TABLE 2-1Projected Orientation ofStakeholders in Museum Exhibitions(According to Interviews and Academic Literature)
What does each stakeholder want museum exhibitions to achieve? (table) Why might government agencies place greater emphasis on public access?
Average Number of Exhibitions per Museum, Sponsored by EachType of Funder, by Year.
How many exhibitions each type of funder sponsored per year? (graph)
Individual sponsors dropped just as government sponsors skyrocketed. How does the graph demonstrate the shift from individual patronage to institutional funding?
Which type of funder became more influential over time?
Why is the data presented as an average per museum rather than as a total?
Figure 2-1. Sum of Exhibition Types over Sample Museums: All Exhibitions,Funded Exhibitions, and Unfunded Exhibitions.Source: Annual Reports, exhibition data set
How many exhibitions were held and how many received funding? (graph)
What does the number of funded exhibitions suggest about museums’ dependence on outside sponsors?
What does the graph reveal about the proportion of funded and unfunded exhibitions?
The goals of the government agencies pull in two directions, then. Theyhave public outreach goals, to bring art into the public sphere, and whatmay be termed “professional outreach” goals, to fund the scholarly andchallenging exhibitions that particularly excite the individuals who dis-tribute funds (panelists) or who make up a lobbying constituency (mu-seum personnel, art critics, artists, and the cultural elite).
What tension exists within government arts funding?
Traditional patrons are uninterested in attracting broad audiences tomuseums.
How do wealthy individual patrons differ from institutional funders?
thegoalsof the institutionalfundersarenotthesameasthoseoftraditionalmuseumsponsors.
What is the central problem created by new funding sources?
Corporations want to sponsor art thathas a wide public appeal,
What kinds of exhibitions do corporations tend to support?
Corporations favor representational art.
What kinds of exhibitions do corporations tend to support?
corporations generally fund art as apublic relations gambit.
What is the main motivation behind corporate arts funding?
the mid-60s were a time of tremendous growth of corporate artssponsorship.
What major change occurred in corporate arts sponsorship?
Themissionof theNEAistomakeartavailabletomorepeople,andtohelpculturalorganizationsbetter servethecitizens oftheUnitedStates.TheNEH’sprimary purposeistoincreasehumanisticunderstandinginAmericabysupportingeducation, publicprograms,andscholarly researchinthehumanities.
What were the main purposes of the NEA and NEH?
Individual philanthropists were the primary supporters of museumsearly in this century.
What was the main role of wealthy individual philanthropists in early museums?
widely available artenriches the nation
Why did federal arts funding become important?
American museums, instead, were founded on theideals of civic boosterism and cultural enlightenment.
How did early American museums differ from European museums?
But starting in the mid-sixties,museums became reliant on a mix of institutional funders.
What historical shift changed museum patronage in the United States?
bifurcation
A bifurcation is the exact point where something divides into two separate branches or parts.
museum personnel use theopportunities posed by the array of funders to actually create new solutions:new definitions of art, new types of exhibitions, and different roles formuseums.
how do funders actually help museums expand their horizons? how do funders add and benefit to the world of art?
museum managers strive to retain their autonomy and thelegitimacy of museums in the face of resource dependency pressures.
how do museums maintain autonomy in the face of funders interests?
When these preferences and biases conflict with the visions already insti-tutionalized in museums, new funding creates challenges for museumpersonnel.
how do preferences override a museum's established institutionalised knowledge / rational myths?
Inmuseums,curators, directors,trustees,andotherpersonnelallholddifferentviewsthathaveaestheticimplica-tions.
how does a museum come to a consensus with differing aesthetic implications?
Museumsaregenerally nonprofitcor-porations,asdesignatedinsection 501(c)(3)of theInternalRevenueCode,sotheycan receivegrants.
what happens when a museum becomes for-profit?
Itwouldseemoddtoappointapersontrainedinautomechanicsormedicinetothepostof curator,evenifthatperson wereanartcollectororanaccomplishedartistself-taughtinarthistory.
even if that person was more equipped to present in a certain auto mechanic or medical exhibition?
