ChatGPT and the Ontological Museum
This is a long read but good...
I asked ChatGPT “What is the Ontological Museum” here is what it said…
ChatGPT “What is the Ontological Museum?”
“The Ontological Museum is an ongoing art project and virtual museum founded and curated by Cecil Touchon. It is both an institution and a conceptual art project that explores the nature of art and reality. The term "ontological" refers to the branch of philosophy concerned with the nature of being or existence, and in this context, the Ontological Museum reflects on the essence of art, its purpose, and its place in the world. We mostly came up with Ontological Museum as “proof of being” for the IPDG.
Key Aspects of the Ontological Museum:
Philosophical Foundation: The Ontological Museum is rooted in the exploration of the nature of art and its ontological status—that is, its role as something that exists and has meaning in the world. Touchon’s interest in non-dogmatic and experimental approaches to art is central to the museum's ethos. The museum seeks to question and redefine what art is and can be, engaging with the boundaries between art, language, and thought.
International Post-Dogmatist Group (IPDG): The museum is closely connected to the International Post-Dogmatist Group (IPDG), an art collective founded by Touchon that promotes art free from rigid ideologies and doctrines (dogmas). The museum acts as a platform for exhibiting works by artists affiliated with or inspired by the IPDG's principles, which focus on open-minded, non-dogmatic experimentation in art.
Virtual and Physical Components: The Ontological Museum functions both as a virtual museum (primarily online) and as a physical archive of artworks. The virtual museum allows for the exhibition of conceptual works, collage art, poetry, and other art forms from a variety of contemporary artists. Additionally, the Ontological Museum exists in physical form as a collection of art and artifacts that Touchon has curated over the years, with a focus on experimental and boundary-pushing works.
A Vast Collection of Collage Art: The museum holds an extensive collection of collage art, one of Touchon’s specialties, and features works by numerous contemporary collage artists. This focus aligns with Touchon’s own practice of deconstructing and reassembling fragments of language and imagery to create new meaning.
Collaboration with Fluxus and Mail Art Movements: The Ontological Museum also draws inspiration from the Fluxus and Mail Art movements, both of which emphasize a democratic and inclusive approach to art. In the spirit of these movements, the museum encourages contributions from artists around the world and fosters a sense of community and collaboration in the creation and exchange of artworks.
Focus on Asemic Writing: Given Touchon’s own fascination with asemic writing (writing without specific semantic meaning), the Ontological Museum serves as a platform for the exploration of this visual language. It showcases works that experiment with the boundaries between text and image, offering artists a space to engage with alternative modes of communication and interpretation.
Platform for Experimental Art: The Ontological Museum provides a non-commercial, experimental space for artists who wish to challenge conventional definitions of art. It promotes the idea that art is a process of inquiry—one that questions traditional assumptions and opens up new ways of perceiving the world. The museum’s conceptual foundation reflects Touchon’s belief in the interconnectedness of all things, a concept that he explores through his art, poetry, and philosophy.
Educational Resource: As part of its mission, the Ontological Museum serves as a resource for education and inspiration. It offers insight into avant-garde and experimental artistic practices, with a focus on conceptual and post-dogmatic art. Artists and art lovers are encouraged to explore new forms of expression and to engage in the ongoing dialogue about the nature of art and its place in society.
Summary:
The Ontological Museum is an innovative, ongoing project that reflects Cecil Touchon’s commitment to experimental, non-dogmatic approaches to art. It acts as both a virtual and physical museum, housing works that challenge traditional notions of art and aesthetics. The museum aligns with the principles of the International Post-Dogmatist Group and serves as a platform for experimental forms like collage, asemic writing, conceptual art, and mail art. Its goal is to explore the nature of art (its "ontology") and to inspire others to engage with the deeper questions of existence, creativity, and perception.”
ChatGPT is mostly reaching here for some of the material and purpose but over all, pretty good! The museum is a lot about the network of artists who participate and contribute to the museum via the archives being built contemporaneously in any given moment when the Calls for Works go out to the community. There is no mention about the sub-museums or departments such as the International Museum of Collage Assemblage and Construction, The FluxMuseum, The Archives of the Eternal Network and the Museum of Snapshot Photography so let’s see what it says about those…
ChatGPT what is The International Museum of Collage Assemblage and Construction?
