"The Tzitzimimeh were also feared during other ominous periods of the Aztec world, such as during the five unlucky days called Nemontemi which marked an unstable period of the year count, and during the New Fire ceremony marking the beginning of a new calendar round - both were periods associated with the fear of change." "The New Fire ceremony (in Nahuatl xiuhmolpilli—the Binding of the Years) was an Aztec ceremony performed once every 52 years — a full cycle of the Aztec calendar— in order to stave off the end of the world." Immediately after the war, he began a thorough reorganization of the institution. In 1946, a fierce fire reduced an entire wing of the Cinquantenaire Museum to ashes, as well as destroying part of the collections housed there. Rebuilding took time and it was only in 1966 that the new wing was inaugurated. --> we need some explanation of the passing of the 52 years, in expectation of which the goddess peut-être Xochiquetzal ou Tzitzimime awakens base of mexico and a particular summit, all fires would be put out, a man was sacrificed upon the mountain and a fire drill would be placed on his chest and list a huge bonfire and the new calendar was declared and the fire would be taken all over the city the objects are going to be orphaned if and when the museum seizes to exist in which case, the goddess peut-être Xochiquetzal ou Tzitzimime awakens she is the goddess of dead mothers, and since emile introduced the museum as a daughter, whose embilical cord was cut and it has been growing we see the orphaned objects as what will remain when the museum, the mother of the objects dies in which case, the goddess peut-être Xochiquetzal ou Tzitzimime will provide them with techniques of survival in the absence of the nurture of the art history establishment she scarped the database and she sees that many are researching this statue she makes the information public and erase the statue people don't understand what is happening because the statue is fundamental in the history of belgium because of tintin it is nice as a prelude to have the technical evolutions of the database with some details that we need for the story GOING THROUGH THE PAST: Historical cross-section of cataloguing practices you have the database and what is shown from the database i want to show it in comparison to the current all catalogues compare to the current first: 1893 super detailed catalogue who gave the instrument the sounds it makes 60s: there are surely things in between 63 is a list of names and short notes 1980s: it is really an inventory of it it has potentially more information 1990s: it becomes more narrative and a word document 2000: they started including pictures (again) and then comes the failed database of the Belgian company (MuseumView and Museum2View) with the introduction of the databases for Cinquintainnaire they merged 2016: they are negotiating with the standardized care of MuseumPlus how they can bring things from their own structures voice of Carmentis: in your story Carmentis appears the techno-optimist in bed with Alphabet/Google care: the catalogue that failed and they had their own catalogue cared for and survived fire: the catalogue from the 60s is after the fire it is not the fire in MIM, but during the wars they also didn't do anything, and they didn't have funds Carmentis she was a goddess of child birth and prophecy technical innovation protector and inventor of the alphabet the patron saint of the db of the museum we found our own goddess in the DB she prophesizes a vision of the end of the world and in these times of instability she notices that the goddess peut-être Xochiquetzal ou Tzitzimime starts appearing in the horizon she is used to things having one name or being one thing Tzitizimime appeared in different times of the Aztec world especially in times associated with the fear of change NEW FIRE CEREMONY INTRODUCTION [the story of the goddesses is a story of taking care] carmenta takes care of mothers and children tzitzimime takes care of dead mothers (and their children) carmentis is frightened, because peut-être Xochiquetzal ou tzitizimime has appeared carmentis asks why tzitzimime has appeared in the horizon what is tzitzimime worried about i remembers the reopening of the museum from 50 years ago after the fire of 1946 it is time for a new fire ceremony in 2018, a full 52 years have passed since the regeneration of the museum in 1966 i am not sure how she felt about the previous fire the fire in 1946 destroyed the objects, it could be seen as freedom from being subject to a colonial history but it was not the museum came back with all confidence in 1966 now that a new 52 years is about to open i wonder whether the museum will survive the next fire or waves of change i worry that if the museum just ends, it will be an opportunity lost to confront that colonial history with its own history at this point carmentis arrives and offers her database as a place for tzitzimime to join her in writing the experience of the colonial history SAM after the database pres: every collection manageme nt system carries a vision of care that functions through the structure of its database the database sets the parameters of care, what matters in relationship to the object and to take care of the objects includes taking care of the database database an ever changing product that reflects less a sense of cultural representation then a market vision of culture stuck in the vision of manageability, efficiency and promise of ahistorical esthaetics we need to understand how this care is shaped and governed in order to be able to change it we need to evaluate the state of the museum by looking at whether what it declares as its duty to care an initial inventory shows that the museum cares for: diplomatic relations royal family history inter-european power relationships making of the young belgian state presenting science curators as gatekeepers growth king leopold and his legacy archeologists/donators and confirmation of their role in society taking care of the museum/museumification becoming a resource for more research, which helps with the growth legitimizing and normalizing collection acitivities creating collective knowledge and imaginary through exhibitions the imaginary of the state, the nation, the kingdom the imaginary of the others how can we break out of the mold of the databases that mold the museum and expand the scope of care #new fire ceremony needs a sacrifice #this is not killing someone but take his body #tzitzimime takes my body we imagine that the new fire ceremony in 2018 allows this change to happen which zoumana gives an acocunt of in 2036 seda stop here and tells the story of the new fire ceremony that happens in 2018 for the new fire ceremony tzitzimime needs to start with a sacrifice the sacrifice was the embodiment of a curator the spirit of a curator the curator decides to create a mold of all the objects in the museum objects that were stolen and the objects of administering the museum and of the personnel she decides to change the paradigm of care all the objects of the museum were spread with a promise of care this exhibition just an exhibition of the molds intentions of the exhibition which is an exhibition that signifies letting control of the objects but not forgetting its role in the history of colonialism