Melbourne Museum

The theme of the most recent SmartBar at Melbourne Museum was 'retrofuturism'. A perfect theme to base a demonstration of technology that's definitely more future than retro – 3D printing.

During the evening we had two printers set up: the Museum's recently-purchased MakerBot Replicator2 and a printer brought along by our colleagues Bernard Meade and Ben Kreunen (from The University of Melbourne). Bernard and Ben also brought along a 3D scanner, and spent the evening scanning specimens from our Marine Invertebrates collection.

3D printers and scanner demonstration with an enthusiastic and interested crowd at SmartBar, Melbourne Museum, April 2013.
Image: Ben Kreunen
Source: The University of Melbourne  

We had an incredibly positive response with people very interested to see the new technology demonstrated. One reaction was surprise that the Museum is experimenting in this emerging field. “What are you going to use it for?” was a common question. The answer ranges from science (especially palaeontological) research, to rapid prototyping of exhibition components, to modelling. And the list will continue to grow. Other museums are also experimenting, and 3D printing maker spaces have been popping up at museum technology conferences for a couple of years now.

We also used the deadline of SmartBar to test out possible workflows, as we have also recently purchased a 3D scanner. With the scanner located in our Media Production department, our best expertise at handling 3D files located in our Design team, and the printer located in our Digital and Emerging Technology department, we wanted to see how well a new cross-department workflow might go.

The MakerBot Replicator2 in action, printing an ammonite.
Image: Ely Wallis
Source: Museum Victoria  

Our Sciences department supplied some collection specimens to scan, which we did more and less successfully. The best was an ammonite, and our scan of a trilobite was okay, though we want to try printing it end on to get better relief detail.

Less successful was a biscuit star which looked to have enough surface detail to scan well, but which ended up looking like a lump of dough. The lessons learned were that we should upgrade our scanning software, and that we need a lot more practice in how to fill in ends and merge multiple scans to get a complex 3D shape with no holes.

The least successful, but amusing, experiment was an attempt to scan quartz crystals. Lovely shapes but the lasers passed straight through or bounced off the clear crystals, providing a very pretty laser light show but no scan. Next time we’ll try powdering them to get a better matt surface.

Real ammonite specimen from Museum Victoria’s palaeontology collection, next to the 3D printed model.
Image: Ben Healley
Source: Museum Victoria  

All in all, it was a fun night, and a successful first attempt at our own scanning and printing. Congratulations to all who attended SmartBar and got to take home their own 3D printed ammonite. In case you’re interested, the original is a fossil Pleuroceras sp, which was found in Bavaria in Germany.

We have now uploaded the ammonite scan to Museum Victoria’s collection (of one!) in Thingiverse, a website for sharing 3D printable files and where you’ll find other museums also uploading scans. We’ll continue to add specimens and models there over time.

Happy printing!

(see also Amstrad on display at SmartBar)

Up in her studio in Melbourne’s CBD, artist and animator Isobel Knowles is working on something wonderful for the First Peoples exhibition. She is turning accounts of the traditional toys and play of Aboriginal children into beautiful animations for our young visitors. 

Isobel Knowles in her studio with some of the paper cutouts she uses in her animations.
Source: Museum Victoria  

Isobel creates her animations with a combination of delicately cut pieces of paper, watercolour washes, photography and digital techniques. For this project, she took scripts that the exhibition curators wrote – mostly in collaboration with members of the First Peoples Yulendj Group – and brought them to life. Each animation shows the playthings in use which, in many cases, emulate the activities of the adults around them, such as nursing mothers and men hunting. Isobel has presented the stories with a deft touch of humour because, as she describes them, “they’re stories of the cheeky things that kids do.”

