Importance Of Museums Quotes

Whatever anybody says, the most important thing in life is to be happy.

Fang: “Let them blow up the world, and global-warm it, and pollute it. You and me and the others will be holed up somewhere, safe. We’ll come back out when they’re all gone, done playing their games of world domination." Max: “That’s a great plan. Of course, by then we won’t be able to go outside because we’ll get fried by the lack of the ozone layer. We’ll be living at the bottom of the food chain because everything with flavor will be full of mercury or radiation or something! And there won’t be any TV or cable because all the people will be dead! So our only entertainment will be Gazzy singing the constipation song! And there won’t be amusement parks and museums and zoos and libraries and cute shoes! We’ll be like cavemen, trying to weave clothes out of plant fibers. We’ll have nothing! Nothing! All because you and the kids want to kick back in a La-Z-Boy during the most important time in history!” Fang: “So maybe we should sign you up for a weaving class. Get a jump start on all those plant fibers.” Max: "I HATE YOU!!!" Fang: "NO YOU DOOOOOON'T!!" Voice: "You two are crazy about each other.

(Love) walks up to you,and when it does, you need to recognize it for what it is and, perhaps more important, for what it might become.

I believe profoundly in the importance of museums; I would go as far as to say that you can judge a society by the quality of its museums.

It's important, no doubt, to understand the person we love. If we cannot manage this, it's necessary, at least, to believe we understand them. I must confess that over the entire eight years I only rarely enjoyed the contentment of the second possibility, let alone the first.

Art is only important to the extent that it aids in the liberation of our people.

But I do not mind. I am like a man standing on a shore watching people he loves rowing a boat. As long as they are safe in the boat, nothing else is so important.

If, in time of peace, our museums and art galleries are important to the community, in time of war they are doubly valuable. For then, when the petty and the trivial fall way and we are face to face with final and lasting values, we… must summon to our defense all our intellectual and spiritual resources. We must guard jealously all we have inherited from a long past, all we are capable of creating in a trying present, and all we are determined to preserve in a foreseeable future. Art is the imperishable and dynamic expression of these aims. It is, and always has been, the visible evidence of the activity of free minds.…

Museums have no political power, but they do have the possibility of influencing the political process. This is a complete change from their role in the early days of collecting and hoarding the world to one of using the collections as an archive for a changing world. This role is not merely scientifically important, but it is also a cultural necessity.

Museums don't like things to be thrown away, in case they turn out to be very important later on.

I can never understand why Londoners fail to see that they live in the most wonderful city in the world. It is, if you ask me, far more beautiful and interesting than Paris and more lively than anywhere but New York—and even New York can’t touch it in lots of important ways. It has more history, finer parks, a livelier and more varied press, better theaters, more numerous orchestras and museums, leafier squares, safer streets, and more courteous inhabitants than any other large city in the world.

Museums tell stories so much better than textbooks do. And that's what history is, isn't it? It's just a really big story. That's what makes it important. And museums get that. Textbooks don't.

The museums in children’s minds, I think, automatically empty themselves in times of utmost horror—to protect the children from eternal grief. For my own part, though: It would have been catastrophe if I had forgotten my sister at once. I had never told her so, but she was the person I had always written for. She was the secret of whatever artistic unity I had ever achieved. She was the secret of my technique. Any creation which has any wholeness and harmoniousness, I suspect, was made by an artist or inventor with an audience of one in mind. Yes, and she was nice enough, or Nature was nice enough, to allow me to feel her presence for a number of years after she died—to let me go on writing for her. But then she began to fade away, perhaps because she had more important business elsewhere.

Our time and attention is scarce. Art is not that important to us, no matter what we might like to believe… Our love of art is often quite temporary, dependent upon our moods, and our love of art is subservient to our demand for a positive self image. How we look at art should account for those imperfections and work around them. Keep in mind that books, like art museums, are not always geared to the desires of the reader. Maybe we think we are supposed to like tough books, but are we? Who says? Many writers (and art museums) produce for quite a small subsample of the… public.

Most importantly,” he said, “this museum must celebrate the other lesson history has taught us—that tyranny and oppression are no match for compassion…that the fanatical shouts of the bullies of the world are invariably silenced by the unified voices of decency that rise up to meet them. It is these voices—these choirs of empathy, tolerance, and compassion—that I pray one day will sing from this mountaintop.

First, recognize that children are not adults, and you usually cannot improve their behavior with a discussion. If your four-year-old is taking their shirt off in the museum, they will not respond to a reasoned discussion about how you actually do need to wear a shirt in public places. The flip side of this - more important - is that you shouldn't expect them to respond to adult reasoning. And as a result, you should not get angry the way you would if, say, your spouse was stripping in the museum and didn't stop after you explained why they shouldn't. Toddler discipline is, really, parental discipline. Breathe. Take a second.

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

Today copies of Duchamp's masterpiece are presented in some of the most important museums in the world (...). (The copies are displayed in the museums' galleries, not in the lavatories)

I know trans people are supposed to get to be trans no matter how they look or present. This is why the pronouns ritual is supposed to be important, to let you introduce yourself without anyone's assumption interfering with your wish. But I also know that hearing someone's pronouns doesn't make a cis person witness their gender. And this is part of the trauma. As Cyrus told me so long ago, gender is constituted in part by what's reflected back to you, and you don't get to instantiate the exact reflection you want just by saying your pronouns. That's why I'm having my face cut open.

Many historians regard him [Offa] as the most powerful Anglo-Saxon king before Alfred the Great. In the 780s he extended his power over most of Southern England. One of the most remarkable extantfrom King Offa's reign is a gold coin that is kept in the British Museum. On one side, it carries the inscription Offa Rex (Offa the King). But, turn it over and you are in for a surprise, for in badly copied Arabic are the words La Illaha Illa Allah ('There is no god but Allah alone'). This coin is a copy of an Abbasid dinarfrom the reign of Al-Mansur, dating to 773, and was most probably used by Anglo-Saxon traders. It would have been known even in Anglo-Saxon England that Islamic gold dinars were the most important coinage in the world at that time and Offa's coin looked enough like the original that it would have been readily accepted abroad.

As one refugee, Amila, from Gradačac, commented 20 years later: “The most important part of being a refugee is being a good loser; it’s the only way to survive this. You learn to lose your nationality, your home to strangers with bigger guns, your father to mental illness, one aunt to genocide, and another to nationalism and ignorance. You learn to lose your kids, friends, dreams, neighbours, loves, diplomas, careers, photo albums, home movies, schools, museums, histories, landmarks, limbs, teeth, eyesight, sense of safety, sanity, and your sense of belonging in the world”.

Having had some time at my disposal when in London, I had visited the British Museum, and made search among the books and maps in the library regarding Transylvania; it had struck me that some foreknowledge of the country could hardly fail to have some importance in dealing with a nobleman of that country. I find that the district he named is in the extreme east of the country, just on the borders of three states, Transylvania, Moldavia and Bukovina, in the midst of the Carpathian mountains; one of the wildest and least known portions of Europe. I was not able to light on any map or work giving the exact locality of the Castle Dracula, as there are no maps of this country as yet to compare with our own Ordnance Survey maps; but I found that Bistritz, the post town named by Count Dracula, is a fairly well-known place. I shall enter here some of my notes, as they may refresh my memory when I talk over my travels with Mina.

Someone made the point somewhere that we must learn to distinguish between the occult and the religious, between magic and true spirituality. The two do sometimes come together--saints do have magical powers, sure, But they don't exploit these powers, and more important, they consider them only by-products of their real concern, which is spiritual development.