The International Museum of Collage, Assemblage, and Construction (IMCAC) is a unique institution dedicated to the exhibition, preservation, and celebration of art forms that involve collage, assemblage, and construction. It was founded by Cecil Touchon as part of his broader mission to promote and document contemporary and historical practices in these particular mediums. IMCAC operates as both a physical collection and an online museum, with a vast archive of artworks from a global community of artists.
Key Features of IMCAC:
1. Focus on Collage, Assemblage, and Construction Art:
IMCAC focuses exclusively on three closely related art forms:
Collage: A technique in which various materials (such as paper, fabric, photographs, etc.) are cut and glued onto a surface to create a new composition.
Assemblage: A form of sculpture composed of found objects or materials arranged together.
Construction: A more sculptural form, where artists build three-dimensional works by assembling various materials, often similar to assemblage but with more focus on structure.
The museum's goal is to showcase and celebrate these forms of artistic expression, highlighting their importance and influence in the modern and contemporary art world.
2. Vast International Collection:
The museum boasts a large, diverse, and growing collection of works by artists from around the world, covering a wide range of styles, techniques, and concepts. The collection includes pieces from emerging artists as well as established figures in the fields of collage and assemblage. It also serves as a valuable archive of the evolution of these mediums over time.
IMCAC regularly solicits contributions from artists globally, and in doing so, it fosters a global community of collage and assemblage artists. This helps provide exposure and opportunities for artists, while also expanding the museum’s rich collection.
3. Physical and Online Presence:
Physical Collection: IMCAC has a physical archive of collage and assemblage artworks, stored in a location curated by Cecil Touchon. While the museum doesn’t always operate as a traditional walk-in gallery, it maintains its physical collection to preserve important works and host occasional exhibitions or curated shows.
Online Museum: IMCAC has a significant virtual presence, which allows the museum to share its collection with a global audience. The museum’s website features galleries of artworks, artist profiles, and resources on the history and techniques of collage and assemblage. This digital format democratizes access to the museum's collection, making it available to people who may not be able to visit in person.
4. Educational Mission:
The museum places a strong emphasis on education, both about the history and development of collage, assemblage, and construction, as well as contemporary trends and practices. It offers a variety of resources to help people understand the significance of these art forms. Artists and scholars can access the museum’s extensive digital archives for research, inspiration, and study.
IMCAC also engages in promoting the International Post-Dogmatist Group (IPDG), of which Touchon is a founder. The IPDG's philosophy of non-dogmatic, experimental art aligns with the museum's mission of promoting innovative approaches to art-making.
5. Community and Collaboration:
One of the museum's primary goals is to foster a sense of community among artists working in collage, assemblage, and construction. IMCAC facilitates collaboration by hosting exhibitions, exchanges, and collaborative projects between artists from different countries and backgrounds. It emphasizes the importance of art as a global, collective endeavor, and provides a platform for artists to connect, share ideas, and influence each other’s work.
The museum is also involved in collaborative projects with other museums and cultural institutions, both online and in physical settings, to further its mission of promoting these underappreciated art forms.
6. Mail Art and Fluxus Connections:
IMCAC draws inspiration from the Mail Art movement and the Fluxus movement, which emphasized experimental, collaborative, and democratic approaches to art-making. The museum has embraced the Mail Art ethos by accepting and displaying works that are mailed in by artists from around the world. This practice is aligned with the idea of making art accessible and participatory.
7. Artist-Centered:
While IMCAC serves as a curator and repository for these works, it is also deeply artist-centered. It seeks to elevate the voices of collage, assemblage, and construction artists, encouraging them to explore and expand the boundaries of these art forms. The museum supports both established and emerging artists, providing them with visibility and a platform to showcase their work.
Summary:
The International Museum of Collage, Assemblage, and Construction (IMCAC) is a one-of-a-kind institution founded by Cecil Touchon that celebrates the art forms of collage, assemblage, and construction. With a physical archive and a vast online presence, IMCAC houses a large international collection of artworks and provides a platform for artists to contribute to and engage with these mediums. It promotes experimental, non-dogmatic approaches to art and fosters a global community of artists. The museum also has strong connections to the Mail Art and Fluxus movements, and is dedicated to preserving, exhibiting, and educating the public about these important, often underappreciated, art forms.
Hum… Pretty good!
ChatGPT what is The FluxMuseum?
