lost letter experiments

It seems that the lost letter has not lost its place in the world of research. Recently, anthropologists from UCL published an article in PlosOne where they used the lost letter technique to measure altruism. 300 hand addressed, stamped letters were dropped on London pavements, on rain-free days (hmm, not often then!). Their results showed that the wealthier the neighbourhood the more likely the letter would be returned. This is a finding which does of course have the potential to lead to negative stereotypes about kindness towards strangers, but can also be argued to point to some of the complex circumstances shaping everyday life in these neighbourhoods.

What does posting a lost letter show? The lost letter technique was first used in the 1960s by the social psychologist Stanley Milgram (of six-degrees-of-separation fame), as a perfect way to examine altruistic behaviour. His initial experiments involved leaving letters addressed to  favourable organisations and stigmatised organisations, finding that the former received more returned letters. The UCL experimenters were more controlled in the handwritten address, with the same gender neutral name on every letter, but it is interesting that the method itself is still used in research, despite the decline in posting letters.

Image from Diesel Punks.

catching a blue

Today I received a knock on my door and a colleague, Joeri, kindly handed me some papers. It wasn't pneumatic post, but close to it: Molly Wright Steenson's article on the Poste Pneumatique in the latest issue of Cabinet Magazine.

Molly Wright Steenson, otherwise known as girlwonder, is a Architecture PhD candidate at Princeton University, and previously known for her Ignite video on pneumatic tubes. Her article, Interfacing with the Subterranean, provides a meandering journey through the historical sewers of pneumatic engineering in Paris and other cities in Europe (such as Marseilles, see above).

In the article she discusses various workers associated with delivering the petit bleus, such as the petit facteur télégraphiste (telegraph delivery boy) and the tubiste (postal worker), as well as the sounds and obstructions in the system which I will explore further in future posts.

Towards the end of the article, Steenson puts forward her argument: the pneumatic tube system in Paris was both circulation and respiration for the city, and that as such was regarded as part of healthy progress. She writes (p86):

"The pneumatic tube network is a system that breathes, eats, circulates, fires synapses, and excretes; its structures are lungs that store air, pumps that move their charges, circuits that fire electrical impulses, devices that read them, mouths that swallow, and cloacae that expel"

I like this cyborgic corporeal-mechanical image, which resonates with my own way of thinking about pneumatic tube systems. I can't help but think of the wonderful images of Fritz Kahn, aesthetic master of the machine-body metaphor. I wish every knock on the door came with such inspiring post!

Image from Wikipedia.

pneumatic cloc post doc

Does this post-doc interest any pneumatic technology lovers?

"The Geography Department of Royal Holloway University of London, are seeking to appoint a Post-Doctoral Research Assistant to work on an AHRC-funded project, ‘Pumping time: geographies of temporal infrastructure in fin-de-siècle Paris’. This is a project about the histories, geographies, cultures and politics of pneumatic clocks as urban temporal infrastructure. The post is based at Royal Holloway, University of London (RHUL). The successful candidate will have experience in archival research, and will be expected to undertake archival work in London and Glasgow libraries. Proficiency in French is also required. The appointment will be for a fixed period of 12 months starting from October 1st 2011. Salary is £32,106 per annum inclusive of London Allowance. Informal inquiries regarding the post can be made to Dr Mustafa Dikec at m.dikec@rhul.ac.uk Further details and an application form are available to download at http://www.rhul.ac.uk/jobs/home.aspx or by contacting the Recruitment Team by email:recruitment@rhul.ac.uk or tel: 01784 414241 Please quote the reference: X0311/6294 Closing date: 12 noon 3rd May 2011 The College is committed to equality and diversity, and encourages applications from all sections of the community."

I have to confess that I had to google the pneumatic clock. I found out from Watchismo Times that the thermo-pneumatic clock works as following:

"At the lower left, shielded by a translucent housing, is a carbon rod resistance that heats the colored alcohol in the glass vessel just above it. This causes some of the alcohol to vaporize, the pressure pushing the liquid up the connecting pipe to the vessel at top right. As the latter gets heavier the wheel bearing the four vessels experiences a torque that rewinds a remontoire spring driving a conventional gear train and escapement. This clock has a pendulum-controlled escapement, but models with balance wheel escapements also existed."

As for the larger clocks in cities, a Nature article from 1880 reported that:

"To distribute the time with accuracy and uniformity in a large city is a problem of great utility and extreme importance. This problem has been all but completely solved by the pneumatic clocks erected since March last in the principal streets of Paris and among a considerable number of subscribers, who, for a halfpenny a day, receive dials with pneumatic receivers established in the public streets and in private buildings."

How curious! I am definitely keen to learn more, and will have to follow the work of this post-doc project closely. Will the wonders of pneumatic technology ever cease to amaze?

