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==Jeremy Booth | workbook== | ==Jeremy Booth | workbook== | ||
==statement 23.10.12== | |||
== statement 23.10.12 == | |||
I would like to look at how ideas of tangible and intangible histories and cultural 'matierals' can be considered, interrogated, and reimagined, through strategies other than typical museum and/or collection-related, authorative positions. | I would like to look at how ideas of tangible and intangible histories and cultural 'matierals' can be considered, interrogated, and reimagined, through strategies other than typical museum and/or collection-related, authorative positions. | ||
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[[File:WeimarScansmall.jpg]] | [[File:WeimarScansmall.jpg]] | ||
walking tour, Weimar | ===walking tour, Weimar=== | ||
[[File:DresdenScansmall.jpg]] | [[File:DresdenScansmall.jpg]] | ||
walking tour, Dresden | ===walking tour, Dresden=== | ||
[https://www.youtube.com/watch?v=jfWq2qzMye0&feature=related hand held market tour] | [https://www.youtube.com/watch?v=jfWq2qzMye0&feature=related hand held market tour] | ||
== Revised statement 1 == | ==Revised statement 1== | ||
In some ways, '''architecture can be as much a barrier to culture and heritage as a supporting mechanism for it'''. It can restrict access to tangible objects while creating an unnecessary container for intangible ones. This is particularly the case when we need to pay entry to museums and art galleries, when their opening hours are restrictive, when they are crowded or unappealing, when they do not meet the needs of certain groups, and when collection items are not available for public viewing. As well, the need to 'build something' is sometimes not possible on sites of intrinsic cultural and historical value. | In some ways, '''architecture can be as much a barrier to culture and heritage as a supporting mechanism for it'''. It can restrict access to tangible objects while creating an unnecessary container for intangible ones. This is particularly the case when we need to pay entry to museums and art galleries, when their opening hours are restrictive, when they are crowded or unappealing, when they do not meet the needs of certain groups, and when collection items are not available for public viewing. As well, the need to 'build something' is sometimes not possible on sites of intrinsic cultural and historical value. | ||
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During the next weeks I will undertake a number of loose experiments around the idea of ''' 'barrier free' culture and heritage''' sites. Particuarly interested in intangable, immaterial cultural qualities. | During the next weeks I will undertake a number of loose experiments around the idea of ''' 'barrier free' culture and heritage''' sites. Particuarly interested in intangable, immaterial cultural qualities. | ||
== Sketch for an Fauvist Retreat == | ===Sketch for an Fauvist Retreat=== | ||
Thinking about the art historical context of some of the woodland and lake areas outside of Dresden. These areas were of course frequented by artists involved in German Expressionism, such as [[wikipedia:DievBrücke|Die Bruecke]] and the [[wikipedia:Fauvism |Fauvists]]. For these artists, it was a setting in which they could enjoy nature and the company of others while also creating, and furthering the ideas behind their art. These ideas included the embracing of Primitivism and the human form as an object of expression. | Thinking about the art historical context of some of the woodland and lake areas outside of Dresden. These areas were of course frequented by artists involved in German Expressionism, such as [[wikipedia:DievBrücke|Die Bruecke]] and the [[wikipedia:Fauvism |Fauvists]]. For these artists, it was a setting in which they could enjoy nature and the company of others while also creating, and furthering the ideas behind their art. These ideas included the embracing of Primitivism and the human form as an object of expression. | ||