yesterday ...

Yesterday, alone on site and still fuzzy about how to approach creating a diagram that considers -- and even begin to visually reflects -- all of the (potential and actual) expertise that continuously is exchanged and drawn upon within the museum.

thinking the obvious thought: if expertise is exchanged through and because of the object the same may be true of the notion of expertise itself. Thus, a return to the object may eventually prove to be the way of making the object obsolete (obviously!! I'm an academic!)

begin to test by returning to the idea of the object existing within or outside the collection: in particular, what is absent (lost or mislaid?), what potentially informs the collection by its absence, and what -- exactly by it's absence -- becomes desirable?

as a result of initial testing, the line of questioning regarding absent objects turns into debates about the favourite object and then becomes a fully fledged survey when we reached the Most Desirable Object through the question: There's a box. There could be anything inside it. What do you most want it to be?
... and (as a challenging addendum and to maintain the rigour of the process) how would you argue for the inclusion of the object into the collection or its [re-introduction] into the display?

for me, it is from this last part that the machine or game diagram will eventually come. and, it is here that the expert reasoning truly exists and things become really interesting -- and accessible: through the object but outside the object.

so far the arguments has been for:
the return of the bog chair (currently removed by the order of high raking official)
crown jewels, gowns and big cars (alluding to a glamourous part of Doncaster past)
art deco jewellery (currently located in the V&A)
the miner's lamp (that's mislaid or missing)
the almost extinct bittern, the locally extinct sturgeon and the 'most probably there but never discovered' bog-body.

objects that all highlights personal and professional interests and passions but within the collection also (visibly):
returns rightful ownership [includes "it's mine -- give it back!"]
redresses the gender balance within the display
gives the opportunity to rethink the display and broaden its interest
highlights [a personal passion for] a deserving cause
and finally, objects or specimens that further their own cause, secure their own salvation or ultimately assist in saving temselves [by adding weight to an argument and protecting a particular site or environment from development or demolition]

People need more time to think, so I agreed with Fiona to email the question and then she'll distribute widely.
Witness the publication of the "Most Desirable Object Survey" [MDOS].

and, and, and ...

re. the interview: would potentially be interesting to have separate sentences, stanzas of arguments, deductions and reasons recorded for transcription and use on labels [box photographs and ... (value) maps] Peter's talk about the 'pointless' object (making it non-pointless by default), being a case in point?

we should do this more often, you know! I'll bring the mini-disc tomorrow.

getting around the object?

although the object is beginning to retreat again, I'm still thinking about this: how to get from the concept to the visual?

I'm thinking that perhaps, one way will be to begin with the object already in place, the (staff) personal object (the tea cup? the object to save in an emergency?) plotting it's relative position onto the map?
Perhaps, rather, a place to start would be with a first question: what would be the most desired object? is it already here .. if not, then where? how would you argue for it's position, display, prominence or even inclusion into the collection?
Perhaps it is possible to plot or track the journey (9-5) from desk to favorite on-site location, view or ..?

I like the idea of the interview (the potential of an empty box as prop or aid) I like the idea of ending up with a map, that although based upon the expertise circulating wihin the institution, plots sites of 'personal' rather than -- or alongside -- 'scientific' interest?

Perhaps some of the Doncaster Experts will offer a comment, a reply, a suggestion ..? anybody ..?

methods of mapping ...

have been thinking about possible ways of [visually] recording and presenting information. I still like the way that imposing a particular system onto another alludes to a particular discipline, implies 'fact' or points towards a reading that would not otherwise be inherent or obvious -- even plausible or possible. I' ve been doodling to test the idea of visualising the museum, its expertise and|or its objects through applying the systems, symbols or organising principles of ...

the [electrical] circuit (above)
the [progressive] timeline .. the missing link of object|species
the eco system or the land map (an area defined, a nation state?)
the hierachical flowchart
the mathematical or scientific formula(!)

although the idea works in concept it keeps slipping when it comes to drawing it? I think, perhaps, the diagrams will work as a template for the authenticity (accession) 'game' .. right now, I still miss the object!

[ed. v.2. picture loaded!]

drawing expertise

today - more work on trying to visualise different kinds of expertise:

pete loaned me his mark-up kit and gave us one of his special sample bags where you mark:
site name
specific area of site
context info (layer/deposit)
description
accession no.

this is a system that could be used to inventorise anything - even the shelves at asda! in fact - some museums use a barcode system just like supermarkets.

TRIANGLE 1 = save in case of emergency
TRIANGLE 2 = not so important

What would you save if your house were on fire?

Colin has a different system again - although there are cross-overs:

The dominant visual mode is the bird's-eye-view, but there is also the view over time - the distant past and the predicted future. Information gleaned from these viewpoints is then used to defend a patch of ground 1 metre squared. I need to find something by John Clare to reinforce this idea of attachment and close-up vision.

I have found plenty of maps and letters from curators from the twenties asking for paintings at cut-down prices for extraordinary reasons.

And finally - a picture of Joe in the 'booth of expertise'.

to draw is to be human ..

- to quote emma dexter in the new book on drawing - Vitamin D.
I like the idea of drawing as by-product - something scribbled on an envelope in an attempt to explain something during a discussion.

this will be my approach to interviewing!

3 ms

thank you for the 3 ms card. michele insisted that all 3 ladies were, in fact, her. i told her she was living in a fantasy world. dinner soon to discuss what, when and where. x