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Showing 6 Projects from The Petrie Museum of Egyptian Archaeology:
3D Petrie
The 3DPetrie project looked at the viability of using high quality 3D images of museum collections to engage a range of audiences.  This took place through the production of 3D models of Petrie Museum artefacts and the development of end-user digital 3D applications.Since 2009, The Petrie Museum of Egyptian Archaeology at UCL, in collaboration with UCL's Department of Civil, Environmental and Geomatic Engineering and business partner Arius 3D, has been developing this groundbreaking programme for creating 3D images of objects in the Petrie collection.The aims of the projects:To develop a viable workflow for the production of high quality 3D models of museum objects, in particular using colour laser scanning.To develop a range of digital 3D applications that will engage audiences.To undertake audience evaluations of the 3D models and applications to better understand the potential of 3D in cultural heritage.This selection of our most recent publications over the past 2 years show our expertise and research in 3D imaging for museums and cultural heritage. e-brochure: Hess, M. , Nelson, T. , Robson, S. (2013). The Science of 3D [Digital scholarly resource].Payne, E.M., 2013. Imaging Techniques in Conservation. Journal of Conservation and Museum Studies, 10(2).  Nelson, T. and MacDonald, S.: “A Space for Innovation and Experimentation: University Museums as Test Beds for New Digital Technologies” in Academic Museums: Beyond Exhibitions and Education; “Viral Capacity Building for Innovation” in British Council Creative and Cultural Economy; (Autumn 2012) Publisher LinkGiacometti, A., Campagnolo, A., MacDonald, L., Mahony, S., Terras, M., Robson, S.,  Gibson, A. (2012). Cultural heritage destruction: Documenting parchment degradation via multispectral imaging. Proc. of Electronic Visualisation and the Arts (EVA 2012), 301-308.Macdonald, S., Hess, M., Robson, S., & Were, G. (2012). 3D Recording and Museums. In C. Warwick, Terras, Nyhan (Eds.), Digital Humanities in Practice (pp. 91-115). London, UK: Facet.Hess, M., & Robson, S. (2010). 3D colour imaging for cultural heritage artefacts. International Archives of Photogrammetry, Remote Sensing and Spatial Information Sciences, XXXVIII (Part 5), 288-292.Find out more here http://www.ucl.ac.uk/3dpetriemuseum
Artefacts of Excavation
Artefacts of Excavation
‘Artefacts of Excavation’ is a 3-year, AHRC-funded collaborative project led by Dr Alice Stevenson at UCL, and Professor John Baines at the University of Oxford.From the 1880s to the 1980s British excavations at sites across Egypt resulted in the discovery of tens of thousands of objects. A large proportion were exported from Egypt and distributed to an estimated 200 museums around the world before they were fully documented or published.  'Artefacts of Excavation' is an ambitious project that will create an online resource for the relocation and re-contextualization of these objects, and will explore the role of these distributions in the development of archaeology and museology. [[{"fid":"3405","view_mode":"xl","fields":{"format":"xl","field_file_image_alt_text[und][0][value]":"ohi1.jpg","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"xl","field_file_image_alt_text[und][0][value]":"ohi1.jpg","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"1025","width":"1402","class":"media-element file-xl"},"link_text":null}]]The project aims to address the following questions:What was the scale and scope of the distribution of finds from British excavations in Egypt between 1880 and 1980? Where are these collections now?What do these finds distributions reveal about the changing relationship between museums, field archaeology and the development of research between 1880 and 1980?How were local, regional, national, and international identities (including colonial relations) negotiated through the circulation of antiquities from Egypt? How may these be understood in relation to questions of the ownership of Egyptian heritage today?How were ancient Egyptian artefacts from British excavations accommodated within different museums around the world? How may these local narratives be linked with wider developments in archaeology and museology?Project CollaboratorsThe Griffith Institute, University of OxfordEgypt Exploration SocietyProject conferenceApril 7-8 2016, University College London, Institute of Archaeology, G6The conference outline is available here and the conference programme here.The book of abstracts is also available here.[[{"fid":"3397","view_mode":"xl","fields":{"format":"xl","field_file_image_alt_text[und][0][value]":"uc25969.jpg","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"xl","field_file_image_alt_text[und][0][value]":"uc25969.jpg","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"link_text":null,"attributes":{"height":"559","width":"924","class":"media-element file-xl"}}]]Project websiteHosted at the Griffith Institute: http://egyptartefacts.griffith.ox.ac.uk/This website is not only a repository for the project outcomes. It also forms a central tool of our research and a point of engagement with museums worldwide. We will be posting here resources to help people identify and more fully understand excavated objects in collections, as well as sharing some of the stories that lie behind artefacts from British fieldwork in Egypt now dispersed across the globe. Our focus will be on the fieldwork of the Egypt Exploration Fund (EEF)/Society (EES), and the British School of Archaeology in Egypt (BSAE)/Egyptian Research Account (ERA).Project publicationsStevenson, A., Libonati, E. and Williams. A. forthcoming (May 2016) 'A selection of minor antiquities: a multi-sited view on collections from excavations in Egypt. World Archaeology 48(2) Stevenson, A. 2016. Conflict antiquities and conflicted antiquities: challenging the sale of legally excavated artefacts. Antiquity  90: 229-236 http://dx.doi.org/10.15184/aqy.2015.188Stevenson, A. and Libonati, E. 2015. Artefacts of Excavation. Egyptian Archaeology 46: 27-29. Stevenson, A. 2015. Between the field and the museum: the ongoing project of archaeological context. Egyptian and Egyptological Documents Archives Libraries 4: 109-118Stevenson, A. 2014. Artefacts of excavation: the collection and distribution of Egyptian finds to museums, 1880–1915. Journal of the History of Collections 26(1): 89–102. 
