Skip to main content
Category

Biomedicine in museums

Phillip Warnell will swallow a pill camera in Copenhagen on Sunday

By Biomedicine in museums

Bente and her crew are right now making the last preparations for the next public event here at Medical Museion, viz. Phillip Warnell’s performance ENDO-ECTO on Sunday, 13 September, at 2pm.

In front of the audience in the old anatomical theatre, Phillip will swallow a  pill camera — and gastroenterologist Simon Anderson, London, will be our guide on the camera’s journey through Phillip’s gastrointestinal tract.

The event is an extension of the theme in one of the rooms in our current temporary exhibition ‘Split+Splice: Fragments From the Age of Biomedicine’, which opened in June. This ‘scopic’ part of the exhibition builds mainly on Jan Eric Olsén’s research work on the history of endoscopic technologies, and therefore Jan Eric will be one of the commentators during the event.

Tickets (120 DKK) can be reserved at www.politikenbillet.dk. Read more about the event in Danish here.

Medical steampunk

By Biomedicine in museums

Yesterday, I asked one of our business partners, who attended the opening of our new exhibition, Primary Substances: Treasures from the history of protein research, last Friday what he thought about it.

“I thought it was fino”, he replied, and added:

I like old instruments and packings — it reminds me of Jules Verne and it’s a pretty big subgenre that you can find on the web under the label Steampunk http://steampunkworkshop.com/lcd.shtml

That’s an interesting comment.  I’ve never thought about semi-old scientific instruments in terms of steampunk before (had heard about steampunk, but didn’t really know what it stands for).

Our collection of medical and medicotechnical instruments and devices is pretty big. It’s particularly strong on instruments made in the industrial (steam and electricity) era; less so on 17th-18th century objects and late 20th century ones (although we’ve begun acquiring lots of instruments from the last decades as well).

I guess this means that Medical Museion is full of medical steampunk. I just learned from the Wikipedia article on steampunk that the main difference between it and cyberpunk (which I’m much more familiar with) is that steampunk is generally much less dystopian.

Isn’t that what characterises medical technology as well? It’s much more utopian than dystopian (you would never try to destroy the world with the help of an electromechanical ECG machine, would you?).

Sounds like we’ve got a theme for our next public exhibition: Medical Steampunk! Much better topic than the history of medical instrumentation (yawn!).

Blogs for innovative academics

By Biomedicine in museums

The Accredited Online Universities website thinks this humble blog is among the “100 best blogs and websites for innovative academics”:

“Consider this your one and only stop for awesome biomedical news. It offers info on upcoming conferences, the role of technology in affecting social change, the importance of organ donors, and more”.

Well, that’s nice to hear!

Btw, the other 99 are:
BlogScholar ; ProTeacher Community ; Students of the World ; Experiential Education Portal ; Education Week ; Teachers.net ; Edutopia ; Science Fair Project Resources ; ProTeacher Directory ; Teacher Leaders Network ; Effective Teaching ; Building Excellence Together ; To Try to Teach to Wonder ; Teach Effectively ; The Education Wonks ; Critical Mass ; About.com: Graduate School ; Academic Productivity ; Technology Solutions for Teaching and Research; Techsophist ; Higher Education News from the Collegiate Way ; The Kept-Up Academic Librarian ; American Revolution Blog ; Early Medieval Art ; Art(h)ist’ry ; The View From Kalamazoo ; Confessions of a Young Professor ; Academic Sandbox ; Keywords for American Cultural Studies ; Literature Compass Blog ; New York Philosopher ; Objectivist v. Constructivist v. Theist ; Observations on film art and Film Art ; Quod She ; Varieties of Unreligious Experience ; A. Lincoln Blog ; Blogging the Renaissance ; The Cranky Professor ; English Eclectic ; Medieval Crusades ; World War II History ; The Victorian Peeper ; The Excluded Middle ; Mumblings of a Platonist ; Dial “M” for Musicology ; Musical Perceptions ; Renewable Music ; Smarter Music ; America’s Young Theologian ; Better Bibles Blog ; Just This Side of Heresy ; Slave of the Word ; Theologies ; Thoughts On Antiquity ;  The Becker-Posner Blog ; Biocurious ; Econ Academics Blog ; Bioethics Discussion Blog ; Women’s Bioethics Blog ; Ethical Technology ; Abandoned Footnotes ; Time to Eat the Dogs ; Cognitive Daily ; Advanced Studies ; Not Even Wrong ; Swans On Tea ; Watered Down Physics ; Union Street ; Rethinking Markets ; Uncommon Thought Journal ; Dynamics of Cats ; Bad Astronomy ; Law School Academic Support Blog ; Neuroethics & Law Blog ; Iconoclasm ; Art and Architecture ; “no words no action” ; Learning Architecture ; Don’t Forget Your Shovel ; Iterating Towards Openness ; The Stingy Scholar ; Chasing the Dragon’s Tale ; Procrastination ; iMechanica ;Design Impact ; Ars Mathematica ; Good Math, Bad Math ; Three-Toed Sloth ; Mind Reader’s Dictionary ; Thoughts of a Neo-Academic ; Looking At Nothing ; The Sceptical Chymist ; A Sibilant Intake of Breath ; Broadbanding the Nation ; The Duck of Minerva ; (Notes on) Politics, Theory & Photography ; Global Health Ideas ; Doctor of Journalism ; Thinking With My Fingers

