Today, to celebrate the anniversary of the first full-body MRI scan, we took a tour of our Mind Maps exhibition with curator Phil Loring. Phil shared his favourite objects and stories from the exhibition with our followers on Twitter.
In the next of our series of posts linked to The Rubbish Collection, Matt Moore, Head of Sustainable Development for the Science Museum Group, looks at how we measure and minimise the environmental impact of our exhibitions and galleries.
The Science Museum Group places sustainability at the heart of its work. In 2010 we created a sustainability policy that would sit at the heart of all our official work practices, but well before that we were developing ideas and projects that would pave the way for the innovative work we do today.
In 2005 we became the first national museum to install solar panels on the roof – awarded for innovation by the Department for Trade and Industry – which have so far produced over half-a-million kW of energy for the museum. It’s amazing how quickly technology is developing; those original panels produced 80W, our soon-to-be-installed new panels generate 280W and newer designs will be even more energy efficient.
While it’s easy to get carried away with whizz-bang new kit, we need to be conscious that our buildings, subject to changing building techniques over the last 100 or so years, are complicated to heat, light and make suitable for our visitors and irreplaceable objects.
We increasingly look at the ‘fabric-first’ approach to sustainability as we develop new projects and structures. By being intelligent with the building structures we can use the materials they are made from to help passively maintain good conditions for the objects they contain. The Hempcrete Museum Store at our Wroughton site is a fantastic example of this. It uses a hemp and lime construction medium to balance the humidity within the building according to temperature, decreasing the amount of air-conditioning that is required.
This work is not all big innovation though, there are many small, practical steps that have been taken to make the museum more energy efficient; from reprogramming the building management systems and lighting controllers to turning kit on only when it’s needed and changing our light bulbs to ever more efficient versions. This is important work for buildings of this scale and achieves impressive results – the lighting alone at our sister museum, the National Railway Museum, accounted for 44% of the energy used!
It is important when we develop new exhibitions and galleries that we plan and collaborate on the impacts and benefits that materials, electronic equipment and staff activity all have on a project. When the Atmosphere gallery was conceived, considerable effort was spent on understanding the environmental footprint, from the procurement chain to end of life disposal. This has become a core element of exhibitions being developed today; none more so than the Rubbish Collection!
Waste is an inevitable by-product of the Museum’s operation, and we are becoming more agile at dealing and developing new ways to divert this resource away from pointless burial. Our current system ensures that almost no waste is sent to landfill. What can’t be recycled is sent to Grundon’s highly efficient energy from waste plant, where with the increasing value of some of the raw materials means that our waste can become products that have a second, third or even fourth life after leaving the museum. Keeping waste to a minimum is an important part of the story, and through procurement we encourage suppliers to minimise both the travel distances for their products and the packaging associated with them.
Across our group of Museums, sustainability initiatives over the last year have seen many successes: at Wroughton, biodiversity actions have brought two poor-condition County Wildlife Sites into a land management plan. The cafés at all our sites achieved high levels of recognition from the Sustainable Restaurants Association for sourcing food from local and ethical suppliers, along with good practice within the cafés to minimise food waste and energy use. Café development at the Science Museum over the last few months has included innovatively planted walls and herb gardens in the new terrace area. Our procurement team is working hard to ensure that our suppliers and contractors have a good record and work with us to improve sourcing and energy efficiency.
So, what does the future hold for sustainability in the Science Museum Group? An ever-increasing need to be efficient in energy use will see developments in building fabric performance, energy efficiency technology and energy generation at our sites and when we develop our visitor spaces, new materials, efficient interactives and intelligent systems will add to the Museum experience. We’ll also be trying to put more energy back into the national grid than we take out with a 40MW solar project at our Wroughton site – that’s about four times the electricity that the Science Museum Group consumes!
Phase 1 of The Rubbish Collection runs until 15 July 2014. Phase 2 is open from 25 July to 14 September 2014.
Curator Peter Morris shares nine unusual facts about the Science Museum to celebrate our 105th birthday today (26 June 1909).
