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Two weeks left…

On the 25th of April, that’s in about two weeks, the exhibition “Uruk – 5.000 years of the megacity” will be open to the public at the Pergamon Museum Berlin. For the last five years we were working closely with the German Archaeological Institute to reconstruct major parts of the ancient city of Uruk. Some of this work can already be seen on our website: The Stone-Cone Building, the Seleucid Period and the Late Uruk Period are already available and more projects and results will follow in the next months, once the exhibition has opened.

In addition to the above mentioned, we will present reconstructions of the Sinkashid Palace, the ziggurat of the Ur-III Period and the White Temple of Uruk. The results will be displayed as animations, plots and even on one big diorama with the interior of the White Temple. Of course, all of the reconstructions can be found in the accompanying exhibition catalogue. We are still working on the final drafts of our animations, but are very confident that everything will be ready in time. If you are near Berlin or Mannheim please take the time and visit the exhibition, we would love some feedback and opinions!

Do you speak Turkish?

A while ago, we made a website on the prehistoric rock paintings of the Latmos Mountains in Western Turkey. The website was entirely in German and English. As the project is a German-Turkish cooperation, translating the website into Turkish was the right thing to do. With the help of Pınar Atılgan, we finally added the third (and most important) language to the website. So, if you have any Turkish friends who might be interested, please share this link to the Latmos Website: http://latmos-felsbilder.de/

With the beauty of the outstanding landscape and marvellous rock paintings in mind, I want to bring to your attention the ongoing destruction of this region by local mining operations for feldspar. Maybe you can help preserving the rock paintings by sharing the Latmos Website to as many friends (and especially Turkish ones) as possible. Knowledge is power!

One of our pictures just got published

Section of the well showing the stratigraphy as revealed by the excavations. Within the shaft, several layers of filling material can be seen, as well as the stone casing around, and the building pit outside the well’s walls.

In an article published in the series Orientalia Lovaniensa Analecta, Henning Franzmeier wrote about the secondary function of pottery. This case study used the ceramic assemblage from a Ramesside well near Qantir-Piramesse in the Eastern Nile Delta in Egypt. The visualisation of the well was made in 2008 and you can read about it here.

If you are interested in Egyptian pottery, please check out the article of Henning: Franzmeier, H. 2013: The secondary function of pottery – a case study  from Qantir-Piramesse, in: Bader, B./Ownby, M.F. (Eds.), Functional Aspects of Egyptian Ceramics in their Archaeological Context, Orientalia Lovaniensa Analecta 217, Leuven, 293-306.

Virtual tour through the exhibition “The Tell Halaf Adventure”

In 2011, the very successful exhibition “The Tell Halaf Adventure” was displayed in the Pergamon-Museum, Berlin. The exhibition presented for the very first time reconstructed statues which were destroyed by the bombings of  World War II. 27.000 pieces were puzzled together over a period of 9 years and finally presented to the public. The exhibition was enriched by objects from other museums around the globe, a collection like this will not be possible for a long time.

While the exhibition was still present, the team of Ingenieurbüro Malige recorded it partially with the help of a terrestrial laser scanner. They converted the 3D data into a 5-minute long clip, which is now public on the official excavation page of the Tell Halaf excavation project. So if you missed the exhibition or just want to remember, take a look: Link to the News section of the Tell Halaf excavation project

Finding the right words

Have you ever tried to write a project description for a scholarship or for funding? It is easy to get stuck and very often, the amount of words you are allowed to use is limited. Different organisations have different rules which means you have to write everything in different versions and standards.

Imagine if you were not limited by length but by variety of words! This website has a simple idea: Describe your project using only the 1.000 most used words in the English language. It is harder than initially thought, because words like ‘archaeology’ or ‘museum’ are not part of the list. I tried it anyway and took the challenge to describe our work, check it out here.

Visualisation of a silver atom

We are not only visualising archaeological content, we are interested in all kinds of science and this time we dove into the depths of physics and chemistry. Inspired by the first episode of Crash Course Chemistry by Hank Green, I visualised a simplified model of a silver atom. The theoretic model of this atom was developed by Niels Bohr, a danish physicist, in 1913.

In the centre you see 47 Protons (red) and 60 Neutrons (yellow) which build the core of the silver atom. The so called nucleus is surrounded by Electrons on three different layers, which circle the core of the atom. This theory was quiet popular until new theories in quantum mechanics proposed new models around 1925.

How we should communicate archaeological reconstructions to the public

Not so long ago, I was thinking about the process of archaeological reconstruction and how I see the results in contrast to a visitor in a museum for example. I started a small survey among my friends and family and realized, that most people take the restitutions seen in museums, television or magazines for granted. As archaeologists, we know that reconstructions are merely a visualised theory and that there are different ways to interpret archaeological data. This is not always the case with a broader audience.

The way from excavated data to a visualised reconstruction in a museum is long and complicated. Often, where the archaeological evidence is scarce, parallels from other excavations, sometimes of different regions or periods, texts or cultural anthropology have to help. Therefore, a restitution can never be exact. Of course, scientific reconstructions offer more accuracy than non-scientific ones, but nevertheless, it will never be a 100% correct.

