History & Technology

Bernard works part-time at Melbourne Museum devising and delivering presentations for visitors. The other part of the time he has his nose in a book, most often a comic book.

Bernard/Poirot with a copy of Christie's Murder in Mesopotamia.
Image: Amanda Linardon
Source: Museum Victoria  

Once upon a time, I went through a voracious Agatha Christie period, and immersed myself in a fictional universe of murders daring and domestic, and solutions logical and astonishing. I still return to the Queen of Crime from time to time, for a dose of ordered worlds turned upside down, with order (and an enlarged sense of that world) reinstated by Miss Marple or Hercule Poirot.

So when the chance arose to develop a forum around Agatha Christie's experiences on archaeological digs, which directly led to her happy marriage to Max Mallowan and her1936  novel Murder in Mesopotamia, I stuck on my second-best stick-on moustache and leapt in!

Drawing of Max Mallowan and Agatha Christie in 1946.
Image: Bernard Caleo
Source: Bernard Caleo  

Chairperson for the forum, Melbourne crime writer Angela Savage, explains that the idea for the forum came out of friendly banter about what to read in preparation for our Mesopotamia exhibition. "Someone suggested Murder in Mesopotamia, which I was intrigued to learn was Agatha Christie's most autobiographical novel. The more I learned about Agatha's links to archaeology, her marriage to Max Mallowan and the time they spent together on digs in the Middle East, the more intrigued I became."

Setting the scene of Agatha Christie's visits to the digs in Mesopotamia will be Henrietta McCall of the British Museum, joining us via an exclusive pre-recorded interview to show us on-site photographs of Agatha Christie, Max Mallowan, and Leonard and Katherine Woolley, the leaders of the archaeological expedition.

Leonard and Katherine Woolley excavating in the Royal Cemetery of Ur, 1928
Source: By permission of the Trustees of The British Museum  

Another of our panellists is crime writer Kerry Greenwood, author of the Phryne Fisher series of crime novels set in 1920s Melbourne (recently adapted into an ABC TV series), who will speak about the 'golden rules' that determine Christie's particular style of crime writing. Kerry will also speak about the fascination that the ancient world holds for her as a fictional setting – both she and Christie have set murder mysteries in Ancient Egypt.

The CEO of Museum Victoria, Patrick Greene, also an experienced archaeologist, is our other panellist. Dr Greene's experiences on archaeological digs and his recent travels to Egypt will figure in the panel discussions.

"The relationships between life and art, between detective fiction and archaeology, and how the allure of ancient worlds finds expression in popular art forms suggests rich material for discussion," says Angela Savage. "To be able to assemble such a distinguished panel feels like quite a coup."

It's great to have an opportunity to fill out my knowledge of the fascinating life of Agatha Christie, and I have it on good authority that our friend M. Poirot may indeed make an appearance at the forum, exercising his famous 'little grey cells'.

Hercule Poirot. Or some manifestation thereof.
Image: Amanda Linardon
Source: Museum Victoria  

The Murder in Mesopotamia forum is presented by Melbourne Museum and Sisters in Crime Australia on Sunday 9 September, 2.00-3.30pm. For more information and booking details, see the forum's What's On listing. 

Curator Fiona Kinsey is seeking former employees of Kodak Australasia Pty Ld who worked at the company's factories. She would like to collect oral histories of Kodak workers to support research and documentation of the museum's Kodak Heritage Collection, which includes photos, documents, products, marketing materials and more.

Black and white, silver gelatin photograph of staff in costume at a Kodak Comforts Fund event at the Kodak Australasia Pty Ltd factory in Abbotsford, Victoria, during WWII, circa 1942. (MM 96629)
Source: Museum Victoria  

From 1908 to the 1960s, Kodak was based in Abbotsford on a large factory site now occupied by CUB. In 1961, a huge purpose-built complex at Coburg was officially opened, which then served as Kodak's Australasian headquarters. Local production ceased in 2004 but the Head Office for Kodak Australasia Pty Ltd still operates in Melbourne, back in the company's old neighbourhood in Abbotsford.  

