Ideum is sponsoring the upcoming Exhibition + Experience Design Workshop hosted by the Society for Experiential Graphic Design (SEGD) in Washington, DC. Throughout the workshop on Thursday, August 18, Ideum staff will be demonstrating custom software, including our Starbucks interactive coffee experience, on one of our 65″ Platform multitouch tables. These daytime workshops will be held at the American Institute of Architects.
Thursday evening, Ideum is sponsoring the reception which will be held at the Smith Group JJR architecture and engineering firm. Friday morning, we’ll be working with our colleagues at the Smithsonian National Museum of the American Indian to give a tour and facilitate a discussion about the Great Inka Road exhibition and the Cusco interactive table application. If you’re attending the SEGD Exhibition + Experience Design Workshop, please stop by our table on Thursday and sign up for our Smithsonian NMAI tour on Friday!
Ideum recently introduced first-of-their-kind 55″ and 65″ 4K Ultra High Definition (UHD) touch wall and touch table displays with 3M™ projected capacitive (PCAP) multitouch technology. This lineup has been extended and now includes 43″ and 49″ 4K UHD displays with 3M™ touch. These displays provide a new range of sizes with unbeatable pixel density and a new generation of 3M™ touch that is more responsive and supports 80 simultaneous touch points.
Ideum displays are tough enough for the most demanding, high-traffic public spaces. They are made in the USA out of aircraft-grade aluminum (never plastic)…. Download Our Updated White Paper
Ideum’s range of 43″, 49″, 55″, and 65″ multitouch displays are first to the market with Ultra HD 4K resolution and 3M™ touch technology. Ideum continues to lead the way in quality and durability as both a manufacturer of cutting-edge hardware products, and as a small design shop developing high-end custom installation solutions.See our new Pro, Platform, and Drafting multitouch tables, our Duet Interactive Coffee Table, and Presenter Touch Wall models for more information.
To inquire about any of our products, please contact our Sales team at: email@example.com or, 1-505-792-1110 ext. 1.
Here is the preliminary programme for the workshop “Contemporary biomedical science and medical technology as a challenge to museums” (15th biannual meeting of the European Association of Museums for the History of Medical Sciences), to be held in Copenhagen, 16-18 September, 2010.
The presentations below have been selected by the programme committee (Ken Arnold, Wellcome Collection, London; Robert Bud, Science Museum, London; Judy Chelnick, National Museum of American History, Washington DC; Mieneke te Hennepe, Boerhaave Museum, Leiden; and Thomas Söderqvist, Medical Museion, Copenhagen) in dialogue with the secretary of the EAMHMS (James Edmonson, Dittrick Museum, Cleveland).
Sniff Andersen Nexø (Dept of History, University of Copenhagen):
Suzanne Anker (School of Visual Arts , New York):
“Inside/Out: Historical Specimens through a 21st Century Lens”
Kerstin Hulter Åsberg (Dept of Neuroscience, Uppsala University):
“Uppsala Biomedical Center: A Mirror and a Museum of Modern Medical History”
Yin Chung Au (Planning and Coordination Centre for Developing Science Communication Industry, National Science Council, Taiwan):
“Seeing is communicating: Possible roles of med-art in communicating contemporary scientific process with the general public in digital age
Adam Bencard (Medical Museion, University of Copenhagen):
“The molecular body on display”
Caitlin Berrigan (independent artist):
“Improvising Glycoproteins: A case study in artistic virology”
Danny Birchall (Wellcome Collection, London):
“Medical London and the photography of everyday medicine”
Silvia Casini (Observa – Science in Society, Venice):
“Curating the Biomedical Archive-fever”
Judy M. Chelnick (Division of Medicine and Science, National Museum of American History):
“The Challenges of Collecting Contemporary Medical Science and Technology at the Smithsonian Institution”
Roger Cooter (Wellcome Trust Centre for the History of Medicine, UCL) and Claudia Stein (Dept of History, University of Warwick):’
