 Rwy'n cael eu cyfóor, gan a llwyddoch yn defnyddio'n mynd o gymweithio fath o'r hwn. A yr hyn sy'n cael ei meddwl i'r edrych? Rwy'n cael ei ei meddwl i'r meddwl i'r meddwl i'r meddwl i'r meddwl i gyfroffoedd Cymru. Mae'n modd er fydd o'r mynd yn ysgol yma. Mae'n meddwl i'r meddwl i'r meddwl i'r meddwl i'w meddwl i'r prydol. wirwch i'r ffordd yn ei gynhywch ar gyfer y dyfodol. A'r ffordd yn ysgrifet yw'r cyd Kanalwyr Cymraeg, yn ei cyddwyr cynyddiadau panfyrdd yn ysgwrdd. Mae'r cyd pan fydd yn ei gyrwch ar y cydydlif, ac mae'r cyd yn ei gynhywch ar gael ar gyfer y cyd, mae'r cyd yn ei gafodd ar y cyd. Mae'r Gwylech yn ysgrifet a'r gwed, mae'r gyfnod o'r 3 oed, rydw i'n meddwl. Mae'n meddwl yn ysgrifet yw'r cyd. o'r ddysgu'r busnes. Rydyn ni'n 70,000 yw sy'n amser. Mae rhai oedden nhw'n ei gweithiol yn ychydig ond wedi bod wrth i'r adreffau arnyntau, a oedden nhw'n amser oedden nhw. Rydyn ni'n bwysig o wahanol i ymddangos ym 155,000 o'r ddysgu'r busnes yn y ddysgu'r busnes. Da wedi bod ni'n bwysig o'r ddysgu'r busnes yn y ddysgu'r busnes yn y ddysgu'r busnes. O'r cyhoeddfeydd brydwyr yw'r cyfeidliad am y cyfnod, yw'r cyfnod mezzatig, 11.500 y maewn. Starcar oedd y cyfnod yn y gweithiol llywb. Mae Ploedau Lleicwyr, ac oedd yn gweld Lleicwyr, ond mae'r cyfnod wedi gennym. Mae'r llywb yn llywb am ychydig. Mae'n gwybod i'r cyfnod sydd yw'r cyfnod yma, ond mae'r ymgylchau yn yng Nghymru. Yn dechrau'n Cainbridge, Why are we doing exhibition on a Yorkshire site in Cambridge? It's a university museum, and one of our missions is to talk about research and new research. We're really fortunate in the fact that Professor Graham Clarke, who was a lecturer in the Department of Archaeology at the Museum, conducted the excavations there in the late 40s and early 50s. The material from the site is split between about five different museums, but we've got probably most of it, I would say. So that's what's there, and generally when you're going to do an exhibition on, you don't know exactly what's going to be in the exhibition, like putting up an object list is one of the most difficult things, but for this one, it was really easy as pretty much as much as we possibly could get out of star-car material we've got. So why is this site special? So in addition, this comes back to my title, in addition to the stone material you usually get from mesolithic sites, we have really well preserved organics from the site, so we can get a different perspective on life in the mesolithic from what you normally get. That adds more detail, gives us more information about life. And we also have a series of these, I've called them mysterious, that's what cropped up this morning, isn't it? Trying to hope you've been. These headrests and whatever you want to call them, you want to call them frontlets, made from deer skulls, and they've been modified as well, so the antlers have been lightened, and you can see the holes at the front. We don't know where the eye holes or whether the user is going costume could be for both. But what makes this exhibition actually a lot easier for us is that there's been a recent research project ongoing for a long period of time, people from the University of York, Manchester and Chester, and they've extended on Clark's Bines and actually really transformed our understanding of the site. So we're able to include that kind of information as well. So they found more frontlets, you can see one there. You see that important, that's a decorated pendant, so some very early decoration. But coming to the reason for the presentation, really, although this is an amazing site and there's fantastic information about it, the actual artefacts themselves, like that one there, that's quite small and brown. So our challenge when we were thinking about this, we wanted to show this site off, but actually how do we get the audience to stop and look at something? How do we engage them? What's that hook? We can get them in there. So what I'm going to talk about briefly is I basically think I pulled, tried to pull everything out of the museum curator's toolkit and whacked it into this exhibition. And whether it's works or not, I'm not sure, but I found it typically challenging. It wasn't challenging in the way that trying to choose objects, which is what I've usually found with exhibitions. It's actually how do we get people to stop and try and tell stories and get people to listen to our stories? And the things we wanted to focus on are the story of the site, but as they name the title, Survival Story, it indicates it's the actual survival of this stuff. Actually getting people to realise it's 11,500 years ago. That's a long time. And the other thing we did, a kind of small focus group, and people didn't realise that they were people like us. They assumed that they weren't necessarily people like us. So they're trying to get that, can we communicate that as well within this? And those are specific challenges that we've tried to tackle. Sorry, I hate diagrams of exhibition areas. This is our exhibition area. Is there anything that can go up points, I should point? So it's about 100 square metres back to the entrance, that's the exit. So the story starts with an introductory case, but then we wanted to talk about making a living. Because Starcar has this extra information, how people made objects, how they were then lived, and also they found things like the first house there, various other things that they enjoyed. And then we wanted to move on to the environment. So one of the issues with Starcar now, because it was an old lake that's dried up, with land drainage, actually the archaeological material was under threat. So that fits in with wider university concerns about