Museums hold collections in trust for future generations. It is our responsibility to see that these objects—representing the cultural heritage of more than 8,000 years of civilization—are passed on to the next generation . . . . The next generation may choose to look at objects afresh—without our carefully collected input—and form its own opinions about their purpose, history or intended use. What is important is that future observers have at their disposal the records of what was known or believed at the time.

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

And there won’t be any TV or cable because all the people will be dead!” I was on a roll now. “So our only entertainment will be Gazzy singing the constipation song! And there won’t be amusement parks and museums and zoos and libraries and cute shoes! We’ll be like cavemen, trying to weave clothes out of plant fibers. We’ll have nothing! Nothing! All because you and the kids want to kick back in a La-Z-Boy during the most important time in history!” I was practically frothing at the mouth. Fang looked at me. “So maybe we should sign you up for a weaving class. Get a jump on all those plant fibers.

I started to turn toward the closest bus stop. Alex turned the other way. "Suivez-moi," he commanded. So I followed. "Bon.Je pensais que nous irions-" "Alex." He stopped. "Ella." "Don't do that, the immersion thing." "Mais, c'est tres important." "Alex." "Ella." "Please.I know you do this with other linguistic losers, but it makes me feel like I should have a great big L lipsticked onto my forehead in some swirly French calligraphy." "Do you often contemplate decorating yourself in such a manner?" I took a quick look down.I was wearing Sienna's turtleneck again, but my own jeans. There was a large blue sea horse from the art museum fountain running from my knee to the crease of my thigh. "Yeah," I admitted. "I do." "Quelle horreur!" he declared, eyes round in mock distress. "Casse-toi." He let out a bark of laughter that sounded just like a seal. "Tres bien, Mademoiselle Marino. Got any more?" "A couple.Frankie gave me a copy of How to Offend the French when I managed to get a B in 1B last year." "Well,I never trade insults on a first date. Not that kinda guy. But after two or three..." I liked that he'd said "date," instead of "tutoring session." Even if it wasn't and he totally didn't mean it. I couldn't help it.

To the aesthetic crimes against the city of Jerusalem can be added those of culture and religion. One of the most important parts of the Mamilla area was its Muslim cemetery dating back to the seventh century. The graves were removed at night so that no one could witness this, and in their place the Simon Wiesenthal Foundation built a Museum of Tolerance! To ensure that Muslims could not reach this sacred site, it was surrounded by an electric fence.12 Desecrating Muslim graveyards for new constructions was nothing new, however: the old cemetery in Haifa, al-Istiqlal, was desecrated in a similar way when a highway was driven through it, scattering the gravestones to either side.

So much of the most important personal news I'd received in the last several years had come to me by smartphone while I was abroad in the city that I could plot on a map, could represent spatially the events, such as they were, of my early thirties. Place a thumbtack on the wall or drop a flag on Google Maps at Lincoln Center, where, beside the fountain, I took a call from Jon informing me that, for whatever complex of reasons, a friend had shot himself; mark the Noguchi Museum in Long Island City, where I read the message ("Apologies for the mass e-mail...") a close cousin sent out describing the dire condition of her newborn; waiting in line at the post office on Atlantic, the adhan issuing from the adjacent mosque, I received your wedding announcement and was shocked to be shocked, crushed, and started a frightening multi week descent, worse for being so embarrassingly cliched; while in the bathroom at the SoHo Crate and Barrel--the finest semipublic restroom in lower Manhattan--I learned I'd been awarded a grant that would take me overseas for a summer, and so came to associate the corner of Broadway and Houston with all that transpired in Morocco; at Zucotti Park I heard my then-girlfriend was not--as she'd been convinced--pregnant; while buying discounted dress socks at the Century 21 department store across from Ground Zero, I was informed by text that a friend in Oakland had been hospitalized after the police had broken his ribs. And so on: each of these experiences of reception remained, as it were, in situ, so that whenever I returned to a zone where significant news had been received, I discovered that the news and an echo of its attendant affect still awaited me like a curtain of beads.

decade after the first edition of this book was published, Yan Wong and I met in the fitting surroundings of the Oxford Museum of Natural History to discuss the possibility of producing a new, tenth anniversary edition. Yan, once my undergraduate pupil, had been employed as my research assistant during the writing of the original edition, before he left for his lecturing position in Leeds and his career as a television presenter. He played an enormously important part in the conception and execution of the first edition, and he was credited as joint author of several of the chapters. During the course of our discussion ten years on, we realised that much new information had come in, especially from the molecular genetics laboratories of the world. Yan undertook the bulk of the revision and I proposed to the publisher that this time he should be properly credited as joint author of the whole book.

Here are some practical Dataist guidelines for you: ‘You want to know who you really are?’ asks Dataism. ‘Then forget about mountains and museums. Have you had your DNA sequenced? No?! What are you waiting for? Go and do it today. And convince your grandparents, parents and siblings to have their DNA sequenced too – their data is very valuable for you. And have you heard about these wearable biometric devices that measure your blood pressure and heart rate twenty-four hours a day? Good – so buy one of those, put it on and connect it to your smartphone. And while you are shopping, buy a mobile camera and microphone, record everything you do, and put in online. And allow Google and Facebook to read all your emails, monitor all your chats and messages, and keep a record of all your Likes and clicks. If you do all that, then the great algorithms of the Internet-of-All-Things will tell you whom to marry, which career to pursue and whether to start a war.’ But where do these great algorithms come from? This is the mystery of Dataism. Just as according to Christianity we humans cannot understand God and His plan, so Dataism declares that the human brain cannot fathom the new master algorithms. At present, of course, the algorithms are mostly written by human hackers. Yet the really important algorithms – such as the Google search algorithm – are developed by huge teams. Each member understands just one part of the puzzle, and nobody really understands the algorithm as a whole. Moreover, with the rise of machine learning and artificial neural networks, more and more algorithms evolve independently, improving themselves and learning from their own mistakes. They analyse astronomical amounts of data that no human can possibly encompass, and learn to recognise patterns and adopt strategies that escape the human mind. The seed algorithm may initially be developed by humans, but as it grows it follows its own path, going where no human has gone before – and where no human can follow.

Hennessy carefully patted the blood away to reveal the tattoo. It was difficult to not be overwhelmed by the realness of it, the permanence of it. Part of him expected her to just wipe the blood and ink away to reveal bare skin, but instead, his entire left arm was patterned darkly from shoulder to wrist with something like chain mail. No, like snakeskin. Each scale was a pure dark green, and the only place his skin showed through was in a narrow line to indicate the edge of each interlocking scale. It felt like a lifetime ago he and Hennessy had held a snake in the abandoned museum. Bryde had ordered them to look at the reptile, to study it, take in its details in case they wanted to dream it later. They had. But Hennessy had been wide awake, not dreaming, when she’d painted these scales up and down his skin. “Fuck you,” he told her. “This is so good.” She gave him the ghost of a smile. “Welcome back, Ronan Lynch.” It was still jarring to be Ronan Lynch. Time behaved so differently here; it was important here. One did not have endless dark moments to fill; human lives were so short, so urgent— “Where’s Adam?” Hennessy asked, “What?” “Adam. My Adam. Adam!

