Museum Of The Future Quotes

Once poverty is gone, we'll need to build museums to display its horrors to future generations. They'll wonder why poverty continued so long in human society - how a few people could live in luxury while billions dwelt in misery, deprivation and despair.

In fact no one recognizes the happiest moment of their lives as they are living it. It may well be that, in a moment of joy, one might sincerely believe that they are living that golden instant "now," even having lived such a moment before, but whatever they say, in one part of their hearts they still believe in the certainty of a happier moment to come. Because how could anyone, and particularly anyone who is still young, carry on with the belief that everything could only get worse: If a person is happy enough to think he has reached the happiest moment of his life, he will be hopeful enough to believe his future will be just as beautiful, more so.

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

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

the past was what we carried with us, threaded to the future, and we decided whether to keep it close or let it go. Fate was both what we were given and what we made for ourselves.

Good design is a renaissance attitude that combines technology, cognitive science, human need, and beauty to produce something that the world didn’t know it was missing.” —PAOLA ANTONELLI, curator of architecture and design, Museum of Modern Art

Marilynne Eichinger's book will bring added interest to museums and what they can offer now and in the future.

Inside the museums, | Infinity goes up on trial | Voices echo this is what salvation must be like after a while

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.…

In the future, churches, mosques, synagogues and temples, all of them will be museums! The intellectual progression of humanity will necessitate such a drastic and dramatic change in the human history!

No one recognises the happiest moment of their lives as they are living it. It may well be that in a moment of joy, one might sincerely believe that they are living that golden instant 'now', even having lived such moments before, but whatever they say, in one part of their hearts they still believe that a happier moment to come. Because how could anyone, particularly anyone who is young, carry on with the belief that everything could only get worse: if a person is happy enough to think he has reached the happiest moment of his life, he will be hopeful enough to believe his future will be just as beautiful.

My high school guidance counselor, Mrs. Inverholl, once had me take an aptitude test to figure out my future. The number one job recommendation for my set of skills was an air traffic accident investigator, of which there are fewer than fifty in the world. The number two job was a museum curator for Chinese-American studies. The number three job was a circus clown.

... a man has many lives. Each day we chose the path we would take by our own actions... the past was what we carried with us, threaded to the future, and we decided whether to keep it close or let it go. Fate was both what we were give and what we made for ourselves.

But I know nothing; my future is a wide-open vista, leading to an unknown country - The Rest Of My Life.

There's no future in stories...Stories are things of the past, things for museums.

I don't like museums, I like labs.

... the past was what we carried with us, threaded to the future, and we decided whether to keep it close or let it go.

I escape disaster by writing a poem with a joke in it: The past, present, and future walk into a bar—it was tense.

Where exactly does it come from, I’d like to know, this ineradicable attitude of superiority toward the past? This stubbornly dumb, can’t-kill-it-with-an-ax conviction that we, the now, critically and categorically know better than they, the past. Is it from the mere fact that their future is known to us, that we know what happens? (Nothing good.) It’s much the way we treat small children— pedantic and permissive at the same time. And we always think of the people of the past — just as we do of children — as being naïve in everything from their clothes and hairstyles to their thoughts and feelings.

There were minutes of silence then and in them I thought about the only truth that mattered, the only morality that mattered, the only sin, the only crime. When Lily de Seitas had told me her version of it at the end of our meeting at the museum I had taken it as a retrospective thing, a comment on my past and on my anecdote about the butcher. But I saw now it had been about my future. History has superseded the ten commandments of the Bible; for me they had never had any real meaning, that is, any other than a conformitant influence. But sitting in that bedroom, staring at the glow of the fire on the jamb of the door through to the sitting room, I knew that at last I began to feel the force of this super-commandment, summary of them all; somewhere I knew I had to choose it, and every day afresh, even though I went on failing to keep it. Conchis had talked of points of fulcrum, moments when one met one's future. I also knew it was all bound up with Alison, with choosing Alison, and having to go on choosing her every day. Adulthood was like a mountain, and I stood at the foot of this cliff of ice, this impossible and unclimbable: Thou shalt not inflict unnecessary pain.

To preserve the past is to save the future...

I saw a group of museum staffers arriving for work. On their maroon blazers, several wore the lapel buttons that sold for a dollar each in the museum shop, inscribed with the slogans "Remember" and "Never Again" ... the victims of future exterminations could now die knowing that a shrine already existed in Washington where their suffering might be commemorated

... a man always revealed his own inner story in his actions and expressions. A man's past deeds foretold his future and allowed anyone with half a brain to divine the path he would take.

Hochman had been right, the past was what we carried with us, threaded to the future, and we decided whether to keep it close or let it go. Fate was both what we were given and what we made for ourselves.

She opened up the glass jar she kept spare buttons in and began sorting through them. It was like handling bits and pieces of the past—buttons from loved ones’ dresses and suits and coats carefully gathered up and saved for future use. She had inherited many of the buttons from her mother and grandmother, even her Great Aunt Maggie. Each woman adding to the collection, like curators of a family museum. Now what would happen to them?

The sequence of doors we passed made me think of all the rooms of my past and future. The hospital ward I was born in, classrooms, tents, churches, offices, hotels, museums, nursing homes, the room I’ll die in. (Has it been built yet?)

Museums are preserving the past and propelling us into the future.

