Audio Book Review: Geek Manifesto by Mark Henderson

Geek Manifesto – Why Science matters
Author: Mark Henderson
Read by Tom Lawrence

Published by Random House Audiobooks

ASIN: B0082100GK

(ISBN : 0593068238)

This book was published in May 2012 and was available in audio format within days.  I had been in twitter contact with Mark Henderson and as is the way with twitter and serendipity, came across a twitter feed on the subject.  These chance encounters usually depend on who is following the topic and so timing is crucial.

With Twitter it is possible to get suggestions on who to follow and occasionally a retweet from someone else can appear in the feed.  However, I find I have probably maxed out on the number of twitter sources I can follow (Visually impaired have to listen on a screenreader with limits of a narrow band) and as I do not restrict myself to any particular subject find that if a person replies then it is usually a good sign. 

My profile probably has me down as being interested in audio books, hardly surprising as I cannot read print.  Some people think an e-book would be suitable in a larger font or with a text to speech facility but having to listen to a screen reader for most of the time it is a treat to have an audio book playing with a human voice.  Some well written books can be ruined by a poor audio version and I have given up on some, on account of poor diction and poor pronunciation of proper names.  I have also come across a book which has been so badly written that even a good reader fails to transform it into an enjoyable book.

My career path is the reverse of Henderson’s.  I did my PhD in inorganic chemistry at the University of Edinburgh in the 1970s and worked within the industry or business until I lost my sight. I then did an Arts and Humanities course for 5 years at the Open University - a temple for geeks in 1970s.  Mark Henderson notified me by twitter that the audio version of his book Geek Manifesto was being finalised and as I had encouraged him to make an audio recording in the first place, naturally bought the audio version when I had the link.  I asked a friend to download the audio book on to my lap top as my Talking Book machine was temporarily unavailable due to my hip replacement; it was “out of reach”.   

The book is available via www.audible.com , a part of www.amazon.co.uk.  When buying the audio book, you are given the option of either downloading the book as a one-off or joining audible.com for a monthly subscription and getting this book for free.  I opted to buy the book as a one-off.  When downloading, you are asked to select the machine format you will use to listen to the book.  I opted for my computer, but if selecting a different medium, you will need to connect it to the computer via the USB port for the book to download.

The book is over 10 hours long and there is no publisher’s blurb on the recording.  Many visually impaired “readers” have got used to the DAISY format of the RNIB Talking Books.  Navigation is key to this feature, though in wanting to read the Geek Manifesto, I had to get used to the format and would suggest downloading the book to a player. 

I gave myself about 15 hours to cover the book. Sometimes I wanted to go back to a specific example Henderson had cited.  Often I would “rewind” the book on starting another session.  One skill I have not got is to tweet while listening to a talking book or even the radio.  I finished the book on Monday evening.

As an audio book this book is very well read and the switching of accents by Tom Lawrence is to be admired. During the book launch I heard Mark Henderson on BBCRadio3 Nightwaves (One of my favourite radio programmes) discussing science policy with (Lord) Robert May.  Samira Ahmed was in the chair and as is usual with this programme there are often pleasant arguments conducted in a very civilised manner (unlike Westminster) Mark Henderson was suffering from a sore throat but managed to speak. Robert May had to fall on the House of Lords as being a source of science based legislative capacity. (Hmm)

I found myself nodding in agreement with much of the contents of chapters 1-8 and found myself having to go over chapter 9 a few times. In this chapter Henderson starts to wind up the manifesto and there are many themes concerning climate change, Greenpeace, nuclear energy and politics in the UK and USA that I wanted to go over it again. This was doubtless fuelled by the UK Government Energy Policy being awaited and the Secretary of State, Ed Davey making  appearances on the airwaves including the Flagship BBC Radio 4 Today programme. 

The science research budget is very well discussed and Henderson has analysed how politicians minds work. He has some good things to say about William Waldegrave and Alistair Darling in past HM Treasury decisions.   However, the book also gives many examples of UK and USA legislators having little knowledge of scientific methods.  Some examples in terms of evidence abuse are made. Henderson rightly, in my opinion, condemns some UK politicians for their  twisting of evidence. US readers will be able to make up their own minds.

