READING 1. The Crypt of Civilization: Museum in a time capsule

Interesting Things of the Day >> ITotD April 30, 2005 The Crypt of Civilization Museum in a time capsule By Joe Kissell On July 4, 1976, bicentennial celebrations took place all over the United States. I was nine years old at the time, and along with my five-year-old sister, I went to a very special gathering just a few doors down from our house near Pittsburgh, Pennsylvania. A local funeral parlor, in a highly publicized event, was going to bury a time capsule (instead of a coffin) in a corner of its parking lot. Memorabilia from the community would be kept there until the capsule was unearthed, as I recall, 50 years later. Children were particularly urged to come, in order to sign a replica of the Declaration of Independence that would be included in the capsule. By the time my sister and I had made our way to the front of the crowd, the page was completely full, so someone brought out extra sheets of paper to hold the rest of the signatures. I remember being both excited to have my signature in a time capsule and annoyed that I had to sign a stupid blank piece of paper. The capsule was filled with nitrogen to preserve its contents, buried, and covered with a small monument that included a plaque explaining what was inside and when it was to be opened. On a couple of occasions since then, I’ve visited that monument, which is now pretty dingy and largely forgotten. And I’ve thought to myself: Will anyone actually remember to dig this thing up in 2026? The people who buried it will be long gone. And who knows what will have happened to that property by then? If I’m alive and I show up for the disinterment, will I have to bring my own pickaxe? And if someone does remember, will we actually learn anything interesting from those 50-year-old artifacts? Museum for the Future The idea of burying something to be found by future generations goes way, way back. But the modern notion of a time capsule didn’t appear until the 20th century. The first serious attempt to preserve a large collection of information and artifacts for the distant future is also, to date, the most elaborate: the Crypt of Civilization, sealed in 1940 at Oglethorpe University in Atlanta, Georgia. The idea for the Crypt came to Oglethorpe University president Thornwell Jacobs in the 1920s, and he solidified it into a plan in 1936. Jacobs realized that the information left to us by ancient civilizations is spotty at best, and he wanted to do a favor for historians and archeologists of the future. So his idea was to collect a vast storehouse of information representing all of human history to that point—including science, technology, entertainment, and every aspect of popular culture—and consolidate it into a multimedia museum, specially preserved for millennia. While Jacobs was supervising the three-year collection process, his project got a lot of publicity, and similar (though smaller-scale) efforts began to spring up elsewhere. The Westinghouse Electric and Manufacturing Company decided to create a torpedo-shaped container of artifacts to be buried during the 1939 World’s Fair (and opened 5,000 years later). They called their container a “time capsule,” and that term was soon adopted for nearly all such projects. All except the Crypt, that is—even though it was, in a way, the prototypical time capsule, its scope was so much larger that the word “capsule” wasn’t appropriate. Pooling Resources In fact, the Crypt is a room that was once a swimming pool. Located on the lower level of Oglethorpe University’s Phoebe Hearst Hall, it is a chamber measuring 20 feet long by 10 feet wide by 10 feet high (6 x 3 x 3 m). Because it was originally a pool, the bottoms and sides of the chamber were already waterproof. It rests on bedrock and has a thick layer of stone above it. In other words, the room will survive nearly any catastrophe outside. It underwent extensive renovations to further reinforce and seal it; and the most delicate items inside are hermetically sealed in specially designed containers. The chamber itself can be entered only through a heavy stainless steel door that was welded shut on May 25, 1940. The Crypt contains many hundreds of items, from the sublime to the mundane. Among the contents are copies of over 800 books of all kinds, stored on both microfilm and metal plates; audio recordings; newsreels; a radio; electric light fixtures; games and toys; a typewriter; plastic samples; and a container of beer—to name just a few. There are microfilm readers and projectors; the archivists also thoughtfully included a wind-powered generator in case electricity is not available when the Crypt is opened. And—my favorite part—the first thing one will see on entering the Crypt is a machine to teach basic English, so that the rest of the materials can be understood even if English is long dead. If you’re thinking that sounds like the Crypt was destined to be sealed for a very long time, you’re absolutely right. Most time capsules are intended to be opened in 50 or 100 years. The Crypt of Civilization, however, is not “scheduled” to be opened until 8113. This seemingly arbitrary date was 6,177 years from the time the Crypt was designed in 1936—which was, in turn, 6,177 years from the first date for which we have historical records (4241 B.C., when the Egyptian calendar began). Thus, the Crypt should contain a fairly good record of