1. The Science Museum was officially established on 26 June 1909 thanks, in part, to the work of Sir Robert Morant, a Civil Servant who also laid the foundations for the NHS and the Medical Research Council. Both the Science Museum and the Victoria and Albert Museum (our neighbours) were originally known as the South Kensington Museum, which opened in 1858.
2. The Wright flyer, the world’s first heavier than air aircraft to fly, was originally displayed at the Science Museum. Orville Wright refused to donate the aircraft to the Smithsonian museum, instead loaning it to the Science Museum in 1928. The Science Museum had a replica of the aircraft built (on display in the Flight gallery) before returning the original to the Smithsonian in 1948.
3. Some scenes in the Ipcress File, the thriller starring a young Michael Caine, were filmed in the old Science Museum Library in 1964.
4. Stephenson’s Rocket, one of the most famous steam locomotives in the world, was stored at Brocket Hall in Hertfordshire during World War II. Brocket Hall is often used for filming, most notably the BBC TV version of “Pride and Prejudice” starring Colin Firth.
5. For three decades, between the 1930s and the 1960s, the Science Museum planned to put a planetarium on the top floor of the museum. The plans were dropped after Madame Tussauds opened the London Planetarium in 1958.
6. The Science Museum has held temporary exhibitions on typewriters, noise abatement, razors and Dr Who. Current temporary exhibitions feature everything from 3D Printing to Psychology, a giant 27ft horn loudspeaker and an exhibition about rubbish.
7. The Science Museum shared its premises with the Imperial War Museum between 1924 and 1935.
8. An automatic door, originally part of a temporary exhibition on photoelectric cells in 1933, is still on display today in the Secret Life of the Home gallery. It works on by breaking a beam of light shining on a photoelectric cell, and not via a pressure pad which opens most supermarket doors today.
9. The first ‘Children’s Gallery’ in the Museum opened in December 1931. It aimed to stimulate the curiosity of children, and included a large number of working models. The Science Museum’s Launchpad and Pattern Pod interactive galleries still have the same aim today.
All these facts and more can be found in Science for the Nation, a book about the Science Museum’s history which is available in the Museum Shop.
In this week’s blog from The Rubbish Collection, Corrinne Burns, Content Developer at our Antenna Gallery gets a volunteer’s view on the exhibition.
‘Do people just get naked in the Science Museum?’ Katyanna Quach asks me, with a suspicious look in her eyes. Before I have time to give that mental image the thorough probing that it deserves, I’m given a bit of context. “We’ve found a bra, some shoes…”
‘And an entire suit. And money. And a television,’ adds her colleague Hannah Burke. We’re standing in the basement of the Museum, surrounded by the bagged detritus of the previous day – waste from galleries, cafés, offices and kitchens. But they’re here for a good reason: this, friends, is art. Katyanna and Hannah are two of the many volunteers helping artist Joshua Sofaer in his quest to document an entire month’s Museum waste.
Joshua’s Rubbish Collection is an unusual art installation – over the next few weeks, every single item that goes into a Museum bin will be taken out again and publicly documented. Joshua is building a photographic archive of 21st century Museum waste – every receipt, every teabag, every half-eaten potato (and, it would appear, every bra and every television). For the last few months I’ve been watching my colleagues work with Joshua to draw this idea, this ‘contemporary archaeology’ project, out of Joshua’s head and onto the Museum floor. Today, I’ve come to see the result – and to meet the Museum volunteers at the centre of this unique archive.
Joshua hopes that the Rubbish Collection will make us “… consider what we choose to keep, what we discard, and why.” It’s certainly making the volunteers think.
‘I’ve seen whole uneaten lunches from Waitrose. Not touched at all. You just think, “Why didn’t you take it home?”’ says Hannah Tran. ‘Even Museum cafés create food waste – obviously they can’t keep sandwiches forever, but on the night shift we get a lot of completely unopened paninis.’
