Speaking of Nick Poole, seems he wants to do a Britian-centric version of previous Wikipedia projects such as Wikipedia Loves Art.
Britain Loves Wikipedia. Click to find out more details, but the idea is to get 10-20 UK museums involved. I would love to see this be successful. I don’t think enough UK Museums are getting involved in this sort of thing. Hell, I don’t see enough UK museums on twitter.
Contact Nick via email nick(at)collectionstrust.org.uk or on twitter @NickPoole1 to find out more and hopefully partner up.
I often come back to the idea of “slack space”. A term coined by artists in Margate who turned empty commercial properties into art exhibition space. Many other terms have cropped up to describe this process. Many similar projects have appeared. I’m not sure there is a single former-Woolworth’s in the country that hasn’t had this idea associated with it at some point.
Sharing information like this is a good example of Museopunk. Even if it seems to be more art-focused, the information is easily adaptable should anyone want to try.
Back in April, I wondered why there wasn’t some efforts by Google to work with museums. They had put some ultra-high definition photos from the Prado Museum into Google Earth in January, but that seemed to be an exercise in photographic technologies and some much needed publicity for one of Google’s products.
I mean, can you think of any link between art and mapping? Of all the visualisations available on Google Earth, 14 images places upon a single geolocation in Spain seems a little odd. I mean, what’s the purpose?
What are they up to? Of all things, a digitisation project? 14,000 photos of the 5,000 remaining objects in the museum.
Does anyone else think this feels like a story from about 8-9 years ago?
I hope, no, I wish this will be something more than just interesting PR for Google. They can be game-changes to almost anything they get involved in, and it seems like they will photograph collections! And put them online! There are museums up and down the UK photographing stuff. Most of them are using volunteers.
Unless they can do something amazing with it. Unless this is a test for some greater plan that will blast inferior collection management software out of the water and begin some decent level of connectivity between museums. I suppose we will have to wait for “early 2010″ to see the results.
Fairness and justice for museum workers – A Facebook group dedicated to the museum workers of both the Canadian Museum of Civilization and the Canadian War Museum. They’re into the tenth week of their strike action to demand the same basics as other federal workers.
The second has the response from the Mike Weiss Gallery, which didn’t mention the inspection but made some pretty libelous remarks, insinuated something by her dance background and then saying that she did it for the web-traffic.
Well. I admit. I’ll throw my hands up and say I was wrong. Severaltimes I have said David Beckham would be the future of curating through great use of his celebrity and wide appeal of his name.
Just amazing. We could start getting 3D digitisation projects for museums going tomorrow. Okay, best to wait for the thing to be ready first. But then you have all kinds of options opening up.
There are many things the scans could be used for. When fabricating gets going, a museum could have a set of blueprints for models. Museum objects could start appearing in games (and some games have better economies than countries).
I want this technology in my phone. Its have a camera so it makes sense. And all consumer technology is moving towards increasing levels of mobility. I want to 3D-scan objects on the fly. We will need a word for this, I think.
Also, imagine what this would do to copyright discussions. I await the sign in the museum that says “No Flash Photography -- No 3D Scanning”.
I started writing this as part of NaNoWriMo. I missed a few days because of travel and illness and became so far behind the daily requirement that I basically gave up on hitting 50,000 by the end of November. What I have done is about 11k words and I’ve hit a bit of a wall in the plot.
Here’s is the opening paragraph. Like all good NaNoWriMo projects, it’s rough, full of spelling mistakes and could do with some serious editing. I think I put part of this up here to (a) amuse me and (b) to fill out the time where posts have been lacking. It may also start some thoughts about what on Earth I do with it.
Without further ado – GLYPH: Chapter One
Ben Talisman’s 120th birthday was about a month away and the feeling coming from deep within his bones told him that retirement was rapidly approaching. He had been working at the museum for ninety years, serving as Head Curator for the past forty. Today would be the 50th budget meeting at Civic Centre he was summoned to. Every year, he walked alone with his craggy face set in a graven stare. He used this time to go over his strategy. It took an incredible amount of planning and research to make sure the museum wasn’t shut down or ransacked for financial reasons. The first few meeting, Talisman had relied upon presenting all the good work and all the beneficial effects the museum had. After one close call where the museum was saved from closure within the last forty-eight hours, Talisman took to gaining advantages from researching whoever was the current Portfolio Direktor.
