The Attic (a name which commemorates our first physical location) is, first and foremost, a site for the research students of the School of Museum Studies at the University of Leicester: a virtual community which aims to include all students, be they campus-based and full-time, or distance-learning and overseas. But we welcome contributions from students of museum studies - and allied subject areas - from outside the School and from around the world. Here you will find a lot of serious stuff, like exhibition and research seminar reviews, conference alerts and calls for papers, but there's also some 'fluff'; the things that inspire, distract and keep us going. After all, while we may be dead serious academic types, we're human too.

Monday, June 27, 2011


Brown Bags came rather thick and fast at the end of this term- I’m not entirely sure that I’ve kept up with them all! Even in Research Week, the busiest week of the year, we had one – and though I’ve taken longer than usual about writing it up, because of that, I am pleased to announce that below you shall find the


Brown Bag 6th June 2011

“Moving Beyond Expert Assumptions: How Audience Research and Advocacy Changed Our Approach to Climate Science”
Jean Franczyk, Director of Learning, National Museums of Science and Industry, UK, Science Museum, London

“Climate Change.” Controversial. Politically sensitive. Crucially important. Museums are places wherein such delicate subjects can be dealt with, mooted, discussed: agoras for the contemporary world. They should be able to engage with subjects so important, but need to retain some sense of themselves as discursive spaces, places wherein knowledges are not only transmitted, but constructed and shared.

The Science Museum, as an internationally renowned institution, filled with expertise, is perfectly placed to deal with climate change. However, as Jean pointed out, that expertise should be tempered with a deepened understanding of audiences and their understandings. This is particularly the case with topics so emotionally and socially charged as climate change. Visitor studies and audience advocacy can, for a modest cost, generate a hugely beneficial return, as the Science Museum has found out. Their experience, Jean believes, holds lessons for institutions beyond the scientific realm, and thus we were lucky that she was so willing to share it with us.

Since 2002, the SM has been putting on small exhibitions related to climate change. Public interest in the topic peaked in around 2007, but by 2009, stories in the media about the veracity of some of the scientific evidence was building a socio-cultural environment of cynicism and boredom. In the same year, the Copenhagen UN Climate Change Conference took place, and the Museum exhibited ‘Prove It!’, which invited the visitors to explore the evidence behind the debates. Initially, it was thought that this exhibition could provide the foundation for future projects within the gallery space, which might perhaps focus on how we humans might change our behaviour and how science might apply its technological know-how to reducing levels of CO2 in the atmosphere whilst bringing new clean energy sources to market. However, there were a number of problems with such a supposition. Given the atmosphere of cynicism which was abounding at the time, and the saturation of the media with the subject, they were concerned that the audience would be irritated and bored by the experience, that they wouldn’t trust the information and gain little from the experience. In that sense, I suppose ‘Prove It!’, with its debate like, investigatory structure, can be said to have caught the Zeitgeist: but as Jean noted, it was, in fact, too dichotomized, too full of debate and containing too little room for information.

The question, then, is how to balance these issues. How do you construct an exhibition around this problematic subject which the audience trust, understand, but do not consider dull and preachy at one and the same time? It’s a big ask, and this is where the importance of visitor research really comes to the fore.

In order to create a product which people enjoy, understand and can learn from, it is obviously critical in learning what it is that they already know, the media that they use and understand, the technical languages which they do and do not speak, and the subjects with which they are will speak. Of course, it’s impossible to get a holistic vision of everyone – we’re all so different – but that does not devalue the role of audience research and advocacy in gaining as much of that information as possible.

To that end, then, the NMSI conducted reviews of the literature related to previous exhibitions on the subject, took focus groups and interviews. From this research, the advocacy group at the learning team constructed a general “Visitor Mental Model” of climate change causes. This simple, diagrammatic structure highlighted both what the audiences, broadly speaking, knew, and the terminologies and concepts which they did not, and was used to enable the museum to construct an exhibition which translated expertise into a clear, understandable, but discursive space. Tested, before ‘publication,’ by prototype observations and testing, ‘Atmosphere: Exploring Climate Science’ opened in December 2010.

The aim of the SM was to create an immersive, object rich experience, in which the environment could be visitor controlled, and in which the information presented could be extended through paratextual elements such as museum literature and websites. It seems that, with ‘Atmosphere’, they have achieved something akin to this, for it integrates expert advice into an interactive, content rich environment which the visitors are invited to explore. Media responses to the gallery have highlighted how it has made the subject interesting once more, and the use of the website and its games has exceeded expectations.