Katyanna shares Hannah Tran’s unease at the sheer volume of waste we produce. ‘You see how much of it there is and think, “I shouldn’t waste so much. I should recycle more.” Some stuff that could be recycled is just put in with general waste, and then it’s contaminated so you can’t recycle it.’ Katyanna, like many of the volunteers here, was driven to get involved with The Rubbish Collection because she feels that we need to make ourselves think about waste. ‘So much media attention is devoted to wildlife at risk, to species going extinct … but still, some people don’t really care. So this project is an interesting way to talk to the public and get them to think about rubbish, and recycling, differently.’
So what do visitors make of the whole experience?
‘Well, it looks really factory-like in here. Because we’re dressed in boiler suits, I think people come over and think, “Oh, these guys are working!”’ says Katyanna. ‘So I go, “Hi! Do you want to sort rubbish?”, and explain what we’re doing. Some people do really enjoy it and try their hardest to make something pretty out of it. Some people are disgusted by it, but do it anyway.’
Visitors don’t have to get too close for comfort , of course. They’re just as welcome to come and observe the documentation process, and to talk to Joshua and his friendly team of assistants and volunteers. It’s certainly not the sort of gallery you see often. Or, indeed, ever.
‘I don’t think visitors to the Science Museum expect to find an art installation here. Especially this one, because it’s not “done” yet. It’s quite conceptual,’ says Hannah Tran. ‘It’s very different from the other stuff in the Museum. But people are really curious – kids are more interested in the rubbish itself, and older people often want to talk about the kind of stuff we find, but also about just how much waste there is.’
Tempted to take part? Let Hannah Burke convince you. ‘Although it may sound crazy, many of the rubbish bags have their own interesting stories to tell, and that can really make the job of sorting through rubbish worthwhile. It is always exciting to see enthusiastic members of the public become immersed at the task in hand. I can’t wait to see what interesting items the next three weeks have to offer!’
Phase 1 of The Rubbish Collection runs until 15 July 2014. Phase 2 is open from 25 July to 14 September 2014.
Mark Champkins, Inventor in Residence, looks at how 3D printing helped him bring to life a young inventor’s bright idea
Have you spotted an unusual looking yellow and pink device sitting among the wall of 3D printed people in our current exhibition? Known as the Pediclean, the object is a prototype for a manual foot shower product, designed by Sophia Laycock, the winner of a competition we ran last year – which called on young people to come up with an invention to solve a problem they encountered with the great British summer.
The competition had an amazing response. From submersible beach shelters (to keep your spot on the beach even after the tide has come in), to suncream dispensing sunshades, we were bowled over by people’s creative ideas.
Choosing a winner was a challenge. Along with my fellow judges from the Museum, Phill Dickens from Nottingham University’s 3D Printing Research Group and Atti Emercz from the Engineering and Physical Sciences Research Council, I spent an inspiring morning discussing the inventions and admiring their ingenuity.
In my experience, the best inventions are those designed to address a specific problem, are easy to use and look visually appealing. On this basis, it was easy to pick Sophia’s idea as the winning entry.
However, my biggest challenge was working out how to translate Sophia’s drawing of the Pediclean into a real working product. How could I harness the power of 3D printing to make this a reality?
It occurred to me that it might be nice for Sophia to be able to print her very own Pediclean products on her new Makerbot printer – the prize she won for the competition. To do this I had to ensure that the Pediclean could be assembled from components that could all be printed successfully on a Makerbot. Essentially, this involved splitting up the device into six individual parts which could each be printed on the Makerbot. Each piece took approximately two hours to print. When all the parts were printed, I then screwed them together to form the finished Pediclean.
Luckily, Sophia’s design was brilliantly well thought out, containing detailed instructions – even down to the placement of the water nozzles designed to clean the foot. I was able to copy the sketch exactly to produce a final product that worked beautifully well.
You can see the Pediclean and lots of other examples of how entrepreneurs, artists and designers are using 3D printing to realise their dreams, in our free exhibition.
