because this also contributes to the resemblance: he places them, i.e., on a scene. All this brings us to the idea of the theatre. It is evident that the very form of dramatic poetry, that is, the exhibition of an action by dialogue without the aid of narrative, implies the theatre as its necessary complement. We allow that there are dramatic works which were not originally designed for the stage, and not calculated to produce any great effect there, which nevertheless afford great pleasure in the perusal. I am, however, very much inclined to doubt whether they would produce the same strong impression, with which they affect us, upon a person who had never seen or heard a description of a theatre. In reading dramatic works, we are accustomed ourselves to supply the representation.

the matter in our machines, roads, buildings and other engineering projects appears on track to soon overtake all living matter on Earth. In other words, even without an intelligence explosion, most matter on Earth that exhibits goal-oriented properties may soon be designed rather than evolved. This new third kind of goal-oriented behavior has

3. The site • Thoroughly investigate the spaces you are designing for by taking photographs, drawing and measuring. • Measure loading bays and delivery doors to determine a maximum size for exhibits and display devices that will be taken through them into the display area. • Analyze and develop exhibition content to see how it might best work within the physical constraints of the exhibition area. • Determine which walls and internal structures can be moved to facilitate displaying the exhibits. • Examine the route from the building entrance to the exhibition space.

[...] interactive media is no longer a novelty [...]—it is an expectation.

Writing an interactive brief 1. The contest of the interactive(s) within the story of the exhibition. 2. The key content messages. 3. Key learning outcomes—what should the visitor take away from the experience? 4. Details of the assets available—this could be a list of objects, set of reference images, data information or moving film footage. 5. Audience profile—who is the intended audience? 6. Initial specifications of the audiovisual hardware likely to be used. 7. Budget.

6. Graphic design skills • Look at the models, drawings and sketches of a proposed scheme to understand the placement of graphics. • Work out the space of 3-D drawings so that graphics can be reproduced at the appropriate size. • Print out graphics at full size and look at them from what will be the visitor's viewpoint in the exhibition environment; adjust the size of text or images as necessary. • Discuss readability issues with your client and avoid long passages of text.

Interactive designers may [...] recommend technologies that do not date as easily as others, such as touch tables rather than apps. One strategy is to use technologies that have been in existence for a while, as component and style have been proved to last, at least for a number of years. The most effective interactive often do not seek to use the latest technology, but rather work with existing technological "gestures", such as using fingertips to zoom in, and exploit these Given that the only certainty for technology is further change, the success of any interactive is always measured by its usefulness, and its relevance to the exhibition content. The only way to mitigate against obsolescence is the richness of the interpretation—if the story is strong enough, an older technological interface can sometimes cease to matter.

Very often exhibition designers are asked to create "interpretive masterplans". These address the need to plan links between disparate content/gallery areas, and often encompass an entire site, or a large section of a site. A completed interpretive master plan shows potential visitor routes between galleries, illustrates logical content sequences (such as chronological or thematic approach) and might illustrate a range of costed options to help the client decide how to best use their buildings and galleries within a given budget.

An "organogram" [is] a hierarchical diagram setting out the roles and responsibilities of the staff designing an exhibition. [p31]

Devising a path The single path: A single path ensures that all visitors have similar experiences and allows the exhibitor to plan their approach to them in detail, so that they encounter a succession of exhibits in a preconceived fashion. This may be important where the objective is to build a platform of knowledge in the visitor's mind. [...] Later exhibits will be better understood once a basic understanding has been established. This process of introduction and preparation is called "scaffolding". Single path displays often involve visitor management problems and "dwell time" needs to be strictly managed.

[...] most exhibitors try to outdo each other in light output. The lighting designer Dan Heap describes this as a "lux war" ("lux" is the measurement of illuminance).

9. Sound and film • Use sound and film to add depth to the theme of an exhibition. Many visitors respond well to audiovisual content, and in some cases, this may be the only bit of the exhibition visitors engage with. Integrate sound and film into the overall narrative of the exhibition. • Develop of the content for film and sound at the same time as the exhibition narrative. • Examine the exhibition environment and make sure the light and acoustic conditions are adequate for audiovisual displays. • Install acoustic barriers between sound areas where necessary to avoid sound spill. • Use your imagination to explore how film and sound can be used. Exhibitions offer grate potential for the use of film and sound that far exceed how film and media are used in a day-to-day context.

