Charlotte Boman – Early Stages: Thinking about Photography & Education

I. Early Stages: Thinking about Photography and Education

My Afterlife of Heritage Project, ‘Photographing the Family. Workshops for Schools & Colleges’, is closely connected to my PhD research topic, which involves looking at photographic representations of family life in the mid-Victorian period. One of the most challenging and interesting aspects of being part of this public engagement project, I think, has been to explore the boundaries and defining features that distinguish one from the other.

The initial aim behind setting up these school workshop activities was to provide a space for exploring photographic images. More specifically, to ‘read’ ordinary family photographs and to explore associations between how families presented themselves in the Victorian period and how we represent our private, domestic life today. In planning the activities I also wanted to create opportunities for thinking about broader questions, including how photography contributed to the publication of privacy from the start. The Victorians were, after all, at least as troubled by these issues as we are today.

From my point of view, the choice of Glamorgan Archives as a potential cultural partner followed naturally from my research into Victorian photographic collections in Wales. Coincidentally, I met one of the archivists at a ‘Careers in cultural heritage’ event at Cardiff University in November and the collaboration developed in stages after that. Although the archive frequently engages with schools, they were keen to expand their collaboration with secondary schools and, in particular, to engage with the Welsh Baccalaureate Qualification. As a result, the initial planning focused to a large degree on researching the WBQ, communicating with the Welsh education board (WJEC) and mapping out connections between my research, the Glamorgan collection and the curriculum. During Jan/early Feb., I had a number of meetings with Rhian Phillips, who is responsible for public engagement at Glamorgan archives, but also Ross Thomas from WJEC. The Afterlife workshop proved very useful at this point, not least because it had alerted me to the fact that each partner brings distinct skills and knowledge, but also a slightly different set of priorities.

At the same time, I was developing resources for the workshop, gradually incorporating material that surfaced in the collections, whilst accommodating the key principles of the WBQ. I think it has been a huge advantage to work with a small institution simply because it makes communication and face-to-face meetings much more straightforward. I was really pleased, for instance, that Rhian and I could attend the second workshop together.

The support from WJEC has been extremely valuable. One of the difficulties associated with working with schools/colleges is that you are trying to ‘sell’ extra-curricular activities that often involve cost, effort and somewhat vague benefits (having previously taught in a sixth form college I am familiar with the scenario!). However, the WBQ is not only much more open to learning outside the classroom, but the board actively promotes learning opportunities provided by outside agencies via its online library and communication. Nevertheless, trips take money out of the school budgets so being able to offer support for teacher cover is crucial, especially for schools in deprived areas.

The first workshop is booked for late May, so we shall see…

Charlotte Boman – Early Stages: Thinking about Photography & Education

I. Early Stages: Thinking about Photography and Education

My Afterlife of Heritage Project, ‘Photographing the Family. Workshops for Schools & Colleges’, is closely connected to my PhD research topic, which involves looking at photographic representations of family life in the mid-Victorian period. One of the most challenging and interesting aspects of being part of this public engagement project, I think, has been to explore the boundaries and defining features that distinguish one from the other.

The initial aim behind setting up these school workshop activities was to provide a space for exploring photographic images. More specifically, to ‘read’ ordinary family photographs and to explore associations between how families presented themselves in the Victorian period and how we represent our private, domestic life today. In planning the activities I also wanted to create opportunities for thinking about broader questions, including how photography contributed to the publication of privacy from the start. The Victorians were, after all, at least as troubled by these issues as we are today.

From my point of view, the choice of Glamorgan Archives as a potential cultural partner followed naturally from my research into Victorian photographic collections in Wales. Coincidentally, I met one of the archivists at a ‘Careers in cultural heritage’ event at Cardiff University in November and the collaboration developed in stages after that. Although the archive frequently engages with schools, they were keen to expand their collaboration with secondary schools and, in particular, to engage with the Welsh Baccalaureate Qualification. As a result, the initial planning focused to a large degree on researching the WBQ, communicating with the Welsh education board (WJEC) and mapping out connections between my research, the Glamorgan collection and the curriculum. During Jan/early Feb., I had a number of meetings with Rhian Phillips, who is responsible for public engagement at Glamorgan archives, but also Ross Thomas from WJEC. The Afterlife workshop proved very useful at this point, not least because it had alerted me to the fact that each partner brings distinct skills and knowledge, but also a slightly different set of priorities.

