(1326,9,'2011-05-11 13:34:28','2011-05-11 19:34:28','<p style=\"text-align: center\"><a href=\"http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg\"><img class=\"aligncenter\" src=\"http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg\" alt=\"\" width=\"250\" height=\"255\" />\nhttp://www.tomorrowstrends.com/future_freeway_sign250_1.jpg</a></p>\nAs the Earth becomes uninhabitable over the years, life aboard the spaceship is now necessary for civilizations to continue, expand, and flourish as society has done throughout history.  Knowing that we were limited in the number of objects to preserve, it was my responsibility, as Curator, to choose four works of art dated from Pre-History to the Renaissance.  Using my creative abilities, I was able to design the space for the preservation of these magnificent historical artworks: Oedipus the King, Hagia Sophia, Donatello’s David, and the Egyptian Book of the Dead.  After learning the enormous impact and influence each culture and art has provided throughout history, I knew that it was undeniably certain, these works will be able to stir as much enthusiasm and awe as it has during it its era.  These works will continue to be used as artistic inspiration for the people aboard as they see the various interpretations of their cultures and imaginations during the historical period of their existence.<!--more-->\n<p style=\"text-align: left\"><img class=\"aligncenter\" src=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\" alt=\"\" width=\"461\" height=\"356\" />\nhttp://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg</p>\nTo display these historical pieces, I designed a space much like that of the Guggenheim Museum in New York, New York.  I have always been amazed at the beauty and simplicity of the architecture that provides a subtle continuous flow for people to view art.  I think it is very important for the preservations to be viewed as timeless and everlasting to the human past and future generations.  Each display will have its own section on the winding ramp.  For viewers to better understand each work, the space provided on the elongated section of the ramp will include floating, holographic text that goes into detail the description, historical context and the influences of the preserved art throughout history.  The sections of each piece will be separated by a threshold, only slightly visible, that when crossed, quickly changes the scene of the space to the app\n\nropriate display.  This subtle and indistinct separation of cultures and art still holds the theme of an unending and timeless take on the history of mankind.\n\nDisplaying <em>Oedipus the King</em> required some thought into how others may be able to view Sophocles’ most famed and influential play.  As a theatrical performance that became a model for the development of other forms of drama, the preservation was done by integrating holographic advancement with trained actors to portray the adventures of the tragic “hero”.  Because there is no original work of the play, we must make sure that we accurately describe and illustrate the work that historically impacted forms of entertainment for centuries.  During the time where Greek drama was popularized, the Athenians worshipped many gods who they believed to be in control of an individual’s destiny.  The reoccurring idea of fate determined by the gods in the play, along with its association to the festivals of Dionysus, exemplified the cultural trend of the time.\n\nDuring the period of ancient Greek theatre, Sophocles had a very unique style, lengthening the resolution scene of the play instead of concentrating on the actions to get there.  Sophocles “modified the ceremonial formality of earlier Greek tragedies by individualizing the characters and introducing moments of great psychological intimacy” (Fiero).\n\nDespite its influences on the development of theatre, <em>Oedipus the King</em> provides a philosophical motif of the uncertainties and dangers of ultimately learning the truth.  From this, the play has shaped the beliefs of psychologists and influenced much work in the field of psycho analysis, one of the major innovations of human thought—“our deep fear that every step we take forward on what we think is the road of progress may really be a step toward a foreordained rendezvous with disaster” (qtd. in Knox 28).  The impact on the psychological sciences in history is the most significant aspect of the acclaimed <em>Oedipus the King.</em>\n\nAfter completion of my project to display <em>Oedipus the King, </em>I see the people on board interacting with the holographic visual representation of the play as it is acted throughout the display space.  Because each space consisted of the section of the ramp like that of the Guggenheim museum, the viewers will be able to follow along with the play as they proceed up the ramp to the next display.  They will be intrigued and fascinated with the works of Sophocles as they are performed live and closer than they would imagine.\n\nAs a historical and magnificent architectural building that has survived attack religious riot destructions, and multiple transformations, the Hagia Sophia will be preserve\n\n&nbsp;\n\nd by floating text describing its history as viewers walk up the ramp.  The text will lead to a door that will take the viewer into a virtual, yet realistic representation of the Hagia Sophia.  The entrance will feel as if you were walking in during the 21<sup>st</sup> century.\n\nAs Christianity continued to spread throughout Europe during the time Hagia Sophia was built, the level importance for creating a building for religious worship was enormous, thus exemplifying the cultural trend of the time.  Christianity is not observed throughout its existence.  Also, because the Hagia Sophia was initially a Christian building and Roman architecture was generally used as the architectural style for constructing them, this massive piece of art fit into the artistic trend of the 6<sup>th</sup> century.\n\nDespite conforming to the trend of Roman architecture, Hagia Sophia was unique in succeeding as the largest cathedral for over one thousand years.  Because of such a large building and the design for a huge dome for which it is well known for, new ideas were implemented to secure its stability.  The size and the adaptability of structuring in the art as architecture were two of the major innovations that Hagia Sophia represents.\n\nPeople aboard the spaceship will acknowledge the significance of Hagia Sophia in history as it is the oldest church that has been a part of both Christian and non-Christian worship.  The strength of withstanding so many transformations for such a beautiful, massive architectural masterpiece is the most important, significant acknowledgement of the Hagia Sophia.\n\nAs they enter the virtual church, the people will be astounded by the beauty and the intricate detail inside the “building”—there will only be portraits of the exterior as it is equa\n\nlly beautiful, but extremely massive to display.  They can look up to the dome at the center of the building.  They will be astonished to learn that such an old structure would be so beautiful and strong in historical perspective.\n\nAfter viewing the interior of the Hagia Sophia, the viewers will be able to enter the world that revolves around Donatello’s David.  This magnificent sculpture will be floating in the middle as the viewers ascend the ramp.  While doing so, the biblical story of David and Goliath will be visually displayed by holographic images along the walls.  Because the sculpture depicts the epic biblical hero, the viewers will better understand why it was sculpted with such detail.\n\nDuring the time Donatello sculpted David, artists were very passionate about studying and reproducing the classical styles of antiquity.  Donatello had sculpted the first nude statue who poised a contrapposto like that of the Greeks, exemplifying artisti\n\nc and cultural trends of thei\n\n&nbsp;\n\nr time.  He also portrayed David in a feminine pose, as if confident in himself and his body which was associated with the dominant themes of admiration of thyself and interest in human proportions.\n\nBecause it was the first bronze large-scale, free-standing nude statue of the Renaissance, Donatello’s David represented major innovations in art during his time period.  Bronze figures were not seen since antiquity and his nude sculpture exalted the human body rather than reject its sinfulness.  His sensual masterpiece was a major innovation of the time that influenced other great masterpieces like that of Michelangelo’s David.\n\nThe idea that the nude human body is beautiful rather than sinful is very significant for viewers aboard the spaceship to acknowledge as they recognize the unique style Donatello used to sculpt the biblical hero.  The viewers will be able to gather around and understand the sculpture as the story unfolds around them.  They will be astonished to see and interact with the holographic action up close and personal as they ascend closer to view the beauty of the Donatello’s David.\n\nFinally, as they ascend higher up the ship, they will enter the world of the Ancient Egyptians.  As Curator, I will display the Egyptian Book of the Dead also as floating text on the walls where the chants can be heard and the illustrations will be moving sequentially in time.  The viewers will be able to see everything around them come to life and will be able to interact with the illustrations as their own hearts can be imaginarily “weighed” on the Great Scale by Anubis and looked upon by Osiris and his wife, Isis.  The\n\n&nbsp;\n\ngods will be holograms following the viewers along their path ascending up into the “heavens” as they continue their journey up the ramp through the Egyptian world and ultimately the end of the preserved displays.\n\nThe Egyptian Book of the Dead exemplified the arts and works of its time as they revolved their life around their religion and the many gods they believed in.  They put a lot of energy and effort in preparing for their afterlife so the Book of the Dead was a way to help guide them to their heavenly destination safely.  One innovation in art was the lack of illustrations depicting death and dying.  They depicted funerary preparations, but the Egyptians dealt with how people lose their lives.  Another major innovati\n\non was it expanded the freedom for other Egyptians, despite socioeconomic class structures, to be entitled to follow Osiris into the afterlife if they could afford it.  This was highly unusual for this time period because the social structures were very evident in their lifestyles.  The Egyptian Book of the Dead was one of the first texts to allow funerary preparations for people other than pharaohs and royals.\n\nThe viewers should know how other cultures viewed religion and their way of life.  It is very insightful to view how people revolved their lives around religion and how the Egyptians put so much effort to make sure lives were brought to eternal bliss.  As we know it religion has sparked much controversy and has branched out into so many views that the first beliefs of people should not be forgotten.  People use religion to comfort themselves from the uncertainties of life and the Egyptian’s way of doing so through the Book of the Dead is the most significant aspect of the display the viewers should acknowledge.\n\nThese four displays will be placed in ascending order where the top will be the “heavens” as the Egyptians will lead the way to the final destination.  The viewers will be able to interact with each display accordingly to the holographic design and representations of text ar\n\nound the walls that will help them understand the works of art in their own unique way.  The viewers aboard the spaceship of 2100 will be able to grab magnificent insight into the once inhabitable world that used intellect and creativity to produce such beautiful pieces of art that would continually be praised for and influence other artists centuries later.\n<p style=\"text-align: center\"><img class=\"aligncenter\" src=\"http://www.mediabistro.com/unbeige/files/original/gugg%20looking%20down.jpg\" alt=\"\" width=\"442\" height=\"342\" />\nhttp://www.mediabistro.com/unbeige/files/original/gugg%20looking%20down.jpg</p>','Aboard the Spaceship in 2100','','inherit','open','open','','1306-revision-6','','','2011-05-11 13:34:28','2011-05-11 19:34:28','',1306,'http://jeanatacc.com/2011/?p=1326',0,'revision','',0),(1327,9,'2011-05-11 13:38:08','2011-05-11 19:38:08','<p style=\"text-align: center\"><a href=\"http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg\"><img class=\"aligncenter\" src=\"http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg\" alt=\"\" width=\"250\" height=\"255\" />\nhttp://www.tomorrowstrends.com/future_freeway_sign250_1.jpg</a></p>\nAs the Earth becomes uninhabitable over the years, life aboard the spaceship is now necessary for civilizations to continue, expand, and flourish as society has done throughout history.  Knowing that we were limited in the number of objects to preserve, it was my responsibility, as Curator, to choose four works of art dated from Pre-History to the Renaissance.  Using my creative abilities, I was able to design the space for the preservation of these magnificent historical artworks: Oedipus the King, Hagia Sophia, Donatello’s David, and the Egyptian Book of the Dead.  After learning the enormous impact and influence each culture and art has provided throughout history, I knew that it was undeniably certain, these works will be able to stir as much enthusiasm and awe as it has during it its era.  These works will continue to be used as artistic inspiration for the people aboard as they see the various interpretations of their cultures and imaginations during the historical period of their existence.<!--more-->\n<p style=\"text-align: center\"><img class=\"aligncenter\" src=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\" alt=\"\" width=\"461\" height=\"356\" /><a href=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\">http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg</a></p>\n<p style=\"text-align: left\"><a href=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\"></a>To display these historical pieces, I designed a space much like that of the Guggenheim Museum in New York, New York.  I have always been amazed at the beauty and simplicity of the architecture that provides a subtle continuous flow for people to view art.  I think it is very important for the preservations to be viewed as timeless and everlasting to the human past and future generations.  Each display will have its own section on the winding ramp.  For viewers to better understand each work, the space provided on the elongated section of the ramp will include floating, holographic text that goes into detail the description, historical context and the influences of the preserved art throughout history.  The sections of each piece will be separated by a threshold, only slightly visible, that when crossed, quickly changes the scene of the space to the appropriate display.  This subtle and indistinct separation of cultures and art still holds the theme of an unending and timeless take on the history of mankind.</p>\nDisplaying <em>Oedipus the King</em> required some thought into how others may be able to view Sophocles’ most famed and influential play.  As a theatrical performance that became a model for the development of other forms of drama, the preservation was done by integrating holographic advancement with trained actors to portray the adventures of the tragic “hero”.  Because there is no original work of the play, we must make sure that we accurately describe and illustrate the work that historically impacted forms of entertainment for centuries.  During the time where Greek drama was popularized, the Athenians worshipped many gods who they believed to be in control of an individual’s destiny.  The reoccurring idea of fate determined by the gods in the play, along with its association to the festivals of Dionysus, exemplified the cultural trend of the time.\n\nDuring the period of ancient Greek theatre, Sophocles had a very unique style, lengthening the resolution scene of the play instead of concentrating on the actions to get there.  Sophocles “modified the ceremonial formality of earlier Greek tragedies by individualizing the characters and introducing moments of great psychological intimacy” (Fiero).\n\nDespite its influences on the development of theatre, <em>Oedipus the King</em> provides a philosophical motif of the uncertainties and dangers of ultimately learning the truth.  From this, the play has shaped the beliefs of psychologists and influenced much work in the field of psycho analysis, one of the major innovations of human thought—“our deep fear that every step we take forward on what we think is the road of progress may really be a step toward a foreordained rendezvous with disaster” (qtd. in Knox 28).  The impact on the psychological sciences in history is the most significant aspect of the acclaimed <em>Oedipus the King.</em>\n\nAfter completion of my project to display <em>Oedipus the King, </em>I see the people on board interacting with the holographic visual representation of the play as it is acted throughout the display space.  Because each space consisted of the section of the ramp like that of the Guggenheim museum, the viewers will be able to follow along with the play as they proceed up the ramp to the next display.  They will be intrigued and fascinated with the works of Sophocles as they are performed live and closer than they would imagine.\n\nAs a historical and magnificent architectural building that has survived attack religious riot destructions, and multiple transformations, the Hagia Sophia will be preserved by floating text describing its history as viewers walk up the ramp.  The text will lead to a door that will take the viewer into a virtual, yet realistic representation of the Hagia Sophia.  The entrance will feel as if you were walking in during the 21<sup>st</sup> century.\n\nAs Christianity continued to spread throughout Europe during the time Hagia Sophia was built, the level importance for creating a building for religious worship was enormous, thus exemplifying the cultural trend of the time.  Christianity is not observed throughout its existence.  Also, because the Hagia Sophia was initially a Christian building and Roman architecture was generally used as the architectural style for constructing them, this massive piece of art fit into the artistic trend of the 6<sup>th</sup> century.\n\nDespite conforming to the trend of Roman architecture, Hagia Sophia was unique in succeeding as the largest cathedral for over one thousand years.  Because of such a large building and the design for a huge dome for which it is well known for, new ideas were implemented to secure its stability.  The size and the adaptability of structuring in the art as architecture were two of the major innovations that Hagia Sophia represents.\n\nPeople aboard the spaceship will acknowledge the significance of Hagia Sophia in history as it is the oldest church that has been a part of both Christian and non-Christian worship.  The strength of withstanding so many transformations for such a beautiful, massive architectural masterpiece is the most important, significant acknowledgement of the Hagia Sophia.\n\nAs they enter the virtual church, the people will be astounded by the beauty and the intricate detail inside the “building”—there will only be portraits of the exterior as it is equally beautiful, but extremely massive to display.  They can look up to the dome at the center of the building.  They will be astonished to learn that such an old structure would be so beautiful and strong in historical perspective.\n\nAfter viewing the interior of the Hagia Sophia, the viewers will be able to enter the world that revolves around Donatello’s David.  This magnificent sculpture will be floating in the middle as the viewers ascend the ramp.  While doing so, the biblical story of David and Goliath will be visually displayed by holographic images along the walls.  Because the sculpture depicts the epic biblical hero, the viewers will better understand why it was sculpted with such detail.\n\nDuring the time Donatello sculpted David, artists were very passionate about studying and reproducing the classical styles of antiquity.  Donatello had sculpted the first nude statue who poised a contrapposto like that of the Greeks, exemplifying artistic and cultural trends of their time.  He also portrayed David in a feminine pose, as if confident in himself and his body which was associated with the dominant themes of admiration of thyself and interest in human proportions.\n\nBecause it was the first bronze large-scale, free-standing nude statue of the Renaissance, Donatello’s David represented major innovations in art during his time period.  Bronze figures were not seen since antiquity and his nude sculpture exalted the human body rather than reject its sinfulness.  His sensual masterpiece was a major innovation of the time that influenced other great masterpieces like that of Michelangelo’s David.\n\nThe idea that the nude human body is beautiful rather than sinful is very significant for viewers aboard the spaceship to acknowledge as they recognize the unique style Donatello used to sculpt the biblical hero.  The viewers will be able to gather around and understand the sculpture as the story unfolds around them.  They will be astonished to see and interact with the holographic action up close and personal as they ascend closer to view the beauty of the Donatello’s David.\n\nFinally, as they ascend higher up the ship, they will enter the world of the Ancient Egyptians.  As Curator, I will display the Egyptian Book of the Dead also as floating text on the walls where the chants can be heard and the illustrations will be moving sequentially in time.  The viewers will be able to see everything around them come to life and will be able to interact with the illustrations as their own hearts can be imaginarily “weighed” on the Great Scale by Anubis and looked upon by Osiris and his wife, Isis.  The gods will be holograms following the viewers along their path ascending up into the “heavens” as they continue their journey up the ramp through the Egyptian world and ultimately the end of the preserved displays.\n\nThe Egyptian Book of the Dead exemplified the arts and works of its time as they revolved their life around their religion and the many gods they believed in.  They put a lot of energy and effort in preparing for their afterlife so the Book of the Dead was a way to help guide them to their heavenly destination safely.  One innovation in art was the lack of illustrations depicting death and dying.  They depicted funerary preparations, but the Egyptians dealt with how people lose their lives.  Another major innovation was it expanded the freedom for other Egyptians, despite socioeconomic class structures, to be entitled to follow Osiris into the afterlife if they could afford it.  This was highly unusual for this time period because the social structures were very evident in their lifestyles.  The Egyptian Book of the Dead was one of the first texts to allow funerary preparations for people other than pharaohs and royals.\n\nThe viewers should know how other cultures viewed religion and their way of life.  It is very insightful to view how people revolved their lives around religion and how the Egyptians put so much effort to make sure lives were brought to eternal bliss.  As we know it religion has sparked much controversy and has branched out into so many views that the first beliefs of people should not be forgotten.  People use religion to comfort themselves from the uncertainties of life and the Egyptian’s way of doing so through the Book of the Dead is the most significant aspect of the display the viewers should acknowledge.\n\nThese four displays will be placed in ascending order where the top will be the “heavens” as the Egyptians will lead the way to the final destination.  The viewers will be able to interact with each display accordingly to the holographic design and representations of text around the walls that will help them understand the works of art in their own unique way.  The viewers aboard the spaceship of 2100 will be able to grab magnificent insight into the once inhabitable world that used intellect and creativity to produce such beautiful pieces of art that would continually be praised for and influence other artists centuries later.\n\n&nbsp;\n<p style=\"text-align: center\"><img class=\"aligncenter\" src=\"http://www.mediabistro.com/unbeige/files/original/gugg%20looking%20down.jpg\" alt=\"\" width=\"442\" height=\"342\" />\nhttp://www.mediabistro.com/unbeige/files/original/gugg%20looking%20down.jpg</p>\n<p style=\"text-align: center\">&nbsp;</p>','Aboard the Spaceship in 2100','','inherit','open','open','','1306-revision-7','','','2011-05-11 13:38:08','2011-05-11 19:38:08','',1306,'http://jeanatacc.com/2011/?p=1327',0,'revision','',0),(1328,9,'2011-05-11 13:40:05','2011-05-11 19:40:05','<p style=\"text-align: center\"><a href=\"http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg\"><img class=\"aligncenter\" src=\"http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg\" alt=\"\" width=\"250\" height=\"255\" /> http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg</a></p>\nAs the Earth becomes uninhabitable over the years, life aboard the spaceship is now necessary for civilizations to continue, expand, and flourish as society has done throughout history.  Knowing that we were limited in the number of objects to preserve, it was my responsibility, as Curator, to choose four works of art dated from Pre-History to the Renaissance.  Using my creative abilities, I was able to design the space for the preservation of these magnificent historical artworks: Oedipus the King, Hagia Sophia, Donatello’s David, and the Egyptian Book of the Dead.  After learning the enormous impact and influence each culture and art has provided throughout history, I knew that it was undeniably certain, these works will be able to stir as much enthusiasm and awe as it has during it its era.  These works will continue to be used as artistic inspiration for the people aboard as they see the various interpretations of their cultures and imaginations during the historical period of their existence.<!--more-->\n<p style=\"text-align: left\"><img class=\"aligncenter\" src=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\" alt=\"\" width=\"461\" height=\"356\" /><a href=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\">http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg</a></p>\n<p style=\"text-align: left\"><a href=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\"></a>To display these historical pieces, I designed a space much like that of the Guggenheim Museum in New York, New York.  I have always been amazed at the beauty and simplicity of the architecture that provides a subtle continuous flow for people to view art.  I think it is very important for the preservations to be viewed as timeless and everlasting to the human past and future generations.  Each display will have its own section on the winding ramp.  For viewers to better understand each work, the space provided on the elongated section of the ramp will include floating, holographic text that goes into detail the description, historical context and the influences of the preserved art throughout history.  The sections of each piece will be separated by a threshold, only slightly visible, that when crossed, quickly changes the scene of the space to the appropriate display.  This subtle and indistinct separation of cultures and art still holds the theme of an unending and timeless take on the history of mankind.</p>\nDisplaying <em>Oedipus the King</em> required some thought into how others may be able to view Sophocles’ most famed and influential play.  As a theatrical performance that became a model for the development of other forms of drama, the preservation was done by integrating holographic advancement with trained actors to portray the adventures of the tragic “hero”.  Because there is no original work of the play, we must make sure that we accurately describe and illustrate the work that historically impacted forms of entertainment for centuries.  During the time where Greek drama was popularized, the Athenians worshipped many gods who they believed to be in control of an individual’s destiny.  The reoccurring idea of fate determined by the gods in the play, along with its association to the festivals of Dionysus, exemplified the cultural trend of the time.\n\nDuring the period of ancient Greek theatre, Sophocles had a very unique style, lengthening the resolution scene of the play instead of concentrating on the actions to get there.  Sophocles “modified the ceremonial formality of earlier Greek tragedies by individualizing the characters and introducing moments of great psychological intimacy” (Fiero).\n\nDespite its influences on the development of theatre, <em>Oedipus the King</em> provides a philosophical motif of the uncertainties and dangers of ultimately learning the truth.  From this, the play has shaped the beliefs of psychologists and influenced much work in the field of psycho analysis, one of the major innovations of human thought—“our deep fear that every step we take forward on what we think is the road of progress may really be a step toward a foreordained rendezvous with disaster” (qtd. in Knox 28).  The impact on the psychological sciences in history is the most significant aspect of the acclaimed <em>Oedipus the King.</em>\n\nAfter completion of my project to display <em>Oedipus the King, </em>I see the people on board interacting with the holographic visual representation of the play as it is acted throughout the display space.  Because each space consisted of the section of the ramp like that of the Guggenheim museum, the viewers will be able to follow along with the play as they proceed up the ramp to the next display.  They will be intrigued and fascinated with the works of Sophocles as they are performed live and closer than they would imagine.\n\nAs a historical and magnificent architectural building that has survived attack religious riot destructions, and multiple transformations, the Hagia Sophia will be preserved by floating text describing its history as viewers walk up the ramp.  The text will lead to a door that will take the viewer into a virtual, yet realistic representation of the Hagia Sophia.  The entrance will feel as if you were walking in during the 21<sup>st</sup> century.\n\nAs Christianity continued to spread throughout Europe during the time Hagia Sophia was built, the level importance for creating a building for religious worship was enormous, thus exemplifying the cultural trend of the time.  Christianity is not observed throughout its existence.  Also, because the Hagia Sophia was initially a Christian building and Roman architecture was generally used as the architectural style for constructing them, this massive piece of art fit into the artistic trend of the 6<sup>th</sup> century.\n\nDespite conforming to the trend of Roman architecture, Hagia Sophia was unique in succeeding as the largest cathedral for over one thousand years.  Because of such a large building and the design for a huge dome for which it is well known for, new ideas were implemented to secure its stability.  The size and the adaptability of structuring in the art as architecture were two of the major innovations that Hagia Sophia represents.\n\nPeople aboard the spaceship will acknowledge the significance of Hagia Sophia in history as it is the oldest church that has been a part of both Christian and non-Christian worship.  The strength of withstanding so many transformations for such a beautiful, massive architectural masterpiece is the most important, significant acknowledgement of the Hagia Sophia.\n\nAs they enter the virtual church, the people will be astounded by the beauty and the intricate detail inside the “building”—there will only be portraits of the exterior as it is equally beautiful, but extremely massive to display.  They can look up to the dome at the center of the building.  They will be astonished to learn that such an old structure would be so beautiful and strong in historical perspective.\n\nAfter viewing the interior of the Hagia Sophia, the viewers will be able to enter the world that revolves around Donatello’s David.  This magnificent sculpture will be floating in the middle as the viewers ascend the ramp.  While doing so, the biblical story of David and Goliath will be visually displayed by holographic images along the walls.  Because the sculpture depicts the epic biblical hero, the viewers will better understand why it was sculpted with such detail.\n\nDuring the time Donatello sculpted David, artists were very passionate about studying and reproducing the classical styles of antiquity.  Donatello had sculpted the first nude statue who poised a contrapposto like that of the Greeks, exemplifying artistic and cultural trends of their time.  He also portrayed David in a feminine pose, as if confident in himself and his body which was associated with the dominant themes of admiration of thyself and interest in human proportions.\n\nBecause it was the first bronze large-scale, free-standing nude statue of the Renaissance, Donatello’s David represented major innovations in art during his time period.  Bronze figures were not seen since antiquity and his nude sculpture exalted the human body rather than reject its sinfulness.  His sensual masterpiece was a major innovation of the time that influenced other great masterpieces like that of Michelangelo’s David.\n\nThe idea that the nude human body is beautiful rather than sinful is very significant for viewers aboard the spaceship to acknowledge as they recognize the unique style Donatello used to sculpt the biblical hero.  The viewers will be able to gather around and understand the sculpture as the story unfolds around them.  They will be astonished to see and interact with the holographic action up close and personal as they ascend closer to view the beauty of the Donatello’s David.\n\nFinally, as they ascend higher up the ship, they will enter the world of the Ancient Egyptians.  As Curator, I will display the Egyptian Book of the Dead also as floating text on the walls where the chants can be heard and the illustrations will be moving sequentially in time.  The viewers will be able to see everything around them come to life and will be able to interact with the illustrations as their own hearts can be imaginarily “weighed” on the Great Scale by Anubis and looked upon by Osiris and his wife, Isis.  The gods will be holograms following the viewers along their path ascending up into the “heavens” as they continue their journey up the ramp through the Egyptian world and ultimately the end of the preserved displays.\n\nThe Egyptian Book of the Dead exemplified the arts and works of its time as they revolved their life around their religion and the many gods they believed in.  They put a lot of energy and effort in preparing for their afterlife so the Book of the Dead was a way to help guide them to their heavenly destination safely.  One innovation in art was the lack of illustrations depicting death and dying.  They depicted funerary preparations, but the Egyptians dealt with how people lose their lives.  Another major innovation was it expanded the freedom for other Egyptians, despite socioeconomic class structures, to be entitled to follow Osiris into the afterlife if they could afford it.  This was highly unusual for this time period because the social structures were very evident in their lifestyles.  The Egyptian Book of the Dead was one of the first texts to allow funerary preparations for people other than pharaohs and royals.\n\nThe viewers should know how other cultures viewed religion and their way of life.  It is very insightful to view how people revolved their lives around religion and how the Egyptians put so much effort to make sure lives were brought to eternal bliss.  As we know it religion has sparked much controversy and has branched out into so many views that the first beliefs of people should not be forgotten.  People use religion to comfort themselves from the uncertainties of life and the Egyptian’s way of doing so through the Book of the Dead is the most significant aspect of the display the viewers should acknowledge.\n\nThese four displays will be placed in ascending order where the top will be the “heavens” as the Egyptians will lead the way to the final destination.  The viewers will be able to interact with each display accordingly to the holographic design and representations of text around the walls that will help them understand the works of art in their own unique way.  The viewers aboard the spaceship of 2100 will be able to grab magnificent insight into the once inhabitable world that used intellect and creativity to produce such beautiful pieces of art that would continually be praised for and influence other artists centuries later.\n\n&nbsp;\n<p style=\"text-align: center\"><img class=\"aligncenter\" src=\"http://www.mediabistro.com/unbeige/files/original/gugg%20looking%20down.jpg\" alt=\"\" width=\"442\" height=\"342\" />\nhttp://www.mediabistro.com/unbeige/files/original/gugg%20looking%20down.jpg</p>\n<p style=\"text-align: center\"><!--more-->Works Cited</p>\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\n\nKnox, Bernard. \"THE FREEDOM OF OEDIPUS.\" <em>New Republic</em> 187.9 (1982): 28. <em>MasterFILE Premier</em>. EBSCO. Web. 21 Feb. 2011.\n<p style=\"text-align: center\">&nbsp;</p>','Aboard the Spaceship in 2100','','inherit','open','open','','1306-revision-8','','','2011-05-11 13:40:05','2011-05-11 19:40:05','',1306,'http://jeanatacc.com/2011/?p=1328',0,'revision','',0),(1329,9,'2011-05-11 13:40:15','2011-05-11 19:40:15','<p style=\"text-align: center\"><a href=\"http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg\"><img class=\"aligncenter\" src=\"http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg\" alt=\"\" width=\"250\" height=\"255\" /> http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg</a></p>\r\nAs the Earth becomes uninhabitable over the years, life aboard the spaceship is now necessary for civilizations to continue, expand, and flourish as society has done throughout history.  Knowing that we were limited in the number of objects to preserve, it was my responsibility, as Curator, to choose four works of art dated from Pre-History to the Renaissance.  Using my creative abilities, I was able to design the space for the preservation of these magnificent historical artworks: Oedipus the King, Hagia Sophia, Donatello’s David, and the Egyptian Book of the Dead.  After learning the enormous impact and influence each culture and art has provided throughout history, I knew that it was undeniably certain, these works will be able to stir as much enthusiasm and awe as it has during it its era.  These works will continue to be used as artistic inspiration for the people aboard as they see the various interpretations of their cultures and imaginations during the historical period of their existence.<!--more-->\r\n<p style=\"text-align: left\"><img class=\"aligncenter\" src=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\" alt=\"\" width=\"461\" height=\"356\" /><a href=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\">http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg</a></p>\r\n<p style=\"text-align: left\"><a href=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\"></a>To display these historical pieces, I designed a space much like that of the Guggenheim Museum in New York, New York.  I have always been amazed at the beauty and simplicity of the architecture that provides a subtle continuous flow for people to view art.  I think it is very important for the preservations to be viewed as timeless and everlasting to the human past and future generations.  Each display will have its own section on the winding ramp.  For viewers to better understand each work, the space provided on the elongated section of the ramp will include floating, holographic text that goes into detail the description, historical context and the influences of the preserved art throughout history.  The sections of each piece will be separated by a threshold, only slightly visible, that when crossed, quickly changes the scene of the space to the appropriate display.  This subtle and indistinct separation of cultures and art still holds the theme of an unending and timeless take on the history of mankind.</p>\r\nDisplaying <em>Oedipus the King</em> required some thought into how others may be able to view Sophocles’ most famed and influential play.  As a theatrical performance that became a model for the development of other forms of drama, the preservation was done by integrating holographic advancement with trained actors to portray the adventures of the tragic “hero”.  Because there is no original work of the play, we must make sure that we accurately describe and illustrate the work that historically impacted forms of entertainment for centuries.  During the time where Greek drama was popularized, the Athenians worshipped many gods who they believed to be in control of an individual’s destiny.  The reoccurring idea of fate determined by the gods in the play, along with its association to the festivals of Dionysus, exemplified the cultural trend of the time.\r\n\r\nDuring the period of ancient Greek theatre, Sophocles had a very unique style, lengthening the resolution scene of the play instead of concentrating on the actions to get there.  Sophocles “modified the ceremonial formality of earlier Greek tragedies by individualizing the characters and introducing moments of great psychological intimacy” (Fiero).\r\n\r\nDespite its influences on the development of theatre, <em>Oedipus the King</em> provides a philosophical motif of the uncertainties and dangers of ultimately learning the truth.  From this, the play has shaped the beliefs of psychologists and influenced much work in the field of psycho analysis, one of the major innovations of human thought—“our deep fear that every step we take forward on what we think is the road of progress may really be a step toward a foreordained rendezvous with disaster” (qtd. in Knox 28).  The impact on the psychological sciences in history is the most significant aspect of the acclaimed <em>Oedipus the King.</em>\r\n\r\nAfter completion of my project to display <em>Oedipus the King, </em>I see the people on board interacting with the holographic visual representation of the play as it is acted throughout the display space.  Because each space consisted of the section of the ramp like that of the Guggenheim museum, the viewers will be able to follow along with the play as they proceed up the ramp to the next display.  