The acceptance of geeks and scientists having more accountable roles in society is an idea whose time has come. A proposal to have an Office of Scientific Responsibility is essential. In Prime Ministers Questions on May 23, answer to Dr Julian Huppert, David Cameron committed a science policy for the benefit of long term economic development. Cameron also admitted that politically it would hardly be noticed were the budget to have been cut.  This shows that much of the political education programme as outlined by Mark Henderson needs to be monitored and prodded/shamed when required.

Henderson also chronicles the interaction with the media and science, with the Today programme and Justin Webb coming in for attack as well as the otherwise revered Evan Davis.  

I took a pot shot about BBCRadio5live and an irritating  mid afternoon slot called Help. One expert had suggested using caustic soda (baking soda was intended) the BBC did correct this but that “expert” should never have been on the airwaves. Another gem from this show was the use of a “Pro Biotic Cleaner” in removing stains, it is also pet friendly Ugh!

He has certainly mobilised me to be a bit more active in countering any stupid off the cuff remark by some of the media and politics finest.   In common with some visually impaired people, I shout at the radio when something daft has been said.  In the past I have ‘phoned the duty controller, sent an email to the programme though with twitter there is instant access to making your voice heard on matters of concern.   Shoddy journalism can be addressed as can ridiculous and fatuous presenters and programmes claiming to have “scientific content”.

Not having a television means I can miss out on the science celebrities including the comics.  Science comedy has been lucrative for many stand up comedians and the popularisation of science through festivals and shows in museums can only be praised.  I can remember the School Christmas Lecture which the University of Edinburgh laid on for pupils and I heard my future supervisor when going to my first one in late 1960s.  During open days as postgraduates we would show off liquid oxygen and show reactions with a fruit shortcake biscuit and steel wool. Explaining why liquid oxygen is blue and paramagnetic involves some appreciation but this shows the importance of doing science as opposed to reading about it.

Henderson makes a point about ignorance levels of science being treated almost as a badge of honour. In polite society knowledge of the arts is deemed essential for some social status.  As a trained scientist, I have never come across antipathy to science among my friends, few of whom are scientists, but Henderson may be going over board in claiming that we should know about the 2^nd Law of Thermodynamics. In my mind it is not knowing what the 2^nd law says, it is more understanding the concepts of heat and entropy and using the formulae associated with them.  (In the same way one may know all the 10 commandments without knowing the order in which they come – much less about their relevance or applicability in daily life !)

I can probably be described as a scientist who can be a bit sniffy about some science trivialisation. It may be that sciences are no longer taught in schools with so much “health and safety” issues in mind. As a schoolboy my father and I managed to burn a hole in the Formica kitchen table with some magnesium metal which we had set on fire and which had slipped out of my tongs. Of course I had a chemistry set and though never a ‘real’ train spotter or bus spotter, was a geek with maps, routes and timetables of any transport. I would thus qualify as a real geek though few of my friends would consider me as such. 

The Geek Manifesto has encouraged me to fight on and join in with other like minded souls. Henderson also has some practical tips in promoting real science and countering pseudosciences, especially in the Health Service. Much of Henderson’s sharp observations are aimed at such pillars of our society as the Prince of Wales, many MPs and government ministers. 

Henderson has practical advice which can be used for visually impaired geeks. Virtual communities can be joined and I have found few problems in saying that something is inaccessible when it ought to have been.  I am encouraged to form a VIG group of VI Geeks and not make it the preserve of the techy geeks. Pure scientists are said to be seldom practical in the flesh. Creative-yes

In conclusion I would recommend this book as an ideas source rather than a reference book or even a chronicle though there are good accounts in the book which have been well written.  The strength of the book is in making connections with many like minded people both in science and having an interest in science.  Not all of us are versed in the machinations of either the Westminster Bubble or the Beltway.