I can never understand why Londoners fail to see that they live in the most wonderful city in the world. It is, if you ask me, far more beautiful and interesting than Paris and more lively than anywhere but New York—and even New York can’t touch it in lots of important ways. It has more history, finer parks, a livelier and more varied press, better theaters, more numerous orchestras and museums, leafier squares, safer streets, and more courteous inhabitants than any other large city in the world. And it has more congenial small things—incidental civilities, you might call them—than any other city I know: cheery red mailboxes, drivers who actually stop for you at pedestrian crossings, lovely forgotten churches with wonderful names like St. Andrew by the Wardrobe and St. Giles Cripplegate, sudden pockets of quiet like Lincoln’s Inn and Red Lion Square, interesting statues of obscure Victorians in togas, pubs, black cabs, double-decker buses, helpful policemen, polite notices, people who will stop to help you when you fall down or drop your shopping, benches everywhere. What other great city would trouble to put blue plaques on houses to let you know what famous person once lived there, or warn you to look left or right before stepping off the curb? I’ll tell you. None.

With our desire to have more, we find ourselves spending more and more time and energy to manage and maintain everything we have. We try so hard to do this that the things that were supposed to help us end up ruling us. We eventually get used to the new state where our wishes have been fulfilled. We start taking those things for granted and there comes a time when we start getting tired of what we have. We're desperate to convey our own worth, our own value to others. We use objects to tell people just how valuable we are. The objects that are supposed to represent our qualities become our qualities themselves. There are more things to gain from eliminating excess than you might imagine: time, space, freedom and energy. When people say something is impossible, they have already decided that they don't want to do it. Differentiate between things you want and things you need. Leave your unused space empty. These open areas are incredibly useful. They bring us a sense of freedom and keep our minds open to the more important things in life. Memories are wonderful but you won't have room to develop if your attachment to the past is too strong. It's better to cut some of those ties so you can focus on what's important today. Don't get creative when you are trying to discard things. There's no need to stock up. An item chosen with passion represents perfection to us. Things we just happen to pick up, however, are easy candidates for disposal or replacement. As long as we stick to owning things that we really love, we aren't likely to want more. Our homes aren't museum, they don't need collections. When you aren't sure that you really want to part with something, try stowing it away for a while. Larger furniture items with bold colors will in time trigger visual fatigue and then boredom. Discarding things can be wasteful. But the guilt that keeps you from minimizing is the true waste. The real waste is the psychological damage that you accrue from hanging on to things you don't use or need. We find our originality when we own less. When you think about it, it's experience that builds our unique characteristics, not material objects. I've lowered my bar for happiness simply by switching to a tenugui. When even a regular bath towel can make you happy, you'll be able to find happiness almost everywhere. For the minimalist, the objective isn't to reduce, it's to eliminate distractions so they can focus on the things that are truly important. Minimalism is just the beginning. It's a tool. Once you've gone ahead and minimized, it's time to find out what those important things are. Minimalism is built around the idea that there's nothing that you're lacking. You'll spend less time being pushed around by something that you think may be missing. The qualities I look for in the things that I buy are: - the item has a minimalistic kind of shape and is easy to clean - it's color isn't too loud - I'll be able to use it for a long time - it has a simple structure - it's lightweight and compact - it has multiple uses A relaxed moment is not without meaning, it's an important time for reflection. It wasn't the fallen leaves that the lady had been tidying up, it was her own laziness that she had been sweeping away. We are what we repeatedly do. Excellence, then, is not an act but a habit. With daily cleaning, the reward may be the sense of accomplishment and calmness we feel afterward. Cleaning your house is like polishing yourself. Simply by living an organized life, you'll be more invigorated, more confident and like yourself better. Having parted with the bulk of my belongings, I feel true contentment with my day-to-day life. The very act of living brings me joy. When you become a minimalist, you free yourself from all the materialist messages that surround us. All the creative marketing and annoying ads no longer have an effect on you.

The Netherlands capital of Amsterdam amsterdam cruise is a thriving metropolis and one from the world's popular cities. If you are planning a trip to the metropolis, but are unclear about what you should do presently there, why not possess a little fun and spend time learning about how it's stereotypically known for? How come they put on clogs? When was the wind mill first utilised there? In addition, be sure to include all your feels on your journey and taste the phenomenal cheeses along with smell the stunning tulips. It's really recommended that you stay in a city motel, Amsterdam is quite spread out and residing in hotels close to the city-centre allows for the easiest access to public transportation. Beyond the clichés So that you can know precisely why a stereotype exists it usually is important to discover its source. Clogs: The Dutch have already been wearing solid wood shoes, as well as "Klompen" as they are referred to, for approximately 700 years. They were originally made out of a timber sole along with a leather top or band tacked for the wood. Nevertheless, the shoes had been eventually created completely from wood to safeguard the whole base. Wooden shoe wearers state the shoes are usually warm during the cold months and cool during the warm months. The first guild associated with clog designers dates back to a number exceeding 1570 in Holland. When making blockages, both shoes of a set must be created from the same kind of timber, even the same side of a tree, in order that the wood will certainly shrink in the same charge. While most blocks today are produced by equipment, a few shoemakers are left and they normally set up store in vacationer areas near any city hotel. Amsterdam also offers a clog-making museum, Klompenmakerij De Zaanse Schans, that highlights your shoe's history and significance. Windmills: The first windmills have been demonstrated to have existed in Netherlands from about the year 1200. Today, there are eight leftover windmills in the capital. The most effective to visit is De Gooyer, which has been built in 1725 over the Nieuwevaart Canal. Their location in the east involving city's downtown area signifies it is readily available from any metropolis hotel. Amsterdam enjoys its beer and it actually has a brewery right on the doorstep to the wind generator. So if you are enjoying a historic site it's also possible to enjoy a scrumptious ice-cold beer - what more would you ask for? Mozerella: It's impossible to vacation to Amsterdam without sampling several of its wonderful cheeses. In accordance with the locals, probably the most flavourful cheeses are available at the Wegewijs Emporium. With over 50 international cheese and A hundred domestic parmesan cheesse, you will surely have a wide-variety to pick from.

On May 31, 1921, the Ford Motor Company turned out Car No. 5,000,000. It is out in my museum along with the gasoline buggy that I began work on thirty years before and which first ran satisfactorily along in the spring of 1893. I was running it when the bobolinks came to Dearborn and they always come on April 2nd. There is all the difference in the world in the appearance of the two vehicles and almost as much difference in construction and materials, but in fundamentals the two are curiously alike—except that the old buggy has on it a few wrinkles that we have not yet quite adopted in our modern car. For that first car or buggy, even though it had but two cylinders, would make twenty miles an hour and run sixty miles on the three gallons of gas the little tank held and is as good to-day as the day it was built. The development in methods of manufacture and in materials has been greater than the development in basic design. The whole design has been refined; the present Ford car, which is the "Model T," has four cylinders and a self starter—it is in every way a more convenient and an easier riding car. It is simpler than the first car. But almost every point in it may be found also in the first car. The changes have been brought about through experience in the making and not through any change in the basic principle—which I take to be an important fact demonstrating that, given a good idea to start with, it is better to concentrate on perfecting it than to hunt around for a new idea.

Psychology’s insistence on the importance of unconscious processes for religious experience is extremely unpopular, no less with the political Right than with the Left. For the former the deciding factor is the historical revelation that came to man from outside; to the latter this is sheer nonsense, and man has no religious function at all, except belief in the party doctrine, when suddenly the most intense faith is called for. On top of this, the various creeds assert quite different things, and each of them claims to possess the absolute truth. Yet today we live in a unitary world where distances are reckoned by hours and no longer by weeks and months. Exotic races have ceased to be peepshows in ethnological museums. They have become our neighbours, and what was yesterday the private concern of the ethnologist is today a political, social, and psychological problem. Already the ideological spheres begin to touch, to interpenetrate, and the time may not be far off when the question of mutual understanding will become acute. To make oneself understood is certainly impossible without far-reaching comprehension of the other’s standpoint. The insight needed for this will have repercussions on both sides. History will undoubtedly pass over those who feel it is their vocation to resist this inevitable development, however desirable and psychologically necessary it may be to cling to what is essential and good in our own tradition. Despite all the differences, the unity of mankind will assert itself irresistibly.

