<a href="http://jeanatacc.com/2011/wp-content/uploads/2011/05/Space2.jpg"><img class="aligncenter size-medium wp-image-1482" src="http://jeanatacc.com/2011/wp-content/uploads/2011/05/Space2-300x219.jpg" alt="" width="300" height="219" /></a>Source: http://jtintle.wordpress.com/category/deep-space/keyhole-nebula/

In the 21<sup>st</sup> Century, scientists determined that due to natural occurrences beyond human control the earth would soon become un-inhabitable. Plans were quickly but carefully developed to establish a home on a recently discovered planet similar to our own, but with some essential differences in climate and atmosphere. Terra forming and chemical manipulation of the atmosphere was immediately begun, however there was not enough time to complete the process before conditions on earth became unmanageable. Domed cities were established on the new world to provide an interim habitat until the planet could be made habitable.<!--more-->

One of these domes was set aside to preserve great works of human culture, including <em>The Meditations</em> of Marcus Aurelius, The Basilica of St. Paul’s Outside the Walls, Raphael’s <em>School of Athens</em>, and Lao Tzu’s <em>Dao De Jing</em>. Fortunately for the Cultural Relocation Team, they had a fleet of spacecraft and advanced computer systems at their disposal.

Their first major challenge was finding a way to transport the enormous Basilica of St. Paul into outer space. This was done by first removing and cataloging all of the works of art that were not built into the structure itself, then securely packing them for transit. Then, the basilica was carefully de-constructed into manageable pieces, each of which was tagged with an RFID chip. The pieces were then divided into reasonably sized payloads and loaded for transport, along with the works of art that had been removed. The “instructions” for reassembly were entered into the space agency’s database so they could be accessed once the relocation crew reached their destination. A similar approach was taken with Raphael’s fresco <em>School of Athens </em>and the wall that it was painted on.

The written works were taken in the form of several manuscripts that had been created at various points throughout history, to demonstrate that even before digital technology humanity was striving to improve their means of preserving and dispersing information. The texts were also digitized so that even if the manuscripts began to deteriorate the works themselves could still be preserved.

Once they had reached their astronomical destination, these four works took their place alongside the other works that humanity had elected to preserve. St. Paul’s Basilica was reassembled and set off a bit from the other works. This was done to allow the basilica to continue to serve its original purpose of providing a spiritual sanctuary. Traditional church services were conducted at the usual times and guided tours were given on other days, so that people of other faiths and cultures could learn about its significance.

Visitors are told of how it was built to accommodate the pilgrims of a burgeoning faith and also to honor one of its primary apostles. It is explained that the building was constructed in the secular form of a basilica so that it would feel more familiar to recent converts and former pagans. They are also told of how the interior was designed to be especially spacious and infused with light. They are shown how this was done through the combination of the innovative construction of its arcades and windows, and the consistently hued Proconnesian marble that was sought out specifically for the basilica’s construction. Most significantly, visitors are told of its special role in reaching out to new converts and welcoming alienated believers back into the fold. This may help to set a forgiving, charitable tone among the colonists that may promote cooperation as they develop their new society.

Raphael’s <em>School of Athens</em> was displayed on one wall of an area that had been designed to showcase similar works, a large space where each painting was able to be considered on its own. Like all of the other works, it was given a record in a database that viewers could verbally query for specific information or an overview. Because of its unique subject matter, it was given an extra presentational element. During reconstruction, holographic generators were embedded in the piece that allowed each of the philosophers to come alive and explain the accomplishments that made them famous. When possible, efforts were made to extrapolate the philosophers’ personalities from their written works so that viewers could converse with them about topics they had not written on.

As part of the recorded overview, viewers are told that <em>School of Athens</em> was created during a time of immense artistic output when pagan knowledge was beginning to be accepted by the church establishment.  They are also told of its origins in Raphael’s complete remaking of the “Great Man” style of portraiture, where the figures were depicted interacting with each other instead of in silent repose. His accomplishments with advanced techniques of coloring and shading are also explained. Most significantly, viewers are told that the commissioning of a piece by church leadership that depicted pagan scholars was an act of tolerance that set the overall tone of the Renaissance era. This lesson may help the colonists be more accepting of other pilgrims who are from different backgrounds, and their ideas.

