British Museum blog

The British Museum guide 2069

‘Saxo Japonicus’, curator, British Museum (writing in 1969)

In the year that Neil Armstrong became the first man to walk on the moon, the Boeing 747 made its first flight and The Beatles released Abbey Road, a British Museum curator (using the pseudonym Saxo Japonicus) wrote an article in Colonnade, the staff magazine, about what he thought the British Museum would be like 100 years from then – in 2069. Below are some highlights.

Cover of Colonnade, staff magazine of the British Museum, Spring 1969 edition.

Cover of Colonnade, staff magazine of the British Museum, Spring 1969 edition.

‘Your Trustees are pleased to welcome you to the world-renowned British Museum, the friendly Museum of the Future as we like you to think of us. We wonder if you are one of the many who have delayed getting our stamp on your Certificate of Culture because you thought we were stuffy and formal? Not a bit of it. As you step out of the lift of the 100-storey Forecourt Heliport (from which on a clear day you can see the strikingly shaped tower of Birmingham Suburb Comprehensive) you will be faced with a colonnade painted in a gentle pastel pink especially selected by our psychiatric adviser to make you feel at home. Inside the door computer-composed light music will release all your preresistance and tensions, and there you will be greeted personally by the British Museum Greeting Keeper of the week who will tell you just how pleased we Trustees are to have the honour of your company. The rota of the weekly Greeting Keepers can be had by post from the Publications Building (see later), so you can choose whom you wish to meet, from a Palaeolithic flint expert to an authority on mid-20th-century plastic teaspoons or even one of the bibliographer of probable and possible books. There may be a little wait while your queue reaches him, but this is a privilege we cannot let you miss. The Greeting Keeper will be most happy to shake your hand. Indeed, if he doesn’t shake the hands of at least 2000 of you honest, average people during his week’s duty we consider it just a tiny bit naughty of him!

Original article in Colonnade

Original article in Colonnade

Perhaps, too, you have been misled into thinking that the British Museum is concerned with history and the past? [NB The Trustees of the British Museum are specially licensed to use the words ‘history’ and ‘past’ in terms other than those of denunciation as being fit persons to use them for educational and non-corruptive purposes.] We must admit that after the Re-Education Act of ten years ago, with its much praised clause ‘Towards the suppression of the past’, it seemed to many of us that the only public spirited thing to do was to scrap the whole collection and turn the buildings over to more humanitarian ends such as temporary accommodation for the under-integrated. But the Public Re-educator would not hear of it. He said, to our great pride, that the 37,000-strong British Museum staff were too highly trained to be used anywhere else in the public sector and it would be a pity if their rarefied skills could not continue to be used in the service of progress. He pointed out that since every development in the past had once been in the future to somebody, an since all change, as everyone knows, is improvement, so every culture and period in history justifies the superior one which succeeded it, and thus proves at every stage the inevitable rightness of progress (how obvious it all seems now!)

We have been happy and obliged to rearrange the British Museum on these doctrinally sound lines. The main exhibition runs in a circle round the ground floor, and you will be taken round it in your chair on a continuous moving band at 3kph. We regret that you must be strapped in for the trip. This is for your own safety, for owing to shortage of staff we could not guarantee to recover you if you fell from the band into the pit below it. This is overrun with a population of picturesquely savage cats estimated to have increased to several thousand since they were declared a Protected Cultural Property in 2047. The exhibition begins with the Old Stone Age, seen from the point of view of a visionary technologist of the Old Stone Age. His recreated thoughts are broadcast over your headphones. And so it goes on right up to the present day, which is described in a concluding 15-minute recorded lecture called ‘The Present: Prelude to the Future’. We hope in this way to educate your historical imagination.

The theme of every one of our labels (they are in six-feet-high neon lettering easily read at 3kph) is improvement. We show clearly and graphically just how the artifacts of each age were an improvement on those preceding. Take those plastic spoons again. You can see how the design of English spoons steadily improved from clumsy Medieval ones with their awkward bowls and narrow handles, through the more technologically advanced but far too fussy and ornate silverware of the 18th century, to the beautifully stark and almost practical white plastic spoons of the late 20th century (some from excavations of the BM Canteen of that period), and then to our own dry-ice disposables, which just melt into the air during use. Finally we try to project the future and the possibility, or rather certainty, of the non-spoon, the spoon perhaps which could be created in the user’s mind by taking a hallucinatory pill.

There are a number of special and temporary exhibitions. In the North Entrance, there is a selection of ‘The Ten Most Famous Objects of the British Museum’ arranged with the convenience of the One Day World Tour Company in mind. The objects are displayed in a large circle so that they can be seen from the glass dome of the ODWTC thermonuclear craft when it has descended through the hinged roof for its 5-minute stop. Other visitors can see the objects at the same time from the outer perimeter. Protective suits and masks are available at a moderate fee. The objects are of course plastic reproductions made by our laboratories. Thus do we prove to the world that modern technology can surpass anything done in the past, for our models not only reproduce every detail but also do not deteriorate in the tiresome way the originals did after only a few years of thermonuclear exhaust and vibration….