They will be intrigued and fascinated with the works of Sophocles as they are performed live and closer than they would imagine.\r\n\r\nAs a historical and magnificent architectural building that has survived attack religious riot destructions, and multiple transformations, the Hagia Sophia will be preserved by floating text describing its history as viewers walk up the ramp.  The text will lead to a door that will take the viewer into a virtual, yet realistic representation of the Hagia Sophia.  The entrance will feel as if you were walking in during the 21<sup>st</sup> century.\r\n\r\nAs Christianity continued to spread throughout Europe during the time Hagia Sophia was built, the level importance for creating a building for religious worship was enormous, thus exemplifying the cultural trend of the time.  Christianity is not observed throughout its existence.  Also, because the Hagia Sophia was initially a Christian building and Roman architecture was generally used as the architectural style for constructing them, this massive piece of art fit into the artistic trend of the 6<sup>th</sup> century.\r\n\r\nDespite conforming to the trend of Roman architecture, Hagia Sophia was unique in succeeding as the largest cathedral for over one thousand years.  Because of such a large building and the design for a huge dome for which it is well known for, new ideas were implemented to secure its stability.  The size and the adaptability of structuring in the art as architecture were two of the major innovations that Hagia Sophia represents.\r\n\r\nPeople aboard the spaceship will acknowledge the significance of Hagia Sophia in history as it is the oldest church that has been a part of both Christian and non-Christian worship.  The strength of withstanding so many transformations for such a beautiful, massive architectural masterpiece is the most important, significant acknowledgement of the Hagia Sophia.\r\n\r\nAs they enter the virtual church, the people will be astounded by the beauty and the intricate detail inside the “building”—there will only be portraits of the exterior as it is equally beautiful, but extremely massive to display.  They can look up to the dome at the center of the building.  They will be astonished to learn that such an old structure would be so beautiful and strong in historical perspective.\r\n\r\nAfter viewing the interior of the Hagia Sophia, the viewers will be able to enter the world that revolves around Donatello’s David.  This magnificent sculpture will be floating in the middle as the viewers ascend the ramp.  While doing so, the biblical story of David and Goliath will be visually displayed by holographic images along the walls.  Because the sculpture depicts the epic biblical hero, the viewers will better understand why it was sculpted with such detail.\r\n\r\nDuring the time Donatello sculpted David, artists were very passionate about studying and reproducing the classical styles of antiquity.  Donatello had sculpted the first nude statue who poised a contrapposto like that of the Greeks, exemplifying artistic and cultural trends of their time.  He also portrayed David in a feminine pose, as if confident in himself and his body which was associated with the dominant themes of admiration of thyself and interest in human proportions.\r\n\r\nBecause it was the first bronze large-scale, free-standing nude statue of the Renaissance, Donatello’s David represented major innovations in art during his time period.  Bronze figures were not seen since antiquity and his nude sculpture exalted the human body rather than reject its sinfulness.  His sensual masterpiece was a major innovation of the time that influenced other great masterpieces like that of Michelangelo’s David.\r\n\r\nThe idea that the nude human body is beautiful rather than sinful is very significant for viewers aboard the spaceship to acknowledge as they recognize the unique style Donatello used to sculpt the biblical hero.  The viewers will be able to gather around and understand the sculpture as the story unfolds around them.  They will be astonished to see and interact with the holographic action up close and personal as they ascend closer to view the beauty of the Donatello’s David.\r\n\r\nFinally, as they ascend higher up the ship, they will enter the world of the Ancient Egyptians.  As Curator, I will display the Egyptian Book of the Dead also as floating text on the walls where the chants can be heard and the illustrations will be moving sequentially in time.  The viewers will be able to see everything around them come to life and will be able to interact with the illustrations as their own hearts can be imaginarily “weighed” on the Great Scale by Anubis and looked upon by Osiris and his wife, Isis.  The gods will be holograms following the viewers along their path ascending up into the “heavens” as they continue their journey up the ramp through the Egyptian world and ultimately the end of the preserved displays.\r\n\r\nThe Egyptian Book of the Dead exemplified the arts and works of its time as they revolved their life around their religion and the many gods they believed in.  They put a lot of energy and effort in preparing for their afterlife so the Book of the Dead was a way to help guide them to their heavenly destination safely.  One innovation in art was the lack of illustrations depicting death and dying.  They depicted funerary preparations, but the Egyptians dealt with how people lose their lives.  Another major innovation was it expanded the freedom for other Egyptians, despite socioeconomic class structures, to be entitled to follow Osiris into the afterlife if they could afford it.  This was highly unusual for this time period because the social structures were very evident in their lifestyles.  The Egyptian Book of the Dead was one of the first texts to allow funerary preparations for people other than pharaohs and royals.\r\n\r\nThe viewers should know how other cultures viewed religion and their way of life.  It is very insightful to view how people revolved their lives around religion and how the Egyptians put so much effort to make sure lives were brought to eternal bliss.  As we know it religion has sparked much controversy and has branched out into so many views that the first beliefs of people should not be forgotten.  People use religion to comfort themselves from the uncertainties of life and the Egyptian’s way of doing so through the Book of the Dead is the most significant aspect of the display the viewers should acknowledge.\r\n\r\nThese four displays will be placed in ascending order where the top will be the “heavens” as the Egyptians will lead the way to the final destination.  The viewers will be able to interact with each display accordingly to the holographic design and representations of text around the walls that will help them understand the works of art in their own unique way.  The viewers aboard the spaceship of 2100 will be able to grab magnificent insight into the once inhabitable world that used intellect and creativity to produce such beautiful pieces of art that would continually be praised for and influence other artists centuries later.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\"><img class=\"aligncenter\" src=\"http://www.mediabistro.com/unbeige/files/original/gugg%20looking%20down.jpg\" alt=\"\" width=\"442\" height=\"342\" />\r\nhttp://www.mediabistro.com/unbeige/files/original/gugg%20looking%20down.jpg</p>\r\n<p style=\"text-align: center\"><!--more-->Works Cited</p>\r\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\r\n\r\nKnox, Bernard. \"THE FREEDOM OF OEDIPUS.\" <em>New Republic</em> 187.9 (1982): 28. <em>MasterFILE Premier</em>. EBSCO. Web. 21 Feb. 2011.\r\n<p style=\"text-align: center\">&nbsp;</p>','Aboard the Spaceship in 2100','','inherit','open','open','','1306-revision-9','','','2011-05-11 13:40:15','2011-05-11 19:40:15','',1306,'http://jeanatacc.com/2011/?p=1329',0,'revision','',0),(1332,37,'2011-05-11 14:39:15','2011-05-11 20:39:15','The Four works of art that I will carry in my voyage represent some of the most unique works of Pre-history to the Renaissance and will allow people to see the beauty and complexity of these works of art. The four masterpieces I have selected include the Hebrew Bible, The Basilica of San Vitale of Ravenna, Don Quixote and the Nasca Geoglyphs. These works of art represent a great period in human history and I consider extremely important that they be preserved in one way or another in order to allow future generations of Humans to really appreciate the beauty of this time.\r\n\r\n<!--more-->\r\n\r\nFirst, the Hebrew bible, which is an influential religious text, that talks about the life of the Hebrew people over a long period of time. The Hebrew bible is a testament that reflects the influence of some of the most important empires in human history like the Mesopotamian culture, the Persian, Greeks and the Romans. What makes the Hebrew bible a unique text is that the stories of the bible do not represent a specific time but are a continuous development of stories of ancient times. The bible started with few stories but as time went by the book kept growing and more and more stories were put in it. The Hebrew bible will allow people to learn about the great stories of the past; many of these stories of the Hebrew bible have some correlation with similar work produced during that time like the stylistic similarities between text of ancient Babylonian and Persian Empire. For Example, the Story about the Epic of Gilmamesh, which is a story of Babylonian times, is closely related to stories of the book of genesis in the Hebrew Bible. This in my opinion will allow the reader of the future to see the big picture of things not just a short period of time.\r\n\r\nAnother aspect that I think is important is that because the Hebrew bible is a combination of myth, history and stories it will allow the future generations of readers to educate themselves but at the time they will be able to read some of the most fantastic stories that the imagination can capture, so in a way the display of the Hebrew bible is for education purposes but also for entertainment purposes. Another aspect that people will be able to understand is why the Hebrew bible remain such an important text not only in ancient times but also influence many society outside of the Hebrew.  For Example people could see how the Hebrew bible influence other important texts and documents like the United States Declaration of independence show some of the main ideas of the Hebrew bible and also the Hebrew bible is the base for what had become the New Testament Book which is important for Christianity.\r\n\r\nThe influence of the Hebrew Bible is undeniable and by having it preserved I can help make it influence more generation in the future. The main way I will preserve the Hebrew bible is by taking the Original book with me in this long Voyage and I will place the book in an especially constructed Gold Book Holder. The main reason I choose Gold as the material for the Holder is because During my time on earth Gold was considered one of the most important commodities and metal and I think it is fitting to put such an important text in it. The Hebrew bible will be place in holder for people to see, but because I do not such important text to deteriorate with time, the book will get a special protective cover that will allow its preservation and I will also bring one copy just in case something were to go wrong or damage the book, so in that way in case the book suffer some deterioration or damage I can use the replacement and keep the tradition going. During the display of the Hebrew bible I will place especial white light that will reflect on the bible as if a light from above the skies in particularly on the bible. The main reason I will do that is to showcase the Hebrew bible and portrayed as a text that comes from above and a guidance text for humans.\r\n\r\nThe Second work of art that I have decide to preserved is the basilica of San Vitale (Ravenna) which is a Basilica that took from 526 to 548 to construct and reflects the influence of the Roman and the Byzantine empires. The fascinating aspect of the Basilica of San Vitale is that its design and structure is it a combination of the Roman style and the Byzantine style which make it kind of unique in its appearance and majestic beauty. The basilica of San Vitale main attraction is the interior 18<sup>th</sup> century murals and mosaics which many of them have religious connotation.\r\n\r\nI will create a showing of the Basilica in a video format mainly because due to its size it will be impossible to take in my ship, but I will hire somebody to make one elaborate video record of the basilica and that video would be view by the future generations. Also I am planning on bringing some of the mosaics especially the smallest ones so that people could see the beauty and how works of art where in the 6<sup>th</sup> century. The display of the basilica will include plenty of photos made by the best photographers so that the actual beauty could be catch and people could see every aspect of the basilica in detail. Apart from that I will also bring a small replica of the basilica so that future students could see its structure and learn more about what aspects were of Roman influence and what aspects were of byzantine influence.\r\n\r\nThe basilica of San Vitale is one of the greatest buildings of the 6<sup>th</sup> century next to Hagia Sophia and that is why I consider of extreme importance to preserve it at least in video and replica form. The mixture of Roman architecture like the doomed roof and the Byzantine architecture like the polygonal shapes makes the building one of a kind. Also the basilica mosaics portrait the life of that time like the emperor and also stories of the bible, which will make it perfect because I am also bringing the Hebrew bible with me. People could use the display of the bible as guidance for the display of the Basilica of San Vitale, which depicts stories about the Old Testament. I think people will be able to relate both displays.\r\n\r\nThe third work I am bringing with me in this voyage is Don Quixote which is a book written by Miguel de Cervantes and is considered a literary classic of the Spanish Golden era. This novel has been translated to many languages and is important because it reflects the conflict between the old and new ways of living. Also what makes the novel interesting is that it certain characteristics like comical, tragical, and some traces of history, which make the novel very interesting to read because it keeps the reader wanting more.\r\n\r\nThe story is base on Don Quixote a middle age gentleman from Spain which after been influence by many cavalry work and the different experiences of his life like being captive for many years, he decided to embark on a mission to protect and defend the innocent. The book details those adventures that he takes alongside his sidekick named Sancho Panza. The story revolves around Don Quixote and all the people he meets in his journeys.\r\n\r\nI will do something really interesting to display this masterpiece of Literature and that is basically that I will bring many copies of the book but each copy will be in a different language. Don Quixote is one of the bestseller novels of all time and has been translated to many languages. The idea here is to bring the novel in many languages so that people could learn and compare how the novel reacts in a different language other than the original, but also the display will allow people to learn more about an unknown language to them, in summary the display of Don Quixote will serve as an educational purpose.\r\n\r\nPeople will be able to learn how was Spain and the world at that time like the battle of the Spanish navy against the British navy and also the novel puts a big emphasis on the stratification of Spanish society at that time with some people like the nobility at the top having many privileges and at the bottom the ordinary citizens that had to fight every day to survive. Also another aspect that I think is important to emphasized is that Don Quixote will allow the reader to relate to what was going on literary at that time like the emphasis on chivalry tales and the ideas that innocent people need protection or the idealization of women.  The novel is important because it has social aspects that other pieces do not have and the piece showed some opposition of the author to the church, which he considered a corrupt institution.\r\n\r\nAnother Aspect that makes Don Quixote a great piece to preserve is the technique and style because Cervantes presents all his characters with many attributes so in that way the reader to have a clear picture of the characters which basically allow the reader to really understand the dept of each character. Another aspect that make the novel important is the in some parts of the novel the stories are down to earth stories that every people can relate to, but in other parts of the novel there is some fantasy involves which makes the novel very appealing because you are always guessing what comes next.\r\n\r\nFinally I will also bring with me the Nasca Geoglyphs which are some of the most amazing designs man has ever build on land. The Nasca Geoglyphs are located in Peru in the desert, which will make it kind of hard to bring with me. In this case what I will do is to construct a small version of the terrain where the Nasca lines and geoglyphs. I planned to go to Peru and bring with me a small version of the terrain like the soil and then a specialist of the Nasca geoglyphs will construct them in that piece of terrain that I brought but that person will do that in a small-scale version.\r\n\r\nThe Nasca geoglyphs were made by the Nasca people that habitated Peru between 100 to 800 AD and the pictures and geoglyphs vary in size and complexity, there’s are many animals depiction in this work like spiders, whale, birds and that makes it very unique site in the world. The other aspect that makes it unique is the terrain use to build this geoglyphs is special because it contains a mineral called ferrous oxide, which allows over time to see the contrast of the soil and the geoglyphs. I will have my experts build the mini replica by using the same techniques used by the Nasca people like by removing the gravel and contours around the pictures in order to make them appear in the ground.\r\n\r\nThe Geoglyphs are important because of the complexity of the figures and also the harmony, which make them very unique because the Nasca people will have use math principles in order to build them. Many archeologists are surprised at the symmetry of the figures specially since there are no records that the Nasca people had any flying device to see the picture from above which is the only way to appreciate their magnitude. During this period the Nasca people were worried about worshiping the Gods and how to please the Gods so the lines according to some experts could be offering to the Gods and as a result of sacred purpose.\r\n\r\n&nbsp;\r\n\r\nThe Nasca geoglyphs are consider important because they have survived mostly intact for a long period of time and because it reflects that ancient civilizations like the Nasca had some advance characteristics like mathematical knowledge, which makes these features more impressive. Also some of the pictures have some astronomical use like the bird that point to certain direction, which determines certain characteristics of the terrain and the seasons.\r\n\r\nAs a conclusion, these four masterpieces like the Hebrew bible, the Basilica of San Vitale, Don Quixote and the Nasca geoglyphs will be the masterpieces that I will preserve. In that way I will contribute to the learning and knowledge that future generations could acquire from this pieces.\r\n\r\n&nbsp;','Final Project','','publish','open','open','','final-project','','','2011-05-11 15:10:51','2011-05-11 21:10:51','',0,'http://jeanatacc.com/2011/?p=1332',0,'post','',5),(1334,4,'2011-05-11 14:39:26','2011-05-11 20:39:26','Due to the severe climate changes, we can no longer stay on Earth. They\'ve chosen a select group of people to preserve the brilliant works of our old home. Aboard our immense ship, I\'ve designed a museum to carry the four pieces: De rerum Natura by Lucretius, The Last Supper by Leonardo Da Vinci, Everyman: a morality play, and the Great Wall of China. It will be in form of a hallway; a wide hallway with a high ceiling; a walk-through display with each piece given its own closed area separated by short entrance ways to surprise those unaware of the magnificent contents.\r\n\r\n<!--more-->\r\n\r\n<img class=\"alignnone\" src=\"http://www.lib.cam.ac.uk/exhibitions/Montaigne/pics/front_notes.jpg\" alt=\"\" width=\"430\" height=\"304\" />\r\n<p style=\"text-align: center\"><em>a copy dating back to 1563</em></p>\r\n<p style=\"text-align: center\"><em> </em> http://www.lib.cam.ac.uk/exhibitions/Montaigne/m4_1.html?keepThis=true&amp;TB_iframe=true&amp;height=460&amp;width=600</p>\r\nThe first piece De rerum Natura \"On the Nature of Things\" is an unfinished six-book scientific epic poem by a 1<sup>st</sup> century Italian man, Titus Lucretius Carus - a man widely considered ahead of his time. Firstly, it is unique stylistically because it is the earliest dactylic hexameter of its kind. This philosophic masterpiece eloquently displays Epicurean studies and offers us a better look in it, since little was preserved of Epicurus\' work – only that of his disciples. He introduces us to the theory of atomism, a truly grand feat given the time it was written. During Lucretius’ lifetime, Italy was experiencing a difficult time; It saw revolts, massacres, civil wars and assassination of authority figures. Lucretius, in such a heavy setting, it is no wonder he was so captivated by the Epicurean philosophy. The overall message of Epicureans being: It \"spoke of a world which was not managed by an unseen power, of a life in which a man\'s actions were free from divine scrutiny, a life in which, within the bounds of society, a man might shape events according to his own will, securing himself against discomfort, acknowledging his natural instincts, relieved from the nagging fear of an unknown beyond the grave by the certainty of death as a final end.\" (Hanrott) He is the first of all to be a poet of Epicurean philosophy and was wise enough to write his brilliance into Latin so that more people could read and share his work. In this, he also more easily rendered abstract concepts; Lucretius considered it much like a doctor who spreads honey along the edges of a cup so a child will more readily consume it. Stoicism and Epicurean philosophies were both dominant schools of the time. They taught self-sufficiency and freedom from worldly negativities; Stoics expressed this through indifference in order to achieve clear sense of self-control. On the contrary, Epicureans simply shut out the existence of fate completely. In a time where Romans were “stimulated to seek solutions to the disparity between ideal concepts of government and the reality of corruption, violence and injustice,” and an interest in Epicureanism was high, Lucretius’ poetry exemplifies cultural trends of the age. (Lucretius) Hundreds of years later, as it was uncovered during the Renaissance - through admiration, influence and rewriting of his works - Epicureanism lived on. It will rest in this museum today, so it will continue to forever influence the cosmological and evolutionary speculations of philosophers, historians, scientists, and others alike. Upon reading, you can forget it was written literally thousands of years ago, with advanced thought in sociology, evolutionary theory, the infinite universe and the cosmos. Titus Lucretius Carus, a man we know very little about, can \"speak from his grave\" with his poem. We are able to dive into the mind of a man who deeply admired Epicurus with an eye for nature and an endless thirst for the universal knowledge and truth. Future generations should have this for many years to come, as they too, can live a life with the absence of fear, develop keen observation for the world around us, search for the facts of the physical world and think critically when subject of atoms, space, death, life, gods, and/or pseudo-science comes up. A work that was once taboo to the Christian church, attached with false stories to discredit its content, is quite a gem to have preserved today. Aside from its historical value, De rerum natura is valuable to those who are presented with it because it can calm the concerns of a \"doomsday,\" give us a greater appreciation for Epicurus, and return to us the joy that keeps us from maintaining a delightful life, even within harsh political turmoil and violence as Lucretius once did - even as we travel deep into space to our new home. To preserve the piece itself, I would include a copy manuscript, dating back to approximately 1490, under a centered, squared glass case - for safety and to avoid deterioration. One of first English translations, done by Lucy Hutchinson in the 1650s, would have interchanging quotes from his six-book series slowly flashing vertically along transparent screens disguised as plain, white museum walls. Although not quite the original mark of Lucretius within the case and its inability to capture his message in its entirety; the people aboard the ship get to see an early copy of the work, while also being able to revel in the ideas of Lucretius as they illuminate the walls surrounding them.\r\n<p style=\"text-align: center\"><a href=\"http://www.kashda.com/everyman/html/em_play.html\"><img class=\"aligncenter\" src=\"http://www.kashda.com/everyman/html/play_1_cover.JPG\" alt=\"\" width=\"315\" height=\"527\" /></a>http://www.kashda.com/everyman/html/em_play.html</p>\r\nAs for the morality play Everyman, there are only four known remaining early writings it: two-thirds a manuscript held in the British Museum, another section in the Bodleian Library; two manuscripts: one held in a personal library and another in Salisbury Cathedral, and the last of the bunch, in the Britwell library. Amongst them, the previous two are the oldest, brought upon by a man who unearthed them around 1490. (Moses) Somewhat following the design of the \"Lucretius - On the Nature of Things\" walk-through, the valuable aging fragments would be placed within a glass case while a list of characters is shone through the furthest wall. Also, all along the walls are headphones with the choice of two buttons, for people to listen to English translations with dramatic voices if they choose, or more simply, to the history of medieval theatre - to cherish what is being preserved beneath the glass. Weekly, the play itself is performed in the outer area. In recent times, with a growing secular audience, we generally do not spend our days aching to learn of a Divine figure watching upon us who may damn us to hell at our misconduct. Although, we have become a world consumed with our earthly comforts, wound up on all we can possess. Death is unavoidable and when we reach the time to face it, like Everyman did in the 1400s, we are reminded the only thing accompanying our eternal good-bye is the good things we have done to reminisce upon. In Medieval Europe, most people who populated it, were illiterate and were unable to read the bible or other religious texts. They could only participate in the oral sermons that were given. This play, an alternative way to speak the words of Old and New Testaments, was quite special during the time because the words of Christ would be more easily spread. In Everyman, we follow a character that represents all of mankind – a man who has abused his mortal freedom, but repents his sins so he can be saved. The greatest challenge a man faces are the World, the Flesh, and the Devil. It is strongly emphasized “sin is inevitable,” yet still, “repentance is always possible” (Potter) He meets a sea of personified characters that test his Earthly conduct. God summons Death to have Everyman take pilgrimage with him, only allowing him to take those who will contribute to his soul in the afterlife. Through the rejection of the personified wordly characters such as Beauty, Material Goods and Strength, we discover the morals Everyman was written to teach: that man mustn’t become obsessed with possessions and objects of wealth. Rather, to live a life against self-satisfaction and fulfill a life of virtue, conscious of Jesus’ sacrifice for us. Work of the fifteenth century focused on men being summoned to death and religious faith revived much of the dramatic art form, so Everyman truly exemplifies that of its time. In the museum, historians and people of all walks of life can find Everyman to be an intriguing source of discovering and learning the moral code that existed during the Middle Ages. For the audience to truly appreciate this piece, one must remember it flourished in a time where dramas were largely theological and created mainly to reform its viewers. These stories were told with medieval faith being strong and everything of the Earth believed to have a great moral underlining. This everlasting play\'s place in the museum will be a wonderful way to learn valuable life lessons through a medieval mind’s standpoint and discover what we want of this life.\r\n<p style=\"text-align: center\"><a href=\"http://www.greatwallchina.info/\"><img class=\"aligncenter\" src=\"http://www.greatwallchina.info/img/big/TheGreatWall1.jpg\" alt=\"\" width=\"355\" height=\"267\" /></a></p>\r\n<p style=\"text-align: center\"><em>Ming portion of the Great Wall</em></p>\r\n<p style=\"text-align: center\"><em> </em>http://www.greatwallchina.info/</p>\r\nThe third piece in the museum is an engineering masterpiece; it is truly special as it stretches like a winding dragon through all sorts of land and terrain over northern China - The Great Wall. Although walls themselves are quite common throughout history as a barrier for intruders, walls have been embedded in Chinese history far greater than in any other culture. Innovative, in that, sizes of that proportion had been unseen in previous wall-building. Even the concept Emperor Qin set of a wall covering an entire country was innovative, since this love for wall-building only extended as far as around homes or farms. It is essential for the museum because it represents an architecturally advanced civilization, which involved over three million in its history’s making. It brings a sense of pride to Chinese people because of its great historical value and stunning size. Also, each segment, along with its watchtowers, shows different technique of building - a tangible timeline of Ancient China and something truly unique to preserve for future generations to see. The thousands of miles of stone, brick, twigs, earth and rocks would be impossible to place neatly amongst the other museum’s pieces so, onto the next room will be a \"mini\" great wall of china - a walk-through area that is created by various chunks of the wall as built by different dynasties. At first, you walk through the earliest sections of the Great Wall as built by the Qin and Zhou dynasties, mostly built from local materials rammed between boards; then onto the Han portion where they\'ll be walking through what was once constructed with a water-fine gravel mixture made sturdy with willow reeds; then onto the most recent segments of the wall, as contributed by the Ming dynasty, which consist of colossal stone and brick. Throughout all this, information, as with the previous preserved works, will illuminate on the walls so people aboard can get a full feel and understanding of the effort and lives that were put into such a small piece of what they\'re standing upon, and gain insight on the stories behind such different building techniques and the fear that brought upon its construction.\r\n<p style=\"text-align: center\"><a href=\"http://www.autographmurals.com/lastsupper-413fttallx812ftwide-peelandstickreusablemural.aspx\"><img class=\"aligncenter\" src=\"http://www.autographmurals.com/images/products/detail/Last_Supper_fl_ch_Large.jpg\" alt=\"\" width=\"480\" height=\"246\" /></a></p>\r\n<p style=\"text-align: center\">http://www.autographmurals.com/lastsupper-413fttallx812ftwide-peelandstickreusablemural.aspx</p>\r\nThe second of the originals displayed within the museum include Leonardo Da Vinci\'s Last Supper. It will come last after the flashing walls and Great Wall walkthrough since, in order to preserve the grandeur feeling it possesses, standing tall at the end of the refectory at Santa Maria delle Grazie in Milan, it will be at the end of the spaceship\'s museum hall. This painting, with its impeccable use of the one-point perspective to draw the viewers to Christ’s face, perfect distribution of people along each side of the table to converge at a center and relatable expressions of the disciples make it stand out as a remarkable painting. Unfortunately for us, Da Vinci painted tempera on dry plaster, which hasn’t stood the test of time too well and has endured many major restorations. The Saint Maria Delle Grazie has it in a climate-controlled environment and pays special precaution to its preservation, so within the spaceship museum, it will be under similar conditions. This piece is often referred to as the marker of an era in art history, known as the High Renaissance, as he is one of the major representatives. It is a time characterized by maturation and a peak in Renaissance art. This included the works of the fellow incredible artists: Titan, Raphael and Michelangelo. Artwork within this time period showed us perfect balance in harmony, knowledge of classical art and displayed flawless expertise and skill. When it was uncovered to the people, it must have caused quite a stir with its realistic feel as if you are involved amongst the table of Christ and his disciples. Still, even if we’ve seen all that has come before and after such an amazing and deteriorating piece, it should be preserved because it is necessary to be kept in its original glory. The fact it has been mass produced for generations after its creation gives people an opportunity to engage in the imagery’s history. More importantly, it represents an age where we no longer needed to display holy images as some abstract or intangible form. With the heavy weight of Humanism, Leonardo was able to give more credit to the human mind. Even if the exact image he painted was subject to decision of the man who commissioned Leonardo, it represents a time period of insanely gifted individuals who deserve to have their work preserved for future generations to see time and time again.\r\n\r\nOverall, I hope my museum succeeds at broadening its viewer’s knowledge of its various contents. Whether its Ancient China’s emperors, roots of atheism, the medieval church ideology or even how not to paint when you’re planning on having your work withstand for centuries to come. Even though there are many works lost in time either from natural disasters, completely changed through oral tradition or simply written down and never distributed, we are lucky to have these four pieces: ones that exemplify those of its time and deserve to be preserved on our space ship and onto our new home.\r\n\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nHanrott, Robert. \"Epicureanism after Epicurus.\" <em>Hanrott &amp; Horsley</em>. N.p., n.d. Web. 4 May 2011. &lt;http://www.hanrott.com/epicureanism/epicureanhistory.php&gt;.\r\n\r\n“Lucretius.” Ancient Greece and Rome: An Encyclopedia for Students. Ed. Carroll Moulton. Vol. 3. New York: Charles Scribner\'s Sons, 1998. 18-19. Gale Virtual Reference Library. Web. 15 Feb. 2011.\r\n\r\nMoses, Montrose. \"Introduction: The Predecessors of Everyman.\" <em>Everyman: A Morality Play</em>. New York: J. F. Taylor &amp; Company, 1903. 1-54. Print.\r\n\r\nPotter, Robert. <em>The English Morality Play.</em> London: Routlede &amp; Kegan Paul, 1975. 16. Print.\r\n\r\n&nbsp;','Final Project','','publish','open','open','','final-project-2','','','2011-05-13 00:18:49','2011-05-13 06:18:49','',0,'http://jeanatacc.com/2011/?p=1334',0,'post','',6),(1335,5,'2011-05-11 14:57:40','2011-05-11 20:57:40','<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/\r\n\r\nIn 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-->\r\n\r\nOne 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.\r\n\r\nTheir 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.\r\n\r\nThe 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.\r\n\r\nOnce 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.\r\n\r\nVisitors 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.\r\n\r\nRaphael’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.\r\n\r\nAs 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.\r\n\r\n<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.\r\n\r\n<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.\r\n\r\nVisitors 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.\r\n\r\nMost 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.\r\n\r\n<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.\r\n\r\nThe 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.\r\n\r\nWhen 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.\r\n\r\nThe 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.','Preserving our Humanity','','publish','open','open','','preserving-our-humanity','','','2011-05-14 12:52:59','2011-05-14 18:52:59','',0,'http://jeanatacc.com/2011/?p=1335',0,'post','',6),(1336,37,'2011-05-11 14:38:36','2011-05-11 20:38:36','<strong>Final Project</strong>\n\nThe Four works of art that I will carry in my voyage represent some of the most unique works of Pre-history to the Renaissance and will allow people to see the beauty and complexity of these works of art. The four masterpieces I have selected include the Hebrew Bible, The Basilica of San Vitale of Ravenna, Don Quixote and the Nasca Geoglyphs. These works of art represent a great period in human history and I consider extremely important that they be preserved in one way or another in order to allow future generations of Humans to really appreciate the beauty of this time.\n\nFirst, the Hebrew bible, which is an influential religious text, that talks about the life of the Hebrew people over a long period of time. The Hebrew bible is a testament that reflects the influence of some of the most important empires in human history like the Mesopotamian culture, the Persian, Greeks and the Romans. What makes the Hebrew bible a unique text is that the stories of the bible do not represent a specific time but are a continuous development of stories of ancient times. The bible started with few stories but as time went by the book kept growing and more and more stories were put in it. The Hebrew bible will allow people to learn about the great stories of the past; many of these stories of the Hebrew bible have some correlation with similar work produced during that time like the stylistic similarities between text of ancient Babylonian and Persian Empire. For Example, the Story about the Epic of Gilmamesh, which is a story of Babylonian times, is closely related to stories of the book of genesis in the Hebrew Bible. This in my opinion will allow the reader of the future to see the big picture of things not just a short period of time.\n\nAnother aspect that I think is important is that because the Hebrew bible is a combination of myth, history and stories it will allow the future generations of readers to educate themselves but at the time they will be able to read some of the most fantastic stories that the imagination can capture, so in a way the display of the Hebrew bible is for education purposes but also for entertainment purposes. Another aspect that people will be able to understand is why the Hebrew bible remain such an important text not only in ancient times but also influence many society outside of the Hebrew.  For Example people could see how the Hebrew bible influence other important texts and documents like the United States Declaration of independence show some of the main ideas of the Hebrew bible and also the Hebrew bible is the base for what had become the New Testament Book which is important for Christianity.\n\nThe influence of the Hebrew Bible is undeniable and by having it preserved I can help make it influence more generation in the future. The main way I will preserve the Hebrew bible is by taking the Original book with me in this long Voyage and I will place the book in an especially constructed Gold Book Holder. The main reason I choose Gold as the material for the Holder is because During my time on earth Gold was considered one of the most important commodities and metal and I think it is fitting to put such an important text in it. The Hebrew bible will be place in holder for people to see, but because I do not such important text to deteriorate with time, the book will get a special protective cover that will allow its preservation and I will also bring one copy just in case something were to go wrong or damage the book, so in that way in case the book suffer some deterioration or damage I can use the replacement and keep the tradition going. During the display of the Hebrew bible I will place especial white light that will reflect on the bible as if a light from above the skies in particularly on the bible. The main reason I will do that is to showcase the Hebrew bible and portrayed as a text that comes from above and a guidance text for humans.\n\nThe Second work of art that I have decide to preserved is the basilica of San Vitale (Ravenna) which is a Basilica that took from 526 to 548 to construct and reflects the influence of the Roman and the Byzantine empires. The fascinating aspect of the Basilica of San Vitale is that its design and structure is it a combination of the Roman style and the Byzantine style which make it kind of unique in its appearance and majestic beauty. The basilica of San Vitale main attraction is the interior 18<sup>th</sup> century murals and mosaics which many of them have religious connotation.\n\n&nbsp;\n\nI will create a showing of the Basilica in a video format mainly because due to its size it will be impossible to take in my ship, but I will hire somebody to make one elaborate video record of the basilica and that video would be view by the future generations. Also I am planning on bringing some of the mosaics especially the smallest ones so that people could see the beauty and how works of art where in the 6<sup>th</sup> century. The display of the basilica will include plenty of photos made by the best photographers so that the actual beauty could be catch and people could see every aspect of the basilica in detail. Apart from that I will also bring a small replica of the basilica so that future students could see its structure and learn more about what aspects were of Roman influence and what aspects were of byzantine influence.