[...] exhibition designers must be able to manage and work creatively with the digital information that surrounds and exhibition. Increasingly, the assets of a museum will include an electronic database that can be accessed through websites, apps and creative interactive devices within the environs of a gallery interior, in addition to traditional object displays.

[Historically] display cases with thick wooden frames were the staple of most museum collections, providing security and protection from theft and damage. In conjunction with poor lighting, the glass of these cases meant that many exhibits were difficult to see and also created an important psychological distance between the viewer and the object.

Modern Movement architects and designers reinterpreted the rooms of buildings in new ways, using the language of "spatial relationships" and "volumes" in influence display environments.

[...] in other words, an idealist and determinist covenant with what had been and what was manifest in every nail, piece of wood, caption, and photograph in this installation design." (Mary Anne Staniszewski, author of The Power of Display)

This "take home" aspect of modern exhibitions has parallels with the traditional "giveaways" handed out to visitors and the themed trinkets from the museum shop. The important difference is that data capture at exhibitions allows institutions to draw the Internet traffic of their target audiences into their digital space, delivering the kind of marketing benefits that mere branded trinkets can no longer provide.Interestingly, the live, physical experience of holding an event has not been replaced by virtual exhibitions, as was predicted when the Internet was born. The digital experience often leads to a physical visit that seems to encourage rather than discourage visitors.

Exhibition designers often specialize in one or two areas: museum displays for publicly funded institutions or commercials displays for corporate clients. [...]Typically, exhibition design encompasses areas such as "customer experiences", "brand environments", trade fair stands, launch events, consumer pavilions (including World Expos), museums, art galleries, and science and "discovery" centres.

Commercial exhibitors will often have strategic goals that explain the competitive strengths and unique advantages of their current offer. Related but slightly different are visitor outcomes. These describe the ideas of impressions the client wants the audience to take away from their visitor experience. [...] It can be really helpful to state intended "visitor outcomes" as well as "visitor messages", as there is a critical difference between delivering messages (saying that "science is fun") and designing an experience that creates an understanding in the mind of the visitor (having visitors say "science is fun" after their visit).

Types of exhibit-focused lighting: 1. Spotlights 2. Wall-wash 3. Contoured spotlight

8. Interactives 

• Work with the client to get detailed feedback and agreement on the interactive brief. 

• Work with client to collect great assets (images, videos, language/quotations, etc.) to include in the brief, and ultimately, in the interactive. 

• Ensure that the interactive is fun, easy and rich with ideas. 

• Maintain simplicity and accessibility.

The exhibition strategy always resounds to access and sustainability issues, and must rescind to a given budget. It is not the design per se, but an approach to the design. It can often be best described through images showing the types of activities and moods the designers wishes to create without too much design information.

10. Materials • Examine the durability, fixing methods, cost, sheet size and ease of use of materials. • Check the fire rating of materials to ensure that they conform to local fire regulations. • Specify combinations of materials and types of construction accurately, in conformity with local building regulations. Where possible, be specific about the supplier of a material, its surface texture, colours (including the appropriate paint or the surface treatment) and the required fire resistance. • Ask suppliers for produce prototypes wherever possible. • Build a library of samples that you can refer to quickly and easily.

4. Exhibition strategy • Investigate the premise for the exhibition. • Construct an interpretive strategy to bring the premise to life. • Create a storyline that can be divided into chapters to suit the exhibition space.

Exhibit-focused lighting 1. "Ambient light" describes light thrown onto walls creating an overall brightness. 2. "Accent lighting" describes an object illuminated while the surrounding room is in relative darkness. 3. "Sparkle" describes special coloured or accented light features intended to create a spectacle.

Graffiti and Tearing55: Designed by Norlander et al. (1998) participants are given an illustration of "Adam and Eve in the Garden of Paradise" and are told to draw or doodle on it (hence the "graffiti” part.) Next, they are given an illustration of "Samson and the Lion" which, theoretically, is intended to provoke participants to exhibit aggressiveness. The participants are told to tear apart that image into little pieces. The number of graffitis and their content (if sexual or violent) and the bits and pieces from the second image are the dependent variable (i.e. the thing being measured,) and, allegedly, an indicator of aggression. The experiment can be adapted to study the influence of sex differences, alcohol consumed before the experiment, or any variable you can imagine (like having played video games before the experiment.)

