Biomedicine on Display

Our own Lucy Lyons and Anette Stenslund are organising a two-day workshop titled ‘The Sensuous Object’ here at Medical Museion, September 29-30.

‘The Sensuous Object’ is an interdisciplinary, participatory workshop concerned with ways we actually engage with objects and aimed at researchers in all disciplines interested in the materiality of actual artefacts and ways of understanding objects through the senses.

How we experience and understand objects as sensuous objects that have been realized, produced, consumed through and by our senses, and how they impact on us and how we impact on them, are just a few of the expected discussion topics. By inviting participants to choose actual objects and use them as central to their presentations, the aim is to challenge established concepts and reveal new possibilities in our experiencing of and understanding through objects, using sensuous approaches. It will provide opportunity for presenters to test ideas, try out new formats of presentation and discussion, and examine their own research through the sensuous object.

The idea for this workshop began as a way to research objects from Medical Museion’s collections and for the objects themselves to form the basis of further research. Medical Museion is a university museum at the Faculty of Health Sciences, University of Copenhagen, with an extensive collection of historical medical objects from the 18th through 20th centuries and with internationally award-winning exhibitions. Its field is the history of health and disease in a cultural perspective, with a focus on the material and iconographic culture of recent biomedicine. Research at Medical Museion is seen as essential to underpinning university teaching strategies for collection and conservation of medical heritage, exhibition making, and other material-based communication practices.

Speakers are invited to present their understanding of an object in terms of their methodological approaches and areas of research. Research areas of confirmed participants include senses of smell and touch, ambience, aesthetic, visual thinking, tacit knowledge, sound, and seduction.

Confirmed speakers:
Laura Gonzalez (Glasgow School of Art)
Ansa Lonstrup (University of Aarhus)
Anette Stenslund (Medical Museion, University of Copenhagen)
Jan-Eric Olsén (Medical Museion, University of Copenhagen)
Carsten Friberg (Aarhus School of Architecture)

Organisers:
Postdoc Lucy Lyons (lucyly@sund.ku.dk) and PhD student Anette Stenslund (astenslund@sund.ku.dk), Medical Museion, University of Copenhagen, 18 Fredericiagade, Copenhagen (www.museion.ku.dk).

More information:
If you are interested in presenting, please email a 200 word abstract by July 15, 2011. If you would like to participate but do not wish to present, please email a paragraph about your area of research by September 5, 2011.

The Sensuous Object workshop is free and Medical Museion will host lunch on both days and dinner on September 29. Participants will need to arrange and pay for their own travel and accommodation.

Further info from Lucy Lyons, lucyly@sund.ku.dk.

Our own Jan Eric Olsén has received 3.2 mill DKK (about 400.000 euro) from the Velux Foundation for a research project on the history of blindness, titled “Vision and touch: a material history of the world of blindness”.

Drawing on archival sources from the Danish Institute for the Blind and Visually Impaired, as well as the big ophthalmological and blind-historical collections in Medical Museion, the project will explore the medical and cultural tension between vision and blindness:

The material objects used by the blind and by emphasising the importance of the sense of touch, the project will provide an alternative viewpoint to earlier historical accounts of blindness and its complex relation to vision. By shifting focus from the iconography of blindness to the material objects used by the blind and by emphasising the importance of the sense of touch, the project will provide an alternative view-point to earlier historical accounts of blindness and its complex relation to vision.

There must be a literature on touch somewhere. Someone must have recorded in a diary or a letter the fugitive moment of what they felt when they picked up a special object or touched another being. There must be a trace of their hands somewhere. Touch tells you what you need to know. It tells you about yourself.

(de Waal, The Hare With Amber Eyes; thanks to Robert for alerting me)

Instead of saying that we investigate an object, we often use the verb ‘inspect’. According to my dictionary, the ‘in-’ prefix is an intensifier and the ‘-spect’ suffix is derived from the Latin verb specere, meaning ‘to look at’, ‘to see’.

To ‘inspect’ then is more than just seeing or looking at something. It means to look intensely, carefully and closely.

This is of course what museum curators do all the time when they get new objects into the collections. They look carefully at the objects and often document the inspection by means of photography (or drawing or painting).

But sometimes curators investigate objects through other senses than vision. For example, they may touch and smell the objects, sometimes deliberately, or at least accidentally in the course of looking at it. They may even taste it.

In these cases, the verb ‘inspect’ is obviously insufficient, even misleading. For example, when I handle or finger an object to investigate its texture, its temperature, its dry-/wetness and its soft-/hardness, I obviously don’t ‘inspect’ it. I may do so in parallel with the handling and fingering, but the primary activity (handling, fingering) is not covered by the verb ‘inspect’.

