Return to Curiosity: Privileging Wonder over Rationalism in Museum Displays and Learning

Douglas Crimp begins his essay by delivering a story about a librarian, Julia Van Haaftan and how she was interested in the photography organization at the Art and Architecture Division of the New York Public Library. In addition, Crimp delivers his most enlightening and meaningful point by explaining how Julia Van Haaftan is also now a “director of the Photographic Collections Documentation Project”. She discovered several lost books and photographs, which she researched, re-categorizing, and placed them under the photography or art category in the photographic collection. I found this section of the essay entertaining because it demonstrates that the history books can get lost

In the essay, “Education”, Ralph Waldo Emerson, a transcendentalist thinker, asserts that Education is damaged and he knows of a solution – the educators. He develops this claim by first introducing the paradox linking “Genius and Drill”, expressing his ideal method of teaching. Throughout the essay, Emerson tends to have a condemning tone against the educator but towards the end he changes it into a comforting one. Emerson’s purpose is to present an alternative style of teaching in order to persuade educators to use the teaching method by using paradoxes, rhetorical questions, and shifts in tone. He establishes an informative and didactic tone for educators who value attention to detail.

Museums have long served a purpose as cultural staples. For every museum, big and small, careful consideration is used in selecting its contents. When securing new items for a museum, it is most important to consider public appeal, educational value, and cost-effectiveness.

“After a certain high level of technical skill achieved, science and arts tend to coalesce in esthetics, plasticity, and form. The greatest scientist are artist as well” (Albert Einstein). In this advanced modern tech-world mostly people are dependent on science and technology, but arts also play an important role in education. Art creates balanced thinking and better imagination which helps humans to be successful in their career. Yo-Yo Ma intensely informs about important role of arts in modern education society throughout his essay Necessary Edges: Arts, Empathy, and education. Ma illustrates that arts should be also part of education, because it improve students to filter their imagination through disciplined knowledge. Liberal arts should be equal to science and technology because it creates new idea, and in this modern world people should think critical than divergent in their lives. Empathy teaches students to understand and simplify the complicated life. Collaboration include discussion amongst people or group to make things effortless. Moreover liberal arts itself is beauty such as performing arts, it values the beauty of imagination in modern society by art and sculpture.

Every effort should be made ahead of time to identify a museum that has items and works one can easily connect to our HUM 111 class and book. Since HUM 111 covers from ancient times to the 1500s AD, it makes more sense to focus on items from that time frame. In general, museums with artistic cultural artifacts and fine arts work better than history museums.

In museums today various pieces are displayed in such a way as to show people that these pieces are what they are and to explain their original uses etc. In Paris for example, a new museum was built in 2006 called Quai Branly and it displayed a collection of Benin pieces including

Education has tarnished the idea of an original thought and has caused us to “grow out of creativity.” An idea that I am now convinced is a possible reality due to the intellectual, thought-provoking argument made by Sir Ken Robinson that schools do restrain creativity. In Sir Ken Robinson’s TED talk “Do Schools Kill Creativity?” Robinson argues that schools do kill creativity by addressing his audience in a sophisticated yet playful tone that keeps the audience entertained and invested in what is being discussed. Robinson connects with the audience by telling jokes, using simple reasoning, facts, and personal stories that allows the audience to be emotionally moved by the argument. Robinson is able to open up the audience to a reasonable idea with only one reasonable solution, and it just so happens to be his. Obviously, a bit biased, Robinson steers clear of self-promotion by recalling stories of other’s accounts and relating to people as a professor instead of a person.

It instead would focus on Theoria, activity that is focused on contemplation. Therefore, it can be said the world of wonder is not focused on producing something so much as aiming for something. It is not so much as to achieve that goal so much as striving for it.

