Author Archives: katsolberg

About katsolberg

A second year MA student at UBC, Kat is the communications officer for From Stone to Screen. She has been involved with the project for over a year and is working to expand its exposure around the world. In her spare time, she is also studying to become an archaeologist.

Our new site is up!!

We have a beta version of our website up now, www.fromstonetoscreen.com.  We are very happy with how it looks and hope you like it!

If you have any comments or thoughts, definitely let us know!  We love how much the project is growing and appreciate all of your support.

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Finding the Answers in the Squeezes: When We Discovered that Graduate Students Haven’t Changed in 80 years

B1TwJrNCEAAUlhh.jpg-largeWe have a very extensive squeeze collection here at From Stone to Screen.  1051 squeezes, to be exact – although about 200-300 of them are duplicates.  The point of this entire project has been to digitize the squeezes, which we have diligently been doing, and to put them up on an online database.  This hits a snag sometimes when we can’t identify where exactly the squeeze is from.  Such as last Friday when Lisa came across this gorgeous squeeze while she was working at the Digital Initiatives lab.

Normally, we identify our squeezes by an index that was written up by Professor Nigel Kennell in the ’70s or by the handwritten notes by Professor McGregor that has the IG (Inscriptiones Graecae) number or the EM (Epigraphic Museum) number somewhere on the squeeze.  With the delicate state of some of our squeezes, we are very grateful for these references.  When Lisa couldn’t identify this stunning squeeze, though, she decided to try and take it to social media.  She sent out a tweet on Friday afternoon calling all Greek epigraphists to help identify the squeeze which was quickly retweeted around the small but active epigraphic community.

Monday morning we tweeted out the image again hoping to catch some more scholars who hadn’t seen it before the weekend (because, in all honesty, it was late Friday afternoon).  Within a couple of hours we had a very helpful reply that identified the squeeze as a stelae from Aixone.

Comparing our squeeze (right) to an image of the inscription on the stelae (left)

Comparing our squeeze (right) to an image of the inscription on the stelae (left).

Lisa compared the two images and agreed- they’re a match!  We’re thrilled to have an answer to our mystery so quickly, through the wonders of the internet.  This is one of the first times that we have gone to the public like this for help and it was fun to see how many people were thinking about the squeeze, proof that what we’re working towards will be used by other scholars in our field.

We are also deeply amused by how much simpler this process was than the debates that took place in the 1930s.  One of our favourite parts of our squeeze collection is actually a letter between ‘Mac’ (Malcolm McGregor) and ‘Gene’ (Eugene Schweigert) from 1935 arguing over certain transliterations from a fragment of the Athenian Tribute Lists.  Considering Mac was at the University of Cincinnati and Gene was at Johns Hopkins, the debates must have taken quite a while to come to a resolution.  With how difficult squeezes are to read, it’s understandable that there was a lot to discuss.  Plus, if you’ve read our previous posts about the process of digitizing squeezes, you know that one advantage to our new images of them is that epigraphists no longer needs to be able to read Greek backwards.  Don’t forget, too, that epigraphic Greek was written in all capitals with no spaces or punctuation, it’s no surprise that sometimes the arguments came down to a single letter.  Which was backwards.  Today’s accessibility to images enables us to quickly compare images instead of relying on other peoples’ squeezes and readings of the inscriptions.

Beyond that, this letter also gives us an amazing insight into a man who is a legend in our department and a key player in the research on the Tribute Lists.  When this letter was written he would have been finishing up his doctorate at the University of Cincinnati and only 25, around the same age as most of us who are working on this project.  The two men are obviously friends and Gene begins the letter with “Short but violent spell of nostalgia now over.  Its reoccurrence after some… puzzled famous Johns Hopkins physicians.  Nature finally performed her cure.”  Then he goes on to refute some of Mac’s theories and cheekily writes in the middle “Don’t worry about ἐξ ἀπογραφῆς or ἐδήμευΓαν etc. Your guess is just as likely.”   Whether or not Mac was reassured that his guess was just as likely we’ll never know, but this conversation is reminiscent of ones heard around our department all the time.

