#and a reminder that not all of us want to colonise mars | Explore Tumblr Posts and Blogs

bucklemonster2 · 6 months

Text

Sci Fi Dream 09/11/2023

(ENGLISH BELOW)

Vannacht droomde ik over een science fiction verhaal: mensen koloniseerden een planeet, het was vooral het leger dat de planeet koloniseerde, ook al was het onbewoond. Men vond dat het noodzakelijk was dat het Amerikaanse leger er eerst was met zijn getrainde ruimtesoldaten.

Plotseling begon het te sneeuwen op de Mars-achtige planeet. De soldaten vonden het vreemd en waren zeer alert, kijkend naar de kleine sneeuwbollen op de grond. Plotseling veranderde de sneeuw in grote insecten, wezens, die het leger aanvielen. Voor sommigen veranderde de sneeuw echter in kleine onschadelijke wezens, kleine honden, vissen of hagedissen met een glimlach. Pas toen het leger deze wezens als een gevaar beschouwde getransformeerden ze in monsters. Een van de soldaten had een beetje van de sneeuw gegeten voordat het transformeerde, waardoor hij zijn lichaam naar believen kon veranderen. Hij kon transformeren in alles wat hij maar wilde: een auto, een ruimteschip, een paard, zolang het maar ongeveer even groot was als hij. De soldaten ontdekten een groot insect, de 'koningin' die verantwoordelijk was voor de sneeuw, en namen haar gevangen. De insectenkoningin kon met de mensen praten en hen vertellen dat ze dwaas waren, haar sneeuw was iets dat haar lichaam had aanmaakte. Voor haar en andere wezens was de sneeuw een nuttig hulpmiddel. Het transformeerde door beïnvloed te worden door gedachten. Op die manier kon je creëren en maken, wat je maar wilde en nodig had. Hoe dan ook, beïnvloed door gedachten van achterdocht, woede en angst van de legermannen, transformeerde de sneeuw in monsters.

Deze wondersneeuw deed mij een beetje denken aan de Bijbelse mana. Als je dit idee wilt gebruiken voor een verhaal of zoiets, voel je vrij om dat te doen, voeg gewoon mijn naam toe: Emilia Sameyn

--------------------------------------------- ENGLISH:

Tonight I dreamed about a science-fiction story, humans, were colonising a planet it was mainly the army colonising it, even though it was

uninhabited, the US Army deemed it necessary to be there first with its trained space-soldiers. Suddenly on the mars-like planet,

it began snowing. The soldiers thought it was strange and were on high alert, looking at the little balls of snow on the ground. Suddenly the snow transformed into big insects, creatures, attacking the army. However to some the snow transformed into small harmless creatures, little dogs, fish, or lizards with smiles. Only when the army looked at these creatures as a threat they

transformed into monsters. One of the soldiers had eaten a bit of the snow, before it transformed, enabling him to morph his body at will. He could transform in anything he wanted, a car, a space ship, a horse, as long as it was around the same size as him. The Soldiers discovered a big insect, the 'queen' responsible for the snow and imprisoned her. The insect queen could speak to the humans, and told them they were foolish, her snow was a something her body created,

for her and other beings the snow was a useful tool. It transformed by being influenced by thoughts. That way you could created and make,

whatever you wanted and needed. However influenced by thoughts of suspicion, anger and fear from the army men made the snow transform

into dangerous creatures. This miracle snow reminded my a bit of the biblical mana. If you want to use this idea for a story or something,

feel free to do so, just add my name: Emilia Sameyn

#dream #droom #dream diary #scifi #sci fi #space #bugs #mana #fantasy #mind #mindrealm #mindscape #art #nederlands #dutch #life

0 notes

spaceexp · 5 years

Text

ESA’s Mars rover has a name – Rosalind Franklin

ESA - ExoMars Mission logo. 7 February 2019 The ExoMars rover that will search for the building blocks of life on the Red Planet has a name: Rosalind Franklin. The prominent scientist behind the discovery of the structure of DNA will have her symbolic footprint on Mars in 2021. A panel of experts chose ‘Rosalind Franklin’ from over 36 000 entries submitted by citizens from all ESA Member States, following a competition launched by the UK Space Agency in July last year.

