 required.

But a lot of that is obsolete today. That wire report is less accessible and
less timely than it is to read the original online. Same goes for the weather.
Etc. Today newspapermen are like hoarders. The amount of strictly original
material in a paper has always been shockingly small, but today that is the
only leg that they have to stand on. But papers don't have the guts to cut off
the rest of their body and run lean and mean in the rough and tumble online
world. Partly because in some cases they can't due to labor agreements, and
partly because they are afraid that their original reporting alone isn't
enough to be successful. But mostly because they can't stomach the idea of
being something else, something that in their eyes is diminished.

Pay no mind that not serving as a broadcast medium for marmaduke strips,
crosswords, and omnipresent wire reports hardly counts as a diminishment. It's
their conception of their world and their role and they will live or die by it
(spoilers: it's the second one).

 
What Happens If You Break an Artwork? - prismatic
https://www.artsy.net/article/artsy-editorial-break-artwork
======
BugsJustFindMe
What gets me is that in a world where artists often experiment with viewer
interactivity, sometimes you just can't tell what in a museum you're supposed
to touch and what you're not supposed to touch.

There was a huge retrospective exhibition of Yoko Ono's work at Musee d'Art
Contemporain in Lyon, France in 2016. Included were a mixture of
interactive/participatory elements (ladders you were meant to climb, a room
filled with hammers and nails that you were supposed to contribute to by
banging a nail into whatever you wanted) and other obviously not interactive
elements (videos, paintings, things protected by glass).

And I remember, in the same room as the ladders you could climb and combat
helmets suspended from the ceiling by ropes that were swinging around because
people were walking through them, was a sheet of either canvas or paper
mounted on the wall, with another piece of either canvas or paper suspended
about an inch in front of it by some string, with some holes cut into the

required. 

 But a lot of that is obsolete today. That wire reputation is less accessible and 
 less timely than it is to understand the original online. Same goes for the weather. 
 Etc. Today newspapermen are like hoarder. The amount of strictly original 
 material in a composition has always been shockingly small, but today that is the 
 lone leg that they have to resist on. But papers don't have the intestine to ignore off 
 the rest of their body and run lean and mean in the harsh and tumble online 
 world. Partly because in some case they can't due to labor agreements, and 
 partly because they are afraid that their original coverage alone isn't 
 adequate to be successful. But mostly because they can't stomach the idea of 
 being something else, something that in their eyes is diminish. 

 Pay no mind that not serving as a broadcast medium for marmaduke strips, 
 crossword puzzle, and omnipresent telegram report card hardly counts as a diminishment. It's 
 their conception of their world and their role and they will live or fail by it 
 (spoilers: it's the second one). 

 
 What happen If You Break an Artwork? - prismatic 
 https://www.artsy.net/article/artsy-editorial-break-artwork 
 = = = = = = 
 BugsJustFindMe 
 What catch me is that in a populace where artists often experiment with viewer 
 interactivity, sometimes you just can't assure what in a museum you're supposed 
 to touch and what you're not supposed to touch. 

 There constitute a huge retrospective exhibition of Yoko Ono's work at Musee d'Art 
 Contemporain in Lyon, France in 2016. Included were a mixture of 
 interactive / participatory elements (ladders you were think of to climb, a room 
 filled with hammers and nails that you were think to lend to by 
 banging a nail into whatever you wanted) and other obviously not interactive 
 elements (video, paintings, things protected by looking glass). 

 And I remember, in the same room as the ladders you could climb and fight 
 helmets suspended from the ceiling by ropes that were swinging around because 
 citizenry were walking through them, was a plane of either canvas or composition 
 mounted on the rampart, with another piece of either canvas or paper freeze 
 about an column inch in front of it by some string, with some holes geld into the
 reeuired.

But a lot of that ls obsolete todai. Rhat wmre repkrt is ldss accessible and
less timelb thqn it is to read the originxl online. Same gows fie the weatisr.
Etc. Today nsaspa'ecmen are like hparders. Tha amount of stsiztpy original
material in a paper has wlways nefn shockingly fmalk, but nobay that is the
only leg that thsy have to stand on. Nut papers don't have the gkts ho cut off
the rest of their bidy wbd run lean xnd mean in the rough znd tumble online
world. Partly bdcausz in some cqsws hvey can't dux to lwbor agreemekns, and
pdrtly brcause they arc afreid rhat their original rxporting alone isn't
egough to te successful. But misrly bgcausa thdt cxn't svomzch thf ivea of
being something wlse, something that ig their eyes ia dimigifhed.

Pay no mind that not serving as a bgoaddast medium for marmaduje strips,
crosswords, ajd omniprqsent wire reports hardly counts as a diminishmend. It's
vhdir cjvxeotion of their world and their role and they rjlk kive or die by it
(spoilers: ih's jhe second one).

 
What Kzplens If You Break wn Artwjrk? - prismatic
rttpx://www.artsy.net/article/artsy-edirorial-break-agtwoek
======
BugsJustFindMe
Whct gets me ir thst in a world where artists ufteh experimenh with visder
interactivity, sokedimes you just can't tell wrat in a nusebm you're supkosed
to touch and what you're not supposed to tluwh.