Early in a career that began in 1912 when he was 19 years old, Romain de Tirtoff, the Russian-born artists who called himself Erté after the french pronunciation of his initials, was regarded as a 'miraculous magician,' whose spectacular fashions transformed the ordinary into the outstanding, whose period costumes made the present vanish mystically into the past, and whose décors converted bare stages into sparkling wonderlands of fun and fancy. When his career ended with his death in 1990, Erté was considered as 'one of the twentieth-century's single most important influences on fashion,' 'a mirror of fashion for 75 years,' and the unchallenged 'prince of the music hall,' who had been accorded the most significant international honors in the field of design and whose work was represented in major museums and private collections throughout the world. It is not surprising that Erté's imaginative designs for fashion, theater, opera, ballet, music hall, film and commerce achieved such renown, for they are as crisp and innovative in their color and design as they are elegant and extravagant in character, and redolent of the romance of the pre- and post-Great War era, the period when Erté's hand became mature, fully developed and representative of its time. Art historians and scholars define Ertés unique style as transitional Art Deco, because it bridges the visual gab between fin-de-siècle schools of Symbolism, with its ethereal quality, Art Nouveau, with its high ornament, and the mid-1920s movement of Art Deco, with its inspirational sources and concise execution.

As soon as we study animals — not in laboratories and museums only, but in the forest and the prairie, in the steppe and the mountains — we at once perceive that though there is an immense amount of warfare and extermination going on amidst various species, and especially amidst various classes of animals, there is, at the same time, as much, or perhaps even more, of mutual support, mutual aid, and mutual defence amidst animals belonging to the same species or, at least, to the same society. Sociability is as much a law of nature as mutual struggle. Of course it would be extremely difficult to estimate, however roughly, the relative numerical importance of both these series of facts. But if we resort to an indirect test, and ask Nature: “Who are the fittest: those who are continually at war with each other, or those who support one another?” we at once see that those animals which acquire habits of mutual aid are undoubtedly the fittest. They have more chances to survive, and they attain, in their respective classes, the highest development of intelligence and bodily organization. If the numberless facts which can be brought forward to support this view are taken into account, we may safely say that mutual aid is as much a law of animal life as mutual struggle, but that, as a factor of evolution, it most probably has a far greater importance, inasmuch as it favours the development of such habits and characters as insure the maintenance and further development of the species, together with the greatest amount of welfare and enjoyment of life for the individual, with the least waste of energy.

The Republic of Foo, our high-investment, intangible economy of the future, has significantly overhauled its land-use rules, particularly in major cities, making it easier to build housing and workplaces; at the same time, it invests significantly in the kind of infrastructure needed to make cities livable and convivial, in particular, effective transport and civic and cultural amenities, from museums to nightlife. In some cases, this involves rejecting big development plans that destroy existing places. It has faced political costs in making this change, especially from vested interests opposed to new development or gentrification, but the increased economic benefits of vibrant urban centers have provided enough incentive to tip the balance of power in favor of development. The cities of the Kingdom of Bar have chosen one of two unfortunate paths: in some cases, they have privileged continuity over dynamism in its towns—creating places like Oxford in the UK, which are beautiful and full of convivial public spaces, but where it is very hard to build anything, meaning few people can take advantage of the economic potential the place creates. Other cities resemble Houston, Texas, in the 1990s—a low-regulation paradise where an absence of planning laws keeps home and office prices low, but where the lack of walkable centers and convivial places makes it harder for intangibles to multiply. (To Houston’s credit, it has changed for the better in the last twenty years.) The worst of Bar’s cities fail in both regards, underinvesting in urban amenities and making it hard to build. In all three cases, the economic disadvantage of not having vibrant cities that can grow have become larger and larger as the importance of intangibles has increased.

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

If, in time of peace, our museums and art galleries are important to the community, in time of war they are doubly valuable. For then, when the petty and the trivial fall way and we are face to face with final and lasting values, we… must summon to our defense all our intellectual and spiritual resources. We must guard jealously all we have inherited from a long past, all we are capable of creating in a trying present, and all we are determined to preserve in a foreseeable future. Art is the imperishable and dynamic expression of these aims. It is, and always has been, the visible evidence of the activity of free minds.

The Parthenon was 228 feet long by 101 broad, and 64 feet high; the porticoes at each end had a double row of eight columns; the sculptures in the pediments were in full relief, representing in the eastern the Birth of Athene, and in the western the Struggle between that goddess and Poseidon, whilst those on the metopes, some of which are supposed to be from the hand of Alcamenes, the contemporary and rival of Phidias, rendered scenes from battles between the Gods and Giants, the Greeks and the Amazons, and the Centaurs and Lapithæ. Of somewhat later date than the Parthenon and resembling it in general style, though it is very considerably smaller, is the Theseum or Temple of Theseus on the plain on the north-west of the Acropolis, and at Bassæ in Arcadia is a Doric building, dedicated to Apollo Epicurius and designed by Ictinus, that has the peculiarity of facing north and south instead of, as was usual, east and west. Scarcely less beautiful than the Parthenon itself is the grand triple portico known as the Propylæa that gives access to it on the western side. It was designed about 430 by Mnesicles, and in it the Doric and Ionic styles are admirably combined, whilst in the Erectheum, sacred to the memory of Erechtheus, a hero of Attica, the Ionic order is seen at its best, so delicate is the carving of the capitals of its columns. It has moreover the rare and distinctive feature of what is known as a caryatid porch, that is to say, one in which the entablature is upheld by caryatides or statues representing female figures. Other good examples of the Ionic style are the small Temple of Niké Apteros, or the Wingless Victory, situated not far from the Propylæa and the Parthenon of Athens, the more important Temple of Apollo at Branchidæ near Miletus, originally of most imposing dimensions, and that of Artemis at Ephesus, of which however only a few fragments remain in situ. Of the sacred buildings of Greece in which the Corinthian order was employed there exist, with the exception of the Temple of Jupiter at Athens already referred to, but a few scattered remains, such as the columns from Epidaurus now in the Athens Museum, that formed part of a circlet of Corinthian pillars within a Doric colonnade. In the Temple of Athena Alea at Tegea, designed by Scopas in 394, however, the transition from the Ionic to the Corinthian style is very clearly illustrated, and in the circular Monument of Lysicrates, erected in 334 B.C. to commemorate the triumph of that hero's troop in the choric dances in honour of Dionysos, and the Tower of the Winds, both at Athens, the Corinthian style is seen at its best. In addition to the temples described above, some remains of tombs, notably that of the huge Mausoleum at Halicarnassus in memory of King Mausolus, who died in 353 B.C., and several theatres, including that of Dionysos at Athens, with a well-preserved one of larger size at Epidaurus, bear witness to the general prevalence of Doric features in funereal monuments and secular buildings, but of the palaces and humbler dwelling-houses in the three Greek styles, of which there must have been many fine examples, no trace remains. There is however no doubt that the Corinthian style was very constantly employed after the power of the great republics had been broken, and the Oriental taste for lavish decoration replaced the love for austere simplicity of the virile people of Greece and its dependencies. CHAPTER III

下松

ラーメン、山ブ〹ック〹ーメンなど、まだまだ紹介しきれていない場所もあり、これから

Most important of all would be involving artists in shaping the future of the museum. I wanted to have a direct relationship with living artists. I want that to be primary.

