Sound and vision blog

Introduction

Discover more about the British Library's 6 million sound recordings and the access we provide to thousands of moving images. Comments and feedback are welcomed. Read more

24 August 2020

Recording of the week: Lubaina Himid and Griselda Pollock in conversation (ICA, 1988)

This week's selection comes from Dr Eva del Rey, Curator of Drama and Literature Recordings and Digital Performance.

Listen to artist Lubaina Himid in conversation with the art historian Griselda Pollock, recorded in 1988 at the Institute of Contemporary Arts (ICA), London.

The discussion focuses on the impact of feminism in visual arts in the 1970s and early 1980s. It also addresses the under-representation of black women artists in the history of feminist art practice. There is a Q&A at the end of the talk, which includes remarks by artist and writer Maud Sulter, who started the Blackwomen Creativity Project in 1982.

Detail of ‘A Fashionable Marriage’ (1986) by Lubaina Himid. Photo credit: David Perry
Detail of ‘A Fashionable Marriage’ (1986) by Lubaina Himid. Photo credit: David Perry 

Lubaina Himid ICA London 1988

Griselda Pollock introduces Framing Feminism: Art and the Women’s Movement 1970-1985. This is an anthology of essays she has co-edited with Roszika Parker, documenting feminist art practices in the UK.

The book includes press releases, newspaper articles and reviews from events and exhibitions of the time. It became a seminal text in the discipline of art history in the UK. Lubaina Himid argues that the book, and feminist art history, is white-female-dominated and lacks a meaningful inclusion of black women artists:

I don’t really know that much about publishing really, except that I find that I can’t find myself - myself meaning ourselves: black women – in books very much written by black women, saying the things that we want to say, and that chronicle our experience as we had it.

Lubaina Himid MBE, CBE, is an artist, curator, writer and Professor of Contemporary Art at the University of Central Lancashire. She trained as a theatre designer followed by an MA in Cultural History at the Royal College of Art. Her dissertation title was Young Black Artists in Britain Today (1984).

Himid won the Turner Prize in 2017 and has exhibited all over the world. Her work is in major public collections, such as Tate Britain, the Victoria & Albert Museum and the Arts Council Collection.

Since the start of her career she has both made art and curated exhibitions. She was a leading figure in the British Black Arts Movement of the 1980s and 1990s, and helped bring public attention to her generation of black women artists.

In her 2006-2007 interview for the British Library, National Life Stories project Artists’ Lives she said:

‘We wanted to shift how we as black people were seen in the world - and we were using art to do it.’

Himid works in painting, drawing, installation and printmaking. She makes art to open up conversations about race, gender, class and to ‘fill in the gaps of history’. Through her work, she reclaims the histories and contributions of black people in the history of Europe from the colonial times to the present.

‘We made art to make ourselves visible, to be part of a bigger history.’

She has created projects to challenge the representation of black people in the media and culture, such as the Guardian series. She also has reached out to institutions and archives to influence the inclusion of artists of colour in their collections.

At the time of this 1988 recording at the ICA, Himid had already curated four exhibitions of black women artists and had had two solo exhibitions.

5 Black Women at the Africa Centre (1983) Covent Garden London.
Black Woman Time Now (1983/4) Battersea Arts Centre London.
The Thin Black Line (1985) Institute of Contemporary Art London.
Unrecorded Truths (1986) The Elbow Room Gallery, Borough, London.
A Fashionable Marriage (1986) Pentonville Gallery, London (solo exhibition).
New Robes for MaShulan (1987) Rochdale Art Gallery, Lancashire, England (solo exhibition which included a collaborative work with Maud Sulter).

This recording is part of the ICA collection C95, available online on the British Library Sounds website. It contains 889 talks and discussions held at the Institute of Contemporary Arts, London, during the period 1982-1993, featuring leading writers, artists and filmmakers.

Follow @BL_DramaSound and @soundarchive for all the latest news.

References:

Lubaina Himid (1990). Mapping: A Decade of Black Women Artists 1980-1990.
Maud Sulter 1990, Passion: Discourses On Blackwomen's Creativity, Hebden Bridge: Urban Fox Press.

Making Histories Visible. An interdisciplinary visual art research project based in the Centre for Contemporary Art (School of Art, Design and Fashion) at the University of Central Lancashire (website).