The past and the future were the same thing to him, one forgotten and the other not remembered; he had no more notion of dying than a cat. Every year on Confederate Memorial Day, he was bundled up and lent to the Capitol City Museum where he was displayed from one to four in a musty room full of old photographs, old uniforms, old artillery, and historic documents.

some prominent aviation museums across India including the HAL Museum in Bangalore, the Indian Air Force Museum in Delhi and the Naval Aviation Museum in Goa which are storehouses of information

You want too much, Will." These thefts, this art. A future unfolding. "What's wrong with wanting everything?" he asked. The lights flickered on. If anyone had walked into the museum now, all they would see were these two siblings, faces turned not toward each other but to the art surrounding them. "Nothing," Irene said, but her voice was soft as a warning, "as long as you know how to get it.

When we listen to those stories, not only are we hearing tales of days gone by, we are also hearing the voices of all of those who lived before us. Those ancestors are not gone from our lives. They live in the stories, and they linger in our environments. They come to us in dreams and during ceremonies. They whisper to us in quiet moments and bring us comfort. One of my favorite stories is about a friend's experience with the ancestors. She was doing repatriation work, which involves caring for the remains of an ancestor until they can be properly buried with their people. In this instance, the ancestor that she was caring for had been part of a gruesome display in a museum. During her time with him, she remained in prayer when he came to her and gave her a message. First, he thanked her for bringing him back home. Then, he told her, "we dreamed you into the future." Our ancestors lived for us; they died for us; and they dreamed for us. Through their collective imaginings, we were all brought into being. What an incredible honor it is for us to carry their life forward through our own.

Seeing the open pits in the open air, among farms, is the wonder, and seeing the bodies twist free from the soil. The sight of a cleaned clay soldier upright in a museum case is unremarkable, and this is all that future generations will see. No one will display those men crushed beyond repair; no one will display their loose parts; no one will display them crawling from the walls. Future generations will miss the crucial sight of ourselves as rammed earth.

Domestic Where's the wisdom in erasing a loved one's mess, so akin to his signature? Your honor, I only meant to strew the immaculate in his wake. To wipe the path ahead and behind reasonably clean. Futile, yes, but weren't such gestures essential to love's discipline once upon a time? Daily, I harvested dropped fruit peels and socks. I chased him through life with dustpan and broom, smoothed his body dents from the bed, soothed the mud tramped floors. Did I sin in this? Better to leave the habitat sweetly reeking of him than to spend years scrubbing up evidence of his existence. Archaelogists centuries hence may marvel at such relics: his mustard stained napkins, toothpicks chewed to splinters. Never let it be said that in my zeal to clean I robbed the future's museums. Who am I to call what flies to either side of the trail he blazes--half read magazines, cups of scummed over coffee and mashed out cigarettes--dirt?

And everything soon must change. Men would set their watches by other suns than this. Or time would vanish. We would need no personal names of the old sort in the sidereal future, nothing being fixed. We would be designated by other nouns. Days and nights would belong to the museums. The earth a memorial park, a merry-go-round cemetery. The seas powdering our bones like quartz, making sand, grinding our peace for us by the aeon. Well, that would be good - a melancholy good.

Laila lay there and listened, wishing Mammy would notice that she, Laila, hadn't become shaheed, that she was alive, here, in bed with her, that she had hopes and a future. But Laila knew that her future was no match for her brothers' past. They had overshadowed her in life. They would obliterate her in death. Mammy was now the curator of their lives' museum and she, Laila, a mere visitor. A receptacle for their myths. The parchment on which Mammy meant to ink their legends.

The sequence of doors we passed made me think of all the rooms of my past and future. The hospital ward I was born in, classrooms, tents, churches, offices, hotels, museums, nursing homes, the room I’ll die in. (Has it been built yet?) Cars’re rooms. So are woods. Skies’re ceilings. Distances’re walls. Wombs’re rooms made of mothers. Graves’re rooms made of soil.

The following month, the Guggenheim announced that after a two-decade relationship in which the Sacklers had donated $9 million, the museum would no longer accept any future donations from the family. The same week, the National Portrait Gallery in London revealed that it had turned down a $1.3 million gift from the Sacklers. Two days after the National Portrait Gallery, the Tate announced that it would not “seek or accept further donations from the Sacklers.

As a species we are a predominantly intelligent and exploratory animal, and beliefs harnessed to this fact will be the most beneficial for us. A belief in the validity of the acquisition of knowledge and a scientific understanding of the world we live in, the creation and appreciation of aesthetic phenomena in all their many forms, and the broadening and deepening of our range of experiences in day-to-day living, is rapidly becoming the 'religion' of our time. Experience and understanding are our rather abstract god-figures, and ignorance and stupidity will make them angry. Our schools and universities are our religious training centres, our libraries, museums, art galleries, theatres, concert halls and sports arenas are our places of communal worship. At home we worship with our books. newspapers. magazines, radios and television sets. In a sense, we still believe in an after-life, because part of the reward obtained from our creative works is the feeling that, through them, we will 'live on' after we are dead. Like all religions, this one has its dangers, but if we have to have one, and it seems that we do, then it certainly appears to be the one most suitable for the unique biological qualities of our species. Its adoption by an ever-growing majority of the world population can serve as a compensating and reassuring source of optimism to set against the pessimism (...) concerning our immediate future as a surviving species.

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.

Sometimes, when I was tired of working, I would go to the Museum of Modern Art. Standing before the great pageant of art history, I would gaze on the works that have survived beyond their times, analy-sing and evaluating them as if trying to solve mathematical puzzles, attempting to assess them in the context of the societies and times that had engendered them; but then I would return to myself and, in trying to consider the next starting point for my work, always find myself faced with the difficulty of reading my own future.