Isobel's materials: paper cutouts of a paddlesteamer and vegetation, and her storyboard sketches.
Source: Museum Victoria  

Isobel began with thinking about how she wanted the animations to feel and researching the landscapes of the different areas and the colours that would capture the Australian bush. “It’s been really nice working with Australian bush imagery,” she says. “Usually I’m referencing fairy tales so it’s a European look.” She also carefully considered how the children should appear. “I’ve been trying to research what they would wear but a lot of the reference pictures are during special events,” explains Isobel. Yulendj members helped her get these details right when she showed them the animations last week.

Still image from a work-in-progress: Isobel's digital animation of the mudswitch story.
Image: Isobel Knowles
Source: Museum Victoria  

In the Toy Story case of the Many Nations section, visitors will see the animated stories next to the actual toys. This section, with its animations, will be a key part of the museum's educational programs. The toys are from cultural groups across the country and they haven’t been on display before; many of them aren’t well-known outside their communities of origin.

Isobel says she’s enjoying the work and finding it incredibly interesting. “It’s a really exciting project for me and I feel very honoured to have been asked to do it and to contribute to such an amazing exhibition.”

Links:

Isobel Knowles's website

MV Blog: Modelling Myee's hands

MV Blog: Mudswitches on the plaza

So, it’s not as big or as flashy as CSIRAC (1949), but the real star of last week’s Smart Bar event here in the Discovery Centre was our Amstrad Portable Personal Computing device (1987).

Whilst CSIRAC has the weight of history, ground-breaking science, and several good-sized African elephants behind it, the Amstrad spoke to some more personal nostalgia for many of our visitors – sort of the difference between visiting St Paul’s Cathedral and going back to your primary school.

Spec  for spec, though, the Amstrad does outperform its big brother, inspiring this mini-comic for the #SmartBar hashtag!

Amstrad vs CSIRAC
Image: Siobhan Motherway
Source: Museum Victoria  

Just for fun, compare CSIRAC’s specs with this website’s run down on the Amstrad and then think about the cheapest wee netbook available at the local discount shop.

Obviously, CSIRAC occupies 40sqm, whereas the Amstrad comes under the category of “luggable” – it doesn’t compare to the power or portability of the phone in your jeans pocket, but at least you could haul it around one-handed whilst looking supercool – only those looking very closely would see the veins standing out and the sweat beading on your forehead.

We couldn’t match CSIRAC’s music, though, coaxing only a recalcitrant BEEP! out of the Amstrad when we asked it to do something outside of its parameters. Like, tell us the contents of the disk in the B: drive, apparently. Nevertheless, the sight of the grey plastic shell, green screen and blinking old-school DOS cursor had dozens of visitors crowding around the desk, reminiscing about their own first computers and exploits on local BBSs.

And now I’ll leave you with the most ambitious or optimistic attempt to put the Amstrad to use on the Smart Bar evening. Sorry, sir; apparently it does have an internal modem, but 2400bps and ASCII will only get you so far.

A valiant effort by a visitor to get the Amstrad to connect to the internet
Image: Siobhan Motherway
Source: Museum Victoria  

After an extended summer, cool and wet weather starts to set in, resulting in a bloom of beauty for those who know where to look. I'm talking about fungi; those things that taste so good with butter on toast, form mould on your bread, and make your feet itch!

Wood Rotter (Gymnopilus junonius)
Image: Colin Silvey
Source: Museum Victoria  

In the past, fungi were classified as plants. But fungi differ from plants in that they do not possess the ability to generate their own food from the sun (photosynthesis), and must obtain their energy from other sources.

Left: Mycena sp. (probably M.viscidocruenta). Right: Unidentified species.
Image: Two toadstool species in Forest Gallery
Source: Museum Victoria  

So what do fungi "eat"? Some fungi are parasitic, and feed off other living things. Some fungi parasitise plants, while some other specialized types parasitise insects, spiders and other arthropods.

Caterpillars (Hepialidae) infected with different types of parasitic fungi. The caterpillar on the left has been consumed by Cordyceps gunnii.
Image: Colin Silvey
Source: Museum Victoria  

Other types of fungi are saprophytic, meaning they obtain their energy and nutrients by breaking down dead plant and animal material. This is the reason you see many growing on old and rotten logs in the forest, amongst leaf litter and on animal dung.