 

Er vores seneste udstilling et eksempel på Steampunk?

By Biomedicine in museums

I går aftes spurgte jeg en af vores businesspartners hvad han syntes om Medicinsk Museion’s seneste udstilling — Primary Substances: Treasures from the history of protein research — som åbnede i fredags:

Jeg synes udstillingen var fino […] Jeg kan altid godt lige gamle instrumenter og emballager – det minder om Jules Verne og der er en ganske stor subgenre man især kan se på nettet under betegnelsen Steampunk http://steampunkworkshop.com/lcd.shtml

Hmm? Sådan har jeg aldrig tænkt på videnskabelige instrumenter før :-). Spændende sammenligning. Medicinsk steampunk!

Are we on the edge of a robot revolution in medicine?

By Biomedicine in museums

After the large-scale renovation of its permanent collection in 2005, the Hunterian Museum in London has expanded its outreach programme under the leadership of senior curator Simon Chaplin.  Today, the museum opens another new temporary show,  “Sci-Fi Surgery: Medical Robots“.

Running until 23 December, the exhibition displays the world of medical robotics. Things like the Probot (1991), a robot designed to aid prostate gland surgery; Freehand, a robotic camera holder for keyhole surgery; mini-robots designed to make their own way around the inside of the human body; the prototype Robotic Camera Pill (2005); and the ARES Robot prototype (2009) which requires patients to swallow up to 15 different modules which then re-assemble inside the body into a larger device that can carry out surgical procedures.

The exhibition will also feature medical robots from sci-fi: from the 1920s ‘Pyschophonic Nurse’ to Japanese Manga and Anime, raising the question  to what extent scientists are inspired by the representation of medical robots in films, books and comics.

It doesn’t come as a surprise that the exhibition has been funded by, among others, The Japan Foundation and The Japan Society.

Sci-Fi Surgery: Medical Robots events including anime and film screenings, discussions and robot family workshops.

Sounds like a great show — I cannot attend the opening — but it looks a must for the annual London trip.

New exhibition — 'Primary Substances: Treasures from the history of protein research'

By Biomedicine in museums

 

Yesterday, at last, we opened our new exhibition — ‘Primary Substances: treasures from the history of protein research’ — in the main building of the Faculty of Health Sciences here in Copenhagen. 

‘Primary Substances’ is about protein research in the long time perspective, from the early 19th century to the present. However, the main focus is on analytical protein studies between the 1930s and 1980s, i.e., before the emergence of comtemporary proteomics.

The immediate occasion for the show was the newly opened Novo Nordisk Foundation Center for Protein Research (the exhibition has been paid for by the foundation; no strings attached!). But the scope is much broader, because CPR evidently stands on the shoulders of generations of protein researchers back to the late 18th and early 19th centuries, when proteins were first isolated and named as such.