the first half of human history as of the date it’s opened. Pass It On Considering how much the world has changed in the last 6,000 years, it would be foolish to assume that Hearst Hall, Oglethorpe University, or even the city of Atlanta will still be around when the Crypt is supposed to be opened. After so many generations, it would be quite surprising if someone actually knew the location and nature of the Crypt when the time came. As it is, the Crypt was all but forgotten just a few decades after it was sealed. In 1970, a student exploring an off-limits area of Hearst Hall with a flashlight came upon the mysterious sealed door. That student, Paul Hudson, later became a history professor and co-founded the International Time Capsule Society (ITCS). The organization’s sole purpose is to track all the time capsules buried around the world and pass that information on to future generations, so that each one can be found and opened at the proper time. The ITCS estimates there are about 10,000 time capsules buried worldwide, most of which are “lost”—that is, no one knows the capsules’ exact locations. I don’t know if the bicentennial capsule with my signature in it is on their list or not; their registry is not available to the general public. This seems a bit odd to me; I’d think that the more widely information about a time capsule were disseminated, the smaller the likelihood that it would be forgotten. What happens, after all, if the ITCS fades away, or if the contact information they’ve compiled goes out of date (as it inevitably will)? Still, surely any effort to collect and maintain this information is better than nothing. The people who bury a time capsule—since they usually will not be the ones to open it—must rely on the goodwill of future generations to follow their instructions as to when the capsule should be unearthed. There’s no authority that can ultimately prevent the people of, say, the year 3936 from opening the Crypt of Civilization if they feel like it—or if the instructions for when it should be opened have been lost. If history has shown us anything, it’s that buried treasure (even if the treasure is simply knowledge) has a habit of escaping. —Joe Kissell ------------------------------------------------------------- The Atlantic.10.24.2018.A Racist Message Buried for Thousands of Years into the Future ------------------------------------------------------------- The Atlantic: New Racism Museum Reveals the Ugly Truth Behind Aunt Jemima 04.23.2012 ------------------------------------------------------------- Charles Willson Peale, the Artist in His Museum ------------------------------------------------------------- Why did Museums Begin? ------------------------------------------------------------- The New York Times: Why Museums Matter 02.19.2009 -------------------------------------------------------------

Bibliographic Sources for further readings

Bibliography for further readings & resources: • Ambrose, Timothy and Paine, Crispin. Museum Basics. London & N.Y.: Routledge and ICOM, 1997 • Alexander, Edward, P. Museums of Motion: an introduction to the history and functions of museums. Nashville: American Association for State and Local History, 1979 • Belcher, Michael. Exhibitions in Museums. Washington, D.C.: Smithsonian Institution Press, 1993 • Bloomer, Carolyn, M., Principles of Visual Perception. New York, N.Y.: Van Nostrand Reinhold Co., 1976 • Burcaw, Ellis, G. Introduction to Museum Work. Walnut Creek, C.A.: AltaMira Press, 1997 • Commission on Museums for a New Century. Museums for a New Century. Washington, D.C.: American Association of Museums, 1984 • Gregory, Richard, L. Eye and Brain: The Psychology of Seeing. Princeton, N.J.: Princeton University Press, 1997 • Hein, George, E. Learning in the Museum. London, New York: Routledge, 1998 • Hein, George, E. Museums, Places of Learning. Washington, D.C.: American Association of Museums Education Committee • Meyer, Karl, E. The Art Museum: power, money, ethics. N.Y.: Morrow, 1979 • Newhouse, Victoria. Toward a New Museum. N.Y.: The Monacelli Press, 1998 • Reibel, Daniel, B. Registration Methods for the Small Museum. Walnut Creek, C.A.: AltaMira Press, 1997 • Sherman, Lee, E. (editor). On Understanding Art Museums. Englewoog Cliffs, N.J.: Prentice- Hall, 1975 • Witteborg, Lothar, P. Good Show: a practical guide for temporary exhibitions. Washington, D.C.: Smithsonian Institution, 1981 (AM7 W57 1981) • Caring for Collection. Washington, D.C.: American Association of Museums, 1984 (Conservation) • Davis, Douglas. The Museum Transfer. N.Y.: Abbeville Press, 1990 (Museum's Architecture) • Dolloff, Francis, D. and Perkinson, Roy, L. How to Care for Works of Art on Paper. Boston: Boston Museum of Fine Art, 1985 (Conservation) • Levin, Michael, D. The Modern Museum: Temple or Showroom. Jerusalem: Dvir Pub. House, 1983 (Museum's Architecture) • Schwarzer, Marjorie. Graduate Training in Museum Studies. Washington, D.C.: American Association of Museums, 2001 (General) • Snyder, Jill. Caring for your Art. N.Y.: Allworth Press, 1996 (Conservation) • Sternau, Susan, A. Museums: Masterpieces of Architecture. N.Y.: Todtri, 1999 (Museum's Architecture) • Thompson, John, M.A. (editor). Manual of Curatorship: A Guide to Museum Practice. London: Butterworths, 1986 (General) Magazines and Newsletters: 1 Museum News: the magazine published monthly by the American Association of Museums, Washington, D.C. (available at the Des Plaines Campus library) 2 AVISO: the monthly newsletter of the American Association of Museums, Washington, D.C. Professional Organizations: 1 ICOM: The International Council of Museums, Paris, France 2 AAM: American Association of Museums, Washington, D.C. 3 IAM: Illinois Association of Museums, Springfield, IL 4 ACUMG: Association of College and University Museums and Galleries

