Today, I have had my mind mind officially blown away by the coolest piece of data visualisation! I know, I’m probably slow to the scene, but you should immediately go and check out: http://listen.hatnote.com
No seriously. Right now... Okay, maybe after I have finished raving.
The website is Listen to Wikipedia, and it’s purpose is to create audio that represents the creation and removal of data on Wikipedia. The sound and strength of the notes depends on the size of the edit and who made it. The sound is absolutely lovely, and somewhat meditative. While the music plays, the titles of the pages being edit pop up on the screen like soft bubbles.
What an engaging and lovely way to display this data!
I can’t help but wonder what this would sound like connected to Trove. Or if it could be the sound in an entrance to a museum, being triggered off by people using the website or the data. This style of visualisation could provide a beauty that connects people to the importance of research and information creation.
A bit of research tells me that this isn’t the first amazing visualisation project that has been created the designer Mahmoud Hashemi. Working with Hatnote and Wikipedia, the designer has been a part of a number of heritage based visualisation projects, that are just very cool.
I hope this brings a little joy into your life this week.
I am incredibly lucky to work with some exceptional volunteers, who just seem to always *know* where to sniff out the clues. A few weeks ago, Jan the amazing, after digging though Floriade ephemera found the following details:
I can’t help but wonder if the artist had been compelled into creating the artwork, which he fervently didn’t want to. It is a brilliant name.
With that info, I dutifully added it into all my training manuals. Then I wondered... how is anyone else ever going to find this?
Thus, I am now editing the Wikipedia page for Commonwealth Park. I’ve started on the sculptures table to start with, but I feel that this might take quite some time. Wish me luck!
Just before Christmas, I had the pleasure of being invited along to a session at the Recycling Discovery Hub in Hume (a suburb of Canberra). The centre is normally only open to educational groups and special interest sessions, so I was super excited to go and check it out with a bunch of other enthusiastic museum and heritage educators.
The Recycling Discovery Hub is an ACT government project, led by Robbie Ladbrook. I was very lucky to have Robbie as my program leader during the Open Palaces Programme, and loved having a chance to see the project she has been working on in Australia. Opened in May 2018, the centre was created as a educational facility to enhance public understanding of how recycling and waste is processed.
The space is connected to the actual recycling centre and has a pretty incredible view over the inside of the plant. What can’t be seen easily is displayed on large TV screens - the cameras are able to be refocused on the topic of discussion for the presenter. It’s a small space, which at first glance seems too small to hold much information. I was blown away by exactly how much of the space is interactive and the sheer amount of information is conveyed in easily understandable chunks. I walked in thinking that I already knew a lot about recycling, and walked out thinking “You know nothing, Amanda” but completely invigorated to know keep learning.
When looking up information about the centre on the internet, what you will find a lot of information about the virtual reality interactive tour of the facility. Risk dictates that taking small people into the actual facility would be a terrible idea, so instead the tour is conducted via virtual reality. The experience included the participant sorting garbage, learning about the different symbols on plastic and driving forklifts. All very impressive and seemly enjoyable for the person driving the simulation.
In Robbie’s paper at Waste 2018, she mentions the importance of capturing imagination to tap into curiosity. As much as I love virtual reality, the rest of the centre totally tapped into my curiosity. The space is devided into areas which discuss different types of waste and what happens to them. Almost everything is touchable. There are samples of waste, examples of what waste is turned into, low tech versions of waste organisers, drawers to go through, things to open. It’s a tactile learners dream. I have added a large number of photos below with my absolute highlights.
Together with a great presentation, I left knowing far more then I did before entry. I found the experience engaging and highly enjoyable. I also think that the space would work for pretty much any demographic, which is an incredible feat by itself. I found myself at the end, not only wanting to be better at handling waste, but also inspired to find more ways in which to inspire curiosity in museums.
Waste 2018 - Building a better platform for community engagement (Robbie Ladbrook): https://www.coffswasteconference.com.au/QuickEventWebsitePortal/2018/waste/Agenda/AgendaItemDetail?id=48192932-2ece-a1a6-dd3e-39e0470f4b38
ACT PS News - Recycling won’t go to waste: https://psnews.com.au/2018/05/10/recycling-lessons-wont-go-to-waste/
Media moment demonstrating the space: https://twitter.com/actgovernment/status/994857228707430401?s=21
In October I had the pleasant experience of visiting the Goulburn Historic Waterworks to check out their annual Steampunk & Victoriana Fair. It was brilliant fun, and I will certainly be going along again!