Project Curator of The Rubbish Collection, Sarah Harvey, considers how art can inspire us to question our everyday relationships with ‘rubbish’.
The newly opened Rubbish Collection exhibition is the latest, and arguably the most ambitious, of the Science Museum’s art commissions. Artist Joshua Sofaer’s exploration of what we throw away, both as an institution and as individuals.
The Rubbish Collection continues our series of thought provoking exhibitions, installations and events relating to the Atmosphere gallery and Climate Changing… programme. Art has had a strong presence throughout this programme, for instance within the Climate Changing Stories (2011-May 2014), David Shrigley’s House of cards (2010) and Tony White’s downloadable novel Shackleton’s Man Goes South (2013).
So, why has art played such an important role in the Science Museum’s exploration of climate science and sustainability? The ability of artists to offer a unique and creative perspective on this challenging subject and to make visible the forgotten or intangible aspects of the world around us is the key.
The Rubbish Collection is an excellent example of this. Sofaer’s concept is deceptively simple: get people to look at what they throw away and consider what happens to it next. It’s certainly not the way a curator would have tackled this topic; it has taken an artist to think the unthinkable and invite Science Museum visitors to help sort piles of rubbish.
Sofaer is cleverly utilising and playing with the recognisable role of the Museum, in collecting, sorting and displaying precious objects, and using them to tell stories. Rather than looking outward, to examine the material production of the world around us, we will be looking at what the Science Museum itself produces in the form of waste and exposing the value of these overlooked materials, both in aesthetic and monetary terms.
The concept is surprising – and in some ways utterly absurd – yet the outcome has the potential to shock as Sofaer brings us face to face with the reality of our daily consumption and waste of resources.
The Climate Changing… programme’s aim was to be thought provoking and The Rubbish Collection certainly fulfils this brief. In the run up to the exhibition it has already stimulated conversations within the Science Museum and it is exciting to know this self-reflection will have an impact on the future decisions the institution makes in relation to sustainability and climate change. As Project Curator of The Rubbish Collection, the project has certainly made me think about rubbish in a very different light. I hope it will inspire all those who take part too.
Phase 1 of The Rubbish Collection runs until 15 July 2014. Phase 2 is open from 25 July until 14 September 2014.
Ulrika Danielsson, Content Coordinator for the Cosmonauts exhibition, reflects on the first woman to travel into space.
On this day (16 June) in 1963, the spacecraft Vostok-6 thundered off into space, joining Vostok-5 in orbit. Shortly afterwards, the commander of Vostok-6 could be heard excitedly calling out over the radio:
“Ya Chaika, Ya Chaika [I am Seagull]! I see the horizon [...] This is the Earth; how beautiful it is. Everything goes well.”
26-year-old Valentina Tereshkova from the Soviet Union had just made history by becoming the first woman in space.
Tereshkova became an instant celebrity as images of her on board Vostok-6 were transmitted to Earth. In fact, due to the mission being shrouded in secrecy, Tereshkova’s own mother only found out about her daughter going to space when seeing the television broadcast.
Returning to Earth after 2 days, 22 hours and 50 minutes in orbit, Tereshkova was feted as a heroine. Her spacecraft, kept for posterity, will be displayed in the exhibition Cosmonauts: Birth of the Space Age which opens at the Science Museum in November 2014.
The mission was not a flawless success but this was hushed up by Soviet leaders who recognised her propaganda value. Joining a small group of flown cosmonauts, Tereshkova soon travelled the world as a cultural ambassador and political spokeswoman.
Within the Soviet Union the cosmonauts were idealised as heroes of a new era that the population should seek to emulate, while abroad they became the public face of the regime. Consequently their schedules were gruelling, and their image and behaviour carefully controlled; private lives ceased to be private.
Like the first man in space, Yuri Gagarin, Tereshkova wanted to fly again but was considered too important as a propaganda tool. Gagarin and Tereshkova’s value partly lay in qualities identified already at their initial selection; both came from modest backgrounds, were diligent students, model workers, politically loyal and personable. They were now celebrated as the communist dream come true.
