Sounds familiar? Maybe not, anymore

Another online museum to lose yourself in.

Conserve the sound
»Conserve the sound« is an online museum for vanishing and endangered sounds. The sound of a dial telephone, a walkman, a analog typewriter, a pay phone, a 56k modem, a nuclear power plant or even a cell phone keypad are partially already gone or are about to disappear from our daily life.

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Web design through the ages

Ok, not so much ‘through the ages’, as ‘since 1995’, but you get the idea. This online museum is the brainchild of Petr Kovář, a user experience designer from the Czech Republic.

Web Design Museum
At present, Internet Archive keeps the visual form of over 327 billion websites, the oldest of which date back to 1996. This service is undoubtedly a great aid to anyone who would like to look at the internet past. Unfortunately, it does not enable to follow past trends in web design or to go through websites originating only in a certain period. The thing is that Internet Archive is not a museum with carefully sorted exhibits that would give visitors a comprehensive picture of the web design past with the use of selected examples. It is more like a full archive of the internet.

Therefore, Web Design Museum sets the main objective to trace the past web design trends, and to give general public the full picture of the web design past with the use of selected exhibits. At the same time, it seeks to use selected websites to outline the development of websites from the most distant past until present.

Take a look at how our tastes have shifted over the years. It’s strange to think that, however old-fashioned they appear now, all of these designs would have been thought of as bang up-to-date, cutting-edge even, at the time.

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It’s nice to see k10k again though, that still looks great.

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Whilst we’re on the subject, here’s a post about the Internet Archive and one about Geocities. Ah, those were the days.

Design Museum’s political exhibition gets political

It was supposed to be an exhibition about politics …

Design Museum to exhibit political graphic design from past decade
An exhibition at London’s Design Museum will present the most poignant political graphic iconography from the past decade, created in the wakes of events such as the Charlie Hebdo attacks, Brexit, and Donald Trump’s presidency.

… but the Design Museum’s Hope to Nope exhibition is caught in a political controversy of its own. Here’s a post from one of the groups of artists involved, BP or not BP.

Artists say ‘Nope’ to arms
This morning, we’re part of a large group of artists, designers and activists who have written to the Design Museum asking that our work be removed from the current Hope to Nope exhibition of political art. […] Why are we demanding our stuff back? Because last Tuesday, 17th July, the museum hosted an arms industry event as part of the Farnborough International arms fair.

They’re not the only ones unhappy with where the Design Museum gets its funding from.

30 artists have requested their work be removed from Design Museum exhibition
The letter states that, “We refuse to allow our art to be used in this way. Particularly jarring is the fact that one of the objects on display (the BP logo Shakespeare ruff from BP or not BP?) is explicitly challenging the unethical funding of art and culture. Meanwhile, many of the protest images featured in the exhibition show people resisting the very same repressive regimes who are being armed by companies involved in the Farnborough arms fair. It even features art from protests which were repressed using UK-made weapons.”

The letter and full list of signatories are published in full on Campaign Against Arms Trade website.

Design Museum – Campaign Against Arms Trade
It is deeply hypocritical for the museum to display and celebrate the work of radical anti-corporate artists and activists, while quietly supporting and profiting from one of the most destructive and deadly industries in the world. Hope to Nope is making the museum appear progressive and cutting-edge, while its management and trustees are happy to take blood money from arms dealers.

The Guardian quotes a statement from the Design Museum in response to this.

Design Museum challenged over private ‘arms industry’ event
“The Design Museum is committed to achieving its charitable objective to advance the education of the public in the study of all forms of design and architecture and is thus a place of debate that, by definition, welcomes a plurality of voices and commercial entities. However, we take the response to Tuesday’s event seriously and we are reviewing our due diligence policy related to commercial and fundraising activities.”

They’ve acknowledged (kind of?) the controversy on their exhibition webpage …

Hope to Nope: Graphics and Politics 2008-18
As of 1 August, some artwork has been removed from the exhibition, before the exhibition closing date of 12 August, at the request of the lenders. As a result, and until the end of the run, the exhibition will now be free to visit. […] ‘We are sorry for any disappointment caused for visitors. We believe that it is important to give political graphics a platform at the museum and it is a shame that the exhibition could not continue as it was curated until its original closing date’.

… but have not made their peace yet with the artists and designers involved.

Design Museum attacks its own exhibitors, defends working with arms dealers
We were shocked to see the Design Museum’s latest statement about our request to remove our art from the Hope to Nope exhibition. Rather than engaging with the issues we and other exhibitors have raised, the museum has instead made the bizarre (and offensive) suggestion that over 40 artists and groups featured in its exhibition have all somehow been duped by some mysterious ‘professional activists’.

Too many organ donors

Atlas Obscura takes us to Windham County, Vermont, to a local history museum with an unusual stock problem.

The Vermont town that has way too many organs
In its heyday, the Estey Organ Company factory was the beating, bleating heart of Brattleboro, Vermont. It produced more than half a million organs in total and, at its peak, employed more than 500 people. On a fateful day in 1960, however, the assembly lines shut down and workers departed. After nearly a century in operation, the organ factory had gone silent.

And then, like the most improbable boomerangs, the organs started coming back.

Keen to preserve some of the town’s heritage, people started donating their unwanted organs back to Brattleboro, to the town’s historical society. Soon they had enough to open a dedicated organ museum, based in the old factory, but still the organs kept coming.

“In a way, it’s my fault that we have all these organs,” says George. She was generous with the old factory space, which at first provided ample room. But after years of accepting any and all organ donations, many of the buildings began to fill up. It was a unique predicament for any local society. What do you do with hundreds of antique, mostly unplayable organs?

Organs are such strange instruments. You wouldn’t describe a violin as a machine, as such, but that term seems to fit some of these examples.

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They came in an astonishing range of shapes, sizes, and uses, from children’s toys, to living-room centerpieces, to the crown jewels of community churches and theaters. Some of the organs were designed to fold up into little suitcases and could be taken anywhere. The historical society has photos of chaplains playing portable Estey reed organs in World War II, and the society boasts that their organs have pumped out tunes on six of the world’s continents (poor Antarctica).

#artworldproblems

I would say staff at this museum dedicated to the Fauvist artist Étienne Terrus need to look into hiring a few skips, as they’ve got a lot of rubbish to get rid of.

‘Catastrophe’: French museum discovers half of its collection are fakes
Eric Forcada, the art historian who uncovered the counterfeits, said that he had seen straight away that most of the works were fake. 
“On one painting, the ink signature was wiped away when I passed my white glove over it.”

Meanwhile, from works of art that shouldn’t be in galleries, to those which were but are no longer.

Bad week for art world as Jeff Koons piece is smashed and imitation Happy Meal thrown away
May evidently did too much of a good job, as a cleaning crew working at the Marco Polo HongKong Hotel which hosted the Harbour Art Fair, mistook it for the real thing and threw it away. “A lot of my pieces involve very small alterations to familiar items: changes that aren’t maybe obvious at first glance,” the artist explains, adding that “initially, I didn’t find it funny at all. But later I realised it meant my imitation had been a success.”

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The iPhone and its ilk as museum exhibits for future generations

My and my phone taking a picture of me and my phone

“Putting an iPhone on display in an art museum is an easy, if still unusual, decision to make. Preserving an iPhone in such a way that museum-goers of the 22nd century will be able to appreciate its form and its function, as well as its role in cultural history, becomes somewhat trickier.”

http://artsbeat.blogs.nytimes.com/2014/02/10/preserving-the-iphone-for-future-generations