A constellation of enterprising ideas about art and artifact collections.
These anecdotes contain all of the elements outlined by Campbell and places these artists as the heroes. They have created a mythology around them and/or their works. For them, though, there is no (or little) pretense. This is them (magnified through the retelling of the stories) and it exemplifies their values. Companies and organized institutions, take note.
We manage collections of cultural patrimony (art included) in deep, inefficient ruts left by the ox carts of previous generations. At that time, it made certain sense, but all things must occasionally evolve away from gills and grow feet. Failure to evolve in general (but especially now), when the industry bleeds out funds to pandemic recovery, will only further pump the brakes on returning to “normalcy”. “Now” is “normal”.
In May of this year, New York City will join a small group of states including Colorado, California, Connecticut, Maryland, Rhode Island, and Washington requiring that all job listings post a salary range.
Our databases that contain the vast troves of knowledge about the cultural heritage we steward analog the difference between web2 and web3. When we catalog an object and upload our knowledge of an object to a database, we mostly aggregate and copy information (literally, ad nauseum for me this week) that already exists about an object and store it with one, centralized company. Thus, that company gains a certain amount of power over our data based on its size.