But there are problems, Jean admits. Whilst it is a beautiful space, there are a number of didactic elements within it, which could prove problematic for those seeking a very open and discursive approach. However, being the controversial soul that I am, I have to say that, depending upon its location and extent, a little bit of self-aware, clearly apparent didacticism, can be very beneficial – people do, of course, want information. It’s how, when, and to what extent you use that information that matters. And admittedly, too, it’s difficult to define how biased or otherwise that information might be: but again, I think information is always biased, and that perhaps there is much to be said for the simple appellation of an authorial marker. In defining the creator or creators of a space, we can countermand omniscient, but absent ‘Authority’, and take human command of the situation. Perhaps, in this way, we can increase trust. The fact that the Museum has also allowed different voices to come into the space, in the interventions and outreach of the three year Climate Changing Events programme – including one in which the visitor gets to dress up as a cockroach – and the constantly updated information which is available in the gallery and online, already suggests that such obvious polyvocality is possible.

But I should counter my digressions here, and return to the main point – the work of the audience advocacy and research team. Many things were learned from their work, some of its impacts, perhaps, more obvious than others. Clearly, without the audience research a very different exhibition, perhaps less successful, would have resulted. In conducting the research, the Museum found out how different museum ‘experts’ are from their visitors, how important the small investment shifting this understanding can be in the creation of a useful space. For a modest 3% of the £4million budget, they have made possible the generation of intellectual and social experiences which are beyond financial costing. Such work is valuable also in the development of exhibition design strategies and processes, and for the development of a more ethnographic understanding of museum operational processes.

The research, as hopefully the summative evaluation of the project will show is valuable in other ways: it allows sponsors to see that their money was well spent, and to create a ‘virtuous circle’ of production and funding. But it also enables institutions to take risks, to understand where they can push the boundaries, and how successful such gambles might possibly be. Thus do institutions move forward.

Exhibitions are not singular. Built in a ‘third space,’ somewhere between the physical maker and experience, they are not singular. Like artworks, writings, literature, novels, poetry, paintings and the theatre, the exhibition is becomes discursive. In recognizing their status as elements within the tissues, as ‘scriptors’ rather than Authors, museums can, in fact, become empowered. It is time, then, to pay attention to the reader: and, equally as importantly, to the museum-makers own positions as a readerly entity.

‘We know now that a text is not a line of words releasing a single ‘theological’ meaning (the “message” of the Author-God), but a multi-dimensional space in which a variety of writings, none of them original, blend and clash. The text is a tissue of quotations drawn from the innumerable centres of culture.’*
*Roland Barthes, 1977, ‘Death of the Author’, in Image Music Text: Essays selected and translated by Stephen Heath, (London: Fontana) pp. 142-8, p.146

Sunday, June 26, 2011

Greetings from Berlin III

An object and its agency: the Mshatta Façade

I grew up in Berlin without ever visiting the famous Pergamonmuseum. Even though it was located in East Berlin and I lived in West Berlin, it would have not been too difficult to go there. I just was not aware of the treasures the museum was and is proud to present. How blown away I was when I visited the museum the first time perhaps ten years ago and discovered the beautiful examples of architecture like the Ishtar Gate or the Mshatta Façade.


The Mshatta Façade was presented in depth during the workshop „Making Things Speak“ about which I learned thanks to the Attic. I went to listen to two presentations in the Saturday morning session because they touched my PhD research about exhibition narratives and I was happy to learn by the way more about that fascinating object.

Stefan Weber, director of the Museum of Islamic Art, which is located within the Pergamonmuseum, described the Façade like a person with a biography of its own. According to Weber, its story is partly characterised by amnesia because little is known about the „birth“ or „sisters“ and „brothers“ of the building. The Façade belonged to a palace which was excavated and discovered in Jordan in 1840.