Different Perspectives: Archaeology and the Middle East in WWI
Different Perspectives
[[{"fid":"6275","view_mode":"large","fields":{"format":"large","field_file_image_alt_text[und][0][value]":"Different Perspectives","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"large","field_file_image_alt_text[und][0][value]":"Different Perspectives","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"link_text":null,"attributes":{"height":"525","width":"720","class":"media-element file-large"}}]]What is the connection between the Petrie Museum of Egyptian Archaeology and the mysterious and enigmatic theme of archaeology and espionage? When we hear these words, we get the image of Indiana Jones-type characters on expeditions filled with adventure and swagger, but was there really a link between archaeology and military intelligence-gathering in times of conflict?Our Heritage Lottery funded project, Different Perspectives: Archaeology and the Middle East in WWI sought to explore these myths and realities. Working with a wonderful team of 12 community researchers, we explored and investigated material from within the Petrie Museum and UCL archives, relevant files in the National Archives at Kew, documents at the Palestine Excavation Fund, Egypt Exploration Society and objects and images from the National Army Museum.We used this research to curate a series of public events culminating in a performance, an exhibition in the Petrie Museum and a series of learning resources as a legacy to the project. All this explored how antiquity and cultural heritage both form and transcend national identity, lead to cross cultural connections, and open up discussion around the subject.Our project received some media attention too - Public Programmer Debbie Challis was invited to speak on BBC Radio 4's Today programme about the project. A fantastic opportunity to highlight all the hard work of the volunteers.Teaching Resources we produced:Lesson One - Powerpoint Lesson One - Lesson PlanLesson Two - Lesson Plan Project background:Many of the figures involved in military campaigns in the region during World War One were archaeologists and trained by Flinders Petrie. From the well-known, such as T.E. Lawrence aka Lawrence of Arabia, to the almost unknown Rupert Harold Duncan Willey, who was killed in action in 1919 in Iraqi Kurdistan. Petrie is our lynch pin in the middle of the matrix, from whom many people can be connected and linked.Archaeologists have similar skills to those needed for military intelligence gathering. For example, their knowledge of the local area and languages, ability to decipher codes and encryptions, skills in cartography, ability to live rough in the desert etc. We are not saying that all archaeologists present in the Middle East during World War One were spies but that there were some natural over-lapping of skills.When World War One broke out, the archaeologist Flinders Petrie offered his services to the War Office. At the age of sixty-one, however, he was too old to fight and could only watch as his assistants, students and even his wife went into military uniforms. Petrie actively followed the campaigns and developments happening in Egypt, Mesopotamia (modern day Iraq), Palestine and Syria. He gave public lectures about the ramifications of World War One, including three in 1918 at the Royal Institution, Eastern Exploration, Past and Future, on Britain’s role in those countries.World War One and British involvement had a profound impact in and on the Middle East, the repercussions of which are still felt today but have been underexplored within the public realm. With recent events in the region of Syria and Iraq underlining how important the legacy of the war was on nation building and identity, and the role of antiquity in both, it is more important than ever for there to be public information and discussion on this area. 