<em>Meditations</em> and <em>The Dao De Jing</em> were both given a place in an area set up for the appreciation of written philosophical works. They were each given a similar treatment but with a few key differences. Various manuscripts of all texts were displayed along with replicas that visitors could hold and read through to get an idea of what learning was like before humanity went digital.

<em>Meditations</em> was given a special presentational element. A holographic Stoa, or porch, is projected upon which Marcus Aurelius, Epictetus, and other notable Stoics have animated discourses about the Stoic philosophy that is the basis of <em>Meditations</em>. These discourses are designed to illuminate the basic tenets of Stoicism while also giving visitors the ability ask questions at any point in the dialogue. The holographic Aurelius gives a recitation of <em>Meditations</em> upon request, with the option to repeat or skip to specific verses.

Visitors are also able to access a general overview that explains how <em>Meditations </em>was a product of the Roman tendency to revive aspects of Greek culture. They are also told that the book was written by a Roman emperor who pursued moral uprightness instead of conquest, and that the diary like tone with which he wrote gives a unique and personal perspective into Stoicism. Visitors are also told that Emperor Aurelius had the luxury of introspection because of the efforts of his immediate predecessors, the first four of the Five Good Emperors, to secure the empire’s borders and promote cultural development.

Most significantly, <em>Meditations</em> shows that no matter what someone’s social position may be they can still benefit from a guided attempt at self improvement. <em>Meditations</em> is a unique record of a powerful individual’s pursuit of virtue, through a school of thought that discouraged the trappings of power and wealth. Knowing about the choices that Aurelius made may help the colonists choose a similar path as they establish the leadership for their new civilization.

<em>The Dao De Jing</em> exhibit is located among other examples of the “100 Schools of Thought” era in which it was written. This section of the museum is located in a larger area where other examples from the Axial Age are displayed. Like the other literary works, <em>The Dao De Jing</em> is presented via a holographic representation of its author, in this case Lao Tzu. As a preface to the exhibit, the hologram describes the ways of the Kingdom of Zhou and how they had led to a contented population for generations. It is then explained that <em>The Dao De Jing</em> was written to preserve these ways. Then, the holographic sage begins a recitation of the text, which offers repeat visitors the ability to skip to and repeat specific verses.

The recitation can also be paused at any time so visitors can query a database for clarification on the concepts that are discussed in <em>The Dao De Jing. </em>The virtual Lao Tzu offers visitors who are mystified by its unique, elusive language a one on one guided tour through the basics of Daoism, the philosophic school of thought that was inspired by <em>The Dao De Jing.</em> Most significantly, visitors are told that <em>The Dao De Jing</em> offered a spiritual counter to the achievement driven life that was rapidly overtaking China at that time. Its emphasis on inner peace and contentedness offered relief in the wake of increasing social demands, a message that may help museum visitors avoid the same fate.

When the plans were being made to set aside resources to preserve these works many criticized the program as wasteful and unnecessary. In response, a few of the colonists drafted an open letter that pointed out the value of saving these important components of Humanity’s legacy. The letter described how great works of art, literature, architecture, and other mediums convey certain lessons that cannot be taught any other way. They have the ability to reach the human consciousness on an intuitive level that allows profound ideas to be effortlessly taught and retained, ideas that would be difficult to describe in words alone. Preserving these works and others like them is the only way to record the trial and error process by which humanity arrived at its current condition. They also have the ability to remind us of the false steps of the past and caution us back on the path to progress.

The colonists were able to eventually leave their domes and resume a more typical, natural human life. As part of their new society they built permanent display spaces for the works they had brought along. They quickly had to make room for the works of the new generation of artists who had been inspired by the preservation exhibit.