The Waterworks is located next to the Wollondilly River, making it a very picturesque location. I can completely understand why so many events choose this location for a wide variety of shindigs. The official website explains that the pumping station was built in the 1880’s and provided Goulburn’s first reticulated water supply. The original Appleby Bro’s Beam engine is still maintained as a working piece of machinery. I was struck by how surprisingly quiet it was - somehow I has imagined that it would be as loud as the steam powered trains that I have seen. Beyond the original machine, there is a variety of other impressive devices that are somewhat meditative to watch in movement.
The museum space has a complicated past, much like many small museums. It has swung between fully privately funded, to council funding multiple times, but has somehow managed to survive quite solidly. There is a neat little education program available and the volunteers that I met onsite were very enthusiastic and knowledgeable. The Steampunk & Victoriana Fair is an initiative by the Waterworks to raise funds and profile. The Steampunk & Victoriana Fair has been running since 2014, with an attendance of approximately 250 people in it’s first year. Attendance for 2018 was approximately 3000, which is a fairly good rate of growth for an annual event (I believe this would have been higher is not for the rain). Revenue is also raised by having themed retail stores and food vendors. Cleverly, the food vendors were hidden slightly around a corner, which meant that the steampunk atmosphere could be maintain a little more easily. Multiple competitions (costume, inventions etc) invite participants to join in the fun from early before the events date, keeping it fresh in the public’s mind.
Steampunk is a genre of fiction that imagines a 19th-century inspired world that is influenced by science fiction style elements. There are very few ‘rules’ on what this means exactly - but imagine, it you will, a Victorian Gentleman in a lovely outfit that also includes a fully steam powered mechanical arm, or a set of suitcases that follows along behind the owner using steam powered tank treads. It is an amalgamation of science fiction with steam powered 19th century ingenuity and fashion. As someone who enjoys textile arts and sewing, I was so inspired by the characterful costumes. Admittedly, I am certainly not looking to get involved in another hobby, but I thought the deliberate anachronistic nature of the costuming looked very enjoyable. There is a storytelling element that is very alluring to the whole business.
With that in mind, I think that as a revenue raising event, the Fair is a wonderful choice for the site. The volunteers onsite helped to explain how the actual technology worked and I did notice that people were stopping to read the historic panels. The atmosphere was fabulous, and the users of the site clearly cared for the space. A quick googling brings up plenty of news articles talking about the event, raising the profile and traffic of the Waterworks. It also promotes the historic buildings as a prime site for other private and public events. I love that it both celebrates a history that was, and will never be. I will absolutely be returning to visit again this year!
In preparation of upcoming walking tours, I am currently researching the many varied sculptures in Commonwealth Park, Canberra. I do love this work, and discovering the people behind the amazing artworks is just delightful. I am perplexed however, in trying to find any information on the sculpture that I have nicknamed ‘Big Blue’.
The sculpture lays on the western shore of Nerang pool. Snuggled into the tree line, the plaque has long ago lost all writing from it. I have managed to narrow down some evidence so far:
1. A photo of it in the garden appears in a 1995 newspaper
2. It does not seem to be one of the commissioned works from 1995’s Floriade
3. It does not seem to have been a commissioned work from 1994
1993 winners are currently being illusive, much to my aggravation. On the upside though, it creates a timescale of probably somewhere between 1975 and 1995, which is somewhat smaller then what I was originally looking at.
My current plan is to keep reading through old newspapers and to widen my search of photos around the area. In addition, once all the fencing is down, I’m going to try a rubbing of the plaque, just in case.
I’ll keep the search going and update my avid readers with the outcomes. If you happen to have any old photos of the area near Nerang Pool, I would certainly love to hear from you!