Papyrus picture - Papyrus for the people
Papyrus for the People
Papyrus for the People An overview of the project. [[{"fid":"9155","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"IMage of Egyptian papyrus in a glass mounted case.","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"link_text":null,"type":"media","field_deltas":{"1":{"format":"medium","field_file_image_alt_text[und][0][value]":"IMage of Egyptian papyrus in a glass mounted case.","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"799","width":"1200","class":"media-element file-medium"}}]]The project aimed to improve understanding of, access to, and care of the museum’s  collection of ancient written texts on papyrus and pottery/stone fragments (ostraca). By improving the understanding of this valuable material, promoting its relevance, and celebrating its significance the project demonstrates the long-term future sustainability of such specialist museum collections as The Petrie collections.  Translating ….[[{"fid":"9175","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"Image of papyrus translator talking about work ","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"link_text":null,"type":"media","field_deltas":{"1":{"format":"medium","field_file_image_alt_text[und][0][value]":"Image of papyrus translator talking about work ","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"1507","width":"1328","class":"media-element file-medium"}}]]A key aim of this project was to make translations of these ancient texts more accessible to and more understandable for a wider audience including public audiences. Working with a group of specialists in ancient texts (Hieratic, Demotic, Greek, Coptic & Arabic) an initial scope of the character of the written material in the collection was identified, summarised and technical accounts published to improve database records with non-specialist users in mind. Translators collaborated with the project team to identify examples that have the potential for exhibition and open access publication. Creating clearer paths into searching online are in progress to allow for stimulating research into gender inequality, and sexuality allowing a broader range of use from across the disciplines at UCL and external including art and drama and external source communities. Accompanying higher quality photography of newly conserved papyri has also been a priority to be made fully accessible on the online database to accompany more user-friendly descriptions, further facilitating the opportunities for future research from those unable to visit the museum.  Conserving…….[[{"fid":"9159","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"Image of papyrus conservator at work restroing a piece of papyrus","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"link_text":null,"type":"media","field_deltas":{"1":{"format":"medium","field_file_image_alt_text[und][0][value]":"Image of papyrus conservator at work restroing a piece of papyrus","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"332","width":"500","class":"media-element file-medium"}}]]Specialist conservation work was carried out to re-tape the glass to protect those accessing the papyri from the glass jagged edges. The pottery stone fragments of ostraca have now been packaged into plastazote a soft casing material minimising damage to the objects as drawers are opened and closed. For papyri not on display new visible storage units are now in place which provide a safe conservation environment making access to them much easier for staff and researchers alike.  Curating and exhibiting ….New cases for the display of the papyri are also in place offering news ways of linking the papyri texts with objects in the collection demonstrating the importance of the value of ancient texts in evidencing objects and their use. The current exhibition looks at the role of women in Ancient Egypt and links pottery examples to references in papyri. [[{"fid":"9163","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"IMage of new cases at The Petrie Musuem showing Egyptian papyri and pottery. ","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"link_text":null,"type":"media","field_deltas":{"1":{"format":"medium","field_file_image_alt_text[und][0][value]":"IMage of new cases at The Petrie Musuem showing Egyptian papyri and pottery. ","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"1200","width":"1151","class":"media-element file-medium"}}]]Programming and engaging audiences…[[{"fid":"9171","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"Image of performers dragging stone material across other stone material.","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"},"link_text":null,"type":"media","field_deltas":{"1":{"format":"medium","field_file_image_alt_text[und][0][value]":"Image of performers dragging stone material across other stone material.","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_float_left_right[und]":"none","field_file_image_decorative[und]":"0"}},"attributes":{"height":"798","width":"1200","class":"media-element file-medium"}}]]The newly translated papyrus collections have offered rich and varied source material for a diverse set of collaborators. There have been open evenings and days for general public offering a chance to find out about what papyri and ostraca are, what materials are they are made from and what do they tell us. These behind the scenes events offered a glimpse of working practices in a museum and a chance to ask questions to the project team directly.Family activities run during the summer holidays in 2017 focused on offering a chance to make your own shadow puppet and a chance to be creative and imaginative and explore the nature of storytelling in ancient Egypt.Readings of actual papyrus tales in a performance format ran during the 2017 October half term for both families in the afternoon and for adults in the evening. The format brought the stories to life and gave insight into the role of these texts in ancient Egyptian culture. Halloween in October 2017 provided a chance to look at examples of film, television and literature that went influenced by papyrus narrative tales and references to cursing, spells and incantations. During November and December 2017 ‘Curses!’ ran in collaboration with Bompas & Parr, alumni of UCL, who took the idea of cursing and threat found in papyri to produce an innovative and immersive audio tour ending in a cursed experience. This proved very popular and bought a completely new audience to the Petrie. The launch night offered talks and workshops inspired by the context of papyri from making your own curse doll       and delivering a threat! These sessions proved very popular and generated more knowledge and understanding on the difference between cursing and threats in an ancient context. A series of Lost Skills workshops (Nov- Dec 2017) focused on the nature of some of the papyri that offered insights into shopping lists, wills and letters that have similarities with contemporary life. Working with UCL academics from legal, psychology and letter archivists, we ran a series of lunchtime sessions on the art of letter writing and the psychology of list making. Our ‘Women in Egypt’ event (March 2018) tied in with the Suffrage centenary and the Vote 100 celebrations, gave an insight into the role of women in ancient Egypt outside the home as referenced in the papyri. Two performances inspired by the papyrus unveiled a new piece from performance artist Laura Wilson’s residency at the Petrie 2017/18. The project gave Laura a chance to work with conservators, translators to explore and produce a piece based on one specific text relating to stone quarries and workers. Entitled ‘The Stone Draggers, 2018’, the work explores the nature of the papyri, many of which describe labour, crafts people and every day human interaction. University of East London MA drama students have worked with the project team to produce 'Revival: performing papyrus'; a series of devised pieces created by the MA students as a response to The Petrie Museum's new papyrus exhibition. These pieces re-interpret and re-stage narratives found within the collection of papyri, as well as interpreting issues connected to the exhibition such as Margaret Murray's research on British witchcraft, and ancient Egyptian forms of ritual. In May, Central St Martin’s unveiled their art works in an exhibition inspired by their exploration of both the content of the papyrus and the conservation of materials in museums.      [[{"fid":"4835","view_mode":"small","fields":{"format":"small","field_file_image_alt_text[und][0][value]":"Arts Council logo","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"left","field_file_image_decorative[und]":"0"},"type":"media","field_deltas":{"1":{"format":"small","field_file_image_alt_text[und][0][value]":"Arts Council logo","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"left","field_file_image_decorative[und]":"0"}},"link_text":null,"attributes":{"height":"1183","width":"3742","class":"media-element file-small"}}]]
Timekeeper Exhibition
Timekeeper in residence
Timekeeper in ResidenceWhat does time look like to you? As soon as we try to picture time the irony is that we transform it into space, which means it's no longer time. What’s more, the images and objects we use to comprehend time shape our attitude to the past, our sense of what is to come, and perhaps even what it is to be human. A Storm is Blowing by artist-curator Cathy Haynes is an improvised 3D diagram that strings together 35 different historical pictures and models of time, some found (above) and some made for the installation. They include an ancient Egyptian game of life in the form of a coiled snake, a miniature multi-dimensional trapeze act, the future figured as a many-horned goat, a 5-metre chart of history as a stream, an astronomical wormhole, an 18th-century parent of the Facebook timeline, and its knotty antithesis. The installation is accompanied by A Report on Progress, a take-away booklet with text and drawings by Petrie’s Timekeeper.This installation is part of a creative research project at The Petrie Museum of Egyptian Archaeology, University College London. Supported with a new award from the Arts Humanities Research Council, artist-curator Cathy Haynes as Timekeeper in Residence has been exploring how time is mapped, measured, modeled and lived. Museums have traditionally used linear time concepts, such as chronological timelines, as a way of organizing their collections. Over the last few months this has been challenged in a series of public conversations between the Timekeeper as researcher and a variety of experts from astronomy to psychology, evolutionary genetics, theology, art history and philosophy. The project as a whole is a collaborative exploration of the alternatives to the museum timeline.Visit astormisblowing.org for more details and podcasts from the Timekeeper events.The timekeeper projectWhat does the museum timeline have to do with the novel Tristram Shandy? Why does Botox make time go faster? Is evolution really a march of progress? Why did the Ancients think the future is behind them? And why doesn’t the universe all tick to the same clock?These are just some of the questions to be explored in a new creative research project at The Petrie Museum of Egyptian Archaeology based at University College London. Supported with a new award from the Arts Humanities Research Council, artist-curator Cathy Haynes as Timekeeper in Residence will explore how time is mapped, measured, modeled and lived. Museums have traditionally used linear time concepts, such as chronological timelines, as a way of organizing their collections. This will be challenged in a series of public conversations between the Timekeeper as researcher and a variety of experts from astronomy to psychology, evolutionary genetics, theology, art history and philosophy. Each conversation focuses on objects that give different experiences of time, from an ancient shadow clock in the Petrie’s collection to Facebook’s timeline format to a newspaper horoscope, encouraging debate on how competing time concepts can be used in museum presentation to present different philosophies, beliefs, realities and ideas. This in turn will challenge the way museums display their collections and offer new paths to explore.Listen to an interview with artist-curator Cathy Haynes, Timekeeper in Residence, on The Monocle Weekly. Visit the A Storm Is Blowing website for more details and podcasts from the Timekeeper events.