This letter was written four years before the first volume on the Athenian Tribute List was published by McGregor, Merritt and Wade-Gery.  Both men are mentioned in the letter and at the end Gene says that he wishes he could spend more time with Mac and West.  Allen Brown West, though, died in a car accident in 1936 and the first volume was dedicated to his memory.  The forward in the volume makes it quite clear that his work was invaluable to their research and that his friends missed him very much.  Reading the letter, it’s not hard to see the similarities between these men who were at the beginning of their academic career 80 years ago and those of use who are working on this project today.  It’s comforting, and entertaining, to see that they had to adapt to having long distance friends (which anyone in academia can tell you is a occupational hazard).  In our department, working on a project at this magnitude is only possible because we rely on each as friends as well as colleagues, and it was nowhere near the scale as the ATLs.  Who knows?  It could always keep growing.

The question is, are our letters to each other just as entertaining at the one below?  I think you’ll have to wait 80 years and accidentally find a copy of our e-mails in a drawer to find out.  Until then, here is the sign-off from Gene’s letter.

I often think if I possessed Aladdin’s lamp I would wear it out wishing that I could transport you and West here.  Merritt would like that, too.  He said he would like a month’s session of pow-wow with West… Merritt is a jolly fellow.  You should have been here this afternoon when he brought me – well, I haven’t enough room. Another time.

Letter from Gene to Mac, pg. 1

Letter from Gene to Mac, pg. 1

Letter from Gene to Mac, pg. 2

Letter from Gene to Mac, pg. 2


If you would like to read more about the adventures of Mac, Gene, West, Merritt and Wade-Gery, the forward of the first volume of the Athenian Tribute List has some more details on their journey to publish the ATLS.

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Digging the Dead…City: The Caere Project and the Excavation of Etruscan Ruins

Our latest post is written by one of our newest MA students, Kevin Lee.  We’re happy to have him helping out with the project and it sounds like he has an amazing time digging every summer!


You’ve heard of the famous Banditaccia necropolis at Cerveteri no doubt.  You know, rows and rows of Etruscan tombs and tumuli about 40 minutes northwest of Rome?  A veritable city of the dead?  Home of the friendliest stray dog and worst hamburger in the Repubblica italiana?

IMGA0459No?  Well, humor me anyway.  Suppose you wanted to visit this fabled land where the Etruscans of ancient Cerveteri laid their dead to rest and left them some goodies to enjoy in the afterlife until two millennia later when archaeologists so thoughtfully came in and jacked it all.  Imagine yourself in Rome’s Trastevere station (I choose that one instead of Termini because I’ve noticed Termini inspires very…mixed feelings, let us say, among those who have experienced its unique charms).  If you hop an FL5 train towards Civitavecchia and ride it out for about 20 minutes, you’ll arrive at a station called Marina di Cerveteri.  You disembark, and find yourself in a whitewashed resort town that has no intention of leaving the ‘70s, and realize this is not where you want to be.  So you follow the locals to the nearest intersection and catch that friendly-looking municipal bus which has enough legroom for people approximately 1 micron in width and ride it up the hill to Piazza Aldo Moro.  Ah, now you’re in Cerveteri itself, with that stately medieval castle of the Ruspoli clan to your left and the outdoor café to your right where the elders of the town seem to be practicing their age-old art of staring directly through you.  A pleasant walk around the medieval borgo and along the Via della Necropoli, lined with enough stone pines to make Virgil’s shade wax poetic, and within half an hour you’ve arrived at the Banditaccia’s gate.

Or you could just take a car or go with a tour group, but that would just be too easy, wouldn’t it?

