Concepts Have Teeth, And Teeth That Bite Through Time: digital imaging and Blackfoot material culture in UK museums.
Lead Research Organisation:
University of the Arts London
Department Name: Central Saint Martin's College
Abstract
Historical perceptibility is used, and is still used, to claim, to define capacities for self-rule, to apportion social and political possibilities, to, in effect, empower and disempower Indigenous peoples in the present. Such categorical forms of recognition and mis-recognition are indebted to deep philosophical histories of seeing and knowing [...]
And so it is that concepts have teeth and teeth that bite through time.
(Audra Simpson, 'Ethnographic Refusal', Junctures, 2007, p.69).
The Concepts Have Teeth network brings together artists, archaeologists, anthropologists, digital technologists, historians, museum professionals, Indigenous studies scholars and Knowledge Holders of the Blackfoot Confederacy of Canada/USA to reconsider artefacts held in UK museums. Led by an art school (Central Saint Martins, University of the Arts London), the network will investigate the potential of critical approaches and innovative practices of fine artists, in conversation with a transdisciplinary range of technical and theoretical practices and perspectives, to inform the future of digital imaging applied to cultural heritage collections, and to support cultural engagement and revitalisation.
The network builds on Blackfoot research projects in Canada and the UK (New Frontiers research project at University of Lethbridge, Canada, and Blackfoot Collections in UK Museums Network), but constitutes an expanded network, bringing new skill-sets together to break new ground by reconsidering recently developed digital technologies - including structure-from-motion photogrammetry (SFM), Reflectance Transformation Imaging (RTI) and virtual and augmented reality - from diverse disciplinary perspectives. Advances in imaging technology facilitate a novel investigation into issues around access, tangibility, materiality and self-representation, and the project will explore the potential for a new conjunction of art practices with digital technology developed in archaeology to open access to collections and develop new contexts and associations by re-reading or counter-mapping existing material.
Through the agency of Blackfoot Knowledge Holders, the network will access objects held in collection stores in museums across the UK, including the British Museum, the Wellcome Collection; University Museums, University of Aberdeen; and National Museums Scotland, where the collection has never before been visited by Blackfoot Knowledge Holders. Examination of examples within these collections will offer the network opportunities to explore how digital imaging of museum artefacts might offer the potential for approaching material culture in ways which can respond carefully to Blackfoot concerns relating to the endangered cultural knowledge immanent in their stranded objects, to investigate the possibilities for self-representation afforded by digital methods to mark lived experience, lived and re-lived memories and futurities, and to reveal endangered knowledges (of crafting techniques, for example). Network participants will experiment with alternate methods for creating 3D digital models harnessed to the Blackfoot worldview, modelling approaches for engaging with the Blackfoot objects in ways which embed their cultural context, layered histories and stories, sounds and metadata.
Existing knowledge structures, be they local to the Blackfoot, the skills of network members or established historical narratives, will be starting points for collective sharing and developing new knowledge over a series of four network events in the UK and Canada, culminating in an event-based public exhibition in London convened under First Nations protocols as a Circle: a model for interaction, co-creation and dialogue. Crossing boundaries between archaeological analytical approaches and artistic practices associated with digital image production, the network will embody unique perspectives on the capabilities of digital imaging for Indigenous artefact collections
And so it is that concepts have teeth and teeth that bite through time.
(Audra Simpson, 'Ethnographic Refusal', Junctures, 2007, p.69).
The Concepts Have Teeth network brings together artists, archaeologists, anthropologists, digital technologists, historians, museum professionals, Indigenous studies scholars and Knowledge Holders of the Blackfoot Confederacy of Canada/USA to reconsider artefacts held in UK museums. Led by an art school (Central Saint Martins, University of the Arts London), the network will investigate the potential of critical approaches and innovative practices of fine artists, in conversation with a transdisciplinary range of technical and theoretical practices and perspectives, to inform the future of digital imaging applied to cultural heritage collections, and to support cultural engagement and revitalisation.
The network builds on Blackfoot research projects in Canada and the UK (New Frontiers research project at University of Lethbridge, Canada, and Blackfoot Collections in UK Museums Network), but constitutes an expanded network, bringing new skill-sets together to break new ground by reconsidering recently developed digital technologies - including structure-from-motion photogrammetry (SFM), Reflectance Transformation Imaging (RTI) and virtual and augmented reality - from diverse disciplinary perspectives. Advances in imaging technology facilitate a novel investigation into issues around access, tangibility, materiality and self-representation, and the project will explore the potential for a new conjunction of art practices with digital technology developed in archaeology to open access to collections and develop new contexts and associations by re-reading or counter-mapping existing material.
Through the agency of Blackfoot Knowledge Holders, the network will access objects held in collection stores in museums across the UK, including the British Museum, the Wellcome Collection; University Museums, University of Aberdeen; and National Museums Scotland, where the collection has never before been visited by Blackfoot Knowledge Holders. Examination of examples within these collections will offer the network opportunities to explore how digital imaging of museum artefacts might offer the potential for approaching material culture in ways which can respond carefully to Blackfoot concerns relating to the endangered cultural knowledge immanent in their stranded objects, to investigate the possibilities for self-representation afforded by digital methods to mark lived experience, lived and re-lived memories and futurities, and to reveal endangered knowledges (of crafting techniques, for example). Network participants will experiment with alternate methods for creating 3D digital models harnessed to the Blackfoot worldview, modelling approaches for engaging with the Blackfoot objects in ways which embed their cultural context, layered histories and stories, sounds and metadata.
Existing knowledge structures, be they local to the Blackfoot, the skills of network members or established historical narratives, will be starting points for collective sharing and developing new knowledge over a series of four network events in the UK and Canada, culminating in an event-based public exhibition in London convened under First Nations protocols as a Circle: a model for interaction, co-creation and dialogue. Crossing boundaries between archaeological analytical approaches and artistic practices associated with digital image production, the network will embody unique perspectives on the capabilities of digital imaging for Indigenous artefact collections
Planned Impact
Initial consultation with Blackfoot Knowledge Holders indicates that this project would be a significant new development for learning about Blackfoot culture for Blackfoot artists, ceremonialists and historians as well as for participating UK institutions, academics, digital technologists, and the general public and project partner University of Lethbridge (UoL).
The network's participants and participating institutions will play a significant role in disseminating the project ideas, discussions and activities to a wide range of audiences in the UK and Canada, and significantly impacted communities will include:
- The Blackfoot community, in revitalising endangered material knowledge, in active self-representation.
- Cultural and political institutions, such as the British Museum (London), National Museums Scotland and University Museums, University of Aberdeen, will benefit from the discussion of digital technologies in relation to their collections.
- The network's academic enquiry into Blackfoot material culture in UK museums will give practice-based researchers, such as visual artists and digital imaging specialists, the opportunity to engage with the material culture of the archive.