Speaking in terms of ‘inspection’ when one listens, touches, smells or tastes an object intensely and carefully is an instance of what is sometimes called the ‘hegemony of the visual’. The unique experience of other senses are reduced to that of vision.

What verbs can be used for listening, touch, smell or taste objects intensely?

My dictionary doesn’t have any intensified synonyms of any of these sensory activites. One has to use phrases like ‘intense smelling’, ‘attentive listening’, ‘intensive touching’.

‘Intense touching’ has unintended erotic rather than curatorial connotations. So what about ‘inhapt’ (from Greek hapto, I grasp; cf. haptics) as a straightly curatorial term?

‘Inhapt’ isn’t in the OED and is also a clumsy combination of Latin and Greek. But it’s new and sounds nice: “I’m going to inhapt the new collection of plastic syringes today”.

When I was a student, announcement boards — with flyers for conferences, graduate courses, seminars, new books etc. — were centrepieces in the hallways of Academia.

In many departments they still are. Like this well-groomed one in the Dept of Philosophy at the University of Leeds (where I visited to give two talks last May).

But with all these emerging new social web media, will the academic announcement board have a future?

Well, maybe not if you think in terms of the board above. Seen without people in front of it, it could as well be substituted with a Facebook dashboard. But what about this:

(from here)

This image (from the University of Kaunas, Lithuania) illustrates the fact that a physical announcement board allows you to touch the news of the academic world, even touch them together. Touching news together (even if it’s news in text and image format) is an entirely different social experience than viewing the news on a screen.

We are right now teaching a course in medical science and technology studies here at Medical Museion and we are using medical historical museum objects. It’s the first time we do so, and we’ve talked about that it would be great to expand this — and to learn more about how others have used artefacts in similar teaching situations.

The opportunity to learn more came sooner than I thought. Helen Chatterjee and her colleagues at UCL Museums & Collections are organising a day of talks on 2 April to discuss how museum objects can be used to engage students more deeply with their subjects. The aim to promote the use of museum objects as a pedagogy that can be used in a huge range of disciplines and improve the student experience, and will cover:

• using objects to address threshold concepts
• troublesome knowledge and problem-based learning
• using object-based learning in teaching transferable skills and course content by focusing discussions around collections
• brief case-studies from teaching staff already using museum collections in imaginative ways
• how newcomers to object-based learning can go about incorporating these tools into their own curricula.

Further information at http://www.ucl.ac.uk/museums/obl/. To reserve a free place, write to Lauren Sadler (l.sadler@ucl.ac.uk ) before 23 March.

I cannot really see the point in Corey Menscher’s much applauded (for example, here, here, here, here, here, here and here) gadget Kickbee. In short, Kickbee is a wearable belly belt with embedded piezo sensors, which send a message to a Twitter account each time the foetus kicks around.

Writes Corey: “With the Kickbee, I wanted to create a device that would give me a chance to be aware of our baby’s movements”.

“Give me a chance to be aware of our baby’s movements”? Give me a break! The Kickbee is a good illustration of how underrated haptic experiences are in our culture.

As I wrote in a post last June (and another post in November), this lack of appreciation of haptics is problematic, because it sustains the general cultural trend of drawing our attention away from immediate sensory experiences and transforming them into mediated experiences.

By transforming the tactile life of the foetus into an ultrasound-generated image or a series of Twitter messages — ‘I kicked Mommy at 06.23 on Thu, Dec. 18′, ‘I kicked Mommy at 06.25 on Thu, Dec. 18′, etcetera — we put yet another medium between the physical world and our senses.

It’s like tourists who never get a chance to see (or touch or smell) anything in a foreign city, because they’ve spent the whole vacation looking through a (video) camera.

The Kickbee also reinforces the general tendency in our culture to undervalue the sense of touch, making it less important than the other senses, especially the sense of vision (and partly the auditory sense). For another comment on this phenomenon, see Jan Eric’s and my conference abstract here.

Just an afterthought to the earlier post (of 29 September) about biomedical versus mundane personal identity in the neonatal clinic: What remains in my memory now, seven weeks later, is the strong presence of the surveillance monitor displays, especially in the night hours.

During day hours, our embodied newborn and the monitor display competed with each other for my attention. It was like sitting in an airport, trying to talk with someone while an annoying TV screen spits out news snippets, ads and sports records. The screen attracts your attention; you have to struggle to get it out of your field of vision so that you can concentrate on the conversation.