Professor Whitestick blogs on science related posts on a regular basis.  Here are some links to recent blogposts in terms of science policy, nuclear energy, renewable energy, science and health:

 Blind Chemist: Future Cities Royal Society of Chemistry Road Map http://profwhitestick.blogspot.co.uk/2012/03/blind-chemist-future-cities-royal.html

Blind Chemist: Resonance, Renaissance and Reminisces

http://profwhitestick.blogspot.com/2012/03/blind-chemist-resonance-renaissance-and.html

A touch tour of a touch piece at the Wellcome Collection: scrofula and tuberculosis
http://profwhitestick.blogspot.com/2012/02/touch-tour-of-touch-piece-at-wellcome.html

Clean Water - chemistry at work
http://profwhitestick.blogspot.com/2011/12/clean-water-chemistry-at-work.html

Blind chemist - Marie Curie - Light Fantastic
http://profwhitestick.blogspot.com/2011/11/blind-chemist-marie-curie-light.html

Blind Chemist out and about with the Royal Society of Chemistry
http://profwhitestick.blogspot.com/2011/10/blind-chemist-out-and-about-with-royal.html


The Professor, with some sighted help, has also left comments on The Guardian's (http://www.guardian.co.uk/discussion/user-comments/profwhitestick) and Athene Donald's blogs (http://occamstypewriter.org/athenedonald/)

The Noble Art of the Sword: exhibition at Wallace Collection

***Update 7/10/2012

Noble art of the sword – conclusion

The Wallace Collection held an event called Swordplay Saturday on 15^th September 2012.  This concluded the Noble Art of the Sword exhibition and continued Renaissance themes with talks on items from the Wallace Collection featuring Titian’s Perseus and Andromeda, Italian Renaissance Painting, The Renaissance in France and Colourful crockery and Glorious glasses: high end entertaining in the Renaissance. 

I liked this exhibition very much and had attended a curator talk earlier in the week as I expected the exhibition to be busy by the weekend.  The day had many events running in parallel and with a little planning it was possible to join the programme and follow the various themes. 

 Historical Fencing Demonstration by The Sussex Sword Academy

at Wallace Collection

15th September 2012

There were two demonstrations of fencing which were provided by The Sussex Sword Academy in the morning and by The School of the Sword in the afternoon.  I found these demonstrations fascinating as the actions of the fencers mimicked many of the diagrams in the fencing manuals which I had heard been discussed during the sword study day which I attended, and the collection from the De Walden Library, now under the care of the Wallace Collection. 

It was also a chance to have a last look round the sword exhibition and it was possible to take a few good photographs of some of the items including: the sword of the future Maximillian II;

Rapier of the future Holy Roman Emperor Maximillian II

the rapier and parade costume of Christian II, Elector of Saxony;

Rapier and Parade costume of Christian II, Elector of Saxony

and a beautiful sword and dagger example of silver craftsmanship, where the silver has been cut as if it had been made from wax or even cheese – according to Tobias Capwell, the curator.

Rapier (detail) , Saxon, Dresden c1608

In the Great Hall upstairs there were performances of Work for Cutlers, or a Merry Dialogue between Sword, Rapier and Dagger.  This was performed by three actors taking the part dressed in costume of the time.   There was a lot of word play and even examples of wordsmithing at its finest.  In England, George Silver has spoken disparagingly of the rapier as a bird spit.  In the play, much was made of the reference to capons being roasted, presumably on a spit.  

  

I had noted in the demonstrations outside how much sword and duelling language is used, especially in debates.  For example, parry and riposte.  I had even heard the term contretemps, which is probably derived from the Italian.  In the fencing demonstrations, much was made of the assessment of time and distance regarding fencing, but also taking the measure.  I hadn’t realised that this was a fencing term.

