tags: hammer published on:
The function of a museum is to create a fixed content pool with a uniform type of content.
When such a uniform kind of content is created, it becomes a body that establishes a radioactive presence of its own.
After a point, when a specific presence has become magnetic and retains a certain potency, things go on a kind of auto-pilot. This auto-pilot is a free float that has a horizontal direction. It is a slow free-fall that performs a displacement without consuming too much energy.
Museums are theatres, sites of history as well as spaces for performance.
At a time when the general mean experience of people is of such a low quality, the eco-system is worried about life as it gets populated by content and experiences and the intensities that emerge.
Museums enact a different intensity. If the intensity does not differ substantially the enacted episode is a failure. Museums, at large, might fail; in the plural they might fail. But, in the singular - in this isolated instance the struggle is relentless.
This museum does not consider the possibility of failure because we engage only in one way transmission. We are interested in propagating but not in receiving feedback. The noise of disengagement, disinterest or disenchantment does not reach us.
We receive only the glow of connected minds, we receive only the rustle of the fire catching on. Other signals get lost on deflection. When an unopened mind, or a mind not willing or ready to engage is incident with our content, we do not even get to know.
When we manage to connect with people of course things change. We start being receptive. We listen every now and then and we respond to contexts selectively.
Being receptive to even the engagement state of an audience that is not committed to the experience that we produce. That gives us the wrong feedback. If we are receptive to the engagement levels of non-receptive people then in a hasty moment we might make an association between their lack of enthusiasm to engage and the quality of the experience we provide. This is a wrong association. This is not possible.
We cannot possibly let disinterested people tell us that we are not providing an optimal experience when in reality they themselves are not in a good shape to engage.
This is the contract that the Museum of Vestigial Desire has with the world. We do not let the world piss in the corners of our mind, we are allergic to even the passive ear, the frigid heart, the monolithic psyche. Our relationship with the world is based on the principle of uninterrupted self-propagation. If we are allowed to do that without disturbance, we are happy. If we are not allowed, we resist and we conspire to give a fitting reply.
To people who are already a part of our world, this warrior sheen of our personality is not even visible.
Museums are vestibules and conduits of passion, they are specialised collections of emotion that are directed at representing energies in the world that are interested in holding an audience.
Besides our mode of social engagement, the institutional shell of our museum becomes itself by wanting to be. There is a self-validating urge of mandate declaration that we perform. As a space for enshrinement of vestigial desires, we accord ourselves a timeless value. We have a civilisational relevance that bends time to constantly remain responsive and transparent.
We do not measure the duration of each gaze. We gain nothing from it. The propagation that happens through our presence is automatic, beyond the experience that our presence produces we have no interest in propagation. If you need to clean the channels of culture that you pass through and like us to help you discern the nature of content and desire around you, you can come to us.