{"id":135,"date":"2016-01-11T15:45:43","date_gmt":"2016-01-11T23:45:43","guid":{"rendered":"http:\/\/miriamposner.com\/classes\/dh150w16\/?p=135"},"modified":"2016-01-11T15:46:25","modified_gmt":"2016-01-11T23:46:25","slug":"the-exhibitionary-complex-the-crystal-palace-in-the-digital-age","status":"publish","type":"post","link":"http:\/\/miriamposner.com\/classes\/dh150w16\/2016\/01\/11\/the-exhibitionary-complex-the-crystal-palace-in-the-digital-age\/","title":{"rendered":"The Exhibitionary Complex: The Crystal Palace in the Digital Age"},"content":{"rendered":"<p>This week, I had the pleasure of reading Tony Bennett&#8217;s &#8220;The Exhibitionary Complex,&#8221; and was really intrigued with his explanations and justifications behind the complexities of the formation of both exposition\u00a0and spectacle. Drawing upon numerous examples from past institutions, such as a &#8220;cabinet of curiosities&#8221; and a &#8220;Great Exhibition,&#8221; Bennett brings up the notion and case\u00a0of the Crystal Palace. A cousin to the panopticon, which was an architectural method that allowed maximum observation of inhabitants, the Crystal Palace &#8220;reversed the panoptical principle by fixing the eyes of the multitude upon an assemblage of glamorous commodities. The Panopticon was designed so that everyone could be seen; the Crystal Palace was designed so that everyone could see.&#8221; Interestingly, the Crystal Palace combines the functions of both spectacle or participatory observation, with the concept\u00a0of surveillance. Bennett continues to explain how the Crystal Palace is a useful term in the exhibitionary complex; society itself is a spectacle, institutions&#8217; involvement of providing\u00a0spectacles, and above all, allows for permanent displays of knowledge, thus asserting power.<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone\" src=\"http:\/\/i.telegraph.co.uk\/multimedia\/archive\/02691\/Crystal-PAlace_2691194k.jpg\" alt=\"\" width=\"858\" height=\"536\" \/><\/p>\n<p>I found this idea of the Crystal Palace and its purpose to be reminiscent of many of today&#8217;s museums and their exhibits. Like how we had discussed in class, it seems as if many museums are employing the use of installations and interactivity to better exhibit art. But a\u00a0question is raised; with the purpose of many pieces being audience participation, are the users then pieces of the art itself? It can be said that a museum is a Crystal Palace, where museum goers are not only encouraged to view works, the spectacles, but are also assumed to be &#8220;under surveillance&#8221; of the museum. Heavy words, I know, but it is essentially observable in how power is displayed by\u00a0what is called for in an exhibition, as well as how museums essentially &#8220;curate&#8221; the public as viewers themselves.<\/p>\n<blockquote><p>&#8220;&#8230;The development of the exhibitionary complex also posed a new demand: that everyone should see, and not just the ostentation of imposing facades but their contents too.&#8221;<\/p><\/blockquote>\n<p>To further surmise, I especially feel that Bennett&#8217;s words are imperatively relatable to the expositions of the digital age&#8211; everyone should see, but with the addition of evolving forms of digital display and creation, everyone should be seen as participants of these expositions, as well.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>This week, I had the pleasure of reading Tony Bennett&#8217;s &#8220;The Exhibitionary Complex,&#8221; and was really intrigued with his explanations and justifications behind the complexities of the formation of both &hellip; <a href=\"http:\/\/miriamposner.com\/classes\/dh150w16\/2016\/01\/11\/the-exhibitionary-complex-the-crystal-palace-in-the-digital-age\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;The Exhibitionary Complex: The Crystal Palace in the Digital Age&#8221;<\/span><\/a><\/p>\n","protected":false},"author":11,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_eb_attr":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-135","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"http:\/\/miriamposner.com\/classes\/dh150w16\/wp-json\/wp\/v2\/posts\/135","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/miriamposner.com\/classes\/dh150w16\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/miriamposner.com\/classes\/dh150w16\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/miriamposner.com\/classes\/dh150w16\/wp-json\/wp\/v2\/users\/11"}],"replies":[{"embeddable":true,"href":"http:\/\/miriamposner.com\/classes\/dh150w16\/wp-json\/wp\/v2\/comments?post=135"}],"version-history":[{"count":0,"href":"http:\/\/miriamposner.com\/classes\/dh150w16\/wp-json\/wp\/v2\/posts\/135\/revisions"}],"wp:attachment":[{"href":"http:\/\/miriamposner.com\/classes\/dh150w16\/wp-json\/wp\/v2\/media?parent=135"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/miriamposner.com\/classes\/dh150w16\/wp-json\/wp\/v2\/categories?post=135"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/miriamposner.com\/classes\/dh150w16\/wp-json\/wp\/v2\/tags?post=135"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}