Regarding the other items it was fascinating to hear how the Wallace conserved a fresco by Foppa, and a panel of a triptych by Cimma.  In the Renaissance crockery talk, Suzanne Higgot discussed the colour and glazes used in maiolica.  The Wallace has a large collection of interesting pieces and I was intrigued by the colours and the use of tin and some lead glazes.  I had bought a piece of Wemyss ware in Ceres in Scotland.  This was noted for its bright colours, though the original pieces had crazed.  Suzanne Higgot also showed us examples of Venetian glass and again I was intrigued when she mentioned the discolouration of some glassware due to a process known as solarisation.  Manganese dioxide had been used to remove other colours but through time a pink colour usually shows on exposure to sunlight. 

On a previous trip to the Wallace Collection, I had bought up old copies of the catalogues which, with black and white photographs, allow my peripheral vision to detect some of the patterns and engravings combined with the full description of the item in question.   This allows me to ask a sighted person to look up such items in the catalogues and together we found the ceramic and glassware from my description of the items I had heard. 

These themed days allow access to curators on the spot and an increased access to what may be a closed book to visually impaired people.

*** end of update

Update: 10/6/2012

For exhibitions, the Wallace Collection has large print guides for those with some vision for reading purposes.  If you would like an electronic version of this, you should contact the Education Department (020 7563 9549 or 020 7563 9527), who may be able to assist in advance of your visit.  The staff in attendance will happily read out a caption, if there is anything particular in the exhibition or in the permanent collection you want read.

*** end of update

Update: 7/6/2012

On 7^th June, 2012 the Wallace Collection had a lunchtime talk about Elizabethan armour by Dr Tobias Capwell who curates the Noble Art of the Sword exhibition currently on.  These talks are on a first come first served basis and having arrived early I had time to go round the exhibition myself before being taken to the armour gallery. 

Toby explained that Elizabeth of England had not gone to war and had created an image of herself as both Gloriana and the Virgin Queen. Her father Henry VIII was a competent knight as had been his father. It was expected that an English King would lead an army into battle. As a woman Queen Elizabeth had to transmit her power through her courtiers and they were expected to fight. 

The suit of Sir Thomas Sackville is unique in being complete.  Suits of armour could be made on a bespoke basis by first getting a royal licence and then commissioning the Royal Workshops at Greenwich to make up a set. (http://wallacelive.wallacecollection.org/eMuseumPlus?service=ExternalInterface&module=collection&objectId=60553) At today’s prices, this could be £500,000 – a status symbol. Though much of the courtly love and medieval trappings had gone from the practical side of armour, the suit of armour nevertheless represented the status of the wearer. Metallurgical discoveries were still being made and the craftsmanship in a suit of armour was highly skilled even if the steel was of low quality when compared with today’s alloys.  Using microscopy it is possible to identify the workshop of a maker.  Tempering of steel can give a blue colour and some suits could be described as resembling peacocks. 

Questions from the audience were answered. One had asked if armour could protect from firearms at the time. Another asked about the imagery of Queen Elizabeth as a Joan of Arc character. Toby mentioned that the armour could offer protection against some of the firearms of the time but that mobility and protection had to be balanced in those times (1588) in the same way as modern tanks now have to consider. There was no evidence that Elizabeth ever wore any armour or that she was near an actual battle. The danger always lay at the hands of an assassin.

I mentioned to Toby that I had heard him on BBC Radio3 In Tune.  There was some renaissance battle music.  Toby also mentioned that he was doing a Midweek show on BBC Radio4. I was encouraged to attend a Study Day at the Wallace Collection and on checking in at the front desk with Michael I went back to the Dutch Galleries (It was raining cats and dogs!)  One of the staff described one of her favourite paintings to me and I could make out my Albert Cuyp painting.  Outside it was still raining so having been given more details about the Study Day by Michael I went to the gift shop and bought a few cards.  The rain had stopped and I decided to make for the bus stop in Portman Square. 

A very pleasant afternoon taking in a talk, the exhibition again and a viewing of the 17^th Century Dutch Pictures. Many thanks to all and also to Sonia who recognised me from last summer!

Reports of the study day can be found on: http://profwhitestick.blogspot.co.uk/2012/06/noble-art-of-sword-study-day-wallace.html 

*** end of update


I have just started walking again without a crutch, albeit only for a short time, but I felt it was appropriate to visit a museum or gallery.  My friend Jackie had thought the new exhibition at the Wallace Collection was suitable. It was a short bus run away and my cane and crutch would complement the ornate swords and accessories on show. 