Canberra Times (1995) - Floriade Canberra’s Spring Festival: All the things you need to know
Canberra Times (1995) - Floriade Canberra’s Spring Festival: Gardens a show case for sculptors
Canberra Times (1994) - Canberra’s Spring Festival of Flower
I couldn’t help but be somewhat amused at the differences between two articles that I read this week: One that focused on the passion that Smithsonian has for repatriation of sacred and important collections, the other reporting on the reaction the public had towards the British Museums assertion that their collection is not entirely made up of looted items from the colonial era.
Amusing to me, and it must make others grind their teeth in total frustration.
I’m incredibly disappointed that for the last part of my Open Palaces Programme adventure, I missed seeing Alice Procter’s Uncomfortable Art Tour of the British Museum. Alice is an Australian running incredible tours in London which look at the uncomfortable history of items and artworks in museums. And it’s not just about the stolen nature of some of the objects, but about the way that colonialism continues to effect the way things are described, displayed and stored. I desperately want to get my hands on one of the badges she was handing out “Display is like you stole it”. I also find it amazing that such a great piece of agitation, may have contributed to the British Museum releasing a statement that sounds a lot like “Not everything is looted!”. But enough of it is.
While on the program we visited the Pitt Rivers Museum in Oxford. The Pitt Rivers Museum was founded by Augustus Pitt Rivers (a name which sounds like it should feature in a movie about looting crypts in the Victorian era) in 1884, seeded with 22,000 of his collected objects from around the world. His history is both fascinating and exciting, and completely of the era he was from. Rivers was a noted archaeologist, with a particular interest in tracking the history of human invention. Thus, the museum space is fascinating in its grouping of objects with like objects. The tags in the cases are sparse in information, presenting the item as a piece of a larger puzzle. What this lacks, regularly, is contextual information. What this does (unintentionally, I hope), is to put a beautiful bone china cup next to something rougher from somewhere ‘other’ and allow the viewer to see that obviously the British cup is much less primitive. That evolution and invention has been better in Britain or other ‘developed’ countries.
Hold on, I think I may be letting some of my bias and annoyance show. Let me just try and tuck that away for the moment.
I was born in Australia, and have always known that we are in a colonised land. Opinions and approaches to this have changed dramatically over time, but the violence that is a by product of that invasion is something that can not be ignored. The colonial period is intensely complicated, and is a time of great developments in science and understanding the world we live in. It’s also littered with violence and acts of great injustice which we are only now starting to fully understand and work through. So while I understand the significance of not removing histories successes, I think we need to spend more time really reflecting on what had to occur to make those achievements.
The Pitt Rivers Museum holds a special place in my mind as being stunningly beautiful and everything I imagined a Victorian era museum would be. Oxford is an amazing town (city?), and I felt so amazed to be standing in a place of such history. The Pitt Rivers Museum can be accessed directly from the street, or you can take the scenic route through the Natural History Museum first, with it’s dodos, dinosaurs and other delights. When you walk through the massive doors, you will be faced with soft light bathing the multi story open space. And it is filled to the brim with cases of curiosity. I was properly in awe, my breath lost as I stared at the space. There were giggles and gasps in the museums sound scape as people took in not only the historic items on display, but also the surprisingly gory. I was horrified to discover that the museum is still in possession of Indigenous Australia remains. I was mortified when I began to look at the history of Australian’s asking for the remains to come home only to have to fight for the right to bring their family home to Country. When I asked about the repatriation process, I discovered that the museums policy is really about waiting to receive requests and that these requests do not happen regularly.
The article from the Smithsonian hit the note that I had really been hoping to see. The Smithsonian is significantly larger then the Pitt Rivers Museums, but I should note that the museum is one of many that are managed by Oxford University (which is a fairly large organisation). The Smithsonian has repatriation offices that actively seek to reconnect items and human remains with communities. It has a goal to reduce the number of human remains held by the museums to zero. I enjoyed reading an article that actually celebrated the ideals of repatriation. I feel like British museums could really benefit from setting some appropriate goals around what is appropriate to have in a museum collection.
What I did hear in the museum itself, and from having read a number of articles revolving specifically around the Pitt Rivers Museum were statements of concern to send the items back to the communities from whence they came from. And if absolute evidence can’t be found, then hiccups occur in the process. What this (once again, unintentionally I hope) breeds is a feeling that British Museums feel that they understand our communities and country better then we do ourselves. This is extremely patronising, and honestly there are a good number of institutions in Australia which would be much more experienced in working with Australian communities then most British institutions.