IMGA0400If you’re lucky a huge white and well-fed Great Pyrenees will lop up to you at the gate, tongue lolling out, and roll over begging for pets on a stomach caked with approximately 5 years’ worth of unwashed dirt.  Inside you’ll walk among and through an array of tombs so varied and whimsical you’ll expect a purple-suited Gene Wilder to pop out of the Mengarelli Tumulus and start singing “Come with me, and you’ll be, in a worlllld of pure imagination.” Within moments you too will fall in love with (or at least be fascinated by…or slightly interested in) the Etruscans, and as you sit at the visitor center eating a dry hamburger whose thickness could have been used by Demokritos to demonstrate his concept of the atom, you’ll ponder this ancient people whom romantic writers like George Dennis and D.H. Lawrence liltingly lionized as peaceful, nature-loving hill-elf folk before those nasty Romans came with their laws and sewer systems.

10474856_10152429319705091_6191531623096349725_nThese are the people I’ve dug for the past three summers.  While my interest as broadly conceived is comparative urbanism across the ancient Near East and Mediterranean, my practical focus has been on digging Etruscans and Etruscan accessories.  Contrary to the notions of Dennis and Lawrence, the Etruscans were not Na’vi antici, but as Livy will be happy to tell you perfectly predisposed to some good old-fashioned cattle-rustlin’ in Roman territory, wars, and to becoming kings who made the Romans build those impressive sewers (the gall!).  They also weren’t particularly nature-loving in the modern sense.  On my first dig in 2012 at Poggio Civitate, the site of an Etruscan manor house in northern Etruria approximately 20 kilometers from Siena, our director, Dr. Anthony Tuck, would point to all the surrounding hills and note the relatively scrubby growth, saying “That’s in part because the Etruscans who owned this hill clear-cut the whole area to fuel their workshop.”  That ought to make James Cameron think he didn’t evil-up his cartoonishly villainous space miners enough.  Whereas they left intact large swaths of alien jungle in spite of their futuristic earth-movers and giant Tonka trucks, their 2,000+ year-old ancestors far outstripped them with little more than iron axes.  And using nothing more than those axes and their grit, the southern cousins of the Poggio Civitate lords cleared the defensible Cerveteri plateau and established one of the major cities of the ancient Mediterranean atop it.

While the Etruscans had a multitude of names for this city (e.g., Kaisra, Cisra, Kysry, etc.) the Romans knew it as Caere, and that is the name that has stuck.  Up until recently, the focus in Etruscan archaeology has been their tombs, as those were the big remains which captured the attention of earlier investigators.  Little overall was known about their settlements and cities, which, being made largely of perishable materials such as wood and mudbrick, were not as sexy to early researchers as those decorated tombs a short walk away.  Recently the winds have been shifting in favor of more Etruscan settlement archaeology, and the Caere Project is part of that wave.  I have dug there for the past two seasons, in 2013 and 2014.  The excavation is held near the approximate geographic center of the ancient city, in close proximity to the Roman theater built during the reign of Claudius as well as a large elliptical structure of uncertain status (council chamber? Ritual hub?) and two large Etruscan sanctuaries tentatively identified as being dedicated to Uni (Juno) and Cel (Tellus).

While today the area the Caere Project excavates is beneath a former vineyard, in the Etruscan and Roman periods it was home to a subterranean ritual space termed “the Hypogeum of Clepsina” by the project, after an inscription to the left of the entrance mentioning renovations during the tenure of the praefect Gaius Genucius Clepsina in 273 B.C.  Interestingly, just because the hypogeum was subterranean does not mean it was a room without a view. Excavations in 2012 revealed windows that looked out onto a great lustral basin.  Based on calculations made by the project director, Dr. Fabio Colivicchi, the hypogeum is aligned so that on the Winter Solstice, the Sun directly illuminates the a niche, where an altar or other ritual fixture may have once stood, flanked by painted palm trees.  Furthermore, echoes during the excavation process suggested the presence of more subterranean spaces beneath the hypogeum.