Image from Watchismo Times via Boing Boing.

smart houses

Last week I read about smart houses designed in the 1980s. The houses studied by Anne-Jorunn Berg were prototypes designed by international electronic corporations as innovative homes of the future. These houses had motion-activated light control systems, washing machines that signaled on the television screen when the washing was ready to be moved to the dryer and a vacuum cleaner programmed to stop when the doorbell rang.

Berg argues that these houses were designed with no notion of housework in mind, that women’s housework skills were entirely neglected as a design source. However she also points out that technology’s impacts are not entirely determined by designer’s intentions, but is rather open to "interpretive flexibility".

I couldn't help but think when readign of this of the interpretive flexibility taking place in the 'smart house' in Jeffrey Eugenides' novel Middlesex, where the protagonist's brother has a lot of fun with a pneumatic door system.

The family moved into a house designed in 1909 in Middlesex, filled with glass walls and intercoms. The author writes: "Middlesex! Did anybody ever live in a house as strange? As sci-fi? As futuristic and outdated at the same time? A house that was more like communism, better in theory than reality?"

By the time the family moved into the house in the 1960s "you might speak into the kitchen intercom only to have your voice come out in the master bedroom. The speakers distorted our voices, so that we had to listen very closely to understand what was being said, like deciphering a child's first, garbled speech". The architect, Hudson Clark, didn't believe in doors and instead the house was installed with "long, accordian-like barriers, made from sisal, that worked by a pneumatic pump located down in the basement". Pretty soon the brother tapped into the pneumatic system in the basement and spent hours sending a Ping-Pong ball around the house through the network of vacuum cleaner hoses.

I think that there is a lot of interpretive flexibility taking place with pneumatic tube systems wherever they are found. Lunches are sent between hospital departments, secret notes tucked in capsules to plan rendez-vous, and many other interpretations of the technology taking place everyday. A great example of this creativity can also be found in the Heineken commercial ... see this post for video.

Image is from this Heineken commercial. See also this great image of smart doors too in the MOMA collection.

Berg, A-J. (1999). A gendered socio-technical construction: the smart house. In D. MacKenzie and J. Wajcman (eds), the Social Shaping of Technology, pp 301 - 313. Buckingham: Open University Press.

breathing blogging

I am a researcher at an academic institution and I blog about pneumatic tubes. How do these two practices interrelate? Are they separate or intertwined? These are aspects of my work that I have been thinking about for some time. Both my blogging and academic work concern social aspects of healthcare technologies, yet they have different writing styles (hyperlinks instead of references for example!) and different (yet overlapping) audiences.

In thinking about these issues I have become aware of others who are asking similar questions. For example, the History Blogging Project has been set up by postgraduates for postgraduates to explore the interrelation between blogging and other forms of research. Thomas Söderqvist has written about this topic on the blog Biomedicine on Display. Jay Ruby is an American anthropologist who used a blog to record his fieldnotes and disseminate his findings, leaving an online repository for the public to access. The website included interviews, photographs, observations, historical commentary and video segments, along with a listserv for residents of his fieldsite to engage and comment on the study.

As we become evermore attuned to process over products, will blogs become an increasingly visible part of academics’ work? Or will blogs continue to remain on the margins of recognised academic output? How will blogs by non-academics contribute to research agendas? Those who are interested in these questions may want to follow the ‘Honest to Blog’ one day symposium in Dublin on the 4th March, which explores the use of blogging in arts and humanities research and practice.


Photos of the two different sets of 'lungs' are my own from research for both an academic ethnography and for this blog (see my Flikr set). See similarities with photographs in this post too!

call for papers 2

These recent calls for papers tie in art, medicine and ethnography ...

AAH (The Association of Art Historians) Annual Conference 2011
31 March – 2 April, University of Warwick
Medical Media: The Aesthetic Language of Medical ‘Evidence’

Visual culture plays no small part in the field of medicine, historically and currently. In teaching and practice, the field has been and continues to be inundated with images: X-rays, before-and-after photographs, case records and illustrations, digital scans, recorded demonstrations, etc. At once document and representation, the image utilised for medical aims occupies a curious place, particularly when it is clear that the methods of its production have been mediated by the physician, the patient, and/or the artist-producer to emphasise its value as ‘evidence.’ The photograph is the most obvious, and yet far from sole, medium of medical imagery: three-dimensional models of varying media, posters, print media, and film have all played the role of ‘medical documentation.’ This session seeks to complicate the relationship between art and medicine as one in which images are passively illustrative of medical ideas or mechanisms, as visual simplifications of theories and practices. So too does it wish to investigate how medical ideas or devices affect perceptions and productions of art.The following questions are therefore posed: how has art – its grammar, forms, varying media – articulated or represented medical concepts, discoveries, inventions or models of perception?

