Cartogrammar has an interesting post describing using photographs tied to locations to interpolate average colours in a map. By positioning the pictures in space and analyzing them for colour distribution, then taking a function of the colours of pictures in the same area, some quality of the location as a function of photographs, emerges.
[HT to Gonzalo]
A novel temporal illusion, in which the cause of an event is perceived to occur after the event itself, provides some insight into the brain mechanisms underlying conscious perception. The illusion, described in the journal Current Biology by a team of researchers from France, suggests that the unconscious representation of a visual object is processed for around one tenth of a second before it enters conscious awareness.
Chien-Te Wu and his colleagues at the Brain and Cognition Research Centre in Toulouse used a visual phenomenon called motion-induced blindness, in which a constantly rotating background causes prominent and motionless visual stimuli to disappear and reappear, as demonstrated in the video below. Fixate on the flashing green spot in the centre, and you'll notice that the surrounding yellow spots begin to disappear and reappear after about ten seconds. Then replay the clip and focus on any of the yellow spots; you'll see that it is a visual disappearance illusion. Exactly how it works is unclear; according to one hypothesis it is due to the properties of neurons in area V1 of the visual cortex.
Read the rest of this post... | Read the comments on this post...Psychiatric museums have come a long way since their early days. Before the 1980s, private collections of aficionados made up the field. Since then, several psychiatric museums have emerged. Today, these institutions have turned into modern museums creating numerous exhibitions and reaching large audiences. The most successful of the psychiatric museums have more than 140.000 visitors a year. In addition, collaboration between various psychiatric museums has become an important issue, especially for the museums in Europe. In June 2009, the joint project “Connecting the European Mind” was approved by the Education, Audiovisual and Cultural Executive Agency (EACEA) This project will lead to a number of multilateral initiatives in the period 2009-2011. Furthermore, international conferences play an important role in the exchange of information between the museums.
Last week the city of Prague hosted one of these conferences. Participants of 19 countries in Europe, Asia, Africa, Australia, North and South America showed up at Bohnice Psychiatric Hospital to attend the 2nd International Conference on Psychiatric Museums and History of Psychiatry (Oct. 29-31, 2009).The Bohnice Psychiatric Hospital and the city of Prague had a special interest in arranging the conference. As Ivan David and Dagmar Zaludová explained at the conference, a new international exhibition “Mental Illness in the Course of Ages” has been scheduled to be held at the National Museum of Prague in 2010. This exhibition is also intended to be part of the celebration of the 100th anniversary of the Psychiatric Hospital in Prague-Bohnice. The exhibition will be located in two halls of 278 m2 and 253 m2 and in the foyer (431 m2) in a new building of the National Museum in close vicinity to the Wenceslas Square in the heart of Prague.
Besides the upcoming exhibition in Prague, a wide range of historical and museological topics were discussed at the conference. A key theme that emerged from the discussions was the relationship between art and psychiatry. Art played, some way or another, an important role for all the museums represented at the conference. Psychiatric museums such as Bethlem Royal Hospital Museum (UK), The Museum, Psychiatric Hospital in Aarhus (Denmark), The Unconscious Museum (Brazil), and The Museum Dr. Guislain (Belgium) all have large collections of psychiatric art (often referred to as “outsider art” or “l’art brut“. At the congress Kate Forde, curator of the Wellcome Collection in London, presented the project “Madness and Modernity, Mental Illness and the Visual Arts in Vienna 1900”, , and Tatiana Goncalves (Brazil), Mia Lejsted (Denmark), Hans Looijen of Het Dolhuys (Haarlem, NE) and Rolf Brüggemann, director of MuSeele in Göppingen (Germany), touched on similar subjects. The Minds Museum (Museo Laboratorio della Mente) in Rome has worked together with Studio Azzurro, a Milan-based art collective that works with interactive and video environments. In October 2008, the Minds Museum reopened after a high-tech overhaul by Studio Azzuro. In Prague, Martelli Pompeo talked about the new exhibition of Museo Laboratorio della Mente and showed a psychiatric history film made by the Rome museum. Not only artwork and film but also music is an essential element of the very popular museum, Sultan Bayezid II Health Museum in Edirne, Turkey. In Edirne visitors of the museum can listen to music (played by a live orchestra) that once was part of music therapy at the old Ottoman hospital. The Edirne museum has won a number of awards, including the Council of Europe Museum Award in 2004.
Apart from the relationship between art and psychiatry, the issue of how to exhibit the history of psychiatry was a central theme at the conference in Prague. The physical settings of psychiatric museums today are diverse. Some museums, such as Het Dolhuys in Haarlem and the Museum in Aarhus, have very large and unique historic buildings for their exhibitions, whereas others, such as Bethlem Royal Hospital Museum, have small buildings and restricted facilities. In order to reach a larger audience, Bethlem Royal Hospital Museum has specialised in running off-site exhibitions. At the conference in Prague, Michael Phillips of Bethlem Museum talked about the pros and cons of doing off-site exhibitions.