\n\nThe basilica of San Vitale is one of the greatest buildings of the 6<sup>th</sup> century next to Hagia Sophia and that is why I consider of extreme importance to preserve it at least in video and replica form. The mixture of Roman architecture like the doomed roof and the Byzantine architecture like the polygonal shapes makes the building one of a kind. Also the basilica mosaics portrait the life of that time like the emperor and also stories of the bible, which will make it perfect because I am also bringing the Hebrew bible with me. People could use the display of the bible as guidance for the display of the Basilica of San Vitale, which depicts stories about the Old Testament. I think people will be able to relate both displays.\n\nThe third work I am bringing with me in this voyage is Don Quixote which is a book written by Miguel de Cervantes and is considered a literary classic of the Spanish Golden era. This novel has been translated to many languages and is important because it reflects the conflict between the old and new ways of living. Also what makes the novel interesting is that it certain characteristics like comical, tragical, and some traces of history, which make the novel very interesting to read because it keeps the reader wanting more.\n\nThe story is base on Don Quixote a middle age gentleman from Spain which after been influence by many cavalry work and the different experiences of his life like being captive for many years, he decided to embark on a mission to protect and defend the innocent. The book details those adventures that he takes alongside his sidekick named Sancho Panza. The story revolves around Don Quixote and all the people he meets in his journeys.\n\nI will do something really interesting to display this masterpiece of Literature and that is basically that I will bring many copies of the book but each copy will be in a different language. Don Quixote is one of the bestseller novels of all time and has been translated to many languages. The idea here is to bring the novel in many languages so that people could learn and compare how the novel reacts in a different language other than the original, but also the display will allow people to learn more about an unknown language to them, in summary the display of Don Quixote will serve as an educational purpose.\n\nPeople will be able to learn how was Spain and the world at that time like the battle of the Spanish navy against the British navy and also the novel puts a big emphasis on the stratification of Spanish society at that time with some people like the nobility at the top having many privileges and at the bottom the ordinary citizens that had to fight every day to survive. Also another aspect that I think is important to emphasized is that Don Quixote will allow the reader to relate to what was going on literary at that time like the emphasis on chivalry tales and the ideas that innocent people need protection or the idealization of women.  The novel is important because it has social aspects that other pieces do not have and the piece showed some opposition of the author to the church, which he considered a corrupt institution.\n\nAnother Aspect that makes Don Quixote a great piece to preserve is the technique and style because Cervantes presents all his characters with many attributes so in that way the reader to have a clear picture of the characters which basically allow the reader to really understand the dept of each character. Another aspect that make the novel important is the in some parts of the novel the stories are down to earth stories that every people can relate to, but in other parts of the novel there is some fantasy involves which makes the novel very appealing because you are always guessing what comes next.\n\nFinally I will also bring with me the Nasca Geoglyphs which are some of the most amazing designs man has ever build on land. The Nasca Geoglyphs are located in Peru in the desert, which will make it kind of hard to bring with me. In this case what I will do is to construct a small version of the terrain where the Nasca lines and geoglyphs. I planned to go to Peru and bring with me a small version of the terrain like the soil and then a specialist of the Nasca geoglyphs will construct them in that piece of terrain that I brought but that person will do that in a small-scale version.\n\nThe Nasca geoglyphs were made by the Nasca people that habitated Peru between 100 to 800 AD and the pictures and geoglyphs vary in size and complexity, there’s are many animals depiction in this work like spiders, whale, birds and that makes it very unique site in the world. The other aspect that makes it unique is the terrain use to build this geoglyphs is special because it contains a mineral called ferrous oxide, which allows over time to see the contrast of the soil and the geoglyphs. I will have my experts build the mini replica by using the same techniques used by the Nasca people like by removing the gravel and contours around the pictures in order to make them appear in the ground.\n\nThe Geoglyphs are important because of the complexity of the figures and also the harmony, which make them very unique because the Nasca people will have use math principles in order to build them. Many archeologists are surprised at the symmetry of the figures specially since there are no records that the Nasca people had any flying device to see the picture from above which is the only way to appreciate their magnitude. During this period the Nasca people were worried about worshiping the Gods and how to please the Gods so the lines according to some experts could be offering to the Gods and as a result of sacred purpose.\n\n&nbsp;\n\nThe Nasca geoglyphs are consider important because they have survived mostly intact for a long period of time and because it reflects that ancient civilizations like the Nasca had some advance characteristics like mathematical knowledge, which makes these features more impressive. Also some of the pictures have some astronomical use like the bird that point to certain direction, which determines certain characteristics of the terrain and the seasons.\n\nAs a conclusion, these four masterpieces like the Hebrew bible, the Basilica of San Vitale, Don Quixote and the Nasca geoglyphs will be the masterpieces that I will preserve. In that way I will contribute to the learning and knowledge that future generations could acquire from this pieces.\n\n&nbsp;','Final Project','','inherit','open','open','','1332-revision','','','2011-05-11 14:38:36','2011-05-11 20:38:36','',1332,'http://jeanatacc.com/2011/?p=1336',0,'revision','',0),(1337,4,'2011-05-11 14:39:06','2011-05-11 20:39:06','Due to the severe climate changes, we can no longer stay on Earth. They\'ve chosen a select group of people to preserve the brilliant works of our old home. Aboard our immense ship, I\'ve designed a museum to carry the four pieces: De rerum Natura by Lucretius, The Last Supper by Leonardo Da Vinci, Everyman: a morality play, and the Great Wall of China. It will be in form of a hallway; a wide hallway with a high ceiling; a walk-through display with each piece given its own closed area separated by short entrance ways to surprise those unaware of the magnificent contents.\n\n<!--more-->\n\nThe first piece De rerum Natura \"On the Nature of Things\" is an unfinished six-book scientific epic poem by a 1<sup>st</sup> century Italian man, Titus Lucretius Carus - a man widely considered ahead of his time. Firstly, it is unique stylistically because it is the earliest dactylic hexameter of its kind. This philosophic masterpiece eloquently displays Epicurean studies and offers us a better look in it, since little was preserved of Epicurus\' work – only that of his disciples. He introduces us to the theory of atomism, a truly grand feat given the time it was written. During Lucretius’ lifetime, Italy was experiencing a difficult time; It saw revolts, massacres, civil wars and assassination of authority figures. Lucretius, in such a heavy setting, it is no wonder he was so captivated by the Epicurean philosophy. The overall message of Epicureans being: It \"spoke of a world which was not managed by an unseen power, of a life in which a man\'s actions were free from divine scrutiny, a life in which, within the bounds of society, a man might shape events according to his own will, securing himself against discomfort, acknowledging his natural instincts, relieved from the nagging fear of an unknown beyond the grave by the certainty of death as a final end.\" (Hanrott) He is the first of all to be a poet of Epicurean philosophy and was wise enough to write his brilliance into Latin so that more people could read and share his work. In this, he also more easily rendered abstract concepts; Lucretius considered it much like a doctor who spreads honey along the edges of a cup so a child will more readily consume it. Stoicism and Epicurean philosophies were both dominant schools of the time. They taught self-sufficiency and freedom from worldly negativities; Stoics expressed this through indifference in order to achieve clear sense of self-control. On the contrary, Epicureans simply shut out the existence of fate completely. In a time where Romans were “stimulated to seek solutions to the disparity between ideal concepts of government and the reality of corruption, violence and injustice,” and an interest in Epicureanism was high, Lucretius’ poetry exemplifies cultural trends of the age. (Lucretius) Hundreds of years later, as it was uncovered during the Renaissance - through admiration, influence and rewriting of his works - Epicureanism lived on. It will rest in this museum today, so it will continue to forever influence the cosmological and evolutionary speculations of philosophers, historians, scientists, and others alike. Upon reading, you can forget it was written literally thousands of years ago, with advanced thought in sociology, evolutionary theory, the infinite universe and the cosmos. Titus Lucretius Carus, a man we know very little about, can \"speak from his grave\" with his poem. We are able to dive into the mind of a man who deeply admired Epicurus with an eye for nature and an endless thirst for the universal knowledge and truth. Future generations should have this for many years to come, as they too, can live a life with the absence of fear, develop keen observation for the world around us, search for the facts of the physical world and think critically when subject of atoms, space, death, life, gods, and/or pseudo-science comes up. A work that was once taboo to the Christian church, attached with false stories to discredit its content, is quite a gem to have preserved today. Aside from its historical value, De rerum natura is valuable to those who are presented with it because it can calm the concerns of a \"doomsday,\" give us a greater appreciation for Epicurus, and return to us the joy that keeps us from maintaining a delightful life, even within harsh political turmoil and violence as Lucretius once did - even as we travel deep into space to our new home. To preserve the piece itself, I would include a copy manuscript, dating back to approximately 1490, under a centered, squared glass case - for safety and to avoid deterioration. One of first English translations, done by Lucy Hutchinson in the 1650s, would have interchanging quotes from his six-book series slowly flashing vertically along transparent screens disguised as plain, white museum walls. Although not quite the original mark of Lucretius within the case and its inability to capture his message in its entirety; the people aboard the ship get to see an early copy of the work, while also being able to revel in the ideas of Lucretius as they illuminate the walls surrounding them.\n\nAs for the morality play Everyman, there are only four known remaining early writings it: two-thirds a manuscript held in the British Museum, another section in the Bodleian Library; two manuscripts: one held in a personal library and another in Salisbury Cathedral, and the last of the bunch, in the Britwell library. Amongst them, the previous two are the oldest, brought upon by a man who unearthed them around 1490. (Moses) Somewhat following the design of the \"Lucretius - On the Nature of Things\" walk-through, the valuable aging fragments would be placed within a glass case while a list of characters is shone through the furthest wall. Also, all along the walls are headphones with the choice of two buttons, for people to listen to English translations with dramatic voices if they choose, or more simply, to the history of medieval theatre - to cherish what is being preserved beneath the glass. Weekly, the play itself is performed in the outer area. In recent times, with a growing secular audience, we generally do not spend our days aching to learn of a Divine figure watching upon us who may damn us to hell at our misconduct. Although, we have become a world consumed with our earthly comforts, wound up on all we can possess. Death is unavoidable and when we reach the time to face it, like Everyman did in the 1400s, we are reminded the only thing accompanying our eternal good-bye is the good things we have done to reminisce upon. In Medieval Europe, most people who populated it, were illiterate and were unable to read the bible or other religious texts. They could only participate in the oral sermons that were given. This play, an alternative way to speak the words of Old and New Testaments, was quite special during the time because the words of Christ would be more easily spread. In Everyman, we follow a character that represents all of mankind – a man who has abused his mortal freedom, but repents his sins so he can be saved. The greatest challenge a man faces are the World, the Flesh, and the Devil. It is strongly emphasized “sin is inevitable,” yet still, “repentance is always possible” (Potter) He meets a sea of personified characters that test his Earthly conduct. God summons Death to have Everyman take pilgrimage with him, only allowing him to take those who will contribute to his soul in the afterlife. Through the rejection of the personified wordly characters such as Beauty, Material Goods and Strength, we discover the morals Everyman was written to teach: that man mustn’t become obsessed with possessions and objects of wealth. Rather, to live a life against self-satisfaction and fulfill a life of virtue, conscious of Jesus’ sacrifice for us. Work of the fifteenth century focused on men being summoned to death and religious faith revived much of the dramatic art form, so Everyman truly exemplifies that of its time. In the museum, historians and people of all walks of life can find Everyman to be an intriguing source of discovering and learning the moral code that existed during the Middle Ages. For the audience to truly appreciate this piece, one must remember it flourished in a time where dramas were largely theological and created mainly to reform its viewers. These stories were told with medieval faith being strong and everything of the Earth believed to have a great moral underlining. This everlasting play\'s place in the museum will be a wonderful way to learn valuable life lessons through a medieval mind’s standpoint and discover what we want of this life.\n\nThe third piece in the museum is an engineering masterpiece; it is truly special as it stretches like a winding dragon through all sorts of land and terrain over northern China - The Great Wall. Although walls themselves are quite common throughout history as a barrier for intruders, walls have been embedded in Chinese history far greater than in any other culture. Innovative, in that, sizes of that proportion had been unseen in previous wall-building. Even the concept Emperor Qin set of a wall covering an entire country was innovative, since this love for wall-building only extended as far as around homes or farms. It is essential for the museum because it represents an architecturally advanced civilization, which involved over three million in its history’s making. It brings a sense of pride to Chinese people because of its great historical value and stunning size. Also, each segment, along with its watchtowers, shows different technique of building - a tangible timeline of Ancient China and something truly unique to preserve for future generations to see. The thousands of miles of stone, brick, twigs, earth and rocks would be impossible to place neatly amongst the other museum’s pieces so, onto the next room will be a \"mini\" great wall of china - a walk-through area that is created by various chunks of the wall as built by different dynasties. At first, you walk through the earliest sections of the Great Wall as built by the Qin and Zhou dynasties, mostly built from local materials rammed between boards; then onto the Han portion where they\'ll be walking through what was once constructed with a water-fine gravel mixture made sturdy with willow reeds; then onto the most recent segments of the wall, as contributed by the Ming dynasty, which consist of colossal stone and brick. Throughout all this, information, as with the previous preserved works, will illuminate on the walls so people aboard can get a full feel and understanding of the effort and lives that were put into such a small piece of what they\'re standing upon, and gain insight on the stories behind such different building techniques and the fear that brought upon its construction.\n\nThe second of the originals displayed within the museum include Leonardo Da Vinci\'s Last Supper. It will come last after the flashing walls and Great Wall walkthrough since, in order to preserve the grandeur feeling it possesses, standing tall at the end of the refectory at Santa Maria delle Grazie in Milan, it will be at the end of the spaceship\'s museum hall. This painting, with its impeccable use of the one-point perspective to draw the viewers to Christ’s face, perfect distribution of people along each side of the table to converge at a center and relatable expressions of the disciples make it stand out as a remarkable painting. Unfortunately for us, Da Vinci painted tempera on dry plaster, which hasn’t stood the test of time too well and has endured many major restorations. The Saint Maria Delle Grazie has it in a climate-controlled environment and pays special precaution to its preservation, so within the spaceship museum, it will be under similar conditions. This piece is often referred to as the marker of an era in art history, known as the High Renaissance, as he is one of the major representatives. It is a time characterized by maturation and a peak in Renaissance art. This included the works of the fellow incredible artists: Titan, Raphael and Michelangelo. Artwork within this time period showed us perfect balance in harmony, knowledge of classical art and displayed flawless expertise and skill. When it was uncovered to the people, it must have caused quite a stir with its realistic feel as if you are involved amongst the table of Christ and his disciples. Still, even if we’ve seen all that has come before and after such an amazing and deteriorating piece, it should be preserved because it is necessary to be kept in its original glory. The fact it has been mass produced for generations after its creation gives people an opportunity to engage in the imagery’s history. More importantly, it represents an age where we no longer needed to display holy images as some abstract or intangible form. With the heavy weight of Humanism, Leonardo was able to give more credit to the human mind. Even if the exact image he painted was subject to decision of the man who commissioned Leonardo, it represents a time period of insanely gifted individuals who deserve to have their work preserved for future generations to see time and time again.\n\nOverall, I hope my museum succeeds at broadening its viewer’s knowledge of its various contents. Whether its Ancient China’s emperors, roots of atheism, the medieval church ideology or even how not to paint when you’re planning on having your work withstand for centuries to come. Even though there are many works lost in time either from natural disasters, completely changed through oral tradition or simply written down and never distributed, we are lucky to have these four pieces: ones that exemplify those of its time and deserve to be preserved on our space ship and onto our new home.\n\n&nbsp;\n\nWorks Cited\n\nHanrott, Robert. \"Epicureanism after Epicurus.\" <em>Hanrott &amp; Horsley</em>. N.p., n.d. Web. 4 May 2011. &lt;http://www.hanrott.com/epicureanism/epicureanhistory.php&gt;.\n\n“Lucretius.” Ancient Greece and Rome: An Encyclopedia for Students. Ed. Carroll Moulton. Vol. 3. New York: Charles Scribner\'s Sons, 1998. 18-19. Gale Virtual Reference Library. Web. 15 Feb. 2011.\n\nMoses, Montrose. \"Introduction: The Predecessors of Everyman.\" <em>Everyman: A Morality Play</em>. New York: J. F. Taylor &amp; Company, 1903. 1-54. Print.\n\nPotter, Robert. <em>The English Morality Play.</em> London: Routlede &amp; Kegan Paul, 1975. 16. Print.\n\n&nbsp;','Final Project','','inherit','open','open','','1334-revision','','','2011-05-11 14:39:06','2011-05-11 20:39:06','',1334,'http://jeanatacc.com/2011/?p=1337',0,'revision','',0),(3249,74,'2013-09-23 11:33:48','0000-00-00 00:00:00','','Auto Draft','','auto-draft','open','open','','','','','2013-09-23 11:33:48','0000-00-00 00:00:00','',0,'http://jeanatacc.com/2011/?p=3249',0,'post','',0),(3250,74,'2013-09-23 19:28:42','2013-09-24 01:28:42','[caption id=\"\" align=\"aligncenter\" width=\"312\"]<a href=\"http://upload.wikimedia.org/wikipedia/en/5/5f/Donquixote.JPG\"><img alt=\"\" src=\"http://upload.wikimedia.org/wikipedia/en/5/5f/Donquixote.JPG\" width=\"312\" height=\"370\" /></a> Don Quixote by Pablo Picasso http://en.wikipedia.org/wiki/File:Donquixote.JPG[/caption]\r\n<p dir=\"ltr\" id=\"docs-internal-guid-308a791a-4be3-ca63-5cdc-5329ada5d8f8\">    <em>Don Quixote</em> is a spanish language novel written by Miguel de Cervantes and published in two parts, the first in 1605 AD and the second in 1615 AD. It\'s importance to western literature is immeasurable, since it was the first full-length novel published in Europe and it\'s characterization of the title character is complex and iconic. The story follows an idealistic nobleman who has spent all of his money on tales about chivalry and knighthood and decides to become a knight errant, righting injustice in Spain. He recruits his neighbor Sancho Panza as his squire and sets out on an epic quest. He imagines a beautiful princess named Dulcinea to give a purpose to his valiant deeds. The story is rife with comedy as Don Quixote imagines ordinary situations in the framework of a medieval tale, such as an encounter with windmills that he believes to be fearsome giants terrorizing the countryside. <em>Don Quixote</em> was written following several important historical events.  Cervantes had fought in the last Christian crusade in the Middle East. The Spanish Inquisition had occured, which had evicted a long-standing Muslim and Jewish presence from the region in favor of Catholocism. And finally, Spain was gaining tremendous profits from their ventures in the New World, changing the traditional society of peasants and aristocrats with a newly formed middle class.<!--more--></p>\r\n<p dir=\"ltr\">    <em>Don Quixote</em> is thematically similar to a popular form of book at the time called the piqaresque novel. These books starred an underdog hero and were humorous, telling small episodic tales. They were written in Spanish because they were considered a crude form of entertainment, rather than the Latin reserved for highbrow literature. The main character would be someone of low-standing living in a corrupt world who outsmarts the machinations of those around him. <em>Don Quixote</em> plays with this idea by instead making the protagonist a delusional dunce surrounded by people who are much savvier than him. His companion Sancho is a realist who has to guide him through the everyday folk who are often baffled by Don Quixote\'s ridiculous assertions. Often times Don Quixote is defeated in his encounters or tricked into believing he has accomplished his duties. What sets <em>Don Quixote</em> apart from contemporary novels is the psychological profile of the main character. He is motivated by pure idealism and a belief in right and wrong that often conflicts with the reality he finds himself in. This theme eschews other picaresque literature which did not approach such profound questions of existence. It also tells a longform story that builds up on past events, weaving a complex narrative. <em>Don Quixote</em> was such a success that many copycat authors wrote unauthorized sequels. This motivated Miguel de Cervantes to write a part two to reclaim his beloved characters. Even past Cervantes\' death, <em>Don Quixote</em> continued to be an inspiration in art. It has been adapted into plays and films, and in 2002 The Guardian published an article claiming it to be the world\'s best book in a poll given to influential authors. If anything it\'s status as a cultural artifact has improved over time and influenced countless people. Popular at the time it\'s status is now that of a formative work of world literature.</p>\r\n<p dir=\"ltr\">    I enjoy <em>Don Quixote</em> and find the satire to still hold up to todays society. The deeply held beliefs of the main character contrasted with what actually goes on around him echo an insecurity I have about having an immature view of the world. It\'s inspirational to see Don Quixote hold steadfastly to these ideals and funny to see him reason away events so that they fall in line with the story in his head of him being a courageous knight.</p>\r\n<p dir=\"ltr\">    <em>Don Quixote</em> is similar to the tragic work <em>Hamlet</em> by William Shakespeare in how the story focuses on the inner turmoil of the protagonist. Both works provide highly detailed portraits of the protagonist, going into depth on their appearance, beliefs, relationships, and the world surrounding them. Both are singularly obsessed with a goal that others either do not understand or challenge completely. One difference is that the delusions Hamlet experiences turn out to be based on fact instead of flights of the imagination, but nonetheless the visions of both protagonists lead to their mistreatment and downfall. Both men are highly pursuant of justice, neglecting everything else in their emotional and spiritual journey through the story. They are well-read and use what they\'ve learned to inspire their actions. In Hamlet these actions form tragic consequences as the people around Hamlet die. In <em>Don Quixote</em>, they are humorous as the title character is battered around and forced to dust himself off. In the end, neither men can change the nature of those around them. Hamlet avenges his father\'s death but himself dies cruelly. Don Quixote finally realizes how crazy his behavior was and metaphorically kills the man he once was.</p>\r\n<p dir=\"ltr\">    <em>Don Quixote</em> is important to future generations because it raises the question of how to reconcile our dreams with our reality. In today\'s world many things are becoming possible due to the wonders of technology, and the potential for ill often outpaces the altruistic hope for peace and happiness for everyone. Instead of blind belief in an ideal world, Cervantes urges the reader to think first and consider what is happening around them. By imploring consideration and thought before instant emotional reactions, <em>Don Quixote</em> is a work that resonates with the fast-changing lifestyles of today that increase in complexity as time moves on.</p>\r\n<p dir=\"ltr\">Bibliography:</p>\r\n<p dir=\"ltr\">Duran, Manuel. <i>Don Quixote and Hamlet: Strangers or Brothers? </i>Confluencia, 2004</p>\r\n<p dir=\"ltr\">  This source provided information for comparing <em>Don Quixote</em> to Hamlet.</p>\r\n<p dir=\"ltr\">Zimic, Stanislav.<i> Don Quixote: Some Observations on the Creation and Evolution of Its Protagonist and on Its Novelistic Structures. </i>Bulletin of Spanish Studies, 2011</p>\r\n  This source was useful for figuring out the importance of the novel and it\'s influence on literature.\r\n<div>Lichtenberg, Joseph M.D.<i> Cervantes and Don Quixote.</i> Psychoanalytic Inquiry, 2010</div>\r\n<div></div>\r\nThis source helped explain the character of Don Quixote and his psychological depth.\r\n\r\nKrueger, Alison. \"Historical Context for Don Quixote by Miguel De Cervantes.\" <i>Columbia College</i>. Columbia College, n.d. Web. 23 Sept. 2013.\r\n\r\nThis source gave background information on contextual events during Cervantes\' time period.\r\n\r\n<i>Cervantes and the legend of Don Quijote [electronic resource (video)] : spirit of a book / Radiotelevisioń Espanõla</i>. (2006). New York, N.Y. : Films Media Group, [2006], c2004.\r\n\r\nThis documentary provided general information including historical importance and details about the book.','Don Quixote Time Capsule 1','','publish','open','open','','don-quixote-time-capsule-1','','','2013-09-24 12:23:29','2013-09-24 18:23:29','',0,'http://jeanatacc.com/2011/?p=3250',0,'post','',12),(3251,76,'2013-09-23 11:39:59','2013-09-23 17:39:59','Mic check, mic check. 1, 2, 3.\r\n\r\n...\r\n\r\nHow\'s the sound back there?\r\n\r\n&nbsp;\r\n\r\nTurn it up a bit.\r\n\r\n&nbsp;\r\n\r\nHow about now?\r\n\r\n&nbsp;\r\n\r\nYup, sounds fine.','TESTING TESTING','','publish','open','open','','testing-testing','','','2013-09-23 16:57:30','2013-09-23 22:57:30','',0,'http://jeanatacc.com/2011/?p=3251',0,'post','',0),(1339,26,'2011-05-11 14:43:12','2011-05-11 20:43:12','<span style=\"font-family: Calibri; font-size: small;\">Sam Coronado - A Retrospective<a href=\"http://www.google.com/imgres?imgurl=http://www.mexic-artemuseum.org/images-splashpage/quad1-sam11-over.jpg&amp;imgrefurl=http://weareaustin.com/community/calendar/icalrepeat.detail/2011/05/17/55416/-/ZmRiODE3OTE2ZWYxZWRhMTk2NjBlZjc0ODU5OWMyYTg%3D&amp;usg=__siMvZI-OgdYy_Hr3vwihdAqQ-wE=&amp;h=450&amp;w=520&amp;sz=45&amp;hl=en&amp;start=0&amp;zoom=1&amp;tbnid=YP5cLaC4A9KeuM:&amp;tbnh=129&amp;tbnw=149&amp;ei=fPTKTbTCEoi6tgeKn8X5Bw&amp;prev=/search%3Fq%3Dsam%2Bcoronado%2Ba%2Bretrospective%26um%3D1%26hl%3Den%26client%3Dfirefox-a%26sa%3DN%26rls%3Dorg.mozilla:en-US:official%26biw%3D1467%26bih%3D704%26tbm%3Disch&amp;um=1&amp;itbs=1&amp;iact=hc&amp;vpx=486&amp;vpy=222&amp;dur=4489&amp;hovh=209&amp;hovw=241&amp;tx=143&amp;ty=109&amp;page=1&amp;ndsp=34&amp;ved=1t:429,r:11,s:0\"><img class=\"aligncenter size-full wp-image-1340\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/sam.jpg\" alt=\"\" width=\"173\" height=\"150\" /></a></span>\r\n\r\n<span style=\"font-family: Calibri; font-size: small;\">Exhibit at Mexic-Arte</span>\r\n\r\n<span style=\"font-family: Calibri; font-size: small;\">Kris Cooley</span>\r\n\r\n<span style=\"font-family: Calibri; font-size: small;\">Spring 2011-Extra Credit</span>\r\n\r\n<span style=\"font-family: Calibri; font-size: small;\">Recently, I found an opportunity to  visit Austin\'s Mexic-Arte museum to view Sam Coronado - A Retrospective. Sam Coronado has been  a great influence on my experience at Austin Community College. I had the honor  of being a student of his in basic graphic design and color theory. I gained knowledge that will  be invaluable to my career as an interactive designer. I was excited to see his life\'s work and  how it progressed throughout his career as a graphic artist.</span>\r\n\r\n<span style=\"font-family: Calibri; font-size: small;\"><!--more-->\r\n</span>\r\n\r\n<span style=\"font-family: Calibri; font-size: small;\">As i began my walk through the exhibit,  i noticed his explicit eye for detail in his early technical drawing and promotional posters. Coronado\'s  perception of space and color were obvious in the political campaign advertisement  and promotional works. I could almost feel his passion for organized detail that he would later  use to teach students about the importance of being accountable and presenting quality  presentations.</span>\r\n\r\n<span style=\"font-family: Calibri; font-size: small;\">Coronado\'s artistic expression shows  in the dexterity of his skills. He is an accomplished painter, graphic artist, teacher, mentor and  continues to be an inspiration to local artists. He opened Coronado Studio in 1991, which spawn  the Serie Project in 1993. This has encouraged multi-racial participation and marketed works  by over 250 artists. Because of Coronado\'s contributions, this helped to promote  the careers of many Austin\'s up and coming artists.</span>\r\n\r\n<span style=\"font-family: Calibri; font-size: small;\">Coronado\'s Studio is one of the few  studios specializing in fine art screen printing, otherwise known as serigraph.  I had the  chance to sit down with Sam and have him explain this process. Basically, it is a silk screen printing  process. A stencil is created in the form of the layer of color needed to be applied. It is placed  upon the print and ink is rolled through the open parts. </span>\r\n\r\n<span style=\"font-family: Calibri; font-size: small;\">Coronado would have several reoccurring  themes in his works. The heart, El Corazon was a persistent symbol. He used multiple  definitions, including Eros Carnal aspect of love and the agape affection found within friendships.  The bull would be another. Sam is quoted saying \"bulls, much like humans, are ritualistically  born and bred to die.\" Sam\'s work portray this unconscious psyche that perhaps he  is destined to share the same fate as the bull. So he has strived to exist successfully while  leaving behind a legacy of his own within the Chicano art world.</span>\r\n\r\n<span style=\"font-family: Calibri; font-size: small;\">My favorite works I found within the  exhibit were the series with the same theme that Sam was trying to portray. The Hearts in the  Arts is one that stood out to me. His idea was to connect the passion of art with different sections  of the artistic world. There were five in this series, including one where musical notes wafted  through the heart, signifying the musician. A simple paintbrush being dipped brought upon  attention to the painter. All these prints included a basic idea of cohesive definition.</span>\r\n\r\n<span style=\"font-family: Calibri; font-size: small;\">Coronado\'s Guerilla series, I thought,  was excellent. He integrated the serigraph process for this series. It was made upon handmade paper.  This series was based upon a photograph of a revolutionary woman holding a gun taken  by Armando Villareal. This series won an award from the Chapultepec Peace Accords. Coronado  was able to express a visual social commentary on the woman\'s role during a time of government  violence and convey a sense of female empowerment.</span>\r\n\r\n<span style=\"font-family: Calibri; font-size: small;\">Overall, the experience was refreshing,  I learned that though life and the artist will change, the basic principles of design will  always apply. Sam Coronado took these ideas and incorporated them in a way that suited  his culture and background. He is a well respected graphic artist and continues to inspire  new artists and students to use design as a way to express their own artistic license.</span>','Sam Coronado - A Retrospective','','publish','open','open','','sam-coronado-a-retrospective','','','2011-05-11 15:10:20','2011-05-11 21:10:20','',0,'http://jeanatacc.com/2011/?p=1339',0,'post','',0),(1340,26,'2011-05-11 14:42:27','2011-05-11 20:42:27','','sam','','inherit','open','open','','sam','','','2011-05-11 14:42:27','2011-05-11 20:42:27','',1339,'http://jeanatacc.com/2011/wp-content/uploads/2011/05/sam.jpg',0,'attachment','image/jpeg',0),(1341,26,'2011-05-11 14:41:26','2011-05-11 20:41:26','<span style=\"font-family: Calibri;font-size: small\">Sam Coronado - A Retrospective</span>\n\n<span style=\"font-family: Calibri;font-size: small\">Exhibit at Mexic-Arte</span>\n\n<span style=\"font-family: Calibri;font-size: small\">Kris Cooley</span>\n\n<span style=\"font-family: Calibri;font-size: small\">Spring 2011</span>\n\n<span style=\"font-family: Calibri;font-size: small\">Extra Credit</span>\n\n<span style=\"font-family: Calibri;font-size: small\">Recently, I found an opportunity to  visit Austin\'s Mexic-Arte museum to view Sam Coronado - A </span>\n\n<span style=\"font-family: Calibri;font-size: small\">Retrospective. Sam Coronado has been  a great influence on my experience at Austin </span>\n\n<span style=\"font-family: Calibri;font-size: small\">Community College. I had the honor  of being a student of his in basic graphic design and color </span>\n\n<span style=\"font-family: Calibri;font-size: small\">theory. I gained knowledge that will  be invaluable to my career as an interactive designer. I was </span>\n\n<span style=\"font-family: Calibri;font-size: small\">excited to see his life\'s work and  how it progressed throughout his career as a graphic artist.</span>\n\n<span style=\"font-family: Calibri;font-size: small\">As i began my walk through the exhibit,  i noticed his explicit eye for detail in his early technical </span>\n\n<span style=\"font-family: Calibri;font-size: small\">drawing and promotional posters. Coronado\'s  perception of space and color were obvious in </span>\n\n<span style=\"font-family: Calibri;font-size: small\">the political campaign advertisement  and promotional works. I could almost feel his passion for </span>\n\n<span style=\"font-family: Calibri;font-size: small\">organized detail that he would later  use to teach students about the importance of being </span>\n\n<span style=\"font-family: Calibri;font-size: small\">accountable and presenting quality  presentations.</span>\n\n<span style=\"font-family: Calibri;font-size: small\">Coronado\'s artistic expression shows  in the dexterity of his skills. He is an accomplished painter, </span>\n\n<span style=\"font-family: Calibri;font-size: small\">graphic artist, teacher, mentor and  continues to be an inspiration to local artists. He opened </span>\n\n<span style=\"font-family: Calibri;font-size: small\">Coronado Studio in 1991, which spawn  the Serie Project in 1993. This has encouraged multi-</span>\n\n<span style=\"font-family: Calibri;font-size: small\">racial participation and marketed works  by over 250 artists. Because of Coronado\'s </span>\n\n<span style=\"font-family: Calibri;font-size: small\">contributions, this helped to promote  the careers of many Austin\'s up and coming artists.</span>\n\n<span style=\"font-family: Calibri;font-size: small\">Coronado\'s Studio is one of the few  studios specializing in fine art screen printing, otherwise</span>\n\n<span style=\"font-family: Calibri;font-size: small\">Known as serigraph.  I had the  chance to sit down with Sam and have him explain this process.</span>\n\n<span style=\"font-family: Calibri;font-size: small\">Basically, it is a silk screen printing  process. A stencil is created in the form of the layer of color</span>\n\n<span style=\"font-family: Calibri;font-size: small\">needed to be applied. It is placed  upon the print and ink is rolled through the open parts. </span>\n\n<span style=\"font-family: Calibri;font-size: small\">Coronado would have several reoccurring  themes in his works. The heart, El Corazon was a </span>\n\n<span style=\"font-family: Calibri;font-size: small\">persistent symbol. He used multiple  definitions, including Eros Carnal aspect of love and the </span>\n\n<span style=\"font-family: Calibri;font-size: small\">agape affection found within friendships.  The bull would be another. Sam is quoted saying \" </span>\n\n<span style=\"font-family: Calibri;font-size: small\">bulls, much like humans, are ritualistically  born and bred to die.\" Sam\'s work portray this </span>\n\n<span style=\"font-family: Calibri;font-size: small\">unconscious psyche that perhaps he  is destined to share the same fate as the bull. So he has </span>\n\n<span style=\"font-family: Calibri;font-size: small\">strived to exist successfully while  leaving behind a legacy of his own within the Chicano art </span>\n\n<span style=\"font-family: Calibri;font-size: small\">world.</span>\n\n<span style=\"font-family: Calibri;font-size: small\">My favorite works I found within the  exhibit were the series with the same theme that Sam was </span>\n\n<span style=\"font-family: Calibri;font-size: small\">trying to portray. The Hearts in the  Arts is one that stood out to me. His idea was to connect the </span>\n\n<span style=\"font-family: Calibri;font-size: small\">passion of art with different sections  of the artistic world. There were five in this series, </span>\n\n<span style=\"font-family: Calibri;font-size: small\">including one where musical notes wafted  through the heart, signifying the musician. A simple </span>\n\n<span style=\"font-family: Calibri;font-size: small\">paintbrush being dipped brought upon  attention to the painter. All these prints included a basic </span>\n\n<span style=\"font-family: Calibri;font-size: small\">idea of cohesive definition.</span>\n\n<span style=\"font-family: Calibri;font-size: small\">Coronado\'s Guerilla series, I thought,  was excellent. He integrated the serigraph process for this </span>\n\n<span style=\"font-family: Calibri;font-size: small\">series. It was made upon handmade paper.  This series was based upon a photograph of a </span>\n\n<span style=\"font-family: Calibri;font-size: small\">revolutionary woman holding a gun taken  by Armando Villareal. This series won an award from </span>\n\n<span style=\"font-family: Calibri;font-size: small\">the Chapultepec Peace Accords. Coronado  was able to express a visual social commentary on </span>\n\n<span style=\"font-family: Calibri;font-size: small\">the woman\'s role during a time of government  violence and convey a sense of female </span>\n\n<span style=\"font-family: Calibri;font-size: small\">empowerment.</span>\n\n<span style=\"font-family: Calibri;font-size: small\">Overall, the experience was refreshing,  I learned that though life and the artist will change,</span>\n\n<span style=\"font-family: Calibri;font-size: small\">the basic principles of design will  always apply. Sam Coronado took these ideas and </span>\n\n<span style=\"font-family: Calibri;font-size: small\">incorporated them in a way that suited  his culture and background. He is a well respected </span>\n\n<span style=\"font-family: Calibri;font-size: small\">graphic artist and continues to inspire  new artists and students to use design as a way to </span>\n\n<span style=\"font-family: Calibri;font-size: small\">express their own artistic license.</span>','Sam Coronado - A Retrospective','','inherit','open','open','','1339-revision','','','2011-05-11 14:41:26','2011-05-11 20:41:26','',1339,'http://jeanatacc.com/2011/?p=1341',0,'revision','',0),(1347,5,'2011-05-11 14:47:42','2011-05-11 20:47:42','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-->\r\n\r\nOne 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.\r\n\r\nTheir 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.\r\n\r\nThe 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.\r\n\r\nOnce 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.\r\n\r\nVisitors 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.\r\n\r\nRaphael’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.\r\n\r\nAs 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.