MusEaster

There are so many eggciting natural history themed events going on this Easter that it seemed like a good idea to put all of the egg-events into one basket-blog. Feel free to add anything we’ve missed into the comments, or email us at blog@natsca.org.

 

Powysland Museum

Easter Activities

‘Crafts, puzzles and activities for all ages relating to animals, Gerald Durrell and the Museum’s current exhibition Bones to Bronze.’

20th April

More information here.

Bones to Bronze; Extinct Species of the Mascarene Islands

‘An incredible exhibition of beautiful and inspiring bronze sculptures created by the sculptor Nick Bibby depicting extinct species of the Mascarene Islands.’

3rd March – 23rd May

More information here.

 

Dinosaur Isle Museum

A series of guided fossil walks, led by the Museum staff, scheduled to accommodate both the Isle of Wight half-term, and the mainland half-term.

Between 3rd and 31st April

More information here.

 

Hampshire Museums

Andover Museum

Many events and activities inspired by Easter and the Museum’s temporary exhibition.

8th – 22nd April

More information here.

Red House Museum, Christchurch

‘Hunt for pictures of cats hidden in both the Museum and garden (weather permitting). Goody bags as prizes if you find them all. Booking is essential.’

18th April

More information here.

Willis Museum, Basingstoke

Many events and activities inspired by Easter and the Sainsbury Gallery exhibition.

8th – 22nd April

More information here.

Herbert Art Gallery & Museum

A large range of activities from UV Face Masks, to Royal Crowns, and Music Movers.

8th – 22nd April

More information here.

 

Lapworth Museum of Geology

A number of events over the East Holidays including:

Eggtastic Easter

‘Search high and low in the Museum, to see if you can you find all of our dinosaur eggs on our egg hunt? Create some eggtastic arts and crafts and much, much more!’

11th April

More information here.

Why Dinosaurs Matter

‘Join Professor Ken Lacovara, discoverer of the mighty 65 ton Dreadnoughtus schrani, and TV Presenter and UoB’s Professor of Public Engagement in Science, Professor Alice Roberts, to discover why we should study the ancient past.’

12th April

More information here.

 

Manchester Museum

There are a number of events taking place over Easter at Manchester Museum. Further information to the events listed below can be found here.

Easter Holiday Activities: Springtime Flowerpot Labels

‘Get creative and celebrate Spring by making your own creature or flower lollipop-stick planter labels, to take away and brighten up your home or garden.’

3rd – 14th April

Big Saturday: Earth Day

‘Join in International Earth Day, celebrate what’s wonderful about our world and find out more about how we can care for it. With hands on experiments, opportunities to meet experts, arts activities and more.’

22nd April

The Junk Child; Performance by Scallywags Theatre Company

‘Enter the junk world on an exciting adventure that explores our impact on climate, and what we can do to help prevent climate change. Expect beautiful puppets, funky ‘junk’ music, and imaginative storytelling. Meet the rulers of the junk world, discover the secret of the trees, and help to make the sun shine again.’

Booking is essential.

22nd April

Hidden Object Stories

‘Museum objects can reveal many secrets about the natural world. Meet student experts from The University of Manchester who will be sharing the stories they have uncovered.’

29th April

 

Oxford University Museum of Natural History

Activities over Easter include:

Easter Holidays: Brain Power!

‘See a real human brain up close and discover how this fascinating organ works. Make a colourful brain hat to wear and find out about all the different parts of your brain and what they do. On Tuesday 18th April you can say hello to Brain 4 maths, a group of scientists who invite you to take part in some mind boggling maths challenges.’

17th – 19th April

More information here.

Eggstraordinary Easter Eggventure

‘Eggsplore the Museums with an eggciting egg-hunters trail. Joint trail with the Pitt Rivers Museum.’

8th – 23rd April

More information here.

 

Natural History Museum, London

Behind the Scenes Tour

Join Science Educators for a behind-the-scenes look at the Museum’s zoology spirit collection. Although these tours run outside Easter, they will be more frequent over the holidays.