- The network's final Circle event at the Lethaby Gallery in London (University of the Arts London) and Wellcome Collection will open up new transdisciplinary audiences.
- A broad public interested in the confluence between digital imaging technologies and Blackfoot material culture in UK museums.
How they might benefit:
- Through educational initiatives at University of Lethbridge enabled by the project's digital practices towards unlocking of traditional knowledge. Located on traditional Blackfoot territory in Alberta, Canada, UoL established a department of Native American Studies in 1975 and since that time has undertaken programs and initiatives to support Blackfoot and First Nations Metis and Inuit (FNMI) peoples, which project findings will feed into.
- Through transdisciplinary dialogue enabled by the network and made accessible via the network web presence and public-facing exhibition.
- The network will reach out to diverse audiences and academic communities enabling intellectual and cultural exchange through its events taking place in London, Southampton, Edinburgh and Aberdeen.
- Examples of Blackfoot material culture in UK museums will be made more visible and accessible via the display (physical and online) of key materials documented and chosen during the lifespan (and digital afterlife) of the network.
- Through the collaboration and exchange of knowledge between network participants, the project will be well placed to suggest new potentials and possibilities for artistic digital practice and digital techniques of interest to digital imaging specialists and curators.
- Through the network's peer-reviewed publications, including an edited volume and two academic papers.
- By engaging with critical discourses on colonialism, post-colonialism and the role of digital imaging technologies in contemporary society that mediate academic expertise in mainstream media.
- Via the Circle event, which has the potential to inform a wide general public, raising awareness of Blackfoot heritage and digital innovation. This involves developing and showcasing creative methods for making museum collections accessible and interactive, including experimental augmented reality applications and virtual reality as a toolkit for production and reception.
The network's participants and participating institutions will play a significant role in disseminating the project ideas, discussions and activities to a wide range of audiences in the UK and Canada, and significantly impacted communities will include:
- The Blackfoot community, in revitalising endangered material knowledge, in active self-representation.
- Cultural and political institutions, such as the British Museum (London), National Museums Scotland and University Museums, University of Aberdeen, will benefit from the discussion of digital technologies in relation to their collections.
- The network's academic enquiry into Blackfoot material culture in UK museums will give practice-based researchers, such as visual artists and digital imaging specialists, the opportunity to engage with the material culture of the archive.
- The network's final Circle event at the Lethaby Gallery in London (University of the Arts London) and Wellcome Collection will open up new transdisciplinary audiences.
- A broad public interested in the confluence between digital imaging technologies and Blackfoot material culture in UK museums.
How they might benefit:
- Through educational initiatives at University of Lethbridge enabled by the project's digital practices towards unlocking of traditional knowledge. Located on traditional Blackfoot territory in Alberta, Canada, UoL established a department of Native American Studies in 1975 and since that time has undertaken programs and initiatives to support Blackfoot and First Nations Metis and Inuit (FNMI) peoples, which project findings will feed into.
- Through transdisciplinary dialogue enabled by the network and made accessible via the network web presence and public-facing exhibition.
- The network will reach out to diverse audiences and academic communities enabling intellectual and cultural exchange through its events taking place in London, Southampton, Edinburgh and Aberdeen.
- Examples of Blackfoot material culture in UK museums will be made more visible and accessible via the display (physical and online) of key materials documented and chosen during the lifespan (and digital afterlife) of the network.
- Through the collaboration and exchange of knowledge between network participants, the project will be well placed to suggest new potentials and possibilities for artistic digital practice and digital techniques of interest to digital imaging specialists and curators.
- Through the network's peer-reviewed publications, including an edited volume and two academic papers.
- By engaging with critical discourses on colonialism, post-colonialism and the role of digital imaging technologies in contemporary society that mediate academic expertise in mainstream media.
- Via the Circle event, which has the potential to inform a wide general public, raising awareness of Blackfoot heritage and digital innovation. This involves developing and showcasing creative methods for making museum collections accessible and interactive, including experimental augmented reality applications and virtual reality as a toolkit for production and reception.
Title | 3D model of A.1963.473 (Cradle board) at National Museums Scotland |
Description | A.1963.473 Cradle of wood and buckskin decorated with beads, brass tacks, serge cloth and thong fringes. Photogrammetric image dataset taken on project visit to National Museums Collection Centre, Edinburgh, September 2021. Available at https://doi.org/10.25441/arts.19145099 . Photogrammetric image dataset processed and meshed in Agisoft Metashape. Models refined, unwrapped and decimated in Zbrush and Blender. Textures projected in Agisoft MetaShape from image dataset. Textures retouched in Blender and Affinity Photo. Model provided in high and low polygon counts in both obj and usd formats. A web optimized version of the model is provided as a glb. |
Type Of Art | Film/Video/Animation |
Year Produced | 2022 |
URL | https://figshare.arts.ac.uk/articles/media/3D_model_of_A_1963_473_Cradle_board_at_National_Museums_S... |
Title | 3D model of A.UC.316 (Shirt) at National Museums Scotland |
Description | A.UC.316 NMS Catalogue Description: Tunic of deer leather ornamented with quillwork and tags of black hair and leather: North America, Plains, possibly Assiniboin or Yanktonai Photogrammetric dataset of 207 jpeg images. Taken on project visit to National Museums Collection Centre, Edinburgh, September 2021. Available at https://doi.org/10.25441/arts.19288100.v1 . Photogrammetric image dataset processed and meshed in Agisoft Metashape. Models refined, unwrapped and decimated in Zbrush and Blender. Textures projected in Agisoft MetaShape from image dataset. Textures retouched in Blender and Affinity Photo. Model provided in high and low polygon counts in both obj and usd formats. A web optimized version of the model is provided as a glb. |
Type Of Art | Film/Video/Animation |
Year Produced | 2022 |
URL | https://figshare.arts.ac.uk/articles/media/3D_model_of_A_UC_316_Shirt_at_National_Museums_Scotland/1... |
Title | 3D model of ABDUA:5605 (Moccasin) at Aberdeen University Museums and Special Collections |