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

Harvard psychologist Daniel Gilbert talks about this phenomenon in his 2006 book, Stumbling on Happiness. “The greatest achievement of the human brain is its ability to imagine objects and episodes that do not exist in the realm of the real,” he writes. “The frontal lobe—the last part of the human brain to evolve, the slowest to mature, and the first to deteriorate in old age—is a time machine that allows each of us to vacate the present and experience the future before it happens.” This time travel into the future—otherwise known as anticipation—accounts for a big chunk of the happiness gleaned from any event. As you look forward to something good that is about to happen, you experience some of the same joy you would in the moment. The major difference is that the joy can last much longer. Consider that ritual of opening presents on Christmas morning. The reality of it seldom takes more than an hour, but the anticipation of seeing the presents under the tree can stretch out the joy for weeks. One study by several Dutch researchers, published in the journal Applied Research in Quality of Life in 2010, found that vacationers were happier than people who didn’t take holiday trips. That finding is hardly surprising. What is surprising is the timing of the happiness boost. It didn’t come after the vacations, with tourists bathing in their post-trip glow. It didn’t even come through that strongly during the trips, as the joy of travel mingled with the stress of travel: jet lag, stomach woes, and train conductors giving garbled instructions over the loudspeaker. The happiness boost came before the trips, stretching out for as much as two months beforehand as the holiday goers imagined their excursions. A vision of little umbrella-sporting drinks can create the happiness rush of a mini vacation even in the midst of a rainy commute. On some level, people instinctively know this. In one study that Gilbert writes about, people were told they’d won a free dinner at a fancy French restaurant. When asked when they’d like to schedule the dinner, most people didn’t want to head over right then. They wanted to wait, on average, over a week—to savor the anticipation of their fine fare and to optimize their pleasure. The experiencing self seldom encounters pure bliss, but the anticipating self never has to go to the bathroom in the middle of a favorite band’s concert and is never cold from too much air conditioning in that theater showing the sequel to a favorite flick. Planning a few anchor events for a weekend guarantees you pleasure because—even if all goes wrong in the moment—you still will have derived some pleasure from the anticipation. I love spontaneity and embrace it when it happens, but I cannot bank my pleasure solely on it. If you wait until Saturday morning to make your plans for the weekend, you will spend a chunk of your Saturday working on such plans, rather than anticipating your fun. Hitting the weekend without a plan means you may not get to do what you want. You’ll use up energy in negotiations with other family members. You’ll start late and the museum will close when you’ve only been there an hour. Your favorite restaurant will be booked up—and even if, miraculously, you score a table, think of how much more you would have enjoyed the last few days knowing that you’d be eating those seared scallops on Saturday night!

We have some great museums. You'd love the lake." "I don't know that I can enjoy any kind of water anymore." "Why not?" I already knew. "After that little girl, little Ann Nash, was left in the creek to drown." She paused to take a sip of her iced tea. "I knew her, you know." Amma whined and began fidgeting in her seat. "She wasn't drowned though," I said, knowing my correction would annoy her. "She was strangled. She just ended up in the creek." "And then the Keene girl. I was fond of both of them. Very fond." She stared away wistfully, and Alan put his hand over hers. Amma stood up, released a little scream the way an excited puppy might suddenly bark, and ran upstairs. "Poor thing," my mother said. "She's having nearly as hard a time as I am." "She actually saw the girls every day, so I'm sure she is," I said peevishly in spite of myself. "How did you know them?" "Wind Gap, I need not remind you, is a small town. They were sweet, beautiful little girls. Just beautiful." "But you didn't really know them." "I did know them. I knew them well." "How?" "Camille, please try not to do this. I've just told you that I am upset and unnerved, and instead of being comforting, you attack me." "So. You've sworn off all bodies of water in the future, then?" My mother emitted a quick, creaky sound. "You need to shut up now, Camille." She folded the napkin around the remains of her pear like a swaddling and left the room. Alan followed her with his manic whistling, like an old-time piano player lending drama to a silent movie.

Its visionaries are driven by a new and very different set of values. This work reminds us that the contemporary museum, long revered as an elite sanctuary, now beckons as a new commons: a town square, a venue for community building, even an agent of change. A major factor in this is the influence of social media—especially Instagram—with its effect of sidestepping gatekeepers and fostering ardent fandom, debate, cross-pollination, societal change, and a new kind of citizenship. The result has been a great opening, a time of schism and volatility, a feeling of dams bursting everywhere. Everyone felt they had a stake in whatever the future might hold. The art of these decades has shown us that the world didn’t begin long ago, but rather that each of us creates the world anew every day.