the environment and other political concerns that comes back to it. That's where our thing was, that's what we wanted to think about, changes in the environment and linking with the past. And then the end section tries to hook onto this mysterious aspect about what these headdresses were. Trying to think about people's beliefs. But the way I'll show you a few images in a minute, but the way we kind of tackled it was that there have been these different ideas of what these headdresses were. These are other objects, because we're an anthropological museum as well, where other cultures use similar things and then lead into it that way to kind of create discussion. So what are the tricks? So this is a display of, do you see this, the one that I showed you, the small things, the bar points made out of amber. And we've got 93% of all the known bar points from Mesolithic Europe, or is it that right? Yeah, in our museum. So by the harm of putting them all on display. So that's what we did. But it's on that principle where you've got a small thing, but if you've got lots of small things, then it creates an impact. Similarly, we had to think about different object types. So we're in the environment section. I'll talk about how we try to create the environment a bit more in a minute. But we've got loans from the Natural History Museum, from the Sedwick Museum. So our museum is part of eight other university museums within Cambridge, so we're lucky we can draw on that kind of thing. And trying to create stories about animals that aren't there any more like the Orocs, but also animals are. So can you see this much sun's paper, the hedgehog? Is it what's found on the side? But I'm trying to create different narratives about the environment. And then using the ethnographic analogy, so we're fortunate in one of the interpretations, the headdress is that's Shane's headdress, or some kind of religious practitioner. We've got a beautiful Shane's costume from Manchuria that we put on display. And that's actually the first time we put that on display for a long time. So there was an opportunity to do that as well. Keep your eyes on that piece there. We also commissioned various bits of artwork, so you haven't gone into the picture of that. But other kinds of ways of thinking about things, though artistic interventions as well. Careful design. Actually, when I first saw this paddle, so that's bleeding, that's meant to be a paddle. When I first saw that, I thought, how on earth am I going to even make that make any sense? So putting pictures up, there's a similar picture to one that you just played earlier, that you're using in the Yorkshire community, I think. Trying to mix things up and trying to actually stop and make people stop and look. Similarly, how do you arrange a load of microlips? Any kind of pattern, it's like, I don't know where it quite works, it's a little bit gimmicky. But I know for a fact that the tranche axis on your rights, people are stopping and looking at that. It's not just presenting one axis or other aspects. And then another thing we've tried to do is trying to put people back. So one thing I should say is about our budget for this exhibition. So I've previously worked on a British Museum exhibition on the Carolson and I have a modified budget. We only had 12,000 pounds. So when we're talking about getting illustrations, what we're looking at for illustrations to help us out to put people into this thing is artists' good will, really, to let us use their material. We can't necessarily dictate what we have. So what we do is we... One of the backgrounds is by Dominic Andrews. It's used in a lot of different illustrations. We also use some material from graphic novel by Alun Groffberg. And that's actually been surprising and popular, I'll show you. But we kind of tried to mix things up so it wasn't just one type of representation. Another thing we're able to draw upon with a new research, so this is Ben Elliott who's been looking at how we make a bar point. And what we're able to do is we kind of made a kind of step-by-step guide of how you do it and that's how he presented it in this way. But I think it shows kind of what we're trying to do is show the effort that was put into making something like this. It's not just there. Also reinterpretation. So this is made from a moose elk or antler. And they've always been interpreters being some kind of matty. But new kind of explanations might be useful with working. I'm not sure how long it would last, but it's kind of putting the new sort of things out there is actually engaged people and actually thinking, how could we maybe use that? And the thing that's been pretty excruciating for us is writing the text. So we're talking about before how you need to kind of limit what your texts are. So I started out with a limit of 120 words, either BM guidelines, and then 80 words. And 80 words for a label text. And if you start with that, I found it actually quite useful. But we kind of tried to use a different way of trying different sort of texts. So 11,500 years ago, the climate was warming rapidly after the last ice age. We were trying to tell that story and set things up. And we found that that kind of works better than the kind of passive texts. But it's quite hard to write in this style. And what we did is we had a kind of group of us. So I think only three of us worked on a set of issues. And we kind of wrote it together. And I found that quite useful and expected. And what we were thinking about while we were doing this was that it's not for me, actually helped on our next shot on the Mesolithic, but it's not for me. It's for people who are coming. And what would I actually think? And we always