Having viewed a display of weaponry in Edinburgh Castle, I was prepared for seeing how much my peripheral vision could make out of the Noble Art of the Sword.  For this exhibition the Wallace’s own collection of renaissance swords was supplemented by exhibits on loan from collections in the Staatliche Kunstsammlunger in Dresden (http://www.skd.museum/en/) and the Kunsthistorisches Museum (Hofjagd und Rustkammer) in Vienna (http://www.khm.at/en/collections/collection-of-arms-and-armour/) . 

I had been round the Dresden Albertinum and Grunes Gewolbe in the past and had seen many of the glories of Saxony in the 1980s. I had also been to the Hofburg in Vienna and seen many of the Holy Roman Emperor accessories on visits. There is a fascinating exhibit of the sword  of Christian II Elector of Saxony (c1605-7).  The costume of the Elector (c1601-9) is also on display and though I could not make out the colours, Jackie read out the captions. Both exhibits are on loan from the in Dresden ()

Fine silks coloured in Lapis Lazuli were used in doublet and breeches.  I could make out the silhouette of said monarch and commented that he was a bit well padded in the hip department!  The Wallace Collection and guest exhibits have objects with swords, accessories, fencing manuals and illustrations of fencing in the form of drawings and there is a portrait of Robert Dudley with rapier attached. 

There is a rapier of the future Holy Roman Emperor Maximillian II when the empire was in control of the Hapsburg dynasty. The Holy Roman Empire has cropped up before in this blog when the Elector Palatine was mentioned.  Indeed the costume of Elizabeeth Stuart is described with her portrait in the National Portrait Gallery, London.  One can imagine the artistry in making such objects. Gold and silver were used in clothing as well as in the intricate ornamentation of the rapiers themselves. 

We found many examples of swords, daggers and even a scimitar. I could recognise this by its crescent shape.  Some of the displays show a selection of rapiers with intricate blade shapes and one even seemed to resemble a saw with teeth.  Much of the vocabulary was new and though I knew the word hilt, I had never heard the word pommel used in relation to swords.  Pommel and cantle had been known from my pony trekking days. 

The swords are exhibited in glass cases and though the room is quite darkly lit I could make out the swords and the designs of the pommels and hilts.  Duelling, though forbidden, was not uncommon and fencing lessons and rules of engagement were made.  Gauntlets and bucklers are also on display.

On exiting the exhibition area which is in the basement there is also an interpretation centre with lots of imaginative objects to handle and even wear. There is a tunic and collar of chain mail. This is very heavy and I resisted putting on this for now but I did put on a breastplate and a helmet with 2 slits acting as a visor. 

Knight in shining armour!

Wallace Collection

19/5/2012

Having the helmet on produced a strange effect on my ears.  Though the origin of the sound is of the sea shell variety, it was very tinny and I felt as if I were wearing a dustbin and probably resembled a Dalek more than ever.  I could not see anything through the visor and this probably illustrates my lack of central vision. 

Assuming the rapier was used in right hand the free hand had to be protected in a different way from the sword hand.  There is also a mystery object which can be felt and I won’t disclose what it is.

There are exhibits of the craftsmanship involved in sword making.  The same skills in handling gold and silver would have been employed in those artisan workshops in the manufacture of illuminated manuscripts and reliquaries. Milan seems to have been a centre of excellence for sword making and Bruges is also mentioned.

The Wallace Collection has another interesting exhibition which brings some life to Shakespeares dramas such as Romeo and Juliet.  Christopher Marlow came up in discussion - he was killed in a brawl in Deptford. During the summer the Wallace Museum is organising events and more details can be found on :

www.wallacecollection.org

BBC Radio3 In Tune (Tuesday 22^nd May 2012) featured the Wallace Collection and music by Monteverdi ‘Tancredi and Clarinda’.  Monteverdi had set a battle scene to music and the exhibition came up in the discussion about the piece.