“Visual Things and Universal Meanings: Aids Posters, the Politics of Globalization, and History”
Nina Czegledy (Senior Fellow, KMDI, University of Toronto):’
“At the Intersection of Art and Medicine”
John Durant (MIT Museum):
“Prospects for International Collaboration in Collecting Contemporary Science and Technology”
Joanna Ebenstein (The Observatory, New York):
“The Private, Curious, and Niche Collection: What They can Teach Us”
Jim Edmonson (Dittrick Museum, Case Western Reserve University):
“Collection plan for endoscopy, documenting the period 1996-2010”
Jim Garretts (Thackray Museum, Leeds):
“Bringing William Astbury into the 21st Century: the Thackray Museum and the Astbury Centre for Structural Molecular Biology in partnership”
Victoria Höög (Dept of Philosophy and History of Science, University of Lund):
“The Optic Invasion of the Body. Naturalism as an Interface between Epistemic Standards in Biomedical Images and the Medical Museums”
Karen Ingham (School of Research and Postgraduate Studies, Swansea Metropolitan University):
“Medicine, Materiality and Museology: collaborations between art, medicine and the museum space”
Ramunas Kondratas (independent scholar; formerly Division of Medicine and Science, National Museum of American History):
“The Use of New Media in Medical History Museums”
Lucy Lyons (Medical Museion, University of Copenhagen):
“What am I looking at?”
Robert Martensen (Office of History & Museum, NIH):
“Integrating the Physical and the Virtual in Exhibitions, Archives, and Historical Research at the National Institutes of Health”
Stella Mason (independent scholar):
“Contemporary Medicine in Museums: What do our visitors think of our efforts?”
René Mornex and Wendy Atkinson (Hospices Civils de Lyon, Université Claude Bernard Lyon1):
“A large health museum in Lyon”
Jan Eric Olsén (Dept of History of Ideas, University of Lund):
“The displaced clinic: healthcare gadgets for home use”
Kim Sawchuk (Dept of Communication Studies, Concordia University):
“Bio-tourism into museums, galleries, and science centres”
Thomas Schnalke (Berliner Medizinhistorisches Museum):
“Dissolving matters: the end of all medical museums’ games?”
Morten Skydsgaard (Steno Museum of the History of Science, Aarhus University):
“Boundaries of the Body and the Guest: Art as a facilitator in the exhibition The Incomplete Child”
Sébastien Soubiran (Jardin des Science, Université de Strasbourg):
“Which scientific world would we like to depict in a 21st century university museum?”
Yves Thomas (Polytech Nantes) and Catherine Cuenca (Université de Nantes and Musée des Arts et Métiers in Paris):
”Multimedia contributions to contemporary medical museology”
Maie Toomsalu (Medical Collections, University of Tartu):
“Visitor studies at the Medical Collections of University of Tartu”
Henrik Treimo (Norsk Teknisk Museum, Oslo):
”Invisible World: Visualising the invisible parts of the body”
Alex Tyrell (Science Museum, London):
“New voices: involving your audience in content creation”
Nurin Veis (Museum Victoria, Melbourne):
“How do we tell the story of the cochlear implant?”
Final titles will be announced after the revised/extended abstracts have been submitted by Monday, 2 August.
The workshop starts Thursday, 16 September at noon and ends Saturday, 18 September at 5 pm.
Sessions will be held at Medical Museion and in the Danish Museum of Art and Design. The two meeting venues are situated close to each other in central Copenhagen.
The format of the workshop is informal. In order to focus on discussion and intellectual exchange, each accepted abstract will get a maximum of 8 (eight) minutes for oral presentation, followed by a longer discussion. Extended abstracts (2-5 pages) will be distributed to all registered participants in late August.
The workshop is open to registered participants only. Due to space limitations, we have to impose a first register/first serve policy for attendance.
For details about registration, bank transfer, hotel bookings, special needs, etc., see http://www.mm.ku.dk/sker/eamhms.aspx.