Four times a day on the following dates: 11th – 17th April, 22nd – 23rd April.

More information here.

 

Royal Albert Memorial Museum

Family Activities: Sea and Do

‘Design a coastal or under-the-sea scene on a lightbox, make a badge featuring a sea creature, and use a microscope or magnifying glass to examine them more closely.’

13th April

More information here.

NatSCA Digital Digest – April

Colobus monkey © E-L Nicholls

What Should I Read?

I came across a very entertaining blog by Lily Nadine Wilks which looks at the frustrations of museum documentation in Mysteries of the Past. She has been working on the Charles Lyell digitisation project at the Oxford University Museum of Natural History.

Having noticed lately that there are more harlequin ladybirds in my house than there are Lego sets*, I was interested to come across A decade of invasion – a story of Harlequin Ladybird in the UK. I can’t believe THAT many ladybirds exist in the UK having only arrived in 2004. They are clearly a prolific species, if only I could teach them to write research papers.

What Should I Do?

The long awaited 2017 reopening of the Cambridge Museum of Zoology has been put back slightly, and they are still trying to raise funds to get their iconic whale skeleton conserved and remounted. So you may not be able to visit (yet) but what you can do if you’d like is to help fund the whale through the delightfully named Help us #RaisetheWhale fundraising project. Plus you can reap a whaley reward to boot. You can also get the inside scoop on progress if you’re coming to the NatSCA conference later this month!

It is currently Hippo Week at Leeds City Museum. Having popped by yesterday I can say with authority it’s a great museum if you haven’t visited yet, with the ex-rug tiger taxidermy a particular highlight! Until the 9th April, you can also see the entries to the Armley Hippo & Friends drawing and story competition.

What’s Can  I Apply For?

The senior management teams of all natural history collections appear to have got together and declared a moratorium on vacancies at the moment. Don’t despair though, something will come along.

In the mean time, there are two positions at the Horniman Museum if you prefer your collections alive to dead, and quite a few at Kew if your preferred subjects are both alive and botany-shaped, details here.

Before You Go…

If you have seen an exhibition, visited a museum, or want to tell us about your work, do get in touch as we are always looking for material from external authors. Email us with your ideas at blog@natsca.org.

* Several hundred

Making Nature; at Wellcome Collection

Budgie specimens illustrating colour variations (c) Trustees of the Natural History Museum

Budgie specimens illustrating colour variations (c) Trustees of the Natural History Museum

In December the exhibition Making Nature: How we see animals opened at London’s Wellcome Collection. Rather than being an exhibition of natural history (because natural history museums are better placed to provide such things), it is an exhibition about natural history. Wellcome is fundamentally interested in humans, and Making Nature explores the human perspective on nature. How do we engage with and try to make sense of the natural world?

The exhibition takes us through four different themes – ordering, displaying, observing and making nature. Together, they demonstrate that human ways of encountering, standardising and talking about nature are essentially unnatural. But it’s the only way we know how.

This is not an impartial review of the exhibition, as I was involved in it for over a year as its natural history consultant, but what I will say as a natural history museum professional is that I don’t think that a natural history museum could have put on this exhibition.

Wellcome Collection goes by the strapline “a free destination for the incurably curious”, has permanent galleries around the history of science and medicine with a lot of science-inspired art, and a varied temporary exhibitions programme. With these “it explores the connections between medicine, life and art in the past, present and future”. I think they have carved out a niche for themselves whereby they are distant enough from the natural history sector to impartially critique it, but close enough to have a good view.

Not that Making Nature is critical of natural history museums, but it tells the story of our discipline, through those four themes, in a way where the human story – rather than the animal or plant one – is at the centre.

Opening with the “Ordering” section, the exhibition considers the artificial structures that humans have imposed upon the natural world through our varied taxonomic systems, asking why and how we have sought to classify. Linnaeus is obviously the focus, but any fans of taxonomic history will be pleased to see that the fictitious classification of Jorge Luis Borges (who claimed it was from an ancient Chinese text called “Celestial Emporium of Benevolent Knowledge”) is included.