ExoMars rover

The ExoMars rover will be the first of its kind to combine the capability to roam around Mars and to study it at depth. The Red Planet has hosted water in the past, but has a dry surface exposed to harsh radiation today. The rover bearing Rosalind Franklin’s name will drill down to two metres into the surface to sample the soil, analyse its composition and search for evidence of past – and perhaps even present – life buried underground. The rover is part of the ExoMars programme, a joint endeavour between ESA and the Russian State Space Corporation, Roscosmos. What’s in a name? Rosalind Elsie Franklin was a British chemist and X-ray crystallographer who contributed to unravelling the double helix structure of our DNA. She also made enduring contributions to the study of coal, carbon and graphite. ESA has a long tradition of naming its missions for great scientists, including Newton, Planck and Euclid.

Rosalind Franklin

“This name reminds us that it is in the human genes to explore. Science is in our DNA, and in everything we do at ESA. Rosalind the rover captures this spirit and carries us all to the forefront of space exploration,” says ESA Director General Jan Woerner. The name was revealed this morning in the ‘Mars Yard’ at Airbus Defence and Space in Stevenage, in the United Kingdom, where the rover is being built. ESA astronaut Tim Peake met the competition entrants who chose the winning name, and toured the facility with UK Science Minister Chris Skidmore. “This rover will scout the martian surface equipped with next-generation instruments – a fully-fledged automated laboratory on Mars,” says Tim.

ExoMars rover name announced

“With it, we are building on our European heritage in robotic exploration, and at the same time devising new technologies.” The rover will relay data to Earth through the Trace Gas Orbiter, a spacecraft searching for tiny amounts of gases in the martian atmosphere that might be linked to biological or geological activity since 2016. Rosalind has already a proposed landing site. Last November a group of experts chose Oxia Planum near the martian equator to explore an ancient environment that was once water-rich and that could have been colonised by primitive life. On our way to Mars, and back Looking beyond ExoMars, bringing samples back from Mars is the logical next step for robotic exploration. ESA is already defining a concept for a sample return mission working in cooperation with NASA. “Returning martian samples is a huge challenge that will require multiple missions, each one successively more complex than the one before,” says David Parker, ESA’s Director of Human and Robotic Exploration.

ExoMars Rover: from concept to reality

“We want to bring the Red Planet closer to home. We want to delve into its mysteries and bring back knowledge and benefits to people on Earth. Returned planetary samples are truly the gift that keeps on giving – scientific treasure for generations to come,” he adds. Long-term planning is crucial to realise the missions that investigate fundamental science questions like could life ever have evolved beyond Earth? ESA has been exploring Mars for more than 15 years, starting with Mars Express and continuing with the two ExoMars missions, keeping a European presence at the Red Planet into the next decade. Related links: ExoMars: http://www.esa.int/Our_Activities/Human_and_Robotic_Exploration/Exploration/ExoMars Robotic exploration of Mars: http://exploration.esa.int/ ESA Member States: https://www.esa.int/About_Us/Welcome_to_ESA/New_Member_States Mars Express: http://www.esa.int/Our_Activities/Space_Science/Mars_Express Sample return mission: http://www.esa.int/Our_Activities/Human_and_Robotic_Exploration/Exploration/ESA_and_NASA_to_investigate_bringing_martian_soil_to_Earth Images, Video, Text, Credits: ESA/S. Corvaja/ATG medialab/MRC Laboratory of Molecular Biology. Best regards, Orbiter.ch Full article

#space #science

68 notes · View notes

masterofmagics · 7 years

Text

Remy Reviews: Pierce Brown - Red

This review contains spoilers, obviously.

I picked up this book at my local bookstore because I pick up every book that I feel the slightest bit of promise from, since I have no self control. I tore through it in not more than 3 days during a few car rides on vacation.

It opens fairly stereotypically for its genre (dystopian YA). The protagonist is an outstanding Helium-3 miner in a miners’ colony on the planet Mars. I will not start on the implication that a gas like He-3 can be mined with big drills - this is not Remy’s chemistry nitpicking post.

The protagonist, Darrow, is content in his life, until his wife (NB: people in the mining colony don’t usually live to 40, and it’s customary to marry as teenagers) is hanged for singing a rebellious song. He decides to bury her, also a crime punishable by death, and gets hanged.

Lo and behold, he is saved by the resistance! Some backstory here; the solar system is ruled by a single government that enforces a rigorous caste system, that’s color coded for your convenience. Golds are the ruling class, Reds do manual labour (Darrow is a Red), Coppers are administrators, Pinks are… in the pleasure business. The Reds in the mines are told they are harvesting He-3 to make the planet Mars livable, but really it’s been colonised for ages and they’re kind of just slaves.