Colour photograph of the Kodak Australasia Pty Ltd factory in Abbotsford, Victoria, circa 1962. (MM 98557)
Source: Museum Victoria

Colour postcard of an aerial view of the Kodak Australasia Pty Ltd factory in Coburg, circa 1965. (MM 98413)
Source: Museum Victoria  

These massive Kodak factories housed much more than just assembly lines for making film paper and emulsions. There were also medical facilities, administrative offices and staff canteens. Fiona is keen to talk to people who worked in any era or section of the company, but she's particularly interested in the history of the Abbotsford factory pre-1950s. She'd also love to hear from relatives or descendants of Kodak staffers who might have relevant information, documents or images.

Anyone with Kodak-related history or material can contact Fiona Kinsey via the Melbourne Museum Discovery Centre by telephone (03 8341 7111) or via their online contact form.

Links:

Kodak Heritage Collection on Collections Online

MV Blog: Putting Kodak's pieces together

Your Question: First generation Australians?

I was wondering (well I’ve been wondering for a while now)... if my parents brought my family over to Australia, who are classed as “first generation Australian”? Is it my children or both my parents and my brother, sister and I being the first generation? Thanks, Vera

Until you asked that question, I thought I was a first generation Australian because my Mum and Dad were born in Holland and I was born here. I liked being a first generation Australian, there's something 'fresh' and 'new', almost 'original' about it.

  Vera (second on the right) and her first generation family at their citizenship ceremony in 1993
Image: Godfrey Gin
Source: Godfrey Gin  

But no, now I find I've been relegated to second place by people like you and your family!

Two first and three second generation Australians. Mum and Dad with their boys.Traralgon,1963.
Source: Max Strating  

That's right, if you were born overseas but now live in Australia, you are a first generation Australian. If you have children, they will become the second generation (like me). But don't just take my word for it; here is what the Australian Bureau of Statistics says on their Population characteristics: Ancestry of Australia's population webpage;

• First generation Australians are people living in Australia who were born overseas.
• Second generation Australians are Australian-born people living in Australia, with at least one overseas-born parent.

First generation Australians enjoying the great “Aussie” outdoors
Image: Godfrey Gin
Source: Godfrey Gin  

So there you have it, you are one of life's winners coming first – generationally at least.

Got a question? Ask us!

When was the last time a household appliance moved you to poetry?

Flyer advertising Electrolux Refrigerators, circa 1960. (TL 011888)
Source: Museum Victoria  

The Discovery Centre recently received an unusual inquiry from Sherryn Danaher who was seeking more information about the Harrison Refrigerator model at Scienceworks. Accompanying her request was a poem dedicated to the tale of the first commercial-scale refrigerator - invented in the 1850s by a Geelong man called James Harrison. Sherryn explained: 

Some years ago I read the fascinating story of James Harrison and his fridge. It wasn't until the 1930's that Kelvinator (if my memory serves me right) seriously started producing refrigerators for the mass market. It struck me that, as so many times since, Australia dipped out on being the forerunner in the development of this appliance. Being a poet, I was inspired to put the story to rhyme and A.A Milne popped up from the dark recesses.

She gave us permission to publish her poem here. Enjoy!

Mr. Harrison's Invention
(apologies to A.A.Milne)

James James Harrison Harrison
Inventor of cooling our beer
Never had heard of whitegoods
Though he's their pioneer.
James James
Said to his country
'Australia' he said, said he
'You must never let meat rot in the heat
Without first consulting me.'

James James
Harrison's invention
(commonly known as fridge)
Was the talk of our town
With its compressor renowned
Cooling lamb and our national swig.

James James Harrison's fridge
Finally wreathed in gold
James James Harrison spoke
When officially told
'So the Melbourne Exhibition
Lauds my invention'
Said to the crowd said he
'I'm proud to receive
though hard to believe in 1873.'

The very next century
We put up a notice
'LOST, STOLEN OR STRAYED !
JAMES JAMES
HARRISON'S FRIDGE
SEEMS TO HAVE BEEN MISLAID
LAST SEEN DEPARTING GEELONG
SUCH A LAMENTABLE LOSS.'
He tried for his country, like many a discovery.
No one had given a toss.

