ADHD seems to generate more opinions in the popular press than other disorders. People call it over diagnosed, made-up, underdiagnosed, a product of the pharmaceutical industry, etc. Why do you think ADHD receives more discussion than other disorders?
What are effective and long-lasting treatments for ADHD excluding stimulants (like amphetamines, SNRIs, NRIs, or NDRIs)?
e to be found at any given moment in Grand Central Station.’ This comparison to a diverse train station is broad, in that stations are for people, machines, animals, bacteria, plants and a whole host of other entities. Advocating for the importance of ‘congregant spaces’ circles round the crux of the text, but limits possibilities by omitting to address museums as non-places, to avoid appearing to homogenise museums. By synthesising this with Massey, who asserts ‘places do not have single, unique ‘identities’; they are full of internal conflicts’. Therefore Gurian’s assertions can be expanded, by applying Massey’s ‘a global sense of the local, a global sense of place’ to museums; a social idea of space for human and nonhuman actors can be realised. Yorkshire Sculpture Park is evidence of the above assertion, whose strapline ‘art without walls’ pioneers sculptural work within a 500 acre estate; an outdoor gallery with fields, forest, lake and river. Therefore the gallery is hosted by multiple ecologies existing alongside one another. This strikes a respectful balance and mutual relationship by nurturing and cultivating the environment in return for an appropriate space to situate sculptures. Contemporary museology can expand notions of what a museum space is, in facilitating environments for audiences, participants and curators to thrive and coexist. Similarly The Eden Project also cares for its ecology as an educational charity and social enterprise that is a leading example of how to present, conserve, and understand environments with extensive living collections. Their Mediterranean and Rainforest Biomes are spaces based on Buckminster Fuller’s notion of a geodesic system alongside biomimicry to create such unique spaces. The Eden Project do not describe themselves as a museum, but arguably are somewhat – in that alongside education and discovery, this site acquires, conserves and presents plants. Natural methods are used to protect plants, in that chemical pesticides and insecticides are replaced by animals, birds or insects, who are introduced into the ecosystem as predators. Through this symbiotic relationship with millions of creatures being welcome and invited to inhabit and exist within this space – a win-win situation. Even though human actors orchestrate these interventions, this is interesting to consider how museums can incorporate nonhuman entities as participants responsible for the care of the collection. Both these museum spaces exemplify methods that mutually benefit humans and nonhumans, when museum spaces are treated as whole ecologies with multiple intra-actions. This really embodies Gurian’s notions of many conflicting and diverse elements within museums, alongside how Massey’s global thinking and treatment of local spaces have the potential to operate within museological spaces. From few selected examples, museum spaces within contemporary practices are for not just humans, but a whole host of other nonhuman actors within various capacities, as both audiences and participants. However physical museum spaces limit scope of ‘who museums are for?’ when considering a posthumanist stance, in that digital museum spaces also interrogate this.>GET ANSWER