The resistance, calling themselves the ‘Sons of Ares’ (this is the first of many classical mythological motifs) wants to send Darrow as an infiltrator to the Golds Super Special School for Skilled Kids. One of them would probably have made a better alliteration. The problem is that due to centuries upon centuries (the Golds are said to have taken over roughly 700 years ago) of genetic manipulation, he is physically not on the same level. A Purple (artists, but also genetic meddlers) takes care of that issue, and he gets sent to the school.

The school is not high school drama and jocks or nerds, and I’m almost sad it wasn’t, because it’d almost be less trope abiding than the reality. Instead, The Institute, as it’s called (X-Men readers raise your hands), is more like Capture the Flag meets Hunger Games meets Hogwarts meets Camp Half-Blood. The students are sorted into twelve houses corresponding to the Roman Olympian deities (although instead of Neptune, the writer decided to use Pluto- sadly, this is also not Remy’s mythology nitpicking hour) that are then dumped into an arena of sorts inside their house’s castle. Their flag has the power to enslave members of other houses. They’re not technically supposed to murder each other, but everyone kind of forgot about it after the Game Makers - sorry, the Supervisors didn’t really punish it at all.

I’m not going too deep into the rest, because I’d just be retelling the story, but of course Darrow gains sympathy for the Goldens, and of course he gets a new love interest, it’s all very predictable.

The book, speaking in terms of style, is well-written. Brown has a good style and knows how to write compelling characters.

And here’s also where I have to get on my soapbox and grandstand about a pet peeve of mine: stupid capitalisation. Capitalising a word in the middle does not make it a cool word. I could care less about duroSteel (is that Star Wars I detect?) or nanoBlades. In fact, I find it kind of annoying to read. Please do not do this, because obviously my opinion is the most important of all.

Also, my translated copy had spelling and punctuation errors that simply should not have been in a final edition. Not the writer’s fault, but really, kinda sloppy.

Now where was I.

The writing itself, in the technical aspects, leaves very little to remark about it. However, as some astute readers might have noticed, I find it very trope adherent. I could accurately predict some of the twists (betrayal! secret twins! this guy dies (but not really)!), and there were a certain few sloppy Chekovs in the story.

The story setting is very typically dystopian, too. Powerful ruling class? Check. Rigorous caste system? You bet. Censorship, suppression of dissent, and cool technology? You guessed it.

One of its other cardinal sins is the apparent forgetfulness of the writer. His urge to push a lot of interesting things (because for all I like to harp on the tropeyness of the Hunger Gamesian parts, I loved it) into the book leads to other parts being pushed away. During the Institute’s war game, Darrow’s backstory is reduced to a cheap cause of character conflict in an already complicated character.

Now to clarify, I don’t think complicated characters are bad. And the character itself forgetting about his origins is compelling character development. But, the reader can never forget about the origin of the character. If you push too much to the point where the characters in the middle of the book and the characters in the prologue and epilogue might as well have been different people, you’re going too far.

And yes, I think the origin becomes a very cheap conflict in the middle. Why? It never puts him before any real choices. The writer never really explores his guilt for going to someone else after his wife was killed by the same ruling class he’s now mixing with. It feels like an afterthought the reader is occasionally reminded of.

It’s like Brown couldn’t decide between writing Brave New World or The Hunger Games and just threw them both in. In my opinion, both parts are cheapened because of it.

Despite this, I actually greatly enjoyed the book. As I mentioned, despite his flaws, Brown writes compelling characters, and I couldn’t wait to find out what happens to them.

Although the one I missed the most in the second part was Matteo, Darrow’s young Pink teacher in Golden etiquette, dancing and sweet homosexual lovemaking.

Okay, I made up that last one. But it would have been nice.

Final judgement: 3.5/5. Flawed, but enjoyable, and definitely not the worst you can find in Dystopian YA at the moment.