Mocking the idea that all attempts to classify are artificial (as much as they are essential), he splits all animals into 14 categories:

Those that belong to the emperor

Embalmed ones

Those that are trained

Suckling pigs

Mermaids (or Sirens)

Fabulous ones

Stray dogs

Those that are included in this classification

Those that tremble as if they were mad

Innumerable ones

Those drawn with a very fine camel hair brush

Et cetera

Those that have just broken the flower vase

Those that, at a distance, resemble flies

The exhibition is arguably more 3D that many that Wellcome produce (which often heavily rely on 2D art and library special collections), which reflects the object-based focus of natural history. Objects have been borrowed from a wide number of institutions and there are some real treats in there – Darwin’s pigeons and a Linnaean type specimen are among them.

(c) Richard Ross, Museum National D'Histoire Naturelle, Paris, France 1982 2-1

(c) Richard Ross, Museum National D’Histoire Naturelle, Paris, France 1982 2-1

The art is also particularly evocative. In the “Displaying” section, which puts the magnifying glass up to the practices of natural history museums and the ways in which their displays neither truly reflect the natural world, or indeed their own stored collections. I was taken by a piece by Hiroshi Sugimoto. It is a fantastically crisp photograph of a large museum diorama, with all suggestion that it is not a photograph of a real, living habitat having been removed. The casing, glass, and boundaries between the painted background and the 3D objects are imperceptible. It makes one think about the way we see natural history specimens (and indeed “How we see animals” is the tag line for the whole exhibition).

Hiroshi Sugimoto, Galapagos, 1980 © Hiroshi Sugimoto, courtesy Pace Gallery.

Hiroshi Sugimoto, Galapagos, 1980 © Hiroshi Sugimoto, courtesy Pace Gallery.

The arrangement and architecture of natural history museums (particularly the one in South Kensington), as well as zoos, get examined in the Displaying and Observing sections, picking apart the politics behind the designs. Finally, the exhibition ends on the eponymous “Making” nature section, which was curated by the Center for Post-Natural History in Pittsburgh.

This section focuses on animals that have been modified by people, through artificial selection and genetic engineering. Richard Pell, the Director of the Center tells an interesting story of how he came to notice that natural history museums collections are not even in their coverage, and how the hand of human interest impacts the natural world, and our relationship with it. Whilst working at a major American museum, he noticed that the rodent collections were heavily biased towards sites where the US had undertaken nuclear testing.

Making Nature was an absolute joy to work on, it allowed me to take a step away from the natural history museum and explore stories that we would not be able to tell ourselves.

Making Nature: How we see animals is on at Wellcome Collection until 21st May 2017.

Written by Jack Ashby, Manager of the Grant Museum of Zoology, University Ccollege London

The Robot Zoo: A Must-See Exhibition

This bat robot is nearly 20 x life-size. The Robot Zoo, Horniman Museum and Gardens

This bat robot is nearly 20 x life-size. The Robot Zoo, Horniman Museum and Gardens

The reaching-for-the-moon aim of any natural history exhibition is to get the perfect combination of knock-your-socks-off-fun and wow-I-didn’t-know-that-informative, for both children and adults, because (obviously) that attracts the biggest crowd.

Appealing to everyone is pretty much an unobtainable goal. A wise man, who I call Dad, once relayed the phrase to me ‘You can please some of the people all of the time, you can please all of the people some of the time, but you can’t please all of the people all of the time’*. However some, albeit rare, exhibitions, through some manner of dark magic combined with an alignment of moons from all over the universe manage to come together in such a way that the exhibition is branded as ‘outstanding’ and ‘captivating’ by journalists and listed as ‘fun for all the family’ on websites and What to do with the kids this half-term guides. These exhibitions are termed blockbusters and are the envy of their less popular exhibition counterparts.

