The Fractured Collection features eight of the cracked, broken and missing artefacts of the Petrie Museum of Egyptian Archaeology. This online collection invites the public to actively participate and engage through the mode of crowd sourcing to re-piece these objects digitally back together. Our main objective is to create a learning environment, encouraged through this dynamic framework; building knowledge through the process of investigation, research, creativity and construction.

 

For every object currently on the site we have provided: multi-angled high definition photographs, dimensions, time periods, locations and basic descriptions where available.* Keywords, a search bar and gallery are all tools available to locate your desired object.

 

The various stages from the sketch to the complete 3D rendition will be linked to the main object page with the appropriate credit(s) to authorship. All digital objects will be free and available for the public to view and download as a 3D file (.FBX/.PLY/.STL). To get to a fully encompassing 3D object there is a mode of object progression. With the stages consisting of an initial pencil drawing, correcting the damage and missing elements. Next is the fine detail including colour, written text and decoration. The last stage is the replication into a 3D virtual object where the user duplicates the previous stages into a 3D form using the photos as overlays. Members can upload their work via the button on the specific object page, or on the resources page which is then redirected to the flickr account. Here the users can upload the images to the relevant albums.

 

The collection aims to bring a community of like-minded individuals together, solely through their skills and enthusiasm through virtually “handling” these museum objects. This online collection aims not to exclude users by age, experience, finance or geographical location but alludes to the restrictions that can be contained in potentially traditional establishments. The project aims not to be monolithic, and supports the input from a wide variety of people from all over the globe to in turn create a more rounded and inclusive set of objects. Thus, we could ask the question,

 

Are we setting free the cultural constraints and making these objects more of a global object? 

 

This is a contact zone of not only production, but of ideas. Reiterating the essential need to constantly reflect and examine oneself within this online community in a hermeneutic way. We seek to provide the basis on to which our users can learn not only about this collection, but about themselves and others. Continuous self-reflexivity and rhetorical questioning is the foundational underpinning element of this project and we hope that this loose platform stems further thinking and interpellation. Janet Marstine suggests in the book ‘New Museum Theory and Practice’ that, ‘to achieve cultural literacy, it is crucial to understand that museums don’t just represent cultural identity, they produce it through framing.’ (2006:4) It should be explicit that ‘The Fractured Collection’ provides this “framework” but it is down to the public with what they want, and what they do with the resources. This collection is centred around education, primarily acting on the senses through which we see, feel and do. Many physical collections still often restrict their audience by dissuading them to fully explore their artefacts due to the strict protocols which surround them. We hope that this digital platform will allow our users to demonstrate a greater understanding about these object through their work with them. 

 

The personal links formed between individuals and objects is inherently obvious, residing with personal distinction and flair. Allowing the public to claim partial ownership with the digital surrogates as something internal and also as a benefit to the wider community. We hope that this shared responsibility will encourage this community to monitor and prove themselves in a professional manner, to incorporate an overall authenticity. In addition to this, these digital objects will bring to light artefacts which have previously been difficult to display in the museum physically, due to the condition, preservation techniques or damage. Effectively turning this into an avenue which we as a crowd source community can exploit. Why should these objects be kept in storage when they can be displayed as an object of e-social recreation. 

 

Collectively, this may not be “correctly” or “accurately” reinstated but who are we to reject that? The levels of authenticity are not fixed but are open to debate. This online public space is one which hopes to concoct thoughts and observations, for us to judge maybe,

 

Is this how our diverse modern world sees these ancient artefacts represented today?

 

 

 

 

 

 

*Note. We do not provide every piece of detail. But we do provide the fundamental data that you will require. External research and information gathering is recommended.