Perhaps before seeing the exhibition I would have agreed. I think part of Te Papa’s project is to help NZ understand itself, and I feel I have a slightly better understanding of life now here than I did before, in a way that I don’t think I would if I’d visited an exhibition about life in the early 1900s or in England in 1700s. Why do you think it’s lame?
Fair enough; my zeal without knowledge was uncalled for. :-) I thought “lame” mainly because I imagined rows of long-haired plastic models wearing brown and orange bell-bottoms, but I gather it’s not that.
But partly for deeper reasons. We have no trouble studying the history of the past fifty or so years, but we forget that history is 6000+ years, and we repeat its mistakes. For example, popular music—and then only its fringes—seems only now to be rediscovering that percussion is an art. “Hey everyone! I’ve discovered an awesomely earth-shattering drumming technique: I call it artistic restraint!”
Thanks for your email about it (and about writing for Prism), that helps inspire me. I’ll reply to that at some point.
yip, been there and it’s highly recommended.
Grain of salt: ’70s stuff is fun, but I reckon we’ve got pretty lame when museums have to start parading stuff that’s only half a generation old.
Perhaps before seeing the exhibition I would have agreed. I think part of Te Papa’s project is to help NZ understand itself, and I feel I have a slightly better understanding of life now here than I did before, in a way that I don’t think I would if I’d visited an exhibition about life in the early 1900s or in England in 1700s. Why do you think it’s lame?
Fair enough; my zeal without knowledge was uncalled for. :-) I thought “lame” mainly because I imagined rows of long-haired plastic models wearing brown and orange bell-bottoms, but I gather it’s not that.
But partly for deeper reasons. We have no trouble studying the history of the past fifty or so years, but we forget that history is 6000+ years, and we repeat its mistakes. For example, popular music—and then only its fringes—seems only now to be rediscovering that percussion is an art. “Hey everyone! I’ve discovered an awesomely earth-shattering drumming technique: I call it artistic restraint!”
Thanks for your email about it (and about writing for Prism), that helps inspire me. I’ll reply to that at some point.