It is this long tradition for protein research that the exhibition deals with. As we write in the introduction:

The word ‘protein’ was introduced in 1838 by the Swedish chemist Jöns Jacob Berzelius. He derived it from the Greek word ‘proteios’ (πρωτειος), meaning ‘first rank’, ‘primary’ etc., because he thought organic substances like fibrin and albumin were “the primitive or principal substances for animal nutrition”.

Since then, generations of chemists, physicists, physiologists and medical researchers have elucidated the structure of proteins and their function in the cellular machinery of the body in increasingly sophisticated detail.

Scientists from the Nordic countries have played an important role in the development of this truly crossdisciplinary field of research — not least in the invention of new analytical methods.

This exhibition displays a selection of artefacts — separation apparatus, measurement instruments, molecular models, results of experimental work, etc. — that represent this impressive research tradition in different ways.

The keyword here is ’treasures’. ‘Primary Substances’ displays a rare collection of beautiful and historically important artefacts from the treasure chamber of 20th century biomedicine.

For example, the electrophoresis apparatus (borrowed from the Museum of Medical History in Uppsala), built by Arne Tiselius for the separation of serum proteins (alfa, beta, and gamma fractions), which contributed to his Nobel Prize in 1948. Another example is one of the first physical hemoglobin models (borrowed from the Molecular Biology Laboratory in Cambridge, UK), built from balsa wood by Michael G. Rossmann in 1959.

These are just two of the many precious objects in the exhibition representing highlights of the 20th century biomedical heritage. We also display parts of the original Kjeldahl nitrogen determination setup; lab noteboks from the early 1950s with paper strips showing the result of electrophoresis of amino acids; manuscripts by the chemist Kai Linderstrøm-Lang who made the distinction between primary, secondary, tertiary and quartenary structure of proteins; some of the first ampoules for the standardisation of insulin in the early 1920s; a 2D-electrophoresis apparatus plus gels from the late 1970s; two exquisitely beautiful models of the enzyme subtilisin, etc.

I curated ‘Primary Substances’ with the help of Jens Bukrinski, Adam Bencard, Laura Maria Schütze. We have had the pleasure to work together with the skilled Copenhagen museum designer Mikael Thorsted (see his portfolio here) and graphic designer Lars Møller Nielsen, both at Studio8. The extensive conservation work — you cannot really imagine how dirty and damaged some of these objects were when we borrowed them!) — has been done by Medical Museion’s Ion Meyer with the help of Nanna Gerdes and Siri Wahlstrøm.

Below are more pics (all photos: Mikael Thorsted, Studio8):

The core of the exhibition is a 14 meter long glass wall with 16 separate doors leading into a continuous showcase.

To the left is a row of glass panels for text and visuals, and in the small square room to the left there are two free-standing showcases, displaying handmade models of the enzyme subtilisin made in the late 1960s (borrowed from the Carlsberg Laboratory in Copenhagen).

A detail from the 14 meter long showcase, displaying three electrophoretic separation apparatuses used by Arne Tiselius in Uppsala and Hugo Theorell in Stockholm in the 1930s. The bulky thing at the bottom is the power supply for Tiselius’ electrophoresis chamber (placed on top right of the power supply)

Three small bottles with pH indicators used by Danish chemist S.P.L. Sørensen at the Carlsberg Laboratory in Copenhagen in the early 20th century. Sørensen invented the notion of pH for hydrogen ion activity in the course of his studies of enzyme kinetics.

The exhibition is supported by the Novo Nordisk Foundation. You can see it in the Panum building, 3 Blegdamsvej, Copenhagen until the end of 2009.

Åbning af udstillingen 'Primary Substances: Treasures from the history of protein research', fredag den 4. september kl. 14

By Biomedicine in museums

Her er så programmet for åbningen af udstillingen ”Primary Substances: Treasures from the history of protein research” i Panumbygningen, fredag den 4. september. Det starter i Dam-auditoriet kl. 14.