#book review #review #red #pierce brown #remy reviews #give us more matteo 2k17 #books #spoilers obviously #justice for neptune #justice for roque

1 note · View note

zahra-hydris · 7 years

Text

little maggie things:

fairly strong biotic, but using them reminded her too much of alec’s pushing so she stopped and focused on her tech abilities instead. she’s picked them up again in andromeda, but she’s rusty as hell and she’s embarrassed herself a few times in front of cora. she’s now predominately a sentinel but also alternates with engineer and adept profiles as well (it’s still early in my game remember).

scott is the reason she’s in andromeda. not alec. not exploration. she came because she couldn’t say goodbye to her brother. she’s a little bitter about it; felt like she was finally about to start building a life in archaeological research despite her father’s pet project threatening to ruin her name. but she still hadn’t really made anything. scott was the only solid thing she had. and she’s so protective of him? part of the reason she hated her father so much is that scott threw everything into being the perfect son and alec never acknowledged it. scott’s career was ruined by his in a way that maggie’s luckily wasn’t. but he believed in the initiative. so she came for him. the fact that he isn’t awake to see helios breaks her heart.

she’s actually cynical as hell about the initiative and the entire idea of colonising a new galaxy. she’s taken on the job of pathfinder solely because she feels like hundreds of thousands of people were roped in by jien garson and her father’s charm and are now suffering for it. she also thinks that maybe someone as cynical as her is best for it. she’s worried about the initiative’s footprint in a way few others are. but then again, she’s actually a little secretly thrilled to see andromeda. to discover new things. to be at the forefront of it. there’s an internal conflict there.

bisexual disaster. one second she’s like ‘omg liam is amazing and so handsome and sweet’ and then the next vetra makes her feel all tingly and she wants to just talk to her forever and then peebee flirts with her and she kind of loves it. also? when she’s attracted to someone, she has the really bad habit of wanting to please them. she’s so easily convinced. the pink hair was thanks to a pretty lieutenant she served with on mars before maggie had ingratiated herself into the actual research team. she loves the hair (it’s a symbol of her independence in her eyes), but it was the idea of a woman maggie couldn’t say no to.

wears the initiative hoodie on the tempest. loves the cozy feeling and it doesn’t feel like too much when she’s chatting with the squad and crew. but upon returning from eos to the nexus, she forgot she was wearing it and spent nearly the entire trip there screaming ‘I’M SO FUCKING UNDERDRESSED’ in her head. she’ll wear the jacket outfit there next time.

speaking of the nexus, she loves the hydroponics section? which surprises her; she’s never really been a nature type. but she loves the idea of science helping nature grow in the most inhospitable environments. so she sits there, feeling the bass from the bar, and smelling leaves and bark and just life.

she secretly gets SAM to hack into peebee’s notes on the remnant tech and send them to her. the tech isn’t really her main interest and she’s happy to leave that to peebee to decipher. it’s the idea of studying a new civilisation that thrills her. honestly, she could have explored that vault on eos forever. (wait until she meets the angara omg)

and with SAM... she’s really uncomfortable with his presence. the whole thing, actually. it combines with her immense discomfort with the initiative. the more she learns, the more uncomfortable she is. so she does what she’s usually done with her dad’s morally iffy projects and pretends it’s not a thing. just brushes it away. and if it’s brought up, she does what she typically does with everything that bothers her and makes her upsets her, she pretends she’s got it covered. sorted. she’s ~carefree~ and ~confident~ about the whole thing. except not. she’s aware that this bottling up of her ‘weaker’ emotions is the product of alec’s insistence upon strength (admittedly, he meant to make yourself stronger through your pain but she took that to mean ‘never look weak’), but she can’t let go of it.

she’s already asked vetra to try and procure for her some kind of chocolate or baked goods. vetra’s working on it, but maggie casually asks at least once a day, even mentioning that anything with caramel or raspberry-flavouring will earn maggie’s undying love. part of this constant asking is just another way to see vetra, but another part is genuine terror that the initiative somehow forgot to bring chocolate and she’ll go the rest of her life without tasting it again. genuine. terror.

hates beer and tea with a passion. but drinks the former with liam, pretending she likes it, just to please him.

she’s currently wearing bulky pale pink and white patterned armour to compliment her hair. she gets the impression cora thinks it ridiculous and very un-pathfinder-like but liam and vetra both complimented it so maggie’s pleased as punch.

#maggie ryder #just throwing down some of my little maggie headcanons #THERE'S A LOT #this is me slowly building maggie more and more

2 notes · View notes

nofomoartworld · 7 years

Text

The Museum of NonHumanity

Museum of Nonhumanity, installation at MOMENTUM9, 2017. Photo by Istvan Virag

Many of us, consciously or not, believe in human exceptionalism. We assume that the human species is not only ‘categorically or essentially different than all other animals’ but that it is also the most significant entity of the universe. Furthermore, at several moments throughout history, a group of people have declared another group of people to be nonhuman or subhuman and have used the argument to justify slavery, oppression and genocide. Examples abound. Think of how the Nazis defined Jews, Roma, Slavs and other non-Aryan “inferior people” as Untermensch. Or how Belgium brought 60 Congolese people to live in a human zoo for visitors of the 1897 International Exposition (and the 1958 one) to gape at.

