British Museum blog

A day in the life of a lot of archaeologists


Daniel Pett, Portable Antiquities and Treasure, British Museum

The 29 July marks the first Day of Archaeology, an online social media experiment that coincides with the Council for British Archaeology’s Festival of Archaeology (an annual event, this year running from the 16-31 July).

The idea for this project came from a conversation between two PhD students, Matthew Law (Cardiff University) and Lorna Richardson (University College London), and builds upon a successful project called Day of Humanities, which documented the daily work of people working in a field now known as ‘Digital Humanities’.

So what is happening?

The idea is very simple, over 350 archaeologists from around the world have signed up to document their working day via the use of social media. They will be submitting blog posts, photographs, video footage or a combination of these to demonstrate to anyone interested how varied the archaeological profession is. All these submissions will be moderated and released through the project’s website and disseminated through different social media networks – for example, on Flickr, Facebook, and Twitter (the hashtag for the project is #dayofarch). Some project members will also be making use of the latest entrant to the social media fray, Google+, and will be using a ‘hangout’, to promote archaeology digitally (details for this will be published later).

Unearthing a hoard of coins. Image: Portable Antiquities Scheme

Unearthing a hoard of coins. Image: Portable Antiquities Scheme

The project now has expressions of interest from people working on excavation in Belize, scientists working in laboratories, archaeologists talking about how cuts have affected their work, community archaeologists leading workshops and museum educators teaching the next generation about the magic of archaeology. The very first post to be published, at 00:01 on the 29 July, will be from Maev Kennedy, who writes about archaeology – among other things – for the Guardian newspaper, about why she is in awe of archaeology.

Once complete, the experiment will form part of Lorna’s PhD research and will also be written up for academic publication and be used as a model for public engagement at this year’s Theoretical Archaeological Group conference in Birmingham.

So if you are an archaeologist, or have been, or you are even becoming one, there’s still time to sign up. Send the project team an email at dayofarchaeology@gmail.com or find out more by visiting the website.

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Filed under: Archaeology, Portable Antiquities and Treasure, , ,

One Response - Comments are closed.

  1. Mr Roger Pilling says:

    we dont have many good finds from lancashire as the soil is acidic but when they turn up they are the best

    Like

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It's Toulouse-Lautrec's 150th birthday! Here's his poster for a Parisian cabaret 
#history #art #artist #Paris Although this gilded cartonnage mask of a mummy conveys vitality and alertness, the features are more bland and idealised than those of other masks. The eyes, ears, nose, mouth and chin are highly stylised and not fully integrated into the face. The collar, the wig and the necklace with an ankh (‘life’) pendant, are attributes showing that the deceased has entered the afterlife and been assimilated with the gods. A winged scarab beetle on the top and images of gods on the back also emphasise the funerary character of the mask.

The use of gold was connected to the belief that the sun god Re, with whom the mummy hoped to be united, had flesh of pure gold. The back of the wig is decorated in many colours, with a row of deities, a ba and falcon with outstretched wings and seven short columns of near-unintelligible hieroglyphs.

See this cartonnage mask in our exhibition #8mummies – now extended until 19 April 2015.
#MummyMonday #mummies Another #MummyMonday space: it's Room 63 – together with Room 62 known as the Roxie Walker Galleries of Egyptian death and afterlife: mummies. Possibly the most famous galleries in the Museum, they are the next spaces in our #MuseumOfTheFuture series. Death and the afterlife held particular significance and meaning for the ancient Egyptians. Complex funeral preparations and rites were thought to be needed to ensure the transition of the individual from earthly existence to immortality.
Mummification, magic and ritual are investigated through the objects on display in Rooms 62–63. These include coffins, mummies, funerary masks, portraits and other items designed to be buried with the deceased. Modern research methods such as x-rays and CT scans are used to examine the mummification process. As it's #MummyMonday here's Room 62 – together with Room 63 known as the Roxie Walker Galleries of Egyptian death and afterlife: mummies. Possibly the most famous galleries in the Museum, they are the next spaces in our #MuseumOfTheFuture series. Death and the afterlife held particular significance and meaning for the ancient Egyptians. Complex funeral preparations and rites were thought to be needed to ensure the transition of the individual from earthly existence to immortality.
Mummification, magic and ritual are investigated through the objects on display in Rooms 62–63. These include coffins, mummies, funerary masks, portraits and other items designed to be buried with the deceased. Modern research methods such as x-rays and CT scans are used to examine the mummification process. It's time for our next #MuseumOfTheFuture gallery space. This is Room 61, the Michael Cohen Gallery of Egyptian life and death (the tomb-chapel of Nebamun). The British Museum acquired 11 wall-paintings from the tomb-chapel of a wealthy Egyptian official called Nebamun in the 1820s. Dating from about 1350 BC, they are some of the most famous works of art from ancient Egypt.
Following a 10-year period of conservation and research, the paintings were put on display together for the first time in 2009. They give the impression of the walls of colour that would have been experienced by the ancient visitors to the tomb-chapel.
Objects dating from the same time period and a 3D animation of the tomb-chapel help to set the tomb-chapel in context and show how the finished tomb would have looked. (There is no Room 60 in the British Museum.) To start the week, here's the next three gallery spaces in our #MuseumOfTheFuture series. Rooms 57–59 are the Raymond and Beverly Sackler Galleries of the Ancient Levant. This pic is of Room 59. The Ancient Levant corresponds to the modern states of Syria (western part), Lebanon, Israel, Palestine and Jordan. Rooms 57–59 present the material culture of the region from the Neolithic farmers of the 8th millennium BC to the fall of the Neo-Babylonian Empire in 539 BC, within the context of major historical events.
Objects on display illustrate the continuity of the Canaanite culture of the southern Levant throughout this period. They highlight the indigenous origins of both the Israelites and the Phoenicians.
The display compares this culture with that of the peoples of central inland Syria, the Amorites and the Aramaeans.
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