IMGA0434As exciting as it would be to excavate an underground complex, the paperwork and expense for such an undertaking is massive, so our Indiana Jonesing must wait and for the past two years the project has focused on the easier task of excavating the urban fabric surrounding the hypogeum.  In 2013 we dug the area south of the hypogeum, which contained a major road used during the Roman and Etruscan periods, on both sides of which were remains that suggest mixed domestic-production areas.  A small subterranean room with a pillar altar as well as a 6 meter-deep cistern and well were found on the south side, while a structure containing fragments of bronze and a corner pool (forge?) was found north of the road.  In 2014, we excavated a smaller and more concentrated area directly north of the hypogeum.  In spite of the plowing damage from early modern vine trenches and the modern town’s aqueduct pipe which blew right through the middle of our trench, we uncovered several structural remains, including a drain, a platform of some sort, and, most intriguingly, a c. 8th century B.C. hut, the oldest evidence to date of habitation on the plateau.  Unfortunately I did not get to investigate the hut, as my area was the very messy zone of mixed contexts (and thus relatively useless for analysis), the product of industrious plowing by the site’s medieval and early modern occupants.

The site has produced some fantastic finds for learning about the urban context of a southern Etruscan city: painted terra cottas, a wealth of pottery, utilitarian and otherwise, and votive heads, to name a few categories.  The spread is also interesting to note.  In the southern area excavated in 2013, most of the finds could be dated to the Roman period.  In the northern area excavated in 2014, most of the finds could be dated to the earlier Etruscan period.  We know that Caere’s fortunes waxed and waned over time.  After the city was subsumed into the Roman Republic it lost much of its prestige, but remained an urban center into the Julio-Claudian dynasty when Claudius gave special attentions to the city as a historic center of Etruscan culture.  The city gradually withered afterwards, although some ritual activity at least persisted at the site during the Severan dynasty, as an inscription in the hypogeum suggests.  These areas are not very far apart, so it is interesting that the finds from one are predominantly Roman and those from the other predominantly Etruscan.  Since the finds are of a different age, this demonstrates changing site usage through time.

IMGA0476Thus stands the Caere Project.  It is set to continue for the foreseeable future.  While yours truly will not be returning there this summer, having already signed on to another dig, the project’s progress can be followed at its website.

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We’re upgrading!

Our project has had some amazing opportunities and exposure this academic year, and we’re only two months in!  To reflect this, our team is in the process of redesigning our webpage!  We have some great ideas and can’t wait to put them into place.

We also want to hear from you, though!  As our readers, supporters, and the whole reason why we’re doing this, we value your opinion and want to know what you’d like to see.  We would really appreciate it if you could take a minute to answer our poll and let us know what you would like to see on our website!  Vote on a particular aspect you think would be great to see upgraded or suggest your own!  We would love any feedback you have.

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I3 Challenge – Update!

Our blog post, written by Lisa Tweten earlier this week, has been reposted on the GRAND website!  Her experience at the challenge, and the amazing support of our faculty, is a delight to read and such a great opportunity for us to spread the word about From Stone to Screen.  

GRAND in association with the University of British Columbia Media and Graphics Interdisciplinary Centre (MAGIC Lab) hosted the I-Cubed (I3) – Idea, Innovation and Inaugurate Challenge in September. Participating teams pitched business ideas to a panel of judges drawn from the digital media and investment communities to earn a 3-month residency in the MAGIC Lab, and in-kind technical and business support to help take the proposal to the next stage. Lisa Tweten’s winning pitch was to develop a companion mobile app that will provide a visual complement to aid the study of epigraphic squeezes with relevant historical context.

i3The post was put up on Grand’s website yesterday.  Check out Lisa’s original post here.

 

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by | October 8, 2014 · 11:09 am

Getting the Ball Rolling: Who Started This All, Anyway?

The first in our series of graduate student profiles concentrates on PhD student Chelsea Gardner, one of the founders of the project.


