The paradigm behind the diagrams in the Natural History Museum relays an emphasis on the vision, discipline, and violence. This is from the elucidation of the connections between the archival paradigm and operations of power that regulate the body. Consequently, the body regulators are defined to be deviant according to the forms of policing and surveillance technologies. Sekula’s photography work gives an insight to the horrific portray of the lower classes and as a tool for identification of these lower status individuals to the police. On the other hand, the African hall gives a chance for veering into the vision of the genesis. It presents a paradoxical impression of how the beginnings can be saved, while transcending upon the present.
The act of restoration of the genesis is evident in the preservation of genetic hygiene. This is through presentation of the art of “P.T. Barnum’s Jumbo” having been run down by a railway. This forms the logo for industrial revolution, in which there is detailed evidence of the lone silver back male gorilla. The gorilla stands for the site of Akeley’s grave site, which consequently inhibits the monument to natural purity. This also signifies the link between nature and culture in that the historical injustices done to the wild depicts the violence.
In the light of the unfolding events in the Museum before the section meetings, the Donna Haraway means that there is a close resemblance between the origins of culture and traits defined by visions, discipline or violence. These visions relate to power and economy in that the forms of policing and surveillance have a direct impact on the existence of natural habitats, which generate economic resources. The reading fits into the experience at the museum in that the more the resources vested towards policing and surveillance, the higher the chances of survival of ecosystems.
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