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I first came across the name of this extraordinary place in one of the BBC's Imagine-documentaries about German director Werner Herzog, who asked to be met in what he called one of his favorite places in Los Angeles, The Museum of Jurassic Technology. After locating it in Culver City, BBC's Alan Yentob remarks: "I begin to understand why Herzog likes it here. The exhibits in the museum cross the line between fact and fiction, between reality and imagination."

Front of the museum in Culver City, Los Angeles

The collections of the museum, which was founded in 1989 and is being curated by David Hildebrand Wilson and Diana Wilson, span over three little buildings and consist of pieces from about a dozen sub-collections which are often centered around a certain subject such as belief and knowledge or personalities like Athanasius Kircher and their work. But, unlike what one might expect of a technology museum, throughout all of the exhibits, the boundaries between history and fiction, magic and reason, narrative and scientific method are in fact completely fluid (and the curators pleasurably make no effort to make things more clear, even indulge in elaborate descriptions and allusions that make it even more mysterious).

Many of the pieces consist of wonderfully crafted models and often amazing analog visual tricks for superimposing images. As a result, the whole space turns into a magical wunderkammer like I've rarely seen it, and probably one of the most astonishing approaches to the culture of art and technology on the planet. A few examples from the collections:

Duck's Breath

Tell the Bees...Belief, Knowledge and Hypersymbolic Cognition, is one of the newest additions and reflects on the relationship between ancient beliefs and recipes and how some of them still bear importance today. Yet, the application of lithium for neurological illnesses sits right next to the practice of letting children breathe in the cold breath of a duck or goose.

An especially intriguing practice refers to bees, which were understood to be related to and a manifestation of the muse from which comes the bees alter identity of the muse's bird. And, the practice of telling of the bees of important events in the lives of the family has been for hundreds of years a widely observed practice and, although it varies somewhat among peoples, it is invariably a most elaborate ceremonial. The procedure is that as soon as a member of the family has breathed his or her last a younger member of the household, often a child, is told to visit the hives. and rattling a chain of small keys taps on the hive and whispers three times: "Little Brownies, little brownies, your mistress is dead."

The Conversion of St. Eustace at Mentorella

Another collection, titled The World is Bound with Secret Knots, is devoted to the life and work of 17th century Jesuit scholar Athanasius Kircher, who dedicated himself to his parallel obsessions with magnetism, musicology, astronomy, archaeology, and linguistics, Kircher researched and compiled enormous amounts of data, invented innumerable optical, magnetic, and acoustic devices, composed music, poetry, and imaginative fiction. Created with the Karl Ernst Osthaus-Museum in Hagen, Germany, the exhibit consist of many gorgeous pepper's ghost-style dioramas which illustrate Kircher's range of fascinations and inventions, especially in relation to his theory of magnetism being the invisible force that binds all the universe together.

Garden of Eden on Wheels

One part of the permanent exhibition focusses on Geoffrey Sonnabend, who in his three volume work Obliscence, Theories of Forgetting and the Problem of Matter, departed from all previous memory research with the premise that memory is an illusion. Forgetting, he believed, not remembering is the inevitable outcome of all experience. Sonnabend believed that long term or "distant" memory was illusion, but similarly he questioned short term or "immediate" memory. On a number of occasions Sonnabend wrote that there is only experience and its decay, by which he meant to suggest that what we typically call short term memory is, in fact, our experiencing the decay of an experience.

The Sonnabend Model of Obliscience

Sonnabend believed that this phenomenon of true memory was our only connection to the past, if only the immediate past, and, as a result, he became obsessed with understanding the mechanisms of true memory by which experience decays. In an effort to illustrate his understanding of this process, Sonnabend, over the next several years, constructed an elaborate Model of Obliscence (or model of forgetting) which, in its simplest form, can be seen as the intersection of a plane and cone.

As with many pieces in this exhibition, it's practically impossible to find out whether Geoffrey Sonnabend even ever existed, but then again that's part of it all. As Herzog puts it: "Inventions [in every sense of the word] have a deeper reach, a deeper stratum of truth quite often than we'd like to admit. And that's the beauty of the museum here."

Many more photos here, and an interview with David Wilson.

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You might remember that a year ago Marc Owens designed the Avatar Machine, a system which replicates the aesthetics and visuals of third person gaming, allowing the user to view themselves as a virtual character in real space via a head mounted interface.

His reflections on identity and gaming didn't stop there, during the Royal College of Art Summer show, the Platform 11 graduate was exhibiting his latest game-inspired works.

A study by psychologists at Nottingham Trent University has found that 54 percent of all males and 68 percent of all females "gender swap"--or create online personas of their opposite sex.

A real life manifestation of that practice, the Virtual Transgender Suit replicates the aesthetics of the typical virtual female form and catapults them within a real world context. The piece was specifically designed for men to wear in the real world, creating a bridge between real (where cross-dressing is not really socially accepted) and virtual.

Another of Owens' projects, Sabre & Mace - Second Death, was concerned more specifically with the online environment Second Life.

Collaborating with Tony Mullin, he created SABRE & MACE, a company that offers virtual characters the opportunity to experience death as a way to close their user account permanently. The project examines the notion of feeling sentimental toward a virtual character and examines the link between sentimentality and tangibility.

While researching the project, the designers discovered that a great deal of second life residents have multiple avatars, some stay in favour for a long time while others lose their interest. One guy who they spoke to had 14. He said that he used a many of them as platforms for different sides of his real life personality, and for others he invented entirely new fantasy personalities. However he admitted that some of his created avatars had fallen by the wayside and he no longer used them.

The service works as follows: Having discovered the Sabre&Mace site on-line (unfortunately the website had to be taken down after the show) or through one of the virtual adverts in Second Life, the prospective customer teleports to the company headquarters.

There, the client meets a manager who explains the full process and guides him or her through the signing of two contacts. Contract 1 - states that at some point (completely random) in their second life the avatar will be collected by a Sabre & Mace officer and taken back to the headquarters for termination.

Contract 2 is in fact the client's 'Last will and Testament' where he or she outlines how they wish their virtual moneys, land and assests to be distributed once they have been terminated.

The client continues to live their second life until one day, a Sabre & Mace officer appears and informs them that the final proceedings are about to begin. The client is collected and taken to the Sabre & Mace HQ.

The client meets again with the client manager, to discuss the final process. At this point the client reveals their 'account password', which is the means by which the avatar is terminated.

The client is led through the cryogenic chamber, where the virtual physical forms of past clients are stored. Upon arrival at the 'Termination Room', the client is instructed to walk through the 'white noise' door. Once he crosses the threshold of the door his Second Life game crashes, giving a Sabre & Mace member of staff time to change the clients password - effectively terminating the character.

The client's former avatar is immortalised as a golden statue. Information about the avatar can be read on the plaque which sits on the monument. Should the client visit the Sabre & Mace memorial gardens he would see his own statue as well as the monuments of previous clients.

Images courtesy of Marc Owens (except the shot of his works at the RCA show.)

Related stories: Mourning and digital culture.

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