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I observed many instances of self-percussion during my fieldwork researching how listening to sounds is learned, taught and practiced in a Melbourne medical school and it's connected teaching hospital. The students were sounding out their own bodies; practicing the technique while also feeling "dull" or "resonant" on their own body. This knowledge was then to be applied during their examination of patients, where dullness or resonance in the "wrong" place or in uneven distribution, may indicate disease. Tom Rice (2013) also observed similar acts of self-listening in a London hospital, in the form of auto-auscultation. The first sounds a medical student listens to, Rice found, when they buy their first stethoscope, are often their own. What does it mean to use your body as a case for others? Medical students (and indeed many other practitioners of the body) do this all the time. It is a common way of learning new bodily skills and bodily knowledge.

Sounds. --- Self-managed learning. --- Medical students.

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"A critical reflection on the relationship between materials and reproduction of medical knowledge. Medical knowledge manifests in materials, and materials are integral to the reproduction of medical knowledge. From the novice student to the expert practitioner, those who study and work in and around medicine rely on material guidance in their everyday practice and as they seek to further their craft. To that end, this edited collection brings together historians, anthropologists, educators artists and curators to explore the role of materiality in medical education. With a broad temporal focus, international scope, this volume focuses on the materials, objects, tools and technologies that facilitate the reproduction of medical knowledge and often also reify understandings of medical science. Experimental in form and supplemented with ethnographic, museological and historical cases from around the world, Making Sense of Medicine is the first book to fully explore the matter of medical education in the modern world."--book jacket.

Education, Medical --- Medical education --- Material culture --- Medical education. --- Material culture.

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Marres' projects focus on the senses, the vocabularies of the body, and have an emphasis on experience. The publication 'Sensing Art, Training the Body' highlights this exhibition and training program. This book brings together a collection of 12 of the popular cahiers that Marres publishes for each exhibition between 2017 and 2021. Each presents a variation on the traditional visitors' catalogue: some cahiers contain explanatory texts and images, others are picture pamphlets, and yet others take the form of a fold out art poster. It includes The Painted Bird (2017), Dreaming Awake (2018) and Museum Motus Mori (2019) and many others. In addition to the cahiers, this publication also offers a broad selection of exhibition images and two new essays. Publicist Edo Dijksterhuis writes about Marres' full-environment art installations and anthropologist and medical doctor Anna Harris writes about the Training the Senses program. Sensing Art, Training the Body forms a compendium to The Collection that compiled all the 11 cahiers between 2013 and 2017. Sensing Art, Training the Body is available with five different cover images from five different exhibitions: Dreaming Awake (1), Museum Motus Mori (2), Marijn van Kreij: Nude in the Studio (3), The Floor is Lava (4) and Marres Movements (5) .

Art --- Senses and sensation in art --- Exhibitions. --- Marres, House for Contemporary Culture (Maastricht, Netherlands) --- Exhibitions.

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Performative methods are playing an increasingly prominent role in research into historical production processes, materials, and bodily knowledge and sensory skills, and in forms of education and public engagement in classrooms and museums. This book offers, for the first time, sustained, interdisciplinary reflections on performative methods, variously known as Reconstruction, Re-enactment, Replication, Reproduction and Reworking (RRR) practices across the fields of history of science, archaeology, art history, conservation, musicology and anthropology. Each of these fields has distinct histories, approaches, tools and research questions. Researchers in the historical disciplines have used reconstructions to learn about the materials and practices of the past, while anthropologists and ethnographers have more often studied the re-enactments themselves, participating in these performances as engaged observers. In this book, an interdisciplinary group of authors bring their experiences of RRR practices within their discipline into conversation with RRR practices in other disciplines, providing a basis for interdisciplinary cross-fertilization.