Stories from the stores

Category: Exhibitions

Noisy books

December 14th, 2011 | by | exhibitions, music, quirky, sound

Dec
14

Recently, one of my colleagues sent me this link to a small synthesizer hidden in a book.

Synth in a book

The synthesiser is a bought piece of equipment, but it’s designed to be hacked and modified by whoever uses it and this particular owner probably had a good reason to keep it hidden. Or he just thought it would be fun to stick a synth in an old book.

Either way, this quirky instrument instantly reminded me of one of the objects in our collection: the Shozyg, invented and built by electro-acoustic musician Hugh Davies.

It is one of many electronic instruments designed by Hugh and made with unconventional materials. He called these instruments Shozygs. This is one of the first Shozygs Hugh made and, like the tiny synthesiser, it is also hidden in a book. It is built into a volume of the New World Library Knowledge Encyclopaedia covering words starting with the letters Sho- to Zyg-, to be precise. It inspired Hugh to come up with the quirky name Shozyg for this instrument and those that were to follow.

Shozyg by Hugh Davies (© Science Museum, London)

I’m not an expert when it comes to identifying electronic parts, but a surprising number of them seem strangely familiar to me when I look at the Shozyg. Squares of foam that could have been part of a sofa, blades of a fretsaw, a spring that looks very similar to the kind you find inside some pens.

Like so many other instruments I came across when working on our exhibition about the history of electronic music, it doesn’t look much like an instrument at all.

Inside the Shozyg (© Science Museum, London)

This made me wonder, what would the Shozyg have sounded like? After a bit of digging around I found this video of Hugh playing the Shozyg before it became part of the Science Museum’s collection.

After Hugh passed away, many of his instruments were given to the Science Museum by his widow. Sound recordings of his work can be found in the British Library.

Some of the Hugh Davies Collection is currently on display in our exhibition Oramics to Electronica: Revealing Histories of Electronic Music. I particularly like his toolbox. It reminds us that so many electronic musicians, past and present, use their creativity not only to play existing instruments, but also to imagine new ones. Whether you call it hacking or making do with what you’ve got, it’s certainly inspiring.

Oramics to Electronica: Revealing Histories of Electronic Music can be found on the second floor of the Science Museum until December 2012.

Hugh Davies' toolbox (© Science Museum, London)

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Einstein was right!

May 5th, 2011 | by | astronomy, current science, exhibitions, physics

May
05

We sometimes find that objects in our collections suddenly become newsworthy because of events beyond the Museum. This beautiful, but small and unassuming, object on display in Cosmos & Culture is now one of them.

Small, but perfectly formed (Science Museum)

It’s a prototype gyroscope from the Gravity Probe B experiment, which has been testing predictions made by Einstein’s general theory of relativity: that a massive body such as the Earth should warp and twist the space-time around it.

Four spheres like this one – among the most perfect ever made – were set spinning on a spacecraft precisely pointed towards a guide star. Scientists spent several years ploughing through data to see if the angle of the spheres’ spin was altered by the warp and twist, and yesterday NASA announced the results. They’re just as Einstein predicted.

We acquired the gyroscope back in 2005, while the spacecraft was busy gathering data, and I was lucky enough to meet chief scientist Francis Everitt.

At the time he was non-commital about what the experiment might reveal: ‘There’s many reasons for thinking that as magnificent as the advance General Relativity gives, it’s not quite the final answer. Whether, for example, in our experiment or not one will find anything different from Einstein, I’ve no wish to make any prediction about. Our job is to do the experiment. But physics advances, science advances, by measuring things’.

The results are a huge vindication for the Gravity Probe B project - it was in the planning for over 40 years and the mission faced cancellation several times. But, as Everitt says, we still may not have the final answer.

General relativity is so complex that there are many other predictions of the theory which are yet to be confirmed, and other scientists are busy making their own measurements. Some of the experiments haven’t even started yet. This is a prototype part for Advanced LIGO, a ground-based experiment due to be completed in 2015.

Will Advanced LIGO also prove Einstein right? (Science Museum)

Here‘s how it works … and here‘s how we put it together for exhibition display (cue lots of head-scratching from our Workshops team). Some time after 2015, might this object also be hitting the headlines?

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We have also sound-houses…

March 25th, 2011 | by | exhibitions, music, new acquisitions, sound, women in science

Mar
25

“We have also sound-houses, where we practise and demonstrate all sounds, and their generation. We have harmonies which you have not, of quarter-sounds, and lesser slides of sounds. Divers instruments of music likewise to you unknown, some sweeter than any you have, together with bells and rings that are dainty and sweet…”

Daphne Oram, founder of the BBC Radiophonic Workshop, returned time and again to this quotation from Francis Bacon’s 17th century fantasy, The New Atlantis.

Now, with help from our friends at Goldsmiths College, we have been able to acquire the machine that was fed by these fantasies, “The Oramics Machine”, as she called it.

Input device for Oramics machine, before conservation (credit: Tim Boon)

Listen! That’s Daphne herself showing off just some of the sounds that this extraordinary beast could produce.  

Oramics Machine sound generator cabinet (credit: Science Museum / Science & Society)

People like to say that things are unique. This one really is - there was only ever one. Daphne operated it by painting on the ten synchronised strips of 35mm film that used to run across the top of the machine. Via light-dependent transistors this produced voltages that controlled the sound generators in the white cabinet. These too were based on hand-painted waveforms:

Two waveform slides hand-painted by Daphne Oram, from her Oramics Machine (Credit: Science Museum / Science & Society)

We have big plans for this unique machine.