The Robot Zoo, you will probably have guessed by that prologue, is one such exhibition. I had nothing to do with its inception nor its creation, it’s a touring exhibition that has nested temporarily at the Horniman Museum until October. However, as Deputy Keeper of Natural History at said Museum, I feel a level of temporary ownership and pride in its success. Thus I shall sing and dance about it from now until October when it leaves us for another galaxy gallery far, far away.

Full sized white rhinoceros at The Robot Zoo, Horniman Museum and Gardens

Full-sized white rhinoceros at The Robot Zoo, Horniman Museum and Gardens

The exhibition, as it stands in our exhibition space, comprises eight huge animatronic animals, ranging from a full-scale white rhino (second largest land mammal in the world no less) to a gigantic house fly that is 200 x life-size (it’s really not as creepy as that sounds). Each of the models are colourful, moving (kinetically, not emotionally necessarily), and for the most part, interactive. You can lift the head of a white rhino using a crane, which goes some way to demonstrating the immense power of these beautiful animals in real life. You can also change the colours of the chameleon to make it feel either angry or sexy. Presumably, as it’s Valentine’s Day today, it will mostly be feeling sexy, though given the number of people visiting for half-term I suspect this week is going to be a rollercoaster of emotions.

The robots are built out of familiar human objects like microphones and light bulbs, which recreate the internal anatomy of the animals in a way that highlights their special features and biological adaptations. For example, the electrical sensors in the bill of the platypus are represented by large flashing lights (see below), and the mouth parts and digestive system of the house fly have been replaced by a vacuum cleaner that lights up to visually demonstrate how they suck up their self-liquefied lunch**.

Platypus model at The Robot Zoo, Horniman Museum and Gardens

Platypus model at The Robot Zoo, Horniman Museum and Gardens

Dotted around the exhibition are 11 interactive stations that allow you to see, swim and stick to a wall, like the animals featured in the exhibition. You can camouflage against a background like a chameleon (or not if you pick up the wrong outfit), or if you’re feeling more techy, you can echolocate like a bat. You just measure the distance to the prey, you don’t have to eat the bugs.

The colourful information panels, annotated images, interactive games, and impressively sized, moving and flashing animals (not in an inappropriate way) are what make this exhibition the gold star combination of knock-your-socks-off-fun and wow-I-didn’t-know-that-informative. It has something for every attention span, from those who got distracted from this blog before reaching the end of the first paragraph, to the type who reads every exhibition panel and takes notes to boot. (That’s me). I thoroughly advise paying The Robot Zoo a visit, and even better, you don’t need children as an excuse.

*Originally said by John Lydgate

**A fly will dribble saliva onto its meal which begins the digestion process externally. It will then suck up the liquefied goop. Yum.

Written by Dr Emma-Louise Nicholls, Deputy Keeper of Natural History at the Horniman Museum and Gardens

NatSCA Digital Digest- February

 

"What shall I do this month?" Namibian giraffe, image in public domain

“What shall I do this month?”  Namibian giraffe, image in public domain

What Should I See and Do?

I have had a number of people telling me how good the ‘Extinction or Survival‘ exhibition at the Manchester Museum is recently. You have until the 26th April to see it but we all know how fast time flies so don’t keep putting off your trip. And I’ll do the same.

This Saturday (11th February) the New Walk Museum is running ‘Fossils in Focus’ from 11am to 1pm, at which you can fondle some specimens and take in the Museum whilst you’re at it. For more information, check out the Museum’s website.

Opening soon is an exhibition at the Lapworth Museum of Geology (where I began my career! Ahhh fond memories…*) called ‘Where Land Meets Sea’. It is a photographic exhibition of work by Dr. Richard Greswell who, as both a scientist and photographer, has created what looks to be a stunning exhibition. A more detailed description of the exhibition can be found here.

*Completely irrelevant to this blog

What’s Can  I Apply For?

There are a number of natural history posts available at the Natural History Museum at the moment:

If you would like to help ‘maintain and develop a world-class collection of natural history specimens’, choose whether you are more of an Earth Science or a Life Science type museologist and apply to the relevant position here.

If you’re a little further along in your career, and it happens to have been focused on botany, then the same NHM is also looking for a ‘Senior Curator in Charge, Historical Collections and British and European Seed Plants’. Further information is on their website here.

