As one of the incurably curious, the Wellcome Collection is my favourite science museum in London. When I found out that the newest exhibition explored “what humans have done to brains in the name of medical intervention, scientific enquiry, cultural meaning and technological change” I popped down as soon as I had a spare moment. As usual the exhibition didn’t disappoint.

With over 150 artefacts including real brains, artworks, manuscripts, videos and photography, ‘Brains’ asks not what brains do to us, but what we have done to brains. The exhibition isolates the brain from the individual and presents it as a purely scientific object: something which can be measured, classified, modelled and mapped, sliced, freeze-dried and pickled.

Presented as a maze of four sections, the exhibition reflects this: ‘Measuring’ defines the relationship between the brain’s function and form, ‘Mapping’ explores anatomy, ‘Cutting’ delves into the gory history of surgical intervention and Victorian quackery, while ‘Giving’ deals with brain harvesting and research.

Alongside a wealth of scientific information, what really make this exhibition unique are the art pieces interwoven throughout.

Curator Marius Kwint selected works by contemporary artists, who responded to the form and physical matter of the brain in various ways. There are abstract offerings in Katharine Dowson’s glass laser render of a her own brain which from afar looks like a delicate puff of silk, Susan Aldworth’s watercolour series and stills from Andrew Carnie’s film ‘Atlas’. There are also some touching works exploring the brain’s physicality, such as photographer Corrine Day’s pictures of herself before brain surgery, and Ania Dabrowska’s portraits of brain donors alongside podcast monologues. Rather than being ghostly these recordings are gentle and reflective making them one of my favourite sections of the exhibition.

All in all ‘Brains: Mind as Matter’ is science communication at its best: complex medicine interwoven with art and beauty (and a little bit of gore). It’s on until the 17th of June and it’s free, so I suggest you take your brain down for a little look.

I can’t get into specific on the category or the entry but the room was divided. I feel we could learn a lot from the ad man exceptional; David Ogilvy.  Ogilvy was passionate, to the point of dangerous, when he encountered agency folk who felt that the divide between us (marketers) and them (consumers) was huge. Terms like ‘punter’ were banned and a deep level of respect was insisted upon. In his mind our target audience were people to respect and cherish not dumb down and patronise.  “The consumer is not a moron, she is your wife.” -David Ogilvy, Elements of Advertising. Published in 1983 sums it up for me.

Horst Faas, a two-time Pulitzer Prize-winning war photographer who later was editor of The Associated Press staff in Saigon, died on Thursday in Munich. He was 79. If you are a fan of photography, communication and visual talent this should give cause to pause and reflect on a human being who nailed  audience respect better than anyone. Whether that be New York Times readers havig breakfast or Communist insurgents featured in the haunting photographs of the Vietnam War he never presumed to protect or provide anything but the naked reality of the situations he saw.

If you are unfamiliar with his work, he is responsible so many of the images we have of  the horrors of war. He managed the transition from field to office as Editor if AP without compromising his desire  to educate and inform.  “I don’t think we influenced the war at any time,” he said in 1997. “I don’t think we helped to win it or helped to lose it. We didn’t work on the outcome of the war.” Making photographs about the suffering and horror of war, he said, is simply better than not making them. Such talent balanced with such pragmatism.

With this in mind, I looked up a woman’s review for standard Veet (for those of you that have never heard of it, it’s a feminine hair removal cream which has seemingly now decided to tackle the “metrosexual” market). The review went pretty much as one would expect:

“It’s good, worked well, the first time I tried it I worried about leaving it on too long as it says 3-6 mins. It took slightly more than 3 mins for it to work and I was worried that I was too slow when taking it off but it was ok. Sometimes it didn’t take off all the hair but that may have been because i didnt leave it on long enough…”

So this lady had read the instructions, cautiously adhered to the guidelines and been worried that even by straying slightly from the recommendations,  she may suffer the potential ill-effects highlighted.