Ronan's trying to wake up the world. I'm trying to think of how to talk him out of it, but what he's talking about is a world where she never fell asleep. A world where Matthew's just a kid. A world where it doesn't matter what Hennessy does, if something happens to her. A level playing field. I don't think it's a good idea, but it's not like I can't see the appeal, because now I'm biased, I'm too biased to be clear." Declan shook his head a little. "I said I would never become my father, anything like him. And now look at me. At us." Ah, there it was. It took no effort to remember the way he'd looked at her the first moment he realized she was a dream. "I'm a dream," Jordan said. "I'm not your dream." Declan put his chin in his hand and looked back out the window; that, too, would be a good portrait. Perhaps it was just because she liked looking at him that she thought each pose would make a good one. A series. What a future that idea promised, nights upon nights like this, him sitting there, her standing here. "By the time we're married," Declan said eventually, "I want you to have applied for a different studio in this place because this man's paintings are very ugly." Her pulse gently skipped two beats before continuing on as before. "I don't have a social security number of my own, Pozzi." "I'll buy you one," Declan said. "You can wear it in place of a ring." The two of them looked at each other past the canvas on her easel. Finally, he said, voice soft, "I should see the painting now." "Are you sure?" "It's time, Jordan." Putting his jacket to the side, he stood. He waited. He would not come around to look without an invite. It's time, Jordan. Jordan had never been truly honest with anyone who didn't wear Hennessy's face. Showing him this painting, this original, felt like being more honest than she had ever been in her life. She stepped back to give him room. Declan took it in. His eyes flickered to and from the likeness, from the jacket on Portrait Declan's leg to the real jacket he'd left behind on the chair. She watched his gaze follow the line edge she had taken such care to paint, that subtle electricity of complementary colors at the edge of his form. "It's very good," Declan muttered. "Jordan, it's very good." "I thought it might be." "I don't know if it's a sweetmetal. But you're very good." "I thought I might be." "The next one will be even better." "I think it might be." "And in ten years your scandalous masterpiece will get you thrown out of France, too," he said. "And later you can triumphantly sell it to the Met. Children will write papers about you. People like me will tell stories about you to their dates at museums to make them think they're interesting." She kissed him. He kissed her. And this kiss, too, got all wrapped up in the art-making of the portrait sitting on the easel beside them, getting all mixed in with all the other sights and sounds and feelings that had become part of the process. It was very good.

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.

Personal conversations at events or meetings Listening to live speakers or TED Talks Entertainment Books Museums Magazines and newspapers Travel!

Opera halls, ballets, and large art museums receive more funding--and not all from the government--than do popular art and what might be considered popular music venues...But there are plenty of innovative musicians...who have had as much trouble surviving as symphony orchestras and ballet companies...Why not invest in the future of music, instead of building fortresses to preserve its past?...The 2011 annual operating budget for the New York Metropolitan Opera is $325 million; a big chunk of that, $182 million, came from donations from wealthy patrons.

Because that DNA is the whole reason we exist, still preserved long after most of humanity ascended into super-intelligent human-robot hybrids. Humans are just the legacy of that pre-Singularity time—the living museums that preserve the genetic diversity of what used to be the human race. In reality, we’re just a bunch of pathetic apes that evolution passed by. All

Every other detail of the room was equally as extravagant, including the carefully selected guest list. Men and women in brilliant gowns and crisp tuxedos milled about indolently as if they expected to be preserved in amber and put in a museum for the edification of future generations.

To mix business with pleasure, schedule your next staff retreat in an elementary school. Talking about strategic priorities takes on new meaning when you’re in a classroom whose bulletin boards admonish everyone to Play Fair, Don’t Hit, and Be Nice. And if this retro approach is really working for you, head to a children's museum for a day of discovery. You’ll benefit not only from tackling the hands-on museum exhibits, but also by soaking in the learning and laughter of the little people around you.

The museum is an island of "slow experience", just as the movement of "slow food" emerged in response to the proliferation of fast food.

8 ETHIOPIA Lucy Welcomes You Home —National Museum of Ethiopia poster Many things come from Ethiopia—for example, humans. A long time ago, in the Awash Valley, a humanlike ape hominin lived. She could walk on two legs but also hung out in trees; indeed, a fall from one may have caused her demise. Some 3.2 million years later, in 1974, one of her descendants, the paleoanthropologist Donald Johanson, came across her skeleton, and subsequent research suggested that this may be the region from where we all originated. Our ancestor was named Lucy due to the Beatles song “Lucy in the Sky with Diamonds,” which played at Johanson’s campsite that night. It certainly catches our imagination better than her scientific name: AL 288-1. The National Museum of Ethiopia’s poster “Lucy Welcomes You Home” is a clever piece of marketing, as is the national tourism slogan “Land of Origins,” which has helped boost visitor numbers in a country putting itself on the map in many ways. Tourism accounts for almost 10 percent of Ethiopia’s GDP, with close to 1 million people a year venturing into an epic landscape of high mountains, tropical forests, burning deserts, nine World Heritage sites, including thousand-year-old churches hewn out of solid rock, and breathtaking waterfalls.

One day in the future someone will look at this period in history and wonder why there were so many people completely insane and self-destructing themselves. Why were so many filled with hatred, jealousy and resentment. Why were so many fighting for ideals that have no value, like flag colors, skin color, teams and objects. They will probably create museums to contemplate the insanity of humanity and those museums will be filled with horror and ruins, in the same way we now look at roman coliseums. And they will then treasure the truth more than anything, and every book created until then will be seen as nothing more than a memory that persisted in time.

They are daughters who look like their mothers’ pasts, fathers who look like their sons’ futures.

That’s why I read books, watch movies, and listen to music. I go to art and history museums. I meet people. That repeated process is the only way to learn from history and create the future.

back when the internet first exploded onto the scene, we faced the dot-com bubble, where excitement outstripped reality and a lot of businesses failed. And it wasn’t just small businesses. Nokia was once invincible, dominating the mobile phone market in the 90s. It looked unassailable, as did Blackberry, as did Kodak. Now, they’re museum pieces. “Then we had the social media bubble. For the first time, the world was united on one global platform. Facebook had more users than the ten largest countries in the world combined. And then disinformation set in, and the bubble of confidence burst, followed by a pandemic where lies took lives. “Then we had the AI bubble. AI was the future. AI would replace all our menial jobs and usher in utopia. Only it didn’t. It left the menial jobs untouched and stripped out the talent from where it was needed most. And then, like Ouroboros, the snake began eating its own tail.

said doubtfully. Among many other things. My conversations with Badger inspired me to visit art galleries and museums, to attend plays and concerts, to broaden my cultural horizons. The war had shown me man’s capacity for destruction. Badger reminded me of man’s capacity to create. When I studied a painting or listened to a symphony or stood beneath St. Paul’s magnificent dome, I felt a renewed sense of hope for the future. Though much had been destroyed, much remained, and much would be restored. Civilization would endure.

