Items · The Medicine Chest

A translated rock

In 2012, while exploring possible curatorial opportunities for the Honours in Curatorship students, I met with Sven Ouzman, a curator in the archeology department at Iziko, to chat about possible opportunities pertaining to this collection. I took him the newly designed course prospectus, to peruse. He flipped through it and when he got to the second last page, he paused. ‘Do you know the story behind this image’, he asked. I told him I didn’t… He pointed at the rock in the bottom right hand corner and started his story. Apparently this rock was not part of the SAN Rock art collection at all. It belonged to an archeologist who worked at the museum for close to twenty years. When she first started at the museum, her partner, now husband (and also an archeologist) also worked there with her. They were still in the beginning of their relationship and he was, to use older terminology, still courting her. One of the gifts he gave her during this period, was a rock he drew that mimicked San rock paintings, probably ones that would pertain to love in some way or other. She kept this in her office and, when she finally left the museum and had to empty her belongings, forgot to pack the rock as well. Exit archeologist, enter the lady who tidied the office before the new occupant moved in. On finding the rock she assumed it was part of the collection and returned it to the store room where it was assimilated into the bona fide rock art collection. I don’t know in how many exhibitions it subsequently appeared, but in 2010 it appeared up in Pippa Skotnes’s exhibition 'Made in translation' – an exhibition that fittingly explored ways in which translations from the landscape have been made and in so doing, placed images of rock art in the context of other forms of translation.

Lodestone

An example from demonline (UCT Physics Department’s website with descriptions of educational demonstrations). Its description reads: ‘A lodestone is suspended by a string. Show that it rotates on bringing a magnet near it. Dip it into iron filings and show that it picks them up.’

Kimberley, South Africa: miners and washing gear at the Bultfontein diamond mine

Woodburytype

Griqualand West, South Africa: Kimberley diamond mine.

Woodburytype

Kimberley Mine

A detail from the wallpaper used outside the Cape Town Diamond Museum in the V&A Waterfront.

Kimberley Mine 1886

Plate from Williams, G. 1902. 'The Diamond Mines of South Africa: Some Account of their Rise and Development'. New York, London: Macmillan.

Ma

The Japanese have a word, ‘ma’, for this interval which gives shape to the whole – this ‘gap’, ‘opening’, ‘space between’ or ‘time between’. Ma is not something that is created by compositional elements, rather it can be understood as the thing that takes place in the imagination of the human who experiences these elements. A room, for example, is called 'ma', as it refers to the space between the walls. Or a rest in music, which indicates a pause between the notes or sounds (Pilgrim 1986: 255).

Devils Bridge sketched by Lister

'Devils Bridge' sketched by Lister on his travels through Europe showing a bridge crossing the Gotthard Pass, northern approach, Switzerland. The term 'devil's bridge' is applied to many ancient bridges found primarily in Europe. These were stone or masonry arch bridges and, because they represented a significant technological achievement in ancient architecture, were objects of fascination and stories. The most popular of these featured the Devil, either as the builder of the bridge (relating to the precariousness or impossibility of such a bridge to last or exist in the first place) or as a pact-maker (sharing the necessary knowledge to build the bridge, usually in exchange for the communities souls). The legend attached to the bridge sketched by Lister is of the latter, and was related by Johann Jakob Scheuchzer in 1716. According to Scheuchzer, the people of Uri recruited the Devil for the difficult task of building the bridge. In return for his expertise, the Devil requested the soul of the first thing to pass the bridge. To trick the Devil, the people of Uri sent across a dog by throwing a piece of bread, and the dog was promptly torn to pieces by the Devil. Reference: Scheuchzer, J. , 1747 [1716]. Naturgeschichte des Schweitzerlandes. Vol. 2: 94.

Where their lives took on true weight

In Alice Munro's short story 'Post and Beam', the two protagonists return home from a short vacation: "Up Capilano Road, into their own part of the city and their own corner of the world, where their lives took on true weight and their actions took on consequences. There were the uncompromising wooden walls of their house, showing through the trees" (Munro 2001: 212).