Such atrocious practices are not confined to the past, alas! Women and girls from Iraq’s Yazidi minority are routinely enslaved, raped and tortured by IS militants who regard them as sub-human. Palestinians are discriminated against on a daily basis and called snakes or animals by prominent figures in Israel. Even today‘s hate speech contain elements of dehumanization.

The Museum of NonHumanity is an itinerant museum that presents the history of the distinction between humans and other animals, and the way that this imaginary boundary has been used to oppress human and nonhuman beings.

The Museum of Nonhumanity was launched by History of Others, a large scale art and research project led by visual artist Terike Haapoja and writer Laura Gustafsson. The duo collaborate with experts in ethology, cognitive sciences, civil-rights and animal-rights activism and other culture practitioners to look at the issues that arise from our anthropocentric world view. In an effort to open new paths for more inclusive notions of society, The Museum of Nonhumanity also teams up with local individuals and organizations to set up a program of lectures, guided tours and seminars that explore local environmental and social issues.

I discovered The Museum of Nonhumanity a couple of weeks ago while i was in Moss, Norway, for the press view of MOMENTUM 9, the brilliant Nordic Biennial of Contemporary Art. The Museum of Nonhumanity was one of the two artworks that moved me the most at MOMENTUM because it uses a compassionate, perceptive and pertinent lens to explore some of the issues that mar our relationship with the other inhabitants of this planet.

I asked Terike Haapoja and Laura Gustafsson to tell us more about their art & research project:

Museum of Nonhumanity, installation at MOMENTUM9, 2017. Photo by Istvan Virag

Hi Terike and Laura! Why do you think it is important to draw attention to the topic of dehumanization nowadays?

When you look at any major crises of our world today, be it related to environmental or animal rights, war or terrorism, you can as a rule find an element of human-animal distinction at play. You can find it in explicit instances, such as the dehumanising language used by right wing xenophobes in Europe of immigrants, but also in the internalised dehumanisation imbedded in structural racism and sexism. And there’s also the fact that nature and all the other species have, because they’re literally “non-human”, no way to be visible to the justice system as a victim of a crime. Underneath all this is a logic where defining something or someone as less human justifies discrimination and abuse.

Museum of Nonhumanity, installation at MOMENTUM9, 2017. Photo by Istvan Virag

There seems to be an enormous amount of research and thoughtful selection behind the work. How did you select which particular historical case illustrated a specific chapter? Why did you chose Rwanda to typify Disgust for example? etc.

We weren’t interested in cataloguing all the atrocities in history that had been justified by dehumanisation, but in examining the rhetoric devices and the reasoning and motives that connect these actions. So while doing research on concrete cases, we started to think of key words that open up a specific viewpoint to the phenomenon of this boundary making: using someone or -thing as resource, referring them to something disgusting, creating physical or emotional distance between “them” and “us” and so on. Rwanda, the Holocaust or the horrible history of colonised Congo are well documented, but once you start to look into how and where the human – animal boundary is constructed, you see that the boundary making is present in seemingly innocent details, like the guidelines of scientific research, in how we talk about the body and female body in particular, or in the key ideas of western philosophy. its not something that happens somewhere there, or to someone else. We wanted to bring in this complexity.

Museum of Nonhumanity, installation at MOMENTUM9, 2017. Photo by Istvan Virag

I was particularly moved by the story of the female members of the Red Guards that were imprisoned after the Finnish Civil War. Is their history well known in Finland? The reason why i’m asking that is that i’m Belgian and when i was at school, we were never told about the atrocities committed by Belgium in Congo. I learnt about it much later, while studying in another country. This has changed of course (to a certain extent) and i think children learn about it at school now, but the awakening is actually quite recent. Also i was discussing with a Swedish artist recently and she told me that most Swedish people actually do not know much about the discrimination the Sami people face in Sweden and possibly in other countries too. Do you feel that most nations tend to try and cover up all the terrible and cruel acts they committed in the past? And do you think it would still be possible to bury atrocities nowadays, in this age of surveillance and over sharing?

The history of the civil war is still very much silenced in Finland, just as is the atrocities towards Sámi people and their culture. There is a lot of work to be done. It seems that the mechanism of dehumanisation is at play in nation making itself, where unwanted and negative characteristics are projected on anyone that is desired to be kept out of the nation. Perhaps that’s the reason why it’s always easier for a nation to see and acknowledge other histories than its own.