At the same time, I was developing resources for the workshop, gradually incorporating material that surfaced in the collections, whilst accommodating the key principles of the WBQ. I think it has been a huge advantage to work with a small institution simply because it makes communication and face-to-face meetings much more straightforward. I was really pleased, for instance, that Rhian and I could attend the second workshop together.

The support from WJEC has been extremely valuable. One of the difficulties associated with working with schools/colleges is that you are trying to ‘sell’ extra-curricular activities that often involve cost, effort and somewhat vague benefits (having previously taught in a sixth form college I am familiar with the scenario!). However, the WBQ is not only much more open to learning outside the classroom, but the board actively promotes learning opportunities provided by outside agencies via its online library and communication. Nevertheless, trips take money out of the school budgets so being able to offer support for teacher cover is crucial, especially for schools in deprived areas.

The first workshop is booked for late May, so we shall see…

Research to Profession – My First Five Days in the Rylands – Blog Post by Veronica Pizzarotti

Research to Profession – My First Five Days in the Rylands – Blog Post by Veronica Pizzarotti

The title of this post is actually a lie as, since I started my PhD, I’ve spent much more than just five days in the John Rylands Library. Their Special Collections host in fact the core texts I’ve been using for my PhD over the past three and a halfyears. My research focuses on the translation into English of the Italian epic poem Orlando Furioso by Ludovico Ariosto and analyses the authorisation of three translations  by looking at the forms and features of the book objects in which each translation was published. One of the reasons I chose Manchester for my PhD was the availability of these texts in their Special Collections Division. I still remember my excitement at the idea of accessing these books in their physical form and after they had been preserved from time and consumption in what soon turned out to be an incredible place.

The Rylands is indeed an incredible place, and through my project I have been using it extensively, but I’ve always had the feeling that, while  I was using their books for my own needs, but that was just the tip of the iceberg and there was much more I would have liked  to explore, and to know how this Library works behind the scenes.  For all these reasons I was delighted to be selected for the Afterlife of Heritage Research Project and I am extremely grateful to Julianne Simpson and the Printed Books Office team for welcoming me.

I am also grateful to every single staff member at the John Rylands Library, as every one of them has added a tile to the mosaic to make me understand the various aspects of this place. These first few days have been like a tour of Wonderland, as I have been guided through every aspect of the organization and had an introduction to how books are just one important part of a jigsaw puzzle, and are complement and enriched by the presence of archives, visual collections and how these collections are used to organise public engagement activities.

In my time here I will be using the primary texts for my PhD to write narratives. These are short descriptions of some of the Furioso editions for the newly adopted Collection Management System. For this purpose I had the opportunity to go and be trained with the other staff members in the use of this new system. This experience has added important information to my knowledge of terminology related to heritage objects and they way to access them. I will be writing narratives for the general public, for academics and more comprehensive ones to try and provide an overview of the book materiality and provenance. In order to write these descriptions I will have to use a variety of resources as catalogues and accessions registers.

The aim of this project is to see how the writing of narratives could benefit the library, for example in having a repository of descriptions that could come at hand in the future . It is a great opportunity for me at present,  as going back to my set of core texts  with a different purpose in mind means  I am having good self-reflective practice on my writing-up, and it is an excellent way to write about my research for audiences beyond academia. I think this experience will be very beneficial for my future, as I will have the opportunity to see how this institution is constituted and how its different parts work together, as well as to think how to apply my research skills and background in similar types of environments and careers.

While looking at the editions I will also plan a public engagement activity in the form of a collection encounter aimed at teenagers, to be part of the Research to the Public strand of this project.

These first five days of my internship have been full of excitement and pure joy, and I am looking forward to see the other fifteen days to unfold, even though I know I will be extremely sad when my  last day as an intern of the Rylands comes.