The strategy had worked so far. The problem was no reason or excuse could be used twice. The trick was to stun the bureaucratic system whilst getting the desired result from whoever had the authority to sign off on the budget. This meant these meetings had become increasingly bizarre. One year, Talisman had planted false evidence in the Direktor’s house to suggest that his wife was a keen patron of the museum. He did this when he found out that the Direktor’s brave face hid a deep neurosis over his wife’s death six years previously. Another time, Talisman had found the Direktor was addicted to a rare hallucinogenic made from the sweat glands of poisoned West African Children, so he conducted the entire meeting dressed as a reptilian archangel sent by a Pulsar God from the other side of the Cosmos.
Hi! My name is Jenny, and I’d like to extend to you all an invitation to attend the Leicester University School of Museum Studies’ PhD Symposium “Materiality and Intangibility: Contested Zones”. Organised by the PhD community here at the world’s oldest department for Museum Studies, it aims to challenge the fixed division between ‘the material’ and ‘the intangible’ which is so prevalent in museological thought. It runs on Monday 14th and Tuesday 15th December and promises to be a fantastic occasion!
For the bargain price of just £20, you get lunches, refreshments and two days worth of speakers and events. Keynote speakers include Dr Richard Sandell, Dr Sandra Dudley, Professor Sue Pearce and Dr Kostas Arvantis. Delegates are attending from 6 different countries, so the international mix will be great. But there is so much more – we’re running an art show as part of the symposium and (this is my favourite part) we have by and large banned PowerPoint! Speakers have had to come up with inventive methods of presenting their work and we hope that many of you will join us to come and see the results.
If you want more details, or to download a booking form, please follow these links.
Jenny Walklate is a PhD Researcher at the University of Leicester – You can contact her via jaw50(at)le.ac.uk, piratemoon on twitter and as a regular blogger on The Attic, the Leicester Museum Studies Blog.
In “Take Your Time, Olafur Eliasson”, Madeline Grynsztejn said: “The context between the cultural and commercial spheres over thinking and doing is one of the defining tensions in contemporary Western society. And the museum is the knife-edge location where this context is being played out, for there the conditions that determine or influence our sense of self are scrutinized in a conscious and concentrated way.”
Major art museums have been grappling with this question of providing a place for the public to look at themselves and their world through a non-commercial lens. As Ms. Grynsztejn puts it: “…we have arrived at a point when art, the museum, and cutting-edge commerce increasingly share visual modes of organizing meaning and express related ambitions to provide the individual with what have been described as “models of experience, opportunities for self-recognition, and the ingredients of identity”.”
One approach to maintain this identity space for the public (in large institutions) is to offer big, bold, and sometimes luscious immersive experiences- such as Eliasson’s. I’d like to talk about another. It’s a local, low fi, and nimble approach we’ll call the “Community Museum” model. Yes, along with farmer’s markets and food carts, museums have a place in the back-to-local world.
These are small institutions or ad-hoc spaces where the primary ingredients for visitor experience are: location, participation, elevation, and sharing. What they have in common is that they are more about providing a place for their public to shine and share, and less about suggesting what they ought to know.
In the Denver Community Museum, Jaime Kopke created a place for her neighborhood to respond to her “challenges” and participate in culture and identity- all in a neighborhood setting. At the San Francisco Mobile Museum, we are experimenting with taking the “making” and the museum to the neighborhood (and our first exhibit is a collaboration with the DCM).
When I began the Mobile Museum I wondered if it would result in a nuance on the “wisdom of the crowds”. Yet through the process of making and sharing our participants are having deeper experiences and deeper thinking about their world than they would have without it. They are also inspiring their peers (our visitors) to participate. These informal environments also fit their level of making experience. All together, it seems to fill a need for creating moments of intellectual pause and reflection for the public, as well as a platform for cultural expression by the curators.
In this small scale context, I see a world where the curator is also part journalist, part community ringleader. The visitor is at times audience, artist, and critic. The coming together of these two groups makes the museum.
The latest version of Museum Identity Magazine is up. You can get the digital edition here or email greg(at)museum-id.com to sign up to the mailing list for your free print copy.
You will also see the first of a regular column written by me. Greg Chamberlain said I could write about anything I wanted. So I’ve entitled it NOT WITCHCRAFT.