The men’s reviews demonstrated an entirely different approach to following the instructions; I have sampled three reviews below:

“Being a loose cannon who does not play by the rules the first thing I did was ignore the warning and smear this all over my knob and bollocks. The bollocks I knew and loved are gone now. In their place is a maroon coloured bag of agony which sends stabs of pain up my body every time it grazes against my thigh or an article of clothing. I am suffering so that you don’t have to. Heed my lesson. DO NOT PUT ON KNOB AND BOLLOCKS.
(I am giving this product a 5 because despite the fact that I think my bollocks might fall off, they are now completely hairless.)”

“I like the clean shaven look down in my gentleman’s log cabin, so for the past few years I’ve used a shaver. However the hair keeps growing back which means every 6 months I have to spend 20 minutes trimming again. As I’m sure you’ve realise this is valuable time I cannot waste. So I decided to get to the root of the problem and purchased this product.
Probably the first thing you will notice after using this product is the pain. Although as a man I lack the required experience, I’m going to estimate that using this product is at least eleven times more painful than childbirth.
Imagine sticking a rusty razor blade into your favourite eye, before tying your hands behind your back. Then imagine that you use the entrenched razor blade to slice open a raw onion. All the while being butt naked. This product is slightly more painful than that.
However if we ignore the blinding, crippling and debilitating pain I should point out that this product is remarkably effective. Before, all manner of organisms great and small lived down there, now nothing can grow; not even on a cellular level. Sadly this includes my genitalia; I’ve spent the last four hours staring fixedly at Carol Vorderman’s arse, all to no avail. My tinkywinkleton hasn’t even so much as perked up, so if my review seems a bit harsh, it’s only because I wanted children.”

“Although I understood the part about ‘intimate use’ I could not find anything about this not being for nose or ear hair. I get fed up with constantly cutting myself whilst trying to cut my ear and nose hair with a pair of Kitchen Scissors, so I decided that this product would work for me. I rubbed it up into my nostrils and around the outside of my ears. Very soon the burn started and trust me it really makes your eyes water. Probably more that if it was on your knob or bollocks like the other reviewer did. If your eyes do water, make sure the product is not on your hands when you go to wipe your eyes as this product also removes eyelashes and eyebrows and makes your eyes water even more. I look like I have been put on a sunbed for too long and people keep asking me why I am crying. Still, a good product which does what it says”

The first two exhibited a flagrant disregard for the recommendations whilst the third’s interpretation of these was questionable to say the least.

What needed to be done in the instruction leaflet to avoid their gung-ho attitude towards “intimate use”? Should there be an Orwellian voice triggered on opening the pack that repeats “not for use on your knob and bollocks” (just to avoid any misinterpretation about “intimate use”) until the tube is safely replaced? Neon sign? Or would making the tone of the instructions different suffice?

We do currently consider typical patient types within each therapy area, ensuring that tactical plans take into account age, ethnic backgrounds, socio-economic status, concomitant conditions etc. but should we start adjusting language to compensate for a difference in gender-related interpretation. Could we improve compliance and correct self-administration of medicines by tailoring communications by gender (in non-gender specific therapy areas)?  Judging from those reviews, tailored instructions may avoid any unpleasant surprises.

Specifically The Listening Project. A gem of a collaboration between BBC Radio 4, BBC local and national radio stations and the British Library. Tasked with capturing the nation in conversation to build a unique picture of our lives today and preserve it for future generations it’s a brilliantly gentle and real picture of who we are as a nation. If you are ever sat at your desk trying to find a voice for the rich collective of humanity we write for then I could recommend no better time spent than here. For me its  a healthy reminding kick to remember the real people that go through life not distant demographic classifications.

Please excuse my poor editing of the podcast attached I didn’t want the whole podcast only the health related conversation. It was this submission by BBC Radio Ulster that left me attempting to wake my catatonic girlfriend up on the back seat to no avail. After years of dialysis and declining health, Brendan was the recipient of a kidney donated to him by his older brother Kyron. They talk candidly about what this has meant for both their lives. Emotional heartwarming treasure.