The Thin Black Line(s).Tate Britain 2011-2012 (exhibition catalogue).

Lubaina Himid (2006-2007). National Life Stories: Artists' Lives C466/249. An oral history of Lubaina Himid interviewed by Anna Dyke at the artist’s home in Preston. Available online with full transcript.

In Conversation: Lubaina Himid & Courtney J. Martin (17 Feb 2017). A talk on the occasion of Invisible Strategies, the first major survey exhibition by British artist Lubaina Himid at the Modern Art Oxford gallery (20 Jan - 30 April 2017).

Modern Art Oxford - Lubaina Himid: Invisible Strategies (2017). 3D view of the exhibition presented by Vroom 360.co.uk

19 August 2020

Walking in the archive

Cheryl Tipp, Curator of Wildlife & Environmental Sounds writes:

As you might expect, our wildlife collection is brimming with the sounds of animals communicating with each other. From songs and calls to bill snaps and tail quivers, this assortment of messages provides a rich overview of the types of conversations taking place in the natural world.

What may come as a surprise is that we don’t just collect vocalisations. Though this is a core aspect of the collection, we’re not just interested in what animals are saying. We’re also interested in what they’re doing.

A small subsection of the collection is dedicated to the sounds of animals moving through their environment. From African Buffalo wading through a river in search of food to stampeding Blue Wildebeest on migration, these recordings make you feel as if you’re part of the journey. Below are just a few examples of animals walking in the archive:

African Elephant walking through dry grass. Recorded in the Imire Safari Ranch, Zimbabwe during September 1998 by Nigel Tucker (BL ref 125581)

African Elephant walking through dry grass

Blue Wildebeest migration flow. Recorded in the Maasai Mara, Kenya on 18 August 1988 by Claude Chappuis (BL ref cc23811) 

Group of Blue Wildebeest on migration

Domestic Horse trotting on tarmac. Recorded in Yorkshire, England on 31 December 1985 by Simon T.Elliott (BL ref 29170)

Horse hooves

Semi-domestic Reindeer herd on migration. Recorded in Finnmark, Norway on 10 May 1980 by Ray Goodwin (BL ref 12509) 

Close up shot of a Reindeer

African Buffalo feeding on and walking through reeds in a muddy, shallow river. Recorded in the Imire Safari Ranch during September 1998 by Nigel Tucker (BL ref 125626)

Close up shot of an African Buffalo

It's a bit of a professional prerequisite, but wildlife sound recordists are usually absent from their recordings. Occasionally though, recordists turn the microphone on themselves, offering us a tiny sonic glimpse of their own journeys through the landscape.

Walking on shingle. Recorded in East Sussex, England on 11 August 2013 by Phil Riddett (BL ref 212343)

Small pebbles on a shingle beach

Footsteps in snow. Recorded in Kent, England on 2 February 2009 by Phil Riddett (BL ref 111375)

Footsteps in snow

For those of you interested in learning more about the sonic aspects of walking, next month's Sound Walk September is definitely something to investigate. For four weeks this global celebration of sound walks will present a varied programme of events designed to inspire and educate. More information can be found on the walk.listen.create website.

Follow @CherylTipp and @soundarchive for all the latest news.

17 August 2020

Recording of the week: Ganapati, mythology and Koh-i-Noors: a poetry reading by Debjani Chatterjee

This week's selection comes from Catherine Smith, Audio Project Cataloguer for Unlocking our Sound Heritage.

To celebrate the first official South Asian Heritage Month in the U.K., running from July 18th to August 17th, we are sharing the beautiful poetry of Debjani Chatterjee (1952-), an Indian-born British award-winning poet, children's writer, storyteller, editor and translator.

Having joined the Library earlier this year as an Audio Project Cataloguer, the first recordings I began working on were from the vast and impressive Poetry Society collection. It comprises well over 400 items, including reel-to-reel tape, DAT, Betamax and compact cassette, which are being digitised as part of the sound archive’s Unlocking Our Sound Heritage project. The Poetry Society collection includes a diverse range of poetry, prose and literary events recorded in London by the Poetry Society and the British Library, beginning in the late 60s and continuing up until the early 90s. It includes an array of wonderful poets, both famous and lesser known.