How has medicine been understood through its visual culture? And how have medical explanations and new technologies informed aesthetic models and vocabularies? In other words, do Art and Medicine speak the same language? Diverse papers are welcomed from art and medical historians on any period and geographical location that explore new directions in the interconnected histories of these disciplines. Session Convenor:Tania Woloshyn, McGill University. woloshyn.tania@googlemail.com

Artful Encounters: on ethnography, art and conservation
Seminar November 18 & 19, 2010, Maastricht

Although highly critical of its colonialist connotations, many artists today employ methods that traditionally belong to the academic discipline of anthropology. They claim to use ethnography as an integral component of their artistic practice (Foster, 1999; Desai, 2002). Those studying the arts (academic disciplines such as art history, cultural studies, etc., as well as more “applied” disciplines such as conservation) may use these very same ethnographic methods to understand and deal with art worlds (Morphy & Perkins, 2006; Van Saaze, 2009). Understanding contemporary art today therefore increasingly asks for an approach that is sensitive to local and changeable meanings, to process and the ephemeral qualities of works-in-progress, and to the ways in which the public sphere can become an arena for artistic investigation. This combined seminar stages a series of encounters between ethnographic artists, ethnographers of art, and conservation ethnographers within this methodological hall of mirrors. Of special interest is the process of documentation within ethnographies. How do ethnographers hold what they find? Methodology-handbooks as well as reflections about fieldwork discuss exhaustively the art and pitfalls of note-taking, interpretation, categorization, narration, and writing. Yet, the variety of means of documentation is much greater and different styles of documentation allow for different effects.

Artful Encounters wants to examine the interesting overlaps between academic ethnography on the one hand and artistic practice in its broadest sense – both its process and its conservation – on the other hand. The seminar has three aims: (1) to improve ethnographic research by sharing research experiences; (2) to explore overlaps and differences in ethnographic methods between two different but fundamentally connected positions: the artist as ethnographer and the ethnographer as artist; and (3) to investigate what the ethnographic research tradition could contribute to the field of artistic research.Through open discussion, paper presentations, workshops and special assignments participants are invited to
contribute to the revitalization of an old tradition by setting a new agenda in artistic practice and arts research.

artists in residence

I've often thought it would be great to work with an artist on project about pneumatic tubes in hospitals. A couple of months ago I started talking to my brother-in-law about a sound project here in Melbourne (and would love to continue the conversation Andy!). Sociologists are increasingly working with artists at their fieldsites (see this blog about ethnography-art collaborations) to explore themes about medicine, science and technology amongst others.

There are arts-based projects in hospital contexts such as Hearing Voices, Seeing Things, the two-year program of residencies with staff and users at North East London Mental Health Trust led by artists Bob and Roberta Smith and Jessica Voorsanger, and Transplant, a collaborative piece of work from Tim Wainwright and John Wynne. Both of these projects explore themes central to many sociological studies of health and illness. Katerina Cizek's filmaker-in-residence project at St Michael's Hospital in Toronto was also incredibly sociological.

Artists such as Barbara Hepworth, Christina Lammers, Bill Viola, Heather Spears and Christine Borland have had residencies in hospitals, akin to hospital ethnographies. Barbara Hepworth produced a wonderful series of fenestration drawings of her time in ENT theatres, whilst Bill Viola's installation Science of the Heart is from his time at Memorial Medical Centre in Long Beach, New York. Heather Spears spends her residencies in neonatal intensive care units whilst Christine Borland spent a week at the University of Alberta Hospital, producing a piece of work presented in the exhibition, Imagining Science, at the Art Gallery of Alberta. Borland worked with two patients having kidney biopsies, taking photographs at the start of the procedure, then accompanied the tissue through its journey through the many processes of the Pathology Laboratory. It is a work which I think has a lot of relevance to the role of pneumatic tube systems in hospitals for the artwork brought the patient into the laboratory and the experience of the laboratory to the patient:

“Throughout the week (of her residency) the artist tread a path between the lab and the wards, building an intense, personal relationship with the patients and staff at each end. For the patients the ‘end product’ was a 10 minute long, self-running PowerPoint presentation of the hundreds of images documenting their journey through the hospital and laboratory system. As the patients watched this for the first time, entirely absorbed while it was presented to them on the artist’s lap-top, they were filmed from a tiny camera embedded in the frame of the laptop screen which captured their reactions and expressions in the most non-mediated way possible”

Artists are also taking up residencies in genetic research institutes and natural history museums, and their work is being shown in hospitals and other medical sites.

Artistic representations explore research topics in more ambiguous and incomplete ways than academia often allows, this work evoking different stories on common subjects. There are many parallels between artist-in-residencies and ethnographic fieldwork which are interesting to think about. No doubt ethnographers can learn from artists and vice versa. Collaborative work between sociologists and artists raises a number of theoretical and methodological issues which are challenging and potentially rewarding to investigate. There is a lot of exciting work happening in this area, and pneumatic tubes is only one topic, amongst many, that could be explored.