Christina Vanja of the “Landeswohlfahrtsverband Hessen” elaborated over the many memorials, archives and museums in the German Federal State of Hesse. The mental hospitals in Hesse were involved in the Nazi “Euthanasia-Program”, and approximately 20.000 patients of Hessian hospitals were killed in the period 1940 to 1945. The central memorial for the victims in Hesse is in Hadamar.
At the same time as the Action T4 was carried out in Germany, family care reached its highest level in the Belgium town Geel. Bert Boeckx of the Public Psychiatric Care Centre in Geel (OPZ) outlined the long and fascinating story of family care in Geel. In September 2009, a permanent exhibition on the history of psychiatric foster care was established in Geel. In the last presentation of the conference, Pavel Kalvach and Zdenek Kalvach gave a thorough account of the troubled history of dementia; a story in which Prague physician Oskar Fischer played an important role.
Ivan David, Dagmar Zaludová, and other employees of Bohnice Psychiatric Hospital had done an excellent job of arranging the conference. The next conference will be held in 2011. For anyone interested in reading more about psychiatric museums, I recommend the book by Rolf Brüggemann and Gisela Smid-Krebs, “Locating the Soul. Museums of Psychiatry in Europe” (Mabuse Verlag 2007)
I’m absolutely delighted (and only slightly scared) to announce that I’ve been commissioned to write a book for Facet Publishing.
Ever since I started working with museums online, I’ve felt that there is a need for strategic advice to help managers of cultural heritage web presences. There are of course hundreds of thousands of resources if you’ve got technical questions, but not many places where you can ask things like “how should I build my web team and structure my budget?” or “how do I write a strategy or business plan?”.
Facet approached me in July asking whether I’d be interested in authoring something for them, and this seemed like the ideal opportunity to try and answer some of these questions.
My (draft) synposis is as follows:
This book will provide a guide for anyone looking to build or maintain a cultural heritage web presence. It will aim to cater both to those who are single-handedly trying to keep their site running on limited budget and time as well as those who have big teams, large budgets and time to spend.
As well as describing the strategic approaches which are required to develop a successful online presence, the book will contain data and case studies on current practice from large and small cultural heritage institutions. This research will help give the reader an insight into how these institutions manage their websites as well as providing hints and tips on best practice. It will have an accompanying web presence which will provide template downloads and other up-to-date information including links and white papers.
As you’ll see, I have no intention of trying to do this all by myself – over the coming year I’m going to be on the phone to many of you (hide now!) asking how you do what you do, and compiling this into what I hope will be a useful guide.
If you have any ideas about what I should include, or the questions I should be asking – please do get in touch either via this blog or on Twitter at @m1ke_ellis!
Posted in book, content, museum, technology Tagged: book, CH, content, cultural heritage, facet, guide, museums, strategyIn one of his last blog posts Thomas argued that university museums are basically elitist institutions.
Thomas argues that the basic success criterion for museums is the popularity of their exhibitions and number of visitors where on the other side the success criterion for a university museum is the quality and originality of their research. Of course I can’t speak on behalf of all the museums out there but I could easily imagine that many museum professionals could be offended by that statement. Actually I’m quite certain that a lot of great research is done by curators who are not employed by a university museum.
Anyways, as to quality and originality I totally agree. That is a worthy goal but something still troubles me. Especially the following sentence:
In other words, in contrast to museums in general, which are institutions with a broad, popular appeal, ’university museums’ are basically elitist institutions.
What does that actually mean and what happened to the idea of research to the benefit of the people? Was that just a crazy idea that some students back in the sixties and seventies used as a slogan?
When I hear the word elitist it triggers some very unfortunate associations. Who is the elite? What notions of power are we operating with here?
At the Medical Museion we have some fantastic collections. Don’t we have a duty to open them up for the general public in a way that could be understood also by people who are not college educated? There is a democratic principle in this that I fear might be lost if we chose to communicate in a way that only the elite can understand.
Also I really don’t buy the following sentence:
Better provide original solutions to small but fundamental display problems than build big and popular exhibitions.
There is absolutely no reason why these two should be in opposition to each other. Let’s make innovative and popular exhibitions. Access to the medical cultural inheritance should be as democratic as possible and not just something that is withheld for the elite.
The Federation of American Scientists held a National Summit on Educational Games that has released a report titled, Harnessing the Power of Video Games for Learning. This is not, despite the sponsor, a scientific report. It is a call for funding for research into educational games. The report, however, slides into hype about American competitiveness. I think the pitch is that games will save American education and keep the country competitive. So, for example, on the first page it reads,
The success of complex video games demonstrates games can teach higher order thinking skills such as strategic thinking, interpretative analysis, problem solving, plan formulation and execution, and adaptation to rapid change.