Tereshkova’s public image differed from Gagarin’s however and was strictly gendered. While Gagarin was portrayed as a military hero in uniform, Tereshkova was shown with immaculate hair and make-up, wearing feminine dresses and high heels. In this way she came to embody the civilian, peaceful aspect of space travel.
In the early 1960s Soviet women were also encouraged to combine good work ethics and political commitment with femininity and a sense of style. Official accounts of Tereshkova consequently tried to reconcile her aptitude for science and technology with being feminine and chic. To quote R.P. Sylvester, “[...] drab was out and Dior was most definitely in”.
While Tereshkova’s accomplishment was held by many as living proof of gender equality under Communism, it soon became apparent that there was a lack of real commitment to continued female participation on the Soviet space program. Not until 1982 would another woman make it into orbit.
Over 50 years after her own space flight, Valentina Tereshkova describes it as the most bright and wonderful experience of her life, and maintains that given the opportunity she would fly into space again.
Discover the dramatic history of the Russian space programme in our new exhibition, Cosmonauts: Birth of the Space Age, opening soon.
This summer the Science Museum is doing something crazy. It is allowing members of the public to rummage through its bins, writes artist Joshua Sofaer.
The Rubbish Collection is a two-part art installation, which will see every single thing thrown out by the Science Museum staff and visitors for 30 days, photographed in a purpose-built temporary archive in the basement of the Wellcome wing. Members of the public will be invited to open the bags of rubbish and layout the contents on an archive table, photograph their arrangement, before repacking the contents in the bag and sending it on its route towards recycling or incineration.
We will then follow the journey that the rubbish takes and will recall it to the Science Museum at various stages in its transformation, for the second part of the project: an exhibition of waste materials. Visitors will be able to see the elements and quantity of stuff thrown out by one institution.
Humans are avid collectors. We are also nosy. We enjoy investigating the things around us and seeing material culture collated, labelled and exhibited. It was this impulse that was the incentive for the first museums. The Rubbish Collection, which will soon fill the exhibition space below, inverts the idea of the museum preserving what is sacred or unique, asking us to consider what we choose to keep, what we discard, and why.
By handling the waste themselves, I hope the public will notice how recycling bins are often contaminated and also how perfectly good resources are sent off needlessly for incineration when they could be reused or recycled.
Mirroring the conventional museum displays that are adjacent, The Rubbish Collection exhibition will confront visitors with a literal representation of one institution’s waste, while focusing attention on the urgent need for waste reduction.
It’s a step into uncharted territory and a courageous thing for the Science Museum to do; allowing the public to rummage through its bins. It shows that their commitment to tackling issues connected to climate change, sustainability and carbon efficiency, starts with themselves.
Rubbish bags are also repositories for stories of our lives. Opening one and laying out the contents is a kind of contemporary archaeology that stimulates the imagination, as we deduce or invent the histories of the materials before us.
Seeing the towers of paper, above, or mountains of glass sand, is similarly not only about recognising the need for more sustainable living, it is also about acknowledging the aesthetic properties and the wonder of the everyday stuff that surrounds us.
The Rubbish Collection runs from 16 June to 14 September 2014. For more information, click here.
Julia Tcharfas, Curatorial Assistant for the upcoming Cosmonauts exhibition, celebrates Alexei Leonov’s 80th birthday.
In the ghostly black and white footage of the first ever spacewalk, cosmonaut Alexei Leonov floats in and out of frame. It is a haunting sight, especially when you learn Leonov did not think he would be able to climb back inside the spaceship.
Leonov, who celebrates his 80th birthday today (May 30), is a former fighter pilot, artist and one of the first Soviet cosmonauts (along with Yuri Gagarin). Leonov flew on two historic missions in the Russian space programme: the first spacewalk in 1965 and the first joint flight between the USSR and US in 1975.