\r\n\r\n<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.\r\n\r\n<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.\r\n\r\nVisitors 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.\r\n\r\nMost 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.\r\n\r\n<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.\r\n\r\nThe 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.\r\n\r\nWhen 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.\r\n\r\nThe 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.','Space Museum','','inherit','open','open','','1335-revision-4','','','2011-05-11 14:47:42','2011-05-11 20:47:42','',1335,'http://jeanatacc.com/2011/?p=1347',0,'revision','',0),(1342,26,'2011-05-11 14:47:34','2011-05-11 20:47:34','<span style=\"font-family: Calibri;font-size: small\">Sam Coronado - A Retrospective<a href=\"http://www.google.com/imgres?imgurl=http://www.mexic-artemuseum.org/images-splashpage/quad1-sam11-over.jpg&amp;imgrefurl=http://weareaustin.com/community/calendar/icalrepeat.detail/2011/05/17/55416/-/ZmRiODE3OTE2ZWYxZWRhMTk2NjBlZjc0ODU5OWMyYTg%3D&amp;usg=__siMvZI-OgdYy_Hr3vwihdAqQ-wE=&amp;h=450&amp;w=520&amp;sz=45&amp;hl=en&amp;start=0&amp;zoom=1&amp;tbnid=YP5cLaC4A9KeuM:&amp;tbnh=129&amp;tbnw=149&amp;ei=fPTKTbTCEoi6tgeKn8X5Bw&amp;prev=/search%3Fq%3Dsam%2Bcoronado%2Ba%2Bretrospective%26um%3D1%26hl%3Den%26client%3Dfirefox-a%26sa%3DN%26rls%3Dorg.mozilla:en-US:official%26biw%3D1467%26bih%3D704%26tbm%3Disch&amp;um=1&amp;itbs=1&amp;iact=hc&amp;vpx=486&amp;vpy=222&amp;dur=4489&amp;hovh=209&amp;hovw=241&amp;tx=143&amp;ty=109&amp;page=1&amp;ndsp=34&amp;ved=1t:429,r:11,s:0\"><img class=\"aligncenter size-full wp-image-1340\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/sam.jpg\" alt=\"\" width=\"173\" height=\"150\" /></a></span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Exhibit at Mexic-Arte</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Kris Cooley</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Spring 2011-Extra Credit</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Recently, I found an opportunity to  visit Austin\'s Mexic-Arte museum to view Sam Coronado - A Retrospective. Sam Coronado has been  a great influence on my experience at Austin Community College. I had the honor  of being a student of his in basic graphic design and color theory. I gained knowledge that will  be invaluable to my career as an interactive designer. I was excited to see his life\'s work and  how it progressed throughout his career as a graphic artist.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">As i began my walk through the exhibit,  i noticed his explicit eye for detail in his early technical drawing and promotional posters. Coronado\'s  perception of space and color were obvious in the political campaign advertisement  and promotional works. I could almost feel his passion for organized detail that he would later  use to teach students about the importance of being accountable and presenting quality  presentations.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Coronado\'s artistic expression shows  in the dexterity of his skills. He is an accomplished painter, graphic artist, teacher, mentor and  continues to be an inspiration to local artists. He opened Coronado Studio in 1991, which spawn  the Serie Project in 1993. This has encouraged multi-racial participation and marketed works  by over 250 artists. Because of Coronado\'s contributions, this helped to promote  the careers of many Austin\'s up and coming artists.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Coronado\'s Studio is one of the few  studios specializing in fine art screen printing, otherwise known as serigraph.  I had the  chance to sit down with Sam and have him explain this process. Basically, it is a silk screen printing  process. A stencil is created in the form of the layer of color needed to be applied. It is placed  upon the print and ink is rolled through the open parts. </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Coronado would have several reoccurring  themes in his works. The heart, El Corazon was a persistent symbol. He used multiple  definitions, including Eros Carnal aspect of love and the agape affection found within friendships.  The bull would be another. Sam is quoted saying \"bulls, much like humans, are ritualistically  born and bred to die.\" Sam\'s work portray this unconscious psyche that perhaps he  is destined to share the same fate as the bull. So he has strived to exist successfully while  leaving behind a legacy of his own within the Chicano art world.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">My favorite works I found within the  exhibit were the series with the same theme that Sam was trying to portray. The Hearts in the  Arts is one that stood out to me. His idea was to connect the passion of art with different sections  of the artistic world. There were five in this series, including one where musical notes wafted  through the heart, signifying the musician. A simple paintbrush being dipped brought upon  attention to the painter. All these prints included a basic idea of cohesive definition.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Coronado\'s Guerilla series, I thought,  was excellent. He integrated the serigraph process for this series. It was made upon handmade paper.  This series was based upon a photograph of a revolutionary woman holding a gun taken  by Armando Villareal. This series won an award from the Chapultepec Peace Accords. Coronado  was able to express a visual social commentary on the woman\'s role during a time of government  violence and convey a sense of female empowerment.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Overall, the experience was refreshing,  I learned that though life and the artist will change, the basic principles of design will  always apply. Sam Coronado took these ideas and incorporated them in a way that suited  his culture and background. He is a well respected graphic artist and continues to inspire  new artists and students to use design as a way to express their own artistic license.</span>','Sam Coronado - A Retrospective','','inherit','open','open','','1339-autosave','','','2011-05-11 14:47:34','2011-05-11 20:47:34','',1339,'http://jeanatacc.com/2011/?p=1342',0,'revision','',0),(1345,5,'2011-05-11 14:47:12','2011-05-11 20:47:12','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.\r\n\r\nOne 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.\r\n\r\nTheir 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.\r\n\r\nThe 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.\r\n\r\nOnce 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.\r\n\r\nVisitors 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.\r\n\r\nRaphael’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.\r\n\r\nAs 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.\r\n\r\n<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.\r\n\r\n<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.\r\n\r\nVisitors 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.\r\n\r\nMost 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.\r\n\r\n<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.\r\n\r\nThe 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.\r\n\r\nWhen 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.\r\n\r\nThe 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.','Space Museum','','inherit','open','open','','1335-revision-3','','','2011-05-11 14:47:12','2011-05-11 20:47:12','',1335,'http://jeanatacc.com/2011/?p=1345',0,'revision','',0),(1343,5,'2011-05-11 14:46:24','2011-05-11 20:46:24','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.\n\nOne 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.\n\nTheir 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.\n\nThe 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.\n\nOnce 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.\n\nVisitors 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.\n\nRaphael’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.\n\nAs 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.\n\n<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.\n\n<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.\n\nVisitors 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.\n\nMost 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.\n\n<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.\n\nThe 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.\n\nWhen 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.\n\nThe 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.','Space M','','inherit','open','open','','1335-revision','','','2011-05-11 14:46:24','2011-05-11 20:46:24','',1335,'http://jeanatacc.com/2011/?p=1343',0,'revision','',0),(1344,5,'2011-05-11 14:47:08','2011-05-11 20:47:08','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.\r\n\r\nOne 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.\r\n\r\nTheir 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.\r\n\r\nThe 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.\r\n\r\nOnce 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.\r\n\r\nVisitors 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.\r\n\r\nRaphael’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.\r\n\r\nAs 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.\r\n\r\n<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.\r\n\r\n<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.\r\n\r\nVisitors 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.\r\n\r\nMost 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.\r\n\r\n<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.\r\n\r\nThe 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.\r\n\r\nWhen 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.\r\n\r\nThe 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.','Space Museum','','inherit','open','open','','1335-revision-2','','','2011-05-11 14:47:08','2011-05-11 20:47:08','',1335,'http://jeanatacc.com/2011/?p=1344',0,'revision','',0),(1346,26,'2011-05-11 14:43:12','2011-05-11 20:43:12','<span style=\"font-family: Calibri;font-size: small\">Sam Coronado - A Retrospective<a href=\"http://www.google.com/imgres?imgurl=http://www.mexic-artemuseum.org/images-splashpage/quad1-sam11-over.jpg&amp;imgrefurl=http://weareaustin.com/community/calendar/icalrepeat.detail/2011/05/17/55416/-/ZmRiODE3OTE2ZWYxZWRhMTk2NjBlZjc0ODU5OWMyYTg%3D&amp;usg=__siMvZI-OgdYy_Hr3vwihdAqQ-wE=&amp;h=450&amp;w=520&amp;sz=45&amp;hl=en&amp;start=0&amp;zoom=1&amp;tbnid=YP5cLaC4A9KeuM:&amp;tbnh=129&amp;tbnw=149&amp;ei=fPTKTbTCEoi6tgeKn8X5Bw&amp;prev=/search%3Fq%3Dsam%2Bcoronado%2Ba%2Bretrospective%26um%3D1%26hl%3Den%26client%3Dfirefox-a%26sa%3DN%26rls%3Dorg.mozilla:en-US:official%26biw%3D1467%26bih%3D704%26tbm%3Disch&amp;um=1&amp;itbs=1&amp;iact=hc&amp;vpx=486&amp;vpy=222&amp;dur=4489&amp;hovh=209&amp;hovw=241&amp;tx=143&amp;ty=109&amp;page=1&amp;ndsp=34&amp;ved=1t:429,r:11,s:0\"><img class=\"aligncenter size-full wp-image-1340\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/sam.jpg\" alt=\"\" width=\"173\" height=\"150\" /></a></span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Exhibit at Mexic-Arte</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Kris Cooley</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Spring 2011</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Extra Credit</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Recently, I found an opportunity to  visit Austin\'s Mexic-Arte museum to view Sam Coronado - A </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Retrospective. Sam Coronado has been  a great influence on my experience at Austin </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Community College. I had the honor  of being a student of his in basic graphic design and color </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">theory. I gained knowledge that will  be invaluable to my career as an interactive designer. I was </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">excited to see his life\'s work and  how it progressed throughout his career as a graphic artist.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">As i began my walk through the exhibit,  i noticed his explicit eye for detail in his early technical </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">drawing and promotional posters. Coronado\'s  perception of space and color were obvious in </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">the political campaign advertisement  and promotional works. I could almost feel his passion for </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">organized detail that he would later  use to teach students about the importance of being </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">accountable and presenting quality  presentations.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Coronado\'s artistic expression shows  in the dexterity of his skills. He is an accomplished painter, </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">graphic artist, teacher, mentor and  continues to be an inspiration to local artists. He opened </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Coronado Studio in 1991, which spawn  the Serie Project in 1993. This has encouraged multi-</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">racial participation and marketed works  by over 250 artists. Because of Coronado\'s </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">contributions, this helped to promote  the careers of many Austin\'s up and coming artists.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Coronado\'s Studio is one of the few  studios specializing in fine art screen printing, otherwise</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Known as serigraph.  I had the  chance to sit down with Sam and have him explain this process.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Basically, it is a silk screen printing  process. A stencil is created in the form of the layer of color</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">needed to be applied. It is placed  upon the print and ink is rolled through the open parts. </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Coronado would have several reoccurring  themes in his works. The heart, El Corazon was a </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">persistent symbol. He used multiple  definitions, including Eros Carnal aspect of love and the </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">agape affection found within friendships.  The bull would be another. Sam is quoted saying \" </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">bulls, much like humans, are ritualistically  born and bred to die.\" Sam\'s work portray this </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">unconscious psyche that perhaps he  is destined to share the same fate as the bull. So he has </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">strived to exist successfully while  leaving behind a legacy of his own within the Chicano art </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">world.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">My favorite works I found within the  exhibit were the series with the same theme that Sam was </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">trying to portray. The Hearts in the  Arts is one that stood out to me. His idea was to connect the </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">passion of art with different sections  of the artistic world. There were five in this series, </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">including one where musical notes wafted  through the heart, signifying the musician. A simple </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">paintbrush being dipped brought upon  attention to the painter. All these prints included a basic </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">idea of cohesive definition.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Coronado\'s Guerilla series, I thought,  was excellent. He integrated the serigraph process for this </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">series. It was made upon handmade paper.  This series was based upon a photograph of a </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">revolutionary woman holding a gun taken  by Armando Villareal. This series won an award from </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">the Chapultepec Peace Accords. Coronado  was able to express a visual social commentary on </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">the woman\'s role during a time of government  violence and convey a sense of female </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">empowerment.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Overall, the experience was refreshing,  I learned that though life and the artist will change,</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">the basic principles of design will  always apply. Sam Coronado took these ideas and </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">incorporated them in a way that suited  his culture and background. He is a well respected </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">graphic artist and continues to inspire  new artists and students to use design as a way to </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">express their own artistic license.</span>','Sam Coronado - A Retrospective','','inherit','open','open','','1339-revision-2','','','2011-05-11 14:43:12','2011-05-11 20:43:12','',1339,'http://jeanatacc.com/2011/?p=1346',0,'revision','',0),(1349,5,'2011-05-11 14:49:40','2011-05-11 20:49:40','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-->\n\nOne 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.\n\nTheir 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.\n\nThe 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.\n\nOnce 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.\n\nVisitors 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.\n\nRaphael’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.\n\nAs 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.\n\n<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.\n\n<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.\n\nVisitors 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.\n\nMost 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.\n\n<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.\n\nThe 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.\n\nWhen 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.\n\nThe 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.','Space Museum','','inherit','open','open','','1335-revision-6','','','2011-05-11 14:49:40','2011-05-11 20:49:40','',1335,'http://jeanatacc.com/2011/?p=1349',0,'revision','',0),(1348,5,'2011-05-11 14:48:26','2011-05-11 20:48:26','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-->\r\n\r\nOne 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.\r\n\r\nTheir 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.\r\n\r\nThe 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.\r\n\r\nOnce 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.\r\n\r\nVisitors 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.\r\n\r\nRaphael’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.\r\n\r\nAs 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.\r\n\r\n<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.\r\n\r\n<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.\r\n\r\nVisitors 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.\r\n\r\nMost 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.\r\n\r\n<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.\r\n\r\nThe 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.\r\n\r\nWhen 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.\r\n\r\nThe 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.','Humans escape to space, elect to bring their Humanity along forthe ride','','inherit','open','open','','1335-revision-5','','','2011-05-11 14:48:26','2011-05-11 20:48:26','',1335,'http://jeanatacc.com/2011/?p=1348',0,'revision','',0),(1351,5,'2011-05-11 14:51:37','2011-05-11 20:51:37','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-->\n\nOne 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.\n\nTheir 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.\n\nThe 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.\n\nOnce 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.\n\nVisitors 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.\n\nRaphael’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.\n\nAs 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.\n\n<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.\n\n<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.\n\nVisitors 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.\n\nMost 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.\n\n<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.\n\nThe 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.\n\nWhen 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.\n\nThe 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.','','','inherit','open','open','','1335-revision-8','','','2011-05-11 14:51:37','2011-05-11 20:51:37','',1335,'http://jeanatacc.com/2011/?p=1351',0,'revision','',0),(1350,5,'2011-05-11 14:50:01','2011-05-11 20:50:01','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-->\r\n\r\nOne 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.\r\n\r\nTheir 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.\r\n\r\nThe 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.\r\n\r\nOnce 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.\r\n\r\nVisitors 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.\r\n\r\nRaphael’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.\r\n\r\nAs 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.\r\n\r\n<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.\r\n\r\n<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.\r\n\r\nVisitors 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.\r\n\r\nMost 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.\r\n\r\n<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.\r\n\r\nThe 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.\r\n\r\nWhen 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.\r\n\r\nThe 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.','Space Museum','','inherit','open','open','','1335-revision-7','','','2011-05-11 14:50:01','2011-05-11 20:50:01','',1335,'http://jeanatacc.com/2011/?p=1350',0,'revision','',0),(1354,5,'2011-05-11 14:52:43','2011-05-11 20:52:43','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-->\r\n\r\nOne 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.\r\n\r\nTheir 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.\r\n\r\nThe 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.\r\n\r\nOnce 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.\r\n\r\nVisitors 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.\r\n\r\nRaphael’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.\r\n\r\nAs 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.\r\n\r\n<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.\r\n\r\n<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.\r\n\r\nVisitors 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.\r\n\r\nMost 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.\r\n\r\n<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.\r\n\r\nThe 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.\r\n\r\nWhen 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.\r\n\r\nThe 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.','Space Museum','','inherit','open','open','','1335-revision-11','','','2011-05-11 14:52:43','2011-05-11 20:52:43','',1335,'http://jeanatacc.com/2011/?p=1354',0,'revision','',0),(1352,5,'2011-05-11 14:52:06','2011-05-11 20:52:06','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-->\r\n\r\nOne 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.\r\n\r\nTheir 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.\r\n\r\nThe 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.\r\n\r\nOnce 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.\r\n\r\nVisitors 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.\r\n\r\nRaphael’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.\r\n\r\nAs 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.\r\n\r\n<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.\r\n\r\n<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.\r\n\r\nVisitors 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.\r\n\r\nMost 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.\r\n\r\n<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.\r\n\r\nThe 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.\r\n\r\nWhen 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.\r\n\r\nThe 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.','Humans escape earth, elect to take their humanity along for the ride','','inherit','open','open','','1335-revision-9','','','2011-05-11 14:52:06','2011-05-11 20:52:06','',1335,'http://jeanatacc.com/2011/?p=1352',0,'revision','',0),(1353,5,'2011-05-11 14:52:09','2011-05-11 20:52:09','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-->\r\n\r\nOne 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.\r\n\r\nTheir 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.\r\n\r\nThe 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.\r\n\r\nOnce 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.\r\n\r\nVisitors 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.\r\n\r\nRaphael’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.\r\n\r\nAs 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.\r\n\r\n<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.\r\n\r\n<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.\r\n\r\nVisitors 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.\r\n\r\nMost 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.\r\n\r\n<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.\r\n\r\nThe 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.\r\n\r\nWhen 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.\r\n\r\nThe 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.','Humans escape earth, elect to take their humanity along for the ride','','inherit','open','open','','1335-revision-10','','','2011-05-11 14:52:09','2011-05-11 20:52:09','',1335,'http://jeanatacc.com/2011/?p=1353',0,'revision','',0),(1355,5,'2011-05-11 14:54:21','2011-05-11 20:54:21','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-->\n\nOne 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.\n\nTheir 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.\n\nThe 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.\n\nOnce 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.\n\nVisitors 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.\n\nRaphael’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.\n\nAs 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.\n\n<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.\n\n<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.\n\nVisitors 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.\n\nMost 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.\n\n<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.\n\nThe 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.\n\nWhen 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.\n\nThe 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.','Preserve Humanity','','inherit','open','open','','1335-revision-12','','','2011-05-11 14:54:21','2011-05-11 20:54:21','',1335,'http://jeanatacc.com/2011/?p=1355',0,'revision','',0),(1356,5,'2011-05-11 14:54:42','2011-05-11 20:54:42','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-->\r\n\r\nOne 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.\r\n\r\nTheir 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.\r\n\r\nThe 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.\r\n\r\nOnce 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.\r\n\r\nVisitors 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.\r\n\r\nRaphael’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.\r\n\r\nAs 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.\r\n\r\n<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.\r\n\r\n<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.\r\n\r\nVisitors 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.\r\n\r\nMost 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.\r\n\r\n<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.\r\n\r\nThe 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.\r\n\r\nWhen 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.\r\n\r\nThe 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.','Saving ','','inherit','open','open','','1335-revision-13','','','2011-05-11 14:54:42','2011-05-11 20:54:42','',1335,'http://jeanatacc.com/2011/?p=1356',0,'revision','',0),(1357,5,'2011-05-11 14:56:26','2011-05-11 20:56:26','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-->\r\n\r\nOne 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.\r\n\r\nTheir 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.\r\n\r\nThe 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.\r\n\r\nOnce 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.\r\n\r\nVisitors 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.\r\n\r\nRaphael’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.\r\n\r\nAs 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.\r\n\r\n<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.\r\n\r\n<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.\r\n\r\nVisitors 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.\r\n\r\nMost 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.\r\n\r\n<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.\r\n\r\nThe 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.\r\n\r\nWhen 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.\r\n\r\nThe 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.','Saving our Humanity','','inherit','open','open','','1335-revision-14','','','2011-05-11 14:56:26','2011-05-11 20:56:26','',1335,'http://jeanatacc.com/2011/?p=1357',0,'revision','',0),(1358,5,'2011-05-11 14:56:30','2011-05-11 20:56:30','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-->\r\n\r\nOne 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.\r\n\r\nTheir 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.\r\n\r\nThe 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.\r\n\r\nOnce 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.\r\n\r\nVisitors 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.\r\n\r\nRaphael’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.\r\n\r\nAs 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.\r\n\r\n<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.\r\n\r\n<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.\r\n\r\nVisitors 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.\r\n\r\nMost 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.\r\n\r\n<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.\r\n\r\nThe 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.\r\n\r\nWhen 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.\r\n\r\nThe 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.','Saving our Humanity','','inherit','open','open','','1335-revision-15','','','2011-05-11 14:56:30','2011-05-11 20:56:30','',1335,'http://jeanatacc.com/2011/?p=1358',0,'revision','',0),(1359,5,'2011-05-11 14:57:22','2011-05-11 20:57:22','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-->\r\n\r\nOne 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.\r\n\r\nTheir 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.\r\n\r\nThe 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.\r\n\r\nOnce 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.\r\n\r\nVisitors 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.\r\n\r\nRaphael’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.\r\n\r\nAs 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.\r\n\r\n<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.\r\n\r\n<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.\r\n\r\nVisitors 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.\r\n\r\nMost 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.\r\n\r\n<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.\r\n\r\nThe 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.\r\n\r\nWhen 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.\r\n\r\nThe 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.','Preserving our Humanity','','inherit','open','open','','1335-revision-16','','','2011-05-11 14:57:22','2011-05-11 20:57:22','',1335,'http://jeanatacc.com/2011/?p=1359',0,'revision','',0),(1360,5,'2011-05-11 14:57:25','2011-05-11 20:57:25','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-->\r\n\r\nOne 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.\r\n\r\nTheir 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.\r\n\r\nThe 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.\r\n\r\nOnce 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.\r\n\r\nVisitors 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.\r\n\r\nRaphael’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.\r\n\r\nAs 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.\r\n\r\n<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.\r\n\r\n<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.\r\n\r\nVisitors 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.\r\n\r\nMost 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.\r\n\r\n<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.\r\n\r\nThe 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.\r\n\r\nWhen 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.\r\n\r\nThe 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.','Preserving our Humanity','','inherit','open','open','','1335-revision-17','','','2011-05-11 14:57:25','2011-05-11 20:57:25','',1335,'http://jeanatacc.com/2011/?p=1360',0,'revision','',0),(1361,1,'2011-05-11 14:47:48','2011-05-11 20:47:48','<span style=\"font-family: Calibri;font-size: small\">Sam Coronado - A Retrospective<a href=\"http://www.google.com/imgres?imgurl=http://www.mexic-artemuseum.org/images-splashpage/quad1-sam11-over.jpg&amp;imgrefurl=http://weareaustin.com/community/calendar/icalrepeat.detail/2011/05/17/55416/-/ZmRiODE3OTE2ZWYxZWRhMTk2NjBlZjc0ODU5OWMyYTg%3D&amp;usg=__siMvZI-OgdYy_Hr3vwihdAqQ-wE=&amp;h=450&amp;w=520&amp;sz=45&amp;hl=en&amp;start=0&amp;zoom=1&amp;tbnid=YP5cLaC4A9KeuM:&amp;tbnh=129&amp;tbnw=149&amp;ei=fPTKTbTCEoi6tgeKn8X5Bw&amp;prev=/search%3Fq%3Dsam%2Bcoronado%2Ba%2Bretrospective%26um%3D1%26hl%3Den%26client%3Dfirefox-a%26sa%3DN%26rls%3Dorg.mozilla:en-US:official%26biw%3D1467%26bih%3D704%26tbm%3Disch&amp;um=1&amp;itbs=1&amp;iact=hc&amp;vpx=486&amp;vpy=222&amp;dur=4489&amp;hovh=209&amp;hovw=241&amp;tx=143&amp;ty=109&amp;page=1&amp;ndsp=34&amp;ved=1t:429,r:11,s:0\"><img class=\"aligncenter size-full wp-image-1340\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/05/sam.jpg\" alt=\"\" width=\"173\" height=\"150\" /></a></span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Exhibit at Mexic-Arte</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Kris Cooley</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Spring 2011-Extra Credit</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Recently, I found an opportunity to  visit Austin\'s Mexic-Arte museum to view Sam Coronado - A Retrospective. Sam Coronado has been  a great influence on my experience at Austin Community College. I had the honor  of being a student of his in basic graphic design and color theory. I gained knowledge that will  be invaluable to my career as an interactive designer. I was excited to see his life\'s work and  how it progressed throughout his career as a graphic artist.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">As i began my walk through the exhibit,  i noticed his explicit eye for detail in his early technical drawing and promotional posters. Coronado\'s  perception of space and color were obvious in the political campaign advertisement  and promotional works. I could almost feel his passion for organized detail that he would later  use to teach students about the importance of being accountable and presenting quality  presentations.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Coronado\'s artistic expression shows  in the dexterity of his skills. He is an accomplished painter, graphic artist, teacher, mentor and  continues to be an inspiration to local artists. He opened Coronado Studio in 1991, which spawn  the Serie Project in 1993. This has encouraged multi-racial participation and marketed works  by over 250 artists. Because of Coronado\'s contributions, this helped to promote  the careers of many Austin\'s up and coming artists.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Coronado\'s Studio is one of the few  studios specializing in fine art screen printing, otherwise known as serigraph.  I had the  chance to sit down with Sam and have him explain this process. Basically, it is a silk screen printing  process. A stencil is created in the form of the layer of color needed to be applied. It is placed  upon the print and ink is rolled through the open parts. </span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Coronado would have several reoccurring  themes in his works. The heart, El Corazon was a persistent symbol. He used multiple  definitions, including Eros Carnal aspect of love and the agape affection found within friendships.  The bull would be another. Sam is quoted saying \"bulls, much like humans, are ritualistically  born and bred to die.\" Sam\'s work portray this unconscious psyche that perhaps he  is destined to share the same fate as the bull. So he has strived to exist successfully while  leaving behind a legacy of his own within the Chicano art world.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">My favorite works I found within the  exhibit were the series with the same theme that Sam was trying to portray. The Hearts in the  Arts is one that stood out to me. His idea was to connect the passion of art with different sections  of the artistic world. There were five in this series, including one where musical notes wafted  through the heart, signifying the musician. A simple paintbrush being dipped brought upon  attention to the painter. All these prints included a basic idea of cohesive definition.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Coronado\'s Guerilla series, I thought,  was excellent. He integrated the serigraph process for this series. It was made upon handmade paper.  This series was based upon a photograph of a revolutionary woman holding a gun taken  by Armando Villareal. This series won an award from the Chapultepec Peace Accords. Coronado  was able to express a visual social commentary on the woman\'s role during a time of government  violence and convey a sense of female empowerment.</span>\r\n\r\n<span style=\"font-family: Calibri;font-size: small\">Overall, the experience was refreshing,  I learned that though life and the artist will change, the basic principles of design will  always apply. Sam Coronado took these ideas and incorporated them in a way that suited  his culture and background. He is a well respected graphic artist and continues to inspire  new artists and students to use design as a way to express their own artistic license.</span>','Sam Coronado - A Retrospective','','inherit','open','open','','1339-revision-3','','','2011-05-11 14:47:48','2011-05-11 20:47:48','',1339,'http://jeanatacc.com/2011/?p=1361',0,'revision','',0),(1362,1,'2011-05-11 14:39:15','2011-05-11 20:39:15','<strong>Final Project</strong>\r\n\r\nThe Four works of art that I will carry in my voyage represent some of the most unique works of Pre-history to the Renaissance and will allow people to see the beauty and complexity of these works of art. The four masterpieces I have selected include the Hebrew Bible, The Basilica of San Vitale of Ravenna, Don Quixote and the Nasca Geoglyphs. These works of art represent a great period in human history and I consider extremely important that they be preserved in one way or another in order to allow future generations of Humans to really appreciate the beauty of this time.\r\n\r\nFirst, the Hebrew bible, which is an influential religious text, that talks about the life of the Hebrew people over a long period of time. The Hebrew bible is a testament that reflects the influence of some of the most important empires in human history like the Mesopotamian culture, the Persian, Greeks and the Romans. What makes the Hebrew bible a unique text is that the stories of the bible do not represent a specific time but are a continuous development of stories of ancient times. The bible started with few stories but as time went by the book kept growing and more and more stories were put in it. The Hebrew bible will allow people to learn about the great stories of the past; many of these stories of the Hebrew bible have some correlation with similar work produced during that time like the stylistic similarities between text of ancient Babylonian and Persian Empire. For Example, the Story about the Epic of Gilmamesh, which is a story of Babylonian times, is closely related to stories of the book of genesis in the Hebrew Bible. This in my opinion will allow the reader of the future to see the big picture of things not just a short period of time.\r\n\r\nAnother aspect that I think is important is that because the Hebrew bible is a combination of myth, history and stories it will allow the future generations of readers to educate themselves but at the time they will be able to read some of the most fantastic stories that the imagination can capture, so in a way the display of the Hebrew bible is for education purposes but also for entertainment purposes. Another aspect that people will be able to understand is why the Hebrew bible remain such an important text not only in ancient times but also influence many society outside of the Hebrew.  For Example people could see how the Hebrew bible influence other important texts and documents like the United States Declaration of independence show some of the main ideas of the Hebrew bible and also the Hebrew bible is the base for what had become the New Testament Book which is important for Christianity.