Assignments

Methods of evaluation Grades are determined by the following: • FOUR Weekly Response Papers (500 words each) by the conclusion of the semester Due in Week 6, 8, 10 and 13 > 40% of final grade • 1 large research paper (900 words) DUE: WEEK 9 > 20% of final grade • Gallery Exhibition Catalogue work due at the conclusion of the semester DUE: Week 14 > 40% of final grade Standards for evaluation + grading overview - Grades are based on a number of factors that include class participation, attendance, attitude, effort, project execution, project evolution, and improvement. - It is important that the student be prepared to initiate discussion regarding current readings and come to class with thorough notes. - Intellectual understanding and exploration of the readings and individual drive are significant factors in grading a student’s level of participation. - Superior excellence in all of these areas, on a continual basis, will earn an “A” for the course. - Continuing to show improvement and quality of work is constantly well executed, will earn a “B” for the course. Fulfilling the requirements of the course is considered average and will earn a “C”. Grading is an individual process, but general standards will be used to evaluate your performance in order to assign a letter/numerical Assignments will be the primary source of your grade and you will be expected to work outside of class approximately one hour for every hour of class. - Informed speculation and experimentation are encouraged. It is important that each student is prepared in the course and initiate discussion regarding their research and projects. - Intellectual understanding and exploration of the readings and projects, the ability to initiate research, and individual drive throughout each project are significant factors in grading a student’s level of participation. Hard work and improvement are recognized. Therefore, in addition to completing exquisitely crafted projects, engaged work and participation will positively impact a student’s grade. ----------

IS > FA 351 Syllabus

FALL 2020 FA 351 INDEPENDENT STUDY with Gwendolyn Andersen Professor J.E. Pepper Reasons for offering the Independent Study Gwen Andersen is a senior, currently on target to graduate in the Spring 2021. She is a dual major of Studio Art and Studio Art: Arts Management majors. FA351 was never slated to hit the books until next FALL 2021. We had planned that Gwen would work independently with me in the Art Gallery in Reisman Hall this fall, that is, before COVID struck. Our thoughts of this have had to take a back seat, so I agreed to work independently with her. The work she is slated to complete, will be valuable, historical information and the plethora of practices that museums find themselves practicing during the current times. We will read various texts, watch videos, and engage in engaged discussions. Although she will not be able to have the hands-on experience from physical visits to the regional museums I usually take students to because of social distancing; MOST, The Hubbard Collection in the Cazenovia Public Library, The Stickley Museum in Fayetteville, The Everson Museum, Sam & Adelle Golden Gallery in New Berlin, The Abolitionist Hall of Fame in Peterboro, Light Works in Syracuse, others. Gwen and I will work view virtual museum visits to a number of museums around the world. Gwen will be required to complete 3 small research papers, one large midterm paper, and an actual course catalogue documenting the work in a museum. Course Description One can say that many historical, natural history and cultural museums are about the past. It can also be said that museums, and their collections assist in the structure our knowledge from what we take away from our visits. A collection, a gallery, a museum can be used almost as if it is a physical text about a specific topic. FA351 is a structured course that provides an introduction to the design, administrative and behind the scenes workings of museums, galleries and the practice of collecting. Museum as Medium examines what roles museums and galleries play in culture as they interface with the community as a functional site. Both Public and Private institutions. This course is aimed for students who are interested in all aspects of gallery work and museum collections while also assisting students in preparations for future opportunities in exhibiting their own work, working in archives, and other similar institutions. The course introduces the student to the role of the museum; the makeup and functions of museums; galleries and collections; the role of the curator in the museum field along with other job descriptions; especially in the areas of collection management and exhibit preparation. more... This course serves as an opportunity for the independent studies student to discover practical information that focuses on collections, galleries and museums including special collections, archives, art galleries and museums, historical, cultural, scientific