Event / Phenomenon

Museum of the Future – Dubai

Museums are usually places where you’d find articles of virtue of foregone times. Like themed cemeteries, where you can find a condensed display of relics of vanished cultural and technological streams. In short everything that ends up in a museum has generally written death on its forehead otherwise it would not end up in a museum. 

So how about a museum that is displaying the future. Quite ominous and somber at the same time wouldn’t you agree. How can we display something that has not even happened yet, nor do we even know if it ever will or will be something of significance? And, if it is on display does that mean it is already dead or obsolete?

Such a museum exists – it is housed in a torus-shaped landmark building in the center of the financial district of Dubai. The museum was inaugurated last year on 22 February 2022, which happens to be a palindrome. Coincidence or not – I think rather not, since aside from the date even the shape of the building as well as the motto – “first to look at the future rather than the past” – raises my suspicion about a very likely “nice” display of plutonic content. 

Sometimes history offers dates and times that sound too good to be true not to be deliberately chosen for a certain purpose. This one smells like one. It could be one of those events and, it would not surprise me, if the date of the opening was chosen after having consulted with someone that to some degree has or pretends to have some astrological knowledge. Regardless of my impression, the chart will tell us in its impartial way if the motto of the museum is true or just a catchy marketing slogan. 

The time of the inauguration, performed by His Highness Sheikh Mohammed bin Rashid Al Maktoum, UAE Vice President, Prime Minister and Ruler of Dubai, is stated at 7 PM. A bit of a weird time to open a museum, but on the more plausible side, who could have witnessed the vibrant light show as part of the ceremony if it would not have been dark. From an astrological timing aspect, certainly well chosen since it results from the perspective of how the quadrants relate to each other, in an event or whatever comes out of it that will raise consciousness – which is generally not so bad for a museum.  

Looking at the first sign of the “active” quadrant – Pieces – we can gather that it is about the changeability of principle of the Gestalt that is about to be brought into public consciousness. Again not so bad for a museum.  According to the implicated Jupiter, originating from Hs.4, – it offers home (Hs.4) to an emotional notion that is aspected to a Mars-Pluto-Venus (from Hs.5) – a iridescent presented transfer of coercive programmes that are about forms of community being torn apart. I invite you to get the fitting visuals to that description for yourself from the museum’s own website.

As for the level of execution; a conceptualization of the origin that finds its expression in the form of a concrete (Venus in 5.) exemplary expression of the exclusion of the imperfect. Since Aquarius, as the second star sign of the quadrant, Aquarius, contains a Saturn-Mercury, we are left with the conclusion that we are dealing with constructs of intellect that in general excludes the determinative and replace it with regulation – in short technology. 

The third phase, the result; a Mars-Pluto-Venus, a concrete expression of the denial of the principle that should be scale for everyone. The implicated Saturn-Moon reveals to give up your own destiny, which is only possible with a scaled down/diminished emotion.

The Gemini determinative, the unintended significance of the occurrence, with Mercury in Hs.6 is a clear give away that it is about a depiction of an intellectual process that is denying Uranus (squared) to come to life – a depiction of the regulation of the changeability. The, in Hs.5 already mentioned Mars-Pluto, reveals the ideological angle this entire exhibit creates. 

At least from my perspective quite amusing – the chart clearly points into the direction that the entire operation is a process that indicates that the exhibit is about the lost origin that results in having no center, which could not be expressed any better (on the phenomenal side) in a building that is torus shaped. A ring with no center. One would not even need an astrological chart to decipher what kind of “timely content” has manifested (enshrined) itself here in the heart of Dubai. 

If you google the meaning of torus shaped you get the following result -” in sacred (?) geometry, the torus represents the flow of energy, the interconnectedness of all things, and the balance between the physical and spiritual realms. It is a symbol of the continuous cycle of creation and destruction, birth and death, and the eternal nature of existence …”. What religion is Google actually referring to?

Well, I guess the deeper meaning of the entire enterprise with its physical manifestation is certainly not about that, rather the contrary. Allowing me to conclude that the designers of this “museum” are disciples of the same “religion” (referring to the “sacred” in the Google quote). A belief (ideology) that is not about the eternal nature of existence rather the opposite. In short – the museum is an ideological cult object and shrine for technological “progress” for that reason symbolism was used and the “religious” angle that Google tries to illuminate – all fits to it like the icing on the cake. 

P.S. On a more satirical note – the creators called it a museum and that might not be so wrong after all, since the in the museum exhibited content certainly has a “whiff” of a system that is in the process of decaying and already dying anyway. From that point of view, calling it a museum might prove itself correct since the world will have no chance to “survive” with the museum’s exhibited content – a future that has no center, has no base for life. As such we can only hope that we indeed deal with content that is already fit for a museum.

Copyright 2023 by Dirk Heinicke