Left: Undescribed species. Right: Gymnopilus sp.
Image: Colin Silvey
Source: Museum Victoria  

The fungi in these photos are referred to as macro-fungi, and belong to the phylum Basidiomycota. This group contains the well known mushrooms, toadstools and puffballs. Just last week I took these photos in our very own Forest Gallery and Milarri Garden. Many fungi spores find their way into the galleries by being transported by the wind and with soils and mulch brought in by horticultural staff. Some may even hitch a ride in on your shoes! Sometimes destructive fungus that we don't want in the galleries gets in by accident. Honey fungus (Armillaria spp.) is a parasitic fungus that attacks and kills living trees. The largest living organism in the world is a species of honey fungus called Armillaria solidipes and covers an area nearly eight and a half square kilometres! Honey fungus could ruin the Forest Gallery if left unchecked, so we constantly have to monitor the plants and soils to make sure it doesn't gain a foothold.

A slightly dried specimen of a Marasmius sp.
Image: Colin Silvey
Source: Museum Victoria  

Fungi start life as tiny spores, and colonize their chosen substrate with small threads called hyphae.

Mycelium of leaf litter fungus.
Image: Colin Silvey
Source: Museum Victoria  

Hyphae form large masses of mycelium, which decompose dead materials using special enzymes and chemicals.

Left: Stropharia sp. Right: Amanita sp.
Image: Colin Silvey
Source: Museum Victoria  

When the fungus is ready to reproduce, if forms a fruit (mushroom!).

Gymnopilus junonius at the rear, with a slightly eaten Rhodocollybia sp. in front. Right: Probably Agaricus sp.
Image: Colin Silvey
Source: Museum Victoria  

Many animals like to eat fungi, including slugs and snails, insects, small mammals, and humans! Uneaten fungi decompose to a thick slime rapidly.

Lepiota sp.
Image: Colin Silvey
Source: Museum Victoria  

Some fungi can be very toxic, and very hard to identify. You should never eat fungi that you can't correctly identify. There are many groups of fungi enthusiasts that conduct fungi collecting trips and provide help in the correct identification of edible species. So, get out there and have some fun, guys! (Sorry.)

Many thanks for identifications to Dr Teresa Lebel, National Herbarium of Victoria, Royal Botanical Gardens

Links and further reading:

Fuhrer, B. (2005). A field guide to Australian fungi. Bloomings Books, Melbourne.

Fungi at the Australian National Botanical Garden

Plants, algae and fungi of Victoria via Royal Botanical Gardens

Field Naturalists Club of Victoria Fungi Group

The Spencer & Gillen: A Journey through Aboriginal Australia website was launched last Friday at a celebration at Melbourne Museum. In attendance were MV staff, representatives from several partner institutions, Central Arrernte Elders, and descendants of the two ethnographers, Walter Baldwin Spencer and Frank Gillen.

Screenshot of the newly-launched website, spencerandgillen.net.
Source: Museum Victoria  

Descendants of Sir Baldwin Spencer with MV curator Dr Phillip Batty and three visiting Central Arrernte Elders.
Image: Jon Augier
Source: Museum Victoria  

The spencerandgillen.net launch included speeches by project partners and collaborators, and a performance by three Central Arrernte Elders. L-R: Martin McMillan Kemarre, Ken Tilmouth Penangke and Duncan Lynch Peltharre.
Image: Jon Augier
Source: Museum Victoria  

The website has been several years in the making and brings together over 50,000 objects, photographs, documents, recordings and drawings that are housed in institutions in Australia, Europe and the United States. Research coordinator Jason Gibson calls it "one of the most comprehensive collections to do with a group of Aboriginal people. Certainly there’s nothing else like it on the web. It covers life on the frontier in Central Australia between 1875 and 1912."