I was delighted to come across Debjani Chatterjee’s poetry whilst cataloguing her reading at a Poetry Society event held at the National Poetry Centre in April 1990. The event also featured Indian poet, Eunice De Souza. The poets conjure vivid and sensory worlds, depicting Indian and British culture, religion, mythology and wildlife, whilst skillfully addressing issues relating to feminism, identity, racism and environmentalism with wit and poignancy.

Ganesa on Parvati's lap
Ganesa on Parvati's lap. The young Ganesa, wearing a yellow ‘dhoti’ is seated in Parvati’s lap with his rat; Parvati, wearing a red ‘sari,’ sits on lotuses in a canopied throne.                                Shelfmark: Add.Or.1036. Artist/creator: Anon. Place and date of production: c.1770.              Credit: British Library.

'To the English Language' - Debjani Chatterjee (C15/428 C21)

Chatterjee was born in Delhi and grew up in India, Japan, Bangladesh, Hong Kong and Egypt, then moved to England in 1972. This poem ‘To the English Language’ cleverly portrays the perspective of an Indian immigrant making the UK their home and coming to terms with the contradictory emotions faced whilst asserting the importance of her place and voice, adeptly using the infamous ‘Koh-i-noor’ diamond as a metaphor. Chatterjee introduces the poem as “a journey to a language” and “a journey to a country”.

'Ganapati' - Debjani Chatterjee (C15/428 C25)

In Hindu mythology, Ganapati is the ‘elephant-headed god of wisdom’, also known as Ganesha or Gaṇeśa, amongst other titles. He is the son of Parvati, goddess of the mountains, and Shiva, god of destruction and the destroyer of evil. This poem is directed at Ganapati’s mother, Parvati, as depicted in the image. The poem refers to a tradition from Bengal, the home of Chatterjee’s ancestors, in which Ganapati is married to the banana tree. Chatterjee reveals earlier in the reading that she is particularly interested in elephants and she has written a large amount of prose and poems inspired by them.

'I Was That Woman' - Debjani Chatterjee (C15/428 C26)

This influential poem takes us on a journey, exploring various women, goddesses, heroines and characters from multiple countries, religions and cultures, both mythological and real. It includes Eve in the Garden of Eden, Sita, heroine of The Ramayana, Draupadi, heroine of The Mahabharata, Medusa and the Buddha’s aunt, to name just a few. I would encourage you to delve into Debjani Chatterjee’s poetry and explore the rest of the characters further. Debjani Chatterjee's website is a good starting point for understanding some of the references in the poem above.

The entirety of Debjani Chatterjee’s reading at this Poetry Society event (C15/428), along with the rest of the Poetry Society collection, will be available for on-site listening in Reading Rooms at the British Library. Other poets we recommend exploring in the C15 Poetry Society collection include Sujata Bhatt, Suniti Namjoshi, Iftikhar Arif and Saqi Farooqi. You may also be interested in the South Asian Literature Society event on C15/310.

Thank you to Debjani Chatterjee for kindly allowing us to share her poetry readings.

Follow @BL_DramaSound, @BLSoundHeritage and @soundarchive for all the latest news.

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10 August 2020

Recording of the week: Do you know what a paternoster is?

This week's recording of the week comes from Holly Gilbert, Cataloguer of Digital Multimedia Collections.

Photograph of colleagues Sharon and Jonathan

Sharon and Jonathan are colleagues who work together in the Finance department of the British Library, based in Boston Spa in Yorkshire. Sharon has been employed by the library for 42 years whereas Jonathan is the newest member of the team. They discuss their experiences of work and how expectations and attitudes have changed over time. Sharon talks about what it was like to work for the British Library in the past and describes some of the old equipment that was used, including a paternoster. She also mentions the surprising lack of health and safety regulations back then which meant that employees were actually allowed to smoke inside the library buildings, something that Jonathan can’t even imagine happening now.

Sharon and Jonathan (BL REF C1500/845)

This recording is part of The Listening Project, an audio archive of conversations recorded by the BBC and archived at the British Library. The full conversation between Sharon and Jonathan can be found on British Library Sounds.

Follow @CollectingSound and @soundarchive for all the latest news.

04 August 2020

In celebration of owls

Today marks International Owl Awareness Day, an annual celebration created to raise awareness and spread knowledge about these fascinating birds of prey. 