Finally, the Oxford University Museum of Natural History is looking for a Documentation Assistant. It may only be a temporary placement but collecting the OUMNH for your CV is well worth the faff.

Before You Go…

If you have seen an exhibition, visited a museum, or want to tell us about your work, do get in touch as we are always looking for new blog authors. Email us with your ideas at blog@natsca.org.

Improving Specimen-Data Recording and Access in a Life Sciences Museum

The Museum of Life Sciences at King’s College London contains teaching and research material from King’s College London (KCL) and elsewhere. The collections include Botany, Zoology and Pharmacy specimens, including microscope slides, from around the world and a small, unique exhibition of glass sculptures recently created to commemorate the role of KCL in the discovery of the structure of DNA.

Paper and electronic (Access) databases were first created in 2003 and contained data for the then KCL Zoology and Botany Collections. In the last few years, volunteers have been recording specimens in paper (form-based) or electronic (Excel) formats and we have all been learning ‘on the job’. Inevitably specimens have been catalogued in different ways to record various kinds of information and many specimens remain uncatalogued. Some groups of specimens from a single collector/preparer or from a single source have been catalogued together as eg ‘The Daws Collection’, The Challenger Collection’.  The accumulating data were becoming unwieldy as there are now more than 8000 records.

The form

Example of the paper based record sheet for the Zoology specimens.

excel spreadseet form

Original electronic format for the Zoology Collections.

We are now rationalising our system of information storage and accessibility by bringing together all this information into one comprehensive electronic database. So far 106 information fields have been identified from the old database or allocated to the new database.  These allow information on all types of specimens to be entered into the new database. We will soon be able to include and readily update information on storage location, type and state of the specimen, any conservation taken or needed and whether specimens are out on loan. This vastly improves the accessibility of information to staff, students and volunteers, making management of the collections far more efficient and effective, but the process has had its problems.

The specimens in each collection were catalogued using a letter-based system to denote the taxon to which a specimen belonged followed by a number to denote the order in which the specimen was entered into that taxon. This lead to some specimens from different collections being given the same catalogue identifier, for example, B1 is both a Porifera (sponge) specimen in the Zoology Collection and a Cyanobacteria specimen in the Botany Collection. We have now created five core Museum of Life Sciences Collections; Zoology (ZY), Botany (BY), Pharmacy (PH), Microscopy (MI) and there will be a Cranio-Facial (CF) collection record when the relevant information is available. Under this scheme Zoology specimen B1 becomes ZY B1 and Botany specimen B1 becomes BY B1, allowing both B1 records to co-exist.

Where the taxonomic status of specimens has changed, they are now reclassified and labelled with accepted synonyms of the binomial name and the original name moved to a Synonym(s) field. It is now possible to search for the currently named specimen or to search for the historical synonym.

The previous electronic database was ‘flat-file’ which allowed for a record to have a row of data for each specimen allowing data to be accessed as a simple table although the paper catalogue was used mostly for accessing data. The integrated museum database now employs the power of relational data bases so Recorders can use either a table view or a form view data entry (see examples below) which are now interchangeable for each of the five collections.

The new form

The new table-form for the data.

The screen

The new form view of a Botany specimen showing data and related image.

The basic format of our new and integrated database is now functional. There is still much to be done to be done to upload information on all our specimens and to integrate the various data sets seamlessly into the database. This will improve recognition and identification of individual specimens without having to sort through actual specimens or paper records and will also help to minimise damage to delicate specimens.

We are grateful to the Bill Pettit Memorial Award for part funding this work. The original KCL databases were compiled by Ms M Bavington, based on systems used at The Grant Museum. The work and knowledge of the Ms Bavington and the continuing help and advice of colleagues at the Grant Museum elsewhere are gratefully acknowledged.

Written by Dr Gillian Sales. Curator, Museum of Life Sciences at the Gordon Museum.