\r\n\r\nThe influence of the Hebrew Bible is undeniable and by having it preserved I can help make it influence more generation in the future. The main way I will preserve the Hebrew bible is by taking the Original book with me in this long Voyage and I will place the book in an especially constructed Gold Book Holder. The main reason I choose Gold as the material for the Holder is because During my time on earth Gold was considered one of the most important commodities and metal and I think it is fitting to put such an important text in it. The Hebrew bible will be place in holder for people to see, but because I do not such important text to deteriorate with time, the book will get a special protective cover that will allow its preservation and I will also bring one copy just in case something were to go wrong or damage the book, so in that way in case the book suffer some deterioration or damage I can use the replacement and keep the tradition going. During the display of the Hebrew bible I will place especial white light that will reflect on the bible as if a light from above the skies in particularly on the bible. The main reason I will do that is to showcase the Hebrew bible and portrayed as a text that comes from above and a guidance text for humans.\r\n\r\nThe Second work of art that I have decide to preserved is the basilica of San Vitale (Ravenna) which is a Basilica that took from 526 to 548 to construct and reflects the influence of the Roman and the Byzantine empires. The fascinating aspect of the Basilica of San Vitale is that its design and structure is it a combination of the Roman style and the Byzantine style which make it kind of unique in its appearance and majestic beauty. The basilica of San Vitale main attraction is the interior 18<sup>th</sup> century murals and mosaics which many of them have religious connotation.\r\n\r\n&nbsp;\r\n\r\nI will create a showing of the Basilica in a video format mainly because due to its size it will be impossible to take in my ship, but I will hire somebody to make one elaborate video record of the basilica and that video would be view by the future generations. Also I am planning on bringing some of the mosaics especially the smallest ones so that people could see the beauty and how works of art where in the 6<sup>th</sup> century. The display of the basilica will include plenty of photos made by the best photographers so that the actual beauty could be catch and people could see every aspect of the basilica in detail. Apart from that I will also bring a small replica of the basilica so that future students could see its structure and learn more about what aspects were of Roman influence and what aspects were of byzantine influence.\r\n\r\nThe basilica of San Vitale is one of the greatest buildings of the 6<sup>th</sup> century next to Hagia Sophia and that is why I consider of extreme importance to preserve it at least in video and replica form. The mixture of Roman architecture like the doomed roof and the Byzantine architecture like the polygonal shapes makes the building one of a kind. Also the basilica mosaics portrait the life of that time like the emperor and also stories of the bible, which will make it perfect because I am also bringing the Hebrew bible with me. People could use the display of the bible as guidance for the display of the Basilica of San Vitale, which depicts stories about the Old Testament. I think people will be able to relate both displays.\r\n\r\nThe third work I am bringing with me in this voyage is Don Quixote which is a book written by Miguel de Cervantes and is considered a literary classic of the Spanish Golden era. This novel has been translated to many languages and is important because it reflects the conflict between the old and new ways of living. Also what makes the novel interesting is that it certain characteristics like comical, tragical, and some traces of history, which make the novel very interesting to read because it keeps the reader wanting more.\r\n\r\nThe story is base on Don Quixote a middle age gentleman from Spain which after been influence by many cavalry work and the different experiences of his life like being captive for many years, he decided to embark on a mission to protect and defend the innocent. The book details those adventures that he takes alongside his sidekick named Sancho Panza. The story revolves around Don Quixote and all the people he meets in his journeys.\r\n\r\nI will do something really interesting to display this masterpiece of Literature and that is basically that I will bring many copies of the book but each copy will be in a different language. Don Quixote is one of the bestseller novels of all time and has been translated to many languages. The idea here is to bring the novel in many languages so that people could learn and compare how the novel reacts in a different language other than the original, but also the display will allow people to learn more about an unknown language to them, in summary the display of Don Quixote will serve as an educational purpose.\r\n\r\nPeople will be able to learn how was Spain and the world at that time like the battle of the Spanish navy against the British navy and also the novel puts a big emphasis on the stratification of Spanish society at that time with some people like the nobility at the top having many privileges and at the bottom the ordinary citizens that had to fight every day to survive. Also another aspect that I think is important to emphasized is that Don Quixote will allow the reader to relate to what was going on literary at that time like the emphasis on chivalry tales and the ideas that innocent people need protection or the idealization of women.  The novel is important because it has social aspects that other pieces do not have and the piece showed some opposition of the author to the church, which he considered a corrupt institution.\r\n\r\nAnother Aspect that makes Don Quixote a great piece to preserve is the technique and style because Cervantes presents all his characters with many attributes so in that way the reader to have a clear picture of the characters which basically allow the reader to really understand the dept of each character. Another aspect that make the novel important is the in some parts of the novel the stories are down to earth stories that every people can relate to, but in other parts of the novel there is some fantasy involves which makes the novel very appealing because you are always guessing what comes next.\r\n\r\nFinally I will also bring with me the Nasca Geoglyphs which are some of the most amazing designs man has ever build on land. The Nasca Geoglyphs are located in Peru in the desert, which will make it kind of hard to bring with me. In this case what I will do is to construct a small version of the terrain where the Nasca lines and geoglyphs. I planned to go to Peru and bring with me a small version of the terrain like the soil and then a specialist of the Nasca geoglyphs will construct them in that piece of terrain that I brought but that person will do that in a small-scale version.\r\n\r\nThe Nasca geoglyphs were made by the Nasca people that habitated Peru between 100 to 800 AD and the pictures and geoglyphs vary in size and complexity, there’s are many animals depiction in this work like spiders, whale, birds and that makes it very unique site in the world. The other aspect that makes it unique is the terrain use to build this geoglyphs is special because it contains a mineral called ferrous oxide, which allows over time to see the contrast of the soil and the geoglyphs. I will have my experts build the mini replica by using the same techniques used by the Nasca people like by removing the gravel and contours around the pictures in order to make them appear in the ground.\r\n\r\nThe Geoglyphs are important because of the complexity of the figures and also the harmony, which make them very unique because the Nasca people will have use math principles in order to build them. Many archeologists are surprised at the symmetry of the figures specially since there are no records that the Nasca people had any flying device to see the picture from above which is the only way to appreciate their magnitude. During this period the Nasca people were worried about worshiping the Gods and how to please the Gods so the lines according to some experts could be offering to the Gods and as a result of sacred purpose.\r\n\r\n&nbsp;\r\n\r\nThe Nasca geoglyphs are consider important because they have survived mostly intact for a long period of time and because it reflects that ancient civilizations like the Nasca had some advance characteristics like mathematical knowledge, which makes these features more impressive. Also some of the pictures have some astronomical use like the bird that point to certain direction, which determines certain characteristics of the terrain and the seasons.\r\n\r\nAs a conclusion, these four masterpieces like the Hebrew bible, the Basilica of San Vitale, Don Quixote and the Nasca geoglyphs will be the masterpieces that I will preserve. In that way I will contribute to the learning and knowledge that future generations could acquire from this pieces.\r\n\r\n&nbsp;','Final Project','','inherit','open','open','','1332-revision-2','','','2011-05-11 14:39:15','2011-05-11 20:39:15','',1332,'http://jeanatacc.com/2011/?p=1362',0,'revision','',0),(1363,1,'2011-05-11 12:13:58','2011-05-11 18:13:58','The Rosetta stone is a black slab of Basalt that measures 3 feet nine 9 in height, 2 feet 4.5 inches across and 11 inches thick and weighs approximately 346 pounds. The Rosetta stone was “…discovered in July 1799, in the foundations of Fort Julien, Rosetta, by Lieutenant Pierre Francois Xavier Bouchard.”  (Downs)\r\n\r\n&nbsp;\r\n\r\nThe French were led to Egypt by Napoleon Bonaparte in the efforts to take over from the British and rediscover the lost civilization of the Nile.  The French set sail to Egypt in 1798, in a fleet larger than the Spanish Armada. (Downs)\r\n\r\nNapoleon led his army to conquer Egypt in efforts to control trade and make France a power country. Napoleon’s expedition was not only a military one, but also an academic one.\r\n\r\n&nbsp;\r\n\r\nThe preservation of the Stone is essential because it depicts the evolution of writing and reminding us of early civilization, which has beginnings in ancient Egypt.\r\n\r\n“As early as 7500 B.C.E., people used token-pieces of clay molded into shapes to represent specific commodities: a cone for a unit of grain, an egg shape for a unit of oil and so on.” (Fiero) The tokens were essential in exporting. All the goods were accounted for with these tokens.\r\n\r\nThe inscription, written by a group of priests“…consists of a decree issued by he Egyptian priesthood on 27 March 196 BC, roughly six months after the coronation of King Ptolemy V in the old capital of Memphis.” (Downs 216)\r\n\r\nThe Stone is comprised of 3 bands and is carved in two languages, Egyptian and Greek. The Egyptian script was ancient hieroglyphs and Demotic. The top band is hieroglyphics, the middle band is Demotic and the lower band is Greek. The decree accounts for all the good deeds that Ptolemy did for the priesthood.\r\n\r\n&nbsp;\r\n\r\nHieroglyphics is the most famous of the Egyptian scripts. Hieroglyphs was not only used on the Rosetta stone, but also used on temple walls and the tombs of royalty. Scribes used hieroglyphs to preserve history, beliefs and ideas on papyrus scrolls. The deciphering of the hieroglyphics code on the Rosetta stone is accredited to Jean-Francois Champillion. (Downs)\r\n\r\nIn summary, the decree is a depiction of the life of Ptolemy. It explains how he inherited the kingdom from his father and ruled for about 30 years. In regards to priests and temples, temples had annual contributions in the form of money and corn. He did not obligate priest to pay anything more than what they had been paying when he his father, Ptolemy IV was ruler.\r\n\r\n&nbsp;\r\n\r\nThe Rosetta stone has been monumental for language. In current times, companies like Apple, Inc. use the Rosetta concept in the MacIntosh Operating system. This process allows some programs that were Power PC compatible to run on Intel based MacIntosh computers. (https://apple.com/support)\r\n\r\n&nbsp;\r\n\r\nCurrently, the Stone is displayed in the British Museum, Society of Antiquaries of London.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nhttp://www.britishmuseum.org/explore/highlights/highlight_image.aspx?image=an16456b.jpg&amp;retpage=15633\r\n\r\n&nbsp;\r\n\r\nhttp://www.umass.edu/wsp/philology/gallery/champollion.html\r\n\r\n&nbsp;\r\n\r\n<a href=\"http://docs.info.apple.com/article.html?path=Mac/10.6/en/8496.html\">http://docs.info.apple.com/article.html?path=Mac/10.6/en/8496.html</a>\r\n\r\n&nbsp;\r\n\r\nDowns, Jonathan. <span style=\"text-decoration: underline\">Discovery at Rosetta.</span> New York: Skyhorse Publishing, 2008\r\n\r\nFiero, Gloria K. <span style=\"text-decoration: underline\">The Humanistic Tradition, Volume 1, Sixth Edition</span>. New York: McGraw-Hill, 2011\r\n\r\n&nbsp;','Rosetta Stone','','inherit','open','open','','1314-revision-3','','','2011-05-11 12:13:58','2011-05-11 18:13:58','',1314,'http://jeanatacc.com/2011/?p=1363',0,'revision','',0),(1364,25,'2011-05-11 15:32:09','2011-05-11 21:32:09','Earth sits desolate, alone, and inhabited.  We have destroyed it, or did it destroy us? We search through space for our new home, with hope yet with the understanding that a beautiful and productive planet was taken for granted.  We must learn from our mistakes.  We must value the ones that came before us and use their innovations and rich culture to help us find our new residence and make it great too.\r\n\r\n<!--more-->\r\n\r\nWith that, I welcome you to Nebula High.  It is the year 2100 and what a beautiful day it is in space. I am more than thrilled to have you enrolled in my Humanities class this semester. Throughout the course we will be learning about the pre-history of our once habitable Earth where our ancestors roamed and times when humans soared to great heights in science and art.  The course will cover topics that date back to the year 3000 B.C. Each section of the class will be broken down into four classrooms that will be fully dedicated to the teachings of certain subjects I have chosen for this semester. In the first classroom we will start off in Salisbury England where Stonehenge once stood. After pondering about Stonehenge we will travel to Egypt to recall the Book of the Dead. Then we will head to France to be spooked by the gargoyles! Soon after we will return back to England to contemplate the famous quote,  “To be or not to be, that is the question,” and visit the one and only, Shakespeare. I hope you all enjoy the spring semester of 2100 as much as I did some ninety years ago, and yes I am that old.\r\n\r\nIn classroom #1 I will introduce you to one of England’s most famous mysteries of all time, Stonehenge. The walls of the room are filled with pictures of the excavation sites of the Abbey holes from many years ago which contained bone remains. In the middle of the classroom there is a miniature model of Stonehenge made from parts of the original stones since the real size of the stones at Stonehenge were too large to bring aboard. First, in classroom #1 you all will learn how perfectly aligned Stonehenge was to the winter and summer solstices in respect for life and death.  Circles of stone or wood lined up with the sun at certain times of the year represented the Neolithic people and how they celebrated the living and the dead.  After we cover the alignment of the stones, you will sit in the position of the stones just as they stood at Stonehenge to understand their placement.  I will then pass around the tools once used by the Neolithic people, who carved the stones into their rectangular form. After examining the tools the class will learn about the extreme distance the stones traveled to their destination. You will theorize ideas as to how the Neolithic people moved the stones from the Prescelly Mountains to the Salisbury Plain where they stood on earth. Once you have brainstormed possibilities on how the stones were transported, I will present the rolling method.  Back in 2009 archeologist Andrew Young believed the Neolithic people who built Stonehenge used little stone balls as a way to transport the large and heavy stones. The class will then interact with one another demonstrating the rolling method, and then compare their ideas to Andrew Young’s ideas to see if there has been any sort of progression made on how the Neolithic people transported the stones from miles and miles away. The most significant information that I hope you all gain from the Stonehenge classroom is the intelligence behind the Neolithic people’s engineering of movement for the enormous stones found at Stonehenge and how much they valued life and death.\r\n\r\nIn classroom #2 we will visit the ancient Egyptians during the 18<sup>th</sup> dynasty. This room is specifically designed for the Egyptian Book of the Dead. To get to the room the class will walk through an ancient Egyptian sarcophagus as if passing through to the afterlife like the ancient Egyptians had perceived. Hieroglyphics and vignettes straight from examples of the Book of the Dead will cover the walls in order to provide images of the test that the Egyptians were to encounter in their afterlife.  Since we were able to preserve it in a glass case, texts from the real book of the dead will be located in the room for the class to view at first hand. During our time spent in classroom #2 you will learn about the test that the Egyptians believed they would have to successfully pass in their afterlife, aided by the Book of the Dead, in order to reach their final judgment day. The class will research the spells, charms, numbers, and magical passwords of the Book of the Dead for room #2’s final project. The class will also learn how the Egyptians spent their entire lifetime on Earth preparing for what was to come next after their death. They spent years and years building pyramids in order to please their gods for good grace and life after death. The pyramids the Egyptian built with an artistic touch set them apart from everyone else in the world. Mummification also played an important role in the preparation for the afterlife. Just for fun, the class will split into groups to roll one member of the group in toilet paper to mimic a mummy. Whoever wins the race will be granted extra credit on their final project. For the final project you will choose sections from the Book of the Dead that most meaningful to a successful afterlife. Each student will then present their own personalized Book of the Dead to the class. The most significant information that I hope you will gain from the class on the Egyptian Book of the Dead is how important the afterlife and the final judgment day was to the Egyptians. The Book of the Dead is what defines the life of the ancient Egyptians.\r\n\r\nIn classroom #3 we will visit Paris, France to learn about the gothic, monster like creatures of the Notre Dame Cathedral, the gargoyles. The walls of this room will be designed to look like the classroom is located on top of the cathedral’s balconies looking over Paris just like the gargoyles did. The ceilings of the room will be high and arched like the ceilings of the cathedrals in order for you to feel like you are actually in a medieval style church. Luckily enough the ship was able to save some of the gargoyles from Notre Dame and they are aboard the spaceship for display in the classroom. During the time spent in room #3 you will learn how the gargoyles were a new innovative way to drain out the water collected on the rooftops of the cathedrals. They extended far off the walls to prevent any damage from happening to the structure of the church. Without the gargoyles, the cathedral would collapse from standing rainwater. Though the gargoyles no longer serve their purpose here on the ship as they did as gutters for the Notre Dame Cathedral, they are preserved.  The class will also learn about how years ago on planet Earth, the polluted air and the acid rainwater caused the gargoyles to deteriorate. Every so often the gargoyles would have to be remodeled so that the stones they were carved from would not fall or break off. The class will take a look at how it is believed that the gargoyles were creatively made to look like beasts in order to intimidate people or to scare off evil spirits and to watch over Paris and other cities as a reminder of what humans fear the most, themselves. With this in mind, sculptors used their imagination to create beast-like creatures that had little or no resemblance to anything real. For the final project in room #3 the class will be broken up into groups to design a gargoyle that symbolizes a common fear that most people carry with them. Each group’s gargoyle should also have an beast-like quality that the group finds meaningful to survival. The most significant information that I hope you gain from the classroom of the Notre Dame gargoyles is that the gargoyles expressed historical values throughout the middle ages. How people perceived the world is seen within the eyes of each haunting creature.\r\n\r\nOur last stop for the semester will be classroom #4 where we will travel back to England to around 1600 A. D.  The class will discuss William Shakespeare’s most famous play,<em> Hamlet</em>. This room is by far my favorite. The classroom will be a complete replica of the Globe Theatre where Shakespeare’s plays were performed. The room will be in the shape of a circle with wooden seats that go up into a diagonal where you will sit. At the floor of the room will be a stage like the one at the Globe Theatre. During the Elizabethan era, <em>Hamlet </em>was a play written by Shakespeare for pure entertainment. Therefore actors from the ship will perform <em>Hamlet</em> during the last couple of days spent in class. To begin, you will learn how the play reflects romance, tragedy, and revenge. Though many plays contain the three elements, <em>Hamlet</em> was by far the most problematic text in all of literature because of the confusion in the meaning of the plot. Though we all know that back in 2080 researchers concluded that there was no significant message, the class will learn about the great debate that took part in deciphering the meaning behind <em>Hamlet</em>.  Shakespeare was a literary genius that only wanted to disrupt the mind of thinkers. He used<em> Hamlet</em> as a device to confuse people for the sake of his own entertainment but no one wanted to believe so until recent discovery. <em>Hamlet</em> is one of literature’s first real views of human nature in real form. Hamlet was a character that anyone could relate to and admire for his resistance to the corruptions of evil that surrounded him as he wrestled with the revenge of his father’s murder.  He wanted to avenge his father’s death, but gave himself time to consider a just punishment. Each individual of the class for their last and final project will come up with a character which holds traits that can be understood and felt  and portrays qualities that represents our society today.  The most significant information that I hope you all gain from this classroom is that Shakespeare’s <em>Hamlet </em>allowed its audience to relate to the play through moral integrity and making conscience decisions but also by showing flaws of human nature.\r\n\r\nWe are in a time of crisis for humanity as we search the universe for a place to live, populate, and rebuild, but we cannot leave behind nor forget our past strengths, innovations, and advancements.  Nebula High is committed to keeping education significant.  We will continue to learn and study the masters that came before us. The Neolithic people modeled engineering and determination, the Egyptians showed that human life is valuable now and in the afterlife and culture is rich, the sculptors of the gargoyles of Notre Dame demonstrated the art of innovation, and Shakespeare, himself, left a written legacy that has never been surpassed. This semester will hold knowledge of important artistic originality that has withstood time. With the knowledge gained from the class, I hope for you to apply it to daily life and open your eyes to the genius of our ancestors as we write a new history for  the people of Earth.\r\n\r\n&nbsp;','A travel Through Time ','','publish','open','open','','a-travel-through-time','','','2011-05-11 15:56:22','2011-05-11 21:56:22','',0,'http://jeanatacc.com/2011/?p=1364',0,'post','',8),(1365,25,'2011-05-11 15:30:31','2011-05-11 21:30:31','Earth sits desolate, alone, and inhabited.  We have destroyed it, or did it destroy us? We search through space for our new home, with hope yet with the understanding that a beautiful and productive planet was taken for granted.  We must learn from our mistakes.  We must value the ones that came before us and use their innovations and rich culture to help us find our new residence and make it great too.\n\n<!--more-->\n\nWith that, I welcome you to Nebula High.  It is the year 2100 and what a beautiful day it is in space. I am more than thrilled to have you enrolled in my Humanities class this semester. Throughout the course we will be learning about the pre-history of our once habitable Earth where our ancestors roamed and times when humans soared to great heights in science and art.  The course will cover topics that date back to the year 3000 B.C. Each section of the class will be broken down into four classrooms that will be fully dedicated to the teachings of certain subjects I have chosen for this semester. In the first classroom we will start off in Salisbury England where Stonehenge once stood. After pondering about Stonehenge we will travel to Egypt to recall the Book of the Dead. Then we will head to France to be spooked by the gargoyles! Soon after we will return back to England to contemplate the famous quote,  “To be or not to be, that is the question,” and visit the one and only, Shakespeare. I hope you all enjoy the spring semester of 2100 as much as I did some ninety years ago, and yes I am that old.\n\nIn classroom #1 I will introduce you to one of England’s most famous mysteries of all time, Stonehenge. The walls of the room are filled with pictures of the excavation sites of the Abbey holes from many years ago which contained bone remains. In the middle of the classroom there is a miniature model of Stonehenge made from parts of the original stones since the real size of the stones at Stonehenge were too large to bring aboard. First, in classroom #1 you all will learn how perfectly aligned Stonehenge was to the winter and summer solstices in respect for life and death.  Circles of stone or wood lined up with the sun at certain times of the year represented the Neolithic people and how they celebrated the living and the dead.  After we cover the alignment of the stones, you will sit in the position of the stones just as they stood at Stonehenge to understand their placement.  I will then pass around the tools once used by the Neolithic people, who carved the stones into their rectangular form. After examining the tools the class will learn about the extreme distance the stones traveled to their destination. You will theorize ideas as to how the Neolithic people moved the stones from the Prescelly Mountains to the Salisbury Plain where they stood on earth. Once you have brainstormed possibilities on how the stones were transported, I will present the rolling method.  Back in 2009 archeologist Andrew Young believed the Neolithic people who built Stonehenge used little stone balls as a way to transport the large and heavy stones. The class will then interact with one another demonstrating the rolling method, and then compare their ideas to Andrew Young’s ideas to see if there has been any sort of progression made on how the Neolithic people transported the stones from miles and miles away. The most significant information that I hope you all gain from the Stonehenge classroom is the intelligence behind the Neolithic people’s engineering of movement for the enormous stones found at Stonehenge and how much they valued life and death.\n\nIn classroom #2 we will visit the ancient Egyptians during the 18<sup>th</sup> dynasty. This room is specifically designed for the Egyptian Book of the Dead. To get to the room the class will walk through an ancient Egyptian sarcophagus as if passing through to the afterlife like the ancient Egyptians had perceived. Hieroglyphics and vignettes straight from examples of the Book of the Dead will cover the walls in order to provide images of the test that the Egyptians were to encounter in their afterlife.  Since we were able to preserve it in a glass case, texts from the real book of the dead will be located in the room for the class to view at first hand. During our time spent in classroom #2 you will learn about the test that the Egyptians believed they would have to successfully pass in their afterlife, aided by the Book of the Dead, in order to reach their final judgment day. The class will research the spells, charms, numbers, and magical passwords of the Book of the Dead for room #2’s final project. The class will also learn how the Egyptians spent their entire lifetime on Earth preparing for what was to come next after their death. They spent years and years building pyramids in order to please their gods for good grace and life after death. The pyramids the Egyptian built with an artistic touch set them apart from everyone else in the world. Mummification also played an important role in the preparation for the afterlife. Just for fun, the class will split into groups to roll one member of the group in toilet paper to mimic a mummy. Whoever wins the race will be granted extra credit on their final project. For the final project you will choose sections from the Book of the Dead that most meaningful to a successful afterlife. Each student will then present their own personalized Book of the Dead to the class. The most significant information that I hope you will gain from the class on the Egyptian Book of the Dead is how important the afterlife and the final judgment day was to the Egyptians. The Book of the Dead is what defines the life of the ancient Egyptians.\n\nIn classroom #3 we will visit Paris, France to learn about the gothic, monster like creatures of the Notre Dame Cathedral, the gargoyles. The walls of this room will be designed to look like the classroom is located on top of the cathedral’s balconies looking over Paris just like the gargoyles did. The ceilings of the room will be high and arched like the ceilings of the cathedrals in order for you to feel like you are actually in a medieval style church. Luckily enough the ship was able to save some of the gargoyles from Notre Dame and they are aboard the spaceship for display in the classroom. During the time spent in room #3 you will learn how the gargoyles were a new innovative way to drain out the water collected on the rooftops of the cathedrals. They extended far off the walls to prevent any damage from happening to the structure of the church. Without the gargoyles, the cathedral would collapse from standing rainwater. Though the gargoyles no longer serve their purpose here on the ship as they did as gutters for the Notre Dame Cathedral, they are preserved.  The class will also learn about how years ago on planet Earth, the polluted air and the acid rainwater caused the gargoyles to deteriorate. Every so often the gargoyles would have to be remodeled so that the stones they were carved from would not fall or break off. The class will take a look at how it is believed that the gargoyles were creatively made to look like beasts in order to intimidate people or to scare off evil spirits and to watch over Paris and other cities as a reminder of what humans fear the most, themselves. With this in mind, sculptors used their imagination to create beast-like creatures that had little or no resemblance to anything real. For the final project in room #3 the class will be broken up into groups to design a gargoyle that symbolizes a common fear that most people carry with them. Each group’s gargoyle should also have an beast-like quality that the group finds meaningful to survival. The most significant information that I hope you gain from the classroom of the Notre Dame gargoyles is that the gargoyles expressed historical values throughout the middle ages. How people perceived the world is seen within the eyes of each haunting creature.\n\nOur last stop for the semester will be classroom #4 where we will travel back to England to around 1600 A. D.  The class will discuss William Shakespeare’s most famous play,<em> Hamlet</em>. This room is by far my favorite. The classroom will be a complete replica of the Globe Theatre where Shakespeare’s plays were performed. The room will be in the shape of a circle with wooden seats that go up into a diagonal where you will sit. At the floor of the room will be a stage like the one at the Globe Theatre. During the Elizabethan era, <em>Hamlet </em>was a play written by Shakespeare for pure entertainment. Therefore actors from the ship will perform <em>Hamlet</em> during the last couple of days spent in class. To begin, you will learn how the play reflects romance, tragedy, and revenge. Though many plays contain the three elements, <em>Hamlet</em> was by far the most problematic text in all of literature because of the confusion in the meaning of the plot. Though we all know that back in 2080 researchers concluded that there was no significant message, the class will learn about the great debate that took part in deciphering the meaning behind <em>Hamlet</em>.  Shakespeare was a literary genius that only wanted to disrupt the mind of thinkers. He used<em> Hamlet</em> as a device to confuse people for the sake of his own entertainment but no one wanted to believe so until recent discovery. <em>Hamlet</em> is one of literature’s first real views of human nature in real form. Hamlet was a character that anyone could relate to and admire for his resistance to the corruptions of evil that surrounded him as he wrestled with the revenge of his father’s murder.  He wanted to avenge his father’s death, but gave himself time to consider a just punishment. Each individual of the class for their last and final project will come up with a character which holds traits that can be understood and felt  and portrays qualities that represents our society today.  The most significant information that I hope you all gain from this classroom is that Shakespeare’s <em>Hamlet </em>allowed its audience to relate to the play through moral integrity and making conscience decisions but also by showing flaws of human nature.\n\nWe are in a time of crisis for humanity as we search the universe for a place to live, populate, and rebuild, but we cannot leave behind nor forget our past strengths, innovations, and advancements.  Nebula High is committed to keeping education significant.  We will continue to learn and study the masters that came before us. The Neolithic people modeled engineering and determination, the Egyptians showed that human life is valuable now and in the afterlife and culture is rich, the sculptors of the gargoyles of Notre Dame demonstrated the art of innovation, and Shakespeare, himself, left a written legacy that has never been surpassed. This semester will hold knowledge of important artistic originality that has withstood time. With the knowledge gained from the class, I hope for you to apply it to daily life and open your eyes to the genius of our ancestors as we write a new history for  the people of Earth.\n\n&nbsp;','','','inherit','open','open','','1364-revision','','','2011-05-11 15:30:31','2011-05-11 21:30:31','',1364,'http://jeanatacc.com/2011/?p=1365',0,'revision','',0),(1366,25,'2011-05-11 15:31:31','2011-05-11 21:31:31','Earth sits desolate, alone, and inhabited.  We have destroyed it, or did it destroy us? We search through space for our new home, with hope yet with the understanding that a beautiful and productive planet was taken for granted.  We must learn from our mistakes.  We must value the ones that came before us and use their innovations and rich culture to help us find our new residence and make it great too.\r\n\r\n<!--more-->\r\n\r\nWith that, I welcome you to Nebula High.  It is the year 2100 and what a beautiful day it is in space. I am more than thrilled to have you enrolled in my Humanities class this semester. Throughout the course we will be learning about the pre-history of our once habitable Earth where our ancestors roamed and times when humans soared to great heights in science and art.  The course will cover topics that date back to the year 3000 B.C. Each section of the class will be broken down into four classrooms that will be fully dedicated to the teachings of certain subjects I have chosen for this semester. In the first classroom we will start off in Salisbury England where Stonehenge once stood. After pondering about Stonehenge we will travel to Egypt to recall the Book of the Dead. Then we will head to France to be spooked by the gargoyles! Soon after we will return back to England to contemplate the famous quote,  “To be or not to be, that is the question,” and visit the one and only, Shakespeare. I hope you all enjoy the spring semester of 2100 as much as I did some ninety years ago, and yes I am that old.\r\n\r\nIn classroom #1 I will introduce you to one of England’s most famous mysteries of all time, Stonehenge. The walls of the room are filled with pictures of the excavation sites of the Abbey holes from many years ago which contained bone remains. In the middle of the classroom there is a miniature model of Stonehenge made from parts of the original stones since the real size of the stones at Stonehenge were too large to bring aboard. First, in classroom #1 you all will learn how perfectly aligned Stonehenge was to the winter and summer solstices in respect for life and death.  Circles of stone or wood lined up with the sun at certain times of the year represented the Neolithic people and how they celebrated the living and the dead.  After we cover the alignment of the stones, you will sit in the position of the stones just as they stood at Stonehenge to understand their placement.  I will then pass around the tools once used by the Neolithic people, who carved the stones into their rectangular form. After examining the tools the class will learn about the extreme distance the stones traveled to their destination. You will theorize ideas as to how the Neolithic people moved the stones from the Prescelly Mountains to the Salisbury Plain where they stood on earth. Once you have brainstormed possibilities on how the stones were transported, I will present the rolling method.  Back in 2009 archeologist Andrew Young believed the Neolithic people who built Stonehenge used little stone balls as a way to transport the large and heavy stones. The class will then interact with one another demonstrating the rolling method, and then compare their ideas to Andrew Young’s ideas to see if there has been any sort of progression made on how the Neolithic people transported the stones from miles and miles away. The most significant information that I hope you all gain from the Stonehenge classroom is the intelligence behind the Neolithic people’s engineering of movement for the enormous stones found at Stonehenge and how much they valued life and death.\r\n\r\nIn classroom #2 we will visit the ancient Egyptians during the 18<sup>th</sup> dynasty. This room is specifically designed for the Egyptian Book of the Dead. To get to the room the class will walk through an ancient Egyptian sarcophagus as if passing through to the afterlife like the ancient Egyptians had perceived. Hieroglyphics and vignettes straight from examples of the Book of the Dead will cover the walls in order to provide images of the test that the Egyptians were to encounter in their afterlife.  Since we were able to preserve it in a glass case, texts from the real book of the dead will be located in the room for the class to view at first hand. During our time spent in classroom #2 you will learn about the test that the Egyptians believed they would have to successfully pass in their afterlife, aided by the Book of the Dead, in order to reach their final judgment day. The class will research the spells, charms, numbers, and magical passwords of the Book of the Dead for room #2’s final project. The class will also learn how the Egyptians spent their entire lifetime on Earth preparing for what was to come next after their death. They spent years and years building pyramids in order to please their gods for good grace and life after death. The pyramids the Egyptian built with an artistic touch set them apart from everyone else in the world. Mummification also played an important role in the preparation for the afterlife. Just for fun, the class will split into groups to roll one member of the group in toilet paper to mimic a mummy. Whoever wins the race will be granted extra credit on their final project. For the final project you will choose sections from the Book of the Dead that most meaningful to a successful afterlife. Each student will then present their own personalized Book of the Dead to the class. The most significant information that I hope you will gain from the class on the Egyptian Book of the Dead is how important the afterlife and the final judgment day was to the Egyptians. The Book of the Dead is what defines the life of the ancient Egyptians.\r\n\r\nIn classroom #3 we will visit Paris, France to learn about the gothic, monster like creatures of the Notre Dame Cathedral, the gargoyles. The walls of this room will be designed to look like the classroom is located on top of the cathedral’s balconies looking over Paris just like the gargoyles did. The ceilings of the room will be high and arched like the ceilings of the cathedrals in order for you to feel like you are actually in a medieval style church. Luckily enough the ship was able to save some of the gargoyles from Notre Dame and they are aboard the spaceship for display in the classroom. During the time spent in room #3 you will learn how the gargoyles were a new innovative way to drain out the water collected on the rooftops of the cathedrals. They extended far off the walls to prevent any damage from happening to the structure of the church. Without the gargoyles, the cathedral would collapse from standing rainwater. Though the gargoyles no longer serve their purpose here on the ship as they did as gutters for the Notre Dame Cathedral, they are preserved.  The class will also learn about how years ago on planet Earth, the polluted air and the acid rainwater caused the gargoyles to deteriorate. Every so often the gargoyles would have to be remodeled so that the stones they were carved from would not fall or break off. The class will take a look at how it is believed that the gargoyles were creatively made to look like beasts in order to intimidate people or to scare off evil spirits and to watch over Paris and other cities as a reminder of what humans fear the most, themselves. With this in mind, sculptors used their imagination to create beast-like creatures that had little or no resemblance to anything real. For the final project in room #3 the class will be broken up into groups to design a gargoyle that symbolizes a common fear that most people carry with them. Each group’s gargoyle should also have an beast-like quality that the group finds meaningful to survival. The most significant information that I hope you gain from the classroom of the Notre Dame gargoyles is that the gargoyles expressed historical values throughout the middle ages. How people perceived the world is seen within the eyes of each haunting creature.