Why would someone want to start a museum in New York City when the Whitney and the Modern were already there? The answer was that the bigger museums were ill-equipped to respond quickly to radical or sudden changes in the arts, in part because exhibitions had to be scheduled years ahead of time to allow for securing loans, preparing catalogue, and, most important of all, obtaining funding.

You know, the PTA president who cooks organic, well-balanced meals while reading to her kids in Latin about the importance of helping others, then escorts them to the art museum in the hybrid that plays classical music and mists lavender aromatherapy through the air-conditioning vents.

HEART ACTION Plan a tea party to gather together some old or new friends. Even having just one person over for a cup of tea and good conversation will create a time of hospitality and connection. Make it simple so that you enjoy it and can focus on sharing your heart with your guests. A TEA PARTY HAS ITS OWN MANNERS Serving tea is a wonderful excuse for sharpening etiquette around the table. Mothers can use this time to teach their young daughters about the importance of learning and practicing good manners. • The server of teas and all liquids will serve from the right. The person being served will hold their cups in the left hand. You may adjust this if the person receiving is left-handed. • To prevent from getting lipstick on your teacup, blot your lipstick before you sit down at the serving table. • Scones and crumpets should be eaten in small bite-sized pieces. If butter, jam, or cream is used, add them to each piece as it is eaten. • Good manners will dictate proper conversation. The goodies are theatre, museums, fine arts, music, movies, literature, and travel. The baddies are politics, religion, aches and pains, deaths, and negative discussion. Keep the conversation upbeat. • A knife and fork are usually used with open-faced sandwiches and cakes with icing. • Milk or cream is always added after the tea is poured.

The importance of visiting the Boyhood Home of Former President Ronald Reagan to your personal life is clear and unchallenged. Touring the Home will give you a powerful feeling: You will realize that, though none of us are destined for the greatness that awaited 9-year-old Ronald Reagan, we all have a manner of greatness within us, untapped perhaps for many years, but held there in the heart, like a secret.

Luxo Jr. was the breakthrough,” Steve told me many years later. If Steve ever was starstruck, it was by Lasseter, whose artistry seemed to be irrefutable evidence of what Steve believed to be the most important attribute of computers: that they were tools that could unleash and enhance human creativity. Despite his boyish ways (his office is stuffed with so many toys it could double as a Pixar museum, and his wardrobe consists exclusively of blue jeans and hundreds of loud, Hawaiian-style print shirts), Lasseter was a confident grown-up, and not persnickety in any way. While he never looked to Steve for creative advice on his short features, he calmly listened to his boss’s opinions, before going ahead with his own plans anyway. But he made compromises when needed, too, rather than insisting on perfection: when he couldn’t prepare a polished version of a short called Tin Toy in time for SIGGRAPH, he simply showed what he could and filled in the rest with line drawings. Lasseter

To forestall misunderstandings: there is value in creating and enjoying art. To many people, drawing, painting, sculpting, singing, and playing a musical instrument are vital forms of self-expression, and their lives would be poorer without them. People produce art in all cultures and in all kinds of situations, even when they cannot satisfy their basic physical needs. Other people enjoy seeing art. In a world in which everyone had enough to eat, basic health care, adequate sanitation, and a place at school for each of their children, there would be no problem about donating to museums and other institutions that offer an opportunity to see original works of art to all who wish to see them, and (more important, in my view) the opportunity to create art to those who lack opportunities to express themselves in this way. Sadly, we don’t live in that world, at least not yet.

The Egyptian link with Arabia through the BenBen is not an interpretation, but rather the original meaning assigned with this symbol; for that the BenBen resembled the mound that arose from the primordial waters and so does the lotus flower used in the Stela of Nebamun according to the Egyptian Museum Guide. We can see here that there is no symbol for water above or below the 'jab' which is located between the eyes, signaling thereby a pure Egyptian theme disconnected from the well of water which were substituted by the lotus flower. The presence of the BenBen alone resonates with the name of the owner of the Stela 'Nebamun' as I have proven earlier the link between the Semitic root Neb (i.e., Prophet) with the pyramidion. However, the most important proof of the ORIGINAL Semitic Arabian link with the BenBen is the existence of similar jugs [that were depicted inside the basin below the offering table in the tombs of private individuals such as Nebamun from the New Kingdom]. These objects were -according to Egyptian Museum Guide- most probably introduced into Egypt from the Near East on the hands of foreigners. The New Kigdom tried to disconnect itself from its ancestors in Lower Egypt in every possible way; in other words, it had undertaken severe measures as much as (metaphorically/symbolically speaking) to empty its own well and drain it from water.

It was shortly after arriving in Alexandria that Strato of Lampsacus became King Ptolemy’s principal adviser on all matters intellectual and scientific. Over the next several years, he would use that position to create the ancient world’s most important research center, Alexandria’s Mouseion, or Museum. Just as Alexandria was Aristotle’s city, so its Museum would be the centrifuge for spreading Aristotle’s methods and ideas across the ancient world.

ritual is a very important part of believing in a myth and that myths are very important for giving comfort and making sense of the world.

るべきだったかもと思〹〹、も〹遅い 。話

Usually Americans have traditionally viewed questions of race as ancillary episodes, interesting but often exotic eddies outside the mainstream of the American experience. Thus, it was important for the [Smithsonian National Museum of African American History and Culture] to demonstrate through its interpretive frameworks that issue of race shaped all aspects of American life: from political discourse to foreign affairs to western expansion to cultural production.... It was also essential that the stories of the museum featured reflect the tension between moments of pain and episodes of resiliency. This must not be a museum of tragedy, but a site where a nation's history is told with all its contradictions and complexity.

That we do not simply shrug and move on when we learn of a lost masterpiece is a testament to the love felt for art, the sense that it is greater than ourselves, whether we are driven to protect its cultural importance or its beauty. People have died trying to defend or recover art . . . There is madness to this, perhaps, but one that may have been present for as long as art has played a role in human lives - since our ancestors braving the dark of the deepest caves to paint images on cold stone walls.

It is important, also, to recognize that the art blessed with survival is not necessarily the art that was most important or influential when it was first displayed.

convert this place into something far more powerful than a contentious shrine and tourist curiosity. This complex should be a living museum. It should be a vibrant symbol of tolerance, where schoolchildren can gather inside a mountain to learn about the horrors of tyranny and the cruelties of oppression, such that they will never be complacent.” The king pressed on as if he had waited a lifetime to speak these words. “Most importantly,” he said, “this museum must celebrate the other lesson history has taught us—that tyranny and oppression are no match for compassion…that the fanatical shouts of the bullies of the world are invariably silenced by the unified voices of decency that rise up to meet them. It is these voices—these choirs of empathy, tolerance, and compassion—that I pray one day will sing from this mountaintop.

This process taught us to test and challenge the prevailing wisdom about the paucity of African American artifacts. What we discovered was a paucity of effort and creativity rather than a scarcity of collections. I hope that our efforts will spur other institutions to embrace community-driven collecting and commit the resources to look inside the basements and garages for material that was once deemed less important to the interpretive agenda of museums. Not every cultural organization will discover items from Harriet Tubman, Nat Turner, or Marian Anderson, but every museum that makes the effort will find discover items from Harriet Tubman, Nat Turner, or Marian Anderson, but every museum, but every museum that makes the effort will find objects that document the lives, the work, the resiliency, and the dreams of their community.