Among the treasures are rare and wonderful audiovisual recordings, including the earliest film footage taken on mainland Australia. "Most of this material isn’t available on the web anywhere else, so we had to digitise and compile it at the same time," explains Jason. With a new mapping function and many ways to sort and filter the collection, you can now access these vital ethnographic records in ways never before possible, which is particularly important for members of Arrernte communities. "We spoke to over 80 different individuals from five different language groups, mainly in Alice Springs and Tennant Creek and overwhelmingly everyone is really excited and proud to have their heritage on display for all to see."

The Central Arrernte Elders watching the footage on spencerandgillen.net of the 1901 Unintha corroboree at Charlotte Waters. This is the earliest film footage shot on mainland Australia.
Image: Jon Augier
Source: Museum Victoria  

Download the Unintha corroboree, Charlotte Waters video

View the Unintha corroborree footage on spencerandgillen.net

Spencer and Gillen worked in Central Australia for 30 years. "Although they have been criticised by many people for their social evolutionist attitudes, this collection demonstrates the collaboration with local people," explains Jay. "Gillen’s very close relationship with Arrernte people was unusual at the time and they were among the first non-Indigenous people to grapple with the concept of the Dreaming. 'Dream time' was a Gillen interpretation of the Arrernte word Altyerr and this interpretation became important internationally in terms of thinking about religion and society."

The website is the product of a collaborative project that was funded by the Australian Research Council and led by the Australian National University. It would not have been possible without the partner organisations especially the South Australian Museum, Northern Territory Library, and the Pitt Rivers Museum.

Links:

spencerandgillen.net

Media News: Putting Spencer and Gillen back together

MV Blog: Following the travelling Tjitjingalla

MV Blog: Rare scene of first European contact

All I want for Christmas is an update on the Android field guide!

Well – drumroll – it's here!

Last Friday, we were very proud that Senator The Hon Don Farrell, Minister for Science and Research and Minister Assisting for Tourism, was able to join us at Melbourne Museum to celebrate this significant milestone. 

  Field Guide apps team pose with Minister Farrell: Simon Sherrin, Jo Taylor, Ely Wallis, Ajay Ranipeta, Minister Farrell, Blair Patullo (absent: Nicole Kearney, Michael Mason).
Image: Jon Augier
Source: Museum Victoria  

Development of the Android version is part of a wider project, funded by the Australian Government under the Inspiring Australia, Unlocking Australia's Potential scheme, where we are working with museums around the country to deliver field guide apps for all States and Territories.

The MV Field Guide app is now available through Google Play for Android devices – including tablets, phablets and phones. And it's free.

The MV Field Guide home screen (shown here on a Nexus 7)
Image: Museum Victoria
Source: Museum Victoria  

The app contains over 730 Victorian animals, including mammals, birds, reptiles, frogs, fishes and marine and freshwater invertebrates. Each detailed description includes stunning images, distribution maps, endangered status and animal sounds (for birds, frogs and other noisy critters).

The Helmeted Honeyeater is Victoria's bird emblem (shown here on a Nexus 7)
Image: Museum Victoria
Source: Museum Victoria

Apple device users will be able to download an updated iOS version in the coming weeks. The new version represents a significant upgrade to the existing iOS app.

Additions to the new Android app (and coming soon for Apple devices) include:

• Over 30 new species (many added as a result of user requests), including the Great White Shark, the Giant Gippsland Earthworm and Victoria's bird emblem, the Helmeted Honeyeater
• New marine mammals: seals, dolphins, whales
• 75 new bird calls, including the Powerful Owl, the Little Penguin, the Tawny Frogmouth, the Sacred Kingfisher and the Red-tailed Black Cockatoo
• The complete set of frog calls
• The updated Victorian Endangered Status for all vertebrate species (bringing the app in line with the DSE's 2013 Advisory List for Threatened Vertebrate Fauna)