A storyteller who provided us with such a profusion of details would rapidly grow maddening. Unfortunately, life itself often subscribes to this mode of storytelling, wearing us out with repetition, misleading emphases and inconsequential plot lines. It insists on showing us Bardak Electronics, the saftey handle in the car, a stray dog, a Christmas card and a fly that lands first on the rim and then in the centre of the ashtray. Which explains how the curious phenomenon whereby valuable elements may be easier to experience in art and in anticipation than in reality. The anticipatory and artistic imaginations omit and compress; they cut away the periods of boredom and direct our attention to critical moments, and thus, without either lying or embellishing, they lend to life a vividness and a coherence that it may lack in the distracting wooliness of the present.
Nell,
The great proliferation of museums in the nineteenth century was a product of the marriage of the exhibition as a way of awakening intelligent interest in the visitor with the growth of collections that was associated with empire and middle-class affluence. Attendance at museums was as much associated with moral improvement as with explanation of the human or natural world.
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