Just heard about the Calvin and Hobbes Search Engine. Had to find this strip which is the only one I remembered from when I was a kid. (via Calvin and Hobbes Comic Strip, June 04, 1990 on GoComics.com)
love this girl’s thoughts:
I don’t really lost my beliefs in God, but I looked way different to religion and spiritualism as I did before. The reason why?
Well when I was in Senegal I got almost forced to pray and to believe like they believe. While I had never prayed in my life, and to be really honest with you, I wanted to learn how to pray so badly, but because I almost got forced to believe like they do, it changed me completely. Like you know that feeling you have, when you plan on doing something, and someone forces you to do that same thing, and all of a sudden you don’t even feel like doing it anymore. Like the person who forced you to do it, just trashed your beautiful plan.
Everyday when I was there, I wrote about my feelings, and you will notice that in the beginning of my trip, I wrote ALOT about religion and things being unfair, and that they didn’t have the right to push me into their religion/beliefs. And you know what is the most funny part? Here I have some islamic friends, and they are mostly hijabi’s and they don’t even touch boys, there they don’t wear hijabs, they do touch boys or even have boyfriends, and they want to tell me that I should become a real muslim? But hey, who am I to judge?
And to all my islamic followers, maybe you think I am not worthy of the name muslim and maybe, I am not. I believe in God. I defenitely do. But I am struggeling with myself and with religion. I hear this great quote once: “The greatest jihad is to fight with the evil within yourself”. And I LOVE IT! You know what? I live by quotes like that. I would rather call myself a spiritual muslim than just a muslim. I LOVE LIFE TO THE FULLEST. Therefore I love the CREATOR of life, which is God. And to believe in God, I automatically believe in people because he created us. So I believe in the Goodness of people, because I know we all have that. So I look beyond skincolor, race, ethnicity and social background, I look for Goodness. I believe that EVERYONE can become whatever he or she wants to become. God didn’t put it in your heart for no reason! I believe that we people should look beyond all of the above and be less of an automatic machine and more human. I believe that on Judgement Day, we will be measured by our hearts and the reason of our deeds. So my question to you is: Why do you sin? Because its a matter of life and death? Or pure pleasure?
This was btw my most personal post ever. So I put myself in this and I really don’t care about likes or reblogs, I just wanted to post this. Because I have written a lot and I felt like sharing. And maybe somewhere I feel like I have to explain myself.. which is not normal because usually IDGAF.
All I wanted to say more was: I am soooo thankful to be here, Alhamdullilah.
I Announce Natural Persons to Arise
I announce natural persons to arise;
I announce justice triumphant;
I announce uncompromising liberty
I announce the justification of candor,
and the justification of pride.
I announce that the identity
of These States
is a single identity only;
I announce the Union
more and more compact, indissoluble;
I announce splendors and majesties
to make all the previous
politics of the earth insignificant.
I announce adhesiveness—
I say it shall be limitless, unloosen’d;
I say you shall yet find
the friend you were looking for.
I announce a man or woman coming—
perhaps you are the one, (So long!)
I announce the great individual,
fluid as Nature, chaste, affectionate,
compassionate, fully armed.
I announce a life that shall be copious,
vehement, spiritual, bold;
I announce an end that shall lightly
and joyfully meet its translation;
I announce myriads of youths,
beautiful, gigantic, sweet-blooded;
I announce a race of splendid
and savage old men.
-Walt Whitman 1819-1892
Little compares to the grandeur found in galleries of Greco-Roman sculpture. Such hallowed halls–with their skylights and gardens, ceilings stretching to the heavens– are what many call to mind as the archetypal museum experience. There is a manner in which marble can render a room bright; sunlight bounces off of it when positioned just so, heightening the sensation of an exalted encounter.
Such presentation becomes analogous with art itself.
Let there be light.
One morning at the Met I turned a corner from such bright galleries into the interior rooms where the Arts of Africa, Oceania, and the Americas are on view. By comparison, the overall layout is dark and cramped, the lights are dim, the ceilings low. Strangely enough, work by contemporary artists from these regions suffer the same treatment. Between Heaven and Earth, 2006 by El Anatsui–whose spectacular tapestries I have seen shimmering in full daylight on building exteriors in Berlin–is relegated to this cloistered viewing area. Two Hands, 2010 by South African sculptor Claudette Schreuders is best left to be viewed on the Met’s website.
The relative duskiness in the rooms feels reflective of the Western worldview of the so-called “dark continent”, as though some unexamined prejudice has been applied to the design. Faced with the drastic difference, it becomes plain to me: the manner in which we come to revere cultures in history is due in part to the way their art is presented.
As I move between these two sections with very different museography, I think about the degree to which people have always made work in their own image: that Greeks who used marble, Africans who used wood and indigenous Americans who used earthen clay all utilized materials that approximated the color of their skin. There are exceptions: the ivory carvings of Benin, terracotta statues of China, all uses of stone. (Contemporary artists who deal with the stigma of making “racialized” work because their work looks like them can find refuge in the antiquities.) Still, the use of wood, bone, clay or non-precious metal feels like “the alternate” medium, as though it lacks the same importance to marble. (Schreuders sculpts in wood, El Anatsui works in metal.)
Some of these inequities arise when designing around the color in the works, chromatizing complexions. Years ago I worked on a project where photographs of west Africans were set in deep black and brown painted rooms. This portion of the exhibition became referred to “the heart of darkness” and for unarticulated reasons it was considered a natural and appropriate setting for the work. However, the habit of designing a space in with this strategy underestimates how people intuit cultural and historic value based on color, space and light.
Psychologically, dim displays cannot compete. The museography does little to reverse the opinion that this work–or these people–are worth glorfiying.
Students of museum studies, designers and curators must consider these factors and how the way work is presented reflects or contributes to long-standing bias. If a curator’s role is to contextualize the importance of a work of art, the designer must find approaches that truly reach those goals.