Biomedicine on Display

The Hybrid Art Science Networking Association, which is led by Leeds-based artist Paul Digby and Sheffield-based scientist and artist Lizz Tuckerman, enables artists and scientists of all disciplines to meet, and encourages cross-disciplinary interaction. It is supported by Arts Council England, Yorkshire.

The Hybrid Art and Science Exhibition was held in various locations around Sheffield. My drawing was part of a collection of work on display at the Sheffield Institute of Arts Gallery.

The piece selected for the exhibition is called ‘Bacteria Drawing’ and was made in May 2009. The drawing is a collaborative piece and is constructed from 22 drawings which form one large piece. It is about 170 cm in height, approximately150 cm approx wide and spreads about 170 cm along the floor out from the wall.

The drawing was made in Lisbon in May 2009 and is an outcome of my involvement in an invited residential project with Drawing Spaces at Fábrica Braço de Prata in conjunction with the Gulbenkian Institute of Science.

Over the last ten years my research has been created in the lab or dissection room rather than in the traditional setting of the artists’ studio. As a way to bring the lab into the gallery and to demonstrate the role of drawing, I allowed bacteria to grow on Petri dishes left in the project/gallery space at Fábrica Braço de Prata.

Using a microscope and drawing attachment, I invited members of the public to come and draw the bacteria they saw when looking down the microscope. The bacteria growing was formed from the breath of those who walked in and out of the project/gallery space. The participants were effectively drawing their own breath. Therefore they contributed both to the existence of the object they observed and to the method of revealing their continuous insights and understanding of their encounters with this phenomenon.

Using a drawing attachment on the microscope which allowed them to look down the microscope and see the bacteria whilst simultaneously seeing a projected image of their own hand holding the pencil meant they were effectively ‘tracing’ what they saw directly onto paper. They engaged with something that would normally repel them and through the activity of drawing, they saw the beauty and detail in bacteria. Rather than being concerned with the mechanics of making a drawing, they concentrated on the activity of actually looking, something we all frequently forget to do.

Joining together all the drawings made, the piece ‘Bacteria Drawing’ grew and developed collaboratively, paralleling the growth of the actual bacteria itself.

This drawing brought about further evidence of how important the activity of drawing is to understanding and dignifying observed subjects. The public saw the beauty of the unfamiliar by drawing. The project showed that drawing is not mere documentation but is about participation. This participation is embodied in the relationships that develop between artist and object and that the object observed is dignified through the respect and understanding gained in the activity of drawing.

Sanjoy Bhattacharya (Reader at the Wellcome Trust Centre for the History of Medicine at UCL) invites us all to participate in a webinar organised in connection with the first event of the 2010 series of the World Health Organization Global Health Histories Seminars (you can see the full list of seminars here).

The topic of the webinar is ‘SARS: Learning from an epidemic of fear’, and it takes place this upcoming Wednesday 17 February, 12:30-2:30 pm (Central European Time):

The 2003 outbreak of SARS, a deadly new infectious disease, sparked worldwide alarm. It caused more than 8 000 cases and almost 800 deaths in at least 25 countries. Its spread was halted only by emergency international action.

In the opening presentation of this new seminar series, health psychologist Professor George Bishop describes his studies of how ordinary people respond to illness threats. He focuses particularly on the impact of SARS in Singapore, public responses to the epidemic, and the lessons learned.

Dr Cathy Roth, a WHO expert on the disease, explains the role of WHO in leading the struggle to contain this unprecedented threat.

The WHO’s webinar system only allows up to a thousand users logged-on simultaneously, so you’d better reserve access now — register here. After registering you will receive a confirmation email containing information about how to join.

Medical museums are usually full with old and new medical science instruments. But they tend to be kept in storage because it is difficult to display them in a meaningful way. It’s much easier to put moulages, pickled organs and surgical instruments on show. Medical science instruments usually need truckloads of description and contextualisaton to make sense in museum displays. (Probably because they don’t ‘talk’, some people would say :-)

Neither do many museum curators give much thought to the historicity of their display techniques. How have display practices changed over time and how do these practices reflect museum culture, politics and technologies?