Description | ABDUA:5605 Catalogue Description: Multi-coloured floral beadwork design with traces of yellow paint background to the floral design. Made in 4 parts: sole, upper (inc. vamp and quarter), cuff, tongue. Underneath cuff: red 'stroud' edged with a faded light blue ribbon and dark green silk trim with cut metallic beads sewn on with cotton thread. Little tag at the heel. Separate sole, not worn. Probably created for teenage boys. Photogrammetric dataset of 79 jpeg images, taken on project visit to Aberdeen University Museums and Special Collections, Marischal College, Aberdeen, September 2021. Available at https://doi.org/10.25441/arts.19288268.v1 . Photogrammetric image dataset processed and meshed in Agisoft Metashape. Models refined, unwrapped and decimated in Zbrush and Blender. Textures projected in Agisoft MetaShape from image dataset. Textures retouched in Blender and Affinity Photo. Model provided in high and low polygon counts in both obj and usd formats. A web optimized version of the model is provided as a glb. |
Type Of Art | Film/Video/Animation |
Year Produced | 2022 |
URL | https://figshare.arts.ac.uk/articles/media/3D_model_of_ABDUA_5605_Moccasin_at_Aberdeen_University_Mu... |
Title | Mootookakio'ssin [Distant Awareness] Website |
Description | Mootookakio'ssin aims to virtually reconnect Blackfoot items in museums with Blackfoot people and assist in the process of knowledge renewal and transmission that occurs within the tribes. The site is a part of the Blackfoot Digital Library, an online resource for all those now living in kitawahsinnoon. Here we have created a space that harnesses new technologies for creating and interacting with 3D and RTI images of Blackfoot items. The name, Mootookakio'ssin, was given to the project by Dr. Leroy Little Bear. In English it means distant awareness. |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2021 |
Impact | This project has proved fruitful, not least through increased and renewed access to the making traditions that are an important part of Blackfoot culture. The website forefronts the significance of material cultural heritage as a carrier of stories and connections between generations and clarifies the operation of digital models in facilitating these connections. "It is hard to express in English how important it is for Blackfoot people to connect with our historical items. To the Western perspective, these are just objects, but for the Blackfoot, they are living beings and the museum visits are like being reunited with children who were taken away. Seeing and touching the items allows Blackfoot people to reconnect with the material and their ancestors. The moment of first encountering the objects is an epiphany in self-identity - these objects help to understand who I am because they are part of who I am. Blackfoot artists want to learn how to make our art and they need to see the traditional designs, materials, and techniques. Even without being able to touch the items, the Blackfoot people can connect with them." Danielle Heavy Head, Blackfoot Digital Library |
URL | https://mootookakiossin.ca/ |
Title | National Museums Scotland A.1902.280_Lasso_RTI |
Description | NMS Catalogue Description: Length of 4-strand lasso of plaited leather: North America, Plains, Blackfoot Reflectance Transformation Imaging dataset of lasso taken on project visit to National Museums Collection Centre, Edinburgh September 2021. 148 jpeg files and the finished ptm file. RTI is a computational photographic method that captures a subject's surface shape and colour and enables the interactive re-lighting of the subject from any direction. RTI also permits the mathematical enhancement of the subject's surface shape and colour attributes. The enhancement functions of RTI reveal surface information that is not disclosed under direct empirical examination of the physical object.RTI Viewer and Builder are freely downloadable from the Cultural Heritage Imaging website. |
Type Of Art | Film/Video/Animation |
Year Produced | 2022 |
URL | https://figshare.arts.ac.uk/articles/media/National_Museums_Scotland_A_1902_280_Lasso_RTI/19168379 |
Title | National Museums Scotland A.1902.280_Lasso_RTI |
Description | NMS Catalogue Description: Length of 4-strand lasso of plaited leather: North America, Plains, Blackfoot Reflectance Transformation Imaging dataset of lasso taken on project visit to National Museums Collection Centre, Edinburgh September 2021. 148 jpeg files and the finished ptm file. RTI is a computational photographic method that captures a subject's surface shape and colour and enables the interactive re-lighting of the subject from any direction. RTI also permits the mathematical enhancement of the subject's surface shape and colour attributes. The enhancement functions of RTI reveal surface information that is not disclosed under direct empirical examination of the physical object.RTI Viewer and Builder are freely downloadable from the Cultural Heritage Imaging website. |
Type Of Art | Film/Video/Animation |
Year Produced | 2022 |
URL | https://figshare.arts.ac.uk/articles/media/National_Museums_Scotland_A_1902_280_Lasso_RTI/19168379/1 |
Title | Stories for British Museums |
Description | Exhibition launched Dec 2020 on Ulag.ca. Faculty of Fine Arts' Jackson 2Bears' Indigenous Studio Class. The works were created in response to seeing scanned Blackfoot objects held at British museums. Participating Artists: Ines Catalini, Xiaosi Chen, Kale Fox-Zacharias, Kim Frondall, Bailey Lamarche, Raven Limpy, John Little Bear, Jake McIntyre-Dilley, Loraine Menicoche-Moses, Owen Schieber-Healy, Shelby Soop, Danielle Tailfeathers, Serene Weasel Traveller, and Yundi Wang. |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2020 |
Impact | The first in a series of virtual exhibitions developed over the pandemic period through online collaboration and shared crits with UK and Canadian staff and students from inter-disciplinary backgrounds. The working process, sharing skills online and developing the work for exhibition laid the ground for further collaborations as well as giving an engaged international audience for young Blackfoot artists and the opportunity for UK students to learn from Blackfoot ways of knowing. |
URL | https://artgallery.uleth.ca/?page_id=19006 |
Title | Virtual Stories That Objects Tell |
Description | An online exhibition of artwork by uLethbridge students in Indigenous Art Studio (Fall 2020) made in response to Concepts HAve Teeth annd sister project Mootookakio'ssin - a project to create detailed digital images of historical Blackfoot objects housed in British museums. Student Artists: Mackenzie Bronk, Cory Stangeland, Trinity June Vandebeld, Sioux K. Crop Eared Wolf, Emily McNeill, Keelie LittleLight, Sarah Eagle Bear, Kenzie Campbell, Danielle Tailfeathers, Tristan Bernardo, Tanya Sikitso Aki Loftus, Danielle Tailfeathers. |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2020 |
Impact | The precautions in response to the COVID-19 pandemic forced us to use only virtual means of communication and to conceive of this exhibition from start to finish in digital formats. Together, students, gallery staff, and the research team explored possibilities and experimented with imagery and ideas. This series of exhibitions have brought responses to the project to an international audience as well as visibility to home community, contributing to the expansion of University of Lethbridge's Indigenous Art Program. |
URL | http://ulag.ca/virtualstories/ |