The workshop is organized by Medical Museion, University of Copenhagen (www.mm.ku.dk; www.corporeality.net/museion).
Medical Museion is arranging a cross-disciplinary workshop on ‘Biomedicine and Aesthetics in a Museum Context’, Copenhagen, 30 August – 1 September, 2007.
The conjuncture of biomedicine and aesthetics is a rapidly growing field of artistic practice and academic reflection, dealing with an array of issues, from the public engagement with current biomedicine to methodological overlaps between the practices of artists and laboratory researchers. Museums are key institutions for this hybrid field of inquiry.
The aim of this closed workshop is to help forge new strategies of making sense of and presenting recent biomedicine in museums, especially taking into account the unique difficulties of rendering visible material biomedical practices in their social, cultural, political, aesthetic and scientific complexity.
The workshop will bring together key practitioners from a range of methodological approaches, including artists with a firm understanding of biomedical practice, museologists and material culture scholars, historians of science, art historians and aestheticians, biomedical practitioners with a knowledge of contemporary bioart, and visualisation specialists.
The workshop is limited to invited participants. Confirmed participants include: Ken Arnold (Wellcome Trust, London), David Edwards (Division of Engineering and Applied Sciences, Harvard University), Giovanni Frazzetto (BIOS, London School of Economics), Anke te Heesen (Museum of University of Tubingen), Wolfgang Knapp (Institut für Künst im Kontext, Universität der Künste in Berlin), Sharon MacDonald (Department of Social Anthropology, University of Manchester), Natasha S. Myers (MIT), Arthur Olson (Molecular Graphics Laboratory, Scripps Research Institute, La Jolla), Paolo Palladino (Dept of History, Lancaster University), Claire Pentecost (School of the Arts Institute Chicago), Paulo Periera (Institute for Biomedical Research in Light and Image, University of Coimbra), Ingeborg Reichle (Berlin-Brandenburg Academy of Sciences and Humanities), Hans Jörg Rheinberger (Max Planck Institute für Wissenschaftsgeschichte, Berlin), Miriam van Rijsingen (University of Amsterdam), Calum Storrie (London), Herwig Turk (Lisbon), Stephen Wilson (Conceptual / Information Arts Program, San Francisco State University), Richard Wingate (Centre for Developmental Neurobiology, King’s College, London), and Susanne Bauer, Martha Fleming, Hanne Jessen, Camilla Mordhorst, Jan Eric Olsén, and Thomas Söderqvist (all Medical Museion, University of Copenhagen).
Organizing Committee: Martha Fleming, Jan Eric Olsén, and Thomas Söderqvist, all Medical Museion, University of Copenhagen.
Program Advisory Group: Ken Arnold (Wellcome Trust, London), Steve Kurtz (State University of New York, Buffalo), Ingeborg Reichle (Berlin-Brandenburgische Akademie der Wissenschaften, Berlin), Miriam van Rijsingen (Centre for Art and Genomics, Universities of Amsterdam and Leiden), Hans-Jörg Rheinberger (Max-Planck-Institut für Wissenschaftsgeschichte, Berlin), Eugene Thacker (Georgia Institute of Technology, Atlanta), Richard Wingate (King’s College, London).
Couldn’t sleep last night. Giorgio Agamben‘s books use to be the perfect over-the-counter remedy against insomnia, so I began reading his latest collection of essays (Profanations, Zone Books, 2007) and was just about to fall asleep when my eyes fell on this line (on p. 83):
The museification of the world is today an accomplshed fact.
which made me wide-awake again. So here it goes:
The ‘Museum’ in Agamben’s vocabulary is not just a physical place (building) with collections and exhibitions, but “the separate dimension to which what was once — but is no longer — felt as true and decisive has moved” (p. 84). Agamben’s ‘Museum’ thus also includes the hundreds of properties on Unesco’s World Heritage List, national parks and other nature reserves (like Grand Canyon), protected ethnic groups, and so forth.