House

Lokrete with metal armature Grove Road, London, E3 (Destroyed 11 January 1994)

Perpetuum Mobile (2400KG)

Water, bucket, hydrophone, mist-machine, 2 400kg cement, relay timer, amplifier and cable. Water is set in motion by means of ultrasound (at times amplified by loudspeakers), generating steam that slowly spreads through the exhibition space and envelops sacks of cement whose mass is changed as the exhibition proceeds by the meandering atmospheric humidity.

Micrographia

Engraving, magnified view of the forms of small diamonds or shining sparks in flints (fig. 1), "the forms of gravel in urine (fig. 2), and a variety of regular for resulting from various combinations of globules (fig. 3, 4)"; Schem. 5. From 'Micrographia: or some physiological descriptions of minute bodies made by magnifying glasses with observations and Inquiries thereupon' by Robert Hooke, Fellow of the Royal Society, 1665.

Geometry in unlikely places

"These bladder stones are most likely made up of calcium oxalate; they are faceted because they rub against each other. (Faceting only occurs when there are two or more stones together)".

Deductions from smooth rocks

Extract from Bettie Higgs's reading of rocks in 'Visual Practices Across the University'. Most of the rocks in this photograph are about 360 million years old, so the grains that comprise them are substantially older. The grains came originally from a mountain range, as large as the Himalayas, whose roots can still be seen in counties Mayo and Donegal, in the northwest of Ireland. The grains were carried south by rivers and deposited in this area; the smallest grains were carried all the way to the ocean, which was far south of Cork at the time, in what is now the Atlantic Ocean south of Ireland. (There was very little rainfall at the time: the portion of land that is now Cork was 10° south of the Equator. This can be deduced from the properties of the iron in the rock.) The water in which the grains were transported was oxygenated, and the iron precipitated out as iron oxide (haematite), which cemented the grains and which accounts for the red color (Elkins 2007: 74 - 78).

Smallpox

"In Kimberley in 1883-4, several leading doctors with links to the diamond-mining industry publicly denied the presence of smallpox among migrant workers, instead diagnosing them as suffering from a rare skin disease. They appear to have done so lest admitting that the dreaded smallpox was raging, which would have affected the supply of labour and materiel and thereby interrupting mining operations. Led by Cecil Rhodes’s friend, Dr Leander Starr Jameson, measures to curb the epidemic were sporadic or, in the mining compounds, non-existent, and cases topped 2000, with mortality at 3.5 per cent of the population. Only when the colonial government eventually called in external doctors to diagnose the disease, was the cover-up terminated and vaccination, fumigation and isolation vigorously pursued. The conspiracy of denial, by retarding action and sowing doubt about the need to be vaccinated, had been responsible for no small percentage of the 700 deaths in the town" (Phillips 2012: 32-33).

Kimberlite

"UCT was founded in 1829 as the South African College, a high school for boys. The College had a small tertiary-education facility that grew substantially after 1880, when the discovery of gold and diamonds in the north – and the resulting demand for skills in mining – gave it the financial boost it needed to grow. The College developed into a fully fledged university during the period 1880 to 1900, thanks to increased funding from private sources and the government. During these years, the College built its first dedicated science laboratories, and started the departments of mineralogy and geology to meet the need for skilled personnel in the country's emerging diamond and gold-mining industries (Ritchie 1918: 495-496)".

Big Good Strong Hands...

The 1984 film, 'The Neverending Story', features Pyornkrachzark, the Rockbiter, a large creature made of stone. The Rockbiter species are named due to their diet of rocks and earth-based materials. The Rockbiter seen in the film particularly has a liking for limestone. In the novel and the first film, the Rockbiter appears early among the messengers sent to see the Childlike Empress at the Ivory Tower during the Nothing crisis. In the first film he ultimately reappears, encountered by Atreyu. He has lost faith in himself after failing to save his travelling companions from the Nothing, and advises Atreyu to flee.