…Your stay in the BM will not be complete without a visit to the publicateria, where food and coffee machines are tastefully and imaginatively alternated with the automatic vendors of publications, postcards and replicas. The publicateria used to be deep underground until the regrettable affair of the Great Fleet Flood (you must not miss the exciting memorial in fibre-glass which stands over the spot where the passages were sealed off) but it has now been moved to a huge transparent plastic platform fitted across the dome of the Reading Room. This not only uses valuable space, but allows you, while having your repast, to look down on the wonderful scene of scholarly activity below you. Powerful binoculars can be hired so that you can actually read what the researchers are writing in their notebooks. Thus you too can stand on the threshold of new knowledge! Down there in the Reading Room, the Research Students of this country and the USA in their tens of thousands work intensively through their two-hour shifts. It is no longer possible, because of lack of space, to allow students to read for more than two hours a day, but the extension to 24-hour opening admits twelve shifts a day. Through the floor you can also see the amusing scenes when a Student’s two-hour meter runs out, lets out a loud alarm bell, and sets off a mechanism which propels him automatically out of the door if he has not left within 60 seconds.

You, of course, will be equipped with a similar 60-minute meter. Our popularity has led naturally to this measure. So don’t spend too long reading this, but get on with your visit. And the best of luck to you!’

We are discussing big questions about the Museum’s future in a series of three monthly debates in September to December 2014, and online. You can book your place at one of the debates now, and we’ll be inviting you to share your views online in September. In the meantime, visit our Tumblr to get an introduction to the debate and the Museum’s history.

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We’re sharing our favourite photos taken by visitors – use #myBritishMuseum if you’d like to feature! Here’s a brilliant shot by @j.ziolkowski that really captures the cool tones of the Great Court. We love the collision of lines in this photo – the hard edges of the original 1823 building set against the curvature of the later Reading Room and tessellation of the glass roof. 
Get snapping if you’d like to feature in our next #regram. 
#BritishMuseum #architecture #perspective #GreatCourt This Degas print is an example of the subject matter and technique the artist moved towards in the early 1890s. During this time, Degas produced sketchy prints showing female figures post-bathing. In this print we can see that the ink has been reworked during the printing process – the hair and shoulders show evidence of additional brushstrokes. The backgrounds of these works are much more sketchy and blurred than works he produced earlier in his career, perhaps showing his increased interest in figures.
#Degas #print #portrait The intense gaze of this young woman was originally intended to appear in the background of a horse racing scene by Degas, but the painting was never completed. This type of challenging composition is typical of the French artist’s work – he liked to crop the viewpoints of his paintings and sketches to create a different atmosphere. The coolly returned stare reverses the traditional relationship between viewer and subject, and emphasises Degas’ progressive approach to painting.
#Degas #painting #sketch #Paris French artist Edgar Degas died #onthisday in 1917. Today we’ll feature works that showcase his radical approach to framing subjects, and his subtle handling of form and tone. This vivid oil sketch from 1876–1877 depicts a repeated motif in Degas’ work – the Parisian ballet. He captured both performances and behind-the-scenes moments in his paintings and sketches, often using vantage points that give a fly-on-the-wall impression to his work. Degas worked rapidly but precisely – mirroring the movements of the dancers he portrayed – and this work is completed in thinned-down oil paint so that his quick brushstrokes could dry quickly.
#Degas #sketch #oilpainting #Paris #ballet Our #SunkenCities exhibition is the first at the British Museum on underwater archaeology. Over the last 20 years, world-renowned archaeologist Franck Goddio and his team have excavated spectacular underwater discoveries using the latest technologies. 
At the mouth of the Nile, the city of Thonis-Heracleion flourished as the main entry point into Egypt. Underwater excavations have found a large harbour, numerous ships and anchors, proving this was an international port. This magnificent monument was crucial to revealing that Thonis (in Egyptian) and Heracleion (in Greek) were in fact the same city. The decree was issued by the pharaoh Nectanebo I, regarding the taxation of goods passing through Thonis and Naukratis. A copy was found in the main Egyptian temple in each port. The inscription states that this slab stood at the mouth of the ‘Sea of the Greeks’ (the Mediterranean) in Thonis. 
Learn more about the connections between the ancient civilisations of Egypt and Greece in our #SunkenCities exhibition - until 30 November. Follow the link in our bio to find out more about it. 
Stela commissioned by Nectanebo I (r. 378–362 BC), Thonis-Heracleion, Egypt, 380 BC. On loan from National Museum, Alexandria. Photo: Christoph Gerigk. © Franck Goddio/Hilti Foundation. For centuries nobody suspected that Thonis-Heracleion and Canopus lay beneath the sea. Recorded in ancient writings and Greek mythology, the cities were believed to be lost. After sightings from a plane, a diving survey was organised in 1933 to explore submerged ruins. But it was only from 1996, with the use of innovative techniques and a huge survey covering 42 square miles of the seabed, that underwater archaeologists rediscovered the lost cities. 
Thonis-Heracleion and Canopus were thriving cities long before the foundation of the great port of Alexandria in 331 BC. Finds suggest that they were still inhabited into the AD 700s. The cities’ disappearance was caused by gradual subsidence into the sea – much like Venice today – coupled with earthquakes and tidal waves. This triggered a phenomenon known as land ‘liquefaction’, when the ground turns into liquid. 
This reconstruction shows what the port of Thonis-Heracleion could have looked like, dominated by the Temple of Amun-Gereb. Follow the link in our bio to book your tickets to our #SunkenCities exhibition. © Yann Bernard. © Franck Goddio/Hilti Foundation.
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