One to the kidneys

Culminating in a biggie transition event where the baton was handed over to the markets to start to build local plans.

Usually this would take the form of a M4/Heathrow/PowerPoint orgy/branded pads/pens/salad bar. This week has seen us kick this tradition into touch and activate using 27,000 sq. ft of The Old Truman Brewery, (that’s 4 times the size of an Olympic Swimming pool), 19 countries, 150 people, 9 sets built, 1 stage, cool caterers and a rather fun sized graffiti wall. An uber-rollout.

The opportunity proved to be a step towards us using some of the principles of experience design that Central St Martins set me up with – focus on the narrative, not just the story, examine the geography, figure out the level of covert/overt communication you want and don’t do a sticker campaign. With these in mind we have been working hand in glove with our guys on the inside to develop a journey, support and train facilitators, developed some cool stimulus and set the brand above and beneath all activities. It culminated in a pretty mind blowing 5 days, with action stations/audiences in the room for 2 of these.

As with anything new risk was present. If you want predictable then head to the Radission – they do meetings really well, just the same one. If you want Wow, then grow a pair and strive for the new. It’s been a mixture of bloody scary, buzzing like mad and organisational focus.

I was lucky enough to be host/master of ceremonies for the two days. A far easier job than the rest of the team, who I could see the other side of the footlights orchestrating the most creative meeting in my career. As we set up sessions, hired heaters, built the energy, the team made it come together like no other. Matt, Nat, James and I certainly had the odd moment  where the scale and distance from the traditional certainly caused us to need to get our shit together. But for me that has been part of the joy.

Once our ace client team left to head off on well deserved holidays, we all experienced a Ocean’s Eleven moment of reflection and classical realisation. We did it. Simply smashed it.

The pressure was most evident about an hour into our post event wash up/quiet drink that turned into a Lock Stock style session that resulted in me being banned from a restaurant for life, us highjacking a 21st birthday, a trapeze artist’s manly chest being touched up and a wine waiter pretending to be a pirate. It was surreal, only now are the receipts starting to help it all make sense.

I wish you were here to see some of the set up, ideas and scale of the event. It’s truly awesome. Truly. We are showing and telling next week to the group and beginning to plan the next wave which sees us take on 35 local markets. James (midway through 21st birthday shots with a stranger) kicked us off with an interesting idea regarding approaching our next task as an sequential experience theatre. Now there is an idea.

Below I’ve included a few lines from various people that contributed to the article, which may be of interest. I’ve also included a few thoughts of my own, which may be less interesting:

-          ‘Perhaps in chasing the best prices, the character of the brand became uninteresting and generic. Maybe the line in the brief that stated ‘brand personality’ was left blank because they weren’t sure what to write.’

You would have thought in today’s economically depressed climate that price would still have been a major motivator. Actually it seems from other stuff I have read that people are getting sick of always searching for bargains. Whatever – it’s well documented that you can’t build a brand on price alone – because people like Lidl will come along and very quickly take-over. Clearly price allows no emotional connection with a target audience – it’s purely a rational relationship – once that goes there’s little else to connect you to the brand. Also – it’s interesting that people are referring to price and not the close relation – value – just a subtle difference that would have made (perhaps) a massive difference.

-          ‘Tesco has not looked after its core UK proposition’.

Years of neglect have now caught up with it. I think I’ve discussed this with a few of you – but as soon as you start getting tactical with a brand it’s really easy to lose sight of the bigger picture – perfect example this – all about price, nothing on a deeper connection.

-          ‘The answer ‘ easy – keep it simple’.

Mmm – me thinks that if the Red Brick Road suggested that to Tesco they may be slung out on their arses – but I do like the sentiment behind this. It’s all gone Pete Tong and some bright spark suggests simplicity – but I do think it’s probably bang on. Don’t over complicate the problem – it’s more about re-establishing an emotional connection (in my mind) – but if I were the planning punter or creative jonnie I would love the comfort that these words would no doubt bring – after all it’s not rocket science….

