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When you get to the museum level, you're usually dead, aren't you?

 

Mick Jones

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I worked at the Smithsonian for a number of years. I had a very low-level job. I didn't have much responsibility, but I did have a Smithsonian ID badge that gave me access to all of the museums on the mall, and also the National Gallery of Art. In those days, you could go anywhere, which you can't do now. You could get in behind the scenes and wander along these tunnels. There is a scene in "Prince of Flowers" where the characters are in the Paleontology Department of the Museum of Natural History where they really do have this Raiders of the Lost Ark-type vast space filled with all of these unopened cartons. ... I was really entranced with the idea of living in a museum. In Winterlong there are two parallel storylines and the one for Raphael takes place among this guild or tribe of curators who live in the ruins of the Smithsonian Institution.

 

Elizabeth Hand

 

Personally, I'm not interested in making device drivers look like user-level. They aren't, they shouldn't be, and microkernels are just stupid.

 

Linus Torvalds

 

[T]he handsomest, the wittiest, the most brilliant and the most charming of poets. On the last occasion when I happened to catch sight of him, looking into a case of stuffed birds at South Kensington Museum, he had eaten five large chocolate creams in the space of two minutes. He had a career tragic in the extreme and, as I believe, is now dead.

 

Theo Marzials

 

Classical music has struggled to keep up. Unlike any other art form, it keeps on looking backwards all the time. It used to have a real museum culture. Then it went: "Oh my God, what are we going to do? Call for Nigel Kennedy. Quick!" Classical musicians have got to change or die,' she asserts strongly, 'but they just don't know how to. Audiences for classical music have dropped. The old blue rinse audience is dying out, and young people aren't coming in.

 

Joanna MacGregor

 

I have long recognized the theory and aesthetic of such comprehensive display: show everything and incite wonder by sheer variety. But I had never realized how powerfully the decor of a cabinet museum can promote this goal until I saw the Dublin [Natural History Museum] fixtures redone right. […] The exuberance is all of one piece—organic and architectural. I write this essay to offer my warmest congratulations to the Dublin Museum for choosing preservation—a decision not only scientifically right, but also ethically sound and decidedly courageous. The avant-garde is not an exclusive locus of courage; a principled stand within a reconstituted rear unit may call down just as much ridicule and demand equal fortitude. Crowds do not always rush off in admirable or defendable directions.

 

Stephen Jay Gould