and natural history museums. We will pay specific attention to the question of how museums shape histories and narratives; using particular organization strategies; deciding on what to collect (or not collect); exhibition design; the design of architectural flow; each that often demonstrate authoritative knowledge while allowing visitors to raise questions. Through readings and discussion, video investigation and virtual museum websites and tours, we will learn how collections speak of power — who is doing the collecting and what is being collected, and the importance of installation as a conceptual frame that speaks to a narrative, practice and participation, and even power and politics. Virtual Site Visits The Hubbard Collection at the Cazenovia Public Library https://www.cazenoviapubliclibrary.org/museum-gallery/museum/collection-description/ Stone Quarry Hill Art Park, Cazenovia, NY https://sqhap.org The Matilda Josyln Gage Foundation, Fayetteville, NY http://www.matildajoslyngage.org The Everson Museum of Art, Syracuse, NY https://www.everson.org MOST Syracuse, NY https://www.most.org Light Work Syracuse, NY https://www.lightwork.org The Stickley Museum https://www.stickleymuseum.org As your faculty member, it is my hope that each virtual visit will give the student information about the public sites, behind the scenes information provided by curators, gallery directors, and archivists of these regional institutions, museum/gallery.org web building, and so much more. Goal of Our Course Together At the completion of this course, it is anticipated that you will understand the basic functions of the museum/galleries including historical, cultural, art, scientific and natural history collections. Including: The student will have gained a basic Introduction to how museum collections came to be during the Renaissance period, the history and creation of Wunderkammers, The American Museum & Charles Willson Peale. • Understand the basic core architecture of museums while gaining a deeper understanding of the social and cultural roles of such institutions play today. • FA351 presents students with the opportunity to understand different policies of collection management, including accessioning and disposal of objects, documentation, cataloging and data collection, display/exhibition planning, installing, basic care and conservation of artifacts. • It is intended that the student will gain awareness of what constitutes exhibition planning and concepts: The psychology hoped to experience by the museum visitor The interpretation of artifacts The role of permanent and temporary exhibitions Curatorial planning Conceptual installation planning, orientation, and environment Care for special needs visitors Various presentation techniques; text and labels; the catalog: essay and photographic documentation; exhibition evaluation; insurance, etc. • The students will have the opportunity to put their knowledge into valued practice by creating an • Considering Marcel Duchamp’s In Advancement of a Broken Arm (1964) MoMA Learning on Line and other examples, will present information of how the interpretation of an artifact has the ability to transform in various contexts. • Seeing an exhibition through from start to completion will put into practice various exhibition development techniques, extensive writing, research, documentation, and presentation. • This course will provide students with an educational experience in the museum /archiving field while improving problem-solving and critical thinking skills. • • • • • • • Snapshot of the course • Introduction to museums & collecting and the purpose they serve • History of museums and history of collecting as a functional site • Museum definitions, types, and functions i.e. commercial, educational, historical, multi-arts, interdisciplinary, experimental, public spaces, venues without walls, etc. • Collections & exhibition management, permanent vs. temporary installations > collecting collections • Archiving, cataloging, wall text and other need of writing, digital files, websites • Gain awareness in the various professions in museum and gallery work • Collecting and disposal policies and practices • Documentation and marketing • Contracts and documents, database of artifacts • Storage, packing, handling and installing • Security and insurance collections-based research • Become aware of current issues and philosophical questions surrounding museums and collections • Understand the role of the museum/gallery visitor and their needs Methods of instruction & classroom procedures Our thoughts of this have had to take a back seat, so I agreed to work independently with her. The work she is slated to complete, will be valuable, historical information and the plethora of practices that museums find themselves practicing during the current times. We will read various texts, watch videos, and engage in engaged discussions. Although she will not be able to have the hands-on experience from physical visits to the regional museums I usually take students to because of social distancing; MOST, The Hubbard Collection in the Cazenovia Public Library, The Stickley Museum and The Matilda Joselyn Gage Foundation both in Fayetteville, The Everson Museum, Sam & Adelle Golden Gallery in New Berlin, The Abolitionist Hall of Fame in Peterboro, Light Works in Syracuse, others. Gwen and I will work view virtual museum visits to