Veronica Pizzarotti – PhD Candidate in Italian Studies

Wendy Ligon Smith and Sophie Preston: ‘An Evening of Fashion, Music Art and Marcel Proust’ at Manchester Art Gallery. Blog post #1

Wendy Ligon Smith and Sophie Preston: ‘An Evening of Fashion, Music Art and Marcel Proust’ at Manchester Art Gallery. Blog post #1

Wendy and I have decided to propose a public engagement event inspired by the one hundredth anniversary of the first volume of French author Marcel Proust’s long novel, In Search of Lost Time, Swann’s Way.

 

As both of our PhD projects involve substantial research on the novel, we are interested in making connections between our work and the way other readers interact with the novel. Our initial idea was to create a website or blog that would curate scanned images of submitted pages of people’s copies of Swann’s Way. We hoped to attract scholars, academics, students and general readers of Proust to submit their pages.

 

We were interested in the traces and marks readers left when navigating the novel. Turned down pages, highlighted or underlined words or phrases, doodles, annotations etc., all evidence the lovable ardour of reading Proust and similarly mirror Proust’s own laborious writing process, made visible in the hundreds of preliminary notebooks, full of crossings out and doodled images.

 

After attending the first workshop defining the wider impact of PhD research and learning how to communicate this research to non-experts through cultural organisations, we were asked to choose a cultural partner. We were keen to join up with the John Rylands University Library at Deansgate. This seemed like the most pertinent choice due to the literary nature of our proposed project and as the library holds a relevant archive – that of Marie Nordlinger, a friend of Proust’s who helped him to translate works by English critic, John Ruskin.  In the archives, we hoped to find and share Nordlinger’s own responses to Proust.

 

After being turned down by John Rylands University Library due to the profusion of applications they had received, we were given a laurel branch when Emma Anderson, from the Manchester Museum & Galleries Partnership, asked to have a meeting with us, along with Project Leader Kostas Arvanitis . Emma and Kostas both liked the premise of celebrating the anniversary of Swann’s Way but were less keen on the blog idea in terms of a public engagement event. We had a frank discussion coming up with lots of ideas, from exhibitions to using social media. Eventually we came to a mutual decision to put on a one off event. Emma suggested the ‘Thursday Lates’ series at the Manchester Art Gallery would be an ideal arena to put on an evening celebrating the Proustian centenary. Wendy and I came away from this meeting feeling anxious but buoyant about these changes to the proposed project and got to work.

 

Wendy and I have since been to the Manchester Art Gallery and spent some time looking at the paintings on display. We have been excited to realise that a good deal of the works remind us of passages or themes from Proust’s novel. From here, things have really taken off.  We have enjoyed our final workshop and received invaluable advice from Emily McIntosh and Esme Ward and drafted an email to the MAG giving them a detailed plan of our proposal. We have had another meeting with Emma and have been introduced to Manchester Art Gallery Programme Assistant, Connie Witham. Together we have discussed a preliminary idea for a unique tour looking at some of the artworks on display through a Proustian lens. Due to shared enthusiasm between Wendy, Emma Connie and myself for the potential success of the event, we have been confident submitting our final proposal. We can’t wait for  ‘An Evening of Fashion, Music Art and Marcel Proust’…

Sophie Preston, 1st year PhD researcher in Art History

Wendy Ligon Smith,  3rd year PhD researcher in Art History

New Blog Post – Rob McCombe

Afterlife of Heritage Blog – Rob McCombe

The opportunity to participate in Afterlife of Heritage project came as I’d recently completed my doctorate and was keen to continue developing my research but felt a little uncertain in what direct to turn. I felt that, given my background in museum and collections histories, I had a lot to offer to one of the institutions involved in the project. The main problem that I faced was my specialisation in medieval collections; few institutions in the North West hold significant collections of this period, meaning that I’d have to engage with and research in areas previously unfamiliar to myself. In itself this was hardly a problem – but where to start?

Inspiration came from an unexpected direction. Attending the inaugural Manchester based Museums Showoff  (http://museumsshowoff.wordpress.com/) I listened to Manchester Museum’s Egyptology Curator Dr Campbell Price deliver a brief but fascinating presentation on the historical unwrapping of mummies in the nineteenth century, emphasising the social and cultural cachet such events had once possessed and reflecting of the often hidden context of these remains that few visitors had access to.