Such question wil hopefully be discussed at the 29th symposium of the Scientific Instrument Commission, which will be held in Firenze, 4-9 October 2010 on the theme ‘Instruments on display’, i.e., how instruments have been presented in scientific collections, museums and permanent and temporary exhibitions throughout modern history up to the present:

Did didactic, scientific, celebrative, propagandistic and rhetorical considerations significantly influence the manner of displaying instruments? How were instruments presented in a Wunderkammer of the Renaissance, in a 18th-century cabinet or in a 19th-century exhibition? How and why are they shown in contemporary science museums?

This year’s symposium is sponsored and organized by Istituto e Museo di Storia della Scienza (Museo Galileo) and Fondazione Scienza e Tecnica. The meeting is open to “anyone interested in the history, preservation, documentation of use of scientific instruments”, whether academic scholars, curators, collectors or students.

Send abstract before 1 June, 2010 by filling in this template.
More info on the symposium website.

We thought our storage facilities were warm enough to work in, even in the winter. But the current Arctic spell — which is a proof of the simple fact that global warming isn’t evenly distributed around the world — has forced one of our external designers, Mikael Thorsted, to wear winter cloths when inspecting artefacts for our new exhibition:

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What is going on? Well, ‘Primary Substances‘ — the first exhibition in our brand new extramural temporary exhibit area in the main building of the Faculty of Health Sciences — is closing tomorrow. It will be followed by ’Healthy Aging’, which approaches the major global challenge of ageing (sic!, see disclaimer below) in three different ways — through science, art, and cultural history:

Through science: Studies of the process of aging is a rapidly growing international research field. How can the biological and social sciences and the humanities help us experience a more healthy old age? In a series of wall panels we are presenting the new multidisciplinary Center for Healthy Aging, University of Copenhagen, established in 2009 by means of a grant from the Nordea Foundation.

Through art: Science is not very good at capturing the existential dimension of aging or visualizing the accumulated layers of life experience. But that’s something that art can do. Acclaimed photographer Liv Carlé Mortensen has created a photo and interview collage series of portraits of Danish centennarians, called ‘100 Light Years’ (we are displaying the series of commissioned photo collages that Liv made for our intramural ‘Oldetopia’ exhibition two years ago).

Through cultural history: Finally, aging has its own visual and material cultural symbols. Two showcases in the lounge area are going to display historical objects from our rich historical collections that represent four kinds of aids that have been associated with old age — artefacts that have helped us overcome the deterioration of bodily functions.

The show is produced by myself together with Bente Vinge Pedersen, Jonas Bejer Paludan, Ion Meyer and Nanna Gerdes from Medical Museion. Design and graphics is taken care of by Mikael and Lars Møller Nielsen, Studio 8, Copenhagen.

We are also working closely together with Tina Gottlieb, administrative head of the Center for Healthy Aging, and the team leaders of the Center’s five research programmes, who have contributed text proposals and images for the wall panels. But lots of editing and re-writing, because few academic scholars really understand how little text you can actually display on a 125×85 cm wall panel :-)

‘Healthy Ageing’ is scheduled to open on Monday, 8 February. More about it later.

(Disclaimer: for purely irrational reasons, I don’t like the American spelling of ‘aging’, but prefer Br. Eng. ‘ageing’. However, the Center for Healthy Aging, which pays for the show, has adopted the American spelling practice, so we courteously adjust to this fact to avoid a bi-lingual show.)

Musician John Boswell has just released the third part (called ‘The Unbroken Thread’) in his Symphony of Science series of music videos — the explicit goal of which is

to bring scientific knowledge and philosophy to the masses, in a novel way, through the medium of music.

Boswell’s thing is to remix and tune the spoken words of famous scientists like Jane Goodall, Stephen Hawking etc. with high-profiled popularizers (David Attenborough, Carl Sagan, Richard Dawkin, etc.) and combine them with footage and his own electronic music compositions.

I really don’t know what to say. One side of me just loves to watch and hear the four secular gospels of the creation of the world — i.e., the history of the Universe, the history of the Earth, the history of Life, and the history of Humankind — after all, we atheists too need mind-expanding narratives we can live by:-). One of the most awesome narratives (combining the last three secular gospels into one) I’ve seen is Claire L. Evans’ ‘Evolution in 60 seconds’.