Three aspects I found especially interesting of Weber’s explanations. Firstly, he called the Façade not only an „object“ but also an agent in history as it was i.a. the starting point for German Islamic art history. Secondly, he described how the biography of the Façade and biographies of human beings were entangled. In his presentation Weber could just touch how important the fragment of the palace was for certain persons, among them Ottoman Sultan Abdul Hamid who gave it as a gift to Emperor Wilhelm II of Germany. Thirdly, it was fascinating to learn more about the diverse turning points in the Façade’s biography: how it was brought to Berlin in 1903 and reconstructed in a room of the museum which was not ideal at all for the presentation; how it was seriously damaged during the Second World War; that it was repaired and reconstructed again in another room also because research placed it then in another art historical context.

Art historian Eva Troelenberg talked about how the museum makes an object speak and again the Mshatta Façade was the core of her presentation. She stated that in 1903 the Façade riddled the scholars because nobody knew how to date or categorise the object. Despite this nobody doubted that the Façade was an art historical object of high importance. Why so, Troelenberg asked. She argued that this judgement was based on two central criteria: monumentality and ornamentation. Presented to the German public, the Façade was called monstrous and according to Troelenberg concentrating on the rich ornaments of the Façade helped to „tame the monster“. In the beginning of the 20th century, ornaments played a crucial role in the art historical discourse. A general interest in regularities and structures helped to value the Façade even before more information was discovered.

After placing thus the Façade in the art historical discourse, Troelenberg asked provocatively if it would be possible to imagine other reference frames for this extraordinary museum object, and made an inspiring proposal. She showed an old photograph of a house located in a village near the excavation site: one of the typical stone rosettes of the Mshatta Façade had been included above the door of the building. Was that an exception? Why did the owner use that ornament for his house? Who lived there? What did the inhabitants think about the palace? Without being able to answer these questions, Troelenberg proposed not to read this as a case of vandalism, as if the inhabitants had used the palace just as a stone pit, but to think that the builder of the house used the ornament carefully.

What added a certain explosiveness to talking about the Mshatta Façade today, is the fact that the Museum of Islamic Art and the Façade will, in the course of the overall refurbishment of the Museum Island, move to the northern part of the Pergamonmuseum in the next years. Critics propose that the Museum shall better be included in the Humboldt Forum which will be erected nearby, also because the Façade could be presented there with more space. So the intention of the workshop, to „investigate objects and their agency – how they are transformed (or not) by their uses and contexts and how they impact human lives“, will be in the case of the Façade especially interesting also in the future.

Wednesday, June 22, 2011

A Vote for You

Well, well, well, little Atticies. It seems as though I have only one more Brown Bag to write up for you until the new term starts in October. Unless, of course, there are special events.

But I don't want to leave you with nothing to read over the summer! So, I'd like some input - what sort of things would you like to hear about in the School - Tea in the Attic reports, perhaps, or would you like to hear of anything else?

Please, let me know what activities you'd like to hear about here - it's important we give you what you want!

Comments greatly appreciated below...

Monday, June 20, 2011

Peer Reviewers Needed

Are you a PhD student in Museum Studies, heritage, or a related discipline? Would you like to get some publishing experience for your CV? Do you have a good grasp of the English language? Then please join our stable of peer reviewers for Museological Review, the Museum Studies PhD student journal. We are working on an issue arising out of our Curiouser and Curiouser conference and would love to get a few more people to give the authors valuable editorial feedback and suggestions on improving their papers for publication. Email the editors with your details (name, affiliation, year of programme, academic interests, experience if relevant) at museological[dot]review[at]hotmail[dot]co[dot]uk

Friday, June 17, 2011


Would you like to help some of our ex-students? Read on…
The former students are:
Fiona Diaper, Museum Director
Heather Audin, Curator
Sally Sculthorpe Volunteer Organiser/Education Officer

Unfolding the Quilts

Our Heritage Lottery-funded project ‘Unfolding the Quilts’, based at the Quilt Museum and Gallery in York, has reached the semi-finals of the National Lottery Awards, the annual search to find Britain’s favourite Lottery-funded projects. The Lottery funding has enabled the Quilt Museum and Gallery to work with over 180 volunteers and reach 7,000 children and adults with our Education and Outreach programme since we opened in 2008.


We are competing against nine other projects to be voted the ‘Best Heritage Project’ and if we reach the final, our project - and the Quilt Museum and Gallery - will be featured in the televised finals on BBC 1. This would be tremendous publicity for quilting and for the Quilt Museum and Gallery.

Please help us reach the finals by voting for 'Unfolding the Quilts'. Go to to cast your vote now.

Please forward this email to your friends and ask them to vote too.

