 And I should point out, from a totally honest sort of network perspective, female network perspective, Amar and I did our PhDs together. And not only did we do our PhDs together, our desks were next to each other in the same PhD office at the Institute of Archeology, UCL. So, sort of networking continues all these years later. And also the other thing I've thrown out, well not that many years, I meant in sort of what you were talking about in the early 20th century about these kind of networks of people. And also just sort of that often is women who take on many roles. Anyways, I have to say I was really excited to be invited to be here. So I want to thank the organizers, Amar and Danielle. I was recently made a fellow here at the Society of Archeology. So this is my first time ever properly speaking here. So I feel a little bit like I'm standing on the sort of shoulders of giants. So bear with me. But anyways, and when I was sort of thinking about this talk, I kind of was thinking about how, and actually David's point about how Winifred Lamb has really inspired and helped a lot of women, really kind of is a good point. And this is kind of my sort of chain of inspiration. So that's me at the top with a 3D replica of a very big Bronze Age sword. And I'm standing in the Great Colored Bridge Museum. But sort of my chain of inspiration for kind of getting to this point to give this talk today. So we have our sort of main person Winifred Lamb here. And she was, and David you can crack me up if I'm getting this detail wrong. But she was quite inspired by American Harriet Boyd who was one of the first women to excavate in Greece. And she excavated on Crete in the early 20th century. And Harriet Boyd was actually inspired by Amelia Edwards who excavated in Egypt. So I feel like there's a line of people going down to my PhD supervisors, Ruth Whitehouse and Sue Hamilton, who helped me develop my research in Mediterranean prehistory. And Anastasia, who is our sort of classical Mediterranean curator at the Fitzwilliam Museum where I worked on this project for the last year. Oh, and I just want to highlight on the bottom trial blazers, which is an amazing project if you haven't come across it, who the last few years have been highlighting to the role of lots of women in archaeology and geology. And a lot of people who are not very well known, Amara's been involved with them. So definitely check them out if you haven't. So this project focuses on the Fitzwilliams ancient Mediterranean collections. In conjunction with the Beane Islander are an identity of large Mediterranean islands. And I put the link for the website there. And the aim of this project is to provide a platform to debate cultural evolution in the islands extending to the discussion of Britain's perceived or not a sort of island identity, especially sort of in connection with the politics of the last few years. And as Amara mentioned, this sort of builds on some previous research that I did primarily at the British Museum, which was looking at using digital humanities, sort of digital tools for sort of social sciences and humanities, particularly 3D technology. But the further sort of inspiration has been my own research background, Mediterranean prehistory, but more significantly the work of Winifred Lamb. And obviously I don't need to go too much into her background, as David just gave us a really great talk about all the things she did. So obviously she was a very active field archaeologist. And I'm particularly interested obviously in her prehistoric work on thermi and lesbos. And I think also for this project, one of the key themes that kind of piggybacks Lamb's research is this idea of connections in the Mediterranean and how we can study that through archaeological objects and archaeological collections. So, thematically, I saw this this morning and I just could not resist putting this tweet in the presentation because it's just, I mean, it's just great. And this is about Harriet Boyd, not Winifred Lamb. So it's sort of about 25 years before Winifred Lamb's discoveries, but I love this Bronze Age palace uncovered by a woman. And it's great that it got the coverage of the newspaper, but it's interesting that even that didn't really get a name, sort of a name mentioned, just woman. And so one of the things I wanted to really do in this presentation was because of this kind of chain of inspiration, it was to kind of highlight a lot of the women during the course of my presentation that have sort of inspired me, but also sort of look at these different ways that we have historically, but also now in sort of a more modern era, are presenting ideas around archaeological research and sort of work done by women. And obviously increasingly this is done by digital means. I'm fairly active on Twitter, primarily as a form of social media, and there is quite a big network of us on the outside. So I think this has become sort of increasingly a way that we can go and tell stories about our work and also connect to others and kind of have those, you know, good and bad connections. So here I will highlight very briefly another woman. This is George Oates, and she is the head of a company called Museum and Box. So as I mentioned, this project overall was part of an AHRC funded creative economy engagement fellowship. So the whole idea was that basically research institutions would partner with sort of up-and-coming technology or what they call creative industry institutions to inform each other's research. So we had two partners for our project. One was Museum and Box, and the other was a specialist 3D printing company called ThinkC3D. So the whole idea was how can we kind of bring digital and 3D technology into sort of studying museum collections, but then also do outreach around that. Has anyone here heard of Museum and Box? Oh, okay. I have this question because I'm never sure, but just briefly, it's basically a startup educational technology company and they've created an innovative online platform which basically connects to this, which is a mini computer called a Raspberry Pi. You can actually buy kits. The Raspberry Pi is based in Cambridge. It's a small company. You can buy kits and build your own computer. So a lot of kids do this. They've kind of specialized this so that you can upload sort of information primarily connected to cultural heritage, museum collections. And the way it reads information, it has a little sensor here, and you have a sticker. I'll just explain. Which is called an NFC sticker, which reads, and it has a built-in speaker and it reads out then an audio file that you've uploaded. It's kind of the same technology as if you ever use contactless on your card. It's really similar. It's just kind of, it's just an interface to read some data. So the kind of concept behind this company is essentially like a perennial museum idea which is kind of the idea of sending out museum collections. But they really want to look at sort of not just have a handling, but the idea of bringing a wealth of context and background to these museum experiences to help audiences really explore an objects history and a place in the world. And we've been looking at kind of new ways of creating meaningful engagement dialogues with audiences around this. And as part of this, we are lucky to be part of this kind of make your own pilot. And you can see this map at the bottom is sort of places where they've sent out