There are around 200 species of owl living today. Some, such as the Elf Owl, can fit into the palm of your hand while others, such as Blakiston's Fish Owl are the size of a small child. Some birds, such as the aptly-named Snowy Owl, are adapted to life in the frozen Arctic tundra while others, such as the Burrowing Owl, prefer the heat of the desert.

Owls of North AmericaPlate featuring illustrations of 8 owl species. Taken from The Birds of North America by Jacob H. Studer (1903)

The sound archive has over 2,500 recordings of owls from all over the world. Though by no means exhaustive, this constantly growing collection has served researchers, educators and creators for over 50 years. Below are just a few examples of our favourite recordings:

Eurasian Scops Owl (Otus scops), recorded by Alan Burbidge in the Bükk Hills range of Hungary on 10 May 2003 (BL ref 145594)

Tawny Owl (Strix aluco), recorded by Richard Margoschis in Gloucestershire, England on 16 October 1979 (BL ref 09647)

Madagascar Scops Owls (Otus rutilus),  recorded by Tony Baylis in Montagne d'Ambre National Park on 30 September 1990  (BL ref 66410)

Barking Owls (Ninox connivens), recorded by David Lumsdaine in Queensland, Australia on 24 November 1997 (BL ref 152426)

If you're interested in visuals then the British Library's Flickr collection is your new best friend. Here you will find a fantastic assortment of freely available images taken from the pages of some of our 17th-19th century digitised books. There's even an entire album dedicated to owls. So head on over to the Digital Scholarship blog to read more about this collection and the different ways in which you can use these images to make some art of your own.Selection of owl images from the British Library's Flickr accountA selection of owl images from the British Library's Flickr collection 

The UK Web Archive is another excellent resource for owl-related information. The Web Archive team have been doing some domain digging and have found that the Barn Owl was consistently the most talked about British owl between 1996-2013. Visit the team's blog to find out more about this and learn how you can nominate your own favourite websites for inclusion in the UK Web Archive.

Today is a great day to learn more about owls. As well as checking out our blog posts, make sure to follow #InternationalOwlAwarenessDay on Twitter to see what else is going on around the world. We'll also be sharing some special owl GIFs which feature both sounds and images taken from our collections. These were created by our Assistant Web Archivist and will be popping up on the Wildlife, Web Archive and Digital Scholarship Twitter accounts. So do check these out too. It'll be a hoot.

03 August 2020

Recording of the week: Evening by Lake Siemianówka

This week's selection comes from Cheryl Tipp, Curator of Wildlife & Environmental Sounds.

Lakeside at dusk

Lake Siemianówka is one of the largest artificial lakes in Poland. Created by human hands in the upper stream of the Narew River, this body of water is now home to a wealth of wildlife that live on, under and around the lake.

The following recording was made at dusk during May 2001 by Ian Christopher Todd. The rapid chattering of European Tree Frogs (Hyla arborea) and the haunting calls of Fire-bellied Toads (Bombina bombina) dominate this lakeside ambience. Amphibians aren’t the only voices drifting over the water though; the ‘dripping tap’ call of a Spotted Crake (Porzana porzana) and the faint booming from a distant Eurasian Bittern (Botaurus stellaris) can also be heard.

Evening by Lake Siemianówka (BL ref 90986)

This recording is part of a much larger collection of wildlife and environmental field recordings that have been preserved as part of the Unlocking our Sound Heritage project.

Follow @CherylTipp and @soundarchive for all the latest news.

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27 July 2020

Recording of the week: The secret song of the skylark

This week’s selection comes from Cheryl Tipp, Wildlife and Environmental Sounds Curator.

Birds are much like people when it comes to using sound to express themselves. Some are measured and mellow while others go at it hammer and tongs.

The Eurasian Skylark (Alauda arvensis) is a songster that firmly believes in sonic bombardment. Not that this is a bad thing; its complex song is an almost continuous stream of beauty that has been enjoyed by humans throughout the ages. Though pleasing to our ears, the skylark’s sweet song is actually a lucky byproduct of evolution.