The ‘Museum’ pace Agamben is “the exhibition of an impossibility of using, of dwelling, of experiencing”, and as such it “occupies exactly the space and function once reserved for the Temple”. Once pilgrims travelled to sacred sites; today tourists “restlessly travel in a world that has been abstracted into a Museum”.
This contemporary mass pilgrimage involves a separation from the world of everyday practice:
the tourists celebrate on themselves a sacrificial act that consists in the anguishing experience of the destruction of all possible use,
Agamben says, and adds (p. 85) that “nothing is so astonishing” as the fact that the 650 million people who visit the ‘Museum’ each year
are able to carry out on their own flesh what is perhaps the most desparate experience that one can have: the irrevocable loss of all use, the absolute impossibility of profaning
Needless to say, Agamben’s analysis of the ‘Museum’ (including museums) is quite different from that of the museum and tourism industry. But this shouldn’t keep us from asking if Agamben is right in suggesting that “the profanation of the unprofanable is the political task of the coming generation” (p. 92)
And if this is the case, what are the implications for museum politics in general? And for Medical Museion in particular? And what would ‘profanation’ imply in the contemporary medical (history) museum field?
The post The museification of the world (reading Agamben’s Profanations) appeared first on Corporeality.net.
Mia Ridge, a database developer for the Museum of London, asks some interesting questions on her blog Open Objects about how museums and cultural heritage institutions relate to the ’participatory web’ (web 2.0, social networking sites, user-generated content etc).
Mia’s (perhaps not very unsurprising) impression from speaking with colleagues is that museums are pretty conservative in this respect. But also that there may be differences depending on what kind of institution we’re talking about. (Maybe art historians are more resistant than social historians?) She also wonders how the resistance to the participatory web is expressed. Is it active or passive? And a lot of other interesting questions: “At this point all I have is a lot of questions”.
Note that the resistance Mia has found doesn’t seem to be against the digitalisation of collections or web-presence as such, but specifically against the participatory web.
These are interesting observations, and I wonder: Can this resistance perhaps be understood in terms of an opposition among curators against a perceived profanation of the sacred character of the museum? In the same way as Wikipedia and other user-generated content websites have been viewed with skepticism from the side of many academics — not just because they may contain errors (which encyclopedia doesn’t?), but also because it is a preceived profanation of Academia. (For earlier posts about profanation of the museum as a sacred institution, see here and here.). Any ideas?
The post How can the resistance of museums to the participatory web be explained? appeared first on Corporeality.net.
Dutch designer Joep Van Lieshout’s website displays quite a few interesting works of interest for medical museum designers, like CasAnus (2007), a house which is (reasonably anatomically accurately) shaped like the human digestive system. It’s made to function as a small hotel, with bed- and bathroom. I thought it would be great to enter it through the inflated anus, but there seems to be a door behind the appendix.
Placed in our museum backyard, CasAnus would be a perfect B&B for our guest curators. Or maybe we could convince the Faculty of Health Sciences to purchase 10 different organ systems and put them together as a faculty hotel for guest researchers. (I doubt the National Hospital would like to use them for patient hotel, its probably too provoking for their core users.)
At Digital Humanities 2016, Sean Morey Smith and I presented on our ongoing work examining GitHub as a platform of knowledge for digital humanities. Our results are still preliminary, but we want to share our presentation (PDF). We’re especially grateful to those who agreed to be interviewed for the study and who took our survey. We expect to produce an article (or two) based on our research.
We welcome any questions or feedback.
W dniach 30 sierpnia – 1 września 2017 roku w berlińskiej Staatsbibliothek odbywać się będzie konferencja Digital Cultural Heritage. Chociaż zakres tematyczny konferencji jest bardzo szeroki, wygląda na to, że obejmuje on jedynie wątki w różny sposób związane ze zdigitalizowanymi zbiorami dziedzictwa – w spisie tematów nie widać żadnego odwołania do kulturowego dziedzictwa born digital.
