Well, I didn’t make it out to the hospital. It’s ok – I still have pictures from earlier in the year




and knowing how hospitals change with time (ie get overcrowded and dirty and worse), it’s probably best to remember it as the squeaky-clean contagion-preventing newest-in-the-country Critical Care ward it was when I was rotating through two months ago. My ProxCard probably wouldn’t let me in anymore anyway. And come to think of it, since I always bussed it to work, I don’t even know how to get there by car either. It really was quite a sight to behold though, if you’re used to working in hospitals in under-funded health systems. (Yes, Alberta hospitals still rule the roost.)


Glass sliding doors and anterooms at every bed – you can doctor and nurse without passing contagious diseases from patient to patient now! And computers at every station mean you can actually follow-up on all those tests you order by rote. (Yep, there’s that Saskatchewan landscape on the desktop – maybe that’s part of why being on the ward always felt like home…)
Every ward bed has natural light – it’s been proven to help cut down on Critical Care delirium, when patients have natural light to keep their day-night cycles normal; older wards with no windows always led to prolonged admissions just because of that. Of course, making every bed face the outside just to have a window would mean obscenely-long hallways – not good when you’ve got unstable patients rolling in from the OR or Emerg – so there’s a skylighted “alley” terrace to let light into the “inner” ward


Just step down the hallway and you’ll see how quickly hospitals show their age – this section is about as old as me



It’s broken up into “modules” – blocks within the hospital megastructure, divided by a grid of hallways. Depending on which way you enter and which way you turn, the blocks may or may not come to you in any particular logical order, so they tried to make coloured trails to help you figure out where to go – not exactly the most elegant system, and not so helpful if you’re colour blind either

One reason to have gone back though – I used to pass by this door all the time

“Clinical Decision Unit”. I have no idea what that is, and I was meaning to take a peek beyond that door but never got around to it. I’m picturing some sort of inner sanctum – a Fortress of Solitude amidst the chaos of the Emergency Room, where staff got away from the din and mess, conferred with their colleagues over a dignified cup of coffee, comfortably reclined in leather club seats, a library of medical reference tomes at their fingertips, with busts of famed doctors physic presiding over the ceremony. Dilemmas would be discussed and options hashed out – admit/transfer/turf, medicate/operate/show-the-gate, live/die, etc – and staff, re-armed and re-moralised thus, would exit thence again into the fray, Clinical Decision in hand. And all is well in the world.
Whatever it is, I know that none of the other hospitals I work at have “Clinical Decision Unit”s… I guess it’s just laissez-faire medicine outside of Ottawa General; the rest of us don’t make decisions at all, we just hem-and-haw and let things happen.
Could’ve also gone and checked to see if they ever update this sign

I did, however, make it out to Westboro – if I ever have the chance to live in Ottawa, this would be my ‘hood


I always loved the pattern on the MEC store – it’s just corrugated aluminium sheets, the same thing you use for roofs on shacks and outhouses, but it’s such a neat and clean and simple solution to an otherwise blank wall

Though if you have the skill, resources, and some worthy subject matter, a proper mural can’t be beat – I can’t believe I never noticed this Ottawa Fire Department one before, I must’ve passed it a hundred times. Then again, I’ve never had to enter a parking lot in Ottawa ’til this visit

You really do miss out on so much when you have to drive around – at least, in a city where walking, biking or bussing is a feasible option, and you really don’t need a car to do anything or get anywhere. Eg, driving down Wellington St you end up in tunnel vision, and you’d have no idea the nation’s centre of government and democracy is just a few metres to your left

It really didn’t feel right at all, so I parked the car back at the hotel and got a bus day pass instead. Back on the Big Red Limousine, and the Big Red bus shelters to match – not the prettiest, or the easiest to keep clean, but they’re unmistakable OC Transpo

A nod to official bilingualism – all OC Transpo signs have to appear in both English and French. I’m just not sure which one is which is which here: “Lebreton” vs “LeBreton”. There’s also a third station sign there, to show this is the station for the War Museum.

