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Bảo tàng ngớ ngẩn về cua nhưng xuất hiện vấn đề nghiêm trọng để bàn luận
07 Mar, 2024
bảo tàng Cua nhỏ bé ở Margate, Anh, thu hút chú ý nhờ triển lãm giáp xác đồng thời cung cấp kiến thức cho du khách về biến đổi khí hậu và chủ nghĩa tư bản
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At the Crab Museum in the seaside town of Margate, England, Tereza Hynkova, 24, stopped in front of a display case, and started to giggle.
A sign above the diorama explained: The species (giống loài) live in different parts of the world so “it would be misleading (gây hiểu lầm) to depict (miêu tả) them in a realistic natural setting.” Instead, the museum’s staff had put the models into a diorama resembling a 1920s English town.
Much of the humor is childish, and aimed at young visitors. A section on mating habits (thói quen giao phối), for instance, features a photo of crabs midcoitus, emblazoned (trang trí) with the word “censored.” Other elements (yếu tố) are more involved. To illustrate how the animals “molt” — a process in which a crab pulls its body out of its shell so that it can then grow a larger exoskeleton — the museum has a bizarre video of Ned Suesat-Williams, one of its founders, struggling to crawl out of a suit of armor backward, without using his hands.
Staff at some of Britain’s more renowned scientific institutions are paying attention to the Crab Museum’s approach. Chris Stringer, of the Natural History Museum in London, said in an email that the museum’s silly approach leads to learning “by stealth.” It “teaches more in a small space and short time than many others with far larger budgets (ngân sách lớn hơn),” he added.
On a recent Sunday, not every visitor was charmed (quyến rũ) by the Crab Museum’s irreverent approach. Mia Gregory, 29, said that she didn’t find the crab diorama amusing because it contained a crustacean dressed as a police officer brandishing (khua khoắng) a baton in its claws. This aggressive portrayal of the police felt “a little bit political” for a museum about crabs, Gregory said. (She later added that she was a police officer.)
source: nytimes,
Tags: artHồng Nhung
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