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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
The project will allow us to display newly conserved,  written collection in purpose built showcases, with new translations and interpretation. We will be able to change the displays regularly linking to other objects in the collection or to topical subjects in the news. The project has been a rich foundation for an innovative and socially inclusive audience engagement programmes including opportunities for creative writing and storytelling from family events to explorations in modernist literature. The Papyrus for the People project has allowed us to make translations of ancient that are texts accessible and understandable to a wide, non-specialist audience. With new photography the translated and interpreted texts will become far more searchable on the Petrie Museum website, allowing questions concerning issues such as gender, inequality, and sexuality to be raised and researched by anyone, wherever they are in the World.The Petrie Museum’s collection of written texts is world-class. Within the papyrus collection alone, it includes rare and unique specimens such as:One of the world’s oldest legal manuscripts (a will) from Egypt dating to 1818 BC (UC32037)Some of the world’s oldest medical texts including the renowned gynaecological papyrus (UC32057)The only known veterinary text from the ancient world (UC32036)Some of the world’s earliest mathematical problems on paper (e.g. UC32160/UC32162)A unique set of hymns to the king (UC32157)[[{"fid":"4831","view_mode":"medium","fields":{"format":"medium","field_file_image_alt_text[und][0][value]":"Papyrus picture - Papyrus for the people","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"Figure 1 - UC30237","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EThe%20will%20of%20Mery%20Interfson%20(Antef%20Meri).%3C%2Fp%3E","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":"medium","field_file_image_alt_text[und][0][value]":"Papyrus picture - Papyrus for the people","field_file_image_title_text[und][0][value]":"","field_caption_heading[und][0][title]":"Figure 1 - UC30237","field_caption_heading[und][0][url]":"","field_caption[und][0][value]":"%3Cp%3EThe%20will%20of%20Mery%20Interfson%20(Antef%20Meri).%3C%2Fp%3E","field_caption[und][0][format]":"limited_html","field_float_left_right[und]":"left","field_file_image_decorative[und]":"0"}},"link_text":null,"attributes":{"height":"795","width":"1168","class":"media-element file-medium"}}]]Alongside these official texts, our collection also boasts many more personal documents, such as letters, which contain the voices of people from around 3000 BC onwards. Moreover, in nearly 2000 written documents, in languages including Hieratic, Demotic, Coptic, Greek and Arabic, we have represented a variety of societies that held multiple identities, faiths and worldviews.While basic registration of this material has been set up and academic works have been written about the collection, the voices themselves are often inaccessible to the majority of the museum’s users, as it is locked up in technical terminology. Our project team is working with specialists to research and improve understanding of the Petrie’s collection of written culture in order to make their content transparent, accessible, and engagingTo facilitate this research and interpretation, as well as ultimately making the collection as accessible as possible, we will be:Rehousing and conserving the collection’s papyri (over 500 objects), so that they will be more accessible and in a safer environment.Evaluating the storage of our ostraca collection; rehousing if necessary (over 1600 objects).Editing and supplementing the information of our written texts on our internal database (and by default the publicly-accessible online version).Generating user-friendly descriptions that will make them easier to research and more intelligible.Creating high resolution images of the papyri, many of whose photographs on the database only show fragments of the papyri and not the reconstructed examples following a decade of conservation.Developing an exhibition on the project to promote our findings and the collection.We believe that by developing our understanding of this material, promoting its relevance, and celebrating its significance, the resilience and importance of specialist museum collections such as this can be demonstrated.The Designation Scheme recognises, celebrates and champions significant collections of national and international importance held outside national museums. Awards of Designated status are made by an independent expert panel, based on the collection's quality and significance.The 2016-18 round of the Designation Development Fund is investing £1,330,849 to support projects that ensure the long-term sustainability of Designated museum collections.The Designation Development Fund recognises the importance of excellent collections and provides funding for projects that ensure their long-term sustainability, maximise their public value and encourage the sharing of best practice across the sector. In this round, we will focus on opportunities around research and understanding of Designated collections.Arts Council England champions, develops and invests in artistic and cultural experiences that enrich people’s lives. We support a range of activities across the arts, museums and libraries – from theatre to digital art, reading to dance, music to literature, and crafts to collections. Great art and culture inspires us, brings us together and teaches us about ourselves and the world around us. In short, it makes life better. Between 2015 and 2018, we plan to invest £1.1 billion of public money from government and an estimated £700 million from the National Lottery to help create these experiences for as many people as possible across the country. http://www.artscouncil.org.uk/[[{"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.