\r\n\r\nOur last stop for the semester will be classroom #4 where we will travel back to England to around 1600 A. D.  The class will discuss William Shakespeare’s most famous play,<em> Hamlet</em>. This room is by far my favorite. The classroom will be a complete replica of the Globe Theatre where Shakespeare’s plays were performed. The room will be in the shape of a circle with wooden seats that go up into a diagonal where you will sit. At the floor of the room will be a stage like the one at the Globe Theatre. During the Elizabethan era, <em>Hamlet </em>was a play written by Shakespeare for pure entertainment. Therefore actors from the ship will perform <em>Hamlet</em> during the last couple of days spent in class. To begin, you will learn how the play reflects romance, tragedy, and revenge. Though many plays contain the three elements, <em>Hamlet</em> was by far the most problematic text in all of literature because of the confusion in the meaning of the plot. Though we all know that back in 2080 researchers concluded that there was no significant message, the class will learn about the great debate that took part in deciphering the meaning behind <em>Hamlet</em>.  Shakespeare was a literary genius that only wanted to disrupt the mind of thinkers. He used<em> Hamlet</em> as a device to confuse people for the sake of his own entertainment but no one wanted to believe so until recent discovery. <em>Hamlet</em> is one of literature’s first real views of human nature in real form. Hamlet was a character that anyone could relate to and admire for his resistance to the corruptions of evil that surrounded him as he wrestled with the revenge of his father’s murder.  He wanted to avenge his father’s death, but gave himself time to consider a just punishment. Each individual of the class for their last and final project will come up with a character which holds traits that can be understood and felt  and portrays qualities that represents our society today.  The most significant information that I hope you all gain from this classroom is that Shakespeare’s <em>Hamlet </em>allowed its audience to relate to the play through moral integrity and making conscience decisions but also by showing flaws of human nature.\r\n\r\nWe are in a time of crisis for humanity as we search the universe for a place to live, populate, and rebuild, but we cannot leave behind nor forget our past strengths, innovations, and advancements.  Nebula High is committed to keeping education significant.  We will continue to learn and study the masters that came before us. The Neolithic people modeled engineering and determination, the Egyptians showed that human life is valuable now and in the afterlife and culture is rich, the sculptors of the gargoyles of Notre Dame demonstrated the art of innovation, and Shakespeare, himself, left a written legacy that has never been surpassed. This semester will hold knowledge of important artistic originality that has withstood time. With the knowledge gained from the class, I hope for you to apply it to daily life and open your eyes to the genius of our ancestors as we write a new history for  the people of Earth.\r\n\r\n&nbsp;','A travel through Time ','','inherit','open','open','','1364-revision-2','','','2011-05-11 15:31:31','2011-05-11 21:31:31','',1364,'http://jeanatacc.com/2011/?p=1366',0,'revision','',0),(1367,25,'2011-05-11 15:31:37','2011-05-11 21:31:37','Earth sits desolate, alone, and inhabited.  We have destroyed it, or did it destroy us? We search through space for our new home, with hope yet with the understanding that a beautiful and productive planet was taken for granted.  We must learn from our mistakes.  We must value the ones that came before us and use their innovations and rich culture to help us find our new residence and make it great too.\r\n\r\n<!--more-->\r\n\r\nWith that, I welcome you to Nebula High.  It is the year 2100 and what a beautiful day it is in space. I am more than thrilled to have you enrolled in my Humanities class this semester. Throughout the course we will be learning about the pre-history of our once habitable Earth where our ancestors roamed and times when humans soared to great heights in science and art.  The course will cover topics that date back to the year 3000 B.C. Each section of the class will be broken down into four classrooms that will be fully dedicated to the teachings of certain subjects I have chosen for this semester. In the first classroom we will start off in Salisbury England where Stonehenge once stood. After pondering about Stonehenge we will travel to Egypt to recall the Book of the Dead. Then we will head to France to be spooked by the gargoyles! Soon after we will return back to England to contemplate the famous quote,  “To be or not to be, that is the question,” and visit the one and only, Shakespeare. I hope you all enjoy the spring semester of 2100 as much as I did some ninety years ago, and yes I am that old.\r\n\r\nIn classroom #1 I will introduce you to one of England’s most famous mysteries of all time, Stonehenge. The walls of the room are filled with pictures of the excavation sites of the Abbey holes from many years ago which contained bone remains. In the middle of the classroom there is a miniature model of Stonehenge made from parts of the original stones since the real size of the stones at Stonehenge were too large to bring aboard. First, in classroom #1 you all will learn how perfectly aligned Stonehenge was to the winter and summer solstices in respect for life and death.  Circles of stone or wood lined up with the sun at certain times of the year represented the Neolithic people and how they celebrated the living and the dead.  After we cover the alignment of the stones, you will sit in the position of the stones just as they stood at Stonehenge to understand their placement.  I will then pass around the tools once used by the Neolithic people, who carved the stones into their rectangular form. After examining the tools the class will learn about the extreme distance the stones traveled to their destination. You will theorize ideas as to how the Neolithic people moved the stones from the Prescelly Mountains to the Salisbury Plain where they stood on earth. Once you have brainstormed possibilities on how the stones were transported, I will present the rolling method.  Back in 2009 archeologist Andrew Young believed the Neolithic people who built Stonehenge used little stone balls as a way to transport the large and heavy stones. The class will then interact with one another demonstrating the rolling method, and then compare their ideas to Andrew Young’s ideas to see if there has been any sort of progression made on how the Neolithic people transported the stones from miles and miles away. The most significant information that I hope you all gain from the Stonehenge classroom is the intelligence behind the Neolithic people’s engineering of movement for the enormous stones found at Stonehenge and how much they valued life and death.\r\n\r\nIn classroom #2 we will visit the ancient Egyptians during the 18<sup>th</sup> dynasty. This room is specifically designed for the Egyptian Book of the Dead. To get to the room the class will walk through an ancient Egyptian sarcophagus as if passing through to the afterlife like the ancient Egyptians had perceived. Hieroglyphics and vignettes straight from examples of the Book of the Dead will cover the walls in order to provide images of the test that the Egyptians were to encounter in their afterlife.  Since we were able to preserve it in a glass case, texts from the real book of the dead will be located in the room for the class to view at first hand. During our time spent in classroom #2 you will learn about the test that the Egyptians believed they would have to successfully pass in their afterlife, aided by the Book of the Dead, in order to reach their final judgment day. The class will research the spells, charms, numbers, and magical passwords of the Book of the Dead for room #2’s final project. The class will also learn how the Egyptians spent their entire lifetime on Earth preparing for what was to come next after their death. They spent years and years building pyramids in order to please their gods for good grace and life after death. The pyramids the Egyptian built with an artistic touch set them apart from everyone else in the world. Mummification also played an important role in the preparation for the afterlife. Just for fun, the class will split into groups to roll one member of the group in toilet paper to mimic a mummy. Whoever wins the race will be granted extra credit on their final project. For the final project you will choose sections from the Book of the Dead that most meaningful to a successful afterlife. Each student will then present their own personalized Book of the Dead to the class. The most significant information that I hope you will gain from the class on the Egyptian Book of the Dead is how important the afterlife and the final judgment day was to the Egyptians. The Book of the Dead is what defines the life of the ancient Egyptians.\r\n\r\nIn classroom #3 we will visit Paris, France to learn about the gothic, monster like creatures of the Notre Dame Cathedral, the gargoyles. The walls of this room will be designed to look like the classroom is located on top of the cathedral’s balconies looking over Paris just like the gargoyles did. The ceilings of the room will be high and arched like the ceilings of the cathedrals in order for you to feel like you are actually in a medieval style church. Luckily enough the ship was able to save some of the gargoyles from Notre Dame and they are aboard the spaceship for display in the classroom. During the time spent in room #3 you will learn how the gargoyles were a new innovative way to drain out the water collected on the rooftops of the cathedrals. They extended far off the walls to prevent any damage from happening to the structure of the church. Without the gargoyles, the cathedral would collapse from standing rainwater. Though the gargoyles no longer serve their purpose here on the ship as they did as gutters for the Notre Dame Cathedral, they are preserved.  The class will also learn about how years ago on planet Earth, the polluted air and the acid rainwater caused the gargoyles to deteriorate. Every so often the gargoyles would have to be remodeled so that the stones they were carved from would not fall or break off. The class will take a look at how it is believed that the gargoyles were creatively made to look like beasts in order to intimidate people or to scare off evil spirits and to watch over Paris and other cities as a reminder of what humans fear the most, themselves. With this in mind, sculptors used their imagination to create beast-like creatures that had little or no resemblance to anything real. For the final project in room #3 the class will be broken up into groups to design a gargoyle that symbolizes a common fear that most people carry with them. Each group’s gargoyle should also have an beast-like quality that the group finds meaningful to survival. The most significant information that I hope you gain from the classroom of the Notre Dame gargoyles is that the gargoyles expressed historical values throughout the middle ages. How people perceived the world is seen within the eyes of each haunting creature.\r\n\r\nOur last stop for the semester will be classroom #4 where we will travel back to England to around 1600 A. D.  The class will discuss William Shakespeare’s most famous play,<em> Hamlet</em>. This room is by far my favorite. The classroom will be a complete replica of the Globe Theatre where Shakespeare’s plays were performed. The room will be in the shape of a circle with wooden seats that go up into a diagonal where you will sit. At the floor of the room will be a stage like the one at the Globe Theatre. During the Elizabethan era, <em>Hamlet </em>was a play written by Shakespeare for pure entertainment. Therefore actors from the ship will perform <em>Hamlet</em> during the last couple of days spent in class. To begin, you will learn how the play reflects romance, tragedy, and revenge. Though many plays contain the three elements, <em>Hamlet</em> was by far the most problematic text in all of literature because of the confusion in the meaning of the plot. Though we all know that back in 2080 researchers concluded that there was no significant message, the class will learn about the great debate that took part in deciphering the meaning behind <em>Hamlet</em>.  Shakespeare was a literary genius that only wanted to disrupt the mind of thinkers. He used<em> Hamlet</em> as a device to confuse people for the sake of his own entertainment but no one wanted to believe so until recent discovery. <em>Hamlet</em> is one of literature’s first real views of human nature in real form. Hamlet was a character that anyone could relate to and admire for his resistance to the corruptions of evil that surrounded him as he wrestled with the revenge of his father’s murder.  He wanted to avenge his father’s death, but gave himself time to consider a just punishment. Each individual of the class for their last and final project will come up with a character which holds traits that can be understood and felt  and portrays qualities that represents our society today.  The most significant information that I hope you all gain from this classroom is that Shakespeare’s <em>Hamlet </em>allowed its audience to relate to the play through moral integrity and making conscience decisions but also by showing flaws of human nature.\r\n\r\nWe are in a time of crisis for humanity as we search the universe for a place to live, populate, and rebuild, but we cannot leave behind nor forget our past strengths, innovations, and advancements.  Nebula High is committed to keeping education significant.  We will continue to learn and study the masters that came before us. The Neolithic people modeled engineering and determination, the Egyptians showed that human life is valuable now and in the afterlife and culture is rich, the sculptors of the gargoyles of Notre Dame demonstrated the art of innovation, and Shakespeare, himself, left a written legacy that has never been surpassed. This semester will hold knowledge of important artistic originality that has withstood time. With the knowledge gained from the class, I hope for you to apply it to daily life and open your eyes to the genius of our ancestors as we write a new history for  the people of Earth.\r\n\r\n&nbsp;','A travel Through Time ','','inherit','open','open','','1364-revision-3','','','2011-05-11 15:31:37','2011-05-11 21:31:37','',1364,'http://jeanatacc.com/2011/?p=1367',0,'revision','',0),(1368,1,'2011-05-11 14:39:26','2011-05-11 20:39:26','Due to the severe climate changes, we can no longer stay on Earth. They\'ve chosen a select group of people to preserve the brilliant works of our old home. Aboard our immense ship, I\'ve designed a museum to carry the four pieces: De rerum Natura by Lucretius, The Last Supper by Leonardo Da Vinci, Everyman: a morality play, and the Great Wall of China. It will be in form of a hallway; a wide hallway with a high ceiling; a walk-through display with each piece given its own closed area separated by short entrance ways to surprise those unaware of the magnificent contents.\r\n\r\n<!--more-->\r\n\r\nThe first piece De rerum Natura \"On the Nature of Things\" is an unfinished six-book scientific epic poem by a 1<sup>st</sup> century Italian man, Titus Lucretius Carus - a man widely considered ahead of his time. Firstly, it is unique stylistically because it is the earliest dactylic hexameter of its kind. This philosophic masterpiece eloquently displays Epicurean studies and offers us a better look in it, since little was preserved of Epicurus\' work – only that of his disciples. He introduces us to the theory of atomism, a truly grand feat given the time it was written. During Lucretius’ lifetime, Italy was experiencing a difficult time; It saw revolts, massacres, civil wars and assassination of authority figures. Lucretius, in such a heavy setting, it is no wonder he was so captivated by the Epicurean philosophy. The overall message of Epicureans being: It \"spoke of a world which was not managed by an unseen power, of a life in which a man\'s actions were free from divine scrutiny, a life in which, within the bounds of society, a man might shape events according to his own will, securing himself against discomfort, acknowledging his natural instincts, relieved from the nagging fear of an unknown beyond the grave by the certainty of death as a final end.\" (Hanrott) He is the first of all to be a poet of Epicurean philosophy and was wise enough to write his brilliance into Latin so that more people could read and share his work. In this, he also more easily rendered abstract concepts; Lucretius considered it much like a doctor who spreads honey along the edges of a cup so a child will more readily consume it. Stoicism and Epicurean philosophies were both dominant schools of the time. They taught self-sufficiency and freedom from worldly negativities; Stoics expressed this through indifference in order to achieve clear sense of self-control. On the contrary, Epicureans simply shut out the existence of fate completely. In a time where Romans were “stimulated to seek solutions to the disparity between ideal concepts of government and the reality of corruption, violence and injustice,” and an interest in Epicureanism was high, Lucretius’ poetry exemplifies cultural trends of the age. (Lucretius) Hundreds of years later, as it was uncovered during the Renaissance - through admiration, influence and rewriting of his works - Epicureanism lived on. It will rest in this museum today, so it will continue to forever influence the cosmological and evolutionary speculations of philosophers, historians, scientists, and others alike. Upon reading, you can forget it was written literally thousands of years ago, with advanced thought in sociology, evolutionary theory, the infinite universe and the cosmos. Titus Lucretius Carus, a man we know very little about, can \"speak from his grave\" with his poem. We are able to dive into the mind of a man who deeply admired Epicurus with an eye for nature and an endless thirst for the universal knowledge and truth. Future generations should have this for many years to come, as they too, can live a life with the absence of fear, develop keen observation for the world around us, search for the facts of the physical world and think critically when subject of atoms, space, death, life, gods, and/or pseudo-science comes up. A work that was once taboo to the Christian church, attached with false stories to discredit its content, is quite a gem to have preserved today. Aside from its historical value, De rerum natura is valuable to those who are presented with it because it can calm the concerns of a \"doomsday,\" give us a greater appreciation for Epicurus, and return to us the joy that keeps us from maintaining a delightful life, even within harsh political turmoil and violence as Lucretius once did - even as we travel deep into space to our new home. To preserve the piece itself, I would include a copy manuscript, dating back to approximately 1490, under a centered, squared glass case - for safety and to avoid deterioration. One of first English translations, done by Lucy Hutchinson in the 1650s, would have interchanging quotes from his six-book series slowly flashing vertically along transparent screens disguised as plain, white museum walls. Although not quite the original mark of Lucretius within the case and its inability to capture his message in its entirety; the people aboard the ship get to see an early copy of the work, while also being able to revel in the ideas of Lucretius as they illuminate the walls surrounding them.\r\n\r\nAs for the morality play Everyman, there are only four known remaining early writings it: two-thirds a manuscript held in the British Museum, another section in the Bodleian Library; two manuscripts: one held in a personal library and another in Salisbury Cathedral, and the last of the bunch, in the Britwell library. Amongst them, the previous two are the oldest, brought upon by a man who unearthed them around 1490. (Moses) Somewhat following the design of the \"Lucretius - On the Nature of Things\" walk-through, the valuable aging fragments would be placed within a glass case while a list of characters is shone through the furthest wall. Also, all along the walls are headphones with the choice of two buttons, for people to listen to English translations with dramatic voices if they choose, or more simply, to the history of medieval theatre - to cherish what is being preserved beneath the glass. Weekly, the play itself is performed in the outer area. In recent times, with a growing secular audience, we generally do not spend our days aching to learn of a Divine figure watching upon us who may damn us to hell at our misconduct. Although, we have become a world consumed with our earthly comforts, wound up on all we can possess. Death is unavoidable and when we reach the time to face it, like Everyman did in the 1400s, we are reminded the only thing accompanying our eternal good-bye is the good things we have done to reminisce upon. In Medieval Europe, most people who populated it, were illiterate and were unable to read the bible or other religious texts. They could only participate in the oral sermons that were given. This play, an alternative way to speak the words of Old and New Testaments, was quite special during the time because the words of Christ would be more easily spread. In Everyman, we follow a character that represents all of mankind – a man who has abused his mortal freedom, but repents his sins so he can be saved. The greatest challenge a man faces are the World, the Flesh, and the Devil. It is strongly emphasized “sin is inevitable,” yet still, “repentance is always possible” (Potter) He meets a sea of personified characters that test his Earthly conduct. God summons Death to have Everyman take pilgrimage with him, only allowing him to take those who will contribute to his soul in the afterlife. Through the rejection of the personified wordly characters such as Beauty, Material Goods and Strength, we discover the morals Everyman was written to teach: that man mustn’t become obsessed with possessions and objects of wealth. Rather, to live a life against self-satisfaction and fulfill a life of virtue, conscious of Jesus’ sacrifice for us. Work of the fifteenth century focused on men being summoned to death and religious faith revived much of the dramatic art form, so Everyman truly exemplifies that of its time. In the museum, historians and people of all walks of life can find Everyman to be an intriguing source of discovering and learning the moral code that existed during the Middle Ages. For the audience to truly appreciate this piece, one must remember it flourished in a time where dramas were largely theological and created mainly to reform its viewers. These stories were told with medieval faith being strong and everything of the Earth believed to have a great moral underlining. This everlasting play\'s place in the museum will be a wonderful way to learn valuable life lessons through a medieval mind’s standpoint and discover what we want of this life.\r\n\r\nThe third piece in the museum is an engineering masterpiece; it is truly special as it stretches like a winding dragon through all sorts of land and terrain over northern China - The Great Wall. Although walls themselves are quite common throughout history as a barrier for intruders, walls have been embedded in Chinese history far greater than in any other culture. Innovative, in that, sizes of that proportion had been unseen in previous wall-building. Even the concept Emperor Qin set of a wall covering an entire country was innovative, since this love for wall-building only extended as far as around homes or farms. It is essential for the museum because it represents an architecturally advanced civilization, which involved over three million in its history’s making. It brings a sense of pride to Chinese people because of its great historical value and stunning size. Also, each segment, along with its watchtowers, shows different technique of building - a tangible timeline of Ancient China and something truly unique to preserve for future generations to see. The thousands of miles of stone, brick, twigs, earth and rocks would be impossible to place neatly amongst the other museum’s pieces so, onto the next room will be a \"mini\" great wall of china - a walk-through area that is created by various chunks of the wall as built by different dynasties. At first, you walk through the earliest sections of the Great Wall as built by the Qin and Zhou dynasties, mostly built from local materials rammed between boards; then onto the Han portion where they\'ll be walking through what was once constructed with a water-fine gravel mixture made sturdy with willow reeds; then onto the most recent segments of the wall, as contributed by the Ming dynasty, which consist of colossal stone and brick. Throughout all this, information, as with the previous preserved works, will illuminate on the walls so people aboard can get a full feel and understanding of the effort and lives that were put into such a small piece of what they\'re standing upon, and gain insight on the stories behind such different building techniques and the fear that brought upon its construction.\r\n\r\nThe second of the originals displayed within the museum include Leonardo Da Vinci\'s Last Supper. It will come last after the flashing walls and Great Wall walkthrough since, in order to preserve the grandeur feeling it possesses, standing tall at the end of the refectory at Santa Maria delle Grazie in Milan, it will be at the end of the spaceship\'s museum hall. This painting, with its impeccable use of the one-point perspective to draw the viewers to Christ’s face, perfect distribution of people along each side of the table to converge at a center and relatable expressions of the disciples make it stand out as a remarkable painting. Unfortunately for us, Da Vinci painted tempera on dry plaster, which hasn’t stood the test of time too well and has endured many major restorations. The Saint Maria Delle Grazie has it in a climate-controlled environment and pays special precaution to its preservation, so within the spaceship museum, it will be under similar conditions. This piece is often referred to as the marker of an era in art history, known as the High Renaissance, as he is one of the major representatives. It is a time characterized by maturation and a peak in Renaissance art. This included the works of the fellow incredible artists: Titan, Raphael and Michelangelo. Artwork within this time period showed us perfect balance in harmony, knowledge of classical art and displayed flawless expertise and skill. When it was uncovered to the people, it must have caused quite a stir with its realistic feel as if you are involved amongst the table of Christ and his disciples. Still, even if we’ve seen all that has come before and after such an amazing and deteriorating piece, it should be preserved because it is necessary to be kept in its original glory. The fact it has been mass produced for generations after its creation gives people an opportunity to engage in the imagery’s history. More importantly, it represents an age where we no longer needed to display holy images as some abstract or intangible form. With the heavy weight of Humanism, Leonardo was able to give more credit to the human mind. Even if the exact image he painted was subject to decision of the man who commissioned Leonardo, it represents a time period of insanely gifted individuals who deserve to have their work preserved for future generations to see time and time again.\r\n\r\nOverall, I hope my museum succeeds at broadening its viewer’s knowledge of its various contents. Whether its Ancient China’s emperors, roots of atheism, the medieval church ideology or even how not to paint when you’re planning on having your work withstand for centuries to come. Even though there are many works lost in time either from natural disasters, completely changed through oral tradition or simply written down and never distributed, we are lucky to have these four pieces: ones that exemplify those of its time and deserve to be preserved on our space ship and onto our new home.\r\n\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nHanrott, Robert. \"Epicureanism after Epicurus.\" <em>Hanrott &amp; Horsley</em>. N.p., n.d. Web. 4 May 2011. &lt;http://www.hanrott.com/epicureanism/epicureanhistory.php&gt;.\r\n\r\n“Lucretius.” Ancient Greece and Rome: An Encyclopedia for Students. Ed. Carroll Moulton. Vol. 3. New York: Charles Scribner\'s Sons, 1998. 18-19. Gale Virtual Reference Library. Web. 15 Feb. 2011.\r\n\r\nMoses, Montrose. \"Introduction: The Predecessors of Everyman.\" <em>Everyman: A Morality Play</em>. New York: J. F. Taylor &amp; Company, 1903. 1-54. Print.\r\n\r\nPotter, Robert. <em>The English Morality Play.</em> London: Routlede &amp; Kegan Paul, 1975. 16. Print.\r\n\r\n&nbsp;','Final Project','','inherit','open','open','','1334-revision-2','','','2011-05-11 14:39:26','2011-05-11 20:39:26','',1334,'http://jeanatacc.com/2011/?p=1368',0,'revision','',0),(1369,1,'2011-05-11 13:40:29','2011-05-11 19:40:29','<p style=\"text-align: center\"><a href=\"http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg\"><img class=\"aligncenter\" src=\"http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg\" alt=\"\" width=\"250\" height=\"255\" /> http://www.tomorrowstrends.com/future_freeway_sign250_1.jpg</a></p>\r\nAs the Earth becomes uninhabitable over the years, life aboard the spaceship is now necessary for civilizations to continue, expand, and flourish as society has done throughout history.  Knowing that we were limited in the number of objects to preserve, it was my responsibility, as Curator, to choose four works of art dated from Pre-History to the Renaissance.  Using my creative abilities, I was able to design the space for the preservation of these magnificent historical artworks: Oedipus the King, Hagia Sophia, Donatello’s David, and the Egyptian Book of the Dead.  After learning the enormous impact and influence each culture and art has provided throughout history, I knew that it was undeniably certain, these works will be able to stir as much enthusiasm and awe as it has during it its era.  These works will continue to be used as artistic inspiration for the people aboard as they see the various interpretations of their cultures and imaginations during the historical period of their existence.<!--more-->\r\n<p style=\"text-align: left\"><img class=\"aligncenter\" src=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\" alt=\"\" width=\"461\" height=\"356\" /><a href=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\">http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg</a></p>\r\n<p style=\"text-align: left\"><a href=\"http://www.shafe.co.uk/crystal/images/lshafe/Lloyd_Wright_Guggenheim_Museum_interior_1955-59.jpg\"></a>To display these historical pieces, I designed a space much like that of the Guggenheim Museum in New York, New York.  I have always been amazed at the beauty and simplicity of the architecture that provides a subtle continuous flow for people to view art.  I think it is very important for the preservations to be viewed as timeless and everlasting to the human past and future generations.  Each display will have its own section on the winding ramp.  For viewers to better understand each work, the space provided on the elongated section of the ramp will include floating, holographic text that goes into detail the description, historical context and the influences of the preserved art throughout history.  The sections of each piece will be separated by a threshold, only slightly visible, that when crossed, quickly changes the scene of the space to the appropriate display.  This subtle and indistinct separation of cultures and art still holds the theme of an unending and timeless take on the history of mankind.</p>\r\nDisplaying <em>Oedipus the King</em> required some thought into how others may be able to view Sophocles’ most famed and influential play.  As a theatrical performance that became a model for the development of other forms of drama, the preservation was done by integrating holographic advancement with trained actors to portray the adventures of the tragic “hero”.  Because there is no original work of the play, we must make sure that we accurately describe and illustrate the work that historically impacted forms of entertainment for centuries.  During the time where Greek drama was popularized, the Athenians worshipped many gods who they believed to be in control of an individual’s destiny.  The reoccurring idea of fate determined by the gods in the play, along with its association to the festivals of Dionysus, exemplified the cultural trend of the time.\r\n\r\nDuring the period of ancient Greek theatre, Sophocles had a very unique style, lengthening the resolution scene of the play instead of concentrating on the actions to get there.  Sophocles “modified the ceremonial formality of earlier Greek tragedies by individualizing the characters and introducing moments of great psychological intimacy” (Fiero).\r\n\r\nDespite its influences on the development of theatre, <em>Oedipus the King</em> provides a philosophical motif of the uncertainties and dangers of ultimately learning the truth.  From this, the play has shaped the beliefs of psychologists and influenced much work in the field of psycho analysis, one of the major innovations of human thought—“our deep fear that every step we take forward on what we think is the road of progress may really be a step toward a foreordained rendezvous with disaster” (qtd. in Knox 28).  The impact on the psychological sciences in history is the most significant aspect of the acclaimed <em>Oedipus the King.</em>\r\n\r\nAfter completion of my project to display <em>Oedipus the King, </em>I see the people on board interacting with the holographic visual representation of the play as it is acted throughout the display space.  Because each space consisted of the section of the ramp like that of the Guggenheim museum, the viewers will be able to follow along with the play as they proceed up the ramp to the next display.  They will be intrigued and fascinated with the works of Sophocles as they are performed live and closer than they would imagine.\r\n\r\nAs a historical and magnificent architectural building that has survived attack religious riot destructions, and multiple transformations, the Hagia Sophia will be preserved by floating text describing its history as viewers walk up the ramp.  The text will lead to a door that will take the viewer into a virtual, yet realistic representation of the Hagia Sophia.  The entrance will feel as if you were walking in during the 21<sup>st</sup> century.\r\n\r\nAs Christianity continued to spread throughout Europe during the time Hagia Sophia was built, the level importance for creating a building for religious worship was enormous, thus exemplifying the cultural trend of the time.  Christianity is not observed throughout its existence.  Also, because the Hagia Sophia was initially a Christian building and Roman architecture was generally used as the architectural style for constructing them, this massive piece of art fit into the artistic trend of the 6<sup>th</sup> century.\r\n\r\nDespite conforming to the trend of Roman architecture, Hagia Sophia was unique in succeeding as the largest cathedral for over one thousand years.  Because of such a large building and the design for a huge dome for which it is well known for, new ideas were implemented to secure its stability.  The size and the adaptability of structuring in the art as architecture were two of the major innovations that Hagia Sophia represents.\r\n\r\nPeople aboard the spaceship will acknowledge the significance of Hagia Sophia in history as it is the oldest church that has been a part of both Christian and non-Christian worship.  The strength of withstanding so many transformations for such a beautiful, massive architectural masterpiece is the most important, significant acknowledgement of the Hagia Sophia.\r\n\r\nAs they enter the virtual church, the people will be astounded by the beauty and the intricate detail inside the “building”—there will only be portraits of the exterior as it is equally beautiful, but extremely massive to display.  They can look up to the dome at the center of the building.  They will be astonished to learn that such an old structure would be so beautiful and strong in historical perspective.\r\n\r\nAfter viewing the interior of the Hagia Sophia, the viewers will be able to enter the world that revolves around Donatello’s David.  This magnificent sculpture will be floating in the middle as the viewers ascend the ramp.  While doing so, the biblical story of David and Goliath will be visually displayed by holographic images along the walls.  Because the sculpture depicts the epic biblical hero, the viewers will better understand why it was sculpted with such detail.\r\n\r\nDuring the time Donatello sculpted David, artists were very passionate about studying and reproducing the classical styles of antiquity.  Donatello had sculpted the first nude statue who poised a contrapposto like that of the Greeks, exemplifying artistic and cultural trends of their time.  He also portrayed David in a feminine pose, as if confident in himself and his body which was associated with the dominant themes of admiration of thyself and interest in human proportions.\r\n\r\nBecause it was the first bronze large-scale, free-standing nude statue of the Renaissance, Donatello’s David represented major innovations in art during his time period.  Bronze figures were not seen since antiquity and his nude sculpture exalted the human body rather than reject its sinfulness.  His sensual masterpiece was a major innovation of the time that influenced other great masterpieces like that of Michelangelo’s David.\r\n\r\nThe idea that the nude human body is beautiful rather than sinful is very significant for viewers aboard the spaceship to acknowledge as they recognize the unique style Donatello used to sculpt the biblical hero.  The viewers will be able to gather around and understand the sculpture as the story unfolds around them.  They will be astonished to see and interact with the holographic action up close and personal as they ascend closer to view the beauty of the Donatello’s David.\r\n\r\nFinally, as they ascend higher up the ship, they will enter the world of the Ancient Egyptians.  As Curator, I will display the Egyptian Book of the Dead also as floating text on the walls where the chants can be heard and the illustrations will be moving sequentially in time.  The viewers will be able to see everything around them come to life and will be able to interact with the illustrations as their own hearts can be imaginarily “weighed” on the Great Scale by Anubis and looked upon by Osiris and his wife, Isis.  The gods will be holograms following the viewers along their path ascending up into the “heavens” as they continue their journey up the ramp through the Egyptian world and ultimately the end of the preserved displays.\r\n\r\nThe Egyptian Book of the Dead exemplified the arts and works of its time as they revolved their life around their religion and the many gods they believed in.  They put a lot of energy and effort in preparing for their afterlife so the Book of the Dead was a way to help guide them to their heavenly destination safely.  One innovation in art was the lack of illustrations depicting death and dying.  They depicted funerary preparations, but the Egyptians dealt with how people lose their lives.  Another major innovation was it expanded the freedom for other Egyptians, despite socioeconomic class structures, to be entitled to follow Osiris into the afterlife if they could afford it.  This was highly unusual for this time period because the social structures were very evident in their lifestyles.  The Egyptian Book of the Dead was one of the first texts to allow funerary preparations for people other than pharaohs and royals.\r\n\r\nThe viewers should know how other cultures viewed religion and their way of life.  It is very insightful to view how people revolved their lives around religion and how the Egyptians put so much effort to make sure lives were brought to eternal bliss.  As we know it religion has sparked much controversy and has branched out into so many views that the first beliefs of people should not be forgotten.  People use religion to comfort themselves from the uncertainties of life and the Egyptian’s way of doing so through the Book of the Dead is the most significant aspect of the display the viewers should acknowledge.\r\n\r\nThese four displays will be placed in ascending order where the top will be the “heavens” as the Egyptians will lead the way to the final destination.  The viewers will be able to interact with each display accordingly to the holographic design and representations of text around the walls that will help them understand the works of art in their own unique way.  The viewers aboard the spaceship of 2100 will be able to grab magnificent insight into the once inhabitable world that used intellect and creativity to produce such beautiful pieces of art that would continually be praised for and influence other artists centuries later.\r\n\r\n&nbsp;\r\n<p style=\"text-align: center\"><img class=\"aligncenter\" src=\"http://www.mediabistro.com/unbeige/files/original/gugg%20looking%20down.jpg\" alt=\"\" width=\"442\" height=\"342\" />\r\nhttp://www.mediabistro.com/unbeige/files/original/gugg%20looking%20down.jpg</p>\r\n<p style=\"text-align: center\"><!--more-->Works Cited</p>\r\nFiero, Gloria. “The Gods of Mesopotamia.” The Humanistic Tradition, book 1.  6th ed. McGraw-Hill, 2011.  Print.\r\n\r\nKnox, Bernard. \"THE FREEDOM OF OEDIPUS.\" <em>New Republic</em> 187.9 (1982): 28. <em>MasterFILE Premier</em>. EBSCO. Web. 21 Feb. 2011.\r\n<p style=\"text-align: center\">&nbsp;</p>','Aboard the Spaceship in 2100','','inherit','open','open','','1306-revision-10','','','2011-05-11 13:40:29','2011-05-11 19:40:29','',1306,'http://jeanatacc.com/2011/?p=1369',0,'revision','',0),(1370,25,'2011-05-11 15:32:40','2011-05-11 21:32:40','Earth sits desolate, alone, and inhabited.  We have destroyed it, or did it destroy us? We search through space for our new home, with hope yet with the understanding that a beautiful and productive planet was taken for granted.  We must learn from our mistakes.  