One of the best things about From Stone to Screen, in our humble opinion, is that it’s a project started by, propelled forward and maintained by graduate students.  Anyone who has ever met a grad student knows that we tend to be overworked, overtired and overstressed students who are overenthusiastic about one thing in particular, which is what we happen to be researching.  So the fact that we are voluntarily taking on extra work for a project is something that, while not exactly understandable, proves how much we all believe in it and how much we are willing to put into it.  To that end, we at From Stone to Screen have decided to showcase one student a month to demonstrate how much we are all pulling for the project to succeed and what we have done to bring it there.

IMG_4423

Chelsea Gardner showing off her squeeze making skills

This month’s student profile is on Chelsea Gardner, a fourth year PhD student in Classical Archaeology at UBC.  As our story goes (which you can find elsewhere in our various blogs), in the fall of 2012 there were a group of students in one of Dr. Lisa Cooper’s Near Eastern archaeology seminars – Chelsea was one of them.  Unlike most of the students involved in the project, though, Chelsea had an awareness not only of the Fuller artifact collection but also of the squeeze collection.  The day that Dr. Cooper brought the artifacts to class, Chelsea approached her immediately after the class was done to discuss the possibility of work with the artifacts in some capacity.  This coupled with Dr. McElduff’s seminar, Digital Antiquity, inspired several of the CNRS grad students to become involved in the project and pushed it in the direction of digital humanities.  As a group, Chelsea and the other students wrote proposals to the department in spring of 2013 and with that propulsion the project began to gain traction.

One of Chelsea’s goals from the beginning was to make it an open-access resource for anyone in the field, whether they studied at UBC or not.  “The beauty of any digitization project is that it makes it… as available as you make it.  The vision right from the start was to make this an open-access, universally accessible source for anybody who was interested in it.”  With that in mind, funding was a priority for the fledgling project.  They needed to get enough to be able to have a platform that was accessible to all.  What Chelsea and the others planned, though, and what actually happened were quite different.   She is both proud and impressed with the support both within and outside of not only the CNERS department, but UBC as well.  “I never would have imagined how successful it has become with the digitizing techniques and the grant funding we have gotten.”  Especially since it was worked on primarily by graduate students, the progress is even more impressive.

It was always a conscious decision to make it for grad students only.  There was the possibility of faculty advisement, but Chelsea wanted a graduate student project in order to make it solely student-run.  She wanted it to be valuable for each individual student who is involved as a means of professional development, something that can sometimes be difficult for multiple students to have the chance for.  “That was the impetus behind this entire project, was creating an opportunity for graduate students that didn’t exist before.”  From Stone to Screen has definitely delivered on that front; along with presenting for the local Vancouver branch of the AIA, our students have been able to present at the EAGLE conference in Paris, learn digitization methods that our field usually does not teach and create connections with other professions interested in Digital Humanities.

A hiccup in her plans for From Stone to Screen arrived, though, in the form of an amazing opportunity.  Chelsea learned that she was the Philip Lockhart Fellow at the American School of Classical Studies at Athens for the 2013-2014 academic year.  This was, needless to say, an opportunity she was unwilling to pass up but it also meant that she had to leave everything in Vancouver behind for a year.  It was hard for her to leave the project when it was only just getting on its feet, and she knew that bIMG_4411y going to Athens she would have to leave the project in the hands of others and watch it from afar. “It was very personally rewarding to watch this project develop that I’ve seen since its inception and just kind of explode.”  She still worked with Lisa Tweten over e-mail, giving advice and links when she came across them, but it was still a risk to leave it behind for a year. Watching it flourish from afar was something that she thoroughly enjoyed.