You can also vote by phone, just call 0844 836 9716.

Calls cost only 5p from a BT landline but may be more from mobile phones.

Voting ends on 20 June so no time to lose.

Wednesday, June 15, 2011

Workshop: Making Things Speak

Making Things Speak: Objects, Commodities, and Societies in Historical
Workshop at the Pergamon Museum, Berlin
June 23-25, 2011

The “Making Things Speak” workshop investigates objects and their agency—how
they are transformed (or not) by their uses and contexts and how they impact
human lives. The past twenty-five years have seen a proliferation of
writings tracing social practices of exchange and consumption through the
objects of material culture. This has added to an already existing body of
literature in museology and art history focusing on the objects themselves,
their production, and their exhibition.

Following objects across the boundaries of Europe and the Middle East, the
workshop brings together perspectives from museology, art and architectural
history, and social history. By combining object-based and social-based
approaches, the aim of this workshop is not only to explore the tension
between objects as exhibited and as everyday pieces, but also to discuss how
the line separating the two is constituted, crossed, and conceived of.

The workshop is convened by Stefan Weber (Museum für Islamische Kunst /
Member of EUME) and Toufoul Abou-Hodeib (Fellow of EUME 2010/11) and
co-organized by the "Europe in the Middle East—The Middle East in Europe"
research program (EUME), Museum für Islamische Kunst (Staatliche Museen zu
Berlin), and Kunsthistorisches Institut in Florenz (Max-Planck-Institut).

Keynote Lecture, June 23, 19.00:
Ernst J. Grube, Professor Emeritus, Università degli Studi, Venezia
"From the Fatimid Treasuries of Cairo: A Thousand-Year-Old Rock Crystal Ewer
from the Edmund de Unger Collection"

Presentations, June 24-25:

- Toufoul Abou-Hodeib, Fellow of EUME 2010/11
"A Tale of a Phonograph: Foreign Objects in a Late Ottoman City"

- Hannah Baader, Kunsthistorisches Institut in Florenz
"The Votive Object: Making Things Speak and Act"

- Hester Dibbits, Meertens Institute (KNAW) / Netherlands Open Air Museum
"Exotic Commodities in a Dutch Fishing Village, 1650–1800"

- Margaret Graves, University of Edinburgh
"Model and Microcosm: Architecture and the Miniature"

- Gisela Helmecke, Museum für Islamische Kunst
"Some Remarks about a Biography of Objects in Museums"

- Nabila Oulebsir, Université de Poitiers, CRIHAM / CRIA-EHESS
"Museums and Collections in European and Non-European Contexts:
Transcultural Transfers in the Mediterranean"

- Amanda Phillips, Max Planck Fellow, Kunsthistorisches Institut in Florenz
/ Museum für Islamische Kunst
"Ottoman Goods in Ottoman Houses: Theme and Variation"

- Christian Sassmannshausen, Freie Universität Berlin
"Les mauvais sujets de Tripolis: Social Things and the Display of
Conflicting Identities"

- Avinoam Shalem, Ludwig-Maximilians-Universität München
"For Your Eyes Only: The Objective Condition"

- Eva Troelenberg, Max Planck Fellow, Kunsthistorisches Institut in Florenz
/ Museum für
Islamische Kunst Museum
"Narratives and the Eloquence of the Aesthetic: The Case of the Mshatta

- Stefan Weber, Museum für Islamische Kunst / Member of EUME
"The Biography of Things—Things of Biographies: The Trajectories of Objects
in Time,
Space, and Society"

- Gerhard Wolf, Kunsthistorisches Institut in Florenz
"Talking Boxes and Singing Vessels: Towards a Poetics of Receptacles"

The full program is available at:

Please register at

* "Europe in the Middle East—The Middle East in Europe" is a five-year
research program of the Berlin- Brandenburgische Akademie der
Wissenschaften, the Fritz Thyssen Stiftung and the Wissenschaftskolleg zu

Katrin Kaptain
Europa im Nahen Osten - Der Nahe Osten in Europa
Europe in the Middle East - The Middle East in Europe
c/o Wissenschaftskolleg zu Berlin
Wallotstraße 19, 14193 Berlin

Telefon: +49 (0)30 89 001-419
Telefax: +49 (0)30 89 001-200

CFP engage 28

Contribute to the engage journal

Members are invited to contribute to engage 28, our first online version of the journal, on the theme of the current condition of the 'New Museum' which, since the 1980s, has been a subject of theory and debate. As the European recession deepens and public funding is withdrawn from cultural organisations and art education in general, what configurations of this new 'New Museum' are emerging? Are museums and galleries taking over functions previously lodged in other social institutions (adult education, universities, schools, social services)? How will the emerging New Museum work with audiences, through education and learning, in this changing environment? What is the picture in India, China, the Gulf States and parts of the world enjoying a renaissance of museum building for which audiences have yet to be developed?