We can report that it has been very carefully conserved by our experts and it’s going to go on display in the Museum later this year, surrounded by other gems from the Museum’s music and sound collections.

Nick Street has posted a video of the machine’s arrival in this country: Oramics by Nick Street. If you’d like to hear more about the project, keep an eye on this blog or e-mail us at: publichistory@sciencemuseum.org.uk.

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Living Medical Traditions

February 4th, 2011 | by | exhibitions, medicine, meta

Feb
04

Our fifth floor gallery, The Science and Art of Medicine, touches on issues as emotive as abortion and third world health – so it is no surprise that it has been the subject of comment over the years.

A recent blog post and subsequent comments on Twitter have breathed life into an old debate about the presence of content relating to living medical traditions in the gallery.

First some basic scene setting for those who haven’t visited the gallery – it is made up of three sections – 2 large areas called Modern Medicine and Before Modern Medicine and a smaller area called Living Medical Traditions which was updated in 2006. Within this section there is a small area devoted to ‘Personal Stories’ which show how people choose to use medical treatments from different traditions.

Personal stories explanatory text

Explanatory text from the gallery

On this subject we have an official statement from the Museum:

In our ‘Living Medical Traditions’ section of the Science and Art of Medicine Gallery we take an anthropological and sociological perspective on medical practices. We reflect patient experience in a global setting. We do not evaluate different medical systems, but demonstrate the diversity of medical practices and theoretical frameworks currently thriving across the world.

Our message in this display is that these traditions are not ‘alternative’ systems in most parts of the world. Instead they currently offer the majority of the global population their predominant, sometimes only, choice of medical care. We do not make any claims for the validity of the traditions we present. For example, we include the use of acupuncture but do not say that acupuncture ‘works’. We consider that these ‘alternative’ medical practices are of considerable cultural significance. We also recognise that some may consider the inclusion of these practices in the Science Museum controversial.

As with all Science Museum galleries independent experts were consulted when developing this gallery. In this instance advice was sought from leading academics in the history of non-western medical traditions as well as practitioners and users of these traditions. We maintained editorial control throughout and resisted equating local medical practices with the western medical tradition.

And now some comments from a curator who worked on the exhibit:

In the Personal Stories section of ‘Living Medical Traditions’ we chose to present the patient / practitioner perspective and describe their experiences. With this approach, we felt it would be clear that it was the patients and practitioners who had confidence in the efficacy of these other traditions, rather than the Science Museum. We certainly did not feel that by displaying such things in the Museum we were endorsing them. For example, another controversial exhibit – the Euthanasia Machine – is on display on our ground floor, but by displaying it we are not advocating assisted suicide. We appreciate that our visitors will have their own views.

In the same way that the gallery presents the medicine that the Ancient Egyptians, Romans, Renaissance physicians and so on and so on believed in and practised, we are doing a similar thing for TCM, Ayurveda etc which happen to still be practised today.

On the specific subject of homeopathy, we felt that the approach was very careful in explaining that the belief was with the users, but not us.

There’s a snapshot of the display here.

One final, rather cheeky point – critics of homeopathy are keen to point out that ‘Anecdotes are not data’. Quite right – and on that note we’d would love to encourage people who haven’t actually visited the gallery to come and see it for themselves. It’s free and if it stimulates this kind of debate then it can’t be all bad…

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Psychoanalysis: the unconscious in everyday life

November 8th, 2010 | by | exhibitions, medicine

Nov
08

For the past six months, I’ve been working on an exhibition Psychoanalysis: The unconscious in everyday life which opened in the middle of October.

Curated by Dr Caterina Albano, from Artark at Central St Martins and sponsored by the Institute of Psychoanalysis, the exhibition looks at the workings of the unconscious mind through historical and contemporary artefacts.

As well as drawing on contemporary art by artists such as Grayson Perry, Tim Noble and Sue Webster and Mona Hatoum, some of our objects are on display for the first time. They have also been interpreted by leading psychoanalysts, whose voices you can hear on the gallery.

Votive face, Roman, 200 BCE-200 CE (A634923 Science Museum, London)

As well as some of our famous tattoos, a range of votives are on display. Votive offerings were made at the temple of a healing god such as Asklepios, the Greco-Roman god of healing and medicine. They were made in the hope of receiving a cure or as thanks for one.

For the exhibition the votives have been interpreted as an example of wish-fulfilment. Wish fulfilment is a technical term for a particular state of mind in which our unconscious wishes are fulfilled in our fantasies. Freud came to the view that dreams have in them the fulfilment of secret wishes that would be unacceptable to our waking conscious mind. For me, it is amazing to get a different perspective on our objects.

Play is another theme explored in the exhibition. Using the Margaret Lowenfeld toys currently in the Science Museum’s collection, dream-like scenarios have been set out for the visitor to interpret. Play is an important tool in analysis as it allows children to express their thoughts and feelings in a non-verbal way. 

Lowenfeld toys – zoo sign and tree scene

Lowenfeld toys – zoo sign and tree scene (Science Museum)

Visit Beyond the Couch for an in-depth digital catalogue or come to the Museum to see the real thing.

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