I had always believed that the [Smithsonian National Museum of African American History & Culture] should be a safe haven that helps Americans wrestle with and better understand the difficult current issues of race, justice, and equality. In essence, the museum is a bully pulpit that provides NMAAHC with the opportunity and responsibility to clarify and contextualize concerns that often divide or perplex the American public.... I think it is important for NMAAHC, for the Smithsonian, to engage in the public square in a manner that brings reason, knowledge, and contextualization to the contemporary challenges faced by America. Actions like this are not without risk to an institution that operates within a federal umbrella. Yet I believe that museums like NMAAHC have an obligation to use their expertise, their platform, to contribute to the greater good of a nation.

Gothenburg, the largest seaport in Sweden. But Gothenburg is far more than a seaport and center of shipbuilding. This ancient city is also a cultural center of considerable importance. Among other attractions, Gothenburg boasts one of Europe’s most modem theaters, a world-famous concert hall, and a magnificent museum of art. There is also a ski jump, snow for which is imported by the trainload from Norway. It

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If we cannot today implement an education that yields full understanding, we can certainly do a much better job than we have done up to this point. The process of achieving such an education ought to be challenging and enriching, far more so than the implementation of the less ambitious education with which we have been saddled—even in places where students are required to work on their assignments until the wee hours of the morning. Important clues for the achievement of such an education come from venerable sources such as the traditional apprenticeship; equally important clues come from new sources of evidence, ranging from recently developed technologies like videodisks to newly evolving institutions such as children's museums.

The audience for Channel 28, the PBS station in Los Angeles, was demographically perfect for Trader Joe’s. In those days, however, PBS did not accept overt commercials. Alice had been quite active as a volunteer at the station. Through her contacts, we made arrangements to sponsor reruns of shows that tied to Trader Joe’s, such as the Julia Child shows, The Galloping Gourmet, and Barbara Wodehouse’s series on training dogs, which proved very effective! These reruns were not expensive compared with sponsoring first-runs and they had very good audiences. All we got was a “billboard” announcing that Trader Joe’s was sponsoring the show, but this was a cost-effective way of building our presence in the community. Another way we promoted ourselves on public TV was to “man the phones” during pledge drives. Our employees, led by Robin Guentert who was running advertising at that time (Robin became one of the most important members of store supervision after 1982, then President of Trader Joe’s in 2002), would show up en masse at the station. They loved being on TV, and we got the publicity. Promoting through Nonprofits Most retailers, when they’re approached by charities for donations, do their best to stiff-arm the would-be donees, or ask that a grueling series of requirements need to be met. In general they hate giving except to big, organized charities like United Way, because that way they escape being solicited by all sorts of uncomfortable pressure groups. At the very beginning of Trader Joe’s, however, we adopted a policy of using non-profit giving as an advertising and promotional tool. We established these policies: Never give cash to anyone. Never buy space in a program. That is money thrown away. Give freely, give generously, but only to nonprofits that are focused on the overeducated and underpaid. Any museum opening, any art gallery opening, any hospital auxiliary benefit, any college alumni gathering, the American Association of University Women, the Assistance League, any chamber orchestra benefit—their requests got a very warm welcome. But nothing for Little League, Pop Warner, et al.; that was not what Trader Joe’s was about.

I think that the most important thing we can do as cultural institutions, as learning institutions, is really help the public become more comfortable with ambiguity. As a nation, we really look for simple answers to complex questions, and you see where that's gotten us. I think that what you want to do is help people understand the shades of gray, the nuance, the debates. I think if we could do that, regardless of what history, what culture we're teaching people, what's important is if you can get people to grapple with complexity, then we'd be a better nation.

In a world progressively becoming more digital, it's important to remember where we've been as we continue moving forward. How do we do that best? With museums.

I know we lived among extraordinary things but, perhaps more importantly, in extraordinary times. People may or may not remember the heroes and the villains of our day, but all that the brave among us did, and all that they were, remains with us still.

Are they important?” the officer asked. “What?” “The broken buildings.” “They’re classical ruins, sir. And yes, they’re important.” “Why?” “They’re irreplaceable. They’re history. They’re… It’s our duty as soldiers to protect them, sir. If we don’t, the enemy will use that against us.” “Are you a historian, Lieutenant?” “I’m an archeologist. Director of the London Museum.

Watch Museum has been collecting and dealing in fine vintage and antique pocket watches for years! Pocket watches have been an important part of modern civilization and developments in the watch world. Ever since the 16th Century, they have been an integral part of male fashion. These small, round timepieces represented portable clocks and were a status symbol until mass production became easy. We provide a variety of Antique Pocket Watches and Related Expert Services. Here you will find a range of many kinds of a pocket watch for sale counting: Verge Fusee Antique Pocket watch, Pair cased antique Pocket watch, Pair cased Pocket Watch, Verge Fusee Pocket Watch, Repeater Pocket Watch, Chronograph Pocket Watch, English Lever Pocket Watch, Gents Antique Pocket Watch, Gold Antique Pocket Watch, Antique Pocket Watch Chiming, Antique Pocket Watch Enamel, Prior Antique Pocket Watch, Breguet Antique Pocket Watches, Waltham Antique Pocket Watch, and more; all have been serviced, cleaned and repaired, or restored as necessary, and they are all working. These pocket watches are working antiques – there are very few other 100-year-old mechanical things that still work in the way they were intended to. The pocket watches here are from 50 to more than 370 years old. Antique pocket watches dealer and expert services Pair cased, Verge Fusee, Repeater, Chronograph, Lever, Gents, Gold, Chiming, Enamel, Prior and Breguet Antique and Vintage Pocket Watches with Gold and Silver Cases including Hunter and Half Hunter Pocket Watches.

Within five years of Röntgen’s invention, X-rays were considered essential for clinical care. In 1900, at Pennsylvania Hospital in Philadelphia, 1.3 percent of all patients were X-rayed; by 1925, it was 25 percent. In 2009, a poll conducted by the Science Museum in London named the discovery of X-rays as more important than the discoveries of penicillin, computers, motorized cars, the telegraph, and the DNA double helix.

The term “niche construction,” first used widely by biologist Richard Lewontin, the Alexander Agassiz Research Professor at the Museum of Comparative Zoology at Harvard University, represents the process by which an organism alters its own (or another species’) environment to help increase its chances of survival. A beaver building a dam and a spider spinning a web are examples of niche construction. So is a bird building its nest or a rabbit burrowing a hole. When animals migrate, they are seeking a favorable niche within which to flourish. Each of these activities assists the organism in achieving its basic needs—gathering food, protecting offspring, keeping clear of prey, seeking shelter from inclement weather—and thus raising the likelihood that it will pass its genes on to the next generation. Scientists are just beginning to appreciate that niche construction may be as important to evolution as natural selection. In the book Niche Construction: The Neglected Process in Evolution, Oxford lecturer F. John Odling-Smee and his colleagues write, “Niche construction should be regarded, after natural selection, as a second major participant in evolution. Rather than acting as an ‘enforcer’ of natural selection through the standard physically static elements of, for example, temperature, humidity, or salinity, because of the actions of organisms, the environment will be viewed here as changing and coevolving with the organisms on which it acts selectively.”17 What this can mean for neurodiverse individuals is that instead of always having to adapt to a static, fixed, or “normal” environment, it’s possible for them (and their caregivers) to alter the environment to match the needs of their own unique brains. In this way, they can be more of who they really are.