tried to turn it around and think about that. So each time we had a panel or a label, we're actually thinking, what story is this object telling? Why have we got that here? If we can't tell a story, it doesn't fit into the narrative. Drop it. And that's the process that we went through all the way through. I'm not sure I like the two last bit. A star card gives us a snapshot of the Mesolithic which does, life was different, but the people were just like us. We kind of just had those are the kind of two messages we wanted. And it didn't quite make sense to join together. So it kind of sits like a little island at the bottom. But at least if people read it, they kind of hopefully will get that kind of message. And we're trying to make people work. So Sarah Joan Hartman, our outreach officer, always says in a label, we need to make people work. And her thing is to look at it again. So it was what we were talking about before, earlier, where Sally was talking about it. You look at it, how the things about the objects, look at the label, then look back at the objects again. And we're using all of the stuff that I teach at the university schoons, how to write a label. I actually actually used it in practice. And we haven't done an evaluation yet on this, but people will actually have what I love is when you go on an exhibition, after you've finished and you've watched people in there. And people are actually looking and coming back to them. So it seems to be working. This display is thinking about kind of making clothing. And it kind of looks a bit Flintstones, but we're trying to mix up different ideas of how you might display something. Another thing we've benefited from is other research. So I mentioned that the material is in five different museums. So I think there are about 30 old headdresses now that they found. So we had 3D prints of quite a few of them. So you wanted to show the variety. So we've got probably two of the most best-known iconic ones on display, but we want to show those big ones, small ones. So when you're thinking about people, it isn't just necessarily that picture we had of a man wearing one. There's a rodea one which is tiny. So if a lot of people are wearing them, could that be a child or someone else? So we're trying to actually make that point within that area as well. It's what we had. We had ideas that we would 3D print these and then people could wear them in the exhibition. That's not going to work because they cost so much to reprint. And we were worried and they were very fragile. But what we're going to have is we've got volunteer explainers trained up within the exhibition and people will get the opportunity to handle various things as well. So that kind of information. So we will have that kind of interactive element in there. They're being trained as well, not today, but they were yesterday. The other thing about the technology is we're kind of trying to create this kind of immersive experience. This is Goose Gate, sorry. So a day before we opened the exhibition, Marcus Abbott, who put this together, said, oh my God, I've got the wrong piece of Goose. So that's a redesign. So we've got the video which kind of this fantastic recreation of the environment made by Marcus. We also have a recreation of what the sounds of the Starkhaar Lake environment might sound like. So moose, fairy things, people flint lapping. So that's in there as well. And we've got smells as well. So on one of the benches where you can sit here, you can smell the swampy environment. They did have in the thing that you can buy. They did have a rotting deer and what they smell like. But I decided that we wouldn't have that. So the idea is that kind of sound, a kind of immersive idea that you're talking about to the environment section. It's actually really cool. He's got this pipe swimming through here. I don't know how much time over there, but yeah. You see he's coming through and then there's a front bit in there. So what it also tells you about is some idea of how that material is preserved as well. So that was one of the ideas in there. So one minute, that's perfect. Thinking about how it's been received. So I mentioned it's only been open two months and we haven't had chance to do evaluation yet. But as far as you can tell from social media, no one's mind about it yet. People in the going through the exhibition are very positive. But some of the things they've picked up on in social media have actually been really helpful because they're the things that we're aiming for. So I'm hoping that means that it's been successful. So this bit here, which says about the sensory evocation at Starr Car, Petey Smoke Fire, that's one of the other smells. Actually, yeah, so I forgot to say that. We've got reconstructions of things happening. So we've got Professor Nikki Milner, who is a project leader for this. She's creating the fire. It's not a bloke doing it, it's her doing it. So we're trying to do that kind of thing as well. And this one is my favourite. Disappeared on the Prehistoric Society Facebook page yesterday. So I thought I'd put that in there. And it says, the creator has put many of the objects into concepts in an interesting and diverse way. For example, a step-by-step guide is creating bar points. A film of making... Milner making fire from flint and fireite. Lovely artworks and a soundscape with depictions of typical wildlife setting landscape and the shaman in different societies. So it's really worth a visit. That whole thing I should describe is what we were trying to do. I couldn't have paid him to write better things. But I'm hoping that he's not the only person who's taken that away from the exhibition. So thank you very much.