The Arts Council has a new website. Good thing really as I remember the last one being very difficult to get around. Now, they’ve gone for something feeling more like an arts magazine approach. It was clearly time for an image change. The Arts Council has been taking a bit of a kicking recently in a few mainstream newspaper articles.
To go with the launch of the new site, they commissioned artists Thomson & Craighead to make a short piece of video art, Several Interruption. Nice simple idea. I wonder who it was who would have said, “You’re the Arts Council, how about some art on the website for the Launch?”
Here is the Thomson & Craighead video. (Requires flash, Javascript to be unblocked and sound)
DISCLOSURE: Yeah, I get paid for you watching this video. I get a few pennies per play (all the way through, I think). This is the deal. You watch this interesting piece of video art and I get to pay my hosting fees. I promise to only do these things if they are relevant to newcurator’s editorial, so I won’t be running adverts for films or something. And I’ll say every time if I get paid. Deal?
Recently, I read an article about arts engagement, and a quote the author plucked from a poem by Aleda Shirley struck me as appropriate in describing the precarious position the museum assumes when exhibiting work that could or does stir up controversy. Shirley, in The Rivers Where They Touch, writes “Falling backwards from his boat, the diver would see, beneath the surface busy with leaves and eels, how the rivers don’t seem separate after all and perhaps tell us what night so often tells the pilot, the cartographer, the pair of lovers sighing from a bridge: that an edge is never a simple or a sudden thing”(1). Without too prosaically dissecting the museum with this quote, it is useful to ponder the edges that arise neither suddenly or simply in museums, most tangibly in the intersection of values, rhetoric, and experience that is the art exhibition. At a macro-level, with the whole picture spread before us, when a museum exhibits art that could be deemed controversial or incite conservative ire, it is seemingly justified by how it communicates the goals of the institution as a space for talking about the “tough stuff.” However, from a staff’s perspective, often what we see is the here and now, a scary drop into the dark abyss ahead as we attempt to appease the public, to push the boundaries of art and conversation, as well as sate the aesthetic tastes of our funders. Navigating sharp edges that appear to push and pull in a myriad different directions. How do we delve below the surface, as the diver in Shirley’ poem, and see where these many currents fuse as one? In response, I want to explore Marking Portland: The Art of Tattoo, a popular culture exhibit at the Portland Art Museum.
As part of the Marking Portland exhibit, visitors could stand behind this monitor and get pictures taken with superimposed tattoos on their bodies. This is another example of the museum bringing in the public as part to the exhibit and not simply as spectators.
I had the fortune of interning there this past summer and witnessed first-hand the public outpouring of support for Marking Portland, which was actually kept up for longer than planned because it was so popular. The show took place in what I call the thoroughfare gallery; the museum is two buildings and this gallery space connects the two in a long, wide corridor. Here, a projector screen was placed on one wall and images of tattoos were projected in a rotating fashion for the public to view. The photos were all publicly-sourced; the museum set up a Flickr account strictly for the purpose of collecting images of body art from Portland residents or whoever had a mind to post their photos. Every day, a crowd gathered in front of the screen and on the benches in the gallery for long periods of time, as if watching a movie. The statistic that states that visitors only stand in front of an art work for an average of 3 seconds, or an equally dismal figure, did not apply here. The shared authority evidenced in this exhibit allowed the public a conduit for contribution, and ensured that meaningful dialogue around Marking Portland was not simply the responsibility of the museum, but was shared by the public. Of course, not everyone who saw the show thought it was something the museum should be exhibiting. But on a larger scale, the museum must be commended for smartly attempting to connect the popular culture aspects of the tattooing with examples of tattoos in its ancient Asian art collection. For some, this helped elevate the topic from mere spectacle as it linked it to the wider art historical narrative.
Fiona Cameron writes, “In attempts to marginalise conflict, many institutions deny the inherent politicalness of topics and audiences and instead promote the public reinforcement of a particular set of values” (2). Here, Cameron like Aleda Shirley, is addressing edges, not simply from a safe aerial view, but below the surface where institutional narrative and community values are not so divergent. They can successfully be united around a controversial exhibit as the Portland Art Museum demonstrated through the shared authority that made Marking Portland a success and not simply another attempt by a museum to institutionalize popular culture or become a gimmick for attracting a younger, hipper audience.