Preservations are working to save neon signs for future generations, either on-site or in museums. After all, what would America be without a few giant doughnuts around.

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.

According to the Treaty of Versailles, the post World War I German Navy was only permitted to have six light cruisers. One of these was the Emden, with a length of over 508 feet and a draft of 17 feet 5 inches. She was launched on January 7, 1925 and commissioned over nine months later on October 15, 1925. The light cruiser had a standard displacement of 5,400 tons, and was the only ship ever constructed in her class. She was built by the Reichsmarine shipbuilding company in Wilhelmshaven, Germany. As a new ship the Emden became the German Navy’s training ship and conducted several world cruises to train future naval officers. In September of 1934, Kapitan Karl Dönitz, the future commander of the German Navy, the Kriegsmarine, took command of the ship and remained her master until the following year. The Emden visited Cape Town in December of 1934 and was there for the Christmas celebration at the Cape Town German Club, described on page 30 of “Suppressed I Rise.” It was then that Adeline danced with the renowned Captain Dönitz, who would later replace the Fuhrer, Adolf Hitler, as the head of state in Germany. The cruiser Emden was severely damaged by British bombers in February of 1945. On May 3, 1945, the Germans scuttled the ship, to prevent her from being captured by the Allies. Ultimately in 1949, the ship was taken for scrap. Her bow ornament is still on display at the popular Deutsches Museum in Munich.

I saw this was the way of the future, to leave the past behind as if it were a dream.

Today’s National Mall is a lush green oasis of museums, monuments, and buildings running through the center of the most powerful city in the world—a place where Americans feel welcome to celebrate and pay homage to their country’s history and future. But the Mall hasn’t always been so welcoming, especially to African Americans. In fact, it was the last place any black person wanted to be; before the Civil War and the Emancipation Proclamation, the National Mall claimed some of the most infamous slave markets of Washington, D.C.

Museums (the more obscure the better!)

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

The English language once had a word for the characteristic impression that a plant or animal offers to the eye. We called it the “jizz,” and the adoption of that term as sexual slang is unfortunate, as it seems unlikely we’ll come up with a replacement. It is the jizz, for example, that allows a skilled birdwatcher to know a bird by its silhouette alone , or by some quality of movement or the way it holds its head. The strangely unsteady flight of the turkey vulture, the flat forehead of the Barrow’s goldeneye, the endless headlong running of sanderlings on a mudflat— each of these is the jizz. It is so pure an essence that, if captured in a few rough lines drawn with charcoal, it can express an animal more authentically than a portrait by a trained artist who has never carefully watched the creatures he paints. It’s the jizz that ancient art so often represents. While looking at Egyptian treasures in a museum, I felt a rush of nostalgia when an engraving of a scarab beetle reminded me that I used to see a related species, the tumblebug, or Canthon simplex, roll balls of dung across my home prairie. I had completely forgotten; it took a 3,500-year-old artifact from another continent to make me remember.

time. A new interdisciplinary community of scientists, environmentalists, health researchers, therapists, and artists is coalescing around an idea: neuroconservation. Embracing the notion that we treasure what we love, those concerned with water and the future of the planet now suggest that, as we understand our emotional well-being and its relationship to water, we are more motivated to repair, restore, and renew waterways and watersheds. Indeed, even as water is threatened, or perhaps because of the threat, public interest in water is very high. We treasure it—or, perhaps more accurately, we spend our treasure to access water for pleasure, recreation, and healing. Wealthy people pay a premium for houses on water, and the not so wealthy pay extra for rentals and hotel rooms sited at the oceanfront, on rivers, or at lakes. Those into outdoor sports, especially fishers and hunters, are fiercely protective of it and have founded numerous environmental organizations designed to protect water habitats for fish, birds, and animals. Over the last two decades, spas have become a sort of modern equivalent to ancient healing wells. As an industry, spas are a global business worth about $60 billion, and they generate another $200 billion in tourism. In 2013, there were 20,000 (up from 4,000 in 1999) spas in the United States producing an annual revenue of over $14 billion (a figure that has grown every year for fifteen years, including those of the recession), and tallying 164 million spa visits by clients.12 Ecotourism provides water adventures and guided trips, often in kayaks, rafts, or canoes. Ocean and river cruises are big business. Cities are creating urban architectures focused on waterscapes, happiness, and sustainability. Museums and public memorials of all sorts often feature water to foster reflection and meditation. And many communities are working to transform industrialized and polluted waterfronts into spaces that are pleasant, environmentally sound, and livable.

shifts is participatory learning. Participatory learning includes the many ways that learners (of any age) use new technologies to participate in virtual communities where they share ideas, comment on one another's projects, and plan, design, implement, advance, or simply discuss their practices, goals, and ideas together. This method of learning has been promoted both by HASTAC and by the John D. and Catherine T. MacArthur Foundation's Digital Media and Learning Initiative. Participatory learning begins from the premise that new technologies are changing how people of all ages learn, play, socialize, exercise judgment, and engage in civic life. Learning environments-peers, family, and social institutions (such as schools, community centers, libraries, museums, even the playground, and so on)-are changing as well. The concept of participatory learning