5. 3-D design skills • Generate guiding ideas through research, mindmapping and personal observation. • Research and analyze relevant precedents. • Refer to the exhibition strategy when you develop the plan. • Use models, sketches and computer visuals to envisage how the scheme will work in practice.

Designing for readability Some exhibiting institutions recommend in their guidelines that all texts should be readable by an average twelve-year-old. Studies show that even competent readers are less able to see and understand text in the often confusing environment of an exhibition, and reading ages are effectively lower for exhibition texts than for reading in less demanding surroundings, such as the classroom or home.

In most cases, very long lines of text are avoided, especially at a low level. Area titles of chapter headings are usually mounted above the heads of visitors so that they can be seen from a distance.

"Find out more" interactives "Find out more" interactives appeal to visitors of all levels of interest—from those who just want to grasp the big picture to those who wish to dig deeper. Gaming interactives Gaming interactives appeal to those who learn by doing rather than being shown or told (sometimes referred to ask kinaesthetic learners). These do not need to be digital—many of the best game-based interactives are mechanical and kinetic. They are often a great way of helping visitors to see how dry content can be applied to more exciting scenarios. Environmental interactives Environmental interactives are immersive interactive experiences, often on a large scale, intended to connect with users in an emotional and awe-inspiring way by carrying a powerful, overarching message. Often, these pieces feel closer to art installations than interactives The main outcome of the interactive is often a sensory impression, rather than an intense learning experience.

Expense versus value Interactives, especially digital ones, can be expensive, so exhibition designers should carefully consider their function in telling the story and the audience they are addressing.

The Ekarv method, named after Margareta Ekarv of the Swedish Postal Museum, is a proven set of guidelines, the effectiveness of which has been substantiated by research and has been widely adopted. 1. Use simple language to express complex ideas. 2. Use normal spoken word order. 3. One main idea per line, the end of the line coinciding with the natural end of the phrase. "The robbers were sentenced to death by hanging" is short and to the point. 4. Lines of about 45 letters; text broken into short paragraphs of four or five lines. 5. Use the active form of verbs and state the subject early in the sentence. 6. Avoid: subordinate clauses, complicated constructions, unnecessary adverbs, hyphenating words and the end of lines. 7. Read texts aloud and note natural pauses. 8. Adjust wording and punctuation to reflect the rhythm of speech. 9. Discuss texts with colleagues and consider their comments. 10. Pin draft texts in their final positions to assess affect. 11. Continually reverse and refine the wording. 12. Concentrate the meaning to an "almost poetic level".

7. Lighting • Carry out a site survey whenever possible to assess the conditions in which an exhibition will take place, and familiarize yourself with any existing lighting infrastructure and daylight parameters. • Examine existing electrical installations and determine whether they are adequate to support new lighting. Considering the routing of cables carefully. • Plan the lighting early on. It is easier to add it at the beginning of the the design process than at the end. • Create a lighting scheme that supports the exhibition structure and helps the convey the show's concept. • Ensure that all graphical information that is intended to be read and adequately illuminated, and check the readability of the information. • Consider the amount of heat the lighting will generate. Hot lamps may harm the exhibits and if the heat build-up is too great, additional air-conditioning may be needed. • Make your collaborators aware of the lighting solutions you intend to provide by circulating your lighting plans to all relevant parties.

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Life is too short for fearmongering and becoming ensnarled in lengthy periods of depression. We must use our time judiciously and never waver in our scared quest striving to achieve what one seeks. A person whom encounters no difficulties along the way, or only finds relatively minor troubles, probably does not want much out of life. When times are too tame, it is probable that we allowed a certain pall of inertia to set in. One cannot sail on a meek wind. When life is too tranquil, we should be suspicious of our charted designation. When life is too calm, it is possible that we will shortly run aground. When we experience no resistance in our path, we probably did not depart on a worthwhile journey in the first place. One must act diligently to scout out a meaningful destination. I must rest when tired, but I can never become complacent and snooze through life. I can never surrender what I seek. Striving means a willingness to make mistakes in good faith and to continue to go on undeterred by past mistakes. Any motivated person is bound to make mistakes pursing challenging goals and occasionally fall short of his or her intended short-term or midrange mark. In order to achieve worthy long-term goals, person must exhibit mental flexibility and adapt to every obstacle blocking their path.