It was a momentous day on 18 March 1965 when Leonov performed the world’s first spacewalk. However, Leonov struggled to fit back through the airlock as his spacesuit ballooned due to excess pressure during the walk. In the end, he opened a valve in the suit to let some of the high-pressure oxygen out, the suit deflated and Leonov squeezed through the airlock head first.
In that instance, Leonov’s brave decisions helped him escape unharmed, but the crew also had trouble with the spacecraft’s brakes upon descent. Leonov and the pilot of the craft, Nikolai Belyaev, made their final landing off course, in the depth of the Taiga forest.
Minutes earlier, the cosmonauts had orbited the Earth, becoming part of the new space age. Back on Earth they had to fight to survive in a different kind of wilderness. After two nights in sub-zero conditions, the two cosmonauts made it out of the woods on skis, chaperoned by a rescue crew.
The stories of these first men and women to venture into the wilderness of outer space will be told in a new exhibition, Cosmonauts: Birth of the Space Age, which opens at the Science Museum in November 2014. Natalia Sidlina, curator of Russian Space at the Science Museum, recently met Alexei Leonov to hear his story.
Leonov’s achievement was momentous – one of many historic milestones for the Russian space programme – beating the US Project Gemini spacewalk by three months. But it was not the heated competition between the USSR and US space programmes that launched the next phase of space travel. Rather, it was their collaboration.
Beginning in the 1970s, an unprecedented partnership began between these two space superpowers. It was this spirit of cooperation that launched the first joint USSR and US flight: the 1975 Soyuz-Apollo mission, with Alexei Leonov as the commander of the Russian crew.
The mission began with Russia’s Soyuz launch from the Baikonur Cosmodrome on July 15, 1975, followed by Apollo launch seven hours later from the Kennedy Space Centre. Differences in language, technology, and politics were set aside. The mission brought together the engineers from both nations, who collaboratively designed a petal-shaped universal docking system – the first of its kind.
The rendezvous of the two spacecrafts, the Soyuz under command of Leonov and Apollo under command of Thomas Stafford went smoothly. The two crews – two cosmonauts and three astronauts – exchanged flags and gifts, participated in collaborative scientific research, and shared dinner together. They also explored each other’s crafts, describing the technologies to the eager audiences back home.
Leonov is not just a cosmonaut; he is also a talented artist who has reflected on his own exploration of space through numerous paintings and drawings, images of which will feature in the upcoming Cosmonauts exhibition. He has taken his coloured pencils on missions and drew portraits of his international crewmates as well as ‘landscapes’ of the Earth from above.
Also sharing a birthday with Leonov is another space pioneer. Helen Sharman, the first Briton in space and first woman to travel to the Mir space station was born on 30 May 1963. Helen’s spacesuit from voyage to the Mir space station aboard the Soyuz spacecraft will also be on display in the Cosmonauts exhibition.
From the early days of the space programme, when every mission seemed to belong to the realm of science fiction, through Cold War rivalry to the era of the International Space Station, these stories are proof that once hostile nations are capable of cooperation towards a shared goal.
Discover more of Leonov’s story and the beginnings of the space age in the Cosmonauts: Birth of the Space Age exhibition opening soon.
Aleks Kolkowski, former sound artist-in-residence, remembers his first encounter with the Museum’s exponential horn.
A long black metal tube, slightly tapered and almost 9-foot-long lay on a row of filing cabinets at Blythe House, the Science Museum’s storage facility. The object was pointed out by John Liffen, the Museum’s Curator of Communications, who guided me during a research visit of the collections in 2008. It was all that remained of a mighty horn loudspeaker that was demonstrated in the Museum during the 1930s, John explained. A demolition accident had almost totally destroyed it in 1949.
Now the tube assumed a more fascinating form, like a fossil or a dinosaur bone as we delved into audio archeology. The story of the horn, researched in great detail by John, sparked an interest in me. Four years later in 2012, on being appointed as the Museum’s first-ever sound artist-in residence, I was given a wonderful opportunity to initiate its reconstruction.