Description | Through this project Blackfoot Knowledge Holders and community on their territory in SW Alberta Canada and Montana USA have been able to view items of their heritage in UK Museum collection storage. Facilitating this virtual access to the items through online meetings, high resolution feeds and scanning helps in the revitalisation of traditional knowledge, story and skills as well as offering skill-sharing around digital imaging and 3D/CGI skills. Museum professionals and Blackfoot community have connected, building working relationships and adding to catalogue and museum metadata as well as learning about processes, materials and traditional ways to care for items in their collections. Artists in Canada and the UK have shared discussion, learned new paradigms and histories and responded creatively to this exchange. Their work is hosted online, giving a platform for emerging artists whose work is embedded in a web of relations between de/colonial histories, ways of knowing, technology, and media. |
Exploitation Route | Datasets may be recompiled as software develops. Outreach activities in colleges and reserve schools, to facilitate access to digital objects and the knowledge associated. Skill sharing and training in digital imaging techniques. Development of Indigenous research methodology course. Virtual viewing practices shared with museum professionals will facilitate home communities in connecting with their heritage items in collections. Extension of the network to more European museums will help locate, identify and connect items with their home peoples. |
Sectors | Creative Economy,Digital/Communication/Information Technologies (including Software),Culture, Heritage, Museums and Collections,Other |
URL | https://conceptshaveteeth.com/ |
Description | Sharing and caring for knowledge and skills are a critical part of our research process. Community gatherings have created a point of access to the digital representations of Blackfoot items in European collections, while also creating space to share skills in Blackfoot beading and imaging technologies. Activities include: Photogrammetry: how digital 3D models of objects are made, processed in software, and converted into finished videos and models for study. RTI: revealing surface markings of objects that can't be seen with the naked eye. 3D printing: turning digital scans of objects into 3D prints Beading: taught by Blackfoot artists. During the COVID 19 pandemic, we have shifted to offering online beading lessons and kits. When in-person gatherings allow, we plan to resume in-person activities with community groups and organizations. UoL Indigenous Art Studio and collaborators in the UK from Trinity Art Group, Winchester School of Art and Central Saint Martins are making artwork responding to the project and digital items. Online galleries have been created to showcase the work and a creative website is in process of being developed. In January 2020 we began developing a microsite for the Blackfoot Digital Library (BDL) with the goal of providing access to the Blackfoot items imaged during visits to museums (the most recent have been remote visits) and reuniting them with their associated knowledge and histories. This went online in November 2021, with press reports across Canada, stimulating debate around the benefits of digitisation and remote access for community and educators. |
First Year Of Impact | 2021 |
Sector | Communities and Social Services/Policy,Creative Economy,Digital/Communication/Information Technologies (including Software),Education,Healthcare,Culture, Heritage, Museums and Collections |
Impact Types | Cultural,Societal |
Description | Imagining Futures through Un/Archived Pasts |
Amount | £1,889,743 (GBP) |
Funding ID | AH/T008199/1 |
Organisation | Arts & Humanities Research Council (AHRC) |
Sector | Public |
Country | United Kingdom |
Start | 03/2020 |
End | 03/2024 |
Description | Mootookakio'ssin: building relationships through outreach |
Amount | $50,000 (CAD) |
Organisation | Government of Canada |
Department | SSHRC - Social Sciences and Humanities Research Council |
Sector | Public |
Country | Canada |
Start | 11/2022 |
End | 11/2023 |
Title | Hastings Museum and Art Gallery HASMG:2004.47.80 (woman's dress - trade cloth) RTI dataset and finished files |
Description | HASMG:2004.47.80 Hastings Catalogue Description: Woman's dress, Blackfoot , c1900, length: 1.26m, made of trade cloth, decorated with basket beads and aluminum thimbles, note the interesting features of the basket beads, hand coloured on the inside. RTI dataset and finished files, taken on project visit to Hastings Museum and Art Gallery April 2022 |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
URL | https://figshare.arts.ac.uk/articles/dataset/Hastings_Museum_and_Art_Gallery_HASMG_2004_47_80_woman_... |
Title | Hastings Museum and Art Gallery, HASMG:1983.78.1 Necklace of Eagle Claws, RTI dataset and finished files |
Description | HASMG:1983.78.1 Hastings Catalogue Description: Necklace of decorated eagle claws and shells in red and yellow paint with cowrie shells. Blackmore Notes: Rough Hair's necklace of eagle claws and cowrie shells. When Mrs Sheridan admired this necklace, he kindly gave it to her. RTI dataset and finished files, taken on project visit to Hastings Museum and Art Gallery April 2022 |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
URL | https://figshare.arts.ac.uk/articles/dataset/Hastings_Museum_and_Art_Gallery_HASMG_1983_78_1_Necklac... |
Title | Marischal Museum, University of Aberdeen ABDUA: 5505 (knee or arm bands) detail under Reflectance Transformation Imaging |
Description | ABDUA: 5505(knee or arm bands) Marischal Museum Catalogue Description: Pair of man's knee or arm bands, re-worked into a boy's belt. Made of hide, cut into rows. Each row wrapped with quills dyed in commercial dye. Block design on a red background. All the rows have been sewn back together again with cotton thread. Bottom edge of each fringe/ row decorated tin jingle/cone with dyed purple feathers. Red ribbon ties. Purple, yellow, green and natural white design on red background. Worn at formal events e.g. Pow-wows. Circa 1880 Reflectance Transformation Imaging dataset of a detail of quillwork taken on project visit to Marischal Museum Collection Centre, Aberdeen September 2021. Comprising 143 jpeg files and finished .ptm file. RTI is a computational photographic method that captures a subject's surface shape and colour and enables the interactive re-lighting of the subject from any direction. RTI also permits the mathematical enhancement of the subject's surface shape and colour attributes. The enhancement functions of RTI reveal surface information that is not disclosed under direct empirical examination of the physical object. RTI Viewer and Builder are freely downloadable from Cultural Heritage Imaging. |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
URL | https://figshare.arts.ac.uk/articles/dataset/Marischal_Museum_University_of_Aberdeen_ABDUA_5505_knee... |
Title | National Museums Scotland A.1902.280_Lasso_RTI |
Description | NMS Catalogue Description: Length of 4-strand lasso of plaited leather: North America, Plains, Blackfoot Reflectance Transformation Imaging dataset of lasso taken on project visit to National Museums Collection Centre, Edinburgh September 2021. 148 jpeg files and the finished ptm file. RTI is a computational photographic method that captures a subject's surface shape and colour and enables the interactive re-lighting of the subject from any direction. RTI also permits the mathematical enhancement of the subject's surface shape and colour attributes. The enhancement functions of RTI reveal surface information that is not disclosed under direct empirical examination of the physical object.RTI Viewer and Builder are freely downloadable from the Cultural Heritage Imaging website. |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
Impact | forthcoming |
URL | https://figshare.arts.ac.uk/articles/media/National_Museums_Scotland_A_1902_280_Lasso_RTI/19168379/1 |
Title | National Museums Scotland A.1902.281 crupper RTI Untitled Item |