This exploration of forgotten or little known aspects and meanings attached to widely recognised exhibits linked closely to the work that I’ve conducted in to the lives of Anglo-Saxon objects; tracing them through their excavations, early display in private antiquarian collections and their entry into public spheres of existence.  Drawing upon theories of identity and the increasingly large body of work on object biographies I explore the shift is in interpretation and meanings associated with objects, arguing that such things can be actively rejected, simply forgotten or popularised to the point where an artefact becomes iconic.

The next step then, was to contact Dr Price and discuss the possibility of working with the archives and developing an outcome for the Museum. Campbell proved enthusiastic about exploring the collections, albeit slightly resigned to the fact that, yet again, it was the mummies rather than another aspect of the collection that was receiving renewed interest.  I explained my approach and research interests; particularly focusing upon the work I’d done exploring the exhumations of St Cuthbert in the nineteenth century. We were both enthusiastic about uncovering more of the collection’s rich history, about making available to viewers more means of looking at these artefacts than was possible in the current re-display.

Unsurprisingly, I was far from the only researcher interested in working with this particular collection, so before I could begin it seemed best to have at least an idea of what others wanted to pursue. Arranging a meeting with Bryan Sitch, Campbell Price, Anna Garnett, Alex McDonough and Katherine Crouch we were able to sort out who wanted to work with what. The result will be a variety of approaches to a single collection, providing a fascinating glimpse of the breadth and depth of work being conducted by researchers across Manchester and Salford.

Once the various projects and areas of interest were agreed upon, I was able to begin the research. After brief forays into the archives and stores of the Museum I began my research with a detailed exploration of the Annual reports, Committee reports, contemporary newspaper articles and relevant secondary literature.  What has already become obvious is the wealth of contextual material available to explore the meanings surrounding the treatment of Egyptian remains in the nineteenth century. What I’ll be discussing in later posts in how I come to focus this research and pursue more of the primary material at the Museum itself, from correspondences and minutes to images and text. The ultimate purpose of this work is of course to produce both viable academic research and something that the Museum visitor can access. Quite what form this will take is still being discussed but I’m looking forward to sharing the research.

Brundibar – New Blog Post by Lynne Rogers

Brundibar

I am a singer and singing teacher working in the area of the female adolescent voice. I applied to the Afterlife of Heritage Project in order to give me a platform by which I could further my understanding of the vocalisation of different types of technique with which I was unfamiliar. That is, how do kids sing when they sing musical theatre, pop and even opera; all areas I am unfamiliar with. So I was all set up to go to some Saturday schools and see how it was being done in with these children. The institutions had been contacted, dates set, targets agreed. And then I went to the workshop…

I came away thinking that I was missing an opportunity to do something a little bit different. By going to observe teachers at different institutions I was going to benefit my own understanding. But what of the understanding of others? I realised that I needed to rethink what I was going to do.

I searched long and hard to find something which I could do which combined not only my academic skills, but my practical skills as well. As a musician, for me, studying is as important as creating. If the one doesn’t lead to the other then I feel that I have missed something. I suppose that is the true meaning of reflective practice. My PhD is looking into the vocal health of adolescent girl singers. There has been an enormous amount of research on boys and it can safely be said that much of this research has had a significant impact on how boys are taught to sing. The same cannot be said for girls and how and what girls are singing is little understood. Latterly my research has involved me with girls who sing in a Cathedral environment. I wanted my particiaption in the Afterlife of Research Project to reflect my knowledge and have an impact on these children who are singing intensively on a daily basis;  and (perhaps it is a vain hope) possibly educate those who are working with them.

But finding the correct project was difficult- how to get children who already sing intensively to take on another project, how to get a school on board, how to choose the right repertoire?

And then Eureka! An opportunity presented itself in the form of a children’s opera called Brundibar. The story is a simple one- 2 children need some milk to make their sick mother better and they have trouble getting it, but in the end they overcome. It has nice tunes. There are singing cats and birds. On the face of it, a jolly story. But the story behind the opera isn’t nearly so nice. Written in Czechoslovakia in 1938, the opera was performed by the children of Terezin concentration camp. It was rehearsed and conducted by Hans Krasa, its composer, who was imprisoned in Terezin and eventually transported and executed at Auschwitz. The opera’s history is a shocking tale of inhumanity, lies and suffering which contrasts severely with the story it portrays.