(1) Katz, Jonathan. Understanding the past; Envisioning the future. WESTAF Symposium Proceedings: Re-envisioning state arts agencies, 71-78.
(2) Cameron, F. (2006). Beyond surface representations: Museums, edgy topics, civic responsibilities and modes of engagement. Open Museum Journal, August 2006. Retrieved November 1, 2009, from http://archive.amol.org.au/omj/volume8_index.asp
Megan Blankenship is a graduate student in the arts and administration program at the University of Oregon, blogs at MJ Writes, and is currently immersed in researching the role of the art museum in facilitating dialogue concerning controversial exhibitions. Questions, comments, and wine recommendations can be directed to mjwritesblog(at)gmail.com.
Konnichiwa. I have return from the Island Fortress Hideaway. It was very pleasant week all round.
For most of that week, I found myself writing a good few thousand words of a novel for NaNoWriMo. You can see my profile here. Add me as a writing buddy if you’re doing it too. I know, I am massively behind the word limit. But I think two good days and I’ll be back on top of it.
I may, at some point, start talking about it on here every once in a while. It is about museums and the future, after all.
I’ve neglected the various parts of the newcurator datashadow, so I’m probably going to be focussing on them for a while whilst I play catch-up. You can find me at:
Delicious – Where I throw the various articles that have caught my interest.
Tumblr – Mainly, something of a scrapbook for images. I don’t tend to reblog or use text that often, and I’ll follow back anyone who isn’t looking like a spambot. I think I’ve only blocked one person for being downright disgusting.
Twitter – My Almighty Pulpit to the Outside World. I’m over 2300 followers, almost at 2000 followings and rapidly approaching 2000 tweets. As for the dramatic difference in who I’ll follow back, it’s mainly down to the fact that I don’t have a clue who they are and what they do. I will always follow back any artist or museum worker. I’ve extended that pretty far to mean almost anyone associated to that realm. There’s a few culture magazines, many kinds of designer, plenty of freelancers and a variety of students in various states of graduation or employment. It would help if you told me if I should be following you. @ or DM me.
I still continue to block snake oil salesmen. I do love the “Report for Spam” button. I’ve also created a couple of lists, “Museums” will just be a short list of museums I’m trying to pay a large amount of attention to, and “Museum Shinobi”, which I hope will turn into a comprehensive list of people working within museums. I may make an “Artist” and a “Museopunk” list soon, but without a decent RSS feed on each list I’m in no rush to do it yet.
Facebook – This still doesn’t have a plan. It’s a great way of discovering artists though. I get a new one every day and I do like looking through their work. Otherwise, feel free to follow me. It seems to be used as an informal way to contact me. Not as official as a blog comment, not as direct as an email, not lost in the masses of a twitter response. I’m kinda happy with that.
Flickr – People make me a contact, I return the favour, the whole friends RSS feed going into my feed reader. So I see all. Otherwise, I don’t use it for much. When I use photos in blog posts (something I do rarely anymore) I look on Flickr and add them to my favourites. Otherwise, I don’t use it for much.
Last.fm – Haven’t listened to anything in ages. Will correct that today. Try to friend me on there if you like, but I will judge if I want your music in my Friends Playlist. Radio Newcurator is still plodding along. Someone keeps listening to a lot of 80s synth. The people in that group tend to know me in some form or we have something more than just a one-off contact. Don’t let that (or the 80s synth) put you off. Probably best to say if I know you on another network.
And of course, the Museopunk network. It’s been a bit quiet recently but I hope to kick it around a bit. Go join.
Museums have been around in the real world for a while and a rich set of understandings and expectations have grown up around them. But the web is still something like a western boom town. We’ve tossed up some buildings overnight but we have yet to live in them for very long. Some are just facades.
Facade by Jeff Doyle. Used under Creative Commons License
So far museums have done a better job of putting their content online than they have of reproducing the social architecture and topology of “the old country.” With only a few notable exceptions, most museums web sites are not “places” in a way that even remotely compares to their brick and mortar counterparts.
My sense is that most museum web sites do a pretty good job on the content side compared to how well they do on the social side. Museums don’t necessarily understand the social function of objects and spaces in their own museums and thus aren’t able to reproduce those functions online.