The phasing may be unfortunate, but I read this as suggesting that financial success demonstrates educational value. Does that mean that the success of Celine Dion demonstrates that pop music can teach higher order skills? Further on they write,
Many companies and industries have transformed themselves by taking advantage of advances in technology, and new management methods and models of organization. As a result, they realized substantial gains in productivity and product quality while lowering costs. No such transformation has taken part in education. Education is not part of the IT revolution. (p. 6)
How can scientists say that education is not part of the IT revolution? Have they been a school or university recently? For that matter, where are the companies using computer games to teach management methods and models of organization? (Perhaps the financial sector was playing a bit too much World of Warcraft to worry about managing our pensions.) My impression is that gains in productivity have come through automation and inventory control.
My counter proposal would be to invest in board games for teaching higher order skills. Lets bring back Monopoly (or the Landlord’s Game it was based on) as a way of learning about property, mortgages, and bankruptcy. Board games would be cheaper and probably teach the same higher order skills.
I’m sure I’m being unfair, and they do call for more research into what skills games could teach which is needed.
“Bizarre legal defense after EMI sues over Beatles MP3 sales”
When the news broke earlier this week that the so-famous-you’ve-never-heard-of-it BlueBeat.com was both streaming and selling The Beatles remasters—and for 25¢ a track—we speculated that an entertainingly weird legal theory was at the root of this behavior.
We just had no idea how weird it was…”
Share:The creative editors or Spontaneous Generations: A Journal for the History and Philosophy of Science (see earlier mention here) are planning a focused discussion section on scientific instruments in a forthcoming issue of the journal.
With the “practical turn” in history and philosophy of science came a renewed interest in scientific instruments. Although they have become a nexus for worries about empiricism and standards of evidence, instruments only rarely feature as primary sources for scholars in the history and philosophy of science. Even historians of technology have been accused of underutilizing the evidence embodied in material objects (Corn 1996). The fundamental questions are not settled. First, there is no general agreement as to what counts as a scientific instrument: Are simulations instruments? Can people function as instruments? Do economic or sociological instruments operate in the same way as material instruments? There is a second, related debate about how scientific instruments work: Is there a unified account? Do instruments produce knowledge or produce effects? Do they extend our senses (Humphreys 2006) or embody knowledge (Baird 2006)? Third, HPS has seen a variety of approaches to fitting instruments into broader historical and philosophical questions about scientific communities and practices: Shapin and Schaffer (1985) relate instruments to the scientific life, Galison (1997) gives instrument makers equal footing with theorists and experimentalists within the trading zone of scientific discourse, and Hacking (1983) elevates instruments to central importance in the realism-antirealism debate. Finally, it seems plausible that there are methodological concerns specific to scientific instruments: What lessons can we draw from anthropology, material culture, and other allied fields?
I hardly need to emphasise that many instruments for medical and biomedical research fall into the category of ’scientific instruments’ — so, if you’ve got a good idea for a 1000-3000 word essay, don’t hesitate to send your submission before 26 February 2010.
For more details, see http://jps.library.utoronto.ca/index.php/SpontaneousGenerations
Announcing Digital Studies / Le champ numérique. This is a new journal from the SDH/SEMI (Society for Digital Humanities).
University of Copenhagen has several museums (among them Medical Museion). And our university isn’t alone. Many, if not most, universities around the world have their own museums, or at least historical collections. There are in fact so many of the kind that the international museum council (ICOM) has set up a subcommittee specifically for university museums and collections (UMAC).
What defines a ‘university museum’? The only criterion for membership in UMAC seems to be that the museum shall be part of a university organisation — contentwise it can be about almost anything related to the university. So from UMAC’s point of view, a ’university museum’ is primarily defined by ownership.
Fair enough, but otherwise, when thinking of ’university museums’ most people probably think in terms of content — i.e, ‘university museums’ are institutions that collect and display the history of the university. (In the same way that we think of an ‘army museum’ as one that collects and displays artefacts from the history of the armed forces, irrespective of whether it is owned by the army or by the city.) A ‘university museum’ has all kinds of stuff from good old university days, maybe even the university’s archive and image collection.
However, in our internal discussions here at Medical Museion I have often thought of ’university museum’ in a third sense, namely as a museum that functions as a university unit. And this in turn has everything to do with criteria for success.
The usual basic success criterion for museums is the popularity of their exhibitions and the number of visitors; the success criterion for university units on the other hand is the quality and originality of their research.
What distinguishes a ’university museum’ in this third sense is that its criterion for success lies closer to that of the university than that of the ordinary museum. It’s the quality and originality of its research, curatorship and exhibition work that defines it as a ’university museums’.
Of course, university museums want people (in large numbers) to see their exhibitions. But that aside, the basic criterion for success is whether their research and curatorial work contributes to new museological agendas or not. Better provide original solutions to small but fundamental display problems than build big and popular exhibitions.
In other words, in contrast to museums in general, which are institutions with a broad, popular appeal, ’university museums’ are basically elitist institutions.