Nature Notes

In 2016 the Herbert held its first in-house natural history exhibition since a major redevelopment was completed in 2008. The exhibition, Nature Notes, explored the seasonal changes in local wildlife by displaying taxidermy, nests, insects, botany and fungi, botanical watercolours, oil paintings and contemporary artworks. It encouraged visitors to look at the natural world around them and the artworks aimed to inspire visitors to respond to nature in a creative way.

Nature Notes was designed to be enjoyed by all and accessibility was a key consideration in developing the interpretation and interactives. Additions to the exhibition included Makaton on the text panels and interactive tables; and the provision of accessibility aids such as torches, magnifying sheets and ear defenders. We considered contradictory needs such specific learning difficulties and visual impairments by producing lower contrast labels and providing high contrast large print text to take round the space.

Gallery view of Nature Notes.

Gallery view of Nature Notes. The seasonal display runs around the wall, with interactives and handling specimens in the centre.

The most popular part of the exhibition was the multi-sensory interactive tables with things to touch, smell and listen to. These were created by using low cost tables with adjustable legs with a vinyl graphic applied so they tied in with the exhibition’s design. Five pieces of taxidermy were commissioned – one of each season, plus a spare mouse. We worked with a local group of disabled and non-disabled teenagers to help us choose the right smells for each table – only the brave dared to smell the otter dung! As each offered the same experience of touch, smell and sound this meant queues did not form around one table, allowing for a better visitor experience.

Nature Notes ran for 20 weeks from July to November 2016 and the visitor target was set at 15,000. The final total was 24,000 visits – over 1200 a week – making Nature Notes one of the most visited exhibitions in that space. We evaluated the impact of the exhibition in several ways including analysis of the comments book and a report conducted by students over the summer holidays.

One of the interactive sensory tables.

One of the interactive sensory tables. The taxidermy specimens were prepared specially for this exhibition.

In the comments book 95% of responses were positive, 2% neutral and 3% negative although most of the negative comments were about taxidermy, rather than the exhibition. The student evaluation included 50 surveys, tracking of 50 visitors and general observation. They found that the sensory tables were the most popular part of Nature Notes. It was also noted the importance of gallery staff to help engage visitors with the tables and guiding them on the use of the accessibility tools available. Overall 40% of those asked wanted another natural sciences exhibition at the Herbert!

Nature Notes was designed to become part of the Herbert Touring programme once the run in Coventry finished. Despite being advertised via the Touring Exhibitions Group and our website, unfortunately we did not have any takers. Feedback has suggested that larger museums already have a gallery on local wildlife and smaller museums were not able to afford the cost of the exhibition, as the touring programme is not subsidised in any way.

However Nature Notes will have a legacy both for the Herbert and more widely. The sensory tables have been kept and one will be lent a local wildlife reserve in April 2017 for their Easter activities. We are considering how best to use the tables in the long term – they might acquire castors and become supervised holiday activities in the permanent galleries.

Locker with accessibility aids, step stools and panel with Makaton

Locker with accessibility aids, step stools and panel with Makaton.

We have learnt a lot through creating Nature Notes and will be applying this knowledge to make future exhibitions more accessible. This project has shown that a lot can be done on a relatively small budget and that this investment can be used beyond the project’s lifetime. As well as the interactive tables being used again the accessibility aids are due to be relocated to the museum’s reception.

On a personal note, delivering this exhibition and getting visitor feedback has been a real pleasure. One moment in particular that stood out was during an audio description tour trial. The gentleman I was guiding had had no visual perception for 30 years and was only partially engaged by the spoken descriptions of objects. However, when I took him to the sensory table and he was able to feel the ears, eyes and nose of the fox he said ‘the exhibition has just come alive for me’.

We would like to thank our funders, NatSCA, the Bill Pettit Memorial Fund and Mander Hadley, whose contributions allowed us to create the exciting sensory tables that proved so popular.

If you would like to find out more about the exhibition please contact Ali Wells, Curator at Herbert Art Gallery & Museum on ali.wells@culturecoventry.com. @HerbertCurators

Written by Ali Wells