But during the night hours, the monitor took over completely. There was no way to escape. And the strong colours, moving curves and monotonous beeps become more real than the little body under the quilt. Biomedical identity trumped mundane identity.

In other words, presence effects aren’t restricted to good-old-time bodies. Under certain conditions, the represented body can give rise to much stronger presence effects. In both cases we’re talking about physical authenticity — it’s just different physical realities at play.

After the minisymposium with Jens Hauser and Sepp Gumbrecht on the concept of ‘presence’ here at Medical Museion last spring, our research group has repeatedly come back to the relation between mediated visualizations of biomedical objects, on the one hand, and the immediacy of touching them, on the other (see, for example, Jan Eric’s earlier post on Condillac’s statue).

As an anecdotal illustration of the immediacy of touch, I’d like to present the following personal experience.

In mid-March, I accompanied my partner to the National Hospital here in Copenhagen for an ultrasound scan of our then 13 week old foetus. As thousands of other prospective parents we were of course thrilled by what we saw on the screen:

Watching our future baby ’live’ on a computer screen like this was quite amazing, even though we had seen such pictures on the internet before. It’s an experience we share with millions of others:  digitalized ultrasound scanning foetus images have become an integral part of the contemporary understanding of what it means to deliver new citizens to the world. A striking image of early life that is easily communicated in our visual culture and as such an illustration of the formation of biocitizenship, both discursively and substantially.

Back to the anecdote: Six weeks later, we went for the second screening and watched the same kind of picture, just more detailed, with ears, fingers, toes and everything. It was, of course, very satisfying to see that the pregnancy proceeded well, and that there was no need to worry.

Yet, none of us were really moved by the experience. And I realised that even though I had been quite amazed during the first scanning session in March, both sessions left me somehow unsatisfied. There was something lacking which I couldn’t really articulate. My partner felt the same way, especially after the second scanning.

It was no big thing, and none of us found it wortwhile discussing it at length. For my own part, I shrugged it off as one of these many moments of distraction that acompany academic life.

However, two weeks after the second scanning, my partner suddenly said one evening: ‘put your hand on my belly’. I did — and there it was: the ‘rumbling’ that I had read about! Something moving inside. Not really kicking, but ‘rumbling’.

Wow! Double wow! This was our baby, no doubt. I couldn’t see it, of course, and I couldn’t distinguish arms, legs or head from each other. It was just a ‘rumbling object’ deep inside my partner’s belly.

From a medical point of view my subjective haptic experience was of course nothing compared with the detailed, objective and communicable ultrasound visualizations. And yet — as an experience of emerging life it was much more evocative. Touching our ’rumbling’ foetus made a much stronger impression on me than seeing him/her (we don’t want to know ’its’ sex yet) in high screen resolution. Now he/she was real — for real!

And then I understood why the two previous scanning sessions had left us somewhat unsatisfied, as if something was lacking. Despite all the exquisite visual detail, the perception of a scanning image is mediated. That is, there is literally a medium between the perceiving spectator and the foetus. In this case, a technically sophisticated clinical platform — an obstetric clinic with trained technicians operating state-of-the-art ultrasound echoprobe equipment according to standardized procedures and with the newest imaging software, etc. — stand between us and the foetus. While my hand on her belly is unmediated (unless you want to call the belly muscles and the placenta a ‘medium’).

As an anecdote this has rather limited evidential value, agreed. But it nevertheless makes me think about the immediacy of touch, and to what extent the sense of touch is an undervalued sense in a world which is dominated by the sense of vision (and partly the auditory sense). (For further views on this, see Jan Eric’s and my paper to the ‘Artefact’ meeting in Oslo last September.)

It also raises questions about touch as a basic cognitive sense (cf Jan Eric’s post on Condillac), about touch as an emotionally loaded sense, about the communicability and possibility for shared cultural experiences of touch, and so forth. Lots of questions for later posts.

(finally, to medical doctors reading this post: I’m not at all against imaging technologies, of course; I’m just fascinated by the relation between visual mediation and the immediacy of touch :-)

Some medical objects, like stethoscopes or mechanical hearts, are almost 100% ’medical’. They are not made for other purposes, they are rarely used for other purposes, and they are almost always understood by others as ‘medical’ objects.

But what about this worn-out keyboard?

It was produced as a multipurpose keyboard, clones of it are used in a variety of professions and contexts — and few of us would think of any of these as ’medical’ objects.