So often we impair God’s designed influence, which He desires to exhibit through us, because of our own conscious efforts to be consistent and useful. Jesus said there is only one way to develop and grow spiritually, and that is through focusing and concentrating on God. In essence, Jesus was saying, “Do not worry about being of use to others; simply believe on Me.” In other words, pay attention to the Source, and out of you “will flow rivers of living water

Another issue with using the microservice architecture is that developers must deal with the additional complexity of creating a distributed system. Services must use an interprocess communication mechanism. This is more complex than a simple method call. Moreover, a service must be designed to handle partial failure and deal with the remote service either being unavailable or exhibiting high latency.

As she'd deliberately and languidly stripped herself bare then knelt in the tub, seductively scrubbing her private places, she'd seemed an intriguing mix of innocence and experience, wholesome yet tantalizing. Knowing he was watching---or so he'd believed---she'd presented a sensual, galvanizing exhibition that could only have been designed to titillate and inflame. The interlude had been the most erotic he'd ever witnessed in a lifetime that had been filled with naughty sexual activity.

The excellent Mr. Edwards was settled there, with his grandfather Stoddard, upon the opinion that the Lord’s supper was a converting ordinance, and he had gone on fifteen years in that way, until he was fully convinced that it was contrary to the Word of God; and he also found that gospel discipline could not be practiced in such a way. No sooner was his change of mind discovered, in 1744, than most of his people were inflamed against him, and never would give him a hearing upon the reasons of his change of sentiments; but they were resolute to have him dismissed. As he could not get them to hear him preach upon the subject, he printed his thoughts upon it, in 1749, though most of them would not read his book. In it he says, “that baptism, by which the primitive converts were admitted into the church, was used as an exhibition and token of their being visibly regenerated, dead to sin, and alive to God. The saintship, godliness, and holiness of which, according to Scripture, professing Christians and visible saints do make a profession and have a visibility, is not any religion and virtue that is the result of common grace, or moral sincerity, (as it is called), but saving grace.” And to prove this, he referred to Rom. 2:29; 6:1-4; Phil. 3:3; Col. 2:11, 12. [On a right to Sacraments, p. 20-23.] Though he did not design it, yet many others have been made Baptists by the same scriptures, and the same ideas from them.

There are signs, however, that a good time was had all last night. Jo might have found herself caught in the middle of a love triangle, but she clearly didn't mind staying around when she thought that one of the angles had been dispensed with. The remains of dinner still grace the table---dirty dishes, rumpled napkins, a champagne flute bearing a lipstick mark. There's even one of the Chocolate Heaven goodies left in the box---which is absolute sacrilege in my book, so I pop it in my mouth and enjoy the brief lift it gives me. I huff unhappily to myself. If they left chocolate uneaten, that must be because they couldn't wait to get down to it. Two of the red cushions from the sofa are on the floor, which shows a certain carelessness that Marcus doesn't normally exhibit. They're scattered on the white, fluffy sheepskin rug, which should immediately make me suspicious---and it does. I walk through to the bedroom and, of course, it isn't looking quite as pristine as it did yesterday. Both sides of the bed are disheveled and I think that tells me just one thing. But, if I needed confirmation, there's a bottle of champagne and two more flutes by the side of the bed. It seems that Marcus didn't sleep alone. Heavy of heart and footstep, I trail back through to the kitchen. More devastation faces me. Marcus had made no attempt to clear up. The dishes haven't been put into the dishwasher and the congealed remnants of last night's Moroccan chicken with olives and saffron-scented mash still stand in their respective saucepans on the cooker. Tipping the contents of one pan into the other, I then pick up a serving spoon and carry them both through the bedroom. I slide open the wardrobe doors and the sight of Marcus's neatly organized rows of shirts and shoes greet me. Balancing the pan rather precariously on my hip, I dip the serving spoon into the chicken and mashed potatoes and scoop up as much as I can. Opening the pocket of Marcus's favorite Hugo Boss suit, I deposit the cold mash into it. To give the man credit where credit is due, his mash is very light and fluffy. I move along the row, garnishing each of his suits with some of his gourmet dish, and when I've done all of them, find that I still have some food remaining. Seems as if the lovers didn't have much of an appetite, after all. I move onto Marcus's shoes---rows and rows of lovely designer footwear---casual at one end, smart at the other. He has a shoe collection that far surpasses mine. Ted Baker, Paul Smith, Prada, Miu Miu, Tod's... I slot a full spoon delicately into each one, pressing it down into the toe area for maximum impact. I take the saucepan back into the kitchen and return it to the hob. With the way I'm feeling, Marcus is very lucky that I don't just burn his flat down. Instead, I open the freezer. My boyfriend---ex-boyfriend---has a love of seafood. (And other women, of course.) I take out a bag of frozen tiger prawns and rip it open. In the living room, I remove the cushions from the sofa and gently but firmly push a couple of handfuls of the prawns down the back. Through to the bedroom and I lift the mattress on Marcus's lovely leather bed and slip the remaining prawns beneath it, pressing them as flat as I can. In a couple of days, they should smell quite interesting. As my pièce de résistance, I go back to the kitchen and take the half-finished bottle of red wine---the one that I didn't even get a sniff at---and pour it all over Marcus's white, fluffy rug. I place my key in the middle of the spreading stain. Then I take out my lipstick, a nice red one called Bitter Scarlet---which is quite appropriate, if you ask me---and I write on his white leather sofa, in my best possible script: MARCUS CANNING, YOU ARE A CHEATING BASTARD.