This has happened because ad libitum feeding and zero exercise are standard conditions in the rodent-breeding factories that provide scientists with mice (a $1.1 billion dollar industry). But why does it matter? It matters because, as Engber writes, ‘the inbred, factory-farmed rodents in use today – raised by the millions in germ-free barrier rooms, overfed and understimulated and in some cases pumped through with antibiotics – may be placing unseen constraints on what we know and learn.’

The problem is, so invested are researchers in the mouse that no one wants to acknowledge the possibility that there’s a problem. But if there is a problem with mice, there’s a problem with drug development: scientists chew through 88 million mice a year in experiments and drug testing, and since 1965 the number of papers involving mice and rats has more than quadrupled. According to Engber ‘we’ve arrived at something like a monoculture in biomedicine,’ the main reasons being cheapness, docility, and the mouse’s amenability to ‘the most advanced tools of genetic engineering.’

In late 2010 Francis Collins, director of America’s National Institutes of Health, established a new agency to analyse what he called the ‘pipeline problem’ in biomedicine. The problem is that ‘innovation has slowed to a trickle. It takes more than a decade, and some $800 million, to produce a viable, new drug; among the compounds considered for testing, only 1 in 10,000 come to fruition.’ Could this perhaps be because ‘rats and mice were never so good at curing disease as they were at making data for its own sake’? Of the thousands of mouse studies for tuberculosis, ‘not one has been used to pick a new drug regimen that succeeded in clinical trials.’

The geneticist and statistician Michael Festing, one of the world’s experts on inbred lab mice, notes that ‘“the more research you do on something, the more valuable it becomes.”’ ‘A format war hides in the history of biomedicine,’ Engber writes, describing how not just one species but one particular strain, the Black-6, has become the most widely used organism in drug research. The problem is, since 1999 it’s been accepted that, for one, different mice have different responses to pain (prior to that the consensus was that every kind of mouse was essentially the same). And mice have different pain responses to other rodent species. And rodent species have different pain responses humans.

Experimental science does recognise certain fields where specific animals prove useful: for example armadillos in leprosy, prairie voles for autism, finches for language acquisition, but these models ‘live only at the margins of biomedicine…For most questions [the mouse is] a skeleton key that’s tried at every one of Nature’s doors.’ This despite the fact that, in the case of cancer, mice are prone to lymphomas and sarcomas as opposed to the carcinomas which are much more common in humans. Mouse tumours are much less varied than those seen in any hospital oncology department. They serve up ‘a bland and homogenized product, a fast-food version of the disease’. According to Robert Weinberg, the MIT biologist who discovered the first human oncogene and tumour suppressor gene, mice are ‘“the rate-limiting step in cancer research”’, and drug companies are ‘“wasting hundreds of millions of dollars on animal research that has little predictive value.’”

Engber’s article, which portrays both the problems with the mouse model and the ‘institutional inertia’ that prevent those problems from being formally acknowledged by the very people who would benefit most from their resolution, is essential reading.

We have a pretty standard call for us all to go and get infront of our audiences as much as possible, heeding Paul Smith’s call to action for all of us creatives “go out and see the whites of their eyes”. If you ever doubted medics are human, accessible, and just like you and me – have a look at this. My highlight is the “Girl I cant tell whether you’d be winking or got mild ptosis” line. Genius.

Here is the original if you are not as cool as me, and if you fancy Friday afternoon with your Air Jordan’s on.

For those that are of a certain dustiness. If you didn’t recognise the style and 90′s theme running through the video.Shame on you. It’s been styled to be retro 90s. ” ‘Look at Me Now‘ is kind of like my very first hip hop, rap video,” Chris  Brown smiled when he sat down with MTV on Friday. “I wanted to complete just like old school, not truly old school however, like, back-in-the-day style.” Back in the day, for the 21-year-old, meant reviving 1990s staples such as “big baggy clothes” and “a lot of art, graffiti.” “I attempted to blend all of those components into one and make it enjoyable and exciting.