Description | A.1902.281 NMS Catalogue Description: Horse's crupper, of cloth and yellow-stained leather, with leather and tin cone tags and beadwork ornamentation: North America, USA, Montana, or Canada, Alberta, Blackfoot Confederacy, mid - late 19th century Reflectance Transformation Imaging dataset of underside of crupper taken on project visit to National Museums Collection Centre, Edinburgh September 2021. Comprising 150 jpeg files and finished .ptm file. RTI is a computational photographic method that captures a subject's surface shape and colour and enables the interactive re-lighting of the subject from any direction. RTI also permits the mathematical enhancement of the subject's surface shape and colour attributes. The enhancement functions of RTI reveal surface information that is not disclosed under direct empirical examination of the physical object. |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
URL | https://figshare.arts.ac.uk/articles/dataset/National_Museums_Scotland_A_1902_281_crupper_RTI_Untitl... |
Title | National Museums Scotland A.UC.315 (Shirt) Quillwork detail captured under Reflectance Transformation Imaging |
Description | A.UC.315 NMS Catalogue Description: Tunic of reindeer leather ornamented on chest, back and sleeves with discs of dyed goose quill work, and on each shoulder with a band of dyed porcupine quill work: North America, Plains, Crow or Blackfoot or Cree Reflectance Transformation Imaging dataset of quillwork taken on project visit to National Museums Collection Centre, Edinburgh September 2021. Comprising 97 jpeg files, assembly files and finished .ptm file. RTI is a computational photographic method that captures a subject's surface shape and color and enables the interactive re-lighting of the subject from any direction. RTI also permits the mathematical enhancement of the subject's surface shape and color attributes. The enhancement functions of RTI reveal surface information that is not disclosed under direct empirical examination of the physical object. RTI Viewer and Builder are freely downloadable from Cultural Heritage Imaging. |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
URL | https://figshare.arts.ac.uk/articles/dataset/National_Museums_Scotland_A_UC_315_Shirt_Quillwork_deta... |
Title | National Museums Scotland A.UC.316 (Shirt) Quillwork detail under Reflectance Transformation Imaging |
Description | A.UC.316 NMS Catalogue Description: Tunic of deer leather ornamented with quillwork and tags of black hair and leather: North America, Plains, possibly Assiniboin or Yanktonai Reflectance Transformation Imaging dataset of quillwork detail taken on project visit to National Museums Collection Centre, Edinburgh September 2021. Comprising 142 jpeg files, assembly files and finished .ptm file. RTI is a computational photographic method that captures a subject's surface shape and color and enables the interactive re-lighting of the subject from any direction. RTI also permits the mathematical enhancement of the subject's surface shape and color attributes. The enhancement functions of RTI reveal surface information that is not disclosed under direct empirical examination of the physical object. RTI Viewer and Builder are freely downloadable from Cultural Heritage Imaging. |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
URL | https://figshare.arts.ac.uk/articles/dataset/National_Museums_Scotland_A_UC_316_Shirt_Quillwork_deta... |
Title | National Museums Scotland A1904.160 Shirt [quillwork detail under Reflectance Transformation Imaging] |
Description | NMS Catalogue Description: Tunic: North America, Canada, Plains, Blackfoot Reflectance Transformation Imaging dataset of quillwork detail taken on project visit to National Museums Collection Centre, Edinburgh September 2021. Comprising 88 jpeg files and finished .ptm file. RTI is a computational photographic method that captures a subject's surface shape and colour and enables the interactive re-lighting of the subject from any direction. RTI also permits the mathematical enhancement of the subject's surface shape and colour attributes. The enhancement functions of RTI reveal surface information that is not disclosed under direct empirical examination of the physical object. RTI Viewer and Builder are freely downloadable from Cultural Heritage Imaging Website. |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
URL | https://figshare.arts.ac.uk/articles/dataset/National_Museums_Scotland_A1904_160_Shirt_quillwork_det... |
Title | National Museums Scotland A1904.160_Shirt (full capture under Reflectance Transformation Imaging) |
Description | A1904.160 NMS Catalogue Description: Tunic: North America, Canada, Plains, Blackfoot Reflectance Transformation Imaging dataset of full shirt taken on project visit to National Museums Collection Centre, Edinburgh September 2021. Comprising 143 jpeg files, assembly files and finished .ptm file. RTI is a computational photographic method that captures a subject's surface shape and color and enables the interactive re-lighting of the subject from any direction. RTI also permits the mathematical enhancement of the subject's surface shape and colour attributes. The enhancement functions of RTI reveal surface information that is not disclosed under direct empirical examination of the physical object. RTI Viewer and Builder are freely downloadable from Cultural Heritage Imaging. |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
URL | https://figshare.arts.ac.uk/articles/dataset/National_Museums_Scotland_A1904_160_Shirt_full_capture_... |
Title | Photogrammetric dataset of A.1902.280 (Lasso) at National Museums Scotland |
Description | A.1902.280 NMS Catalogue Description: Length of 4-strand lasso of plaited leather: North America, Plains, BlackfootPhotogrammetric dataset of 300 jpeg images, taken on project visit to National Museums Collection Centre, Edinburgh, September 2021 |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
URL | https://figshare.arts.ac.uk/articles/dataset/Photogrammetric_dataset_of_A_1902_280_Lasso_at_National... |
Title | Photogrammetric dataset of A.1963.473 (Cradle board) at National Museums Scotland |
Description | A.1963.473 Cradle of wood and buckskin decorated with beads, brass tacks, serge cloth and thong fringes. Photogrammetric dataset of 209 jpeg images. Consisting of 105 images of the side with the opening and 104 images of the other with the thong fringes.Taken on project visit to National Museums Collection Centre, Edinburgh, September 2021. |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
Impact | Enabling community engagement for Blackfoot people with cultural heritage items in UK colllections. |
URL | https://figshare.arts.ac.uk/articles/dataset/Photogrammetric_dataset_of_A_1963_473_Cradle_board_at_N... |
Title | Photogrammetric dataset of A.UC.315 (Shirt) at National Museums Scotland |
Description | A.UC.315NMS Catalogue Description: Tunic of reindeer leather ornamented on chest, back and sleeves with discs of dyed goose quill work, and on each shoulder with a band of dyed porcupine quill work: North America, Plains, Crow or Blackfoot or Cree Photogrammetric dataset of 153 jpeg images. Taken on project visit to National Museums Collection Centre, Edinburgh, September 2021. |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
Impact | forthcoming |
URL | https://figshare.arts.ac.uk/articles/dataset/Photogrammetric_dataset_of_A_UC_315_Shirt_at_National_M... |
Title | Photogrammetric dataset of A.UC.316 (Shirt) at National Museums Scotland |
Description | A.UC.316 NMS Catalogue Description: Tunic of deer leather ornamented with quillwork and tags of black hair and leather: North America, Plains, possibly Assiniboin or Yanktonai Photogrammetric dataset of 207 jpeg images. Taken on project visit to National Museums Collection Centre, Edinburgh, September 2021. |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