Domains of Human Concerns: Common Types of Possibilities For Action 1. BODY: exercise, medical checkups, traveling to an appointment. 2. PLAY or AESTHETICS: taking a vacation, going to the movies, going to an art museum, painting, putting a puzzle together. 3. SOCIABILITY: inviting a new person into a conversation, meeting an old friend, declaring a person trustworthy or untrustworthy. 4. FAMILY: getting married, sending children to college. 5. WORK: finishing a report, writing a letter. 6. EDUCATION: enrolling in a class, reading a book. 7. CAREER: choosing a major in college, getting a new job. 8. MONEY or PRUDENCE: investing money, bargaining for a new salary, buying health insurance. 9. MEMBERSHIP: joining a professional organization, becoming a citizen of a new country, founding a new club. 10. WORLD: working in a political campaign, visiting another country or culture.        11. DIGNITY: declaring pride in your work, declaring that your work is significant or insignificant, declaring standards of action for yourself to live up to.        12. SITUATION: declaring that your future is good or not good, declaring that you have more possibilities than you have been seeing, declaring that you have fewer possibilities in life than you supposed, discussing your possibilities with other persons. 13. SPIRITUALITY: reflecting on the facticity of life, going to church, philosophical discussions with others.

But Laila knew that her future was no match for her brothers' past. They had overshadowed her in life. They would obliterate her in death. Mammy was now the curator of their lives' museum and she, Laila, a mere visitor. A receptacle for their myths. The parchment on which Mammy meant to ink their legends.

He confesses to dozens more thefts, though none that Von der Mühll doesn’t first prompt. Breitwieser generally hews to honesty, except about Anne-Catherine. He repeatedly describes her as an innocent bystander who was using the bathroom while he stole, or was in another gallery, and never knew what he was doing. He’s trying to minimize her potential punishment. In his cell, he keeps a sheet of notes, written in code and stashed in a book, recording what he has said about Anne-Catherine’s location in each museum or auction house. That way he won’t contradict himself in future interrogations or at a trial. His mother, he emphasizes, was completely unaware of his actions. “I’m the only one responsible,” Breitwieser says several times, throwing himself under the bus.

So can we arrive at a general principle as to why e-books have flopped in developed markets while audio and video streaming have triumphed? The technology commentator and best-selling author Edward Tenner argues that there are several reasons people are sometimes reluctant to abandon an old technology in favor of a new one. The first involves the potential vulnerabilities of the new thing. For instance, the fax machine is now a museum piece, but for a while people continued to prefer it over emailing scanned documents out of security concerns. Another potential reason involves aesthetics and nostalgia. Although dwarfed by music CDs and streaming, vinyl record sales continue to grow within the niche market of music aficionados. And despite improvements in automatic transmissions, certain car lovers prefer stick shifts. Perhaps the key to understanding format resilience is that technologies rise and fall as part of ecosystems, rarely on their own or by themselves. Those ecosystems need to evolve quickly, through open innovation, in order to appeal to new generations of users, transforming the landscape in the process. E-book platforms have remained fundamentally closed to external innovators, especially on the software side. As a result, the functionality of e-books remains limited. Moreover, research indicates that reading a physical book enables the reader to absorb information more efficiently than reading the same book on an e-reader or a tablet. “The implicit feel of where you are in a physical book turns out to be more important than we realized,” argues Abigail Sellen, a scientist and engineer at Microsoft Research Cambridge in England. “Only when you get an e-book do you start to miss it. I don’t think e-book manufacturers have thought enough about how you might visualize where you are in a book.

The museum is a healing agent. It allows people to understand their past and present and to imagine their future

Think of it as the dangle: a wealthy patron can often enjoy favor and influence with a hard-up institution that are far out of proportion to any gifts that have actually been made, because the canny donor learns to dangle the possibility of future gifts, and that is a possibility that the museum or university cannot afford to overlook. When the dangle is executed correctly, there is almost nothing that the institution will not do to keep the donor (or even the prospective donor) happy.

So Disney merely has to stoop down to pick up reality as it is. 'Built-in spectacle', as Guy Debord would say. But we are no longer in the society of the spectacle, which has itself become a spectacular concept. It is no longer the contagion of spectacle which alters reality, it is the contagion of the virtual which obliterates the spectacle. With its diverting, distancing effects, Disneyland still represented spectacle and folklore, but with Disneyworld and its tentacular extension, we are dealing with a generalized metastasis, with a cloning of the world and of our mental universe, not in the imaginary register, but in the viral and the virtual. We are becoming not alienated, passive spectators, but interactive extras, the meek, freeze-dried extras in this immense reality show. This is no longer the spectacular logic of alienation, but a spectral logic of disembodiment; not a fantastic logic of diversion, but a corpuscular logic of transfusion, transubstantiation of each of our cells. An undertaking of radical deterrence of the world, then, but from the inside this time, not from outside, as we saw in what is now the almost nostalgic world of capitalist reality. In virtual reality the extra is no longer either an actor or a spectator; he is off-stage, he is a transparent operator. And Disney wins on yet another level. Not content with obliterating the real by turning it into a 3-D, but depthless, virtual image, it obliterates time by synchronizing all periods, all cultures in the same tracking shot, by setting them alongside each other in the same scenario. In this way, it inaugurates real time — time as a single point, one-dimensional time, a thing which is also without depth: neither present, past nor future, but the immediate synchrony of all places and all times in the same timeless virtuality. The lapsing or collapsing of time: this is the real fourth dimension . The dimension of the virtual, of real time, the dimension which, far from superadding itself to the three dimensions of real space, obliterates them all. So it has been suggested that in a century or a millennium, the old 'swords and sandals' epics will be seen as actual Roman films, dating from the Roman period, as true documentaries on Antiquity; that the Paul Getty Museum at Malibu, a pastiche of a villa from Pompeii, will be confused anachronistically with a villa from the third century B.C. (as will the works inside: Rembrandt and Fra Angelico will all be jumbled together in the same flattening of time); and that the commemoration of the French Revolution at Los Angeles in 1989 will be confused retrospectively with the real event. Disney achieves the de facto realization of this timeless Utopia by producing all events, past or future, on simultaneous screens, remorselessly mixing all the sequences as they would — or will — appear to a civilization other than our own. But this is already our civilization. It is already increasingly difficult for us to imagine the real, to imagine History, the depth of time, three-dimensional space - just as difficult as it once was, starting out from the real world, to imagine the virtual one or the fourth dimension.