It easy to fall into a thought process that exclaims how easy this should all be. Repatriation and reconciliation is not a simple process, but it is ennobled by being an active process. When an organisation is seen to actively seek out traditional owners and question the history of their collections, it is an act of reconciliation. It’s facing our own complex histories, putting aside the inlaid shame, and offering to be transparent in our desire to be honest about history and ownership. Instead of waiting for communities to present themselves into our European style processes, approach communities and find out how the museum can work with their systems. If you can’t find a community something belongs to, at least have a partnership museum in the right country, and return it to them until a permanent home can be found. Museums and galleries may find themselves with unexpected friendships that deliver more content and information then any stollen artificial could hope to give. They could find deep and wonderful contextual details. And if the list is so huge, because I do understand just how many countries have been touched by the colonial era, then alphabetise it and start from the top. I imagine the process would be hard, with complexities, but reconciliation is not meant to be an easy process. The point is to learn from our mistakes, not to ignore them or explain them away.
Articles that influenced and touched this blog post:
It’s interesting just how much angst I have felt about writing this blog, and amusingly this morning I found that the draft I had been working on had disappeared. Which means I have had even more time to dwell on the embroidered food bags that I have recently completed for a heritage home display.
The food bags were decided on to fill an interpretation hole in the space. The space is not able to have any panels or electronic means for interpretation, but there is an enthusiastic volunteer and staff team. The embroidered food bags were to be added into the living area of the 1860s zone, along with a number of other display food items. A common way of storing dry staple foods during this time period were cotton bags, but having bags without interpretation seemed lacking in depth. We were also a little concerned about people trying to open them and spilling the stuffing out in an attempt to work out what was in them (curiosity being the chief mother of invention and also mess).
I am an embroider, and love spending time on researching historic embroidery pieces. I sadly have been unable to find any indication of embroidered food bags. However, I can prove that women on their way to Australia on the boats did spend time embroidering and sewing small pieces. I can say that Mary Ginn, the first female occupant of the cottage was educated and likely had been taught embroidery as part of her education. We know that she could read and write. The font used for the bags is from a period embroidery book, which was fairly readily available. I do know that the fabric is on par with what should be expected, the threads are right and the stitching style is popular during that period.
Can I prove that there were absolutely embroidered food bags in the 1860s?
And it drives me crazy.
So why am I admitting to this?
During the Open Palaces Programme, I was struck by a talk that was given at the Tower of London. The Yeoman Warder who took us around during our tour was incredibly open about what had been tried and succeeded. Beyond that, he told us what hadn’t worked. Why it hadn’t worked. The processes that led to both success and failure and how they measured those attempts. And it inspired me, because in failure there is a great amount of strength. Knowing what has and hasn’t worked helps us to grow.
So, have I failed with these baggies? I don’t know. On one hand, the interpretation works perfectly. Visitors react to them really well and ask why the food is in bags. It sets up an indication of what hand writing could kind of look like. So there is some great things happening. However, I feel like it’s not quite right, so I will keep looking for evidence (whether for or against). I think the chief thing I could have done is finish them a hell of a lot faster. Part way through the process, I froze up with anxiety over whether they were right and how they would reflect on my (and the heritage home) if they were wrong. That was a good learning experience, in that sometimes you need to go forwards to give yourself time to think in the future. I can also say that the embroidery was travelling at about 1 letter per two hours, on average, so they took a really long time to complete. There are dozens of little things that my perfectionist brain hates as well, but they are far less useful to dwell on.
I don’t know if I will call this any type of serious failure. I will call this a learning experience that I can develop from. I will also be open and transparent, because failure is healthy. It’s good to fall over and make mistakes and doubt ourselves. And if we share these stories and these thoughts openly, then it helps others to make informed choices in the future. It also just makes us feel less alone.
Firstly, I think I should acknowledge my own naivety before going over the England for the first time. There were many things that I had made assumptions on, or simply underestimated in large ways.