I approached the local Cathedral choir school. The head has Czech parentage and every year they take their most promising pupils on a trip to Auschwitz. It was agreed that I can rehearse the children weekly between now and November and then Brundibar will  be performed as part of their traditional Remembrance Day concert. The Cathedral has aloso put Brundibar in its concert programme for November, thus providing 2 occasions when this project will be performed to the public. So my research will not only have a practical application, but an appreciative audience!

Setting apart the tragic history of the piece, why am I choosing to do this? What has it got to do with my research? Well, what this gives me is a great opportunity to turn theory into practice. My recent research has been looking at girls who sing in a Cathedral environment. These girls are steeped in a male environment and are strongly influenced by male musical culture. It might be claimed that the boys’ singing voice is the most prized amongst Cathedral musicians and girls may feel that they are required to imitate a boy’s sound. I am a female musician who is not influenced by Cathedral culture and will come to working with the children from a more neutral point of view. The language I use to express my ideas, the expectations I have and the eventual outcome will all be very different for these children. It will be interesting to see how they respond to working with someone who is very different to their usual experience.

I am soon to start weekly rehearsals with a choir made up exclusively of adolescent Cathedral singers, both boys and girls. The hormonal change which occurs at puberty causes vocal mutation. This brings with it breathiness, hoarseness, difficulty controlling the breath and increased register breaks. This happens to a greater or lesser extent in all boys and girls. Within the choir will be voices that have yet to mutate, voices that are mutating and voices that have mutated. It is unusual to hear these voices together. The demands of the music are somewhat less taxing than these choristers would normally be used to, as Brundibar was written for untrained voices. However, constant singing at a very high pitch can be vocally tiring and can cause problems for any singer. These problems are exacerbated when the voice begins to mutate. However, the lower pitch will allow for all the adolescent singers to participate, no matter which stage their voices are in the mutational process.

As the project is yet to begin, it is difficult to say exactly what will happen. It may very well be that the mutational voices don’t blend, the children hate the experience and we produce a performance that is unpleasant and untidy. However, I hope that the children WILL enjoy the experience and produce a performance that is pleasant and polished. And above all I hope that I will be able to show them that they can produce a pleasant, breathy sound which can be produced healthily during vocal mutation. I am hoping that this might make those who work with them on a daily basis question what it is they are doing. Perhaps they may challenge their own preconceptions and look to improving their own knowledge and widening their own experience in order to improve the long term vocal health of the children they work with.

It may be a vain hope, but at least now, thanks to Brundibar I have the opportunity to showcase a different path. And who knows, one day all Cathedrals might have reconsidered their age old expectations….

 

 

 

 

Della Robbia Pottery in the 21st C – blog post by Juliet Carroll

Della Robbia Pottery in the 21C –  blog post by Juliet Carroll 

 pottery1

Measurable……..Impact……..Longevity………

Words of policyspeak that indicate that essential academic skills in 21st century Britain include the ability to make research accessible and relevant in a way that can be computed and quantified – a daunting thought.

I was keen to attend the training sessions to learn these skills. Although I missed the first workshop due to a prearranged research trip I enjoyed the second one immensely. Three key points that I took from the session were

  • Simple, easy understood proposals with a straight forward execution are good
  • Good communication is paramount – keep in regular contact with cultural partners, supervisors and directors of study.
  • To be bold and confident in my thinking.

At that point I had not discussed the proposal with my cultural partner – I felt some trepidation about suggesting that the newly refurbished gallery should be turned into an amateur ceramics studio, complete with glazes and wet clay. However, the gallery was enthusiastic and supportive and offered to fund an extension of the project if it proved successful.

The proposal: to celebrate the work of the Della Robbia Pottery of Birkenhead by inviting participants into the newly reopened Williamson Gallery to work with a local ceramicist  to create and glaze a ceramic piece in the distinctive style of the nineteenth century studio pottery.