My dear," he admonished her when she brought up the fact that she might, in the future, go back to work as a lawyer, "how do you expect to do two jobs?"... "You already have a job," he explained. "From now on, your life with your husband is your job." He corrected himself. "It's more than a job. It's a career. Your husband makes the money, and you create the life. And it's going to take effort. You'll rise each morning and exercise, not simply to look attractive but to build endurance. Most ladies prefer yoga. Then you will dress. You'll arrange your schedule and send e-mails. You'll attend a meeting for a charity in the morning, or perhaps visit an art dealer or make a studio visit. You'll have lunch, and then there are meetings with decorators, caterers, and stylists; you'll have your hair colored twice a month and blow-dried three times a week. You'll do private tours of museums and read, I hope, three newspapers a day: The New York Times, The New York Post, and The Wall Street Journal. At the end of the day, you'll prepare for an evening out, which may include two or three cocktail parties and a dinner. Some will be black-tie charity events where you'll be expected to wear a gown and never the same dress twice. You'll need to have your hair and makeup done. You'll also plan vacations and weekend outings. You may purchase a country house, which you will also have to organize, staff, and decorate. You will meet the right people and court them in a manner both subtle and shameless. And then, my dear, there will be children. So," Billy concluded, "let's get busy.

Whoever investigates the past, honours the future - Kās senatni pētī, nākotni svētī

Laila knew that her future was no match for her brothers’ past. They had overshadowed her in life. They would obliterate her in death. Mammy was now the curator of their lives’ museum and she, Laila, a mere visitor. A receptacle for their myths. The parchment on which Mammy meant to ink their legends.

Her past already seemed an antiquated curiosity—a virtual space re-created by the museum of the future.

But Laila knew that her future was no match for her brothers’ past. They had overshadowed her in life. They would obliterate her in death. Mammy was now the curator of their lives’ museum and she, Laila, a mere visitor.

If a person is happy enough to think he has reached the happiest moment of his life, he will be hopeful enough to believe his future will be just as beautiful, more so.

In his book Back to Sanity, the psychologist Steve Taylor recalls watching tourists at the British Museum in London who weren’t really looking at the Rosetta Stone, the ancient Egyptian artifact on display in front of them, so much as preparing to look at it later, by recording images and videos of it on their phones. So intently were they focused on using their time for a future benefit—for the ability to revisit or share the experience later on—that they were barely experiencing the exhibition itself at all.

The unity of painting does not exist in the Museum alone; it exists in that single task which all painters are confronted with and which makes the situation such that one day they will be comparable in the Museum, and such that these fires answer one another in the night. The first sketches on the walls of caves set forth the world as "to be painted" or "to be sketched" and called for an indefinite future of painting, so that they speak to us and we answer them by metamorphoses in which they collaborate with us. There are thus two historicities. One is ironic or even derisory, and made of misinterpretations, for each age struggles against the others as against aliens by imposing its concerns and perspectives upon them. This history is forgetfulness rather than memory; it is dismemberment, ignorance, externality. But the other history, without which the first would be impossible, is constituted and reconstituted step by step by the interest which bears us toward that which is not us and by that life which the past, in a continuous exchange, brings to us and finds in us, and which it continues to lead in each painter who revives, recaptures, and renews the entire undertak- ing of painting in each new work.

るべきだったかもと思〹〹、も〹遅い 。話

It's horrifying and at the same time tilts my worldview on its end, sliding all my black and white certainties into a mash of human feeling. The dancing woman whirls, whole and not whole, blades reaching into every past and every future. Not justifying, not judging, only listening, hurting, and dancing in turn. * * * * * Back in Valentina's room behind her museum, I gasp. "Do you see?" she says. "Why I write war poems?" "Messy," I whisper. "And human. I--Ithink so." ~Dulce Et Decorum by S. L. Huang

A man in the massive shadows of the columns of the Museum of Griefs-to-Come.

I am the collector of past selves, curator of the museum of old-yous. I take care that those originals never disapear, even if new versions have come about. I will remember you. You will remember me, as how you knew me in our time. Someday, aeons into our future, through greying hair and gold-rimmed glasses, we'll examine the dusty memories, wondering how these mythical people become extinct,

...all that we consider to be the great works of man - the sculptures and the libraries, the monuments and the museums, the cities and the factories - will be compressed into a layer of sediment not much thicker than a cigarette paper.

Future historians, pondering changes in British society from the 1980s onwards, will struggle to account for the following curious fact. Although British business enterprises have an extremely mixed record – frequently posting gigantic losses, mostly failing to match overseas competitors, scarcely benefiting the weaker groups in society – and although various ‘arm’s length’ public institutions such as museums and galleries, the BBC and the universities have by and large a very good record (universally acknowledged creativity, streets ahead of most of their international peers, positive forces for human development and social cohesion), nonetheless the policies and the rhetoric of the past three decades have overwhelmingly emphasized the need for the second category of institutions to be forced to change so that they more closely resemble the first. Some of those future historians may even wonder why at the time there was so little concerted protest at this deeply implausible programme.

