Ideum’s in-house Industrial Design team did a great job matching form with function with the new Colossus. The fully redesigned Colossus touch table, with a massive 86″ display, starts shipping next month. Like its predecessor, this new version of the Colossus has a 4K Ultra HD display, is hardened for public spaces, and supports up to eight simultaneous users. We’ve updated the touch screen and the powerful integrated computer system in the table base. The overall table form factor is sleeker, as seen in such design touches as the crafting of a slimmer cradle for the top display that sheds inches from the previous design (it is now only 3″ thick).
The original Colossus table can be seen at installations at: The Smithsonian Cooper Hewitt Design Museum, Smithsonian National Museum of the American Indian, and the Smithsonian National Air and Space Museum.
The image above shows the final prototype of the new Colossus in raw aluminum. Models shipping next month will have our standard midnight black powder coat, but we can customize the Colossus in virtually any color. The Colossus ships standard with an Intel Quad Core i7 computer system, 32GB of RAM, (2) 1TB hard drives, and a dedicated NVIDIA GTX 1080 graphics card.
To learn more about Colossus touch table, see the Colossus product page on the Ideum website or contact our Sales Group.
Version 2 is an extensive update to the GestureWorks authoring framework that makes it simpler than ever to offer multitouch and multi-user applications. GestureWorks Version 2 comes with a newly rebuilt visualizer for touch and gesture tracking. The source code for the visualizer (built in Unity3D) is included with the GestureWorks software package.
GestureWorks allows you to author in C++ and Unity3D, the preferred languages for exhibit and application development. Our comprehensive tutorials show how to use GestureWorks with Qt Quick and Unity 3D. GestureWorks provides standardized development and robust support for multitouch gestures and is streamlined to take advantage of Windows Desktop native touch events.
GestureWorks-built applications run on any multitouch or touch-enabled hardware that supports Windows 10, Windows 8, or Windows 7. The efficiency of Version 2 means your projects will have outstanding performance regardless of the hardware device. A lifetime license for GestureWorks is included with the purchase of Ideum multitouch tables and touch walls; it is available only to current purchasers of Ideum hardware.
Learn more at the newly revamped GestureWorks website featuring the updated logo: www.gestureworks.com
GestureWorks Version 2 Visualizer
Ideum is proud to announce our Tangible Engine 1.5, a visualizer, configurator, and software development kit that allows developers to easily connect applications to real-world objects on Ideum multitouch tables. Tangible Engine opens up possibilities for creating memorable, mixed-reality experiences. The updated Tangible Engine 1.5 release now includes multi-screen support and improved tracking fidelity. To learn more visit http://tangibleengine.com.
Ideum will be holding our annual Spring Studio Party on Thursday, May 11 at 6 pm. This year, the interactive exhibit festivities will include a glimpse of a suite of applications about Hoover Dam, a chance to explore the Command Center of the Future, and finding out how to make a dinosaur glow. Tours of the our studio spaces will be provided and we’ll be showing guests our new patent pending display designs.
We welcome clients, potential clients, and design and technology enthusiasts. Come by and talk with Ideum staff, see what we’ve been up to, and enjoy good food and drink. If you’d like to receive an invitation, please contact us!
When the folks from the Supercomputing Challenge approached us requesting that we help host tours for their event, we immediately jumped at the opportunity. The Challenge has storied beginnings. Back in 1990 it was an avenue to provide high school students with access to supercomputing power for their independent research projects. Through hard work and collaboration between organizations such as LANL, Sandia National Laboratories, UNM, Cray Research, and the Santa Fe Institute. Since then, the Challenge has grown to include teams from middle and high schools all over the state.
In addition to showing them our facilities and discussing the process particular to building touch tables and walls, along with custom software, we discussed pathways to careers in STEM and STEAM. Our diverse team of speakers presented on topics such as developing in 3D environments, problem-solving as a team, industrial design and prototyping, parametric modeling, computer assembly, and quality assurance.
We were thrilled to see so many young learners tackling hard problems with math, science and a lot of creativity. The future of businesses like ours rely on the curiosity and perseverance of new generations interested in how to push the envelope of human-computer interaction.
It’s been a busy month of advocacy and community engagement for Ideum. In addition to hosting the Supercomputing Challenge, we were happy to sponsor both the March for Science Santa Fe and the New Mexico Center on Law and Poverty Toast to Kim Posich.
In 2014, Ideum designed and built a custom 38″ ultra-wide screen multitouch display with an LG stretch monitor. These reading rail displays were originally developed for the Field Museum in Chicago, which has 80 displays in various places throughout the museum. We’ve also used these unique touch displays for creative projects with Mystic Seaport, Museum of Contemporary Native Arts, Milwaukee Public Museum, Lowell Observatory, and others. Now that the 38″ LG monitor we used in our reading rail system has reached end of life, we’ve created a new 34″ model with improved 3440 x 1440 resolution. On a 34″ display, this near 4K UHD resolution is phenomenal and provides a retina-like visual quality.
Ideum’s new 34″ successor to the original wide-screen display has a bevel-less design, an all-aluminum case, and supports up to 40 touch points. We are using the 34″ model for a project with the Smithsonian National Portrait Gallery that will debut this fall. Its unique widescreen format and small footprint is a great fit for the exhibition. For this interactive exhibit, we are collaborating with the National Portrait Gallery on software development and the design of custom kiosks that integrate the new 34″ display.
In the meantime, Ideum will be offering these 34″ ultra-wide displays for purchase. Please contact our Sales group for more information. We will be sharing more details about our exciting project with the Smithsonian National Portrait Gallery closer to the opening of the exhibit.
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 mobile casino presentations below have been selected by the programme committee of themobilecasino.co.uk (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).
Preliminary programme:
Sniff Andersen Nexø (Dept of History, University of Copenhagen):
TBA
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).
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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).
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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?
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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?
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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.)
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From Melissa and Twitter a great visualization of London Lives on the Line. It shows life expectancy and poverty by the tube stops of London. It shows the rhetorical power of visualization to connect data to our lives.
Gartner has an interesting Hype Cycle Research methodology that is based on a visualization.
When new technologies make bold promises, how do you discern the hype from what’s commercially viable? And when will such claims pay off, if at all? Gartner Hype Cycles provide a graphic representation of the maturity and adoption of technologies and applications, and how they are potentially relevant to solving real business problems and exploiting new opportunities.
The method assumes a cycle that new technologies take from:
Here is an example from the Wikipedia:
