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Recent historical research has analysed the Cold War as an ‘imaginary war’, an interpretation that poses specific challenges for displaying the conflict in museums. In contrast to well-established ...

Many histories of scientific instruments concentrate on their manufacture and original function, but such artefacts as survive often do so in collections – many will have spent far longer in a museum than anywhere else. Alongside the rich literature on the history of scientific instruments, accordingly, there is a body of work on the histories of scientific instrument collections. This survey outlines genres and themes in the historiography of scientific instruments, focusing in particular on display and other collection-based functions. Fluid and contingent, collections are instrumental in the history, heritage, and historiography of science.

From the mid-1960s a new breed of scientific instrument curators emerged in the United Kingdom. This small community of practice developed in parallel to but distinctly from the expanding generation of university historians of science and other cognate museum sub-professions. Presenting the trajectories, experiences and practices of personnel in British scientific instrument collections, especially the Royal Scottish Museum in Edinburgh, this article explores how networks of interest around collections shaped the museum sector in later twentieth-century Britain. With particular objects – especially eighteenth-century instruments – the ‘brass brigade’ built a discipline.

Museums are often associated exclusively with bygones. This can be problematic, especially for those who manage science, technology and medicine (STM) collections. In seeking to correct this misconception with contemporary collecting, they also face other problems, especially in scale and complexity. While acknowledging such challenges, this opinion piece proposes opportunities afforded by the material culture of recent STM. Contemporary material can be used to tell stories as well as explain technicalities; it can connect with visitors using everyday objects and put 'difficult' material into context. Against the backdrop of practice and publications from across the sector, we present examples from the redisplay at the National Museum of Scotland in 2016, and from our current collecting initiatives. We thereby bring our perspective on the current state-of-play in STM collecting to the attention of the wider museum sector, drawing scattered practices together and weaving in our own. This is a text only version of the article, to see the full images please go to the publisher website.

OBJECTIVEOne of the greatest challenges of pediatric neurosurgery training is balancing the training needs of the trainee against patient safety and parental expectation. The traditional “see one, do one, teach one” approach to training is no longer acceptable in pediatric neurosurgery. The authors have developed the baby Modeled Anatomical Replica for Training Young Neurosurgeons (babyMARTYN). The development of this new training model is described, its feasibility as a training tool is tested, and a new approach of integrating simulation into day-to-day training is suggested.METHODSIn part 1 (development), a prototype skull was developed using novel model-making methods. In part 2 (validation), 18 trainee neurosurgeons (at various stages in training) performed the following 4 different procedures: 1) evacuation of a posterior fossa hematoma; 2) pterional craniotomy; 3) tapping of the fontanelle to obtain a CSF specimen; and 4) external ventricular drain insertion. Completion of the procedural stages (scored using a curriculum-based checklist) was used to test the feasibility of babyMARTYN as a training tool. Likert scale–based questionnaires were used to assess the model for face and content validity. Training benefit was assessed using pre- and posttraining ratings on the Physician Performance Diagnostic Inventory Scale (PPDIS). To determine the significance of improvement in median PPDIS score, the Wilcoxon matched-pairs signed-rank test was performed.RESULTSIn part 1 (development), the model was successfully developed with good fidelity. In part 2 (validation), the validation data demonstrated feasibility, face, and content validity. The PPDIS score significantly increased for all groups after babyMARTYN training, thereby indicating a potential future role for babyMARTYN in the training of pediatric neurosurgeons.CONCLUSIONSThis recent collaborative neurosurgical development by the Royal College of Surgeons of England is designed to supplement current neurosurgical training. High-fidelity, portable, operation-specific models enable preoperative planning and have the potential to be used in an operating room environment prior to novel operations. A “see one, simulate one, do one” approach for pediatric neurosurgical training using babyMARTYN is suggested.

Historians are acutely aware of the role of art in medicine. Elaborate early modern works catch our eye; technical innovations attract analysis. This paper beats a different path by examining three little-known artists in early twentieth-century Britain who deployed what may seem like an outdated method: drawing. Locating the function of pencil and ink illustrations across a range of sites, we take a journey from the exterior of the living patient via invasive surgical operations to the bodily interior. We see the enduring importance of delineation against a backdrop of the mechanization of conflict and of imaging.

Prosthetic devices have been used in museums to tell clinical, technical and personal stories. Here we reflect on the ways artificial limbs and their users were represented in recent museum projects at the Royal College of Surgeons of England and at National Museums Scotland. We consider how these meaningful artefacts illuminate three overlapping themes in museum scholarship and practice: the representation of disabled people and disability in museums; reflections on conflict-acquired limb loss; and the presence or otherwise of user or patient voice in interpretation. In working with and representing people who design and wear prosthetics we advocate a balance between narratives of technique and of use.