a number of museums around the world. Gwen will be required to complete 3 small research papers, one large midterm paper, and an actual course catalogue documenting the work in a museum. Student responsibilities & expectations • It is the student’s responsibility to be prepared with all assignments in a thoughtful and fully engaged manner. • Students need to be wary of time management concerns and restraints of the term. • Should a student not understand an assignment fully, or have an idea of how to extend an assignment, the student needs to take the initiative and contact the professor. • Students need to check college e-mail accounts daily. • Students need to keep up with new course materials loaded onto the course Blog weekly. Class Hours & Engagement Gwen and I have been meeting already since the commencement of the term. She and I will meet weekly, on Tuesdays for 2 – 2.5 hours to go over the lessons for the week. Evaluation The quality of the semester is what students bring to it. It is expected that one’s participation is committed and remains active. Museum as Medium requires serious engagement in all facets of the semester’s preparations: readings, discussion, initiated participation, research, study, thoughtfulness in critical thinking and planning. ALL Students should set high standards for their own work. And, thus, this Independent Study is no different. It is important that the student be prepared to initiate discussion regarding current readings and come to class with thorough notes. Intellectual understanding and exploration of the readings and individual drive are significant factors in grading a student’s level of participation. Hard work and improvement are recognized and therefore, will positively impact a student’s grade. Methods of evaluation Grades are determined by the following: • FOUR Weekly Response Papers (500 words each) by the conclusion of the semester Due in Week 6, 8, 10 and 13 > 40% of final grade • 1 large research paper (900 words) DUE: WEEK 9 > 20% of final grade • Gallery Exhibition Catalogue work due at the conclusion of the semester DUE: Week 14 > 40% of final grade Standards for evaluation + grading overview - Grades are based on a number of factors that include class participation, attendance, attitude, effort, project execution, project evolution, and improvement. - It is important that the student be prepared to initiate discussion regarding current readings and come to class with thorough notes. - Intellectual understanding and exploration of the readings and individual drive are significant factors in grading a student’s level of participation. - Superior excellence in all of these areas, on a continual basis, will earn an “A” for the course. - Continuing to show improvement and quality of work is constantly well executed, will earn a “B” for the course. • • Fulfilling the requirements of the course is considered average and will earn a “C”. Grading is an individual process, but general standards will be used to evaluate your performance in order to assign a letter/numerical Assignments will be the primary source of your grade and you will be expected to work outside of class approximately one hour for every hour of class. - Informed speculation and experimentation are encouraged. It is important that each student is prepared in the course and initiate discussion regarding their research and projects. - Intellectual understanding and exploration of the readings and projects, the ability to initiate research, and individual drive throughout each project are significant factors in grading a student’s level of participation. Hard work and improvement are recognized. Therefore, in addition to completing exquisitely crafted projects, engaged work and participation will positively impact a student’s grade. Quality participation is characterized by the following: • On time attendance at each class meeting. Attending all site visits. • Active, enthusiastic participation in class discussions and with the studio work at hand. • Student exhibits on-going effort and takes risks in studio practice • Preparation and understanding of assignments in the classroom and site visits, research and presentations. The student continues to ask thoughtful questions • Responding to others’ comments in a responsible and constructive manner • Contributing regularly and mindfully to others • Leadership and active participation independently and in small group activities A student’s work performance in class is based on the instructor’s observation and record of the student’s personal performance in the following areas: • Attitude, demeanor – courteous, respectful, teachable, considerate of other students’ needs for concentration. • Attendance, punctuality, and handing in work on time. • Participation in class projects, in critiques and discussions, within collaborative projects. • Conduct – Helping to create an atmosphere conducive to creativity and keeping the workspace neat. Standards of Grading The typical "A" student will consistently follow all of the steps in the creative process, resulting in work that is beyond the students’ previous technical, conceptual and expressive capabilities. Attend all classes and complete all assignments on time; follow all instructions, demonstrate above average skills and creativity in completing assignments, turn in consistently good work equally important, the A student will conduct