The exponential horn loudspeaker was designed in 1929 by the Museum’s curator of ‘Electrical Communication’ R. P. G. Denman who also personally built a radio receiver to run in tandem with it. The purpose of this new sound system was to provide the public with demonstrations of the highest quality broadcast sound that was obtainable at the time. Denman saw it as setting a benchmark for audio quality, his aim was, in his words “to provide a standard by which commercial apparatus could be judged”.
The horn measured 27 feet (8.23m) in length with a cross section that curved exponentially from 1 1/16 inches (27mm) to a massive 7-foot-1-inch square (2.16m sq.) at the horn mouth. The science and theory of how horns propagate sound had only begun to emerge in the mid-1920s. It was found that a horn with an exponential shape was the most effective means of converting the sound energy from high pressure, low velocity vibrations produced at the narrow end of the horn, into low pressure, high velocity vibrations at its mouth, then radiated into the outside air. However, in order to reproduce the lowest sounding frequencies, this type of horn has to be very long with a correspondingly large opening.
Denman, an expert on loudspeakers, specially designed the horn in order to reproduce frequencies as low as 32Hz and up to 6kHz. This was achieved by loading it to one of the latest moving-coil driver units from the Western Electric Company (U.S.A.) namely the WE 555W, widely used in cinema sound systems of the time and now considered to be one of the greatest loudspeaker drivers ever made.
From 1930 until the outbreak of WWII in 1939, the apparatus was demonstrated daily in the Museum’s Radio Communication gallery. The giant horn mouth appeared through the wall above the entrance while the rest of it hung conspicuously in the adjacent Agricultural Implements gallery. It was built into the Museum’s infrastructure and may be described as being its very first sound installation.
Concerts broadcast on the BBC’s London Regional programmes provided the content for the demonstrations. Critical reactions were positive and for audiences at the time, accustomed to limited bandwidth, interference and distortion, the sound must have truly been a revelation. The Museum’s Radio gallery became a popular lunchtime destination, where sandwiches were cheerfully munched while listening to the classics or Wurlitzer cinema organ music, the audio reproduced in glorious full-range. It left an indelible impression on those who heard it, including John Liffen’s own uncle. Writing in the Audio Engineering Society Journal of April 1975, the audio experts Percy and Geoffrey L. Wilson opined that “no superior loudspeaker has to date been demonstrated in Britain”.
Fast-forward to 2014 and we have an opportunity to hear the horn again.
This is thanks in no small part to the magnificent efforts of the Museum’s Workshops who undertook the reconstruction project with gusto. The missing 18-feet of the horn was rebuilt over an intense 8-month period following Denman’s original specification, although fibre-glass was used in place of the original lead and tin alloy. Led by the Workshops manager Steve Long, the team has succeeded in recreating the single largest loudspeaker in Britain.
The programme for the upcoming installation is a mixture of past and present, allowing us to listen to the horn in old and new ways. Archive material from the BBC will be heard alongside recent recordings made within the Science Museum. Resonance 104.4FM will be resident in the space, broadcasting live from the Museum, while lunchtime concerts via BBC Radio 3 will mirror the original demonstrations of the 1930s. A series of events, including live music, poetry and performance will also showcase new works for the horn created by a variety of artists, writers and radio programme-makers.
The title, “In Search of Perfect Sound”, refers to Roderick Denman’s quest for audio nirvana. Our modern ears may have become accustomed to high fidelity audio and surround sound, but the exponential horn, with its extraordinary sound presence and a distinct three-dimensional effect, still holds an immersive power of its own.
I’m very proud to have played a part in giving the Denman horn a new lease of life and to have witnessed its exponential metamorphosis, from that modest-looking metal tube, cocooned above all those filing cabinets.
The Exponential Horn: In Search of Perfect Sound opens at the Media Space Studio on 20th May. An afternoon of talks and presentations about the horn and the history of radio in Britain will be held on 12th July. Speakers include John Liffen, Aleks Kolkowski, Dan Wilson and Seán Street.
Aleks Kolkowski is a sound artist, violinist and composer with a special interest in early sound recording and reproduction technology.