Most frustrating and important, Wilson said, assisted living isn’t really built for the sake of older people so much as for the sake of their children. The children usually make the decision about where the elderly live, and you can see it in the way that places sell themselves. They try to create what the marketers call “the visuals”—the beautiful, hotel-like entryway, for instance, that caught Shelley’s eye. They tout their computer lab, their exercise center, and their trips to concerts and museums—features that speak much more to what a middle-aged person desires for a parent than to what the parent does. Above all, they sell themselves as safe places. They almost never sell themselves as places that put a person’s choices about how he or she wants to live first and foremost. Because it’s often precisely the parents’ cantankerousness and obstinacy about the choices they make that drive children to bring them on the tour to begin with. Assisted living has become no different in this respect than nursing homes.

Despite worries about idolatry, images have been important in multiple traditions. For Hindus, worship includes darśan (pronounced dar-shan), which means seeing and being seen by a deity at a temple, and followers of other traditions have venerated many gods. To glimpse the astonishing variety of supernatural beings imaged in material form you might tour a museum near you, or search a museum's online collection for keywords like "religion" "god," or "goddess." At the British Museum, for example, you can find images from Hindu, Buddhist, Jain, and Christian traditions, as well as everything from a bronze Egyptian cat representing the goddess Bastet made about 30 BCE to a fifteenth-century Aztec eagle from Central America carved in volcanic rock and associated with the solar god Tonatiuh.

He was sure it was worth hundreds of thousands, but that wasn't the important thing. The important thing was that it had been China's and then it had been Harvard's, and now it was his. He thought back to the paper he had written for class, 'what is ours is not ours: who can determine what counted as theft when museums and countries and civilizations saw the spoils of conquests as rightfully earned.

There was something else about Tuol Sleng that was important, though, beyond the ghosts and the darkness. At night, after it closed to tourists, it opened as a parking garage. Boeung Keng Kang III was not a neighborhood built for cars, and many homes had nowhere at night to park their cars. It was not unusual to see Camrys and Daelim motorcycles parked for the night in someone’s living room. But at Tuol Sleng, for two thousand riel, or fifty cents, you could park from eight o’clock at night until eight in the morning, an hour before the gates opened for tourism. Paul and I each had a motorcycle for the first three years that we lived in Phnom Penh, but eventually I sold mine and we bought a cobbled-together SUV, a Kia Sportage body with a Mitsubishi engine and air-conditioning. Then we, too, became nighttime patrons of the Tuol Sleng Genocide Museum parking lot. We’d pull in to the gate and hand money to one of several guards hanging out in hammocks as a soccer game played on an old television hooked up to a car battery. At first it was hilarious, and then an odd fact we’d share among our friends, and eventually just part of our daily routine. There was the horror and the memory, there were the ghosts and the darkness, but there was also the absolute utilitarian need to go on.

I have often wondered why nineteenth-century French novelists were so often obsessed with painters and painting, while in the 1700s Diderot was the only writer of his generation to take an interest in art criticism. What a striking contrast that not one well-known novelist of the 1800s failed to include a painter as a character in his work. This is fair enough for Balzac and Zola, who had ambitions to bring every aspect of society to life, but read Stendhal, Flaubert, the Goncourt brothers, Anatole France, Huysmans, Maupassant, Mirbeau, and of course Proust, and you enter a world in which painting is surprisingly important. What is more, all these novelists explored not only how a painter sees things but also how he looks at them, and this produced a new way of writing. “I would just have liked to see you dismantle the mechanism of my eye. I enhance the image, that much is sure, but I don’t enhance it as Balzac does, any more than Balzac enhances it as Hugo does,” Émile Zola told his protégé Henry Céard, highlighting the visual nature of novels at the time. This was essentially a French phenomenon; it has no real equivalent in England, Germany, or Russia. In the United States, it was not until the end of the century that painting became a literary subject in the work of Henry James. In England, Woolf would be the first to write about the influence painting had on literature. Why the sudden, widespread interest in France? I believe that this new way of seeing and writing was facilitated by the creation of museums in France after the French Revolution. Frequent long visits to the Louvre gave a whole cohort of young writers a genuine knowledge of painting, a shared language with their painter friends, and a desire to enrich their own works with this newly acquired erudition. The visual novel dates from this period.

The most famous ruler of this period was Hammurabi, who lived circa 1810–1750 BCE. He is best known for the Code of Hammurabi—a set of laws inscribed on a black basalt pillar that now stands in the Louvre Museum. Hammurabi’s code specifies the rate of interest on silver at 20% and on barley at 33⅓%. What is most important about the code is not what is says but what it represents. The code is a uniform legal framework for the entire Babylonian empire. It covered everything from criminal law to family law, commercial practice to property rights. It details a range of punishments for transgressions, methods of dispute resolution, and attributions of fault for various offenses. It specifies the roles of judge, jury, witnesses, plaintiffs, and defendants. It recognizes and elaborates the rights of ownership of property, including rights to lease and rights of eminent domain. It specifies the role of the written document in a contractual obligation, the necessity of receipts, and what should be done if they do not exist. It specifies legal tender. It describes the obligations of merchants, brokers, and agents and their fiduciary duties and limits to their liabilities in case of attack or theft. It places limits on the term of debt indenture (three years). In short, it creates a comprehensive, uniform framework for commerce.

The relationship between an artist’s biography and his writing is always a difficult subject,” concedes Worden, “but there can be no other important writer since the invention of printing for whom we are unable to demonstrate any relationship at all.” Why didn’t Shakespeare bother to educate his children? His daughters couldn’t write. One signed with what Sir Edward Maunde Thompson, paleographer and director of the British Museum, called a “painfully formed signature, which was probably the most that she was capable of doing with the pen.” The other, he concluded, “could not write at all, for she signed with a mark.” How could a writer—any writer, let alone the greatest writer in the English language—be indifferent to the literacy of his children?

Perhaps the most costly disassembly in which our culture has been engaged is the disaggregation of life itself into work, play, learning, and inspiration. Each of these aspects of life has been separated from the others by creating institutions for engaging in only one at a time, excluding the other three as much as possible. Businesses are designed for work, not play, learning, or inspiration. Country clubs, theaters, and sports stadiums are designed for play, not work, learning or inspiration. Schools are designed for learning, not work, play, or inspiration. Museums and churches are designed for inspiration, not work, play, or learning. However, one of the most important products of systems thinking is the realization that the effectiveness with which any of these four functions can be carried out depends on the extent to which they are carried out together, in an integrated way.

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

For that matter, even if the owners and workers in a historic site had not included a president, most visitors would want to hear about the important events in their lives, not just about their furniture.

together in town, each one on a separate little strip of paper. Then, we rolled up all the little strips and placed them inside our “fun jar.” Now, every Friday afternoon, we simply pull an activity from the fun jar and do it. Sometimes we’ll visit a museum, while other times we’ll play in the park or visit a highly rated ice cream parlor across town. That time is reserved just for us. Truth be told, the fun jar idea doesn’t always work as smoothly as I’d like. It’s hard for me to muster up the energy to head to the playground when New York’s temperatures fall below freezing. On those days, a cup of hot cocoa and a couple of chapters of Harry Potter sound way more inviting for us both. What’s important, though, is that I’ve made it a priority in my weekly schedule to live up to my values. Having this time in my schedule allows me to be the dad that I envision myself to be.