Rational myths are institutionalized knowledge:
why are they myths?
rational institutional myths”
?
ost people in the museumworld would agree that museums should conserve, collect, research, andteach about great art. Art museums should not be involved in entertain-ment or lowbrow, popular art.
what is "great" art as defined by a museum?
Rather,amuseummustmaintainagoodreputationtoprovethatitisanorganizationworthyofdonations.
why do museums care so much about their image to the point of livelihood?
actors
what are the effects and impacts of these "actors"? what can their actions cost?
institutionaltheorypositsthatmanagerswillfocus onmaintainingtheorganization’slegitimacy,andwillpaysecond-ary attentiontoresourceflows.
how do museum managers maintain a museum's legitimacy?
. Museum curators, administrators, andeducators try to use funders to benefit their coalition, not necessarily tobenefit the organization as a whole.
why are tensions caused in the museum? why do individuals only want funders to serve their individualistic interests? how can individual staff get funders to benefit the organisation as a whole?
Strategiccontingency theory suggests that subunits within organizations best posi-tioned to handle uncertainty from the environment tend to have morepower within the organization
how does an organisation best position itself to handle uncertainty from its environment?
the conflict between factions is likely to affect thecontent of art exhibitions, since exhibitions are shaped by various “stake-holders”—curators, administrators, educators, funders, and audiences.As any one of these groups gets stronger, weaker, or changes its point ofview, exhibitions are likely to change.
more people working on exhibitions internally = more stakes, more cooks spoil the broth?1
changinganorganization’s environ-mentcanaffectinternalarrangementsof theorganization(
how does changing a museum's external reach affect it internally?
Elite donors may not beparticularly interested in special exhibits at all; they may be more interestedin personal, behind-the-scenes tours of the museum.
how do different clientele have different needs?
museums could choose to make exhibitions more academic toplease university art historians and professional art critics.
how do museum managers choose who to please
trategic management orientsmuseum managers to the art world.
how do managers orientate museums to the art world?
Strategy models give us some insight into how managers create theirorganization’s environment
how do managers create their organisational environment?
Museums cannot operate only on admissionfees and small-donor memberships; consequently, they are highly depen-dent on other, more concentrated sources.
why is the money from the funders so important to museums?
the tastes and concerns of these funders may shape theexhibition policy made by museum managers.
why should museum managers care about what these funders tastes and what kind of art they like?
Thistheory posits a power relationship between two organizations, with thestronger organization essentially extorting compliance from the weaker.
how does the stronger organisation extort compliance when the other organisation has what the stronger one wants?
Resource Dependency
what is resource dependency?
important point of the production of culture approach is meta-theoretical.
why is the production of culture approach meta theorectical? - formalism treated with caution, social influences examined that help shape artistic products
the result is an increase in thenumber of exhibitions where the portfolios overlap.
what happens when funders are accepted into the realm of museum gatekeeping?
Simi-larly, funders have an implicit portfolio of shows they are willing to fund.
how do museums know whether to accept these funders?
Rather, fundersselect exhibitions they particularly do like from among types of shows thatmuseums would mount even without funding.
how do funders influence the type of exhibitions that they like in being shown?
Funders have the opposite effect from gatekeepers on exhibitions, abroadening effect rather than a narrowing effect.
how do funders affect museum gatekeepers?
Sotooaremuseumdirectorswhentheydecidewhatgiftsofpaintingorsculptureshouldbe accepted,orwhentheydeterminewhatpartof thepermanentcollection,ifany,shouldbesold.Directorsandmuseumtrusteesarealsogatekeepersinthattheycansuggestsubjectsformuseumexhibitions.
how do museums gatekeep?