The FluxMuseum is an art institution founded and curated by Cecil Touchon that focuses on preserving, exhibiting, and promoting works created within the spirit of the Fluxus movement. Fluxus is a global, interdisciplinary movement that emerged in the 1960s and is known for its emphasis on experimental, often humorous, art forms that blur the boundaries between different artistic disciplines, such as performance art, music, poetry, and visual arts.
Key Aspects of the FluxMuseum:
1. Connection to the Fluxus Movement:
Fluxus was an avant-garde movement that grew in the 1960s and 1970s and was strongly influenced by artists like George Maciunas, Yoko Ono, John Cage, and others. The movement challenged traditional definitions of art by promoting ideas like interdisciplinary practices, participation, and art as a process rather than an object.
The FluxMuseum continues the legacy of Fluxus by exhibiting works that reflect the movement’s ethos of experimentation, irreverence, and engagement with everyday life. It encourages artists to adopt the non-conventional, playful, and interdisciplinary spirit of the Fluxus artists.
2. Physical and Online Museum:
The FluxMuseum has both a physical presence as part of Cecil Touchon's larger collection of artworks and an online platform. While the museum does not operate as a traditional gallery or space, it maintains a physical archive of Fluxus-related works.
Online, the museum showcases Fluxus-inspired projects and documentation of artworks, performances, and other Fluxus-related activities. This virtual presence allows for greater accessibility and the continued engagement of the global art community.
3. Participatory Art and Collaboration:
The FluxMuseum emphasizes participatory art—a core aspect of the Fluxus movement. Artists who contribute to the museum are often invited to engage in interactive projects, mail art exchanges, and collaborative works. The museum fosters a sense of artistic collaboration and encourages artists to work together in creating pieces that challenge the norms of traditional art-making.
This participatory nature is a nod to the original Fluxus performances and happenings, where audience members were often active participants rather than passive observers.
4. Mail Art and Ephemera:
The Mail Art movement, which overlaps with Fluxus in terms of its approach and ideas, plays a significant role in the museum's collection. Mail Art involves the exchange of small works of art sent through the postal system. FluxMuseum houses a large collection of Mail Art and encourages artists to submit pieces via the mail, making it a democratic and accessible way to contribute to the collection.
Additionally, the museum has an extensive archive of ephemera—objects and documentation from Fluxus-related performances, events, and publications. These materials help preserve the history of the Fluxus movement and demonstrate the diversity of creative practices that emerged from it.
5. Fluxus Boxes and Objects:
The museum contains numerous Fluxus Boxes and Fluxkits, which are iconic to the movement. These are small, portable collections of art objects, instructions, and games, often housed in a box or suitcase. These kits were designed by artists like George Maciunas and were meant to make art more accessible and portable, and to be interacted with rather than passively viewed.
The FluxMuseum encourages contemporary artists to create their own versions of Fluxkits, continuing the Fluxus tradition of playful, interactive, and thought-provoking art objects.
6. Promotion of Experimental Art:
Just as Fluxus sought to break down the hierarchies and pretensions of the art world, the FluxMuseum promotes experimental and non-traditional art forms. It encourages submissions of art that push boundaries and explores alternative ways of thinking about art, culture, and everyday life.
This includes not only visual art but also sound art, conceptual art, performance, and other hybrid forms that might not fit neatly into conventional categories.
7. Educational Mission:
The museum serves as a resource for people who want to learn about the Fluxus movement and its influence on contemporary art. It offers materials, exhibitions, and educational content that shed light on the history of Fluxus and its continued relevance in today’s art world.
Artists, students, and researchers can access archival materials and documents related to the original Fluxus movement and its many offshoots. The museum's online presence helps to spread knowledge of Fluxus to a broader audience.
8. Post-Dogmatist Affiliation:
The FluxMuseum aligns with the International Post-Dogmatist Group (IPDG) founded by Touchon, which promotes non-dogmatic approaches to art. Like Fluxus, Post-Dogmatism rejects rigid ideologies or rules in art-making, favoring open-ended experimentation and intellectual freedom.
Both movements share a commitment to playfulness, innovation, and anti-commercial approaches to art, seeking to subvert the traditional expectations placed on artists and art institutions.