TIP

For the time being, many buses have returned to familiar routes in the Portman Square area, though there is still some construction work in Baker Street.  Diversions along Wigmore Street seem to have stopped.

Dutch Paintings Part 2: Torrie Collection, Talbot Rice Gallery, Edinburgh

Dutch Paintings from the 17^th Century have proved to be interesting.  The pictures are not large but are still attractive to collectors.  Many museums, national art galleries and institutions have collections of Dutch Paintings.  One such collection is the Torrie Collection which is held by the University of Edinburgh. 

I was at the Talbot Rice Gallery several times last summer and went round the Torrie Collection, once on my own and once with a friend, who read out the captions from a catalogue.  My first visit to the Torrie collection was around the time of my visit to Surgeons’ Hall in Edinburgh and it was Jan Steen’s “Doctor Visit” which made me recall it.  Harbour scenes with ships and boats seemed familiar as did the painter William van de Veld. 

Landscapes with trees and perspective lines seemed to be 200 years in advance of the Corot paintings I had liked in 1975 and had viewed again recently at the National Gallery in London.  Some Dutch painters had gone to Italy and had developed in ways similar to Claude Lorraine. A few had returned to the Netherlands and influenced local painters while others continued in their own styles.

Following the topic of Dutch Pictures has led me to many other collections and The Zoffany’s picture of Lawrence Dundas around his pictures allowed a little detective work on the internet in matching some of the painter names (difficult) with recurring themes in landscape and genre painting.   I ordered some books on the internet and during my stay in hospital a friend read out extracts from two: a catalogue of Albert Cuyp pictures and drawings; and an introduction to Dutch Landscapes in the Royal Collection by Desmond Shawe-Taylor (with contributions by Jennifer Scott). 

The following quote from the latter is particularly noteworthy.  Shawe-Taylor talks about the process of cleaning and restoring a painting and in doing so draws parallels with the intellectual process of appreciating these paintings.  Thus:

“The understanding of painting can require a similar process.  Over the years the habitual way of thinking about the art of a particular period can start to obscure and discolour the works themselves; sometimes sincerely held ideas can overlay the truth with plausible anachronisms.  The process of intellectual restoration is as fraught with difficulties as that of real restoration; the ‘original experience of a work’ can seem as elusive a concept as the ‘original appearance of a work’.”

It has also been fun searching discussions of Dutch Paintings on You Tube and I have learned at least how the You Tube system works.  I could not resist tweeting out a link to a video of a restoration completed in the Mauritshuis in the Hague in Netherlands of a Jan Steen painting titled The Doctor’s Visit. (see below)

Having been in contact with Talbot Rice Gallery since last year I asked them about the Torrie Collection and while I was in hospital they very kindly sent me images of the paintings which I liked. I would have visited the gallery during the Easter period though my impending hip operation put all travel from London on hold. 

716 Jan van der Heyden - Wooded Park Landscape With Deer

By kind permission of "The University of Edinburgh
Fine Art Collection".

Jan van der Heyden was born in 1637 and died in 1712.  He was particularly noted for town scenes, but also painted landscapes such as this one. 

738 Jan Steen - The Doctor's Visit

By kind permission of "The University of Edinburgh
Fine Art Collection".

Jan Steen was born in Leiden around 1626 and died in 1679.  Steen painted many comic subjects, though there is frequently a moral content to the scene.  The Doctor’s Visit was painted several times and the restoration of the painting in the Mauritshuis in The Hague can be found on YouTube: http://www.youtube.com/watch?v=3utdGnQ9RnY

Although the video is in Dutch, it is sub-titled (but I can’t read them, of course) and there are quite a lot of scientific terms which are recognisable, such as infrared and ultraviolet.  The video, however, does show the process of restoring a painting and illustrates the important part which chemistry and spectroscopy plays in picture restoration.  I can’t detect any difference between the restored and unrestored images from the Torrie collection and on You Tube, the trained eye may well discover the benefits of the removal of previous restorations and newer ways of interpreting the artist’s original work - although, bearing Desmond Shawe-Taylor's statement quoted above, some care has to be taken in the interpretation of the thoughts of the artist when the work or works were commissioned.