  • Velkomst ved dekan Ulla Wewer, Det Sundhedsvidenskabelige Fakultet
  • Oplæg om Novo Nordisk Fonden og ‘Primary Substances: Treasures from the history of protein research’ ved direktør Birgitte Nauntofte, Novo Nordisk Fonden
  • Gennemgang af ‘Primary Substances: Treasures from the history of protein research” ved museumschef Thomas Söderqvist, Medicinsk Museion
  • Præsentation af og status for The Novo Nordisk Foundation Center for Protein Research ved centerdirektør Michael Sundström
  • Afrunding ved dekan Ulla Wewer

Derefter afdækkes udstillingen i Vandrehallen.

Ny udstilling om proteinforskning

By Biomedicine in museums

Nu på fredag, den 4. september, åbner vi endnu en ny udstilling, nemlig “Primary Substances: Treasures from the history of protein research”.

Det sker ikke her på Medicinsk Museion i Bredgade, men i det nye udstillingsområde i Vandrehallen i Panumbygningen på Blegdamsvej 3 her i København.

Åbningen starter med en times indlæg i Dam-auditoriet kl. 14.00 og så kan man se udstillingen i Vandrehallen fra kl. 15 og fremover.

Udstillingen viser en række ikoniske objekter, som udgør en central del af den biomedicinske kulturarv igennem de seneste to århundreder og dermed bidrager til dannelsen af en biomedicinsk kulturel identitet i dag.

Udstillingen bygger på en række unikke historiske objekter fra museer, arkiver og private samlinger i Danmark, Sverige og England. Sammen danner de et skatkammer, der spejler proteinforskningens udvikling siden Jöns Jakob Berzelius dannede ordet ‘protein’ i 1838.

Udstillingen er sponsoreret af Novo Nordisk Fonden og er blevet til i anledning af åbningen af Novo Nordisk Foundation Center for Protein Research. Den indvier samtidig fakultetets nye udstillingsområde i Panumbygningen.

Udstillingen er lavet af en gruppe herinde på Medicinsk Museion. Jeg har været hovedkurator og har fået hjælp af Laura Maria Schütze med at holde styr på udvalget af genstande og billeder og af Adam Bencard, som har skrevet tekster om proteinmetaforer. Vi har haft et meget fint samarbejde med Jens Bukrinski, som er proteinforsker på Novo Nordisk A/S.

Arkitekt- og opsætningsarbejdet er lavet af Mikael Thorsted, Studio8, med støtte af Johnny Madsen, og det grafiske arbejde af Lars Møller Nielsen, også Studio8 (alle tre var for øvrigt med på Del+Hel). Ion Meyer, Nanna Gerdes og Siri Wahlstrøm her fra Medicinsk Museion har lavet et stort arbejde med at hente og klargøre de ofte temmelig snavsede genstande fra museumsmagasiner og private samlinger i Danmark og Sverige (en ting er lånt fra Cambridge, UK). Og så har Jonas Paludan og Nikoolaj Møbius hjulpet os med et par elektroniske installationer.

Udstillingen ville ikke være blevet til noget uden et omfattende samarbejde med en række institutioner og privatpersoner, som har lånt genstande ud, hjulpet os med billeder, forklaret obegribelige proteinsammenhænge eller bare været hjælpsomme i største almindelighed.

Her er introduktionsteksten til udstillingen:

The word ‘protein’ was introduced in 1838 by the Swedish chemist Jöns Jacob Berzelius. He derived it from the Greek word πρωτειος, meaning ‘first rank’, ‘primary’ etc., because he thought organic substances like fibrin and albumin were “the primitive or principal substances for animal nutrition”.

Since then, generations of chemists, physicists, physiologists and medical researchers have elucidated the structure of proteins and their function in the cellular machinery of the body in increasingly sophisticated detail.

Scientists from the Nordic countries have played an important role in the development of this truly cross-disciplinary field of research – not least in the invention of new analytical methods.

This exhibition displays a selection of artefacts – separation apparatus, measurement instruments, molecular models, results of experimental work, etc – that represent this impressive research tradition in different ways.

We call it an exhibition of treasures, because several of the displayed artefacts have been used in internationally cutting-edge laboratory work; some even for Nobel Prize winning research. They are iconic objects for the formation of a biomedical cultural identity in the same way as Arne Jacobsen’s chairs, lamps and tableware are icons of 20th-century modernism.