We must value the ones that came before us and use their innovations and rich culture to help us find our new residence and make it great too.\n\n<!--more-->\n\nWith that, I welcome you to Nebula High.  It is the year 2100 and what a beautiful day it is in space. I am more than thrilled to have you enrolled in my Humanities class this semester. Throughout the course we will be learning about the pre-history of our once habitable Earth where our ancestors roamed and times when humans soared to great heights in science and art.  The course will cover topics that date back to the year 3000 B.C. Each section of the class will be broken down into four classrooms that will be fully dedicated to the teachings of certain subjects I have chosen for this semester. In the first classroom we will start off in Salisbury England where Stonehenge once stood. After pondering about Stonehenge we will travel to Egypt to recall the Book of the Dead. Then we will head to France to be spooked by the gargoyles! Soon after we will return back to England to contemplate the famous quote,  “To be or not to be, that is the question,” and visit the one and only, Shakespeare. I hope you all enjoy the spring semester of 2100 as much as I did some ninety years ago, and yes I am that old.\n\nIn classroom #1 I will introduce you to one of England’s most famous mysteries of all time, Stonehenge. The walls of the room are filled with pictures of the excavation sites of the Abbey holes from many years ago which contained bone remains. In the middle of the classroom there is a miniature model of Stonehenge made from parts of the original stones since the real size of the stones at Stonehenge were too large to bring aboard. First, in classroom #1 you all will learn how perfectly aligned Stonehenge was to the winter and summer solstices in respect for life and death.  Circles of stone or wood lined up with the sun at certain times of the year represented the Neolithic people and how they celebrated the living and the dead.  After we cover the alignment of the stones, you will sit in the position of the stones just as they stood at Stonehenge to understand their placement.  I will then pass around the tools once used by the Neolithic people, who carved the stones into their rectangular form. After examining the tools the class will learn about the extreme distance the stones traveled to their destination. You will theorize ideas as to how the Neolithic people moved the stones from the Prescelly Mountains to the Salisbury Plain where they stood on earth. Once you have brainstormed possibilities on how the stones were transported, I will present the rolling method.  Back in 2009 archeologist Andrew Young believed the Neolithic people who built Stonehenge used little stone balls as a way to transport the large and heavy stones. The class will then interact with one another demonstrating the rolling method, and then compare their ideas to Andrew Young’s ideas to see if there has been any sort of progression made on how the Neolithic people transported the stones from miles and miles away. The most significant information that I hope you all gain from the Stonehenge classroom is the intelligence behind the Neolithic people’s engineering of movement for the enormous stones found at Stonehenge and how much they valued life and death.\n\nIn classroom #2 we will visit the ancient Egyptians during the 18<sup>th</sup> dynasty. This room is specifically designed for the Egyptian Book of the Dead. To get to the room the class will walk through an ancient Egyptian sarcophagus as if passing through to the afterlife like the ancient Egyptians had perceived. Hieroglyphics and vignettes straight from examples of the Book of the Dead will cover the walls in order to provide images of the test that the Egyptians were to encounter in their afterlife.  Since we were able to preserve it in a glass case, texts from the real book of the dead will be located in the room for the class to view at first hand. During our time spent in classroom #2 you will learn about the test that the Egyptians believed they would have to successfully pass in their afterlife, aided by the Book of the Dead, in order to reach their final judgment day. The class will research the spells, charms, numbers, and magical passwords of the Book of the Dead for room #2’s final project. The class will also learn how the Egyptians spent their entire lifetime on Earth preparing for what was to come next after their death. They spent years and years building pyramids in order to please their gods for good grace and life after death. The pyramids the Egyptian built with an artistic touch set them apart from everyone else in the world. Mummification also played an important role in the preparation for the afterlife. Just for fun, the class will split into groups to roll one member of the group in toilet paper to mimic a mummy. Whoever wins the race will be granted extra credit on their final project. For the final project you will choose sections from the Book of the Dead that most meaningful to a successful afterlife. Each student will then present their own personalized Book of the Dead to the class. The most significant information that I hope you will gain from the class on the Egyptian Book of the Dead is how important the afterlife and the final judgment day was to the Egyptians. The Book of the Dead is what defines the life of the ancient Egyptians.\n\nIn classroom #3 we will visit Paris, France to learn about the gothic, monster like creatures of the Notre Dame Cathedral, the gargoyles. The walls of this room will be designed to look like the classroom is located on top of the cathedral’s balconies looking over Paris just like the gargoyles did. The ceilings of the room will be high and arched like the ceilings of the cathedrals in order for you to feel like you are actually in a medieval style church. Luckily enough the ship was able to save some of the gargoyles from Notre Dame and they are aboard the spaceship for display in the classroom. During the time spent in room #3 you will learn how the gargoyles were a new innovative way to drain out the water collected on the rooftops of the cathedrals. They extended far off the walls to prevent any damage from happening to the structure of the church. Without the gargoyles, the cathedral would collapse from standing rainwater. Though the gargoyles no longer serve their purpose here on the ship as they did as gutters for the Notre Dame Cathedral, they are preserved.  The class will also learn about how years ago on planet Earth, the polluted air and the acid rainwater caused the gargoyles to deteriorate. Every so often the gargoyles would have to be remodeled so that the stones they were carved from would not fall or break off. The class will take a look at how it is believed that the gargoyles were creatively made to look like beasts in order to intimidate people or to scare off evil spirits and to watch over Paris and other cities as a reminder of what humans fear the most, themselves. With this in mind, sculptors used their imagination to create beast-like creatures that had little or no resemblance to anything real. For the final project in room #3 the class will be broken up into groups to design a gargoyle that symbolizes a common fear that most people carry with them. Each group’s gargoyle should also have an beast-like quality that the group finds meaningful to survival. The most significant information that I hope you gain from the classroom of the Notre Dame gargoyles is that the gargoyles expressed historical values throughout the middle ages. How people perceived the world is seen within the eyes of each haunting creature.\n\nOur last stop for the semester will be classroom #4 where we will travel back to England to around 1600 A. D.  The class will discuss William Shakespeare’s most famous play,<em> Hamlet</em>. This room is by far my favorite. The classroom will be a complete replica of the Globe Theatre where Shakespeare’s plays were performed. The room will be in the shape of a circle with wooden seats that go up into a diagonal where you will sit. At the floor of the room will be a stage like the one at the Globe Theatre. During the Elizabethan era, <em>Hamlet </em>was a play written by Shakespeare for pure entertainment. Therefore actors from the ship will perform <em>Hamlet</em> during the last couple of days spent in class. To begin, you will learn how the play reflects romance, tragedy, and revenge. Though many plays contain the three elements, <em>Hamlet</em> was by far the most problematic text in all of literature because of the confusion in the meaning of the plot. Though we all know that back in 2080 researchers concluded that there was no significant message, the class will learn about the great debate that took part in deciphering the meaning behind <em>Hamlet</em>.  Shakespeare was a literary genius that only wanted to disrupt the mind of thinkers. He used<em> Hamlet</em> as a device to confuse people for the sake of his own entertainment but no one wanted to believe so until recent discovery. <em>Hamlet</em> is one of literature’s first real views of human nature in real form. Hamlet was a character that anyone could relate to and admire for his resistance to the corruptions of evil that surrounded him as he wrestled with the revenge of his father’s murder.  He wanted to avenge his father’s death, but gave himself time to consider a just punishment. Each individual of the class for their last and final project will come up with a character which holds traits that can be understood and felt  and portrays qualities that represents our society today.  The most significant information that I hope you all gain from this classroom is that Shakespeare’s <em>Hamlet </em>allowed its audience to relate to the play through moral integrity and making conscience decisions but also by showing flaws of human nature.\n\nWe are in a time of crisis for humanity as we search the universe for a place to live, populate, and rebuild, but we cannot leave behind nor forget our past strengths, innovations, and advancements.  Nebula High is committed to keeping education significant.  We will continue to learn and study the masters that came before us. The Neolithic people modeled engineering and determination, the Egyptians showed that human life is valuable now and in the afterlife and culture is rich, the sculptors of the gargoyles of Notre Dame demonstrated the art of innovation, and Shakespeare, himself, left a written legacy that has never been surpassed. This semester will hold knowledge of important artistic originality that has withstood time. With the knowledge gained from the class, I hope for you to apply it to daily life and open your eyes to the genius of our ancestors as we write a new history for  the people of Earth.\n\n&nbsp;','A travel Through Time ','','inherit','open','open','','1364-autosave','','','2011-05-11 15:32:40','2011-05-11 21:32:40','',1364,'http://jeanatacc.com/2011/?p=1370',0,'revision','',0),(1371,25,'2011-05-11 15:32:09','2011-05-11 21:32:09','Earth sits desolate, alone, and inhabited.  We have destroyed it, or did it destroy us? We search through space for our new home, with hope yet with the understanding that a beautiful and productive planet was taken for granted.  We must learn from our mistakes.  We must value the ones that came before us and use their innovations and rich culture to help us find our new residence and make it great too.\r\n\r\n<!--more-->\r\n\r\nWith that, I welcome you to Nebula High.  It is the year 2100 and what a beautiful day it is in space. I am more than thrilled to have you enrolled in my Humanities class this semester. Throughout the course we will be learning about the pre-history of our once habitable Earth where our ancestors roamed and times when humans soared to great heights in science and art.  The course will cover topics that date back to the year 3000 B.C. Each section of the class will be broken down into four classrooms that will be fully dedicated to the teachings of certain subjects I have chosen for this semester. In the first classroom we will start off in Salisbury England where Stonehenge once stood. After pondering about Stonehenge we will travel to Egypt to recall the Book of the Dead. Then we will head to France to be spooked by the gargoyles! Soon after we will return back to England to contemplate the famous quote,  “To be or not to be, that is the question,” and visit the one and only, Shakespeare. I hope you all enjoy the spring semester of 2100 as much as I did some ninety years ago, and yes I am that old.\r\n\r\nIn classroom #1 I will introduce you to one of England’s most famous mysteries of all time, Stonehenge. The walls of the room are filled with pictures of the excavation sites of the Abbey holes from many years ago which contained bone remains. In the middle of the classroom there is a miniature model of Stonehenge made from parts of the original stones since the real size of the stones at Stonehenge were too large to bring aboard. First, in classroom #1 you all will learn how perfectly aligned Stonehenge was to the winter and summer solstices in respect for life and death.  Circles of stone or wood lined up with the sun at certain times of the year represented the Neolithic people and how they celebrated the living and the dead.  After we cover the alignment of the stones, you will sit in the position of the stones just as they stood at Stonehenge to understand their placement.  I will then pass around the tools once used by the Neolithic people, who carved the stones into their rectangular form. After examining the tools the class will learn about the extreme distance the stones traveled to their destination. You will theorize ideas as to how the Neolithic people moved the stones from the Prescelly Mountains to the Salisbury Plain where they stood on earth. Once you have brainstormed possibilities on how the stones were transported, I will present the rolling method.  Back in 2009 archeologist Andrew Young believed the Neolithic people who built Stonehenge used little stone balls as a way to transport the large and heavy stones. The class will then interact with one another demonstrating the rolling method, and then compare their ideas to Andrew Young’s ideas to see if there has been any sort of progression made on how the Neolithic people transported the stones from miles and miles away. The most significant information that I hope you all gain from the Stonehenge classroom is the intelligence behind the Neolithic people’s engineering of movement for the enormous stones found at Stonehenge and how much they valued life and death.\r\n\r\nIn classroom #2 we will visit the ancient Egyptians during the 18<sup>th</sup> dynasty. This room is specifically designed for the Egyptian Book of the Dead. To get to the room the class will walk through an ancient Egyptian sarcophagus as if passing through to the afterlife like the ancient Egyptians had perceived. Hieroglyphics and vignettes straight from examples of the Book of the Dead will cover the walls in order to provide images of the test that the Egyptians were to encounter in their afterlife.  Since we were able to preserve it in a glass case, texts from the real book of the dead will be located in the room for the class to view at first hand. During our time spent in classroom #2 you will learn about the test that the Egyptians believed they would have to successfully pass in their afterlife, aided by the Book of the Dead, in order to reach their final judgment day. The class will research the spells, charms, numbers, and magical passwords of the Book of the Dead for room #2’s final project. The class will also learn how the Egyptians spent their entire lifetime on Earth preparing for what was to come next after their death. They spent years and years building pyramids in order to please their gods for good grace and life after death. The pyramids the Egyptian built with an artistic touch set them apart from everyone else in the world. Mummification also played an important role in the preparation for the afterlife. Just for fun, the class will split into groups to roll one member of the group in toilet paper to mimic a mummy. Whoever wins the race will be granted extra credit on their final project. For the final project you will choose sections from the Book of the Dead that most meaningful to a successful afterlife. Each student will then present their own personalized Book of the Dead to the class. The most significant information that I hope you will gain from the class on the Egyptian Book of the Dead is how important the afterlife and the final judgment day was to the Egyptians. The Book of the Dead is what defines the life of the ancient Egyptians.\r\n\r\nIn classroom #3 we will visit Paris, France to learn about the gothic, monster like creatures of the Notre Dame Cathedral, the gargoyles. The walls of this room will be designed to look like the classroom is located on top of the cathedral’s balconies looking over Paris just like the gargoyles did. The ceilings of the room will be high and arched like the ceilings of the cathedrals in order for you to feel like you are actually in a medieval style church. Luckily enough the ship was able to save some of the gargoyles from Notre Dame and they are aboard the spaceship for display in the classroom. During the time spent in room #3 you will learn how the gargoyles were a new innovative way to drain out the water collected on the rooftops of the cathedrals. They extended far off the walls to prevent any damage from happening to the structure of the church. Without the gargoyles, the cathedral would collapse from standing rainwater. Though the gargoyles no longer serve their purpose here on the ship as they did as gutters for the Notre Dame Cathedral, they are preserved.  The class will also learn about how years ago on planet Earth, the polluted air and the acid rainwater caused the gargoyles to deteriorate. Every so often the gargoyles would have to be remodeled so that the stones they were carved from would not fall or break off. The class will take a look at how it is believed that the gargoyles were creatively made to look like beasts in order to intimidate people or to scare off evil spirits and to watch over Paris and other cities as a reminder of what humans fear the most, themselves. With this in mind, sculptors used their imagination to create beast-like creatures that had little or no resemblance to anything real. For the final project in room #3 the class will be broken up into groups to design a gargoyle that symbolizes a common fear that most people carry with them. Each group’s gargoyle should also have an beast-like quality that the group finds meaningful to survival. The most significant information that I hope you gain from the classroom of the Notre Dame gargoyles is that the gargoyles expressed historical values throughout the middle ages. How people perceived the world is seen within the eyes of each haunting creature.\r\n\r\nOur last stop for the semester will be classroom #4 where we will travel back to England to around 1600 A. D.  The class will discuss William Shakespeare’s most famous play,<em> Hamlet</em>. This room is by far my favorite. The classroom will be a complete replica of the Globe Theatre where Shakespeare’s plays were performed. The room will be in the shape of a circle with wooden seats that go up into a diagonal where you will sit. At the floor of the room will be a stage like the one at the Globe Theatre. During the Elizabethan era, <em>Hamlet </em>was a play written by Shakespeare for pure entertainment. Therefore actors from the ship will perform <em>Hamlet</em> during the last couple of days spent in class. To begin, you will learn how the play reflects romance, tragedy, and revenge. Though many plays contain the three elements, <em>Hamlet</em> was by far the most problematic text in all of literature because of the confusion in the meaning of the plot. Though we all know that back in 2080 researchers concluded that there was no significant message, the class will learn about the great debate that took part in deciphering the meaning behind <em>Hamlet</em>.  Shakespeare was a literary genius that only wanted to disrupt the mind of thinkers. He used<em> Hamlet</em> as a device to confuse people for the sake of his own entertainment but no one wanted to believe so until recent discovery. <em>Hamlet</em> is one of literature’s first real views of human nature in real form. Hamlet was a character that anyone could relate to and admire for his resistance to the corruptions of evil that surrounded him as he wrestled with the revenge of his father’s murder.  He wanted to avenge his father’s death, but gave himself time to consider a just punishment. Each individual of the class for their last and final project will come up with a character which holds traits that can be understood and felt  and portrays qualities that represents our society today.  The most significant information that I hope you all gain from this classroom is that Shakespeare’s <em>Hamlet </em>allowed its audience to relate to the play through moral integrity and making conscience decisions but also by showing flaws of human nature.\r\n\r\nWe are in a time of crisis for humanity as we search the universe for a place to live, populate, and rebuild, but we cannot leave behind nor forget our past strengths, innovations, and advancements.  Nebula High is committed to keeping education significant.  We will continue to learn and study the masters that came before us. The Neolithic people modeled engineering and determination, the Egyptians showed that human life is valuable now and in the afterlife and culture is rich, the sculptors of the gargoyles of Notre Dame demonstrated the art of innovation, and Shakespeare, himself, left a written legacy that has never been surpassed. This semester will hold knowledge of important artistic originality that has withstood time. With the knowledge gained from the class, I hope for you to apply it to daily life and open your eyes to the genius of our ancestors as we write a new history for  the people of Earth.\r\n\r\n&nbsp;','A travel Through Time ','','inherit','open','open','','1364-revision-4','','','2011-05-11 15:32:09','2011-05-11 21:32:09','',1364,'http://jeanatacc.com/2011/?p=1371',0,'revision','',0),(1372,23,'2011-05-11 17:59:14','2011-05-11 23:59:14','http://www.youtube.com/watch?v=ezuDiMkmj9s&amp;feature=youtube_gdata_player\r\nThe year is 2100. The Earth is still uninhabitable. The above video shows what happened as a result of the humans trying to defend themselves. We were overtaken for our intelligence and for our water supply.\r\n\r\nNow we live in the Mother ship. We will not be returning to Earth. It along with most other things of the 21st century were disposable. We used it up and then threw it away. <!--more-->\r\n\r\nhttp://www.youtube.com/watch?v=PKC_ORM0vpo&amp;feature=youtube_gdata_player\r\n\r\nThe above video should serve as a reminder of how we are not invincible. We can be beat. We are not the only thing in this world. There are other creatures and being and life forms throughout the universe.\r\n\r\nhttp://www.youtube.com/watch?v=s76Qn7bpCsQ&amp;feature=youtube_gdata_player\r\n\r\nThe above video shows Hurricane Katrina. That took place on the date of August 29th, 2005. That was a small scale event. That was only the beginning of the end of the earth. Human engineering was faulty, thus the levees broke and washed away all the hopes and dreams of an entire city. Many moved to Texas, Florida, Alabama and Mississippi. It was all irrelevant because we were taken over and will never return. Our greed and selfish nature came back to bite us. We didn’t cure cancer, schools closed, we became a police state. Freedom was an ideal in the minds of the educated.\r\n\r\nhttp://www.youtube.com/watch?v=U5Je1lS88uY&amp;feature=youtube_gdata_player\r\n\r\nThe above video illustrates the revival of a city and its people. A sports team created a rebirth. Hope and joy went on for weeks. Half a century of pain and anguish came to an abrupt halt. We are hostages on this Mother ship. The earth may never become what it was a century ago. The above video should serve as inspiration that good things can happen. If you work hard and keep on track, you can get the result you desire.\r\n\r\nSo you ask , how is this relevant to our goals and what we are doing with the preservation of mankind ?\r\nI want us to reflect on humankind and how we should’ve learned from our need for immediate gratification. The wonderful idea of the electronic age only served to multiply our greed and self loathing.\r\nMy reason for showing the New Orleans Saints is because the New Orleans Superdome will be our archive of preserved items for all mankind to reflect, learn and ponder how they can be better. We are living on the spaceship in the first video and all of the relics I have picked are here on the Mother ship. They arrived here via gps osmosis. The Ziggurat of Ur is housed in the same room as the Sainte Chapelle chapel from Paris. I have brought my historic individuals to act as leaders and tour guides for our future leaders. Hernan Cortes and Guillame Dufay will be a part of my preservation hall housed inside the Superdome. Even though we couldn’t cure cancer, through the magic of science and genetic mutation, we were able to bring Cortes and Dufay back to life. Dufay has an even temper and is relatively mild mannered. Cortes had an alternative brain modulation sequence performed to alter his post formal thought process. This process will allow him to be less violent , and more friendly toward fellow humans.\r\n\r\nInside the Superdome is a fully interactive experience. There are usb ports,flash drive, Ipads, headphones, 3d glasses at the disposal for each person visiting. There is also a disposable version of the experience for those who do not wish to stay.  Since the Superdome was chosen as the house for Ziggurat, Sainte Chapelle, Dufay and Cortes, I also brought along the Blaine Kern Mardi Gras World.\r\nSince I am the curator and designer for this space, I wanted some things that reminded me of where I grew up. New Orleans and Mardi Gras and the Saints were all a huge part of who I became. The New Orleans Saints may not be considered a huge part of human history, but to me personally, they were a huge chuck of my childhood. Below is an example of an event that was held at Mardi Gras world.\r\n\r\nhttp://www.youtube.com/watch?v=VqV-VHOIp_Q&amp;feature=youtube_gdata_player\r\n\r\nCan’t you feel the excitement? Can’t you feel the enthusiasm ? Don’t you want to have a party every day of your life ? I sure do !!! I miss the crawfish etouffee, gumbo, jambalaya, pralines and beignets.  I miss the French Quarter. I miss Jazz Fest. I miss home. I’m sure we all miss home now that we have been brought to the Mother ship. Part of my history and heritage is French in nature. My lineage goes back to 1716 in St-. Pie , France. Being French I had to include the most famous French composer Mr.  Dufay.\r\nNeedless to say , he is not a fan of rap music. The Rose windows of Sainte Chapelle can be brought home and watched by each visitor on the dvd that follows below.\r\n\r\nhttp://www.youtube.com/watch?v=XqJqW8zL9Ew&amp;feature=youtube_gdata_player\r\n\r\nIn case you feel stressed or worried or exhausted by your daily toils here, below is a Dufay selection that is guaranteed to put your mind at ease and relax your heart. It warms the soul and slows your breathing. Dufay offers music lessons to any child of any nationality under the age of 21 free of charge on weekends. He wants all future generations to have a deep appreciation for music.\r\nIn total contrast to the tour lead by Dufay would be the conquistador Cortes who leads us through death, war, pillage and greed. He is the guide for our Ziggurat wing. The music selection accompanying the videos of Ziggurat below were Cortes choice before he had his brain surgery to make him more personable.\r\n\r\nSo how do we get a huge Ziggurat and a French chapel in one room you ask. The Superdome has been replicated and sized to accommodate both figures inside. It is a state of the art, cutting edge piece of architecture. It takes up about one-third of the Mother ship, but its worth it as an homage to our life on Earth as we knew it. All of the works inside the replicated Superdome are originals. In pain staking detail and toil, scientists were able to extrapolate them from their original locales.\r\nI chose the Ziggurat of Ur because it has architectural, historical, and societal influence. The building showed that huge throngs of people could come together for long periods of time to accomplish a common goal for the good of the people as a whole.\r\nThe Ziggurat was architecturally significant because it was the very first of its kind and generated at least 32 copies that we know of at this time.\r\nThe Ziggurat was intended to be a ladder to the gods. It was an icon of the Mesopotamian era. It was known as a monument to its kings. The Ziggurat has religious significance because it serves as a reminder of the possibility of a higher power, being, god or divinity figure. It helps us focus on something other than ourselves.\r\nThe Ziggurat of Ur was brought to the Mother ship to serve as a place for people to gather and learn of history. People will now be guided along the Ziggurat steps by Cortes. They will dress in period costume, listen to music of the age, and eat food that was prepared during King Ur-Nammu’s reign.\r\n\r\nThe lancet rose windows of Sainte Chapelle were brought to the Mother ship to serve as a reminder of our French and religious heritage. Gothic architecture has been implemented in every century since the year 1239. The Mother ship has rose windows similar to the ones that had been created for the Sainte Chapelle. Religion plays a part here again with the rose windows because the Sainte Chapelle was meant as a place of worship for the royal family. It is still in use as a place for worship even on the Mother ship. There are baptisms, communion ceremonies, confessionals all still in use on a daily basis. The Sainte Chapelle served as a model for many to come including the Bourg, Chartes, Westminster Abbey and the Notre Dame. I chose the Sainte Chapelle because the stained glass windows evoke such a dramatic visual sense when one first sees their light. I chose not to have Louis IX brought back to life. Instead I have Dufay as our tour guide through the upper and lower facility. We eat croissant, drink wine for breakfast and then go take a nap. Dufay is quite amusing as a host due to his travels and stories through life. The rose windows of Sainte Chapelle exemplify artistic expertise of their time because of the rich hues, dramatic angles and intense workmanship that was involved in its creation. This source of worship took many years and hours of toil to finish. That labor was meant to reflect the seriousness with which the French people of the time believed in their worship. The Sainte Chapelle was a model for so many other buildings that came after it. The effort involved in the glass serves for our future to show that things of beauty can last for many generations. The Rayonnant style that came to be known during this era has forever been in use even to this day. Grisaille technique that was heavily used in the rose window construction can serve as an inspiration for our children.  It is also important to us for religious reasons because it housed the Crown of Thorns.  There are multiple ways people interact with the rose windows at the Sainte Chapelle. They can tour the facility. They can be a part of a mass held inside. They can have replica stained glass installed in their rooms at the Mother ship. They can also have Dufay over for dinner to entertain evening guests and tell stories of his era.\r\nMr Dufay , who is our current tour guide and guest for the Sainte Chapelle has been brought to the Mother ship because of his significance. Religion plays a part here again in that Dufay’s piece Missa L’homme arme’ was the most popular tune used for musical settings of the Ordinary Mass. The printing press came along during Dufay’s time. This enabled permanent preservation of his work. During Dufay’s time music was important for gatherings, celebrations and festivals. It is still an important part of our every day life. Dufay’s creations were used for the next three centuries as a basis for many pieces. Dufay still has 200 pieces in existence and use today. You can have him over for dinner and he will be glad to play a one hour concert free. You pick which pieces you want him to play during that hour.\r\n\r\nhttp://www.youtube.com/watch?v=_YzZaLPxsig&amp;feature=youtube_gdata_player\r\n\r\nHernan Cortes is my guest here on the Mother ship because he represents the transition from the old world to the new world. He is the David vs Goliath, good vs evil.\r\nHe is the tour guide for the Ziggurat of Ur. He also is available for dinner engagements where you can enjoy learning the history of tequila and avocado. Margaritas,stories by Cortes, and painting with avocado seed liquid. How can you beat that for a memorable learning experience for the family ?\r\nI chose to bring Cortes because he overthrew a kingdom. His endeavors were the root of entrepreneurism. He used his own money to voyage to the new world. I could have chosen Del Castillo to join us , but his entertainment value would have been much lower. Cortes is a better story teller and thus keeps kids attention longer.\r\nCortes exemplifies the Spaniards of his era in that there were so many conquistadors. Many journeys were launched in all directions all over the globe. His story just holds more glamorous appeal to the general public. What is significant about Hernan Cortes’ Letters from Mexico is that it is a first- hand documentation of an over throw of an entire population.  He goes into extreme detail to portray images and meaning to the readers of his book. On the Mother ship he teaches children English, Spanish, Art, History and Math as well as being the tour guide for the Ziggurat of Ur.\r\n\r\nI’m sure we will all enjoy the benefits of Dufay,Cortes, the Ziggurat of Ur and the rose windows of Sainte Chapelle. I know we all miss home. Hopefully, by the year 2200 , mankind will have developed a way to regenerate its home it called planet Earth. I know many others in the audience would have chosen different people or places or things. I’m sure they each have significant value in their own right. I chose these 4 for religious, architectural, artistic, musical, historical and sociological reasons. After spending a few days in the Superdome at Mardi Gras world touring the Ziggurat with Mr Cortes or having a mass at the Sainte Chapelle with Dufay we will all be united in the opinion that this was a fabulous choice for preservation.','MARDI GRAS ON THE MOTHER SHIP','','publish','open','open','','mardi-gras-on-the-mother-ship','','','2011-05-11 22:56:35','2011-05-12 04:56:35','',0,'http://jeanatacc.com/2011/?p=1372',0,'post','',9),(1373,23,'2011-05-11 17:49:15','2011-05-11 23:49:15','','MARDI GRAS ON THE MOTHER SHIP','','inherit','open','open','','1372-revision','','','2011-05-11 17:49:15','2011-05-11 23:49:15','',1372,'http://jeanatacc.com/2011/?p=1373',0,'revision','',0),(1374,23,'2011-05-11 17:49:27','2011-05-11 23:49:27','http://www.youtube.com/watch?v=ezuDiMkmj9s&amp;feature=youtube_gdata_player \r\nThe year is 2100. The Earth is still uninhabitable. The above video shows what happened as a result of the humans trying to defend themselves. We were overtaken for our intelligence and for our water supply.\r\n\r\nNow we live in the Mother ship. We will not be returning to Earth. It along with most other things of the 21st century were disposable. We used it up and then threw it away. \r\nhttp://www.youtube.com/watch?v=PKC_ORM0vpo&amp;feature=youtube_gdata_player\r\n\r\nThe above video should serve as a reminder of how we are not invincible. We can be beat. We are not the only thing in this world. There are other creatures and being and life forms throughout the universe. \r\nhttp://www.youtube.com/watch?v=PKC_ORM0vpo&amp;feature=youtube_gdata_player\r\nThe above video shows Hurricane Katrina. That took place on the date of August 29th, 2005. That was a small scale event. That was only the beginning of the end of the earth. Human engineering was faulty, thus the levees broke and washed away all the hopes and dreams of an entire city. Many moved to Texas, Florida, Alabama and Mississippi. It was all irrelevant because we were taken over and will never return. Our greed and selfish nature came back to bite us. We didn’t cure cancer, schools closed, we became a police state. Freedom was an ideal in the minds of the educated. \r\nhttp://www.youtube.com/watch?v=U5Je1lS88uY&amp;feature=youtube_gdata_player\r\nThe above video illustrates the revival of a city and its people. A sports team created a rebirth. Hope and joy went on for weeks. Half a century of pain and anguish came to an abrupt halt. We are hostages on this Mother ship. The earth may never become what it was a century ago. The above video should serve as inspiration that good things can happen. If you work hard and keep on track, you can get the result you desire. \r\n\r\nSo you ask , how is this relevant to our goals and what we are doing with the preservation of mankind ?\r\nI want us to reflect on humankind and how we should’ve learned from our need for immediate gratification. The wonderful idea of the electronic age only served to multiply our greed and self loathing. \r\nMy reason for showing the New Orleans Saints is because the New Orleans Superdome will be our archive of preserved items for all mankind to reflect, learn and ponder how they can be better. We are living on the spaceship in the first video and all of the relics I have picked are here on the Mother ship. They arrived here via gps osmosis. The Ziggurat of Ur is housed in the same room as the Sainte Chapelle chapel from Paris. I have brought my historic individuals to act as leaders and tour guides for our future leaders. Hernan Cortes and Guillame Dufay will be a part of my preservation hall housed inside the Superdome. Even though we couldn’t cure cancer, through the magic of science and genetic mutation, we were able to bring Cortes and Dufay back to life. Dufay has an even temper and is relatively mild mannered. Cortes had an alternative brain modulation sequence performed to alter his post formal thought process. This process will allow him to be less violent , and more friendly toward fellow humans.\r\n\r\nInside the Superdome is a fully interactive experience. There are usb ports,flash drive, Ipads, headphones, 3d glasses at the disposal for each person visiting. There is also a disposable version of the experience for those who do not wish to stay.  Since the Superdome was chosen as the house for Ziggurat, Sainte Chapelle, Dufay and Cortes, I also brought along the Blaine Kern Mardi Gras World.\r\nSince I am the curator and designer for this space, I wanted some things that reminded me of where I grew up. New Orleans and Mardi Gras and the Saints were all a huge part of who I became. The New Orleans Saints may not be considered a huge part of human history, but to me personally, they were a huge chuck of my childhood. Below is an example of an event that was held at Mardi Gras world. \r\nhttp://www.youtube.com/watch?v=VqV-VHOIp_Q&amp;feature=youtube_gdata_player\r\n\r\nCan’t you feel the excitement? Can’t you feel the enthusiasm ? Don’t you want to have a party every day of your life ? I sure do !!! I miss the crawfish etouffee, gumbo, jambalaya, pralines and beignets.  I miss the French Quarter. I miss Jazz Fest. I miss home. I’m sure we all miss home now that we have been brought to the Mother ship. Part of my history and heritage is French in nature. My lineage goes back to 1716 in St-. Pie , France. Being French I had to include the most famous French composer Mr.  Dufay.\r\nNeedless to say , he is not a fan of rap music. The Rose windows of Sainte Chapelle can be brought home and watched by each visitor on the dvd that follows below.\r\nhttp://www.youtube.com/watch?v=XqJqW8zL9Ew&amp;feature=youtube_gdata_player\r\nIn case you feel stressed or worried or exhausted by your daily toils here, below is a Dufay selection that is guaranteed to put your mind at ease and relax your heart. It warms the soul and slows your breathing. Dufay offers music lessons to any child of any nationality under the age of 21 free of charge on weekends. He wants all future generations to have a deep appreciation for music. \r\nIn total contrast to the tour lead by Dufay would be the conquistador Cortes who leads us through death, war, pillage and greed. He is the guide for our Ziggurat wing. The music selection accompanying the videos of Ziggurat below were Cortes choice before he had his brain surgery to make him more personable.\r\nhttp://www.youtube.com/watch?v=XnWpBwmi6_o&amp;feature=youtube_gdata_player\r\n\r\nSo how do we get a huge Ziggurat and a French chapel in one room you ask. The Superdome has been replicated and sized to accommodate both figures inside. It is a state of the art, cutting edge piece of architecture. It takes up about one-third of the Mother ship, but its worth it as an homage to our life on Earth as we knew it. All of the works inside the replicated Superdome are originals. In pain staking detail and toil, scientists were able to extrapolate them from their original locales. \r\nI chose the Ziggurat of Ur because it has architectural, historical, and societal influence. The building showed that huge throngs of people could come together for long periods of time to accomplish a common goal for the good of the people as a whole. \r\nThe Ziggurat was architecturally significant because it was the very first of its kind and generated at least 32 copies that we know of at this time. \r\nThe Ziggurat was intended to be a ladder to the gods. It was an icon of the Mesopotamian era. It was known as a monument to its kings. The Ziggurat has religious significance because it serves as a reminder of the possibility of a higher power, being, god or divinity figure. It helps us focus on something other than ourselves. \r\nThe Ziggurat of Ur was brought to the Mother ship to serve as a place for people to gather and learn of history. People will now be guided along the Ziggurat steps by Cortes. They will dress in period costume, listen to music of the age, and eat food that was prepared during King Ur-Nammu’s reign. \r\n\r\nThe lancet rose windows of Sainte Chapelle were brought to the Mother ship to serve as a reminder of our French and religious heritage. Gothic architecture has been implemented in every century since the year 1239. The Mother ship has rose windows similar to the ones that had been created for the Sainte Chapelle. Religion plays a part here again with the rose windows because the Sainte Chapelle was meant as a place of worship for the royal family. It is still in use as a place for worship even on the Mother ship. There are baptisms, communion ceremonies, confessionals all still in use on a daily basis. The Sainte Chapelle served as a model for many to come including the Bourg, Chartes, Westminster Abbey and the Notre Dame. I chose the Sainte Chapelle because the stained glass windows evoke such a dramatic visual sense when one first sees their light. I chose not to have Louis IX brought back to life. Instead I have Dufay as our tour guide through the upper and lower facility. We eat croissant, drink wine for breakfast and then go take a nap. Dufay is quite amusing as a host due to his travels and stories through life. The rose windows of Sainte Chapelle exemplify artistic expertise of their time because of the rich hues, dramatic angles and intense workmanship that was involved in its creation. This source of worship took many years and hours of toil to finish. That labor was meant to reflect the seriousness with which the French people of the time believed in their worship. The Sainte Chapelle was a model for so many other buildings that came after it. The effort involved in the glass serves for our future to show that things of beauty can last for many generations. The Rayonnant style that came to be known during this era has forever been in use even to this day. Grisaille technique that was heavily used in the rose window construction can serve as an inspiration for our children.  