No 1 Royal Crescent, visited for a workshop conducted with the Open Palaces Programme, was one of those underestimated locations. I have been to many heritage houses in Australia, and so I was mildly interested but not overly enthusiastic. By the time I had completed my first two sessions with the Bath Preservation Trust (Beckford’s Tower and Museum of Bath Architecture), I could not wait to listen and learn from Dr Amy Frost again. Honestly, I would have happily listened to her in any location, No 1 was just a receptacle for another workshop and I was okay with that.
No 1 Royal Crescent is not simply a heritage house. It is part of a series of 30 houses, joined together like modern townhouses, forming a concave crescent. Built between 1767 and 1774 by John Wood the Younger, it is a stunning piece of Palladian design. The Georgian architecture is stunning, and standing on the parkland in front of the houses it was hard to imagine the person power it would have taken to build these houses before modern building machinery. No 1 is the first building on the eastern end of the crescent, and is dedicated as a museum for Georgian life.
Up until this point, I could not have imagined what standing in front of the crescent would feel like. I am still struck by just how big so many of these grand buildings are. The crescent is spectacular, and standing in the parkland in front of the building I felt so very very small in comparison. Behind me, is lovely park land for creating a beautiful vista to look out upon from the houses windows. Up until this point, I had never seen anything comparable. During this trip, I would regularly find myself in awe of the sheer presence these buildings had in the landscape.
Being greeted at the door by a very convincing Georgian butler was also lovely.
The workshop at the museum focused on the creation of engaging and small exhibition. Given a space in which to design a concept, and objects that had be included, our group was given a limited amount of time to come up with some ideas and then present to the group. I had the chance to team up with Helen, Marian, Trisha and Rachel, who were awesome to work with. We decided on an exhibition that focused on leisure during Georgian times with the title of the exhibition being “A Game of Class”. It was a lot of fun banging the idea together and considering what ways we could activate participation in the displays and exhibition as a whole.
A few of the big take away points here (and this is an extreme summary, because there was a lot to think about from this workshop) included:
There was so much more then just these points, but these are the parts I have already started using back in my home museum.
I must admit, having originally looked at the Open Palaces Programme, I was so excited about the workshops. Finding out that they were group activities, turned my smile into something more akin to ‘The Scream’, with nightmare visions of university group work. But I am so glad that we had so many opportunities to work together. Everyone had slightly different backgrounds and interests, and I have come away from the program somewhat disappointed that chances to work with these incredible people are going to be limited by time and space. They were delightful to work with and learn from!
During my trip with the Open Palaces Programme, I had spare afternoons and mornings which I filled with museums and heritage. Sometimes I would wander by myself and sometimes I would have company. My wandering to the Fashion Museum included Calla Sundin and Rachel Cottle, two awesome museum folks who put up with my ranting and raving with lots of amusement.
The Fashion Museum had been high on my list of places to visit. Being an avid embroiderer, I have always wanted to see the Elizabethan embroidered pieces. So after a morning at the Bath Museum of Architecture, I headed off with extreme purpose. My head was filled with brightly coloured embroidery silks and linen.
The museum is located within the Assembly Rooms, a heritage building designed by John Woods and his son John Woods in 1769. The rooms were designed for communities to hold grand balls and get togethers, which it still does to this day under the careful guardianship of the National Trust. Below the shindigs and frivolity, is the basement home of the Fashion Museum. The collection was started by Doris Langley Moore, arguably one of the first female fashion historians. The collection was seeded by Moore’s personal collection and has been added to each year with both historic and modern items.
The collection is incredibly comprehensive and beautiful. I really wanted to be able to sit down and sketch dress after dress, but did not have the time or ability to do so. The museum was filled with people, which was both wonderful and included my pet irritation of audio guides. The museum was completely quiet and included the shuffling masses moving to each curated one sided conversation. As I stood there, marvelling at the embroidered jacket that I had poured over in books a million times over, I was somewhat saddened that it was in this quiet space in a darkened area to prevent damage to it. My companions listened into the audio guide, which is quite fair, and I longed to be able to actually discuss what was there in front of us. What I find problematic, particularly in traditionally designed museum spaces (which this certainly was), with audio guides is that not all people benefit from listening to someone speak to them. As interested in a topic as I am, the moment I have no way to interact with the information my brain removes itself from the situation. Audio guides can be wonderful, but it should considered to be only one way of interacting with guests. There were some text panels, but that only gives a secondary information output and was significantly less detailed then the audio guide.