Now she is back in Vancouver, though, and enthusiastically finding new opportunities for the project to expand.  When I asked her if she thought the project would be able to grow past its current collections, her excitement was contagious.  She hopes that as From Stone to Screen grows and gains a larger public presence, private collectors would step forward and allow us access to their collections to incorporate into our database.  There is, obviously, the problem of trying to obtain private artifacts for our own collection that were collected before 1970.  The other problem is that many museums in Greece rarely allow scholars to make squeezes because it can cause some damage, plus many of the inscriptions have already had multiple squeezes made so it is unlikely that we will be able to enlarge our collection.  Chelsea hopes, though, that we can somehow borrow other collections, digitize it safely and then add it into our online collection to hopefully have the entire Athenian Tribute List on our database.

IMG_4421

Chelsea making a squeeze

Squeezes are still being made on site, though, and she hopes that we can gain some of those for our collection.  She recently made a squeeze at the site that she excavates at and once she has finished her research and work with it, she fully intends to donate it to the From Stone to Screen collection.  “I hope that is something that’s on everyone’s radar who is an archaeologist in this department who are going on projects and have the ability to do so,” she admitted.

As an archaeologist, though, it may seem confusing as to why she is so involved with a project to digitize epigraphic squeezes.  She works in the ancient historic period in Greece which means that there are epigraphic sources from the time period in the region where she digs – the value of the project for Chelsea is that is have given her the opportunity to handle squeezes first hand which is indispensable since she needs to make squeezes for her own research.  The squeeze that she made was also digitized using the same methods that we use at the project which gives her high quality images to work with.

Chelsea has two years left for her PChelsea GardnerhD, meaning that she can continue to closely work on the project and help see it through to the end of our current goals, but as we have seen in the last year it is already growing so much bigger than we had ever planned.  As with anyone in our field, though, she will go to wherever the jobs are when she’s finished and that most likely means leaving UBC.  This also means, though, that she will have to leave From Stone to Screen behind and give it off to the next generation, something that Chelsea regrets and wishes she could see it through to its completion. “The goal of Stone to Screen,” she admitted,” is for it not to ever be completed.”  She plans to follow it from wherever she is in the future and send whatever squeezes or support she can.  She vehemently believes that it is a resource that can grow indefinitely and she will be there to support it from afar.  Considering how much the project has grown, which just two years ago was just a random idea after a seminar, what will happen in the next two years before she graduates is impossible to tell.  You can see the pride whenever she speaks about the project, though, and I think it’s safe to say that wherever she ends up she will always support and help the current generation of students who are working on it.


Check out Chelsea’s blog posts!

Squeeze Making in the Athenian Agora

The Athens Epigraphical Museum: Where it all began…

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Filed under Archaeology, Digital Classics, Digital Cultural Heritage, Epigraphy, Project Planning, Squeeze Collection

Digitizing Squeezes for All to See – Presenting for the AIA in Vancouver, BC

Haley (left) and Heather (right) compare a squeeze to the epigraphic chart.

Haley (left) and Heather (right) compare a squeeze to the epigraphic chart.

If you are passionate about Classics and the ancient world in Vancouver, British Columbia, you might find yourself at the University of British Columbia once a month attending a lecture hosted by the local branch of the Archaeological Institute of America (AIA).  This week, From Stone to Screen had the amazing opportunity to present at one of these public lectures.  This was unprecedented – no graduate student had spoken at a Vancouver AIA talk in over six years.  Two of our own, Haley Bertram and Heather Odell, were asked to present on the project and its goals.  And so, after weeks of preparing, they found themselves at the front of a classroom in Buchanan building presenting the project to the Vancouver community for the first time.

The room was full; whether or not that relieved any of the pressure is difficult to say.  We were excited to see that that so many people not directly involved with the department were interested in the project— something we hadn’t been able to gauge before—but this also meant that Haley and Heather also had a bigger audience than they expected to speak in front of.  For someone who fears public speaking, having a packed room can be almost terrifying.

These two budding academics, though, kept it cool and pulled strength from each other.  “It’s like having a built-in person who has to listen to your ideas,” Haley joked.

Haley (left) and Heather (right) joke while working on the lecture.

Haley (left) and Heather (right) joke while working on the lecture.