By recreating the studio of this Arts and Crafts pottery, the would-be potters and decorators will experience the ethos of the pottery, and indeed of the Arts and Crafts movement, that puts a clear emphasis on creativity and individuality, in which a precise manufacturing process with division of labour plays no part. Advice from the workshop was to limit my participants to an older age group – U3A, local history groups – rather than riotous school children. However, the director of the gallery is keen to extend the project if my bid is successful and the undertaking proved viable and would include school children in the future. Thus the project has an extended afterlife – this could become a regular event at the museum. I am also pleased that the reputation of the Della Robbia Pottery will grow in a practical and accessible way rather than being restricted by the academic confines of my PhD.

 pottery2

 

Kyra Pollitt on lessons learned from preparing her Research to Public events.

Kyra Pollitt on lessons learned from preparing her Research to Public events.

Of course I think my PhD is interesting. To paraphrase Mandy Rice-Davis, I would say that wouldn’t I? But I don’t foresee a queue forming outside Waterstone’s in eager anticipation of the submission of my thesis. So when I came across artsmethods@manchester’s Research to Public strand, offering guidance on making my research public-facing, I was immediately excited. After all, what’s the point of research if it’s not meaningful to reality?

Research to Public offered two structured and intensive full day workshops at the University of Manchester, supplemented by documentation and an online presence designed to prize open the rusty doors of the ivory tower and let the daylight of practicality flood in.

Eager applicants to the scheme were initially subject to a selection process before being invited to the first workshop. Then, after considerable input, we were sent forth into the big wide world and told to come back with an institutional partner- a gallery, museum or other public institution interested in our proposal and willing to play host. The second workshop honed our ability to co-operate with our partners and the resulting carefully budgeted and considered proposals were then submitted to a panel charged with distributing prize funding.

I am very fortunate to have had my proposal selected, and I write this on the eve of the first of the two events that I proposed. As you can imagine, the whole process has been challenging in lots of ways; some anticipated, some unexpected, but all very, very useful. So here are some of the lessons I’ve learned thus far. I apologise if you already know them, but some of us are slower on the uptake.

Lesson 1:  Don’t be precious

There’s wisdom in that there Kenny Rogers song about knowing ‘when to fold ‘em’ and ‘when to hold ‘em’. There may be some ideas that are worth being deeply precious about, but these are rare. Actively seek the opinions and contributions of others. Be honest with yourself about your level of commitment to the idea as it stands, and give due and respectful consideration to the tweaks others propose. Every contributor (from the gallery curator to the chatty passenger sharing your train journey) brings different expertise; learn to harness it.

Lesson 2: Network

Contributing to as many networks as you can effectively manage is good for your creative soul. It’s also kind of karmic. I had cold-called a number of institutions who were all enthusiastic but already committed to a schedule, before a network connection yielded an introduction to an institution that wasn’t even on my list. It turns out the institution was looking for something that would reach beyond its usual remit and demographic, and I could propose just the thing. Who knew?

Lesson 3: Refining is a lived process

Like most other things in life – and unlike the fairy tales I’m still addicted to – perfect proposals don’t just appear fully-formed, ready-sprinkled with magic dust. Business proposals, academic theses, paintings, life – all require adjustments and rewrites.

Lesson 4: Plan and anticipate

Like the archetypal mum checking before her child leaves for school in the morning- Homework? Packed lunch? Gym kit? Keys? Hanky? Umbrella? It was quite fun spending time just thinking about all the possibilities and unlikelihoods surrounding the events I’d proposed. It was even more fun when the gallery curator was able to identify a few more.

Lesson 5: Make it real

Isn’t there some great quote from a famous person about the number of brilliant ideas that lie gathering dust in obscurity? Despite what I hope (with some effort) is a bubbly public persona, I’m actually ‘a bit behind the door’ so the process of taking an idea and making it real has been quite exhilarating. It’s both humbling and inspiring when other people believe enough in your idea to lend themselves to it. Ok, so I may have had to gather myself a little before plastering my event all over Facebook and Twitter but the whole R2P process has given me renewed confidence in my ability to communicate to others through writing, talking, thinking and sharing, and ultimately performing. I think it’s no coincidence that my painting and sculpting, as well as my academic writing also seem to have received a bit of a boost.