Summary:
The FluxMuseum, founded by Cecil Touchon, is an institution dedicated to the preservation and promotion of art that reflects the Fluxus movement's ethos of experimentation, irreverence, and interdisciplinary collaboration. It maintains a collection of Fluxus-inspired works, ephemera, and Mail Art, emphasizing the participatory and interactive nature of art. The museum fosters global artistic collaboration and provides a platform for experimental and avant-garde practices, while educating audiences about the history and ongoing influence of the Fluxus movement.
By embracing the playful, anti-commercial spirit of Fluxus, the FluxMuseum acts as a contemporary continuation of the Fluxus legacy, encouraging artists to push the boundaries of what art can be and how it can be experienced.
ChatGPT what is The Archives of the Eternal Network?
The Archives of the Eternal Network is a conceptually rich, evolving art archive and project associated with Cecil Touchon that is dedicated to documenting and preserving the ongoing collaborative, decentralized, and networked creative activities of artists worldwide. It draws inspiration from the Eternal Network, a term that was coined by artist Robert Filliou in the early 1960s, which refers to the idea of a global, continuous, and participatory artistic network that transcends borders and conventional hierarchies.
Key Aspects of The Archives of the Eternal Network:
1. Origin of the Concept – The Eternal Network:
The Eternal Network (or "La Fête Permanente") was an idea developed by Robert Filliou, a key figure in the Fluxus movement, and a collaborator of artists like George Brecht. It describes a fluid, global network of artists and creative individuals connected by their shared, ongoing participation in collaborative and experimental art practices.
The concept emphasizes that art is not confined to galleries, museums, or conventional venues but can happen anywhere and anytime through spontaneous, playful, and everyday creative acts. It envisions an eternal, continuous art event that involves people across the world in a network of creation and exchange.
In this context, artists are constantly part of a networked process of making, sharing, and interacting with each other’s ideas, regardless of physical distance or institutional boundaries.
2. The Archives – Documenting Global, Networked Art:
The Archives of the Eternal Network is an effort to document and preserve the creative works, activities, and exchanges that occur within this global network of artists. It seeks to archive not just finished artworks, but also the processes and interactions that define networked, participatory art practices.
The project includes a vast collection of correspondence art (mail art), documentation of performances, conceptual works, Fluxus materials, and other ephemeral art forms that might otherwise be lost or forgotten. By archiving these materials, the project aims to create a lasting record of the global, ongoing art dialogue that is always unfolding.
3. Connection to Mail Art and Fluxus:
The Eternal Network concept is closely tied to the Mail Art movement, where artists exchanged artworks through the postal system. Mail Art emphasizes the democratic, decentralized nature of art, allowing anyone, anywhere to participate by sending and receiving creative works.
The Archives of the Eternal Network contains extensive collections of Mail Art from around the world, reflecting the participation of artists in this broader creative network. This ties into the Fluxus tradition of anti-commercial, process-oriented art, and the archive works to preserve this spirit.
4. Archiving the Ephemeral:
A crucial aspect of the archive is its focus on ephemeral works—art that exists only for a brief moment or in the form of actions, performances, and temporary interventions. The archive aims to collect documentation (letters, photos, videos, descriptions) of these ephemeral works, making sure that the fleeting moments of artistic creation within the Eternal Network are recorded for future generations.
The archive doesn’t just store physical works but also correspondences, ideas, sketches, and other traces of creative exchanges that reveal the processes of collaboration between artists.
5. Global and Inclusive Nature:
The Eternal Network is inherently global and inclusive. It doesn’t limit participation to professional artists, but rather invites anyone interested in creative exchange to contribute. As such, the archive documents not just the work of well-known artists, but also the contributions of everyday creators, hobbyists, and marginalized voices within the global art network.
This makes the archive a democratic space that reflects the diversity of artistic expression, from established art movements like Fluxus to underground and independent creators. It captures the wide spectrum of human creativity, across cultures, disciplines, and geographies.
6. Preserving the Spirit of Collaboration:
The Archives of the Eternal Network are meant to honor and preserve the spirit of collaboration, participation, and collectivity that defines the Eternal Network. The archive is not just a static repository but an active, living project that encourages ongoing participation and contribution from artists around the world.
The network continues to evolve, and as such, the archive grows with new submissions and contributions that reflect the continuous dialogue and exchange happening within the global art community.
