David Jones, artist and poet (1895-1974) begins his PREFACE TO THE ANATHEMATA :

'I have made a heap of all that I could find.' (1) So wrote Nennius, or whoever composed the introductory matter to Historia Brittonum. He speaks of an 'inward wound' which was caused by the fear that certain things dear to him 'should be like smoke dissipated'. Further, he says, 'not trusting my own learning, which is none at all, but partly from writings and monuments of the ancient inhabitants of Britain, partly from the annals of the Romans and the chronicles of the sacred fathers, Isidore, Hieronymous, Prosper, Eusebius and from the histories of the Scots and Saxons although our enemies . . . I have lispingly put together this . . . about past transactions, that [this material] might not be trodden under foot'. (2)

(1) The actual words are coacervavi omne quod inveni, and occur in Prologue 2 to the Historia.
(2) Quoted from the translation of Prologue 1. See The Works of Gildas and Nennius, J.A.Giles, London 1841.

02 December 2017

Not necessarily stoned, but beautiful

Instagram changing place on Blueprint for Living

with Jonathan Green on RN ( listen here )

Extract from this morning's conversation :

Jonathan Green : Emily, in the museum setting this is a really interesting thing because you’re putting on shows for people to see and now you’re pushing these ideas of ‘instagram moments’ you’re sculpting what places like Museum of Victoria are putting on for people on social media.

Emily Siddons (producer, exhibitions Museum Victoria) :
We are, yes, and I guess what we’ve found to be most impactful is the way in which people consume information and what they expect out of a museum or a gallery, indeed, and I guess they’ve always been beautiful places, they’ve always had amazing architecture and housed really incredible objects but what we’re really trying to play with now is you used to be more of a passive observer where you really weren’t allowed to take photos a lot of the time and now we’re trying to encourage that and we’re trying to engage them in an active dialog and how do we do that in a way that is really playful and fun and exciting?

J. Well, you’re changing your experience.

E. We are, we are. In fact we don’t refer to our exhibitions as exhibitions any more, we now talk about them as experiences and how can we really play on that engagement and surprise audiences and yes we have even built-in a ‘selfie-moment’…

J. Uh oh…

E. …into, well it’s a bit of a commentary on ‘a selfie-moment’.

J. Ah, it’s ironic.

E. Yes, it will be interesting to see how it lands. It’s part of an exhibition, a very experimental exhibition we’re developing. 

J. But you want people to be in your space, experiencing your exhibition, but then translating that to social media. Bingo! for you is for that post to appear as you planned it, as you intended it.

E. Exactly.

collection : FIAPCE  

[Verse 1]
If you can just get your mind together
Then come on across to me
We'll hold hands, and then we'll watch the sunrise
From the bottom of the sea

But first, are you experienced?
Have you ever been experienced?
Well, I have

[Verse 2]
I know, I know you probably scream and cry
That your little world won't let you go
But who in your measly little world
Are you trying to prove that
You're made out of gold and, eh, can't be sold

So uh, are you experienced?
Have you ever been experienced?
Well, I have

[Verse 3]
Let me prove to you
Trumpets and violins I can hear in distance
I think they're calling our names
Maybe now you can't hear them, but you will (haha)
If you just take hold of my hand

Oh, but are you experienced?
Have you ever been experienced?
Not necessarily stoned, but beautiful

 A Person Looks At A Work Of Art/
 someone looks at something...