19th Century Colour Illustration of the Eurasian Skylark
Eurasian Skylark colour plate from Coloured Figures of the Birds of the British Islands, Vol 4, issued by Lord Lilford, London 1885-1897 (via the Biodiversity Heritage Library)

During the breeding season, males use their songs to attract potential mates. Speed, stamina and complexity act as indicators of fitness and help females decide who to settle down with. Sadly our ears are not designed to fully process the vast amount of information contained within these aerial serenades but, thanks to technology, we can get a little closer to the detail. How do we do this? By slowing things down.

The following clip contains both the normal song of a skylark and a slowed down version. The original was recorded by Alan Burbidge on the Hebridean island of North Uist during May 1997 (BL ref 145065).

Slowing down a skylark's song

Follow @CherylTipp and @soundarchive for all the latest news.

23 July 2020

Oral History of British Science and transnational history

Dr Sally Horrocks writes about her recent talk at the Global Digital History of Science Festival.

Earlier this month the British Society for the History of Science hosted a successful online ‘Global Digital History of Science Festival’ in place of is usual annual conference. This event prompted me to reflect on how the interviews collected for An Oral History of British Science might be used to explore transnational histories of science and to think about what happens when we view our interviewees as nodes in transnational networks rather than as ‘British scientists’. I was also interested to see what oral history, particularly the extended life story approach used in An Oral History of British Science, might contribute to the project of writing transnational histories of science.

Interviews reveal the ways in which individuals moved across borders at all stages of their lives and for many reasons, sometimes several times- as child refugees, as students, as postdocs, to take up new employment opportunities, as a consequence of the regulatory state.

As a collection these interviews show how individual, family and state decisions, accrete to create a transnational scientific community that is constantly in flux. They also reveal the individual costs of these moves and the barriers that had to be navigated during such transitions that are often not discussed elsewhere.

Oral histories also reveal how individuals who make these moves create their own sense of individual identity. Lithuanian born, South Africa raised Aaron Klug, 1982 Nobel Prize winner for chemistry, reflected on his multiple identities: ‘All these things co-existed. But I didn’t feel any contradiction between feeling Jewish and being South African and also a British subject.’

The ways in which personal relationships were developed and sustained across national borders, and how these relationships acted as facilitators of knowledge exchange also emerge strongly. The cartoon below, presented to physicist Mike Forrest by his Soviet colleague Boris Kadomtsev, a Lenin Prize winner, suggests a sense of fun and camaraderie which also emerges from the interview and shows us a different side of prominent figures:

A black and white cartoon of scientists on a train

Mike Forrest on his first day in the USSR (C1379/48)

So we had this very formal invitation from the Russians, and that was my first trip to Russia. We were met at the airport by Volodiya Sannikov the young Russian who was going to work with us. I think it was December the ninth, so it was a type of deepest Russian winter, a cold one as well, quite a blast when you got off the plane, and even more so when we got out the car to go into the hotel. The first day, I think the first day we went out to see the Park of Achievements, and the second day we went to the lab. Peter Wilcock has a different [laughs] he has a complete reverse, so this is one of these memory things where we remember totally different things. My version, this chap Dennis Ivanov who was the engineer physicist who designed T3, he picked up us up at the hotel and took us to the Park of Achievements in Moscow. This is where they show off all the latest – exhibitions of all the latest stuff. And of course then it was all space. So we actually saw Gagarin’s space capsule, which is fairly horrific. It was like a cannonball with leather straps inside, you just couldn’t imagine, you know, going inside that. I think – it’s a huge, it must have been about a 100 acre site, and it’s the middle of winter, and I think we were about the only tourists there. Anyway, Dennis said “lets go and eat and we'll start talking about the project.” So he took us to this restaurant and plied us with vodka. By the time the food had come [laughs] we were getting a bit sloshed, I think is the right word. Anyway, and then we started chatting, you know, technicalities and we ended up drawing – we didn’t have any drawings of the machine there, so we ended up drawing things on the paper tablecloth. In fact I can recollect carrying bits of this back so we’d have a record, because we honestly wouldn’t have remembered the conversation [laughs].