739 David Teniers the Younger - Peasants Playing Bowls

By kind permission of "The University of Edinburgh
Fine Art Collection".

David Teniers the Younger was born 1610 and died 1690.  Sports and pastimes often feature in Dutch paintings and I was attracted to this painting of people bowling in the street as it reminded me of a craze in the 1960s for 10-pin bowling!  For some reason Edinburgh did not indulge in 10-pin bowling, though both Kirkcaldy (birthplace of Adam Smith) and Glenrothes (then a new town) had 10-pin bowling. 

744 William van de Velde - Fishing Boats in a Calm

By kind permission of "The University of Edinburgh
Fine Art Collection".

William van de Velde the younger was born 1633 and died in 1707.  He followed in his father’s footsteps in having an interest in painting marine scenes.  There are many paintings with ships in full sail, in various weather conditions.  Both father and son worked in London in Greenwich and are buried in St James’s, Piccadilly.  My father’s family had a couple of paintings of sailing ships which were probably done in the 19^th century based on the harbour at Charlestown, near Dunfermline.  An ancestor of mine had been the harbour master there.

Also of interest is another You Tube video in which Desmond Shawe-Taylor discusses Aelbert Cuyp’s The Passage Boat: http://www.youtube.com/watch?v=lyRuylhzzVs

In preparing this post, I’d like to thank Shawn Coulman, Marketing and Education Assistant and Jill Forrest, Museums Support Officer both at the Talbot Rice Gallery. 

Details for the Gallery are:

Talbot Rice Gallery
The University of Edinburgh
Old College, South Bridge
Edinburgh
EH8 9YL

+44 (0)131 651 4784www.trg.ed.ac.uk
facebook.com/talbotricegallery

The Talbot Rice Gallery is situated in the Old College of the University of Edinburgh and as well as housing the Torrie Collection there are frequent exhibitions and events.  The gallery is very welcoming and it was a member of the staff and a volunteer who alerted me to the Artlink project which I discussed last year.  I look forward to meeting up with both Talbot Rice and Art Link during the ‘summer’.  If you are visiting the Edinburgh Festival, it’s well-worth visiting the Talbot Rice Gallery.

Adam Spotting, Plane Spotting: Architecture and the Visually Impaired

Robert Adam was responsible for the design and execution of many works.  There are numerous websites for lists of the Adam family achievements and it is amazing how prolific Robert Adam was in both London and Edinburgh.  (http://en.wikipedia.org/wiki/Robert_Adam)

Growing up in Edinburgh one seemed never to be far from the Adam family. During last summer I visited some of the buildings in the Edinburgh area and though it is not always possible to gain access inside, much can be appreciated from the outside.  Steps can be climbed, railings can be rattled with a cane and the exterior can be touched.  It is surprising how the clear lines of a Robert Adam designed house or some of the interior features in the house can be accessible to visually impaired people.    

This post covers a few properties with Adam family links and while these are not always accessible on one’s own (often not open to general public), they make an interesting side trip with friends

Edinburgh area

Charlotte Square Edinburgh.

Bute House - Charlotte Square, Edinburgh
© Professor Whitestick

The north side of Charlotte Square in Edinburgh was designed by Robert Adam and presents the New Town plan by James Craig.  Charlotte Square is a useful place from which the New Town can be explored and the National Trust for Scotland has several properties in the square. 

During the Edinburgh Book Festival the garden within the square is occupied with tents and though the site resembled Glastonbury in the rain on the day we visited, it was fine as shown (take my word for it). (http://profwhitestick.blogspot.com/2011/08/edinburgh-international-book-festival.html)  The Georgian House is open though Bute House is used for Scottish Government functions and is the official home of the First Minister. 

http://www.scran.ac.uk/ada/documents/square/charlotte_square.htm

Edinburgh University Old College Quadrangle

2 August 2012

The quadrangle reconstruction gradually approaches the plans as envisaged by Robert Adam and Playfair.  The car park has been removed and the area is used for events during the Festival. 

