British Museum blog

Mummies, mobiles and 3D printing

Katherine Biggs, Education Manager, Digital Learning Programmes, British Museum

As the doors open on the new exhibition Ancient lives, new discoveries, the Samsung Digital Discovery Centre (SDDC) has launched its own Egyptian season to complement the exhibition’s technological focus. The launch could not have been better timed, with the fantastic news this week that the British Museum and Samsung have been awarded an Arts & Business Award for their long-term partnership through the SDDC.

Talk like an Egyptian – 24 May 2014

The SDDC’s Egyptian season features a series of activities for families and teenagers throughout the exhibition run, and showcases some of the innovative ways in which technology can be used to engage young audiences with the Museum. The first event of the season, Talk like an Egyptian, launched on 24 May, and encouraged children as young as five to put themselves in the shoes of different Egyptian characters from the collection. They then used computer software, microphones and their imagination to bring them to life.

In the Egyptian Galleries. Photo © Benedict Johnson

This week, a completely different activity launches as part of the Marvellous Mummies half term event for families. Families will borrow mobile phones to collect the different objects needed to furnish an Egyptian tomb. Exploring the galleries, children will scan QR codes to understand ancient Egyptian funerary beliefs. Mobile technology continues to be hugely popular with visitors, and for this reason we will also be running our augmented reality trail Passport to the afterlife.

As the summer dawns, so will new activities. In June we will be launching Exploring ancient mummies, a drop-in session for families based in the Samsung Centre where children can use different digital technology to find out more about the Museum’s mummies. Expect digital microscopes, video footage and exciting exploration through our interactive surface table. The activity includes some fascinating case studies from the Conservation and Scientific Research team, which never fail to amaze our young audiences.

3d printer

3D printer at work in the SDDC

Replica amulets and 3D printed copies

Replica amulets and 3D printed copies

The most eagerly anticipated event of the season is our 3D printing weekend. As I write, the printers are in and the filament warming up. Inspired by the exhibition’s beautifully reconstructed 3D amulets, we will be asking children to recreate a choice of three amulets using computer aided design technology: an eye of Horus, a heart scarab or a djed pillar. They will be able to decide on their chosen amulet after handling examples from the collection and discovering the different spells associated with each. The amulets will then be printed in the Great Court, where visitors can also learn about 3D printing and how it is used within different parts of the Museum. To complement this activity, children will then be able to design their own amulet, and ascribe them special powers. These amulets will be brought to life using 3Doodler pens, which create 3D shapes from plastic filament as you draw.

A second day of 3D activities is aimed at our 13-18 audience. Working with a professional 3D artist, participants will animate an Egyptian river scene, using techniques and computer aided design software commonly used by the games industry. They will also have the chance to 3D-print their models. This event was fully booked shortly after it went online, with many adults disappointed that they are too old to join in. 3D printing continues to wow and stimulate thought, and we hope that next weekend will do both.

So that the grown-ups don’t feel left out, we will be opening the SDDC doors as part of the BM/PM Curse of the Mummy event when the Centre will play host to a pop-up Egyptian photo booth using green screen technology, Photoshop and of course props to transport visitors to ancient Egypt. This led us to think that a similar activity for families would be brilliant using a series of five different photo booths with different technology and collection pieces in each one. Hopefully the exhibition will extend its run so that we have even more time to try out new ideas!

The Samsung Digital Discovery Centre is sponsored by Samsung

Ancient lives, new discoveries is at the British Museum until 30 November 2014.
The exhibition is sponsored by Julius Baer. Technology partner: Samsung

Filed under: Ancient lives: new discoveries, Samsung Digital Discovery Centre, , , , , ,

New technology in the Samsung Digital Discovery Centre

A group of children using tablets in the museum gallery
Richard Woff, Head of Schools and Young Audiences, British Museum

We have recently re-opened the Samsung Digital Discovery Centre (SDDC) after three months spent installing a range of new digital equipment and developing exciting sessions for the Museum’s young audiences. This activity has been prompted by our participation in a project initiated by Samsung, which aims to unleash the educational power of digital technologies, specifically through the use of tablet devices in schools and in other learning hubs.

Back in July, we had a touch-enabled e-board installed in the SDDC and took delivery of more than thirty of Samsung’s newest touchscreen tablets, as well as 24 new wireless-enabled digital cameras. We then transformed some of the teaching sessions we’d been running in the SDDC to take full advantage of the new devices. Having used a range of mobile technology across our offering for young audiences, we had a good idea of what worked well. For example, we know that revealing tablets in a session always produces gasps of excitement and requests to take the devices home at the end of the day; beyond this excitement, we have also seen that tablet devices can promote collaboration between students, thanks in part to the size of the screen.

A group of children using a tablet in a Museum gallery

A group using a tablet in a Museum gallery

The touchscreen interactivity of the tablets can involve students in a way that paper resources cannot, and can also provide links to a range of media, including sound and video. As well as providing the students with information through tablets, one huge benefit for us is that they can also capture their findings on the same device. The photos, text, videos, drawings or voice recordings that are captured on the tablets in the sessions are instantly uploaded to our cloud storage, making it quick and easy for us to send this work back to schools for further study. This is especially valuable in the activities we run in galleries, where the tablets serve to guide the students, prompt responses and investigation and record their findings and experiences.