research, integrate information from other classes and experiences, follow through on ideas, not opt for an easy way out, will hand in work on time and in a well presented manner, will participate fully in class, ask questions and do extra work when needed in the pursuit of knowledge and greater ability. The work produced is exemplary and sets a benchmark for other students; actively participating in class discussions and critiques with a sustained high level of curiosity. In short, the A student will be a responsible and active learner throughout, while completing stellar work. The “B” student will attend all classes and complete all assignments on time; follow all instructions, demonstrate above average skills and creativity in completing assignments, turn in consistently above average, good work though some further development of knowledge and skills is possible; frequently contribute to discussions and critiques and complete good work overall. The typical “C” student will have less than perfect attendance; complete all assignments with average skills, attitude and creativity demonstrating a limited commitment to the learning process, average use of materials, and ideas that need further development. Occasionally contribute to class discussions and critiques. The “C” student performs average work. The “D” student has poor attendance; seldom meet deadlines, have an unconcerned attitude; work below average; contribute very little to class discussions and critiques. The “F” student continues to display poor attendance; seldom meet deadlines; turn in poor work; has a poor attitude, and/or impervious to the learning process. This type of student will fail the course. All assignments are to be completed in a thoughtful and timely manner. The grade of “C” indicates an adequate level of overall work to gain credit for the course; a “B” means a student has achieved a more than adequate level of work. To excel, as indicated by an “A” requires a superior level of skill, concept, quantity, professionalism, risk, and a surpassing depth of FA351 seriousness. Moving beyond a “C” in this course will require your very best efforts in all areas of your artistic development. Undergraduate Grading Grades calculated in grade point average (GPAs) as follows: A = 4.0 B+=3.33 C+ = 2.33 D+=1.33 D=1.00F=0.00 Numerical Equivalencies A 93-100 A- 92-90 B+ 89-87 B 86-83 B- 82-80 C+ 79-77 C 76-73 C- 72-70 D+ 69-67 D 66-65 A- = 3.67 B=3.00 B-=2.67 C =2.00 C- = 1.67 F 64 or below Course Policy The atmosphere throughout this course is to continue to be an active learners. The course materials: Lecture, discussion, videos, readings, will be offered in a hybrid way via remote learning system and face to face learning. Confidentiality Self-expression and honest reflection will take place through our discussions, written and created work. It is expected that each student will recognize that s/he will be privy to personal information about others in the class and must protect their privacy of the others by exercising strict confidentiality outside of class. When discussing class content outside of class it is recommended that all identifying descriptors be removed from statements so that the statements cannot be attributed directly to the individual who had made the statement. Respect for others is mandatory and non-negotiable. Please note that failure to adhere to confidentiality is a serious offense carrying severe penalties. Academic Honesty Cazenovia College is committed to academic honesty. The Committee on Academic honesty reviews all reported cases of alleged plagiarism, cheating on examinations, undocumented copying of art, and similar forms of academic dishonesty. At the beginning of each full academic term, all new students receive a comprehensive orientation to the College's expectations regarding academic honesty. It is expected that each student in this course will carry out all the assignments appropriately and that all work submitted by the student will be her or his own. Academic dishonesty in any form (e.g., cheating in exams, using another's plan or project, fabricating a study, plagiarism, etc.) is a serious offense with severe penalties. At the very least, the student will receive an F on the particular assignment or exam in question. Cazenovia College’s policy for students who abuse the academic honesty policy are as follows: First offense the student is given a warning. Depending on the circumstances, the student may fail the course. Second offense is reported to the Dean of Faculty and depending on the circumstances, the student may fail the course. Third offense, depending on the circumstances, the student may be dismissed from the college. A description of plagiarism and other forms of academic dishonesty are to be found in the on-line Student Handbook @ www.cazenovia.edu Special Educational Needs Any student who requires special accommodations for classroom work, independent assignments, and/or examinations should notify the Office of Special Services at 315-655- 7170. The Office of Special Services will grant students accommodations in accordance with their identified individualized educational plans. Students with accommodations are responsible for informing their instructors of their needs and giving them the accommodations report provided by the Office of Special Services. The potential of the curator as creator - Those who create and question the physical frame.