Impact | forthcoming |
URL | https://figshare.arts.ac.uk/articles/dataset/Photogrammetric_dataset_of_A_UC_316_Shirt_at_National_M... |
Title | Photogrammetric dataset of A.UC.319.3 (Saddle) at National Museums Scotland |
Description | A.UC.319.3 NMS Catalogue Description: Saddle of deer leather and hide decorated with concentric circles in dyed goose quillwork: North America, Plains, Crow or Blackfoot people. Acquisition date 1854. Photogrammetric dataset of 93 jpeg images, taken on project visit to National Museums Collection Centre, Edinburgh, September 2021. |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
URL | https://figshare.arts.ac.uk/articles/dataset/Photogrammetric_dataset_of_A_UC_319_3_Saddle_at_Nationa... |
Title | Photogrammetric dataset of A1904.160 (Shirt) at National Museums Scotland |
Description | A1904.160NMS Catalogue Description: Tunic: North America, Canada, Plains, Blackfoot Photogrammetric dataset of 157 jpeg images, taken on project visit to National Museums Collection Centre, Edinburgh, September 2021. |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
Impact | forthcoming |
URL | https://figshare.arts.ac.uk/articles/dataset/Photogrammetric_dataset_of_A1904_160_Shirt_at_National_... |
Title | Photogrammetric dataset of ABDUA:5521 (Club) at Aberdeen University Museums and Special Collections |
Description | ABDUA:5521Catalogue Description: Club with wooden shaft wrapped in hide which has been attached with cotton thread. Handle: hide attachment with blue and red beads. Club end = tear-drop shaped stone secured with hide.Photogrammetric dataset of 182 jpeg images, taken on project visit to Aberdeen University Museums and Special Collections, Marischal College, Aberdeen, September 2021. |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
Impact | forthcoming |
URL | https://figshare.arts.ac.uk/articles/dataset/Photogrammetric_dataset_of_ABDUA_5521_Club_at_Aberdeen_... |
Title | Photogrammetric dataset of ABDUA:5605 (Moccasin) at Aberdeen University Museums and Special Collections |
Description | ABDUA:5605Catalogue Description: Multi-coloured floral beadwork design with traces of yellow paint background to the floral design. Made in 4 parts: sole, upper (inc. vamp and quarter), cuff, tongue. Underneath cuff: red 'stroud' edged with a faded light blue ribbon and dark green silk trim with cut metallic beads sewn on with cotton thread. Little tag at the heel. Separate sole, not worn. Probably created for teenage boys.Photogrammetric dataset of 79 jpeg images, taken on project visit to Aberdeen University Museums and Special Collections, Marischal College, Aberdeen, September 2021. |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
URL | https://figshare.arts.ac.uk/articles/dataset/Photogrammetric_dataset_of_ABDUA_5605_Moccasin_at_Aberd... |
Title | Photogrammetric dataset of ABDUA:5607 (Moccasin) at Aberdeen University Museums and Special Collections |
Description | ABDUA:5607Catalogue Description: Multi-coloured floral beadwork design, red cloth on underside of flaps, fine deer hide. Made from 3 pieces. Main part: fine hide. Cuffs sewn on separately from thicker hide. Below the top cuff is a secondary cuff comprising red "stroud" edged with blue trim that has been machine-sewed on. Shoe laces tied at back. The beads are 'greasy' colours. Pink, blue, brown, green. No sign of wear. Probably worn by a woman or teenage boy.Photogrammetric dataset of 166 jpeg images, taken on project visit to Aberdeen University Museums and Special Collections, Marischal College, Aberdeen, September 2021. |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
Impact | forthcoming |
URL | https://figshare.arts.ac.uk/articles/dataset/Photogrammetric_dataset_of_ABDUA_5607_Moccasin_at_Aberd... |
Title | Photogrammetric dataset of HASMG:1983.78.127 (necklace of eagle claws) at Hastings Museum and Art Gallery |
Description | HASMG:1983.78.127 Hastings Catalogue Description: Necklace of decorated eagle claws and shells in red and yellow paint with cowrie shells. Blackmore Notes: Rough Hair's necklace of eagle claws and cowrie shells. When Mrs Sheridan admired this necklace, he kindly gave it to her. Photogrammetric dataset of 175 jpeg images, taken on project visit to Hastings Museum and Art Gallery April 2022. |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
URL | https://figshare.arts.ac.uk/articles/dataset/Photogrammetric_dataset_of_HASMG_1983_78_127_necklace_o... |
Title | Photogrammetric dataset of HASMG:1983.78.4 and 5 (scalp locks) at Hastings Museum and Art Gallery |
Description | HASMG:1983.78.4 and 5 Hastings Catalogue Description: Blue beaded scalp, c1870 taken by Chief Crazy Crow in his youth. Blackmore Notes: Two scalps taken by the Blackfoot Chief Crazy Crow. He took these (one from a Kutenai and one from a Crow Indian) when at about 17 years of age, he was on the war path against these tribes. He was on his deathbed when he gave these to Mrs Sheridan. Photogrammetric dataset of 103 jpeg images, taken on project visit to Hastings Museum and Art Gallery April 2022 |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
URL | https://figshare.arts.ac.uk/articles/dataset/Photogrammetric_dataset_of_HASMG_1983_78_4_and_5_scalp_... |
Title | Photogrammetric dataset of HASMG:1983.78.7 (stone_ pounder) at Hastings Museum and Art Gallery |
Description | HASMG:1983.78.7 Hastings Catalogue Description: Stone headed mallet Blackmore Notes: This stone headed mallet was given to Mrs Sheridan by Ancient Pipe Woman, wife of Chief Shot on Both Sides, who was then the Lead Chief of the Blood (Blackfeet) Indians in Alberta. Used for making of dried meat to make pemmican. Photogrammetric dataset of 212 jpeg images, taken on project visit to Hastings Museum and Art Gallery April 2022 |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
URL | https://figshare.arts.ac.uk/articles/dataset/Photogrammetric_dataset_of_HASMG_1983_78_7_stone_pounde... |
Title | Photogrammetric dataset of HASMG:2004.47.80 (woman's dress - trade cloth) at Hastings Museum and Art Gallery |
Description | HASMG:2004.47.80 Hastings Catalogue Description: Woman's dress, Blackfoot , c1900, length: 1.26m, made of trade cloth, decorated with basket beads and aluminium thimbles, note the interesting features of the basket beads, hand coloured on the inside. Photogrammetric dataset of 104 jpeg images, taken on project visit to Hastings Museum and Art Gallery April 2022 |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
URL | https://figshare.arts.ac.uk/articles/dataset/Photogrammetric_dataset_of_HASMG_2004_47_80_woman_s_dre... |
Title | Photogrammetric dataset of HASMG:2012.55.13 (pemmican pounder with rawhide mortar) at Hastings Museum and Art Gallery |
Description | HASMG:2012.55.13 Hastings Catalogue Description: Pemmican pounder, Blackfoot (?), c1880, length: 23cm, beaded handle with quill decorated thongs at the end, with rawhide mortar. 2 x Photogrammetric datasets of 174 and 200 jpeg images, taken on project visit to Hastings Museum and Art Gallery April 2022 |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
URL | https://figshare.arts.ac.uk/articles/dataset/Photogrammetric_dataset_of_HASMG_2012_55_13_pemmican_po... |
Title | Photogrammetric dataset of HASMG:2012.55.25 (coup stick) at Hastings Museum and Art Gallery |
Description | HASMG:2012.55.25 Hastings Catalogue Description: Coup stick, Blackfoot or Assiniboin, c1880, length: 70cm Photogrammetric dataset of 195 jpeg images, taken on project visit to Hastings Museum and Art Gallery April 2022 |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | Yes |