organizing team structures to match the architecture they want the system to exhibit rather than expecting teams to follow a mandated architecture design.

Eames once designed a museum exhibit that featured a fifteen foot long wall chart (set in textbook-sized type and equally small pictures) delineating the entire history of mathematics. When asked who on earth would possibly read the whole wall, he calmly replied that each person would probably absorb about as much as he/she were able to, and just slough off the rest. And, he added, that would include some who would make connections between the data beyond what Eames himself could perceive.

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...exhibiting everything under his own name is wrong... Granted, [products] all are [collaborative], even across departments. The metalworkers, I mean. He can’t name all those who did some work on dragonfly, but everything we produce has a designer, and it’s not always Tiffany. That lamp was my concept from the beginning through every stage. If he didn’t want to name his designers publicly, then he should have used the company name on his pavilion.

To do things differently, we need to perceive things differently. In discussing where we want to be, breakthrough ideas often come when people look at the world through a fresh lens. One of the most important design challenges I pose in this book is to make the processes and systems that surround us intelligible and knowable. We need to design microscopes, as well as microscopes, to help us understand where things come from and why: the life story of a hamburger, or time pressure, or urban sprawl. Equipped with a fresh understanding of why our present situations are as they are, we can better describe where we want to be. With alternative situations evocatively in mind, we can design our way from here to there. Macroscopes can help us understand complex systems, but our own eyes, unaided, are just as important. All over the world, alternative models of organizing daily life are being tried and tested right now. We just need to look for them. When Ezio Manzini ran design workshops in Brazil, China, and India to develop new design ideas for an exhibition about daily life, he encountered dozens of examples of new services for daily life he had never thought of before-and also new attitudes. In many different cultures, he discovered, "an obsession with things is being replaced by a fascination with events." Both young and old people are designing activities and environments in which energy and material consumption is modest and more people are used, not fewer, in the ways we take care of people, work, study, move around, find food, eat, and share equipment.12 In a less-stuff-more-people world, we still

Monologue – A verbal exercise that characterizes the elicitation process, designed to keep the person in short-term thinking mode, dissuade him from expressing resistance or voicing a denial, and convince him of the acceptability of disclosing the information he had intended to withhold. Negative question – A question that is phrased in a way that negates an action. This question type is to be avoided because it conveys an expectation of a response that potentially lets the person off the hook. Example: “You didn’t flirt with her, did you?” Nonanswer statement – A verbal deceptive behavior in which a person responds to a question with a statement that does not answer the question, but rather buys him time to formulate a response that he hopes will satisfy the questioner. Example: “That’s a very good question.” Nonverbal deceptive indicator – A deceptive behavior that is exhibited in response to a question and that does not involve verbal communication. Open-ended question – A question that is asked as a means of establishing the basis for a discussion or to probe an issue. Example: “What were you doing in Las Vegas when you were supposed to be visiting your mother in Tampa?” Opinion question – A question that solicits a person’s opinion as a means of assessing his likely culpability in a given situation. The “punishment question” falls into this category. Example: “What do you think should happen to a person who dines in a restaurant and leaves without paying?” Optimism bias – A cognitive bias