On the other hand, there are limits to what my aesthetic sensibilities can cope with. And even though ‘The Unbroken Thread’ is occasionally able to raise the right feelings of secular sublimity, Boswell’s re-mixing of pretentious voices, his outdated electronic tunes and the use of worn-out molecular animations combines into a major artistic flop. How can he for a moment believe that he will be able to bring scientific knowledge and philosophy “to the masses” (what a phrase to use!) with this kind of music video production?

I’m sure The Knife together with Korb would be able to create a much more sophisticated musical and visual rendering of the four secular gospels of creation.

In late March, Rikke Schmidt Kjærgaard (which several of us here at Medical Museion met when she gave a seminar here a couple of years ago and who is now working at the MRC Mitochondrial Biology Unit, University of Cambridge) is organising a meeting of great relevance for anyone interested in biomedicine on display, whether in museums or on the screen.

Titled ‘Have you ever seen a molecule? Art, science and visual communication’, the two-day meeting at the Cambridge Centre for Research in the Arts, Social Sciences and Humanities (CRASSH), 25-26 March, concentrates on the correlation between art/design and molecular biology, in particular structural biology, and on the impact of the arts and artistic practices on scientific culture. Current molecular biological research is very dependent upon visualisation methods, both in the production of intepreted data and in the communication to other scientists and the public at large. The call for papers explains the relevance of this topical issue, both for scientists and for science communicators, understood broadly:

Despite the fact that structural images of individual projects are made by thousands of researchers in laboratories around the world, there is as yet no general consensus on what makes a good image. Consequently, there is no obvious and necessary correlation between the images made for pragmatic and heuristic purposes in the laboratory, those chosen for posters and conference presentations, the images accompanying article submissions, and finally those that will be selected or further designed for public engagement and communication. Instead, how specific traits should be visualised, which colour schemes should be applied and how to pick the perfect image for specific purposes depend to a large degree upon pragmatic categories and local factors within individual laboratories and research groups, as well as on editorial decisions and a stronger promotional value, at least to some degree independently of scientific preferences and arguments.

Interdisciplinary collaboration in visualising molecular structures lies at the very core of contemporary research processes and products. Bringing art, design and science together is far more than just an interesting experiment in transdisciplinary cross-communication, it is a necessary step in exploring new ways of optimising imagery at the molecular level and thus breaking new ground. We depend upon this in the arts as well as in the sciences in the future university to make things better and to advance our knowledge of life at a molecular level.

Rikke/CRASSH welcomes submissions for presentations broadly within visualisation of science. Send a <250 words abstract, a brief CV and a few lines about your interest in the conference before 1 February 2010 to rsk@mrc-mbu.cam.ac.uk (and please use the form here).

Registration fee (includes catering) is a bargain (£30 for faculty, £15 for students.). Registration will be available from the conference website shortly.

The Brain Observatory at UCSD is right now showing the slicing of the brain of an amnesic patient into histological sections on streaming video.

The whole brain of the dead patient (called H.M.) was frozen to -40C and is now being sectioned in a whole-organ microtome during one continuous session that they expect will last about 30 hours. After sectioning the brain they will do ex vivo MRI and so called blockface imaging, and will of course store all the histological sections. The whole sectioning process is streamed on video and will end later today. Watch the live video here.

This is as far as they came at 9.30 am today when I made a screen-dump:

Fascinating histology live!

(thanks to Alex for the tip)

Like most other kinds of historical artefacts, medical objects from the past are scattered all over. Some are safely deposited in museums, small or large; others are in private collections; others again are circulating between private collectors, mediated by eBay and other auction services (and some, especially plastic objects from contemporary medicine, are contributing to landfill).

Whereas most public collections are online, most private are not. An inspiring exception from this internet invisibility of private collections is Donald Blaufox’s Museum of Historical Medical Artifacts. Working as a professor in nuclear medicine at the Albert Einstein College of Medicine of Yeshiva University Dr. Blaufox has spent much of his spare time in the last thirty years building up a collection of medical artefacts “that could serve as a nidus for a museum of medical history as evidenced by the objects that contributed to its development”.