“gatekeepers”—entitiesthatfiltercultural objectsastheyaretakenintothesystem.”
what is a institutional "gatekeeper"?
the ideas ofindividuals in production and distribution systems, along with the ar-rangement of the systems themselves, make a difference in what artreaches the public.
how do ideas of people in production and distribution and how they are aranged (or curated) lead to what kind of art reaches the public?
the impression of Nigeria thatBritish and American readers get from Nigerian novels is of rural commu-nities struggling with problems of tradition and modernity brought aboutby colonialism.
why is the impression of Nigerian novels of rural communities (ethnicisation)?
they argue that thesystem influenced the very way artists painted in that it functioned wellfor some types of paintings and not for others.
what influenced the rise of impressionism?
The new practices led to themodern focus on the career (stylistic development) of a painter, instead ofthe Academy’s focus on canvases (single masterpieces considered withoutregard to the master’s other work).
what caused the capitalisation of painting industry?
creationof the dealer-criticsystem,
what caused the oversupply of painters that led to the dealer-critic system / commercialisation to middle class?
As morepaintersflowedintoParisseekingtheprestigeofAcad-emytrainingandmedals,theAcademywasunabletohandlethemall.
why was there an inflation of artists in search of prestige?
Orion
even in moment of profound desperation, he is still willing to call out to the star for the kind of "counter star" that robert frost references in the previous poem
ake in your mouths the words that were our names.
strange stars near Arcturus,
Voices
Do not listen.Do not stand at dark in the open windows,
We don't want to acknowledge our universe's existence, even though it may have some higher meaning than me
Pointed to one tree but it was not so
rejection of morality - thinking that end of the world must have some purpose = end of the world must come so the tree can survive. but the unverse does not want to explain - rahsia tuhan ig
Also none among us has seen God.
implies that no one has seen salvation
We think
Alienation with the earth - idea that humans feel v isolated from the world - maybe this is not a complete accusation of the universe - stanza points out a lot of controversial ideas that humanity has not gotten right about the world (inconclusiveness about higher power, relationship with nature)
The loam cuts with a blunt knife,
again, not useful knowledge - shows that we have times of vulnerabilities (there are times where we only have a blunt knife) but the world is still fully prepared for us (the orchards, the springs, the soil)
there are springs under the orchards,
EPISTLE
Imaginary letter left for humans in extinction - poet doesn't want to pass on human achievements / scientific discoveries or memories, but passing on advice on nature - pastoral, pre-modern - he wants us to remember our vanished intimacy with the land
inviolate
the dark denies him
flesh is withered
cipher
undo
If they will not speak
Let them be silent
atoms
shift in scale - everything that we thought was inviolate or imbreakable, turns out to be breakable by atoms
He lies upon his bedExerting on Arcturus and the moonForces proportional inversely toThe squares of their remoteness and conceivesThe universe.
The squares of their remoteness and conceivesThe universe.
blots
His father was an ape.
if only
Something inviolate
Standing between the sun and moon
A certain secrecy.
Einstein (1929) delineated boundary between himself and the universe - metaphorical sense
The painting illustrateshow human activity has unbalanced anddisrupted the natural cycle of life
looks like a plant cell
Chua, nồng, cay, mặn, chát
taste
Sợ, thích, ngượng, buồn, mê
feelings
Bộp, chát, toong, kịch, bốp
sounds
Đói, sướng, rát, lạnh, tê
feelings
soliloquies
long speeches in a play
0 Hand of Fire
reference to 2nd poem of the wasteland - suggesting a nirvana - train not just a symbol of modernisation but saving us through experiencing the pain of modernity, we come out being safe
the hands drop memory;
ticking clock - hands that suggest salvation that drop memory by the sea
my City, I have driven under.Tossed from the coil of ticking towers
he has gone through purgatory journey underworld
The conscimce navelled in the plimging wind.Umbilical to call —and strai^tway die!