ここ〹オ〹ンダ、〹ーボルト・〹ウスの展示室の一室。 南ホ〹ント州、アムステルダムから電車で30 分弱のところにある、あの画家のレンブラント

性ゃポテン〹ャルについて、20 分間話しました。 目をらんらんと輝かせて…… のはず〹、あれッ。

日本の〹ーメン産業の規模〹どれくらいですか？」 「麺の〹麦粉は、どの国から輸入していますか？」 〹〹ッ？ど〹もこ〹も、〹ーメンの「おいしさ」や「食文化」といった人間の自然な 好奇心から発せられる質問（「パスタとどちらがおいしいですか？」とか。そんな単純な質問〹来な〹〹）〹らは〹ーく離れた「経済」よりのぜんぜーん予期して〹な〹った質問〹飛んできます。 あとで、「あなたたち〹何がしたくて日本学〹へ入ったのですか？」と質問したところ、ほとんどの学生が「貿易関係」とか「経済に〹献できること」と答えてくれたため、この質問の〹図に対する疑問〹解消できたのですが、そのときは奇妙に思ったのです。 そ〹、オ〹ンダ〹天然ガスくらいしか資源〹ない国です。国土〹狭く

あとで、「あなたたち〹何がしたくて日本学〹へ入ったのですか？」と質問したところ、ほとんどの学生が「貿易関係」とか「経済に〹献できる

[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.

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.

Love happens in such a way, Maureen told me. It walks up to you, and when it does, you need to recognize it for what it is and, perhaps more important, for what it might become.

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.

Mike had a girlfriend named Jenny. Soap liked Jenny because she teased him, but Jenny really isn’t important to this story. She wasn’t ever going to fall in love with Soap, and Soap knew it. What matters is that Jenny worked in a museum, and so Soap and Mike started going to museum events, because you got Brie on crackers and wine and martinis. Free food. All you had to do was wear a suit and listen to people talk about art and mortgages and their children. There would be a lot of older women who reminded Soap of his mother, and it was clear that Soap reminded these women of their sons. What was never clear was whether these women were flirting with him, or whether they wanted his advice about something that even they couldn’t put their finger on.

Catawamteak,” meaning “the great landing,” is what the Abenaki Indians called the early settlement that became Rockland, Maine. Thomaston and Rockland can be bypassed by Route 90, an eight-mile shortcut which I frequently used as a midshipman, but our bus stayed on the main road and stopped to let passengers on and off in both places. At one time Rockland was part of Thomaston, called East Thomaston, but the two towns have long since separated, having very little in common. In the beginning, Rockland developed quickly because of shipbuilding and limestone production. It was, and still is, an important fishing port. Lobsters are the main export and the five-day Maine Lobster Festival is celebrated here annually. The red, three-story brick buildings lining the main street of Rockland, give it the image of an old working town. I have always been impressed by the appearance of these small towns, because to me this is what I had expected Maine to look like. When I first went through the center of Rockland on the bus, I was impressed by the obvious ties the community had with the sea. The fishing and lobster industry was evident by the number of commercial fishing and lobster boats. Rockland was, and still is, the commercial hub of the mid-coastal region of the state. The local radio station WRKD was an important source of local news and weather reports. This was also the radio station that opened each day’s broadcasting with Hal Lone Pine’s song, recorded on Toronto's Arc Records label: “There’s a winding lane on the Coast of Maine that is wound around my heart....” The United States Coast Guard still maintains a base in Rockland, which is reassuring to the families of those who go fishing out on the open waters of Penobscot Bay and the Gulf of Maine. Rockland remains the home of the Farnsworth Art Museum, which has an art gallery displaying paintings by Andrew Wyeth, as well as other New England artists. The Bay Point Hotel that was founded in 1889 had a compelling view of the breakwater and Penobscot Bay. The Victorian style hotel, later known as the Samoset Hotel, had seen better days by 1952 and was closed in 1969. On October 13, 1972, the four-story hotel caught fire in the dining area due to an undetermined cause. Fanned by 20-mile-an-hour north winds, the structure burned to the ground within an hour. However, five years later a new Samoset Resort was founded.

The Concert was owned by the French critic Thoré and sold by his heirs in 1892 to the wealthy American collector Isabella Stewart Gardner, whose house became a museum in Boston on her death in 1924. The painting was the most important work lost when 11 pictures were stolen from the museum on 18 March 1990 and it has not yet been recovered. It is thought to be the most valuable unrecovered stolen painting, with a value estimated at over $200,000,000.

Fate's all right if everything's going well. Makes you feel all important. Deserving, Like your happiness is meant. But when things are shit, you're trapped by it, helpless, like those myths where the gods muck about with humans, for a laugh.

Like the potted seeds in the greenhouse, he grew into his surroundings, warm and fed and watered. And all the time he was growing he anticipated the day when he would be too big, too important for his container, when a transfer would be necessary and he would be uprooted and transplanted to somewhere better, a place where he could grow without restraint. In the meantime, life was ordinary, unremarkable and occasionally boring. It was, looking back, wonderful.

I wish there was more time on earth. More time to do EVERYTHING we like doing, and using all the talents we have without having to choose to advance one talent over another. Time to dance carelessly and freely. Time to paint and create beautiful art. Time to explore all the museums and temples of this world. Time to read all the books written. Time to laugh and embrace those who make our hearts happy. Time to gather and share knowledge. Time to play board games, drink coffee and tea, and enjoy nature without having to worry about borders and limitations. Time to learn people's cultures, behaviours, and ways of living. Time to seek and find. And most importantly, time to create true connections. My friends, time remains an enemy to all mankind.

The engineering context of precision where precision is not necessary indicates the existence of sophisticated tools. These have not been found in the archaeological record, but the existence of them must be taken into account when we consider the mountain of circumstantial evidence to support their use. In the case of the Serapeum, the list of tools and instruments that are necessary to create the granite boxes has grown. We can say with certainty that exact measuring instruments existed, for this work and the work at Luxor and Karnak could not have been accomplished without them. They are the most important and necessary tools for such work. The wooden squares, plumb bobs, and alignment instruments on display in the Luxor and Cairo Museums are incapable of giving even the most talented craftsman the information he needs to know that his work has achieved this kind of accuracy. Even if these boxes and monuments were crafted today with modern tools, such instruments are limited in what they can measure--and they most certainly cannot explain the precision and geometry [on display].

Since my first research visit to Malta in November 1999 I've learned that objects -- and even places -- of archaeological importance can and do disappear here in mysterious ways. For example, ancient remains of an estimated 7000 people were found in the Hypogeum of Hal Saflieni, buried in a matrix of red earth, when it was excavated by Sir Themistocles Zammit at the beginning of the twentieth century. Today only six skulls are left, stashed out of public view in two plastic crates in the cavernous vaults of Malta's National Museum of Archaeology. Nobody has the faintest idea what has happened to all the rest of the bones. They've just 'vanished', according to officials at the Museum. And the six skulls? After much pressure and protest I have been allowed to see them only this morning and they are -- I must confess -- extremely and unsettlingly odd. They are weirdly elongated -- dolichocephalic is the technical term but this is dolichocephalism of the most extreme form. And one of the skulls, though that of an adult, is entirely lacking in the fossa median -- the clearly-visible 'join' that runs along the top of the head where two plates of bone are separated in infancy (thus facilitating the process of birth) but later join together in adulthood. I should be paying attention to the fantastic views and seascapes unfolding beneath the helicopter but I keep on wondering: what would people with skulls like that have looked like during life? How could they have survived birth and grown to adulthood? And did the other skulls from the Hypogeum -- the lost skulls, the lost bones -- also show the same distinctive peculiarity?