The word ‘treasure’ has another meaning as well. Like most other people, scientists collect things – a piece of electrophoretic apparatus, a polyacrylamide gel, a protein model and so forth – which they have used in their daily work in the laboratory. Evocative objects invested with meanings and affects. Things that elicit memories of the life in the lab, its successes and failures. Artefacts that open up memories, like the Madeleine cake did for Marcel Proust in his famous novel À la recherche du temps perdu.

Over time, some of these treasures have ended up in museums. But most of them still remain in the custody of individual scientists and research laboratories.

We have been lucky to be able to draw on both kinds of collections. Many of the objects on display here are simultaneously cultural artefacts and things, which are appreciated on personal and subjective grounds – they balance on the boundary between history and personal memory. They remind us that the historical value and sentimental value of material objects are not easily separated.

The history of hypochondria as mediated by artists, writers and philosophers

By Biomedicine in museums

My GP once told me I suffer from ‘conscious hypochondria’ — every cough, every bout of fever, is a source of great anxiety. So maybe it would help me to attend the afternoon symposium on ‘Culture and Hypochondria’ at Tate Britain, London, on Friday 18 September 2009.

The speakers — Julia Borossa, Steven Connor, Brian Dillon, Darian Leader, and Caroline Rooney —will explore the history and contemporary meaning of illness and anxiety as mediated by artists, writers and philosophers:

Hypochondria is an ancient name for a malady that is always fretfully new: the fear of disease and the experience of one’s body as alien and unpredictable. Its history is ambiguous: an organic disease with verifiable symptoms, it slowly lost its physical attributes until it came to be seen as a purely psychological disturbance or disreputable character trait. Every historical period has felt itself to be an era of heightened hypochondriacal anxieties; the disorder remains current, but its manifestations shift and alter and overlap from one century, or one decade, to another. The history of hypochondria is an X-ray of the more solid and familiar history of medicine; it reveals the underlying structure of our hopes and fears about our bodies.

More here.

Is there a 'neuroscientific turn' in the humanities and social sciences?

By Biomedicine in museums

A year ago, Adam and I made fun of the tendency in the humanities and social sciences to invent ‘turns’ — the linguistic turn, the bodily turn, etc. (see earlier posts here and here).

But some ‘turns’ are more justified than others. Melissa Littlefield at the University of Illinois and Jenell Johnson at the Louisiana State University have just sent out a call for papers for an edited collection of essays preliminary titled ‘The Neuroscientific Turn in the Humanities and Social Sciences’:

From economics to English, religious studies to recreation, neurology has become the latest theoretical tool for analyzing society and culture. While there has been some backlash against this trend, research continues to emerge in areas of neurotheology, neuromarketing, neuroethics, neuroaesthetics, the neurohumanities, and neurohistory to name but a few. We are seeking essays for an edited collection that analyze and interrogate this recent neuroscientific turn in the humanities and social sciences. We are particularly interested to hear from researchers who apply the neuro- to their own disciplinary work.

Here are some of the questions the editors raise:

  • Why has there been a shift to using neuroscience as an epistemological framework and/or theoretical tool in the humanities and social sciences?
  • What kind of arguments does it allow / foreclose / refute?
  • How is this trend related to the ‘decade of the brain’?
  • How do visualization technologies like fMRI shape or limit the neuroscientific turn?
  • Is the neuroscientific turn interdiscplinary, cross-disciplinary, multi-disciplinary?
  • What are the rights and responsibilities of such inter/cross/multiple-disciplinary research?
  • Should this neuro- research fall under the purview of neuroethics?
  • What roles do print and digital media play in the development and distribution of this trend?
  • Why and how do the humanities and the social sciences need the neurosciences?
  • What can the neurosciences learn from this trend in the humanities and the social sciences?
  • How might these fields combine into a discipline of their own?

You are invited to submit a 300 word abstract and a brief (1-3 page) CV to both Melissa Littlefield (mml@illinois.edu) and Jenell Johnson (jjohn@lsu.edu) by 30 October. Final versions of the essays will be tentatively due by 1 June next year.