Daemon
the train as the demon - spirit that can guide us through this purgatory and the supernatural - demon vs daemon (guide)
gate
repetition freezes
pigeon’s muddy dream — potatoe
switching from iambs to trochee - strung together in rythymical verse - salvaging some forms of beauty in fragments of modern life
—
quickest promise home.
scuttle yawn
garden
crime-sheets
banal side of life - sensational shocks, but no real information
lowliest
the curveship lend a myth to God.
connect with 'curve' in 2nd stanza first line (which forsakes us, the curves caused by seagulls. it abandons us and doesnt give us salvation - curveship = not just a curve, idea of craft, moving toward God in a very specific way - by observing curves in daily life in the bridge, it pulls one into a transcendent state of the mystery of God - starting point to investigate God's myth - turning christian belief into heredictal invention - all social classes coming together lifting together into the realm of transcendence
Already snow submerges an iron year .
The City’s fiery parcels aU undone.
shadow
waiting for lover - safest thing to do to be queer at the time was to wait for sailors bc they would leave the next day - only at night that speaker can see himself clearly and comfort in his social identity - gentleness in this sentence
Only in darkness is thy shadow clear.
four-dimensional body as the tracing of the movementin space of a three-dimensional body in a direction not confinedwithin that space.
what time looks like
events" exist before our consciousnesshas touched them, and they still exist after our consciousness hasleft them behind.
Yesterday, today, and tomorrow all exist at the same time right now. Your birthday next year is already sitting there in the future, just like a building at the end of the street is sitting there before you walk up to it. You just haven't pointed your flashlight ("consciousness") at it yet.
It is necessary to recognize quite the reverse: that the idea ofmotion is deduced by us out of an incomplete sensation of time, orof the time-sense, i. e., out of a sense or sensation of the fourthdimension, but out of an incornplete sensation. This incompletesensation of time (of the fourth dimension)-the sensationthrough the slit-gives us the sensation of motion, that is, createsan illusion of motion which does not exist in reality, but insteadof which there exists in reality only the extension upon a directioninconceivable to us.
We think things are moving through time only because we can't see the full picture at once.
rn, your brain only lets you see one instant of time: NOW. That "NOW" is like looking through a tiny keyhole or a narrow slit.
As reality slides past your tiny slit of "NOW," it feels like things are moving. But Ouspensky argues that the 4th-dimensional world is actually completely still and already finished—we are just scanning across it step-by-step.
Motion isn't real (living in a flip book). It's just what happens when a 3D brain looks at a 4D object through a tiny window called "Time."
expedient
practical but may not be ethical
f space became four-dimensional insteadof being three-dimensional, this would affirm our presupposition,and would prove Kant's contention that space, with its properties,is afonn of our sensuous receptivity
But Ouspensky believed humans are slowly evolving a third tool: Higher Intuition (or Cosmic Consciousness).Right now, people only experience this in rare, accidental moments—like a sudden, overwhelming feeling of being connected to everything in the universe, where time seems to stop.Ouspensky says if we could learn to control this "seed" and turn it on whenever we want (making it "subject to our will"), our world would literally expand.
You wouldn't just see a frozen house. You would see the house being built, people living in it, the house decaying, and the house being torn down—all at the exact same time. Time would become a physical direction you could look at, just like looking to your left or right.By upgrading our minds, the layout of the universe changes. That is how we prove Kant was right: space isn't an empty room we live in; it's just the way our human minds organize what we see.
germ
tiny, unsprouted seed inside our minds.
If we could change our psychic apparatus and should then dis-cover that the world around us changed, this would constitute forus the proof of the dependence of the properties of space uponthe properties of our consciousness.
Ouspensky (following a famous philosopher named Immanuel Kant) says our brain does the exact same thing with space. Our brains are hardwired to see things in 3D (Length, Width, Height). Because our "brain glasses" are 3D, we think the whole universe is fundamentally 3D.