Some objects “were acquired simply because they have some medical significance, others for their beauty, but all of them because they help to understand the evolution of medicine over the centuries”. He didn’t have the ambition to transform it into a public museum, but entertained the idea of prodcuing a catalogue in book form instead. Then, two years ago, he decided to go online. Now the web-based MoHMA contains over 1000 objects representing a wide range of medical practices and of craftsmanship.

Nicely and competently curated and beautifully represented in images, the MoHMA website is yet another example of how important private collectors have been, and still are, for the preservation and communication of the material medical heritage.

An online-version of Adam’s, Camilla’s and my essay ”Between meaning culture and presence effects: contemporary biomedical objects as a challenge to museums” is now available on the website of Studies in History and Philosophy of Science.

Here’s the abstract of the paper:

The acquisition and display of material artefacts is the raison d’être of museums. But what constitutes a museum artefact? Contemporary medicine (biomedicine) is increasingly producing artefacts that do not fit the traditional museological understanding of what constitutes a material, tangible artefact. Museums today are therefore caught in a paradox. On the one hand, medical science and technologies are having an increasing pervasive impact on the way contemporary life is lived and understood and is therefore a central part of the contemporary world. On the other hand, the objects involved in medical diagnostics and therapies are becoming increasingly invisible and intangible and therefore seem to have no role to play as artefacts in a museum context. Consequently, museums are at risk of becoming alienated from an increasingly important part of contemporary society. This essay elaborates the paradox by employing Gumbrecht’s (2004) distinction between ‘presence’ and ‘meaning’.

Wish I could put the direct author’s link to the full version here, but Elsevier will most probably sue me if I do — so alas you will have to access it in a pay version (Science Direct) here or through your local university library (which most probably will give you access to Studies through one of their many subscription packages).

The printed version in Studies won’t be out until December or so.

Here are some images from last month’s show with Phillip Warnell swallowing a pill camera in Medical Museion’s anatomical theatre:

See more images here (the event was originally announced here).

(thanks to Bente who published the images on our Danish blog the other day)

Here’s an innovative way of putting biomedicine on display:

As Vanessa (Street Anatomy) says,

the menstrual cycle has never looked so exciting! [...] Perfect for explaining the menstrual cycle for the first time to a young girl … or to a 26-year-old.  I had no idea I went through a luteal lunacy!

Created by I Heart Guts!, “the brainchild of an anatomically obsessed illustrator who loves internal organs and all they do”.

Maybe the next generation of the classic biochemical pathways wall charts could learn a lesson or two — or better, I Heart Guts could make a version of:

(click here for a larger version)

Part of the fun of being involved in a medical museum these days is that the notion of ‘biomedicine’ is so much broader than traditional medicine and health care taught in faculties of medicine and health science.

As a university institution for biomedical science communication we are, by default as it were, confronted with some of the most fundamental issues in the world today. Financial crisis, atomic weapon threats and global warming  aside — the rapid technical development in biology and biomedicine raises some pretty hefty social, political and ethical questions which we, as a museum, can hardly avoid dealing with if we want to stay just minimally atuned to the world around us.

Take the issue of synthetic biology. Forget about the potentials benefits and risks of stem cell biology, nanotech, gene therapy, and so forth. Synthetic biology — the design and construction of new biological systems not found in nature, for example, constructing living cells from simple molecules (proto-cells); creating new biological systems based on biochemical pathways not found in nature; etc — is potentially more powerful, not least for medical therapy and human enhancement. 

Is it safe and secure? Well, of course it isn’t! In yesterday’s issue of Public Service Review: Science and Technology, Markus Schmidt, who leads the SYNBIOSAFE project at the Organisation for International Dialogue and Conflict Management, raises some of the problems involved in the development of synthetic biology:

With the availability of genetic sequence information available on the internet and outsourcing of DNA synthesis to specialised synthesis companies, we are facing the risk that some person with malicious intents might place an order for pathogenic genes.