Different groups have different priorities. Because Hispanics tend to have low incomes, they support increases in government services, even at the cost of more taxes for others. Most Hispanics supported all five spending initiatives on the May, 2005 California ballot; most whites opposed all five. Prof. Nikolai Roussanov of the Wharton School has found that both blacks and Hispanics spend 50 percent less on medical care than do whites with similar incomes, and that blacks and Hispanics spend 16 percent and 30 percent less, respectively, on education than do whites with similar incomes. Many studies have also found that blacks and Hispanics save less than whites for future goals like retirement. How do they spend their money? Blacks are more likely than whites to buy lottery tickets and to spend disproportionately more money doing so. Prof Roussanov says the biggest difference, however, is that blacks and Hispanics spend 30 percent more than whites with the same income on what he calls “visible goods” meant to convey status, such as clothing, cars, and jewelry. Different groups have different buying patterns. In 2004, Sears decided to turn 97 of its 870 locations into “multicultural stores,” in which clothing, signs, décor, and displays were geared to Hispanics and blacks, who do not have the same tastes and body sizes as whites. Hispanics want “stylish,” form-fitting clothing in bright, loud colors, and the highest heels available. Blacks need more “plus” sizes. In the multicultural stores, Sears displays the loud clothing prominently, near entrances. Clothing white women are likely to buy, such as the more traditional Land’s End line, is in the back. For years there was a Roy Rogers-Dale Evans Museum in Victorville, California, filled with Roy Rogers memorabilia and even his horse Trigger—stuffed, of course. That part of California is now heavily Hispanic, and no one is interested in Roy Rogers. The museum moved to Branson, Missouri, which has become a resort catering to bluegrass and country music fans, who are overwhelmingly white. Victorville immigrant Rosalina Sondoval-Marin did not miss the museum. “Roy Rogers? He doesn’t mean anything,” she said. “There’s a revolution going on, and it don’t include no Roy Rogers.

And inevitably there always crept into our discussions the figure of Whitman, that one lone figure which America has produced in the course of her brief life. In Whitman the whole American scene comes to life, her past and her future, her birth and her death. Whatever there is of value in America Whitman has expressed, and there is nothing more to be said. The future belongs to the machine, to the robots. He was the Poet of the Body and the Soul, Whitman. The first and the last poet. He is almost undecipherable today, a monument covered with rude hieroglyphs for which there is no key. It seems strange almost to mention his name over here. There is no equivalent in the languages of Europe for the spirit which he immortalized. Europe is saturated with art and her soil is full of dead bones and her museums are bursting with plundered treasures, but what Europe has never had is a free, healthy spirit, what you might call a MAN. Goethe was the nearest approach, but Goethe was a stuffed shirt, by comparison. Goethe was a respectable citizen, a pedant, a bore, a universal spirit, but stamped with the German trade-mark, with the double eagle. The serenity of Goethe, the calm, Olympian attitude, is nothing more than the drowsy stupor of a German burgeois deity. Goethe is an end of something, Whitman is a beginning.

The responsibility of people in power is to continually eliminate useless traditions and introduce valuable ones. An organization where nothing ever changes is not a workplace but a living museum.

The original “Articles of the Barons” on which Magna Carta is based exist to-day in the British Museum. They were sealed in a quiet, short scene, which has become one of the most famous in our history, on June 15, 1215. Afterwards the King returned to Windsor. Four days later, probably, the Charter itself was engrossed. In future ages it was to be used as the foundation of principles and systems of government of which neither King John nor his nobles dreamed.

In my fantasy, I always strangled them as they slept. I don’t know why, but it seemed the most humane way. I knew from my earliest sexual awakenings that I was gay. I was always attracted to men and never really questioned why. I just accepted the fact that I liked men and not women. I was raised Lutheran, and I knew the faith frowned on gays. I saw that openly gay people could have a tough time of it, so I decided to keep this my little secret. This wasn’t hard, since I kept most thoughts to myself. “I don’t know why, but my fantasies always included cutting into the dead bodies of my lovers. I sliced their torso from chin to crotch and pulled out their inner viscera, laying it on their chest. The thought of the warm inner cavity excited me tremendously, and I masturbated thinking about it. The orgasm was always pleasurable and intense. I’m not sure, but I think this was an extension of something I got involved in as a kid. When I was lonely or when my mom and dad fought, I walked the country roads by my house in Bath. I noticed that occasionally there were dead animals along the roadside, hit by cars. I was interested in what they looked like on the inside. At first, I brought them home and cut them up, examining their insides, not telling anyone. But the more interested I became, the less pleasure I got from just cutting into them. “The inner workings of these creatures fascinated me and I wanted to preserve their bones. I remember that I talked to Dad about my interest. I told him that I would like to preserve the bones in some way for future study. Dad was a chemist and knew all about chemicals that could clean off the dead skin. I wanted to sterilize the bones so they could be handled safely. I actually think he was proud of my interest. He helped me by providing various solutions, and even helped me build a little cemetery along the side of our garage to bury my experiments after I was finished studying them. This phase of finding dead animals along the road lasted until I was about fourteen. I actually had the complete set of bones from a large dog I found dead along the side of the road. It was a beagle, and I severed all the flesh from its body, cleaned and polished the bones with various solutions, and reassembled the animal on a large piece of wood. It was just like something in a museum.

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

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.