Starting a superstructure is only the beginning. The real task is envisioning what it can do, how it will work, and who you need to work with. If you're not a member, consider joining now. If you are a member, be bold, jump in, and use the superstructure to start organizing for survival. Edit it, add to the vision, and make it real, online and off. And don't forget to rave.

More about Superstructures

  • Cutural Object Recovery Team

    Saving the past for the present and future
  • Founder: dilletyo

    ,

  • Who We Need
    We need all types of museum professionals, volunteers, skilled outdoors folks, people who can move fast and get the job done
  • How to join

    Can we plan to save cultural objects and sites from areas in extreme threat from disease, disasterous weather, civil unrest?

    What levels of response can we develop to accomplish the goal of saving the past for the present and the fututre?

    How can we obtain support and funding to store, ehibit and conserve objects outside of dangerous regions?

     

  • Mission
    As a team we work to develop and enact plans for physically removing culturally important objects from endangered zones. For those pieces we cannot remove or do not have enough resources or time to save we must document them in a detailed manner.
  • What we can accomplish
    • Help people of various backgrounds to work together to save our shared heritage as human beings from the super threats. We have paired with the Saving our Heritage 2019 Superstruct to reach our goal for saving our cultural resources.
  • How this superstruct works
  • Other information
  • Discuss this superstructure

    • With our limited resources, we need to make strategic choices about where to deploy our teams. To do this we need to create a map plotting cultural institutions against assessment of risk. The risk assessment should take into account probability (e.g. 100% chance of flooding in New Orleans, 20% risk of civil unrest in NYC); impact (e.eg. high for flood, moderate for civil unrest, low for ReDS quarantines); and percentage of institutions in that area vulnerable to that risk. (For example, botanic gardens are highly vulnerable to drought, art museums, not so much.)

       This is the easy part (!). The hard part will be agreeing on a process of assigning priorities to what should be salvaged. How do you weight the value of the Walter Anderson Museum of Art in Biloxi, (arguably a minor artist, but the most comprehensive collection of his work in the world), against a medium sized art museum that happens to have a Gustave Klimpt, a Sol DeWitt, and a couple of Robert Rauchenberg? Or weigh the value of an art collection against a natural history research collection? Let's start a wiki to work on listing criteria and weighting...

  • Related stories
  • Other superstructures we are collaborating with
    • Saving our Heritage 2019
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