Koncepcja celów konferencji:
Our special aims:
raise awareness in Society, Science, and Technology fields about importance of the cultural dimensions and the growing potential of Digital Cultural Heritage
promote innovative content analysis from cross-organizational interoperability of digital humanities databases and XML methods, techniques, and approaches
indicate on the central role of spatial concepts enabling synergy for knowledge generation from massive granular digital cultural heritage content
create innovative cross-disciplines / cross sectors partnerships facilitate intercultural and interdisciplinary dialogue
elaborate roles and interest of information society
Strona domowa konferencji: dch2017.net
In an earlier post I speculated about the plateau in ebook adoption. According to recent statistics from publishers we are now actually seeing a decline in ebook sales after a period of growth (and then the leveling off that I discussed before). Here’s my guess about what’s going on—an educated guess, supported by what I’m hearing from my sources and network.
First, re-read my original post. I believe it captured a significant part of the story. A reminder: when we hear about ebook sales we hear about the sales from (mostly) large publishers and I have no doubt that ebooks are a troubled part of their sales portfolio. But there are many other ebooks than those reported by the publishers that release their stats, and ways to acquire them, and thus there’s a good chance that there’s considerable “dark reading” (as I called it) that accounts for the disconnect between the surveys that say that e-reading is growing while sales (again, from the publishers that reveal these stats) are declining.
The big story I now perceive is a bifurcation of the market between what used to be called high and low culture. For genre fiction (think sexy vampires) and other genres where there is a lot of self-publishing, readers seem to be moving to cheap (often 99 cent) ebooks from Amazon’s large and growing self-publishing program. Amazon doesn’t release its ebook sales stats, but we know that they already have 65% of the ebook market and through their self-publishing program may reach a disturbing 90% in a few years. Meanwhile, middle- and high-brow books for the most part remain at traditional publishers, where advances still grease the wheels of commerce (and writing).
Other changes I didn’t discuss in my last post are also happening that impact ebook adoption. Audiobook sales rose by an astonishing 40% over the last year, a notable story that likely impacts ebook growth—for the vast majority of those with smartphones, they are substitutes (see also the growth in podcasts). In addition, ebooks have gotten more expensive in the past few years, while print (especially paperback) prices have become more competitive; for many consumers, a simple Econ 101 assessment of pricing accounts for the ebook stall.
I also failed to account in my earlier post for the growing buy-local movement that has impacted many areas of consumption—see vinyl LPs and farm-to-table restaurants—and is, in part, responsible for the turnaround in bookstores—once dying, now revived—an encouraging trend pointed out to me by Oren Teicher, the head of the American Booksellers Association. These bookstores were clobbered by Amazon and large chains late last decade but have recovered as the buy-local movement has strengthened and (more behind the scenes, but just as important) they adopted technology and especially rapid shipping mechanisms that have made them more competitive.
Personally, I continue to read in both print and digitally, from my great local public library and from bookstores, and so I’ll end with an anecdotal observation: there’s still a lot of friction in getting an ebook versus a print book, even though one would think it would be the other way around. Libraries still have poor licensing terms from publishers that treat digital books like physical books that can only be loaned to one person at a time despite the affordances of ebooks; ebooks are often not that much cheaper, if at all, than physical books; and device-dependency and software hassles cause other headaches. And as I noted in my earlier post, there’s still not a killer e-reading device. The Kindle remains (to me and I suspect many others) a clunky device with a poor screen, fonts, etc. In my earlier analysis, I probably also underestimated the inertial positive feeling of physical books for most readers—which I myself feel as a form of consumption that reinforces the benefits of the physical over the digital.
It seems like all of these factors—pricing, friction, audiobooks, localism, and traditional physical advantages—are combining to restrict the ebook market for “respectable” ebooks and to shift them to Amazon for “less respectable” genres. It remains to be seen if this will hold, and I continue to believe that it would be healthy for us to prepare for, and create, a better future with ebooks.