To protect the pieces, the clothing was often in darkened spaces with specialised lighting. At first I enjoyed this display, but as the shuffling masses moved me along, I started to find it reminiscent of how I was feeling about the exhibition. Somewhat removed and distant from these items that I had lusted over seeing in person. It did however make for some fantastic photos. There is a singular hands on space, where replicas can be tried on for the ever important selfie moments.
What I would have loved to see was more areas where you could interact with the collection or people. If I could change the displays, I would add in nooks and crannies which included touch stations, design spaces, drawing areas, interactive spaces. I would have loved to have seen more humans - the designers, the makers and the wearers. If I could have only one style of interactive it would be focussed on how the different clothing was made - preferably in a way where the visitor could attempt to create their own design and then have it printed out for collection at the desk when I left the museum.
I would absolutely go back again, the collection is incredible and well worth a visit. I just felt alienated by it, and unable to connect on a level that I wanted to. I can thoroughly recommend the shop for a decent fashion books and the cafe in the Assembly Rooms was lovely
I regularly find myself heading along the road to Sydney, a trip that I find mind numbingly boring, having seen it so many times and being surrounded by nothing but suburbia. I tend to fall asleep, much to the consternation of the driver. This time, one of the friends in the car made the mistake of asking a question about the rest stops between Sydney and Canberra. What that prompted was an excitable Museum Girl to explode forth her knowledge about Victoria Cross recipients from Australia and the quiet history of Remembrance Driveway.
Remembrance Driveway is a series of mostly linked roads leading from the Sydney area to Canberra, easily identified from the road through the rest stops being named after Australian Victoria Cross recipients. The memorial drive idea was seeded by Mrs Margaret Davis MBE, who suggested planting a living memorial of trees to honour the memory of those who had served Australia during WW2. The idea took off and in 1954 Her Majesty the Queen and Prince Phillip launched the memorial by planting a Plane tree in Macquarie Place in Sydney. The trees would connect with avenues of trees, leading to the Australian War Memorial in Canberra. In the 1990s, rest stops and memorial parks were added to the Driveway, deepening the connection to our military history and widening the conflicts to include those post-WW2.
Interestingly, I would suggest that not many people know about this fascinating chunk of heritage. There is probably a good number of people who have seen the signs for rest stops, and made the connection that they are all Victoria Cross recipients, but gone no further then that. I have a niggling feeling that the history is largely unknown unless you happen to fall into the heritage geek category.
In the GLAM sector, there is a growing connection to using GPS or Bluetooth located spots which key into an audio device. As a participant wanders close to an item in a cabinet or wanders up to a spot in a gallery, the device picks up that you have hovered near something and plays an audio file. A pretty good example of this is the audio guide in the WW1 section of the Australian War Memorial. As a visitor wanders through the gallery sound scapes and stories are told about the items inside the cabinets. The stories can be filtered down to specific topics, so that visitors connect to their interests.
My big idea here, is that long trips can be tedious and driver fatigue is a problem. The roads are often carrying our cars and busses past untold stories. And finding a way to connect people with history and the landscape is a good thing. So why not activate GPS and new fan-dangled cars to give you the option of hearing about history as you pass locations? If a GPS picks up that there is a large stretch of road ahead without changes, it could give the option to hear about the history of places that you pass by. Filters could be placed on what style of histories you are interested in, and a prompt of ‘Would you like to know more?’ could let you fall down the proverbial click hole of history while driving along. Local histories could be discovered, the meanings of location names, the history of types of cars that pass you by, options are limitless. Adding these stories could reduce driver fatigue as it activates a persons mind and increase the possibility of taking a short detour to stop and see a landmark.
This technology is already being used for people on foot, why not stretch the reach into trains, planes and automobiles? Make the nameless unknowns on our trip connected to us.
About Rememberance Drive:
Goulburn Evening Post: Memorial Plans For Highway, Thursday 10th December 1953
About the Rememberance Driveway: NSW Transport, Roads & Maritime Services
Museum working, game playing and dog loving geek. Tune in for musings about the GLAM sector, and generally geekiness.