Children working on the floor, with paper, pencils and a tablet

Children using a tablet as part of an SDDC activity

One of our sessions focuses on Greek temples and aims to introduce children to the styles of Greek architecture and the functions of a temple, as well as to highlight the diverse nature of the Greek world. Previously, children used laptops to build a virtual temple using the British Museum’s Ancient Greece website with the added challenge of a fixed budget which determined how extravagant they could be in the materials they used and the decoration they applied. We have redeveloped the session so that pairs of children use tablets to test their growing understanding of the architectural styles, and then vote on how they want their communal temple to look – as they vote on the tablets, the scores appear on the e-board until a final decision becomes clear. The children also scan QR codes with their tablets to find out more about the city state they represent and to build their temple. All of the children’s tablets are linked to the e-board, so the session leader can easily select temples that demonstrate the diversity of the groups’ responses to the task.

We have kept the overall aims of the session: the children learn lots about temples; they use maths in a practical context; they learn collaboratively; they get to understand something of the extent and diversity of the ancient Greek world and the politics of temple-building – groups of students that go under budget are usually surprised to learn that this might not delight their city’s rulers any more than going over budget. What has changed is the level of engagement through the tablets. The children’s contributions to the session are more meaningful and apparent, all of them are able to contribute equally rather than a small number children dominating, and they are noticeably even more motivated and enthusiastic than they used to be. The teachers are in no doubt about the richness of the experience: “What amazing technology!” one of them commented, unprompted, as her class left the Centre.

Looking to the future, we aim to maximise the capability of these tablet devices even further. For example, we will be piloting the use of tablets for our digital sessions for students with special educational needs, using the range of media they can showcase for interactive gallery visits. We are also looking to expand our family offering across the devices, including a session planned for the New Year where families will make digital sketches of some of the Museum’s Neolithic collection, and then use these sketches to create their own 3D models.

In the middle of our busy summer preparing to re-open, we received the news that Samsung have agreed to fund the SDDC for a further five years until 2019. This not only secures the existing sessions and activities in the SDDC, it offers us the chance to build on an already large and highly innovative programme to make even more imaginative use of digital technologies to engage young people with the Museum’s objects and the cultures they represent.

The Samsung Digital Discovery Centre is sponsored by Samsung

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US artist John Sloan was born #onthisday in 1871. 
John Sloan, painter, printmaker and teacher, first took up etching as a self-taught adolescent.  Moving to New York in 1904, he became part of a group of eight artists, better known as “The Ashcan School”, who focused on creating images of urban realism. Between 1891 and 1940 Sloan produced some 300 etchings. He was also one of the first chroniclers of the American scene and wrote about printmaking and the etching technique.
This etching comes from the series of 10 prints entitled 'New York City Life', recording the lives of the ordinary inhabitants in less affluent areas of Manhattan. The prints had a mixed reception at the time and a number were rejected from an exhibition of the American Watercolor Society as ‘vulgar’ and ‘indecent’. #August is named after the Roman emperor Augustus. Before 8 BC the Romans called it Sextilis! 
This head once formed part of a statue of the emperor Augustus (ruled 27 BC – AD 14). In 31 BC he defeated Mark Antony and Cleopatra at the battle of Actium and took possession of Egypt, which became a Roman province. The writer Strabo tells us that statues of Augustus were erected in Egyptian towns near the first cataract of the Nile at Aswan and that an invading Kushite army looted many of them in 25 BC.
Although Roman counter-attackers reclaimed many of the statues, they did not reach Meroë, where this head was buried beneath the steps of a native temple dedicated to Victory. It seems likely that the head, having been cut from its statue, was placed there deliberately so as to be permanently below the feet of its Meroitic captors.
The head of Augustus appears larger than life, with perfect proportions based upon Classical Greek notions of ideal human form. His calm distant gaze, emphasised with inset eyes of glass and stone, give him an air of quiet, assured strength. Coins and statues were the main media for propagating the image of the Roman emperor. This statue, like many others throughout the Empire, was made as a continuous reminder of the all-embracing power of Rome and its emperor. English sculptor Henry Moore was born #onthisday in 1898.
Drawing played a major role in Henry Moore's work throughout his career. He used it to generate and develop ideas for sculpture, and to create independent works in their own right.
During the 1930s the range and variety of his drawing expanded considerably, starting with the 'Transformation Drawings' in which he explored the metamorphosis of natural, organic shapes into human forms. At the end of the decade he began to focus on the relationship between internal and external forms, his first sculpture of this nature being 'Helmet' (Tate Collections) of 1939.
This drawing titled ‘Two Women: Drawing for sculpture combining wood and metal’ was based on a pencil study entitled ‘Ideas for Lead Sculpture’. It reflects his awareness of surrealism and psychoanalytical theory as well his abiding interest in ethnographic material and non-European sculpture; the particular reference in this context is to a malangan figure (malangan is a funeral ritual cycle) from New Ireland province in Papua New Guinea, which had attracted his interest in the British Museum. 
Henry Moore, Two Women: Drawing for sculpture combining wood and metal. England, 1939. Here's another fabulous view of the Great Court captured by @whatinasees at our instagramer event #regram #repost
Check out all of the photos at #emptyBM Vincent van Gogh died #onthisday in 1890. Here's a print of his only known etching. It depicts his doctor, Dr Paul Gachet, seated in the garden of his house.
#vanGogh #etching Beatrix Potter was born #onthisday in 1866. Here are some of her flopsy bunnies! 🐰
#BeatrixPotter
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