pneumatic post art of the week 5

Kubische constructie by André Volten

(Kröller-Müller Museum, Otterlo, The Netherlands, 1968)

Image of from Paul Chanthapanya's Flikr photostream.

wiki who?

For a long time Wikipedia has been treated by academics with some scorn, lecturers crossing out students' Wikipedia references in essays with enthusiastic relish. It seems as if it is becoming increasingly difficult however for even these tireless teachers to deny the ubiquitous nature of Wikipedia in our lives. Nonetheless, academics, scientists and other 'experts' still contribute very little to this project ... and Wikimedia wants to find out why, in this anonymous survey (with more background here).

In my field, Science and Technology Studies, there has been much dismantling of the boundaries of expertise, and questioning of the kinds of categories that Wikimedia is using to distinguish between contributors. Even so, their survey raises the interesting subject of who contributes to Wikipedia, from where, why, and so forth. This is a topic which the Digital Methods Initiative in Amsterdam is studying with vigor (for example see this project about Wikipedia as a place of controversy), and the topic of an upcoming paper I am looking forward to by René König at the Participatory Knowledge Production 2.0 workshop at Maastricht University.

So I wonder, who contributes to the Wikipedia entry about Pneumatic Tube systems? What are their motivations, their connections, their interests? What sources are they drawing from? Why are some images included and not others? Why is the popular culture section much longer than the historical section? Have you contributed to this page? If so why, and if not, why not?

Stereoscopic image by Prof.Dr. Nemo Klein.Gelegenheitsbenutzer at de.wikipedia [Public domain], from Wikimedia Commons.

the tubes of tomorrow: the future marches on!

How do we imagine and talk about the future? This question and others are raised in a great book I am reading at the moment called Contested Futures, an edited collection of essays about technoscience.

One essay, by Dutch researcher Harro van Lente, examines the different kinds of language involved in voicing the technological future. He writes that often historical instances are used to formulate technical progress as one piece of ongoing evolution, that is inevitable, and must not be stopped.

This essay is very relevant to the work I am doing on genetic research which steams ahead at a remarkable, seemingly unstoppable pace. But I am also interested in how pneumatic tubes are used as a linguistic device to represent the future of technological progress.

This wonderful prune commercial filled with pneumatic-people tubes, wrinke technicians and rockets seems to be a great example of van Lente's argument, that images of history are pulled together to create a narrative of technological achievement.

Thanks to James Veitch @seamusamadan for his link to this video on twitter.

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.

medical museum field study

Posted today on Biomedicine on Display were details of a competition where you file a field report of your local medical museum to be posted onto the website My Medical Museum. It seems a wonderful way to explore the treasures of a medical museum and a great excuse to write a fun fieldstudy! I can think of lots of possibilities already ... Deadline is June 13.

I took this photo of a slide box at my favourite medical museum, Museum Boerhaave, in Leiden, Netherlands.