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Virtual Museum

The Student’s Virtual Museum with the theme “Bringing Prehistoric to Gothic Cultures to the Web” is about to open its virtual doors to its spectacular website, which has been designed to be one of the most diverse cultural virtual institutions in the Web. In accordance with its mission and goal to explore, interpret, and protect the prehistoric to gothic cultures, our group has decided to create a prehistoric-gothic virtual museum that would help define these periods in the twenty-first century settings. The Student’s Virtual Museum is filled with great creations and is all about the prehistoric to gothic cultures.

We prefer to think of this virtual museum as a futuristic institution that incorporates history. Our group is very positive about this project and we are encouraging all of you to join us in our goal, explore our prehistoric and gothic collections, and help us address the two most important questions of our time: How were these objects created and how can we make sure they survive with time? All museum visitors wrestle with the option of highlighting breadth and depth. We know that it is difficult to maximize both simultaneously but we have strategically chosen how our selected objects fall within the range of breadth or depth.

We make sure that our chosen objects do not belong to the same art group and these objects were carefully chosen to represent the prehistoric and gothic cultures. Like all other areas of science, the rock art research, which is often considered as the main data source for investigating on prehistoric symbolic cultures, intends to acquire knowledge at establishing the legitimacy of new propositions. These new propositions can be devised linguistically in the predication form, mathematically in the equation form, visually in the diagram form, and figuratively, in the narratives form.

The propositions from scientific research are usually not the result of instantaneous perception. In fact, they are most usually counterintuitive. They are acquired through a multifaceted constructive process by which the successive steps may be traced back to how some objects gathered from different places around the globe originated. It is interesting to observe the spontaneous skepticism or the astonishment expressed among our pre-historians and researchers when the scientific dating of the newly found and discovered Paleolithic remnants pushes us to identify the established time frame of rock art.

The Stone Age technology could be simultaneous with the sophisticated cultural forms; however, it seems hard to imagine for post metallurgic and post industrial mentalities that have not yet fully analyzed the importance of evolutionary thinking. For this reason, our virtual museum has decided to present some prehistoric-age objects that may help educators and learners alike to acquire the knowledge about this important period. Our group has also decided to include some gothic objects whose origins may be traced back to the gothic period. This period is very popular for its medieval art movement which lasted for about 200 years.

It started in France from the mid-12th century of the Romanesque period, simultaneous with the Gothic architecture founded in several cathedrals during those times. In the later part of the 14th century, Gothic art had evolved to a more natural and secular style popularly known as the International Gothic. This continued until the later part of the 15th century, where it eventually evolved into the Renaissance art. The most important Gothic art mediums include panel painting, sculpture, fresco, stained glass, and illuminated manuscript, and some of them are presented in our virtual museum.

All the objects presented in our virtual museum are chosen mainly for their diversity. My group has decided not to concentrate on one line of prehistoric to gothic art. We have chosen to create a variety of objects so as to highlight breadth and depth. However, all these objects have a common unifying thread and that is the purpose of art. Through these objects, we have also analyzed the changing status as well as the professional roles of the creators of these objects. In so doing, it may have been apparent that a creator’s quality is not something that can be measured or judged against any standard.

As we saw in our studies, analysis, and comparison of these various objects, the aesthetic and their visual forms are rather independent with the artistic conventions and social demand of any given place and time. Therefore, any given work is best measured in relation to a specific context and to other works that lie within the same context. To explain it simpler, for any work of any form to be effective, there must be a perceived resonance and relevance within its very own context.

The objects we have chosen should therefore be judged and measured on that basis. The judgment of these objects should also be based on the current and changing relevance to their subsequent viewers. In selecting the objects shown in our virtual museum, we have attempted choose the objects whose relevance and resonance has held up over time.


Chapuis, J. (2002). “In Heilbrunn Timeline of Art History”. Heilbrunn Timeline of Art History. Retrieved on May 6, 2009 from <http://www. metmuseum. org/toah/hd/mgot/hd_mgot. htm>.

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