We are interested in contributions from colleagues worldwide, reflecting on the practices and challenges faced in different contexts, in relation to:
* Motivations and values: education, scholarship, community building, citizenship, experience of material culture
* Increasingly commercial and private models of funding
* The nature of gallery architecture and physical spaces
* Permanent collections: storage, maintenance, exchange
* Balancing local and international commitments and identities
* Tourism and the heritage industry

We are also inviting ideas for engage 29 (Spring 2012 deadline) on the subject of the impact of the London Olympics on gallery culture, education and art practice.

Final articles lie between 1,500 and 4,000 words. The submission deadline for engage 28 is 1 September. We welcome contributions which make use of the potential of the online format.

As engage's funding is limited, it is assumed that writers who are salaried, and for whom writing forms part of their professional duties, will not need to claim a fee. We are very happy to discuss this as the need arises.

There is a small fee available for freelance contributors:
Reviews and short pieces up to 2,000 words: £65
Articles 2,000 words and over: £100

Contributors working freelance who wish to claim their fee should indicate this in advance. Invoices should be sent to the editor, by email or post. Payment is made at the time of publication.

If you are interested in contributing to either of these issues, please send a short, informal proposal of no more than 100 words, and your contact details to, by 10am on Thursday 30 June 2011.

Wednesday, June 08, 2011

A day out in Lincoln

When I was little I lived in Lincolnshire and remember going to Lincoln several times with my parents and sister, and also with school to visit the museum of Lincolnshire Life and the Cathedral. I still have a poem I wrote about the Lincoln Imp - but more on him later. When I was little Lincoln seemed so huge, I remember looking up the High Street and seeing huge crowds of people. It came as quite a surprise to me when I returned as an adult to find it is actually a very small city, albeit one with a very striking Steep hill in the middle of it! I recently had the opportunity to go to Lincoln again for Julia's birthday, along with Amy and Jen (who kindly drove us there and back!), and we had a great day investigating the medieval remains of the city, mingling with the tourists, drinking tea and sampling cake. Annoyingly the museums all closed early and so we missed a trip to those, but generally we were pretty much 'heritaged' out anyway by the time we had looked at the Cathedral, the Castle, been down and up Steep Hill, and tried to avoid all the bicycles. For some reason someone thought it a good idea to end a cycle race right in the middle of town slap bang in front of the Cathedral.

Speaking of the Cathedral, it was located in a very stunning location on top of the only hill in Lincolnshire (possibly), a very flat county that is only out-flattened by Belgium (where I also lived). Around the Cathedral are eighteenth and nineteenth century buildings, very Desirable Residences.

The Cathedral itself is a Gothic masterpiece, rebuilt in the 12th century following an earthquake. Saint Hugh was the leader of the building project, and a fine job he did (although of course there have been renovations since, including the loss of a spire in the 16th century that was never replaced).

The array of fine carvings on the front of the building are currently being restored; those which have been cleaned of centuries of pollution include this louche row of kings.

They don't build them like they used to...

Inside the Cathedral is a cornucopia of Medieval carving and grotesquery, which I found interesting for the link to how people dressed, including this interesting wimple combination.

This highly decorated tomb decorated with rows and rows of mourners or possibly family members of the deceased provided another link to the past. Amongst those buried in the Cathedral is Katherine Swynford, mistress and later wife of John of Gaunt, famous Uncle of Richard II and brother of Edward III, whose illegitimate issue made legitimate caused the later confusion that allowed the traitor Henry VII to assume the throne.

I think this is the tombstone of Saint Hugh, sadly his face has been damaged but the intricate carving of the tomb is still evident.