It is also important to us for religious reasons because it housed the Crown of Thorns.  There are multiple ways people interact with the rose windows at the Sainte Chapelle. They can tour the facility. They can be a part of a mass held inside. They can have replica stained glass installed in their rooms at the Mother ship. They can also have Dufay over for dinner to entertain evening guests and tell stories of his era. \r\n  Mr Dufay , who is our current tour guide and guest for the Sainte Chapelle has been brought to the Mother ship because of his significance. Religion plays a part here again in that Dufay’s piece Missa L’homme arme’ was the most popular tune used for musical settings of the Ordinary Mass. The printing press came along during Dufay’s time. This enabled permanent preservation of his work. During Dufay’s time music was important for gatherings, celebrations and festivals. It is still an important part of our every day life. Dufay’s creations were used for the next three centuries as a basis for many pieces. Dufay still has 200 pieces in existence and use today. You can have him over for dinner and he will be glad to play a one hour concert free. You pick which pieces you want him to play during that hour. \r\n\r\nHernan Cortes is my guest here on the Mother ship because he represents the transition from the old world to the new world. He is the David vs Goliath, good vs evil.\r\nHe is the tour guide for the Ziggurat of Ur. He also is available for dinner engagements where you can enjoy learning the history of tequila and avocado. Margaritas,stories by Cortes, and painting with avocado seed liquid. How can you beat that for a memorable learning experience for the family ?\r\nI chose to bring Cortes because he overthrew a kingdom. His endeavors were the root of entrepreneurism. He used his own money to voyage to the new world. I could have chosen Del Castillo to join us , but his entertainment value would have been much lower. Cortes is a better story teller and thus keeps kids attention longer. \r\nCortes exemplifies the Spaniards of his era in that there were so many conquistadors. Many journeys were launched in all directions all over the globe. His story just holds more glamorous appeal to the general public. What is significant about Hernan Cortes’ Letters from Mexico is that it is a first- hand documentation of an over throw of an entire population.  He goes into extreme detail to portray images and meaning to the readers of his book. On the Mother ship he teaches children English, Spanish, Art, History and Math as well as being the tour guide for the Ziggurat of Ur. \r\n\r\nI’m sure we will all enjoy the benefits of Dufay,Cortes, the Ziggurat of Ur and the rose windows of Sainte Chapelle. I know we all miss home. Hopefully, by the year 2200 , mankind will have developed a way to regenerate its home it called planet Earth. I know many others in the audience would have chosen different people or places or things. I’m sure they each have significant value in their own right. I chose these 4 for religious, architectural, artistic, musical, historical and sociological reasons. After spending a few days in the Superdome at Mardi Gras world touring the Ziggurat with Mr Cortes or having a mass at the Sainte Chapelle with Dufay we will all be united in the opinion that this was a fabulous choice for preservation.\r\n\r\n \r\n\r\n\r\n   \r\n','MARDI GRAS ON THE MOTHER SHIP','','inherit','open','open','','1372-revision-2','','','2011-05-11 17:49:27','2011-05-11 23:49:27','',1372,'http://jeanatacc.com/2011/?p=1374',0,'revision','',0),(1375,23,'2011-05-11 17:49:48','2011-05-11 23:49:48','http://www.youtube.com/watch?v=ezuDiMkmj9s&amp;feature=youtube_gdata_player \r\nThe year is 2100. The Earth is still uninhabitable. The above video shows what happened as a result of the humans trying to defend themselves. We were overtaken for our intelligence and for our water supply.\r\n\r\nNow we live in the Mother ship. We will not be returning to Earth. It along with most other things of the 21st century were disposable. We used it up and then threw it away. \r\nhttp://www.youtube.com/watch?v=PKC_ORM0vpo&amp;feature=youtube_gdata_player\r\n\r\nThe above video should serve as a reminder of how we are not invincible. We can be beat. We are not the only thing in this world. There are other creatures and being and life forms throughout the universe. \r\nhttp://www.youtube.com/watch?v=PKC_ORM0vpo&amp;feature=youtube_gdata_player\r\nThe above video shows Hurricane Katrina. That took place on the date of August 29th, 2005. That was a small scale event. That was only the beginning of the end of the earth. Human engineering was faulty, thus the levees broke and washed away all the hopes and dreams of an entire city. Many moved to Texas, Florida, Alabama and Mississippi. It was all irrelevant because we were taken over and will never return. Our greed and selfish nature came back to bite us. We didn’t cure cancer, schools closed, we became a police state. Freedom was an ideal in the minds of the educated. \r\nhttp://www.youtube.com/watch?v=U5Je1lS88uY&amp;feature=youtube_gdata_player\r\nThe above video illustrates the revival of a city and its people. A sports team created a rebirth. Hope and joy went on for weeks. Half a century of pain and anguish came to an abrupt halt. We are hostages on this Mother ship. The earth may never become what it was a century ago. The above video should serve as inspiration that good things can happen. If you work hard and keep on track, you can get the result you desire. \r\n\r\nSo you ask , how is this relevant to our goals and what we are doing with the preservation of mankind ?\r\nI want us to reflect on humankind and how we should’ve learned from our need for immediate gratification. The wonderful idea of the electronic age only served to multiply our greed and self loathing. \r\nMy reason for showing the New Orleans Saints is because the New Orleans Superdome will be our archive of preserved items for all mankind to reflect, learn and ponder how they can be better. We are living on the spaceship in the first video and all of the relics I have picked are here on the Mother ship. They arrived here via gps osmosis. The Ziggurat of Ur is housed in the same room as the Sainte Chapelle chapel from Paris. I have brought my historic individuals to act as leaders and tour guides for our future leaders. Hernan Cortes and Guillame Dufay will be a part of my preservation hall housed inside the Superdome. Even though we couldn’t cure cancer, through the magic of science and genetic mutation, we were able to bring Cortes and Dufay back to life. Dufay has an even temper and is relatively mild mannered. Cortes had an alternative brain modulation sequence performed to alter his post formal thought process. This process will allow him to be less violent , and more friendly toward fellow humans.\r\n\r\nInside the Superdome is a fully interactive experience. There are usb ports,flash drive, Ipads, headphones, 3d glasses at the disposal for each person visiting. There is also a disposable version of the experience for those who do not wish to stay.  Since the Superdome was chosen as the house for Ziggurat, Sainte Chapelle, Dufay and Cortes, I also brought along the Blaine Kern Mardi Gras World.\r\nSince I am the curator and designer for this space, I wanted some things that reminded me of where I grew up. New Orleans and Mardi Gras and the Saints were all a huge part of who I became. The New Orleans Saints may not be considered a huge part of human history, but to me personally, they were a huge chuck of my childhood. Below is an example of an event that was held at Mardi Gras world. \r\nhttp://www.youtube.com/watch?v=VqV-VHOIp_Q&amp;feature=youtube_gdata_player\r\n\r\nCan’t you feel the excitement? Can’t you feel the enthusiasm ? Don’t you want to have a party every day of your life ? I sure do !!! I miss the crawfish etouffee, gumbo, jambalaya, pralines and beignets.  I miss the French Quarter. I miss Jazz Fest. I miss home. I’m sure we all miss home now that we have been brought to the Mother ship. Part of my history and heritage is French in nature. My lineage goes back to 1716 in St-. Pie , France. Being French I had to include the most famous French composer Mr.  Dufay.\r\nNeedless to say , he is not a fan of rap music. The Rose windows of Sainte Chapelle can be brought home and watched by each visitor on the dvd that follows below.\r\nhttp://www.youtube.com/watch?v=XqJqW8zL9Ew&amp;feature=youtube_gdata_player\r\nIn case you feel stressed or worried or exhausted by your daily toils here, below is a Dufay selection that is guaranteed to put your mind at ease and relax your heart. It warms the soul and slows your breathing. Dufay offers music lessons to any child of any nationality under the age of 21 free of charge on weekends. He wants all future generations to have a deep appreciation for music. \r\nIn total contrast to the tour lead by Dufay would be the conquistador Cortes who leads us through death, war, pillage and greed. He is the guide for our Ziggurat wing. The music selection accompanying the videos of Ziggurat below were Cortes choice before he had his brain surgery to make him more personable.\r\nhttp://www.youtube.com/watch?v=XnWpBwmi6_o&amp;feature=youtube_gdata_player\r\n\r\nSo how do we get a huge Ziggurat and a French chapel in one room you ask. The Superdome has been replicated and sized to accommodate both figures inside. It is a state of the art, cutting edge piece of architecture. It takes up about one-third of the Mother ship, but its worth it as an homage to our life on Earth as we knew it. All of the works inside the replicated Superdome are originals. In pain staking detail and toil, scientists were able to extrapolate them from their original locales. \r\nI chose the Ziggurat of Ur because it has architectural, historical, and societal influence. The building showed that huge throngs of people could come together for long periods of time to accomplish a common goal for the good of the people as a whole. \r\nThe Ziggurat was architecturally significant because it was the very first of its kind and generated at least 32 copies that we know of at this time. \r\nThe Ziggurat was intended to be a ladder to the gods. It was an icon of the Mesopotamian era. It was known as a monument to its kings. The Ziggurat has religious significance because it serves as a reminder of the possibility of a higher power, being, god or divinity figure. It helps us focus on something other than ourselves. \r\nThe Ziggurat of Ur was brought to the Mother ship to serve as a place for people to gather and learn of history. People will now be guided along the Ziggurat steps by Cortes. They will dress in period costume, listen to music of the age, and eat food that was prepared during King Ur-Nammu’s reign. \r\n\r\nThe lancet rose windows of Sainte Chapelle were brought to the Mother ship to serve as a reminder of our French and religious heritage. Gothic architecture has been implemented in every century since the year 1239. The Mother ship has rose windows similar to the ones that had been created for the Sainte Chapelle. Religion plays a part here again with the rose windows because the Sainte Chapelle was meant as a place of worship for the royal family. It is still in use as a place for worship even on the Mother ship. There are baptisms, communion ceremonies, confessionals all still in use on a daily basis. The Sainte Chapelle served as a model for many to come including the Bourg, Chartes, Westminster Abbey and the Notre Dame. I chose the Sainte Chapelle because the stained glass windows evoke such a dramatic visual sense when one first sees their light. I chose not to have Louis IX brought back to life. Instead I have Dufay as our tour guide through the upper and lower facility. We eat croissant, drink wine for breakfast and then go take a nap. Dufay is quite amusing as a host due to his travels and stories through life. The rose windows of Sainte Chapelle exemplify artistic expertise of their time because of the rich hues, dramatic angles and intense workmanship that was involved in its creation. This source of worship took many years and hours of toil to finish. That labor was meant to reflect the seriousness with which the French people of the time believed in their worship. The Sainte Chapelle was a model for so many other buildings that came after it. The effort involved in the glass serves for our future to show that things of beauty can last for many generations. The Rayonnant style that came to be known during this era has forever been in use even to this day. Grisaille technique that was heavily used in the rose window construction can serve as an inspiration for our children.  It is also important to us for religious reasons because it housed the Crown of Thorns.  There are multiple ways people interact with the rose windows at the Sainte Chapelle. They can tour the facility. They can be a part of a mass held inside. They can have replica stained glass installed in their rooms at the Mother ship. They can also have Dufay over for dinner to entertain evening guests and tell stories of his era. \r\n  Mr Dufay , who is our current tour guide and guest for the Sainte Chapelle has been brought to the Mother ship because of his significance. Religion plays a part here again in that Dufay’s piece Missa L’homme arme’ was the most popular tune used for musical settings of the Ordinary Mass. The printing press came along during Dufay’s time. This enabled permanent preservation of his work. During Dufay’s time music was important for gatherings, celebrations and festivals. It is still an important part of our every day life. Dufay’s creations were used for the next three centuries as a basis for many pieces. Dufay still has 200 pieces in existence and use today. You can have him over for dinner and he will be glad to play a one hour concert free. You pick which pieces you want him to play during that hour. \r\n\r\nHernan Cortes is my guest here on the Mother ship because he represents the transition from the old world to the new world. He is the David vs Goliath, good vs evil.\r\nHe is the tour guide for the Ziggurat of Ur. He also is available for dinner engagements where you can enjoy learning the history of tequila and avocado. Margaritas,stories by Cortes, and painting with avocado seed liquid. How can you beat that for a memorable learning experience for the family ?\r\nI chose to bring Cortes because he overthrew a kingdom. His endeavors were the root of entrepreneurism. He used his own money to voyage to the new world. I could have chosen Del Castillo to join us , but his entertainment value would have been much lower. Cortes is a better story teller and thus keeps kids attention longer. \r\nCortes exemplifies the Spaniards of his era in that there were so many conquistadors. Many journeys were launched in all directions all over the globe. His story just holds more glamorous appeal to the general public. What is significant about Hernan Cortes’ Letters from Mexico is that it is a first- hand documentation of an over throw of an entire population.  He goes into extreme detail to portray images and meaning to the readers of his book. On the Mother ship he teaches children English, Spanish, Art, History and Math as well as being the tour guide for the Ziggurat of Ur. \r\n\r\nI’m sure we will all enjoy the benefits of Dufay,Cortes, the Ziggurat of Ur and the rose windows of Sainte Chapelle. I know we all miss home. Hopefully, by the year 2200 , mankind will have developed a way to regenerate its home it called planet Earth. I know many others in the audience would have chosen different people or places or things. I’m sure they each have significant value in their own right. I chose these 4 for religious, architectural, artistic, musical, historical and sociological reasons. After spending a few days in the Superdome at Mardi Gras world touring the Ziggurat with Mr Cortes or having a mass at the Sainte Chapelle with Dufay we will all be united in the opinion that this was a fabulous choice for preservation.\r\n\r\n \r\n\r\n\r\n   \r\n','MARDI GRAS ON THE MOTHER SHIP','','inherit','open','open','','1372-revision-3','','','2011-05-11 17:49:48','2011-05-11 23:49:48','',1372,'http://jeanatacc.com/2011/?p=1375',0,'revision','',0),(1376,23,'2011-05-11 17:49:55','2011-05-11 23:49:55','http://www.youtube.com/watch?v=ezuDiMkmj9s&amp;feature=youtube_gdata_player \r\nThe year is 2100. The Earth is still uninhabitable. The above video shows what happened as a result of the humans trying to defend themselves. We were overtaken for our intelligence and for our water supply.\r\n\r\nNow we live in the Mother ship. We will not be returning to Earth. It along with most other things of the 21st century were disposable. We used it up and then threw it away. \r\nhttp://www.youtube.com/watch?v=PKC_ORM0vpo&amp;feature=youtube_gdata_player\r\n\r\nThe above video should serve as a reminder of how we are not invincible. We can be beat. We are not the only thing in this world. There are other creatures and being and life forms throughout the universe. \r\nhttp://www.youtube.com/watch?v=PKC_ORM0vpo&amp;feature=youtube_gdata_player\r\nThe above video shows Hurricane Katrina. That took place on the date of August 29th, 2005. That was a small scale event. That was only the beginning of the end of the earth. Human engineering was faulty, thus the levees broke and washed away all the hopes and dreams of an entire city. Many moved to Texas, Florida, Alabama and Mississippi. It was all irrelevant because we were taken over and will never return. Our greed and selfish nature came back to bite us. We didn’t cure cancer, schools closed, we became a police state. Freedom was an ideal in the minds of the educated. \r\nhttp://www.youtube.com/watch?v=U5Je1lS88uY&amp;feature=youtube_gdata_player\r\nThe above video illustrates the revival of a city and its people. A sports team created a rebirth. Hope and joy went on for weeks. Half a century of pain and anguish came to an abrupt halt. We are hostages on this Mother ship. The earth may never become what it was a century ago. The above video should serve as inspiration that good things can happen. If you work hard and keep on track, you can get the result you desire. \r\n\r\nSo you ask , how is this relevant to our goals and what we are doing with the preservation of mankind ?\r\nI want us to reflect on humankind and how we should’ve learned from our need for immediate gratification. The wonderful idea of the electronic age only served to multiply our greed and self loathing. \r\nMy reason for showing the New Orleans Saints is because the New Orleans Superdome will be our archive of preserved items for all mankind to reflect, learn and ponder how they can be better. We are living on the spaceship in the first video and all of the relics I have picked are here on the Mother ship. They arrived here via gps osmosis. The Ziggurat of Ur is housed in the same room as the Sainte Chapelle chapel from Paris. I have brought my historic individuals to act as leaders and tour guides for our future leaders. Hernan Cortes and Guillame Dufay will be a part of my preservation hall housed inside the Superdome. Even though we couldn’t cure cancer, through the magic of science and genetic mutation, we were able to bring Cortes and Dufay back to life. Dufay has an even temper and is relatively mild mannered. Cortes had an alternative brain modulation sequence performed to alter his post formal thought process. This process will allow him to be less violent , and more friendly toward fellow humans.\r\n\r\nInside the Superdome is a fully interactive experience. There are usb ports,flash drive, Ipads, headphones, 3d glasses at the disposal for each person visiting. There is also a disposable version of the experience for those who do not wish to stay.  Since the Superdome was chosen as the house for Ziggurat, Sainte Chapelle, Dufay and Cortes, I also brought along the Blaine Kern Mardi Gras World.\r\nSince I am the curator and designer for this space, I wanted some things that reminded me of where I grew up. New Orleans and Mardi Gras and the Saints were all a huge part of who I became. The New Orleans Saints may not be considered a huge part of human history, but to me personally, they were a huge chuck of my childhood. Below is an example of an event that was held at Mardi Gras world. \r\nhttp://www.youtube.com/watch?v=VqV-VHOIp_Q&amp;feature=youtube_gdata_player\r\n\r\nCan’t you feel the excitement? Can’t you feel the enthusiasm ? Don’t you want to have a party every day of your life ? I sure do !!! I miss the crawfish etouffee, gumbo, jambalaya, pralines and beignets.  I miss the French Quarter. I miss Jazz Fest. I miss home. I’m sure we all miss home now that we have been brought to the Mother ship. Part of my history and heritage is French in nature. My lineage goes back to 1716 in St-. Pie , France. Being French I had to include the most famous French composer Mr.  Dufay.\r\nNeedless to say , he is not a fan of rap music. The Rose windows of Sainte Chapelle can be brought home and watched by each visitor on the dvd that follows below.\r\nhttp://www.youtube.com/watch?v=XqJqW8zL9Ew&amp;feature=youtube_gdata_player\r\nIn case you feel stressed or worried or exhausted by your daily toils here, below is a Dufay selection that is guaranteed to put your mind at ease and relax your heart. It warms the soul and slows your breathing. Dufay offers music lessons to any child of any nationality under the age of 21 free of charge on weekends. He wants all future generations to have a deep appreciation for music. \r\nIn total contrast to the tour lead by Dufay would be the conquistador Cortes who leads us through death, war, pillage and greed. He is the guide for our Ziggurat wing. The music selection accompanying the videos of Ziggurat below were Cortes choice before he had his brain surgery to make him more personable.\r\nhttp://www.youtube.com/watch?v=XnWpBwmi6_o&amp;feature=youtube_gdata_player\r\n\r\nSo how do we get a huge Ziggurat and a French chapel in one room you ask. The Superdome has been replicated and sized to accommodate both figures inside. It is a state of the art, cutting edge piece of architecture. It takes up about one-third of the Mother ship, but its worth it as an homage to our life on Earth as we knew it. All of the works inside the replicated Superdome are originals. In pain staking detail and toil, scientists were able to extrapolate them from their original locales. \r\nI chose the Ziggurat of Ur because it has architectural, historical, and societal influence. The building showed that huge throngs of people could come together for long periods of time to accomplish a common goal for the good of the people as a whole. \r\nThe Ziggurat was architecturally significant because it was the very first of its kind and generated at least 32 copies that we know of at this time. \r\nThe Ziggurat was intended to be a ladder to the gods. It was an icon of the Mesopotamian era. It was known as a monument to its kings. The Ziggurat has religious significance because it serves as a reminder of the possibility of a higher power, being, god or divinity figure. It helps us focus on something other than ourselves. \r\nThe Ziggurat of Ur was brought to the Mother ship to serve as a place for people to gather and learn of history. People will now be guided along the Ziggurat steps by Cortes. They will dress in period costume, listen to music of the age, and eat food that was prepared during King Ur-Nammu’s reign. \r\n\r\nThe lancet rose windows of Sainte Chapelle were brought to the Mother ship to serve as a reminder of our French and religious heritage. Gothic architecture has been implemented in every century since the year 1239. The Mother ship has rose windows similar to the ones that had been created for the Sainte Chapelle. Religion plays a part here again with the rose windows because the Sainte Chapelle was meant as a place of worship for the royal family. It is still in use as a place for worship even on the Mother ship. There are baptisms, communion ceremonies, confessionals all still in use on a daily basis. The Sainte Chapelle served as a model for many to come including the Bourg, Chartes, Westminster Abbey and the Notre Dame. I chose the Sainte Chapelle because the stained glass windows evoke such a dramatic visual sense when one first sees their light. I chose not to have Louis IX brought back to life. Instead I have Dufay as our tour guide through the upper and lower facility. We eat croissant, drink wine for breakfast and then go take a nap. Dufay is quite amusing as a host due to his travels and stories through life. The rose windows of Sainte Chapelle exemplify artistic expertise of their time because of the rich hues, dramatic angles and intense workmanship that was involved in its creation. This source of worship took many years and hours of toil to finish. That labor was meant to reflect the seriousness with which the French people of the time believed in their worship. The Sainte Chapelle was a model for so many other buildings that came after it. The effort involved in the glass serves for our future to show that things of beauty can last for many generations. The Rayonnant style that came to be known during this era has forever been in use even to this day. Grisaille technique that was heavily used in the rose window construction can serve as an inspiration for our children.  It is also important to us for religious reasons because it housed the Crown of Thorns.  There are multiple ways people interact with the rose windows at the Sainte Chapelle. They can tour the facility. They can be a part of a mass held inside. They can have replica stained glass installed in their rooms at the Mother ship. They can also have Dufay over for dinner to entertain evening guests and tell stories of his era. \r\n  Mr Dufay , who is our current tour guide and guest for the Sainte Chapelle has been brought to the Mother ship because of his significance. Religion plays a part here again in that Dufay’s piece Missa L’homme arme’ was the most popular tune used for musical settings of the Ordinary Mass. The printing press came along during Dufay’s time. This enabled permanent preservation of his work. During Dufay’s time music was important for gatherings, celebrations and festivals. It is still an important part of our every day life. Dufay’s creations were used for the next three centuries as a basis for many pieces. Dufay still has 200 pieces in existence and use today. You can have him over for dinner and he will be glad to play a one hour concert free. You pick which pieces you want him to play during that hour. \r\n\r\nHernan Cortes is my guest here on the Mother ship because he represents the transition from the old world to the new world. He is the David vs Goliath, good vs evil.\r\nHe is the tour guide for the Ziggurat of Ur. He also is available for dinner engagements where you can enjoy learning the history of tequila and avocado. Margaritas,stories by Cortes, and painting with avocado seed liquid. How can you beat that for a memorable learning experience for the family ?\r\nI chose to bring Cortes because he overthrew a kingdom. His endeavors were the root of entrepreneurism. He used his own money to voyage to the new world. I could have chosen Del Castillo to join us , but his entertainment value would have been much lower. Cortes is a better story teller and thus keeps kids attention longer. \r\nCortes exemplifies the Spaniards of his era in that there were so many conquistadors. Many journeys were launched in all directions all over the globe. His story just holds more glamorous appeal to the general public. What is significant about Hernan Cortes’ Letters from Mexico is that it is a first- hand documentation of an over throw of an entire population.  He goes into extreme detail to portray images and meaning to the readers of his book. On the Mother ship he teaches children English, Spanish, Art, History and Math as well as being the tour guide for the Ziggurat of Ur. \r\n\r\nI’m sure we will all enjoy the benefits of Dufay,Cortes, the Ziggurat of Ur and the rose windows of Sainte Chapelle. I know we all miss home. Hopefully, by the year 2200 , mankind will have developed a way to regenerate its home it called planet Earth. I know many others in the audience would have chosen different people or places or things. I’m sure they each have significant value in their own right. I chose these 4 for religious, architectural, artistic, musical, historical and sociological reasons. After spending a few days in the Superdome at Mardi Gras world touring the Ziggurat with Mr Cortes or having a mass at the Sainte Chapelle with Dufay we will all be united in the opinion that this was a fabulous choice for preservation.\r\n\r\n \r\n\r\n\r\n   \r\n','MARDI GRAS ON THE MOTHER SHIP','','inherit','open','open','','1372-revision-4','','','2011-05-11 17:49:55','2011-05-11 23:49:55','',1372,'http://jeanatacc.com/2011/?p=1376',0,'revision','',0),(1377,23,'2011-05-11 17:52:23','2011-05-11 23:52:23','http://www.youtube.com/watch?v=ezuDiMkmj9s&amp;feature=youtube_gdata_player \r\nThe year is 2100. The Earth is still uninhabitable. The above video shows what happened as a result of the humans trying to defend themselves. We were overtaken for our intelligence and for our water supply.\r\n\r\nNow we live in the Mother ship. We will not be returning to Earth. It along with most other things of the 21st century were disposable. We used it up and then threw it away. \r\n\r\nhttp://www.youtube.com/watch?v=PKC_ORM0vpo&amp;feature=youtube_gdata_player\r\n\r\nThe above video should serve as a reminder of how we are not invincible. We can be beat. We are not the only thing in this world. There are other creatures and being and life forms throughout the universe. \r\n\r\nhttp://www.youtube.com/watch?v=PKC_ORM0vpo&amp;feature=youtube_gdata_player\r\n\r\nThe above video shows Hurricane Katrina. That took place on the date of August 29th, 2005. That was a small scale event. That was only the beginning of the end of the earth. Human engineering was faulty, thus the levees broke and washed away all the hopes and dreams of an entire city. Many moved to Texas, Florida, Alabama and Mississippi. It was all irrelevant because we were taken over and will never return. Our greed and selfish nature came back to bite us. We didn’t cure cancer, schools closed, we became a police state. Freedom was an ideal in the minds of the educated. \r\n\r\nhttp://www.youtube.com/watch?v=U5Je1lS88uY&amp;feature=youtube_gdata_player\r\n\r\nThe above video illustrates the revival of a city and its people. A sports team created a rebirth. Hope and joy went on for weeks. Half a century of pain and anguish came to an abrupt halt. We are hostages on this Mother ship. The earth may never become what it was a century ago. The above video should serve as inspiration that good things can happen. If you work hard and keep on track, you can get the result you desire. \r\n\r\nSo you ask , how is this relevant to our goals and what we are doing with the preservation of mankind ?\r\nI want us to reflect on humankind and how we should’ve learned from our need for immediate gratification. The wonderful idea of the electronic age only served to multiply our greed and self loathing. \r\nMy reason for showing the New Orleans Saints is because the New Orleans Superdome will be our archive of preserved items for all mankind to reflect, learn and ponder how they can be better. We are living on the spaceship in the first video and all of the relics I have picked are here on the Mother ship. They arrived here via gps osmosis. The Ziggurat of Ur is housed in the same room as the Sainte Chapelle chapel from Paris. I have brought my historic individuals to act as leaders and tour guides for our future leaders. Hernan Cortes and Guillame Dufay will be a part of my preservation hall housed inside the Superdome. Even though we couldn’t cure cancer, through the magic of science and genetic mutation, we were able to bring Cortes and Dufay back to life. Dufay has an even temper and is relatively mild mannered. Cortes had an alternative brain modulation sequence performed to alter his post formal thought process. This process will allow him to be less violent , and more friendly toward fellow humans.\r\n\r\nInside the Superdome is a fully interactive experience. There are usb ports,flash drive, Ipads, headphones, 3d glasses at the disposal for each person visiting. There is also a disposable version of the experience for those who do not wish to stay.  Since the Superdome was chosen as the house for Ziggurat, Sainte Chapelle, Dufay and Cortes, I also brought along the Blaine Kern Mardi Gras World.\r\nSince I am the curator and designer for this space, I wanted some things that reminded me of where I grew up. New Orleans and Mardi Gras and the Saints were all a huge part of who I became. The New Orleans Saints may not be considered a huge part of human history, but to me personally, they were a huge chuck of my childhood. Below is an example of an event that was held at Mardi Gras world. \r\n\r\nhttp://www.youtube.com/watch?v=VqV-VHOIp_Q&amp;feature=youtube_gdata_player\r\n\r\nCan’t you feel the excitement? Can’t you feel the enthusiasm ? Don’t you want to have a party every day of your life ? I sure do !!! I miss the crawfish etouffee, gumbo, jambalaya, pralines and beignets.  I miss the French Quarter. I miss Jazz Fest. I miss home. I’m sure we all miss home now that we have been brought to the Mother ship. Part of my history and heritage is French in nature. My lineage goes back to 1716 in St-. Pie , France. Being French I had to include the most famous French composer Mr.  Dufay.\r\nNeedless to say , he is not a fan of rap music. The Rose windows of Sainte Chapelle can be brought home and watched by each visitor on the dvd that follows below.\r\n\r\nhttp://www.youtube.com/watch?v=XqJqW8zL9Ew&amp;feature=youtube_gdata_player\r\n\r\nIn case you feel stressed or worried or exhausted by your daily toils here, below is a Dufay selection that is guaranteed to put your mind at ease and relax your heart. It warms the soul and slows your breathing. Dufay offers music lessons to any child of any nationality under the age of 21 free of charge on weekends. He wants all future generations to have a deep appreciation for music. \r\nIn total contrast to the tour lead by Dufay would be the conquistador Cortes who leads us through death, war, pillage and greed. He is the guide for our Ziggurat wing. The music selection accompanying the videos of Ziggurat below were Cortes choice before he had his brain surgery to make him more personable.\r\n\r\nhttp://www.youtube.com/watch?v=XnWpBwmi6_o&amp;feature=youtube_gdata_player\r\n\r\nSo how do we get a huge Ziggurat and a French chapel in one room you ask. The Superdome has been replicated and sized to accommodate both figures inside. It is a state of the art, cutting edge piece of architecture. It takes up about one-third of the Mother ship, but its worth it as an homage to our life on Earth as we knew it. All of the works inside the replicated Superdome are originals. In pain staking detail and toil, scientists were able to extrapolate them from their original locales. \r\nI chose the Ziggurat of Ur because it has architectural, historical, and societal influence. The building showed that huge throngs of people could come together for long periods of time to accomplish a common goal for the good of the people as a whole. \r\nThe Ziggurat was architecturally significant because it was the very first of its kind and generated at least 32 copies that we know of at this time. \r\nThe Ziggurat was intended to be a ladder to the gods. It was an icon of the Mesopotamian era. It was known as a monument to its kings. The Ziggurat has religious significance because it serves as a reminder of the possibility of a higher power, being, god or divinity figure. It helps us focus on something other than ourselves. \r\nThe Ziggurat of Ur was brought to the Mother ship to serve as a place for people to gather and learn of history. People will now be guided along the Ziggurat steps by Cortes. They will dress in period costume, listen to music of the age, and eat food that was prepared during King Ur-Nammu’s reign. \r\n\r\nThe lancet rose windows of Sainte Chapelle were brought to the Mother ship to serve as a reminder of our French and religious heritage. Gothic architecture has been implemented in every century since the year 1239. The Mother ship has rose windows similar to the ones that had been created for the Sainte Chapelle. Religion plays a part here again with the rose windows because the Sainte Chapelle was meant as a place of worship for the royal family. It is still in use as a place for worship even on the Mother ship. There are baptisms, communion ceremonies, confessionals all still in use on a daily basis. The Sainte Chapelle served as a model for many to come including the Bourg, Chartes, Westminster Abbey and the Notre Dame. I chose the Sainte Chapelle because the stained glass windows evoke such a dramatic visual sense when one first sees their light. I chose not to have Louis IX brought back to life. Instead I have Dufay as our tour guide through the upper and lower facility. We eat croissant, drink wine for breakfast and then go take a nap. Dufay is quite amusing as a host due to his travels and stories through life. The rose windows of Sainte Chapelle exemplify artistic expertise of their time because of the rich hues, dramatic angles and intense workmanship that was involved in its creation. This source of worship took many years and hours of toil to finish. That labor was meant to reflect the seriousness with which the French people of the time believed in their worship. The Sainte Chapelle was a model for so many other buildings that came after it. The effort involved in the glass serves for our future to show that things of beauty can last for many generations. The Rayonnant style that came to be known during this era has forever been in use even to this day. Grisaille technique that was heavily used in the rose window construction can serve as an inspiration for our children.  It is also important to us for religious reasons because it housed the Crown of Thorns.  There are multiple ways people interact with the rose windows at the Sainte Chapelle. They can tour the facility. They can be a part of a mass held inside. They can have replica stained glass installed in their rooms at the Mother ship. They can also have Dufay over for dinner to entertain evening guests and tell stories of his era. \r\n  Mr Dufay , who is our current tour guide and guest for the Sainte Chapelle has been brought to the Mother ship because of his significance. Religion plays a part here again in that Dufay’s piece Missa L’homme arme’ was the most popular tune used for musical settings of the Ordinary Mass. The printing press came along during Dufay’s time. This enabled permanent preservation of his work. During Dufay’s time music was important for gatherings, celebrations and festivals. It is still an important part of our every day life. Dufay’s creations were used for the next three centuries as a basis for many pieces. Dufay still has 200 pieces in existence and use today. You can have him over for dinner and he will be glad to play a one hour concert free. You pick which pieces you want him to play during that hour. \r\n\r\nHernan Cortes is my guest here on the Mother ship because he represents the transition from the old world to the new world. He is the David vs Goliath, good vs evil.\r\nHe is the tour guide for the Ziggurat of Ur. He also is available for dinner engagements where you can enjoy learning the history of tequila and avocado. Margaritas,stories by Cortes, and painting with avocado seed liquid. How can you beat that for a memorable learning experience for the family ?\r\nI chose to bring Cortes because he overthrew a kingdom. His endeavors were the root of entrepreneurism. He used his own money to voyage to the new world. I could have chosen Del Castillo to join us , but his entertainment value would have been much lower. Cortes is a better story teller and thus keeps kids attention longer. \r\nCortes exemplifies the Spaniards of his era in that there were so many conquistadors. Many journeys were launched in all directions all over the globe. His story just holds more glamorous appeal to the general public. What is significant about Hernan Cortes’ Letters from Mexico is that it is a first- hand documentation of an over throw of an entire population.  He goes into extreme detail to portray images and meaning to the readers of his book. On the Mother ship he teaches children English, Spanish, Art, History and Math as well as being the tour guide for the Ziggurat of Ur. \r\n\r\nI’m sure we will all enjoy the benefits of Dufay,Cortes, the Ziggurat of Ur and the rose windows of Sainte Chapelle. I know we all miss home. Hopefully, by the year 2200 , mankind will have developed a way to regenerate its home it called planet Earth. I know many others in the audience would have chosen different people or places or things. I’m sure they each have significant value in their own right. I chose these 4 for religious, architectural, artistic, musical, historical and sociological reasons. After spending a few days in the Superdome at Mardi Gras world touring the Ziggurat with Mr Cortes or having a mass at the Sainte Chapelle with Dufay we will all be united in the opinion that this was a fabulous choice for preservation.\r\n\r\n \r\n\r\n\r\n   \r\n','MARDI GRAS ON THE MOTHER SHIP','','inherit','open','open','','1372-revision-5','','','2011-05-11 17:52:23','2011-05-11 23:52:23','',1372,'http://jeanatacc.com/2011/?p=1377',0,'revision','',0);