Museum by Jeff Doyle. Used under Creative Commons Licence.
What is the role of this painting (Picasso’s Artist and his Model) and this museum (Pinakothek der Moderne) in these young people’s lives? I couldn’t even find this painting on the Pinakothek website, but supposing I could: do you suppose they would provide anything remotely resembling the same “value proposition” to website visitors the the physical museum is providing here? Has anyone gotten married to somebody they met at your museum website?
Museums are places to make passes at people who wear glasses. They are places to show off your new wardrobe, practice your French pronunciation, people-watch, eavesdrop, and show off the fun facts you learned about Matisse or the boiling point of helium, or just stroll with a friend…
It’s hard to do any of those things at most museum websites, though if you think about it, you can do some of them on Flickr. Flickr has done a pretty good job at turning digital images into social objects.
Sociologists speak of “boundary objects” serving as interfaces between different communities of practice. There is a sense in which all museum objects serve as boundary objects. But the interactions occasioned by those objects are phatic as well as interpretive. Objects serve as pretexts for both small and big talk. They are the MacGuffins of our personal and public dramas; they create social possibilities that would not exist otherwise.
MacGuffin by Jeff Doyle. Used under Creative Commons Licence.
In object-centered social interactions, objects play the role of the ball in soccer, the cards in whist, the book of “Launcelot” in the story of Paolo and Francesca, by Ingres (above left).
Obviously, people won’t do exactly the same things in online museums that they do in real museums. But they will certainly want an equally rich experience. And for that experience to have anything to do with a museum’s mission, it is going to have to include social objects. Otherwise we might as well go to bar or chat with our friends on Facebook.
Objects are props. They share a social space with humans. The social space they share is the museum.
Jeff Doyle is the Technical Director at Zirgoflex, who are developing the software that powers Open Museum Online. You can also read his blog and follow him on Twitter.
Describing herself as both artist and procrasinator, Haley Nagy made an immediate impact on me with The Nagy Family Cookbook, a beautifully evocative artist’s book.
Working in mixed media, with a real feel for using encaustic, Haley creates captivating work often addressing contemporary issues such as homelessness and cultural rituals like birthdays. The crux of her work is to explore the ‘hidden’.
It was difficult to choose only three pieces of Haley’s work, but I have selected the following pieces to show her range. The first is a detail from the artist’s book which first captivated me. The second is from her Seen but not Heard series about the homeless. The third (look closely) shows the subtlety of her latest work.
“The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.” Marcel Duchamp
Say what you will about his art, Duchamp was right in his idea of turning spectators into contributors. While this is an important concept in art appreciation, it’s perhaps even more important as a survival philosophy for museums and historical societies.
From the beginning, museum spectators (visitors) have taken a passive stance in their relationship to their museum. This, it goes without saying, needs to change. The continued growth of social media tools can not only be beneficial in enabling museums to start intentional conversations with their visitors but also can be used to turn those visitors into participating contributors. It’s allowing visitors to do everything from helping to shape the direction an exhibit will take to supplying some of the content to be displayed.
The advantages to developing this relationship with the visitor are numerous. At the top of the list though may be the way that this entrenches a visitor within your (or perhaps more accurately their) museum. Additionally, a visitor with items on display is perhaps the strongest advocate a museum could have. With a personal connection to something to talk/Tweet/Blog about the contributing visitor is now not only part of the curatorial team but also part of the marketing unit as well.
Let’s look at a few examples of this concept. As you consider these remember that there are opportunities to integrate visitors through technology no matter the size of your organization.
One of the best examples can be found at the Ontario Science Centre. In a space that focuses on Toronto, they have an exhibit that explores the city by using a web-enabled kiosk loaded with a map from Yahoo! Maps. The exhibit encourages people to take pictures of themselves around the city, tag the photos, and then upload them to the museum’s Flckr account. These photos are then pulled directly into the exhibit map so that when the visitor tries to learn more about say the local coffee shop, the image that comes up is the one of that visitor at the coffee shop which they took and uploaded before leaving for the museum
In a completely different environment, The US Army created a mobile exhibit trailer for its recruiting efforts. When you enter the trailer, there is a touch screen panel whose initial graphic is a map of the United States. You can use that map to find your region and there watch videos which were created and uploaded to the site by other potential recruits.