Oral histories also reveal the significance and involvement of scientists families in these relationships. Dennis Higton, who spent time as technical liaison to the British Embassy in Washington recalled the significance of his wife to his career, describing her as ‘the heroine of the whole trip’:

Dennis Higton on dinner parties in the USA (C1379/41)

I was posted to America in a hurry, but the reason for the hurry was the chap I was replacing had been thrown back home. I was told when I got there – well, I was told by the Foreign Office before I left. They said, ‘Look, we’re bringing you over, the last chap in the world we want to see really, but the real reason for getting you there, what they called the social side, was crashing fast and your task is to put that straight. It doesn’t matter what you do on the technical side.’ But they worried about my wife, but they shouldn’t have done. They thought she was – unable to cope with dinner parties every other night and go out nicely dressed, but she was – she was the heroine of the whole trip, I’m pleased to say. In fact the Americans, they all said, ‘We don’t want to see you, Dennis,’ they said, ‘We want old Joy Bells back, you see.’ And these parties, you see, they not only enable you to talk to people in your discipline, but you’ll meet all sorts of people in all the other disciplines, you see. They’d always be... In your house you’ll always have a meal. Sometimes there are little parties. Sometimes the house would be full of people drinking and eating.

What reasons do you have for throwing a party?

Well, to get to know people. There’s no point in shaking hands at the airport, you’ve got to know them so that they talk to you and you can talk to them. It’s all about talking to people and people that you trust and they trust you. And you’ve got the energy to do it. That’s the – that’s the requirement of a Washington chap.

These personal relationships helped when it became necessary to circumvent the regulatory state. Interviews with John Scott-Scott and John Nye capture details that out of necessity would never have been committed to paper; of clandestine meetings on benches between British and US scientists, or with Soviet dissidents:

John Scott-Scott on a trip to California (C1379/32)

But they were jolly good, and that’s where you can meet these informal people in the corridor over a cup of tea, where we’d pretend to forget all about security. Yeah, well you’d check that the fellow’s not Russian for a start, but generally speaking you can have a better meeting than you have in a formal sense. Now on one of these things I fixed up with someone to go and see them another day, after the conference, and in the meanwhile some wretch, I don’t know whether it was the British Embassy who used to play us up a lot, had decided, they’d found out about me, and they were going to ban my visit. So I had to turn up at the gate of this place, and they said, ‘You can’t come in, John, sorry, we’re not allowed to do this, that and the other.’ I said, ‘Well that’s a bit daft, I’ve come 6,000 miles,’ because it was on the far side, ‘to have a chat with you.’ ‘Ah, don’t worry about it,’ he said, ‘you just can’t come on site.’ I said, ‘What am I going to do then?’ He says, ‘Drive back half a mile,’ he says, ‘and you’ll find there’s a sort of park area with one or two benches. Just go and park down there.’ I said, ‘All right,’ try anything once. Well you won’t believe it, by the time I got down there half the bushes had got blokes in them. And these blokes all walk out, and they come and sit on these benches round in a circle, and we have a wonderful meeting out there, where someone brought a cold box so we got something cold to drink, and we had our meeting outside in the sun of California. So it just shows, if you know a few people, you know, and they were always very good to me that way.

John Nye on handing over offprints on a bench (C1379/22)

I also discovered that there was a Geophysics Seminar on similar lands in Moscow, and I was invited to, er, address them. I went out there, and we sat round a table and talked about geophysics. And one of the chaps there said please could he have reprints. And I said, ‘Of course, certainly I can, but I’ve left them, I’ve got them all in the hotel.’ ‘Oh,’ he said, ‘I’ll pick them up tomorrow morning.’ I was staying in the big hotel where all the foreigners stayed at that time, near the Kremlin. And I said, 'well, I’ll give them to you at my hotel'. ‘No, I can’t come into your hotel,’ he said, ‘we’ll meet outside.’ So we met outside. And he had this carrier bag that all Russians carry around with them in case there’s a bargain going in the shops, so something just come in. And he said, ‘We will walk,’ and we walked, and we walked, and we walked to a park. And traditionally we sat down [laughs] on the park bench. And I took the reprints out of my briefcase and he put them into his carrier bag, just like [laughs] they do in the movies. [Laughs] And I’m sure we were not being observed, but that was his concern. And I went back to my hotel and he went back to his lab.