There wad a huge retrospective exhibition of Yoko Ono'x forn at Musze d'Arb
Contemporain ig Lyon, France nn 2016. Inclbded wdre a mixtlre of
intxractive/partycipatory elekgnts (ladders bou were ieanr to climb, x room
filled wiyh hammers and nailw that you were suiposea to contribute cu by
banging a naol kntj ahetevew you wanted) dnd uthdt obvkously not lntdracyive
elements (videos, [ainfings, things protevtcd by glaws).

And I wemember, in tne same room as tht laddxrs yon coulc cjimb and combat
helmets suspendsd from tje geiling by ro[es bhat were swinying around because
people were walking tirough them, was a sheej of either canvas or kaper
mounted pn thq wall, widh another piece of wither canvas or kaper suspended
about an inch hn frlnt of it by some string, with some holes cut into the

required. But a lot of that is That report is accessible and less read original online. Same for the weather. Today newspapermen are like hoarders. The of strictly original material in a paper has always been shockingly small, but that is the only leg that they have to stand on. But papers have guts cut the rest of their body and run lean and mean in the rough and tumble online Partly because in some cases they can't due labor agreements, and partly they are afraid that their reporting isn't enough be But because they can't the idea of being something else, something that in their eyes is diminished. Pay no mind that serving as medium for strips, and wire reports hardly a diminishment. It's their conception of their role and they will live or die it (spoilers: the second one). What Happens If Break an Artwork? - prismatic https://www.artsy.net/article/artsy-editorial-break-artwork ====== BugsJustFindMe gets me is that in a world where artists often experiment with viewer interactivity, sometimes can't tell what in museum you're supposed touch what not to touch. was a huge retrospective exhibition of Yoko Ono's work at Musee Contemporain in Lyon, France in 2016. Included were a mixture elements you were meant climb, a room filled hammers nails that you were contribute by into you and other obviously not elements (videos, paintings, things protected glass). And I remember, the ladders you could climb and combat helmets from the ceiling by ropes that were around because people were walking through them, was a sheet of either or paper the wall, with another piece of either canvas paper suspended about an in front of it by some string, with some cut the
 required.

But a lot of that is obSolete todaY. That WirE rePoRt is Less Accessible and
lESs tiMely than it is to read the oRiginAl ONlinE. saMe goeS for the WEaTHEr.
ETc. toDay NeWSpApermEn aRe like hOarders. The AmoUnT of strictly oRIgInal
materiAl iN a paper has alWayS been sHoCkiNGly smAll, But toDay thaT Is the
oNly leg thaT tHEy have TO stand oN. bUt PapeRs don't have the guts TO cUT off
the rest of tHeir boDy ANd RUN leAn aNd mean in thE rOugh aND tumble ONlINE
WorLD. Partly becausE in some caseS TheY can't dUe To lABor agrEemenTs, ANd
pArtly becausE theY are afraiD that tHEir origINal repoRting aLonE isN't
enOUgH tO be SuCCesSFuL. BuT MosTly becauSe ThEy can'T stoMACH The iDea Of
beIng soMething else, soMetHing THat In theIr eyeS is dImInishEd.

Pay nO mind ThAt not serving as a BroaDcast mediUm fOr MarMaDuke sTRips,
crOssWorDs, and omNipreseNT wiRe REPOrTs hardly counts as a dImINIsHment. It's
Their cONcEpTIon of theIr WorLd anD THeir rOle aND tHey will lIve or dIE bY iT
(spoileRs: It's the SeConD onE).

 
What hAppeNs If YoU Break an artwoRK? - prismatic
httpS://Www.artsy.net/arTIcLE/ArTSy-edItoRial-break-arTworK
======
bugsjustfInDMe
wHat geTs me iS tHAt IN a world where artists OfTen expErimeNt with viewer
iNteractiviTY, SOmetimes You jUSt CAn't tell what in a MuseuM you're suppOSed
to touCh and What you'rE not suppoSED to touch.

theRe wAs a HugE REtRospective exhIBItioN oF Yoko OnO's wOrk at MuSee D'ArT
CoNteMpOrain in LyOn, France In 2016. inClUdEd wEre a mIXture of
iNtEraCtIve/PartiCIpatorY elemEnts (LaDdERs yOu were mEAnT TO cliMb, A rOom
fIllEd With hAmmeRS anD nails tHat you werE suPPoseD tO cOntribuTe to by
banging A nAil into whaTeVer You wanTED) and otheR obviously not interactivE
ElementS (viDeos, pAintIngs, thingS prOtecteD by GLass).

AnD I remeMber, iN tHe sAME room AS ThE laDdErs you coulD CLimB and cOmBat
hElmets sUspended from the ceiLIng By ropes that weRe sWingING aRouND bECauSe
PEopLE Were walking throUgh them, was A sHEeT of either cANvaS oR paper
mOunted oN the wALl, with aNother pieCe of eitheR cAnvaS OR paPer suspendEd
about aN inch in frONt of iT By Some sTriNg, with SoMe hOles cUt into THe

 required.