While the two agreed that it may have been less efficient to work with another person, having the support and sharing the workload made the entire process easier.  They split the workload evenly between themselves and also decided to hand off different sections to one another during the talk.

Ultimately, they appreciated that the audience was composed of members of the public.  Until now, while From Stone to Screen has had several opportunities to write about the project, the presentation opportunities have been limited to department seminars, undergraduate classes and the UBC CNERS Graduate Conference this past May.  Haley and Heather were approached by several people in the audience after the talk who were interested in the new digitization methods and who wanted to speak about the uses for the new databases.  Having the feedback made all of the stress worth it in the end.

Heather Odell (left) and Haley Bertram (right) triumphant after their AIA talk last Tuesday.

Heather Odell (left) and Haley Bertram (right) triumphant after their AIA talk last Tuesday.

Despite the fact that they have both presented on From Stone to Screen before, Haley and Heather wanted to expand on the previous talks.  The work with Digital Initiatives this summer has catapulted the project forward significantly and they had a score of new images and techniques that they were able to share.  Working on a lecture that had already been presented several times, though, was more difficult than they had anticipated, especially since the first full-length version of it had been written by several of the graduate students involved in the project last year.  Writing this lecture, though, gave them the opportunity to gain new appreciation for the project and what it can do not only for the CNRS department but also others in the field.  Haley equated it to forgetting the thrill of finding artifacts on your first ever dig.  “You forget how super exciting that is… It’s cool to everyone else who hasn’t encountered it,” she mused, “you’ve just acclimated to it.”  Heather, who has worked on the project since its inception, agreed.  Talking to the audience members gave it new light again.  “You get a chance to step back and remember that what you’re doing is cool,” she added.

When I asked them if they felt the pressure of speaking to members of the public instead of members of the CNRS department, Heather said that it wasn’t so much the pressure to speak in front of strangers but the new information they needed to discuss.  So much has happened since the last talk in May that a large amount of it was still unfamiliar to them.  For the first time, the theme changed from ‘this is what we’re planning to do’ to ‘this is what we have done.’  Haley, on the other hand, was more concerned with the pressure of speaking at the AIA.  “Generally the people presenting are very respected in the field, they’re visiting scholars,” she explained.  The project is a collective work which helped, but there was still the pressure of presenting graduate-level work.

Members of the audience talk with the speakers about the squeezes following the talk.

Members of the audience talk with the speakers about the squeezes following the talk.

In the end, the talk ran a little over forty-five minutes (a relief to them both since they tend to speak rather quickly) and was hiccup-free.  Haley spoke about the background of the Athenian Tribute Lists and their importance to scholarship.  The high resolution images of our squeezes are allowing us to see details to the inscriptions that have never been seen before, and the timing of this with the reassembling of the original stone lists is perfect.  Ultimately our project wants to allow anyone to see copies of the inscriptions without needing to be in their physical presence, and having the information readily available to the public in an online database will help anyone wishing to work on the lists.  This is especially helpful since, by the very nature of how a squeeze is made, you have to read them backwards which adds more work to working on them.

Some of the artifacts from the Fuller collection were brought out for the audience to see, such as this Phoenician lamp.

Some of the artifacts from the Fuller collection were brought out for the audience to see, such as this Phoenician lamp.

In the end they were incredibly proud that the first talk of the season was on UBC work.  That and the interest at the end made them very proud of their talk – all of the feedback at the end reiterated that one of the project’s main goals, that is helping the public gain access to the artifact collection and the information on the squeezes, is something that is wanted.  The audience was enthusiastic about the information that can be gleaned from the squeezes and were even more thrilled at the chance to study the samples that Heather and Haley had brought with them to the talk.

Since our presentation to the Vancouver branch of the AIA, we have learned that our poster submission to the 2015 Annual Meeting has been accepted.  We are very excited to continue our AIA experience in New Orleans!

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Filed under Digital Classics, Epigraphy, Greek Inscriptions, Project Planning, Squeeze Collection