Ideum will soon introduce a new multitouch hardware solution for museums, trade shows, retail locations, and other busy exhibit spaces. The Portrait Touch & Motion Kiosk is an all-in-one, vertically-oriented kiosk that can stand alone or be grouped together to create an expansive 4K UHD video wall. The Portrait will feature the same 55-inch 4K UHD display with 3M™ projected-capacitive touch technology as our line of touch tables and Presenter touch walls, but in an exciting new form factor.
As with all of our renowned multitouch products, the Portrait is hardened and built out of aircraft-grade aluminum. An exclusive feature of the Portrait is the optional integrated motion tracking system for optimal interactivity and engagement. This makes it perfect for mixed touch and motion applications. The motion-tracking model comes with specialized internal mounting hardware and Kinect® sensor for smooth motion tracking. The interactive functionality of the Portrait is supported by an integrated high-performance Intel® Core™ i7 quad core computer with a dedicated NVIDIA graphics card.
The Portrait kiosk will be available later this summer. Contact our Sales group for more information.
Ideum is raising the bar on the types of multitouch experiences that can be designed and built on our 55” and 65” Ultra High Definition (UHD) 4K Pro, Platform and Duet PCAP touch tables. Our newest SDK, Tangible Engine, is an intuitive and highly optimized authoring package that simplifies the process of building applications with object recognition on multitouch tables. Tangible Engine 1.0 is the first SDK available that works with projected-capacitive touch screens. It does not require cameras or optical devices. If you are a developer or a designer looking to create interactive experiences involving real world objects, Tangible Engine will save you valuable development time and jump start your project.
Our tangibles, also referred to as fiducials, are made with a rubberized polymer material infused with specifically patterned nodes of conductive materials. Tangible Engine recognizes the pattern when the tangible is placed on the touch screen, thereby activating content and creating an innovative way to engage with applications.
Configuring your Tangibles
Tangible Engine consists of a Configurator / Visualizer utility and an SDK which allows developers to quickly and easily train the tangible objects to connect to the touch table surface. The Configurator / Visualizer enables tangible object customization, and developers can introduce new tangibles and edit important attributes, e.g. the name, id, or object radius. We provide the source-code of the Configurator / Visualizer, allowing developers to better understand how the system works. Tangible Engine comes bundled with the tangible object tracker and documentation.
Tangible Engine is for sale with purchase of any of our compatible touch tables, currently the 55” and 65” UHD 4K Pro, Platform and Duet models. Five tangible objects are included with each purchase, allowing developers to get started right away. In addition, instructions for 3D printing, including STL files for two tangibles and a list of conductive printing materials, are provided. Ideum will be adding new features to Tangible Engine in the near future and updates will be readily available.
Tangible Engine in Action
In 2015, Ideum developed a robust version of the software and built an interactive wine tasting experience with JCB Wines. Just prior to the 1.0 release of Tangible Engine, Ideum developed an interactive coffee experience with Starbucks that seamlessly integrates tangibles with gorgeous design.
Learn more about Tangible Engine and see the video here: tangibleengine.com
Contact us to learn more about Tangible Engine software, Ideum multitouch hardware, and how our Creative Services team can work with you to build bespoke multitouch applications and experiences.
At Ideum, we’ve updated our sales showroom to include full videoconferencing capabilities. With the addition of new hardware production space and expansion into another building, we had the opportunity to enhance our sales showroom with a permanent videoconferencing setup. This allows potential clients interested in Ideum products to participate in active demonstrations with our sales staff or software producers. Our team can now easily show not only our multitouch tables and touch walls, but also our custom exhibit projects and interactive software.
Currently on display in the videoconference showroom are a Drafting Table 55 and a Platform 55. To schedule a demonstration with Ideum, please contact firstname.lastname@example.org, call (505) 792-1110 ext.1, or call toll-free (855) 898-6824.