How do you prove the world isn't actually green? You take the green glasses off! If the world suddenly changes color, you've proven that the "greenness" was just coming from your glasses, not the world. Ouspensky is saying: If we could upgrade human consciousness, "take off our 3D glasses," and suddenly see a 4th dimension, it would prove that the dimensions of space are just a creation of our own minds.
apparatus
our brain's processing system—our senses, eyes, and thoughts
property of our knowledgeof the world
limiting
axioms
basic rule ppl accept wo any proof
Aaron's rod
symbol of authority
envisagement
to imagine smth esp gd
theory vs practical
what is traditional is actually not traditionally tacit all along?
unpackkkk
need to unpack this
gap in scholarship of distinction between tacit and explicit
what is decreed vs human will
relationship of experience to ilm
fitrah decreed nafs vs aql?
common sense ah
example of tacit knowledge
3 ways of tacit knowledge - relational, somatic (physical), collective
Suggested Workflows:
can Logistics POC be under Head 3
Head 1: Progs & Liaison (Service Learning, Pubs)
Head 2: Admin (Proposal, Finance, Sponsors, Fundraising)
Head 3: Operations (Manpower, Logs, Safety, Welfare)
walking the talk with dementia - what it is
commissioning contract - like employment terms & conditions
DIFFERENT APPROACHES TO APPOINT AN ARTIST
this is what we are doing with the OPEN Annex Co-Create Workshop - worth to put a artwork label with description next to the piece
briefing & site visit for artist
can this be done by interns?
budget for maintenance
decommission - what happens if we want to take down the artwork?
budget for artist's proposal / initial sketch
budget matters
starting proposal
stakeholders / organisers
types of public artworks
purpose of public art; everyone has a role to play
ideas fest - we have so much support and reason to do an open mic and art showcase. lets do it!
definitions of success
i wonder if Japan's inclusion at this stage comes across as an asian token - more relevant to get malaysia, indonesia, south nanyang china, even central asia
key priorities + relevancy
purpose of national guidance doc
issues with lack of structure
equalising everyone on the same level
substance over decoration
caregiver ethos
empowering tenacity
aims of OPEN x clinical trials
-- to support clinical trials
growing research efforts
research and implementation
structure of PPI
OPEN voices challenges
whatsapp channels
issues with lack of funding
gratitude framework - what's been done to mitigate lack of funding
SEPT Recruitment of Heads
fresh EXCO batch are going to have trouble with this
Similar to HODrecruitment, with ALsheavily involved ininterview process toexpress roleresponsibilities mostclearly
like LRP system with P, VP and HGS being added to new LRP shura team
Interview to inform:
this sounds like too much info for HR to load, especially new 40th HR
Clear distinction: CPT handles planning, generalmembers recruited later for execution
concern for general members recruited later - how to make sure people don't join for the sake of just carrying other people's hard work out? - this planning & execution team distinction should not be made apparent when recruiting
P&L sheet
not sure what is this
afia." For Puebla, the "Relaci6n" (a report sent tothe crown) listed 8oo Spanish males, 500 black slaves, 100 mulattoes, and Ioo mesti-zos
statistics - spanish : black slaves : mixed black and white : mixed white and native
n addition to being symbols of both servitude and prin central New Spain were relatively integrated into Spasociety. In Mexico City and Puebla, many lived in proximSpanish population and tended to be acculturated, especiahad been raised in the Americas and worked in SpanisSpaniards referred to these blacks and mulattoes as eitheoles) or ladinos, the latter term having been used in SpaMuslims and Jews who mastered the Castilian languageHispanicized to the point that they could not be disting"authentic Spa
black people, muslims and jews who were hispanicised and integrated into spanish colonial society in Puebla
g here. First, at least initially, the conlimpieza retained its metropolitan religious connotations for Spain Mexico; its deployment against blacks and native people wastheir status as "New Christians." Second, although colonial Spanincreasingly marked both native and African ancestries as impurgenerally saw mixture with either group in negative terms, it wablood that was more frequently and systematically construed ason a lineage.1o
black slaves and natives as second class christians
. What they were essentially accused of plotting to create wasown version (or inversion) of the sistema de castas, the colonial hierarsystem of classification that was based on proportions of Spanish, natand black blood. That system privileged whiteness and was accomby a whole sexual economy centered on the inaccessibility ofSpanish women to all but Spanish men.7 The main difference was thathe new order, blackness would function as the font of redemptifulfill its mission in the bodies and wombs of wh