But there is always two sides to new technologies. In the future, more and more people will probably be able to construct new biological systems (read: democratic technology). Already, the annual International Genetically Engineered Machine competition in Boston invites students from all over the world to construct new biologies. And there are several DIY biotech groups who want to get the techne out of the laboratory, to bring it to the people. Such democratisation of synthetic biology might, as Schmidt rightly observes, lead to a creative revolution similar to that we have seen in the computer industry and the internet. Imagine synthbio 2.0 — love it or hate it.

Schmidt’s institute is only the last in a row of initiatives to discuss the safety and the political, governance and ethical issues involved in synthetic biology. Two years ago a report from the J. Craig Venter Institute discussed the governance problems associated with synthetic biology, and last year a report from the International Association of Synthetic Biology proposed a number of technical solutions for improved biosecurity. And there are several other initiatives around — enough to fill the agenda of a future-looking medical museum.

Schmidt’s analysis is expanded in M. Schmidt, A. Kelle, A. Ganguli-Mitra and H. de Vriend, eds., Synthetic Biology: The technoscience and its societal consequences (2009); there is also a 55 min video here: SYNBIOSAFE: Synthetic biology and its social and ethical implications.

I performed my fist knee operation today. Not in real life though but on my pc. Videogames inspired by medical practises or diseases has been discussed on this blog before but I don’t think that this particular game has been mentioned. In the game one takes on the role of a surgeon (or a surgeon’s assistant, I’m a bit in the dark on that one) and I must admit that I found the game to be surprisingly unpleasant.

I guess that working at a place like Medical Museion one gets hardened by telling stories of how the medieval surgeons performed their work or how the cholera epidemic infected people in the middle of the 19th century. Nevertheless this game, where one gets to perform surgery on a knee, really struck me. One thing is the images of the opened knee but I believe that it’s really the sound on the game that gets to me. Especially the sound of the saw going through the knee is really disturbing. Urg!

I must admit that I found it rather educational and apparently my patient survived. To be quite honest I’m not sure that it’s possible to actually ever fail. The game also reminded me of an article I read recently (”Inscribing surgery in digital culture” by Jan Eric Olsén, Årsskrift for Medicinsk Museion, vol. 3, 2006: 49), in which he links computer gaming and virtual surgery:

Future surgery may not require knowledge in handling the scalpel but rather familiarity with computers. It has also been suggested that surgeons who often play computer games sharpen their ability to coordinate the senses of vision and touch, when performing keyhole surgery (Satava ed 1998: 143-144)

That might be right, but I’m quite sure that the above-mentioned game does not train the necessary skills :) (For an online article about the link between surgery and computer gaming click here)

I have often been amazed by the steps taken to prevent people from smoking and I have found two gadgets to keep people from the habit quite fascinating: A year’s worth of tar and Smoking Sue.

It now seems that the Danish government wants to play hardball. For quite some time smokers have been used to having warning signs on packages stating that cigarettes are dangerous and potentially deadly. I find it surprising to what extent even the size and font of the letters of the warning are regulated by law. Here’s a quote from § 10:”The general warning […] must cover 30 pct. of the surface of the relevant side.” And a bit further down in § 11, part 1: “Printed in black, bold characters in font Helvetia on white background.” Here taken from the Danish law regulating tobacco.

There is just something fascinating about public health in the language of bureaucrats. One can imagine how the fight over the exact percentage has been waged and a compromise made.

Anyway, the reason I bring this up is because the Danish government has just proposed putting images on cigarette packages. Pictures that show what smoking will do to you. And they are quite nasty as one can see from this article in the Danish newspaper Politiken. I know that this is practised in other countries also (take a look at these from Brazil but be warned – they are really disgusting), but I’m really in doubt as to the effect of these images. Do they really work?

As some of you may have noticed, the online Image & Video Library of The American Society for Cell Biology has been closed since February, and nobody knew whether it would be opened again.

Last Thursday the ACSB announced, however, that the site will be re-opened and developed further by means of a $2,5 million ’stimulus grant’ from the NIH (one of the consequences of the new Obama administration).

According to ACSB’s press release, the present image and video collection will be turned into “a comprehensive, international digital library” and furthermore, by “developing a systematic protocol for acquiring, reviewing, annotating, and uploading the images”, the ASCB will create “an efficient platform for building the library at a rapid rate”.

These are exciting news for all cell image fans!