URL | https://figshare.arts.ac.uk/articles/dataset/Photogrammetric_dataset_of_HASMG_2012_55_25_coup_stick_... |
Title | Reflectance Trannsformation Imaging dataset and finished ptm file. National Museums Scotland A.1902.280 (Lasso) |
Description | A.1902.280 NMS Catalogue Description: Length of 4-strand lasso of plaited leather: North America, Plains, Blackfoot Reflectance Transformation Imaging dataset of lasso taken on project visit to National Museums Collection Centre, Edinburgh September 2021. Comprising 148 jpeg files, assembly files and finished .ptm file. RTI is a computational photographic method that captures a subject's surface shape and colour and enables the interactive re-lighting of the subject from any direction. RTI also permits the mathematical enhancement of the subject's surface shape and colour attributes. The enhancement functions of RTI reveal surface information that is not disclosed under direct empirical examination of the physical object. |
Type Of Material | Database/Collection of data |
Year Produced | 2022 |
Provided To Others? | No |
Impact | forthcoming |
Description | NMAI Virtual Engagement Working Group, National Museum of the American Indian, New York, United States |
Organisation | Smithsonian Institution |
Department | National Museum of the American Indian |
Country | United States |
Sector | Charity/Non Profit |
PI Contribution | Our project connects Blackfoot people in North America with their cultural heritage held by museums in the UK through digital imaging techniques and spatial web technologies. Its goal is to improve the ability of Blackfoot people to interact with their cultural heritage and recover and shape their own narratives around them. As the Covid pandemic made in-person community visits impossible, a new research question emerged: how might we design a remote viewing experience to support the cultural revitalization for Indigenous communities when in-person access is not an option? We were invited to present our project work to collegaues from NMAI who are developing a virtual engagement program to connect Indigenous communities to collections. Our project team made three online presentations to the NMAI group over the autumn of 2021. These dealt with the ethics, workflow and technical infrastructures for 3D capture of museum collection items. The final presentation focussed on our remote viewings in Scotland in September 2021 and the development of best practices. |
Collaborator Contribution | The consultation process helped to isolate questions of best practice and give a broader context to our project work and its impact. We were able to learn from the museum professional community, share knowledge and skills and focus our own enquiry into the new relationships and dialogues that 3D digital technology and web-based interactions may open up. |
Impact | The consultation with NMAI's Virtual Engagement Working Group involved Indigenous and Non-Indigenous artists, museum professionals, anthropologists, and digital technicians. |
Start Year | 2021 |
Description | Remote Viewing at National Museums Scotland Collection Centre |
Organisation | National Museums Scotland |
Country | United Kingdom |
Sector | Public |
PI Contribution | Blackfoot objects held by National Museums Scotland have never been visited by Blackfoot people. Prior to Covid we had planned for Blackfoot colleagues to visit in person, but once it became clear that this visit wouldn't be happening, a new research question emerged: how might we design a remote viewing experience to support the cultural revitalization for Indigenous communities when in-person access is not an option? We circulated NMS record images and database records among our Blackfoot Advisory team and convened online meetings to select items for remote viewing. We organised a socially distanced gathering of Blackfoot Ceremonial Leaders in Lethbridge, Canada and set up large screens and technical infrastructure for the viewing. At NMCC in Edinburgh we set up cameras and a communications feed as well as a high resolution stream. We worked for two days in the collections centre, recording the items and ran two sessions streaming to community members in Canada. Team members are working on 3D models from the collected datasets and these along with the datasets will be hosted securley in Figshare data repository. |
Collaborator Contribution | In preparation for the remote viewing, curatorial staff at National Museums Scotland took record images of objects identified as Blackfoot or Plains and we circulated these and database records among Blackfoot Elders. Items were taken off display and stored items were prepared for viewing and moved into a building with stable internet connection. Over the two-day session we viewed 24 items handled by the NMS curatorial team. The CHT team, advised by Ceremonial Leaders over the remote feed, recorded 9 items with photogrammetry and RTI. Curatorial staff packed items for return to storage. Curatorial staff also worked on provenance histories and updated catalogue entries with advice from Blackfoot colleagues. |
Impact | Photogrammetric datasets for 9 items. High-Poly 3D models of 2 items, Low-Poly 3D models [optimised for web] of 2 items. Reflectance Transformation Imaging captures and built files for 5 items [including details. This collaboration includes artists, museum professionals, archaeologists, anthropologists, digital technicians. We are led and advised by Blackfoot Ceremonial Leaders. |
Start Year | 2020 |
Description | Awakaassiki: Deer Moon Gathering, Blackfoot Crossing Historical Park, Siksika Nation |
Form Of Engagement Activity | Participation in an activity, workshop or similar |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Other audiences |
Results and Impact | Traditional hide painting and digital skills workshops with Winston Wadsworth Jr. & Mootookakio'ssin |
Year(s) Of Engagement Activity | 2022 |
URL | https://info.mootookakiossin.ca/events/ |
Description | Discussion and exhibition as part of the Vestibule show, Lethaby Gallery, Central Saint Martins, London UK |
Form Of Engagement Activity | Participation in an activity, workshop or similar |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Public/other audiences |
Results and Impact | 5 day exhibition of ongoing work from the project and a set of convened public discussions over one day during the show. [400 vistors over 5 days] The first conversation explored the power dynamics of acquisition in museums and galleries. From researching existing collections to surface bias to working with acquisition selection panels, commissioning new work and working for restitution and reparation. Discussion brought together partcipants from across the university and externally to form the basis for ongoing work. |
Year(s) Of Engagement Activity | 2023 |
URL | https://artslondon.padlet.org/lminkin/vestibule-ko1sxhfbu2726r97 |
Description | Guest Seminar presentation: Decolonising Archives: MA Culture Criticism and Curation, Central Saint Martins, UAL |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Postgraduate students |
Results and Impact | Three guest speakers presented recent/current research projects that are based on archives and collections. All three are doing decolonial work and the seminar exposed the attendees to different concepts, methods and inter-disciplinary practices. Each speaker presented, there was a general discussion before breaking into smaller focussed group discussions. The Course Leader reported increased interest in and awarness of decolonial projects. |
Year(s) Of Engagement Activity | 2021 |