If you look very carefully you can see the Lincoln Imp in the next picture - he is sat jauntily on the top of the V formed by the two arches meeting. The legend is that the Imp was blown into Lincoln Cathedral where he made mischief in the Angel Choir until one angel got so annoyed that he turned the Imp to stone, where he remains to this day, peeping down from his lofty perch. I was pleased to see that the ragged postcard I have about the Lincoln Imp is still available from the gift shop over 20 years later.

At one point in History there was a fashion for tombstones that had the representation of the living on the top, and underneath a representation of the corpse, either in a winding cloth or in skeletal form. Lincoln has a particularly fine example.

Lincoln Cathedral stands on the top of Steep Hill, one of the most aptly named streets in Britain. Trudging down and up again is a must for visitors to Lincoln, so of course we joined in. Steep Hill was the site of a battle in the 13th century after the death of King John and the anarchy started by his barons degenerated into warfare, culminating in the French prince being invited over by some barons to become King. The French were defeated at Lincoln, apparently because a cow blocked the bottom streets of Steep Hill, meaning that the English could capture them, or something like that. Also associated with King John is the infamous Magna Carta (which, unlike all the propaganda surrounding it, was not a democratic document but the claims of an elite group against another elite, conveniently drawing on the myth of English rights granted by the Norman kings) kept in Lincoln Castle, a pilgrimage for many tourists who come to see a rather brown stained document which has lost its original seal.

Somehow Lincoln miraculously escaped the attentions of 1960s and 1970s town planners and so retains many of its beautiful Medieval buildings.

This includes the 12th century buildings known as the House of Aaron and the Jew's House. It seems to me to be amazing that these are actual Medieval houses, when usually it is castles or fortified manor houses that have (just about) survived, but you can almost imagine an 'ordinary' Medieval family inhabiting these.

Despite alterations over the years, the fine tracery of the door and windows can still be seen on both buildings. Both are still in use too which seems to be pretty remarkable to me!

Across the street from the Cathedral, flanking the left hand side of Steep Hill, is Lincoln Castle. I loved this castle when I was little, although I was too scared to go down into the dungeons because they were reached via a steep ladder. The castle has not changed much since I visited then, although I have now been in the dungeons!

I remember my children's guidebook to the castle remarked on the herringbone pattern of the stones in some parts of the walls - so here is a gratuitous picture of said stones.

From the top of the castle walls you get an amazing perspective over Lincoln, showing how the Cathedral really dominates the city. Steep Hill is to the right of the picture.

The former Keep of the castle juts oddly outside the walls, which doesn't seem to be a very good defensive position.

Proof that I made it down the steep ladder into the dungeons. A ring set into the wall which was presumably used to tie prisoners to.

A reminder that the Castle has until quite recently been the site of a 19th century courthouse and prison; tombstones of prisoners are arranged poignantly in the old Keep.

A glimpse inside one of the more modern cells in the Castle, which seems only slightly more luxurious than the Medieval version.

Another view of the 19th century part of the prison.

The most eerie aspect is the Chapel in the prison which was designed so that prisoners could not see or speak to each other; they sat in isolated booths with their eyes fixed on the chaplain at the front. The atmosphere is not helped by the strange, hooded mannequins that have been sat in the pews. It is easy enough to sit in a pew and experience the isolation for yourself without this detail, which I find more than a little bit creepy.

No castle is complete without a stuffed dog!

Thursday, June 02, 2011

Learning in the Museum - 2011 - Brooklyn NY

Here's something that might interest some of you: A two day program (June 23-25), focusing on action planning, networking and the opportunity to participate in "Onsite Insights" at host institutions Brooklyn Botanic Gardens, Brooklyn Children's Museum, Brooklyn Historical Society, Brooklyn Museum, New York City Transit Museum and Lefferts Historic House.

For more information visit the AAM website:

Also be sure to take a moment to preview the June event by listening to Claudine Brown, assistant secretary for education and access, Smithsonian Institution, discuss informal learning:

Discount museum studies books!

Left Coast Press, Inc. are offering Museum Studies books on sale for 50% off from June 1 through July 1. Check out the selection here:

ENTER CODE L2211 at CHECKOUT for your 50% discount. (Online orders only, through our U.S. distributor.)

Wednesday, June 01, 2011

Top 50 Must-Read Blogs Before Attending Grad School

Here's a link to a website which has gathered top 50 useful and interesting blogs to help those deciding whether or not to attend graduate school or even those planning to attend one.