90s = retro. I am off to buy a red porsche.

What has struck me more than anything is the calibre of facilitators I have been sharing this week with. The time spent working one to one and in groups with my nine European colleagues has been incredibly useful. Arriving Sunday night and returning tomorrow we have started at 8ish and worked through til 10pm finishing up individual projects and applications of the techniques we have been learning.  Finishing at this time, I have had 20mins to clear my head on the walk back to the hotel tired with the pace, the full on nature of the technique and the sheer variety of learning methodology. 4 days with not one single powerpoint slide, has been deeply influential on us all. Proper skills training, using a variety of proper teaching methods and approaches.

My late evenings have been spent finding restaurants that are open at this time, settling in and ordering something that is going to match the day. Food that can inspire, challenge and be successfully different. Most of these restaurants have been proponents of fusion food a craze that continues in Holland for blending of two or more cuisines. Whether that be Spanish thrown together with Japanese, or last nights malay and french effort its been a mixed bag of tom yum foam, with pimenton prawns or a prawn cracker topped with olive oil snow. The highlight gave me an omelet with chilli sauce in the centre, a sort of thai egg wagon wheel. Luckily this sense fest was accompanied by 7 wines to taste*. It’s fair to say that my evenings have been filled wanting some identity and confidence back in the kitchens of my hosts.

Whilst not wishing to be confused for AA Gill. This local trend sounded a connection. My days have been filled with framing questions, grounding approaches and metaphors this one is too approximate an opportunity to pass over. It strikes me that I have been making a similar mistake in our strategic kitchen. I think I need to get considerably better in defining where I as a consultant starts, and where me as a facilitator ends. Across all the agencies I have worked in we have consistently clouded the two roles. As a consequence failing to do either job with the clarity of purpose required, the independence needed, or having missed out on our input mid session when we have been guiding the group. It’s fusion of competencies.

One requires guidance, framing questions and independence and the suspension of solution provision. The other value judgement, input and subjectivity. Both have huge value but the danger exists in the middle ground facilitating the answers to core questions where we feel we should also be part of the answer. As a consequence influencing and skewing the result. This lack of clarity is a concept that I have seen present in many if not all of the facilitators I have worked with over the years in healthcare, and as much so in myself.

I feel the solution is for more of us to be up-skilled and competent to a much higher level than the marketing communication industry requires us to be. Accompanying this to strive for a set of guiding approaches/set formats that allow us to work across each others accounts when independent facilitation is needed.  I think this should be pretty doable for I/us here at Hive. We have more leadership level people per unit business than anyone else. Our resource model insists on an hour glass in place of a pyramid shape with our senior members making up a healthy wodge of client focused talent. We have the resources to get us all to a beyond industry level of competence, the desire to develop standardised approaches for typical challenges and certainly the humility and track record in learn from other sectors.

The week has been a steep learning curve and provided me not only with a new vocabulary, but a new respect for my European colleagues in their professionalism and discipline. From technical skills, to focus and purity of role I hope to put much of this into practice at Hive. I shall be striving for some fission, and kicking fusion into touch.

*This was a week of training permitting some low level relaxation. It’s possible to drink 7 glasses of wine on your own in a restaurant by following the following guide;  You certainly need a tasting menu, and do start with a beer, and a copy of a good book ideally something featuring food, drink and servant girls. Ignore the wine list and suggest your restaurant match each course. Do bare in mind that these types of gaffs will insist on sending 3 little bites to amuse prior to one of your starters arriving.  Then hang up your taste buds, and travel the increasingly hazy world.

Our focus for this inspiration titbit, was the exciting time filmmakers and storytellers are having exploring ways to enhance their stories via the web. One of the new genres to emerge is the connected documentary. These projects seduce you to go to a deeper level of engagement, using approaches to storytelling ar much more experiential than broadcast.