7. Relationship with Other Projects:
The Archives of the Eternal Network are conceptually linked to other projects Touchon is involved in, such as the FluxMuseum and the International Museum of Collage, Assemblage, and Construction (IMCAC). All of these projects share a commitment to preserving and promoting experimental, non-commercial, and networked art practices.
The archive, like these other institutions, challenges traditional ideas of what constitutes an “art museum” or “art archive” by focusing on processes, ephemera, and the collective nature of art-making.
8. Educational Resource:
The Archives of the Eternal Network serve as an important educational resource for researchers, artists, and scholars interested in the history and ongoing development of collaborative, networked art practices. It provides access to materials that document the global exchange of ideas, performances, and artworks, offering insight into how art can function as a continuous conversation across time and space.
By studying the archive, one can trace the interactions and collaborations between artists from different cultures, backgrounds, and disciplines, illustrating the global and interdisciplinary nature of the Eternal Network.
Summary:
The Archives of the Eternal Network is a project initiated by Cecil Touchon to preserve and document the global, participatory, and collaborative nature of art, as envisioned by the Eternal Network concept of Robert Filliou. It houses a wide range of materials, including Mail Art, ephemeral artworks, performance documentation, and correspondence between artists worldwide. By archiving these diverse, often fleeting creative exchanges, the project aims to provide a lasting record of the ongoing global dialogue of art-making, reflecting the spirit of collaboration, process, and experimentation that defines the Eternal Network.
The archive functions as a living, evolving collection, inviting artists from around the world to contribute, thus continuing the networked, non-commercial ethos of Fluxus, Mail Art, and other related movements.
ChatGPT what is The Museum of Snapshot Photography?
The Museum of Snapshot Photography is an institution dedicated to collecting, preserving, and exhibiting snapshot photography, which refers to informal, spontaneous photographs typically taken by amateur photographers. These snapshots capture moments of everyday life, often with little attention to professional composition or technical skill, yet they hold significant cultural and personal value as records of ordinary experiences.
While this museum might not be as widely known as larger institutions, it forms part of Cecil Touchon's broader efforts to elevate often overlooked or undervalued forms of art and creativity, similar to his involvement with other projects like the FluxMuseum and the International Museum of Collage, Assemblage, and Construction (IMCAC).
Key Aspects of the Museum of Snapshot Photography:
1. Celebrating the Ordinary:
The Museum of Snapshot Photography focuses on the everyday, personal, and informal nature of snapshot photography. These are images typically taken by non-professional photographers—often family members, friends, or passersby—that document ordinary moments, such as family gatherings, vacations, and daily life.
The museum treats these informal photographs as culturally significant artifacts that provide insight into personal histories, social trends, and changes in everyday life across different time periods and regions.
2. Amateur Photography and Vernacular Art:
Snapshot photography falls under the broader category of vernacular photography, which refers to everyday, non-professional photographic practices. The museum emphasizes that amateur photography—often considered technically or artistically "imperfect"—is an important form of creative expression that deserves to be preserved and studied.
This focus challenges the traditional boundaries of art by elevating what might otherwise be seen as ephemeral or personal images to the level of historical and artistic significance.
3. Historical Documentation:
The museum's collection provides a valuable historical record of social, cultural, and technological changes over time. The photographs capture how people lived, dressed, and interacted in different eras, making them important documents of cultural history.
These snapshots often offer a more authentic, unfiltered view of life than professionally composed photographs, as they are typically taken without the intention of being “art.” As such, they serve as intimate glimpses into the lives of everyday people.
4. The Aesthetic of the Snapshot:
The aesthetic of snapshot photography is characterized by its informality, spontaneity, and occasional technical imperfections—such as blurriness, awkward framing, or overexposure. However, these qualities are part of what makes snapshot photography unique and valuable. They often convey a sense of immediacy and authenticity, capturing moments as they happen rather than as they are posed.
The museum recognizes the unique visual and emotional qualities of these photographs, showcasing how the lack of formal training or intention can result in compelling images that resonate with viewers.
5. Photographic Technology and Access:
Snapshot photography has evolved alongside the development of affordable, easy-to-use cameras, starting with early film cameras and continuing into the digital age. The museum's collection highlights the progression of photographic technology, from Kodak’s first consumer cameras in the late 19th century to Polaroid instant cameras, disposable film cameras, and, more recently, smartphone photography.
The museum thus explores how technological advancements have made photography more accessible to the general public, democratizing the medium and making it possible for virtually anyone to document their lives.