I just missed the opening for the Deadly Medicine: Creating the Master Race exhibit last time I was here, but I definitely wasn’t going to miss it this time. It’s about the role of doctors and medicine in Nazi Germany and supporting racial policy: starting with the measurement and recording of things like head size and skin shades and eye colour (to first classify the races), then to marriage and child-bearing restriction (to prevent mixing and preserve purity), then to forced sterilisation (to stop the passing on of unfit traits), and finally euthanasia and outright murder (to remove inferior races entirely).
It’s a touring exhibit from the US Holocaust Memorial Museum, so under copyright they don’t let you take pictures in the gallery. On the one hand, that kind of goes against the social interest in learning about such history, and passing on the message to others; but then again, it’s set up not by a regular museum, but a memorial museum, so there’s an extra dimension of ceremony and dignity in visiting the exhibit. Plus you’re struck by the gravity of the displays and objects, you’d probably have a problem taking a photo anyway.
Horror – you feel it when you approach the artifacts: a set of calipers, the measuring notches counting out a patient’s race, and thence life or death; a genetics manual, illustrating the flowchart of the permitted and forbidden lineages; an escape-proof asylum door, chipped from the inside with scratch marks and fist-sized dents; a beige, steel crib, used to hold babies for gassing; surgical instruments for medical experimentation; an order on Adolf Hitler’s personal letterhead to proceed with the programme.
All layed out in order from the start to finish – once you get over the horror of it, you realise: there’s really a logic to it all, method to the madness. If you’ve come in with a science or medical background, it really, chillingly, cruelly, makes sense. One leads to the next; one cannot happen without that before it. It’s argued that people didn’t see things coming, that it was impossible to know how far things out would go. But when you see it in hindsight, it’s hard to believe anyone – especially physicians and medical staff – couldn’t see the progression of things and where they were going.
And – I guess this is my trying to make a positive spin – you see there are so many places that people in medicine could’ve organised themselves, stopped the programme and prevented it all. Which is why it’s so important for people, especially people who claim they see “the big picture”, to get involved in things like research and government programmes and the military, especially when they disagree with it. Sometimes people on campus protest against government and the military recruiting at universities for people into research, which makes no sense at all; programmes you disagree with aren’t going to just shut down because you “boycott” and keep away from them. You need to be in the system to do anything about what’s going on. Silly. [rant off]
Being a travelling exhibit, it’s Canadianised with official French translations, and references to local history and politicians and policy on top of the original American-written content. I think this is actually the most important part of the gallery: it’s easy to blame everything on the Nazis and Hitler, but these same ideas grow close to home too. There’s references to sterilisation programmes in various Canadian provinces in the early 1900s, plus Saskatchewan Premier and founder of Medicare (and official Greatest Canadian) Tommy Douglas‘ master’s thesis, “The Problems of the Subnormal Family” promoting sterilisation for the mentally and physically handicapped – coming out of a province with agricultural roots, the concept of separating healthy stock from the weak, and eliminating cross-fertilising isn’t unreasonable. You realise how easily and how quickly a twist of logic, and a willing people, can make the leap from something seemingly benign to something so destructive – which is why remembering this can happen here, too, is so important.
I know that doesn’t do the exhibit justice – it’s running until 11 Nov, so definitely go and see it.
There’s also a related exhibit at the National Gallery: The 1930s: The Making of “The New Man”. I actually did make it out to the opening of this one a few weeks ago when I was here. I’m even less qualified to say anything about art than Deadly Medicine, but luckily they had this French guy, a curator from the Louvre, come in and give the tour

Both Deadly Medicine and 1930 open with the same piece: a glass anatomical structure of a man, illustrating the various vessels and networks making up the body. The logical, technical advanced through the decade crossed over into both eugenics theory and art; the “Fascism” section of the exhibit shows how one was used to idealise and support the other, and vice-versa. The obvious pick: Leni Riefenstahl’s classic, genre-defining propaganda film, Triumph des Willens (Triumph of the Will)

Another Hitler touch, this actually hung in one of his personal residences in Munich: Reich Chamber for Visual Arts president (and Reich commissioner against degenerate art) Adolf Ziegler’s Die vier Elemente (The Four Elements)

The Louvre curator explained Ziegler’s intent (though this quote is from the Wikipedia article since I didn’t take notes)
His static, pseudo-classical nudes depicted ideal Aryan figures. In an interview with American playwright Barrie Stavis, Ziegler explained that a painting of a beautiful nude German woman encourages the ideal of a perfect body and gives German men the incentive to have many German children.
The real art connoisseurs in the crowd (ie, everyone except Philistine me) took notes and hung on his every word – pronounced in proper, classy France French, of course.

Before I left Ottawa I wanted to get a picture in front of the National Defence Headquarters sign. Being the national capital Ottawa’s the only place where government building signs don’t say “Federal Building” or “Revenue Building” – here, the structures aren’t mere branches or processing centres. No, here, the edifice is the ministry, the be-all and end-all, where respective departmental bucks stop. “Justice”, “Revenue”, and of course, “National Defence”

Our Pentagon isn’t much to look at, just your average concrete office building, but it’s right Downtown, on a nice setting by the Rideau Canal and Confederation Park

and it’s got easy access to transit – it shares an OC Transpo station with the Rideau Centre mall right across the street

Inside, it looks like the 60s-70s prefab concrete you see on the outside lined with terra-cotta flooring to accentuate the heel-clicking

with an array of medals and awards to inspire the staff who work here (and so you can decode each others ribbons too)

I don’t know if they award this one any more: “For Efficient Service”

They have a well-stocked library, with military magazines and defence reviews from around the world

plus some neat historical finds


It’s declassified now, so I can show you without having to kill you!


I tried to find an equivalent uniform recognition manual for the Taliban, but I think they’re still working on it.