Lie of commission – A lie that is conveyed by means of making a statement that is untrue. Lie of influence – A lie that is conveyed by means of attempting to manipulate perception rather than to provide truthful information. Lie of omission – A lie that is conveyed by means of withholding the truth. L-squared mode – Using one’s visual and auditory senses to look and listen simultaneously in order to observe both verbal and nonverbal deceptive behaviors as they’re exhibited in response to a question. Microexpression – A split-second movement of facial muscles that conveys an emotion such as anger, contempt, or disgust. We recommend avoiding reliance on microexpressions, due to their impracticality and the fact that there is no microexpression for deception. Mind virus – A colloquial term for the psychological discomfort a person feels when he receives information that has potentially negative consequences, causing his mind to race with hypothetical ramifications of the information. Minimization – An element within a monologue that is designed to minimize the perception of negative consequences that may be associated with sharing truthful information. Mirroring – Subtly imitating the movements or gestures of another person to enhance familiarity and liking.

Submit to God’s design, and be number one in his eyes. Know that you are God’s temple. Bathe your life in prayer. Live out your life in humility of spirit that serves for the right reasons. Seek the counsel and example of godly men and women. Finally, exhibit a commitment to the preeminence of Christ in all things. These are the components of a call. Self-glory, power, sensuality, and the seduction of material gain impede such a call. God is the author of my call. He has the plan in mind, and I must respond to his nod. Take the thread of wanting to serve wherever he wants you and add it to the mix. The design will thrill you one day.

The same thing appears in the nature and design of the sacraments, which God hath appointed. God, considering our frame, hath not only appointed that we should be told of the great things of the gospel, and of the redemption of Christ, and instructed in them by his word; but also that they should be, as it were, exhibited to our view, in sensible representations, in the sacraments, the more to affect us with them. And the impressing divine things on the hearts and affections of men, is evidently one great and main end for which God has ordained that his word delivered in the holy Scriptures, should be opened, applied, and set home upon men, in preaching. And therefore it does not answer the aim which God had in this institution, merely for men to have good commentaries and expositions on the Scripture, and other good books of divinity; because, although these may tend as well as preaching to give men a good doctrinal or speculative understanding of the things of the word of God, yet they have not an equal tendency to impress them on men's hearts and affections. God hath appointed a particular and lively application of his word to men in the preaching of it, as a fit means to affect sinners with the importance of the things of religion, and their own misery, and necessity of a remedy, and the glory and sufficiency of a remedy provided; and to stir up the pure minds of the saints, and quicken their affections, by often bringing the great things of religion to their remembrance, and setting them before them in their proper colors, though they know them, and have been fully instructed in them already, 2 Pet. 1:12, 13. And particularly, to promote those two affections in them, which are spoken of in the text, love and joy: "Christ gave some, apostles; and some, prophets; and some, evangelists; and some, pastors and teachers; that the body of Christ might be edified in love," Eph. 4:11, 12, 16. The apostle in instructing and counseling Timothy concerning the work of the ministry, informs him that the great end of that word which a minister is to preach, is love or charity, 1 Tim. 3, 4, 5. And another affection which God has appointed preaching as a means to promote in the saints, is joy; and therefore ministers are called "helpers of their joy," 2 Cor. 1:24.

He fielded all questions that students put to him, exhibiting in his lectures and discussions the qualities which have made him a present-day commercial legend: his tough-minded business philosophy; his virtually compulsive adherence to the fundamental operating strategies designed to attract the family market; his emphasis on such basic qualities as courtesy, cleanliness, and service; and his abiding loyalty to his associates, particularly to those who have served McDonald’s since its fledgling years.

Complex sequences exhibit an irregular, nonrepeating arrangement that defies expression by a general law or computer algorithm