General Register House, Edinburgh

A Robert Adam design

(http://www.scran.ac.uk/ada/documents/register/register_house.htm)

Dalkeith Palace

Dalkeith Palace, Front view

Midlothian, Scotland
© Professor Whitestick

Dalkeith Palace was a major home for the Dukes of Buccleuch and while the house itself is now leased to a university in Wisconsin, the country park is open to the public, for a fee.  The estate is walled by the Duke’s Dykes and although having driven myself and been driven more recently around the perimeter, I had never visited the park.   I had, however, observed the house and grounds from the air as the approach to Edinburgh Airport is frequently overhead.

 View of Dalkeith Palace from the Montagu Bridge
© Professor Whitestick

The Rivers North Esk and South Esk flow by the house and the confluence is in the park. The house was rebuilt by James Smith of Newhailes fame and William Adam and his sons had some input on the works.  The Montagu Bridge was designed by Robert Adam and built around 1792.

Montagu Bridge
© Professor Whitestick

http://www.eskvalleytrust.org/dalkeith.html

http://profwhitestick.blogspot.com/2012/02/all-weather-walks-in-edinburgh-area.html

London

Syon House

Syon House
© Professor Whitestick

The property is in the family of the Dukes of Northumberland (Alnwick Castle).  Robert Adam adapted the earlier building and formed a quadrangle which ought to have been covered to form a salon but this was never realised. 

Again, I often flew over this property on the approach to Heathrow.  It can be reached by bus from Gunnersbury Station, and as an accompanying guest goes free, there is little point in attempting this on one’s own. 

The audio guide is standard and, unlike Osterley House, no provision for visually impaired customers is made (audio wise) though the human guides are very helpful. My visit to Osterley was made more or less on my own (http://profwhitestick.blogspot.com/2011/07/osterley-house-and-park.html) and I would suggest trying out Osterley before attempting Syon.  

My cane was inspected by security (also at Osterley) and there are some treats in the house.  For example, there is a touchable model of how the scagliole floor was made.  The floor itself, however, is off limits for a cane. 

Another treat is the quadrangle, which for me was a highlight. It is open to the heavens and is on the approach to Heathrow with a plane going over every minute or so.  Staring up and listening to the sound of the jets is fascinating and I tried to predict the flight path with the sound reflected off the four walls of the interior façade.  Occasionally a plane could be picked up on my peripheral vision as it descended on the way to Heathrow. 

Mega scones in the tea room make a visit complete! 

http://www.syonpark.co.uk/

Chandos House

In an exchange with Ken Titmuss (OldMapMan) we discussed Robert Adam in London and having visited Syon House with a friend, I bought a small guidebook to Robert Adam.  Last summer, I arranged to meet Ken in central London and we walked to Chandos House and Fitzroy Square.  

There was something strangely familiar about Chandos House and the building reminded me of Edinburgh.  Ken explained that Robert Adam and his brother speculated on building the house for the Duke of Chandos and had brought the stone from the Craigleith Quarry in Edinburgh.  No wonder it looked familiar to me!  My old school had been built from the same stone and it stands out against the Portland stone used in the surrounding buildings.   And like the stone, the clear lines of the Adam building stand out on my peripheral vision.

http://www.chandoshouse.co.uk/

Fitzroy Square

The South and East sides of Fitzroy Square were designed by Robert Adam.  The area around the square is quiet though it is not far from some very busy roads. The south side was damaged by bombs during WW2 and some restoration was underway during our visit.  The square is a pleasant and relatively traffic-free oasis and coffee shops are not far away.

Ken Titmuss (aka oldmapman) can be contacted via http://londontrails.wordpress.com/

So, while climbers in Scotland can do Munro Bagging, there are opportunities for visually impaired people to enjoy Adam Spotting, and even Plane Spotting given the acoustics and locations of Adam properties in and around airport flightpaths!