Yet, this particular keyboard was used by a medical transcriptionist, says Cory Doctorow who cites a colleague:

We have a medical transcriptionist on staff who has been using the same keyboard for the last 8.5 years. My co-worker replaced it yesterday, and when he first showed it to me I thought someone had taken a blowtorch to it! The most frequently used keys have been completely worn through, exposing the mechanism beneath. Zoom in and check out the indentation on the Backspace key! The keyboard still works fine, so there’s something to be said for durability. BTW, it’s a NMB Technologies model RT2358TW

Today’s Medgadget use the image to illustrate their celebration of the (US) National Medical Transcriptionist Week, designated in May 1985 by president Ronald Reagan, who said in a speech:

Record-keeping is a vital function in our society, and one of the most important records for every American is the medical record. That record, including reports prepared and edited by a medical transcriptionist from physician dictation, is the permanent history of a patient’s medical care.

I doubt a historian of contemporary medical history could have better summarised the role of medical transcriptionists in the health service sector.

And I doubt that any other object is better suited to function as an evocative object of the profession – crystallising the daily work conditions of hundreds of thousands, mainly women, transcriptionists.

(originally brought by boingboing)

It probably hasn’t escaped anyone that the really material (and not just talking-about-it material) culture of science has become a hot area.

For example, I just saw this message about the newly formed TRAFIK working group for cultural studies (’Kulturwissenschaft’) in Vienna which will hold its first meeting 16 May on ‘the virulence of material objects in the current historiography of knowledge’ (’Virulenz materieller Gegenstände in der aktuellen Historiographie des Wissens’).

The workshop format is pretty innovative too (and here is where the ‘really material’ comes in). Participants are invited to bring a small object (small enough to fit into a pack of cigarettes) which they believe ‘organises, infects, structures’ their own research. Each is expected to give a 5 min. presentation of it to inspire the discussion about the relations of the objects and the networks and worldviews formed by these things – and if possible to bring them in ‘intelligible / surprising / disturbing’ (‘einleuchtende / überraschende / verstörende’) connections with each other.

This is a great idea and a wonderful format for a workshop; and the venue—the WerkzeugH in Vienna—looks like the perfect place for this kind of discussion. My only caveat is the current ’things-that-talk’ jargon that informs the event. I don’t have any problems with discussing objects with other people, but I get slightly worried about the prospect of having to argue and discuss with the objects themselves (’mit den Dinge, zu argumentieren und diskutieren’). Or, as the organisers say, ’the things in themselves shall have their say’ (to let ’die Dinge gleichsam selbst zu Wort kommen’).

The idea of letting things have their say reminds me of Hobbes speaking to Calvin. Frankly, I haven’t heard any convincing argument for why ’things-that-talk’-talk may be useful. But maybe I’ve missed some important metaphorical virulence here :-)

Read more (in German) here (and thanks to my intellectual buddy Michael for the tip!)

Thomas and I have written this abstract for the “Sculpture and Touch” symposium to be held at the Courtauld Art Institute, London, 16-17 May next year (see earlier post here).

Due to the profound impact of vision on modern Western culture, the history of medicine has mostly been conceived in ocular terms. This is true both for medical historiography and the way that medical collections, no matter how object dominated, are exhibited in museums. However, given the crucial role of touch in medical practice as well as the abundance of three-dimensional objects in medical museum collections, the emphasis on the visual neglects an essential aspect of medical history and medical objects.

In this paper, we will focus on the tactile dimensions of medicine as manifested in medical museum collections. Whereas many of these objects are visually evocative, they were made, or preserved, to fulfil other purposes then the pure visual. Even objects intended for the enhancement of vision, bear witness through their very forms and materials, of a sculptural function that had to do as much with the sense of touch. The question is of course, whether this lost sensorial dimension can be brought back into historiographical and museological awareness without taking recourse into metaphors and representation. If only indirectly, medical objects do tell us something about the role that touch had in different historical periods. Besides giving concrete examples of such objects, we will suggest ways in which the sense of touch can be employed to reinvent curatorial and display practices in museums. We will also suggest how current theoretical reflections such as “production of presence” and “haptic vision” can be used to approach the history of medicine through the sense of touch.

All critical responses are welcome — to jan-eric.olsen@mm.ku.dk

Ever noticed that the URI for this blog is www.corporeality.net/museion? In fact, this is a badly chosen URI. Corporeality means (OED) ”the quality or state of being corporeal; bodily form or nature; materiality”.

Blogs (and other kinds of websites) are good for writing about and visualising concepts, ideas and things. But they cannot really convey the ‘thingness’ of material things.

So, how can material things (e.g., from our collections) be rendered in digital media that operate on the premise of textuality and visuality only? Maybe through some kind of haptic-internet browser? Like the device on this demo on the International Society for Haptic‘s website.

Any specialist out there who can help us further?