I think this is not comprehensible for visitors in museums, children in schools or everyone else in front of the TV. In my opinion, we (the archaeologists, curators, teachers, film-makers) have to communicate this fact far more clearly and there is actually no reason not to do so. Besides simply saying that a restitution is maybe not a 100% correct, there are many ways to present this: one could show alternatives, highlight uncertain parts of a reconstruction or differentiate between the different sources that led to the restitution and point that out. I think, the audience will understand and actually welcome the participation in the archaeological thinking process.

In this small example you can clearly distinguish between excavated remains and reconstructed upper part. This graphic shows the Anu-Antum-temple in Uruk of the Seleucid period. If you are interested, you can read more about it here.

Material: © DAI

Merry Christmas!

We wish you all a Merry Christmas and a Happy New Year! This year’s Christmas card is a selection of the most famous archaeologists of the 19th/20th century. Can you name them all? If you need any help, you can have a peek:

From left to right:
standing: Robert Koldewey, T.E. Lawrence, Gertrude Bell, Sir William Matthew Flinders Petrie, Howard Carter, Sir Mortimer Wheeler, Max Freiherr von Oppenheim; at the table: Antoine Poidebard, Sir Max Mallowan, Agatha Christie, Heinrich Schliemann, Sophia Engastromenos, Sir Austen Henry Layard, Hormuzd Rassam; in front of the table: Sir Arthur Evans, Walter Andrae

Uruk – 5000 years of the megacity

For a while now, we have been working on several reconstructions for the Uruk Visualisation Project. On our website you will find examples from the Late Uruk Period as well as the Seleucid Period. Besides that, we visualised the ziggurat of the Ur-III Period as well as the famous White Temple, the Stone-Cone Building and the Sin-kashid Palace. Currently, we are working on two new Uruk-related restitutions that we will write about soon.

Most of these works will be presented in the upcoming large Uruk exhibition in Berlin. From the 25th of April to the 8th of September 2013 the Pergamon Museum in Berlin will host the exhibition “Uruk – 5000 years of the megacity”! After that, from October 2013 to April 2014, the exhibition will move to the Reiss-Engelhorn-Museen in Mannheim.

As part of the exhibition, our reconstructions will be displayed in order to help with the understanding of the city’s structure and its prominent architecture. They will be seen as animations and stills and will also be featured in the accompanying exhibition catalogue. We are very excited about that and look forward to this big exhibition. To get further information on the exhibition itself, you can visit the official website.

What to do, if you cannot excavate?

Since the Arab Revolution started in December 2010, several countries in the Near East and North Africa have either forced their leaders to give up their power, protested against them or are still in conflict. Naturally, the archaeological work in these countries came to a stop during that time. In the case of Egypt, excavations are already continuing and although it is not clear, in which direction the newly elected president will lead the country, the political situation seems pretty stable at the moment. With Syria it is totally different. The uprisings of 2011 have grown into a civil war between the old regime and the opposition and at the moment there is no end in sight. The number of casualties is rising every week and the degree of destruction has already become unbearable.

Over 120 archaeological teams had to stop their work in Syria and it is not yet predictable when they will be able to return. As we have seen in the case of Iraq, it may not be possible for archaeologists to continue their work for a long time. Here, only since 2009 some solitary projects have started to excavate again. Instead, many projects shift their orientation to the work they can do from home: process the excavation data and publish the results. This might work well for terminated excavation trenches or completely recorded findings. It is another case for work that just started and was hoped to be continued and completed in one of the following seasons.

Stratigraphy for example is much easier understood in the field than from the plans and if a situation is unclear, the archaeologist can recheck it instantly. From the documentation material alone, the comprehension of a complicated situation can be quiet a challenge. In one of our recent projects we figured out, in which way a simple 3D-model can help to understand stratigraphic connections, architectural sequences and general relations between trenches. The archaeological excavation team of Mari under the direction of Prof. Pascal Butterlin assigned us with the creation of a 3D-model of the excavation trench V1 to help to understand the complex stratigraphic relations. Additionally, the team wanted to have a simple tool to easily present their results to a wider audience. Therefore, we converted the 3D-model into a Google SketchUp model to make the data as user-friendly as possible for the team to work with.

The archaeological work in Syria (and the whole Near East for that matter) is of major importance and although it is not possible to excavate at the moment archaeologists have to continue the work. The work we can do from home is a good and important step to maintain the research and the interest in these countries. In the case of Iraq or Egypt we slowly can continue the work and as I understand it, the cooperation between foreign and local archaeologists is still welcome. We can only hope that the situation in the other countries will resolve peacefully soon, primarily for the sake of the people living there and also for the cultural heritage they are preserving.

Image: © Sebastian Hageneuer

Exclusive Gilgamesh Prints for sale!

I just found out that a few unique screen prints of these wonderful Gilgamesh illustrations by artist Franziska Leischker are still available for purchase. The illustrations show key scenes from the Ancient Near Eastern epic of Gilgamesh and were originally created by Franziska for the Gilgamesh exhibition in the August Kestner Museum that we wrote about here and here.
The motifs are:
1) The Ziggurat of Uruk; 2) Enkidu, the savage; 3) Enkidu and Shamhat; 4) In Humbaba’s forest; 5) Gilgamesh and Enkidu fight Ishtar’s Bull; 6) Gilgamesh at Enkidu’s deathbed; 7) Siduri’s tavern at the world’s end; 8) The Babylonian Noah; 9) Gilgamesh fetching the Herb of Immortality.
For purchase and details contact Franziska Leischker directly!

Credits: All images © Franziska Leischker

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