In Steven Lubar’s book, Inside the Lost Museum: Curating, Past and Present, the recurring idea that museums are “more than the sum of their parts” plays a critical role in the overall argument (329). Lubar notes many aspects that make up a museum, the collection, for example is an essential part of any museum, but the community, as well as the experiences of the patrons create a lasting museum experience. Additionally, Lubar aptly utilizes real-world examples, contemporary and historical, highlighting the work of individuals in museums and establishing a connection between past and current events. Central to this narrative is the example of the lost Jenks Museum. Lubar uses this museum to argue that museums of the past can educate museum goers

During my time as volunteer at Somerset Dade Academy, I was able to work closely with the elementary and middle school teacher. During each visit, I was able to follow Ms. Lee’s daily routine. In the morning, we had 30 minutes to plan and get her cart ready with supplies she needed for the day. Also, we would both create various model artworks to inspire her students to create something more original and imaginative. She wheeled her cart through certain elementary classes depending on her schedule. Depending on the grade level she was assign to that day, we were able to teach her students the fundamental concepts of arts and major art movements, all in 30 minutes. Every three weeks, she would focus on a concept, artist, or art movement. Additionally, she would assign vocabulary words, which her students would copy and also had access to them online on Quizlet. At the end, she would administer a summative test on everything they learned for the past three weeks. On the other hand, Ms. Lee’s middle school classes were different, more one-on-one, and it was a one-hour period. Her students were able to recreate impressionist and expressionist artworks, such as Monet’s Water Lilies, Van Gogh Starry Night and The Bedroom on wall-sized canvases.

With man and nature, there is seemingly a constant curiosity that of which compels many to contemplate questions and to ultimately seek answers for those questions. In modern day, man seeks science, logic, and mathematics to name a few in order to search for those compelling thoughts. However, it was seemingly not that easy in the era of the Ancient Greeks. The Ancient Greeks did feature mathematics, however, to explain natural phenomenon, there was not a reference to science and logic, and like other nations it was rather, mythology.

In describing this progression, Lewis paints fascinating pictures of turn-of-the-century Britain and its intellectual climate--especially the British school system and the trials and tribulations of a non-athletic young boy whose aesthetic sensibilities seem out of place and out of step with his peers. From here the book's remaining chapters chronicle the steady ascension of Lewis's mind and heart--both his reason and imagination--toward the re-acceptance of the faith he had once shared with his brother and parents, denounced as a young poet and philosopher, and ultimately recovered as an erudite Oxford don. Most important here are two individuals and two authors whom Lewis cites as critical influences animating these gradual changes.

It is certainly the feeling of a philosopher: it prevents Theaetetus from “[getting] into a rage” when his theories are knocked down as “mere wind-eggs” – he isn’t attached to those specific hypotheses, but to the potential that they connect to a total certainty, which gives him limitless resistance to all dogmatism; as Kant was so keen to achieve with his philosophy thousands of years later, it curbs pretension, it makes you “gentler and less tiresome; you will be modest and not think you know what you don’t know” (Plato, trans Levett, 1992). Philosophy, as the love of wisdom, might really be the same as the love of the absolute in the specific – the former explains the latter’s drive to the most general principles, the most all-encompassing theories. I’ve found this conception to gel with the most varied repositionings of wonder, from Wittgenstein and Kant to Heidegger and Levinas: it’s simply formal, which means it accommodates and is presupposed by all sorts of content (ethical wonder, wonder at being, etc.). This also lets me talk about wonder as it appears in those philosophers even if they don’t use the word, which broadens our inquiry’s scope significantly (I’ve already referenced, for instance, the fact that Plato’s Cave relies on wonder’s logic, though not on thaumezein

This was actually my first visit to this museum since I have gone to Kennesaw. My expectations were pretty high initially upon going, because I have heard so many things about it from my peers. Just by their opinions, and my love for art I have myself, I was actually excited about going in to take a look. I must say, I was not disappointed by any of the art work I saw in there. I really enjoyed the exhibit of work from some students from a high school around this area. It really shows that the college really supports the youth of the future and their passion for art as a whole.

‘Imagine you were in charge of a museum’s collecting policy. What would you chose to collect and how would you justify these decisions?’