the hierarchical caste system of classification of Spanish, native and black slaves
According to one of the most detailed accounts of the events thatthe 1612 hangings, written in Nahuatl by Chimalpahin in his MCity annals, the conspirators sought to rebel against the viceregaernment, decimate the Spanish population, and establish a blackdom in New Spain-a monarquia africana.3 The purported plan wfollows. After killing their Spanish masters, the conspirators were goto crown one of their own as king and a mulata morisca, or light-skimulatto woman, as their queen.4 Having previously assigned themnobility titles and royal administrative posts, the rebels would estheir own government and force the indigenous people to providewith tribute. They would also kill all Spanish males except somebers of the religious orders, whose main responsibility would be tblack children to become priests and government officials. To mimpossible for Spaniards to reproduce, however, the friars' sexualwould be remo
an exampe of perceived rebellion
of a growing number of African slaves into central New Swhich was generating all sorts of social tensions, including a heigpreoccupation with policing sexuality, but also by the deployment ofSpanish concept of limpieza de sangre (purity of blood) against cpopulations and an increasing association of blacks with disloyaltycrown and the Cathol
being black = being disloyal to the crown and being catholic?
orning of May 2, 1612, a Wednesday, thirty-five blacksand mulattoes (twenty-eight men and seven women) wereescorted by New Spain's authorities through the streets ofMexico City. They were being paraded on horseback, shamed before theresidents of the viceregal capital, before all were summarily hanged infront of a large crowd in the central plaza facing the church and palace.The bodies of some of the victims remained suspended in the airthrough the next day, which happened to be the celebration of the HolyCross, the fiesta de Santa Cruz. The horrible spectacle did not end withthe hangings. After consulting with a group of doctors about the fate ofthe bodies, Mexico City's royal tribunal, the Audiencia, ordered twenty-nine to be decapitated and the heads left to rot on top of the nine gallows(eight of which had been made for the occasion). The other six were quar-tered, and the parts were placed on pikes on the city's main streets androads. Serving as potent symbols of royal power and of the marginal placeoccupied by people of African ancestry within the Spanish colonial order,the body parts were left on display until their stench became both unbear-able and insalubrious for the residents of the capital.
a detailed introduction on the heinous colonial atrocities towards african slaves
ceramics produced in the city were a testament to the diverse populationsand various different cultural influences present in the colony. Potters inPuebla created a style of their own that combined indigenous, European,and Asian designs. The resultant aesthetic was uniquely Mexican andbecame a point of pride in the eighteenth century. By considering thesociopolitical reality of the city in which the potters worked we see thatwhen the potters rendered foreign motifs into locally recognizable forms(such as the substitution of the quetzal for the phoenix) it was not alwaysbecause they were interpreting East Asian forms based on what they knew,but also because they were creating ceramics that were meant to appeal toconsumers as a local product and not as a replacement for Chineseporcelain.
diversity and globalisation of puebla pottery - melting pot of culture that was uniquely mexican
uebla was initially established as areligious and cultural center for the colony, being built in a previouslyunsettled area so that it could be a purely Spanish city, free of influencesfrom the native populations.
initially Puebla was built to be free from native populations
but the diagnostic testfor his situation does not offer an uplifting prognosis.
prognosis = likely cause of his medical condition
The particular virtuosity of the threeformal flaws is that they variously demonstrate the narrative, psychological,and theological productivity “Pearl” finds in fallibility.
thesis?
hermetically sealed circle
airtight argument basically
There seems little chance that the poet would overlook this forcefor ideological impact in Pearl. When a writer so patently insists onrelating form to substance, not only devising both a pattern of lexicalcontinuity and a form of stanzaic structure that work in concert toembody thematic design, but even on occasion exploiting the characteristics of word form to maintain the lexical pattern, then he is clearlylikely to have word form itself figure in the thematic design too.
argument