In terms of whether it’s possible to bury atrocities – what’s central is that once this boundary has been established, it’s possible to perform these atrocities in plain sight. They become invisible to the collective moral code that forbids them, and in ways that are immune to surveillance. And that happens all the time. Once someone or -thing is collectively defined as “animal”, anything can be done to it.

Museum of Nonhumanity, installation at MOMENTUM9, 2017. Photo by Istvan Virag

What i find remarkable about the work is that the historical documents you selected sometimes echo so well current situations and opinions. In fact, while reading some of the quotes, i assumed that they were all from decades ago but the dates underneath each quote revealed that some of the most appalling ones were actually found in forum discussions or politician declarations of recent years. Do you see hope in the way we treat each other?

There is something very effectively violent in the culture that we live in, and something that enables ‘othering’ and looking at violence from a distance. The technologies we live with are definitely a product of that culture, and we are a product of it. You can go to the most liberal leftist bubble and see how, even there, people use dehumanising and violent language online. So it’s something that is in us, not out there, and the only hope there is is that we are committed to being self reflective and cultivating solidarity and empathy, and acting against these mechanisms.

The information you share is laid out in a rather neutral way. The way you selected each theme and document is not neutral of course but you leave every document speak for itself. What do you hope people will get from visiting the exhibition or reading the catalogue? Is it about informing them? About inviting them to pause and take a critical look at their own prejudices? Or did you have other objectives in mind?

We decided very early on that we would only include archival material, and reference everything very well. In that way it is not only information, it’s also evidence. This way it becomes a memorial museum, where these things have been put on show, to remind us of a past we don’t want to return. What we’d like the viewer to take with them is an understanding of how fast things can move from words to action.

We’d also hope that it would be a way for people to see that human rights violations and environmental or animal rights issues are not competing struggles, but born out of the same roots. Environmental destruction and factory farming is killing our planet, and it’s happening in plain sight just because this boundary has been so well established.

It’s good to remind here that an important part of the project is programming, which is built by local practitioners and for local audiences. The programming is all about proposing bridges to a more sustainable coexistence. We had lot of programming, a vegan cafe and a book shop in Helsinki, and we will be having that in our Italy exhibit too. In Momentum we will be working with local guest guides and environmental protection activists, and organise a seminar later in the fall. So the project is not only looking back, but it really is a platform for looking forward too.

Museum of Nonhumanity, installation at MOMENTUM9, 2017. Photo by Istvan Virag

The installation i saw at Momentum9 is quite stunning, it’s hard not to be drawn into it. How do you turn a research process or catalogue into an installation like this? Which kind of artistic decisions did you take in order to translate a catalogue into a piece of visual art?

We knew it would be encyclopaedic from the beginning, and that it would be a memorial museum. You just have to work with the material and start to organise it and trust that pieces will fall into place. The amount of research material we had was enormous, so working through the structure and making sure all the details, foot notes, references were correct was a big part of the work. When we came to the idea of building the whole thing with video and sound it felt right, because it’s so immaterial, but also because it makes a kind of symphonic approach possible. It’s extremely important to have the viewers open up emotionally to the realities behind the stories and not just the cold data.

The text on the webpage of The History of Cattle states that “The exhibition is suitable for scientific, pedagogical or art context.” Would you say that this statement can also be applied to The Museum of Nonhumanity as well?

Since we are appropriating the form of a museum, it makes sense to think of it from the point of view of pedagogy also. We had a specifically tailored outreach program for high schools and upper classes in Helsinki. That said, it’s clearly an art project, built to make you think, not to give you easy answers. But I guess our approach is that art can be pedagogical, and it doesn’t mean that it would be didactic.

Thanks Terike and Laura!

Check out The Museum of Nonhumanity at Momentum 9, The Nordic Biennial of Contemporary Art curated by Ulrika Flink, Ilari Laamanen, Jacob Lillemose, Gunhild Moe and Jón B.K Ransu. The exhibitions remain open in various location in Moss, Norway, until 11 October 2017 The Museum of Nonhumanity is also open in Santarcangelo di Romagna, Italy for the Santarcangelo Festival.

Previously: MOMENTUM9 – “Alienation is our contemporary condition” and MOMENTUM9. Maybe none of this is science fiction.

from We Make Money Not Art http://ift.tt/2syQr23 via IFTTT

#IFTTT #We Make Money Not Art

0 notes