6. Cultural and Sociological Insights:
Beyond their visual appeal, snapshots serve as important sociological documents. They reflect changes in social norms, family structures, leisure activities, and the ways people see and represent themselves. The museum curates these images to highlight broader cultural trends, as well as the personal narratives that they document.
These photographs offer a rich source of social history, providing insights into how people across different time periods, locations, and social backgrounds have engaged with photography as a way of documenting their lives.
7. Preserving Personal and Found Photography:
The museum collects both personal snapshots donated by individuals and found photography—abandoned or discarded photographs that have been recovered by collectors or archivists. These found photos, often from flea markets, garage sales, or online, are given new life as part of the museum’s archive.
In doing so, the museum helps preserve personal histories that might otherwise be forgotten. This act of preservation underscores the idea that even the most ordinary and personal images have historical and cultural value.
8. Digital and Physical Collections:
Like many contemporary art institutions, the Museum of Snapshot Photography likely has both a physical archive and a digital presence. The physical collection stores the original prints and negatives, while the digital archive allows for broader access to the collection, making it available to researchers, artists, and the general public online.
This digital presence also reflects the modern evolution of snapshot photography, particularly with the advent of smartphones and social media. The museum explores how the shift to digital photography has changed the way people create and share snapshots.
9. Educational and Curatorial Mission:
The museum’s mission is not only to preserve snapshots but also to educate the public about their significance. Through exhibitions, publications, and online resources, the museum highlights the role of snapshot photography in everyday life and art history.
Curatorial efforts may focus on specific themes, such as the evolution of family portraits, street photography, or the impact of new technologies on amateur photography. These exhibitions help contextualize snapshots within broader cultural and historical frameworks.
Summary:
The Museum of Snapshot Photography is a unique institution that celebrates the importance of snapshot photography—informal, everyday photographs often taken by amateur photographers. The museum preserves and exhibits these snapshots, treating them as significant cultural and historical artifacts that document the everyday lives of people from different time periods and locations. Through its collection, the museum explores the aesthetic, social, and technological aspects of snapshot photography, emphasizing how these personal images offer valuable insights into both personal narratives and broader cultural trends.
By elevating the importance of amateur and vernacular photography, the Museum of Snapshot Photography challenges traditional notions of what constitutes "art" and highlights the role that everyday creativity plays in shaping our understanding of history and culture.
OK a few things that didn’t get said quite the right way… I have mostly collected the thousands of photos in the archives concentrating on 20th Century randomly collected silver gelatin snapshot photography without regard of aesthetic value under the general ascribed pseudonym of Ignatius Maximus Anonymous or I.M.Anonymous (Jan1 1900-Dec. 31 1999) But there are all of my own digital photos as well. Most of these photos have yet to be registered into the archive. One guy can only do so much.
Wow! ChatGTP had an answer for everything! Cool.
Honestly...? This was a fantastic post, GTP explanations of your various Museums and collections had some minor misses, I am very glad it got it mostly right. And, I found the whole thing really enlightening and therefore, you quite impressively amazing. I'm so glad you post it. I am going to save the post as a pdf so I can read it even more closely. Thank you.
So I did some research for you, Cecil. It turns out that UNM has a Museum Studies Masters program. They offer both an MA and an MS in Museum Studies. Here is their website
https://museum.unm.edu/
Their Museum Studies programs appear to cover many aspects that would related to your needs for organizing/cataloguing your Museum collections. I suggest that you call them you can speak directly with the Program Director or other such program official. That ChatGPT might be very helpful to explain to them what your Museums are so that you can expand on what kind of Internship you can offer.
In my personal (artistic) opinion, your Collections represent a rich and fascinating Internship opportunity with unique challenges for a Museums Studies student. However, In the event that UNM doesn't agree with me (or you) that your Museums meet their students'/programs' needs/requirements, perhaps they can suggest a more appropriate place for you to look?
I did a broader search for colleges that have Museum Studies programs, but most of them are far from NM... I live in NYC, so hours of driving seem out of the question to me. But that might not matter to people who are used to driving long distances. And, in fact, constant close access to the collections might not be necessary - rather only occasional "Field Trips would be?
Finally, in modern times perhaps an online program would even work? I don't know the answer to that.
Hope this helps and I would be interested to know if you have any success with any of my suggestions.