Foucault, in a lecture he once gave at Berkeley, embarked upon a discussion of the word “parrhesia,”
In what context did Foucault first use "parrhesia"? What was he addressing in this lecture for "parrhesia" to be extracted from and used in this context?
accessible
Accessible to who? Needs further discussion into the different forms of access and what denies them. Can there every be such a thing as "a simple entry point to complex ideas?"
emergency to one of urgency
Are there clear variants where emergency departs to become urgency? If so, what are they?
“What does it mean to own an image?”
Authorship, Roland Bathes; 'The Death of the Author'
hope
Reminds me of Kant. "universal history", Ernst Bloch's 'The Principle of Hope', William Morris: "hope as pleasure in the work itself"
“What can we learn from the museum?”
If we are constantly asking "what can we learn from the museum" does that enable the possibilities of encountering other forms of "knowledge" within the museum, such as conversations or unpredictable encounters that in fact inform our lives and thus are something that we can take away with us from the museum that we may never had the chance of "learning" without the museum experience
current functions.
their current functions being what precisely? How can we question and analyse how their functions be surpassed without full explanation of how these vital principles have been explored?
enter the fray of education
What exactly is meant by this?
“What can we learn from the museum?” and referred to a form of learning that could take place beyond that which the museum sets out to show or teach
This poses the question of whether the audience always has to (or needs to) learn something directly from the museum? Learning can be far more holistic when visiting a museum as opposed to leaving with an added "knowledge" of information acquired from the visit.
“reading strategy”
Also in scarce quotes... "Reading strategy" as an academic / educational tool or as an artistic practice? Or something different ?
desired
Whose desire? For who is the transition desired? Those already within arts education, those wishing for access to it, or those who are not within?
“turn,”
Rather than "turn" being an embedded part (or perhaps the use of scarce quotes makes it embodied?) of the text, Rogoff's use of scarce quotes when using "turn" and subsequent variants of "turn" (linguistic, curating) highlights a clear momentum, whether this be a turn away from, or a turn to, it is interesting to note the potentials, pragmatics and re-framing of the language.
Is the turning always time or situation orientated?