Written records tell us much about how transnational communities and institutional structures have been constructed and maintained, interviews reveal the practical everyday tasks required to sustain longstanding collaborations such as the International Geophysical Year (1957-58) or World Ocean Circulation Experiment. They also show the many individual contributions that enabled some institutions to develop a reputation as important nodes in international networks

David Davies, editor of Nature from 1973 to 1980, noted of the Department of Geodesy and Geophysics in Cambridge during the early 1970s, ‘they need somebody in a department who will make things happen. You know, who will organise the symposia, who will meet the visitors, who will organise the expeditions’:

David Davies on doing departmental donkey work (C1379/60)

My – I think my job at the department was [laughs] – I sort of knew I wasn’t going to be a brilliant scientist, I sort of knew, I knew I wasn’t, I’d be – and I knew that there were good, really good people coming through all the time like – like Dan for instance who – but all departments in every scientific discipline, every discipline, they need somebody in a department who will make things happen. You know, who will organise the symposia, who will meet the visitors, who will organise the expeditions, this that and the other. And I think – I sort of knew at that stage that that was my role, read the stuff in the library and tell other people about. Being the – being the sort of gatekeeper in a way, friendly gatekeeper, not an unfriendly gatekeeper, and I sort of fitted into that role. I mean Teddy, Teddy sort of was brilliant in all sorts of directions but somebody needed to sort of take onto his bright ideas and move them somewhere else or say, no it wouldn’t work, or let’s try it out. And everybody else really, all the research students, said you needed some – somebody in the department who just knew broadly what was going on and could organise things. And I suppose I slipped into that role ‘cause nobody else did it but, you know, inviting speakers to colloquium and driving people from the station [laughs] and all that kind of stuff. So – and departments do need that as well as brilliant minds, they do need people who will do the donkey work.

Interviews also capture how these practices have changed over time. Physicist Ann Wintle reflected on how email and Skype had enabled her to remain active in her field after retirement, remarking ‘you can discuss things with anybody anywhere’ - allowing her to participate in a transnational research community without leaving her own home in the same way that I was able to do as an attendee at the Festival.

Ann Wintle on laboratory work via Skype (C1379/57)

I guess when I turned sixty in 2008, I was by then thinking, I’ve got to do something with my life, I can’t actually sit in Aberystwyth forever. You know, there are two perfectly competent people running a lab here but, you know, I will feel like the - you know, the sort of – the ghost that creeps in from time to time and this isn’t right, they need to be – not have me anywhere in sight. So yeah, I decided coming to Cambridge would be a good idea and just made the move, so … still have the same interests but no sort of – nobody to go talk to every day, but when you can do it on Skype or on the phone or send emails, it’s not – not a problem. I can still think and work and write, so that’s good. You know, I can download from libraries. That means that, you know, all the information is still at your fingertips. It’s only when you’re wanting to have a detailed discussion with somebody, equivalent to having a discussion with them in the room, that the Skype comes in and then you’re – you can do instant texting. You can almost write – you can almost type as fast as you can talk. So you can just, you know, talk like we are now but you’re just doing it on a keyboard. And that person is instantly there engaging with you, whereas if it’s emails it might take a little bit and they may have wandered off somewhere. But I mean, in this case it’s – it’s absolutely instant. And then we send – we’re still sending emails with files on them if we want to know, you know, 'what does that dataset look like?' and, ooh, 'go check your email box, I’ve just sent it to you'. So you can get that and then you can look at it and then you can both talk about it. That – that’s how it works. It’s really – it’s great. I mean, it’s, you know, you’d – I can see why in the past some people might have either gone very solitary when they retired or they disengaged totally from their academic field, because they didn’t have any interactions that – in this way, because you didn’t have the communication. Now you’ve got the communication, you know, you can discuss things with anybody anywhere. So you’ve I think probably got more chance of staying involved with your – with your research ideas. Though you don’t have the equipment to do it yourself, you’ve still got the ideas and if you hit it right you can persuade somebody to do the experiment you would do if you were there. They think it’s their experiment but, you know, you know you’ve just pushed them in that little direction, saying, ‘Ooh, I think I’d look at that, yeah.’ So that’s – that’s great fun. It also means they have to go off and spend physical time doing the experiments where you can go off and read a book [laughs].

Dr Sally Horrocks is the Senior Academic Advisor for the National Life Stories project An Oral History of British Science. All the clips featured in this blog can he found on the Voices of Science website.