Description | Indigenous Mobilities: Travellers through the Heart(s) of Empire, panel presentation and online workshop |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Professional Practitioners |
Results and Impact | Concepts Have Teeth team were invited by conference organisers to present a panel and workshop: Concepts That Bite Through Time: Blackfoot Objects as Curriculum and online technical workshop This panel discussed approaches for connecting Blackfoot and non-Indigenous audiences with Blackfoot historical objects that are housed in museum collections located far from Blackfoot traditional territory. We discussed the specifics of working with historical Blackfoot objects in British museum collections alongside Blackfoot Ceremonial Leaders and students as well as our strategies for engaging audiences living in Treaty 7 territory in Southern Alberta, Canada through art-based programming and online exhibitions. Objects as Curriculum (workshop item) This workshop introduced the conference audience to both the digital technologies and the digital artefacts assembled during the first phase of the Objects as Curriculum project. This project, a New Frontiers funded collaboration between Blackfoot Elders, The Digital Blackfoot Library, UoL, UoA and UoS seeks to make 3D images of Blackfoot objects held in museums in the UK accessible to their home people in order to explore the knowledge embedded in them. Can these digital techniques help to impart traditional skills such as quillwork and how do these digital assemblages travel themselves? By introducing this project through a workshop format with demonstrations of the technical processes of photogrammetry and Reflectance Transformation Imaging (RTI) this event will seek to raise questions and continue the ongoing dialogue between the matter, skills, crafting and transfer rights bound within the physical objects and the shifting ontologies of the digital artefacts. |
Year(s) Of Engagement Activity | 2021 |
URL | https://research.kent.ac.uk/beyondthespectacle/conference-2019/ |
Description | MAFA CSM , WSA & Indigenous Art Program Collabs |
Form Of Engagement Activity | Participation in an activity, workshop or similar |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Postgraduate students |
Results and Impact | Regular online group crits, sharing practices, skills and paradigms and developing collaboration towards exhibition outcomes. |
Year(s) Of Engagement Activity | 2020,2021,2022 |
Description | MuseumNext: Digital Summit Presentation |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Professional Practitioners |
Results and Impact | Mootookakio'ssin: [Distant Awareness] Blackfoot Digital Project Presentation Mootookakio'ssin uses digital imagery to record historical Blackfoot objects in great detail in an effort to connect people living on traditional Blackfoot territory (southern Alberta, Canada) with objects housed in museum collections in Britain. The project's title, Mootookakio'ssin, was given by Elder Leroy Little Bear and translates to "distant awareness." Elders from the four Blackfoot tribes, Kainai, Piikani, Siksika and Amskapipiikani, are directing the project and selecting the museum objects. The digital imagery belongs to the Blackfoot people and will be accessed online through the Blackfoot Digital Library at the U of L. The project is funded by a grant from the New Frontiers in Research Fund, administered by the Social Sciences and Humanities Research Council of Canada and the sister project in the UK funded by an AHRC networking grant: Concepts Have Teeth: Digital Imaging and Blackfoot material culture in UK museums. Questions and discussion following the session developed new international contacts and allies. |
Year(s) Of Engagement Activity | 2021 |
URL | https://www.museumnext.com/events/digital-museum-summit/schedule/ |
Description | Presentation at GFC Iniskim Education Committee |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Professional Practitioners |
Results and Impact | Project Team presented at the GFC Iniskim Education Committee at University of Lethbridge, Ca. It was a good opportunity to inform other people on campus with an interest in Indigenous teaching and learning about our project. |
Year(s) Of Engagement Activity | 2020 |
Description | Presentation to Health Sciences students, University of Lethbridge Ca. |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Undergraduate students |
Results and Impact | Presentation by team member and workshop for Health Sciences class at UoL. |
Year(s) Of Engagement Activity | 2021 |
Description | School Presentations and Beading Workshops |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Schools |
Results and Impact | Team members delivered community outreach presentations and beading workshops. These have included: 2 Elementary Schools on reservations in SW Alberta, Canada 2 Middle School classes. [including maths class working with beadwork.] Family Center: Immigrant Youth Group Galt Museum, Lethbridge, Alberta: Education Program workshops. Team members also produced video tutorials for remote engagement over Covid period. |
Year(s) Of Engagement Activity | 2021 |
Description | Trinity Art Group (Winchester) Collaboration |
Form Of Engagement Activity | Participation in an activity, workshop or similar |
Part Of Official Scheme? | No |
Geographic Reach | Regional |
Primary Audience | Other audiences |
Results and Impact | TAG is a community group supported by the charity Trinity Winchester that helps keep people from homelessness and social deprivation. In response to the Concepts Have Teeth project TAG has decided to reposition and reclaim our own identity instead of enduring the negative identities that are foisted on us, such as labels like homeless, mentally ill, dyslexic, vulnerable and so on. We are making costumes to project our reclaimed identity, combing elements of traditional communal rituals (such as Morris Dancing and parading) with visual aesthetics gleaned from the high-fashion catwalk. Project members will parade to WInchester School of Art where they will work with staff and students to document costumes and performance through 3D digital imaging - learning new skills and memorialising "our reclaimed selves" (-- a digital rite of passage). Digital artwork will be exhibited on the project website. The project leader commented: "The result concerning TAG will deliver a rare, vital, and lasting record for a group that has little presence (cultural or social) and renewed confidence in themselves. But as I said, this is just the starting point - metaphorically speaking, it is TAGs pebble dropped into CHT collective "digital pond", and as our ripples refract with the waves of other collaborators, new dialogues, identities and (distant) awareness will grow." |
Year(s) Of Engagement Activity | 2022 |
Description | UAL Research Season 2021 Event: Diffracting Digital Images |
Form Of Engagement Activity | Participation in an activity, workshop or similar |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Professional Practitioners |
Results and Impact | A networking event presenting transdisciplinary imaging/sensing practices as a context for the Mootookakio'ssin [Distant Awareness] and Concepts Have Teeth projects. 20 short online presentations and subsequent discussion. |
Year(s) Of Engagement Activity | 2021 |
Description | University of Lethbridge, Canada: Indigenous Awareness Week, Presentation |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Other audiences |
Results and Impact | Online presentation of the project by team members to 48 students and staff at Iikaisskini, the Indigenous Student Centre, University of Lethbridge, Alberta, Canada |
Year(s) Of Engagement Activity | 2021 |