Three generations of Harrisons with the Harrison Refrigerator Model on display at Scienceworks. Left to right: Christopher, James and Mark Harrison.
Image: Jon Augier
Source: Museum Victoria  

The Harrison Refrigerator Model is on display at Scienceworks. 

Your Question: Does the museum hold any images of the restoration of Old Customs House?

In 1998, the Immigration Museum opened in Old Customs House. Since its completion in 1876, considerable changes had been made to the building's interior. Customs officers vacated in 1965 and the building was used as Melbourne offices for the Commonwealth Parliament. Linoleum tiles had replaced original floors, office partitions disguised the original layout, plasterwork was cracked and paintwork peeling.

Customs House being renovated prior to housing Immmigration Museum
Source: Museum Victoria  

Much work was required to restore the building and to adapt the facilities so it could function as a contemporary museum. Consequently, many of the twentieth century additions were removed and architectural features such as tiled floors, moulded ceilings and timber details were restored.

Customs House being renovated prior to housing Immmigration Museum
Source: Museum Victoria  

Customs House renovation: Immigration Museum
Source: Museum Victoria  

The images from the Museum Victoria collection demonstrate some of this restoration process as well as the development of some of the Immigration Museum's original exhibits (many of which have now changed).

Old Customs House exterior being renovated
Source: Museum Victoria  

Old Customs House exterior being renovated
Source: Museum Victoria  

To see the Old Customs House as it looked as the offices for the Commonwealth Parliament, the National Archives of Australia have a series of images of the building during those years. You can search for these images on Picture Australia or on the National Archives website.

Customs House being renovated prior to housing Immmigration Museum. Long Room with finished tesselated flooring
Source: Museum Victoria  

Customs House being renovated prior to housing Immmigration Museum. Construction of The Boat in the Long Room
Source: Museum Victoria   

Links

Old Customs House

Zoe Meagher's performance and audio tour, Goodbye, CSIRAC, takes place at Melbourne Museum this week as part of the 2012 Next Wave Festival. Described as "a love letter to 1960s computing and sci-fi", Goodbye, CSIRAC reflects upon a long-gone era when computers occupied whole rooms and ran programs that women punched into paper tape.

A performance of Goodbye, CSIRAC at Melbourne Museum.
Source: Museum Victoria  

Zoe's fondness for first-generation computers was forged while working at Melbourne Museum, where CSIRAC now lurks in the lower ground floor. Zoe was also inspired by former technical assistant Kay Thorne, who recalled that that prior to CSIRAC, the same kinds of calculations were done by female workers who were also called computers. In Goodbye, CSIRAC, Zoe performs as the Ghost of Computers Past, an amalgamation of these long-gone human and mechanical computers. "The idea that these human, female computers were replaced by CSIRAC, which was in turn replaced, led to the Ghost," says Zoe.

Zoe pondered what CSIRAC would say if it had a voice, and what it would want us to remember. With slow, robotic movements and draped in eerie gossamer, her Ghost appears in several locations as the audience is directed through exhibits by the audio guide. Plugged in to the Ghost's  thoughts and feelings, this closed soundscape unifies the small audience group while simultaneously isolating them from other museum visitors. In a surprisingly touching moment the Ghost asks to meet the computers in the pockets of the group. "Is she your first?" she asks, as she mourns the discarded models that came before them: "Did you wipe her memory first?"

Interspersed with the melancholy monologue of the Ghost are extracts from articles in the 1960s that promoted computer programming as an excellent career choice for girls. A quote from a prominent computer scientist of the day claims that since the discipline shares the fundamental requirements of dinner-party planning, such as planning and patience, women have a natural aptitude for it. Zoe explains that it was considered an "appropriate feminine occupation, much like clerical work, and largely unacknowledged." What happened to these women, and how did computer science became the male-dominated field it is today? In an absorbing and immersive way, Zoe's Ghost invites the audience to consider the changing fate of female computer operators and their machines.

Goodbye, CSIRAC is a free performance that runs from 22-27 May at Melbourne Museum. Each show is limited to 12 people so bookings are essential. Book online through the Next Wave website or call 1300 30 40 72. Bookings do not include general entry to the museum.

Links:

Next Wave 2012: Goodbye, CSIRAC

CSIRAC in Collections Online

CSIRAC website