I’ve spent today having final meetings with the artists involved, gathering the hardware I’ll need for the space, making a Blue Peter style audience contributions box, monitoring the Twitter publicity spread (currently standing at 45 RTs, 7 mentions and 3 favourites), and checking the Bank Holiday weekend weather forecast (chance of rain, 13˚C).

What are we planning?  Will it work? Will anyone care? These tales will be told in the next blog. For now, let’s see what new lessons tomorrow brings…

 

Blog Post by Sarah Younan

Sometimes working on a PhD can be dry, slow, overwhelming. And then sometimes there are days that take yo by the horns and drag you forward. Today was such a day.

I met with Gareth Loudon (http://cardiff-school-of-art-and-design.org/staff/garethloudon/) for a tutorial in the morning. Gareth’s area of expertise is, amongst others, ethnography. I picked his brain on how to go about my intended research. I hope to extend the public impact of museum objects by 3d scanning ceramic artefacts from the collections of the National Museum of Wales, and then using these scans, to:

a)     create colaborative projects with artists working in digital media

b)     make copies of the original objects through 3d print and/or traditional craft techniques in order to emerge them in everyday live.

These copies will be handed out to volunteers, to take home, to use, to contemplate, to re-emerge museum objects in the wear and tear of everyday life. Life for objects, as for people, is fraught with risk. These copies might be apreciated and cared for, they might be neglected and forgotten, they might be used out of context, they could end up chipped or broken – either way new stories will be created. Stories about interaction with these objects, about what might be the fate of the original, where it not preserved in the museum, but thrown into everyday life.

This is what my contribution to the Afterlife of Heritage project, a story, a potential afterlife tale about objects from and beyond the museum.

My next stop was the museum, there I met with Andrew Renton, head of applied arts at the National Museum of Wales. We went to a storage room and I chose two objects to scan. I have worked with 3D  scanners before ( I am using a NextEngine tabletop scanner at the moment) and was aware that scanning two ceramic objects would take up quite some time. The objects I chose were a Meissen porcelain cup, with a basket-weave moulded border, and an ice cup and cover, the cover has a little squirrel sitting on it.

It took most of the morning and afternoon to scan these objects. I prepared them by spraying them with Talcum powder, as the glossy surface of glazed ceramics can confuse the lazer of the 3d scanner. I then did some test scans to find out the optimal distance, ambient light and scanner settings. For the cup, the ice cup and its cover I did a 360 degree scan each, and further single scans for areas that were difficult to see.

As I was working with objects from the collections Andrew stayed with me, to supervise and also to learn more about 3d scanning. We talked about museums, collections, about artist interventions and about digital strategies in museums.

Andrew likes to push the boundaries of his work. As a currator he has on several occasions collaborated with artists. This has led to the production of work and exhibitions, which challenged the notion of the museum and proposde new ways of experiencing museum artefacts. Two artists who have interacted with the ceramics collections in ways, that question and challenge the museum’s traditional practise of preserving artefacts, by removing them from interaction and lived experience are Edmund de Waal and David Cushway. De Waal investigated and re-displayed objects from the ceramics collection alongside his own pieces in 2005. He removed the museum objects from their glass cases and displayed them on a large plinth, unprotected and within reach of the audience. His own work took the place of the museum objects in the glass cases.

Cushway’s project in 2012 went even further. Together with Andrew the artist removed a porcellain tea set from its glass case and the two of them sat down to drink tea from these pieces. This performance was filmed and is now available on Cushway’s website: http://www.davidcushway.co.uk/2012/Teatime_at_the_Museum.html

I see these artist’s projects as a genealogy of my own involvement.

In the digital realm any transgression is possible. Objects no longer need to be preserved; the touch of a button is enough to restore digital models to their previous state. The former observer of museum objects can become and actor.

Safe. Edit. Delete. Undo. Merge. Distort. Send. Print.

3D printers can make the digital file physically manifest, once, twice, many times, and copies of museum objects, not quite the original, but more than souvenirs, can find their way back into everyday life.