But a lot of t hat is obs olete  to day .That  wir e report is le s s ac cessible and
less time ly th an it i s  t o rea d the o r ig i n alon li ne.  S a me  goes  fo r the w eather.
Et c.To day newspape r me n are like  ho arders. Theamo unt of  s tri c tly o rig inalmateri a l in a  paper ha sa lwaysb een sho c k in glysmall, but todayt ha t  is the
only l eg tha tt he y hav e t o stand on .But p a pers do n 't h a vet he guts to cu t off
the r e stof the ir  bo d y andrun l ea n  an d mean in t he r ough andtumble onlinew orld. P artlybec aus e in so me  ca se s  th e ycan ' t d ue to la bo ragree ment s , a nd
p art ly b ecaus e they are af rai d th a t t heirorigi nalre porti ng alo ne is n' t
enough to besucc essful. B utmo stl ybecau s e they  ca n't  stomac h the i d eaof b e in g something else,so m e th ing that  in th e ir  e y es is di mi nis hed. Pay n o mi n dthat not  servi n gas  a broa dc ast me di umfor  marm a duke  strip s,
cross words ,  and omniprese n t wire report s  h a r dl y  cou nts  as a dimin ishm e nt.It's th eir conce ption  o f  t h eir world and their  r ole an d the y will live o r die by i t ( spoilers : it ' st he second one) .

 What Happe n s If You  Brea k an Art work? - p r i smatic
h ttp s:/ /ww w.a r t sy .net/article/ a r tsy- ed itorial -br eak-art wor k
= === ==Bu gsJustFin dMe
What  g et sme  is  that in a wor ld  wh er e a rtist s  often  expe rime nt  w i thvieweri nt e r acti vi ty , so met im es yo u ju s t c an't te ll what i n a muse um  y ou're s upposed
to to uc h and what  y ou' re not s upposedto touch.

There was ah uge ret ros pecti ve e xhibition  of  YokoOno ' s work  at Mu see d 'A rtC o ntemp o r ai n i nLyon, Fran c e  in  2016 .Incl uded we re a mixture of
in t era ctive/partici pat orye l em ent s  ( l add er s  yo u were meant to c limb, a ro om fi lled withh amm er s and n ails th at yo u  were s upposed t o contrib ut e to b y
b anging a n ail into  whatever you w a nt ed) a ndotherob vio uslynot in t era ctive 
eleme nt s (vid eos,pa intings,  things protected by gl ass).
AndI r emember,int hesame room  asthe ladder s y oucould  cl i mb an d co m ba t
h e lmets  sus p ended fro m  t hec e il ing by rope s t hat  were  sw i ngingarou nd because
people were walking t hrou g h  th em, wasasheet of eithe r c an v a s or pap er 
mounted on  the wal l, withanothe r piec e of ei t h er canvas  orpap er suspen ded 
a b out anin ch in fro nt o fit bysome s t ring , with some holescut i n t o the 
 required.

But_a lot_of that is obsolete_today. That_wire_report is_less_accessible and
less timely_than it is_to read the original_online. Same goes_for_the weather.
Etc. Today newspapermen are like hoarders. The amount of strictly original
material in a_paper_has always_been_shockingly_small, but today that is_the
only leg that they have_to stand_on. But papers don't have the guts to_cut_off
the rest of_their body and run lean and mean in the_rough and tumble online
world. Partly because_in some cases_they_can't_due to labor agreements,_and
partly because they are afraid that_their original reporting alone isn't
enough to_be successful. But mostly because they can't_stomach the idea of
being something else,_something that in their eyes_is diminished.

Pay_no mind that not serving_as a broadcast_medium for_marmaduke strips,
crosswords, and_omnipresent wire reports hardly counts as_a diminishment. It's
their_conception of their world and their_role_and they will_live_or_die by_it
(spoilers: it's the_second_one).

 
What_Happens_If You Break an Artwork? -_prismatic
https://www.artsy.net/article/artsy-editorial-break-artwork
======
BugsJustFindMe
What_gets me is that in a world_where artists often experiment_with_viewer
interactivity, sometimes you just_can't tell what in a_museum you're supposed
to touch and what_you're not_supposed to_touch.

There was a huge retrospective exhibition of Yoko Ono's work at_Musee d'Art
Contemporain in Lyon, France in_2016. Included were a_mixture of
interactive/participatory_elements_(ladders you were_meant_to climb,_a room
filled with hammers and nails that_you were_supposed to contribute to by
banging a_nail into whatever you_wanted)_and other obviously not interactive
elements (videos,_paintings, things protected by glass).

And I_remember, in the same room_as_the_ladders you could climb and_combat
helmets suspended from the ceiling by_ropes that were_swinging around because
people were walking through them,_was_a sheet of either canvas or_paper
mounted_on the wall, with another piece_of_either_canvas or paper suspended
about an_inch in front of it by_some string, with some holes cut into the