At a different level, The Summit County (Ohio) Historical Society (in conjunction with other local organizations) has established the Summit Memory Project. It’s a place that allows people to share everything from postcards to first person accounts of the area’s history. People submit their photos and stories and then members of the Historical Society scan and format the material to maintain a consistency.
These are just three examples of many. While museums continue to work on social media as a method of communicating, there should also be equal time spent on exploring how those tools can be combined with existing exhibits or used separately as a standalone exhibition tool. If the goal is to move visitors from Duchamp’s passive “spectators” to participating contributors, what better way is there to do that then by re-purposing the tools they are already using?
Noell Wolfgram Evans is the Senior Writer/Producer at Mills James. You can follow him on Twitter at Noell_MJ. He can also be reached at nwolfgramevans[at]mjp.com
For one week only, Museopunk Thursday will move to a Monday. There’s still lots going on over on Museopunk.ning.com and we are now up to 63 members which is brilliant. This week:
There is a review of the Steampunk exhibition in Oxford. Have you been to it yet? Tell the rest of us what you thought.
There is an interesting discussion started by Erika Dicker about being the official blogger for your museum. It would be great to hear from more of you on that.
“I want to be in New York City,” said my friend Paul Slocum, who ran a predominant new media gallery in Texas called And/Or. I’m definitely thinking about what he just said. No one is born in a small market that doesn’t dream about being able to move to New York or Los Angeles and thrive. It’s romantic; the whole art world is full of that romance stuff, and so few of us do anything but dream about what could be.
I look out the window and see the storefronts around the gallery space, thriving a few years ago, now mostly empty, with little hope now that the art events will feed them with people. I don’t think Paul knows what he gave to everyone around him, but with the economy, and the limited amount of people in his field working around him, he felt it was time to move on.
If it wasn’t for And/Or gallery, I’d never have seen a physical Corey Archangel piece, I wouldn’t know who Micheal Bell Smith is, I would have never encountered JODI in a gallery setting, and I wouldn’t have thought YTMND’s could actually be transformed into a quirky show. If it wasn’t for his small gallery endeavor, I don’t think the digital art scene in Texas would even be what little it is. Paul worked like a shaman, spinning the air of technology around himself and drawing us all into his web of laptop death matches and 8-bit chicanery. He is always calm, calculating, and smart, and the few months his gallery has been closed have felt like a black hole ripped open in the fabric of our little regional continuum. I feel like those of us who are staying behind are holding our breath and wondering if the promise of budding art communities in smaller cities – once a hot spot of attention – will continue to have any relevance now that the patrons of the big art markets are feeling the money pinch.
The rest of the country is feeling it too; weekly you hear about another gallery shutting its doors locally or in one of the larger markets. The people who tell you “hey did you hear XYZ is closing” look at you with watery, fear-soaked eyes, like they want a solution and just don’t know what to do. The answer isn’t that simple. As long as the United States art community refuses to do anything but hold onto the traditional gallery setup, which lofts anything displayed in a few overpriced and barely livable cities, things are going to take a very long time to recover. The investors who fuel the art market just aren’t going to invest when times get tough. Galleries and artists seem to respond to this by just bearing down and hoping that if they can forge the long winter, things will be fruitful again when the ice thaws.
I can’t help but look at And/Or’s doors closing, its contribution to the small scene it was in, and wonder if more people would be willing to just put together shows right now, in any space – virtual or physical – if this would help push more artists through this difficult time. Paul’s space was never doggedly traditional, and he paid for it with a day job and by living in a closed-in area in the back, but what he did that was amazing was expose otherwise isolated people to new things. He brought in artists from around the country and world, and I don’t think this is something local collectives, online collectives, or progressive people should be unable to do. After all how many artists have Flickr accounts, YouTube channels, twitter, etc? How many artists are just an e-mail away? If the art world wants to thrive instead of just falter, it needs to start thinking about working together in less ordinary, and more extraordinary ways.
Vanessa VanAlstyne is a digital artist in her third year of an MFA. You can see more of her work on her website, her blog and follow her on twitter.
Connections
Join us, elsewhere.
Transmissions
Sign up for our occasional newsletter.
Our privacy policy is simple. No spam, ever.
Twitter latest
Nothing says "Don't look at my art" more than a flash based website. 3 days ago
Latest Comments