The photo was taken by Thomas, as part of a photographic study of overseas doctors' practices in Australian hospitals, in collaboration with my ethnographic work at this site.

following a pneumatic capsule

How do you follow a capsule in the pneumatic tube system, during its travels around a hospital in one day?

Two of my favourite academics, Annemarie Mol and Jessica Mesman, talks about the limits of following actors, in reference to actor-network theory and a hospital ethnography:

J had read that she should follow the actor. But after following the medium care neonatologist around for a day, J came home exhausted because the man walked so fast. And what about the pieces of paper that travel from ward to the dispensary? J couldn’t enter the hospital’s postal system with them, for its plastic tubes were big enough for forms, but far too small for human bodies (Mol and Mesman 1996, p422 – 423)

I have been thinking about the challenge of literally following a capsule. There have to be other ways of mapping the life of a capsule as it traverses a hospital system, that do not involve being shrunk to the size of a pathology sample Innerspace style.

In a previous post I referred to a German video where a camera had been sent on an explosive journey through a pneumatic tube system. Perhaps another method may be to attach a GPS tracker to a capsule? Take for example artist Jeremy Wood's 'Traverse me: Warwick campus map for pedestrians'. The intricate GPS drawing is a personalised tour of the university's campus, compiled over 17 days of walking with a GPS device. The map has also been superimposed over photographs of some of the locations Jeremy Wood visited on his travels. Is this one way to draw a day in the life of a pneumatic tube capsule?

Image 89 or is that 68?, originally uploaded by pathlost on Flikr.

politics of design

Last week there was a two day conference in Manchester about the politics of design. I found the call for papers for this event interesting to think about in relation to the design of pneumatic tube systems in hospitals.

The workshop was organised by the Manchester Architecture Research Centre and was directed towards scholars from the fields of STS, architecture, geography, political economy, environmental psychology and planning, design studies, sociology, cultural studies and political sciences. The brief states that the conference aimed to explore a range of questions pertaining to theory and methodology such as:

"To what kind of politics can we get access when we strive to unravel design not through ideology but through the work of designers, their rich repertoire of actions, their controversies, concerns, puzzles, risk-taking, and imagination? And likewise, what kinds of politics are embedded in the objects of design, with their multiple meanings of materiality, pliability, and obduracy?

How does design’s potential to bring an ever-greater number of non-humans into politics contribute to the re-composition of the common world, the cosmos in which everyone lives? What are the politics of the relations invoked by design practices? Is design “political” because it brings together land and NGOs, gravity laws and fashions, preservationists and zoning regulations, architectural languages and concerned communities, dives and stakeholders, land registers and modernists, and if so, how?

What are the multiple design sites where political action might be seeping through? How is politics carried out today in sites often unrelated to the traditional loci of political action: in building development companies, planning commissions, building renovation sites, urban spaces, local communities, architectural offices, public presentations of designers? And what can we learn from the different, even unexpected forms of concernedness that we may come across in such contexts?

How and under which conditions does design become one of the means through which politics is being carried out? How does design turn the “public” into a problem – and thus engage and mobilise it – triggering disagreements and generating issues of public concern? How do designers and planners make their activities accountable to citizens?

If the “political” is considered a moment in the complex trajectory of design projects, processes and objects, what are the methods we use to account for them? How can we map, track, trace and document ethnographically and historically these moments of becoming political?"

I love the questions raised in conference calls for papers - so many possibilities and points of inspiration. There is a lot to consider here in regards to the politics of pneumatic networks.

Plans for pneumatic elevator via Daytona Elevators.

researched design

Goldsmith's Department of Sociology is holding a one-day conference on social science and design. It would be wonderful to go to London for the day and think about how ethnography could engage with hospital design and vice versa ...

Making and Opening: Entangling Design and Social
Science
24 September 2010, 9.00 - 5.30Ben Pimlott Lecture
Theatre Goldsmiths, University of London
How might design and social science speak to each other’s practices? How might social science and design remake one another’s objects?

Bringing together a group of leading practitioners and academics, this day conference will explore innovative ways of further entangling Design and Social Science disciplines through a range of open issues: Speculation/Anticipation; Participation/Impact; Discipline/Contamination; Making/Method. Speakers will include: Bill Gaver, Pelle Ehn, Mike Michael, Bill Moggridge, Harvey Molotch, Michelle Murphy, Lucy Suchman, Nina Wakeford.

Conference fee: £15 (full price); £10
(concessions).To register, please email sociology[@gold.ac.uk] Sponsored by: Centre for the Study of Invention and Social Process, Interaction Research Studio, Incubator for Critical Inquiry into Technology and Ethnography.