like everywhere from museums to schools to community groups where they've asked people to trial their system out to kind of get feedback to develop it further. The nice thing about this, it's really allowed us to be experimental to our approach to museum collections because we can change the content. We can open it up to multiple perspectives and interpretations. So it doesn't have to be that sort of one way museum is just telling you how it is. Like we can actually bring in multiple ideas. So that was kind of what we were trying to play around with. So I just wanted to show you this because this is my favorite museum in a box that's ever been developed. Even though I've never actually seen it in person, I've only seen the photo. But it's a tomb in a box, obviously Egyptian tomb. And so it shows the kind of imaginary things you sort of can do with this. And the thing that I was really interested in is the idea around storytelling and how can you kind of engage with people via storytelling. So one of the questions was how can you use emerging technology to free up museum collections, but also how can tactile and digital interactions create new types of engagement and understanding of museum collections. And sort of a lot of people in the last few years have been looking at this idea of sort of archaeological imaginings that's created a more emotive sort of engagement with archaeology. And I think the thing is, is like, you can tell what the stuff has been doing, it's a great, it's a great place to start. So as I mentioned, connections within the central, sorry, the Eastern Mediterranean are one of the central inspirations for this project. And this is a key thing that ran all throughout Lamb's work. But I also think this is an idea that goes back to, you know, Odyssey and Homer. This idea of how objects and places get layers of stories and layers of sort of information about them. And how can we present this to a museum sort of audience. And here's sort of some of the objects we were looking at. Many of these have been acquired by Winterford Lamb for the Fitzwilliam Museum. As David mentioned, she did a ton of work for the museum collection. And we wanted to kind of look at how it could bring these in. And the thing we were focusing on was connecting objects. So these are the real objects we'll photograph something. So how do we get these sort of objects into something like this? And how we did it was looking at using tactile 3D prints. These are made of gypsum material by the specialist company in Oxford. You can see I've kind of labeled them like you would an object, a museum object. I can pass them around. And also think like postcards, which I'll pass around in a minute. But the thing is each one of these objects has a really interesting story to tell. And again, you know, if we think about Winterford Lamb, she's really trying to tell you stories. So for instance, this lovely horse is a Cypriot-style horse, but it was found at a site in Syria. So there's a connection there that between these two places, going back to, you know, thousands of years ago, that we, as archaeologists, would explore. So it allows us how to kind of start telling these different narrative journeys of how archaeologists studied the past, but also understand connections between islands in the Mediterranean, as well as broader issues around modern island identities. And also just say the sort of objects range, so the project range from sort of prehistory to the classical period. And other themes we look at are sort of ancient technological revolutions such as metalwork, language, artwork, a connection to broader themes of maritime connectivity, other identities, contested geographies. So I just wanted to show a quick picture of this. These are all the 3D prints we had made. So you can see we kind of go from the physical objects to a new type of physical objects. And then obviously, they get connected into the box there. And we have an online collection of these in 3D model form that you can download yourself if you so are interested in 3D printing. So if you follow that link, you can go and have a look at them yourself. So this... Sorry, Amara. So Amara as well is one of my inspirations for this project because Amara, a few years back, gave me this amazing box, this one down at the bottom, which is an old glass slide box in the Palestine Exploration Society. And they were moving premises, so they were having to get rid of some of their materials. So she gave it to me because she knows how I feel about archival boxes and things like that. So this is before I started this project. But I think the project made me think about sort of this concept of boxes and archaeology and storage. And because I'm quite fascinated with archival material, and she's obviously always inspired me on this one, how we can kind of bring that into the project. So for example, there's another old glass slide box. Unfortunately nowadays, we don't use these wooden boxes in the same way. But I wanted to bring that sort of like early 20th century idea and the romance of it. And the romance of also opening a box you find and sort of finding a treasure inside. So, and I'll point out, I actually brought the box today if anyone's interested in looking at it. It's over on that table over there. I can get it all set up for after when we have our reception. But the sort of final product is this kind of concept of an old wooden dig box that is full of objects, postcards, papers, and other documents sent back to the Fitz by Winterford Lamb. It's kind of, the box is covered in vintage stickers to kind of evoke the early 20th century as well as marble paper and vintage maps. So it sort of serves in a way as a little mini pop-up museum. Inside the box are the 3D prints, such as the ones that are passed around, as well as postcards. And the idea is that people can explore different elements of the box with both short and long engagements based on how interested they are. But the concept is that you will kind of get more out of it the longer you spend with it. Actually, I will pass around some of the postcards. And this is a 3D model made by one of my colleagues on the project, Abby, you can see her picture there. And sort of the core of the project is to try to evoke wonder by creating opportunities for exploration and enchantment via the archaeological record. The box-sense materials are inspired by cabinets of curiosity. They're representative of a larger world. In a modern context, these can be used for institutional critique, a way to replace museum rules and new forms of engagement. And I think there's been sort of an interesting symmetry throughout the course of this project between the layers in the past and present archaeological knowledge being evoked by using archival materials to inform current curatorial practice and engagement. And as the postcards go around and sort of see this, that the world I'm trying to evoke is Winifred Lams. It's not purely biographical, so actually I should say a few Winifred Lams family members are here. So they might say I've gotten it completely wrong, which is fine. But... I mean, the thing is, and I mentioned this earlier in the project, so on the ground, at the Fitzwilliam at the moment, there's not a lot of information about her and sort of the impact she's had. So this is a way to try to bring her into this bigger project that's happening and kind of get her more representative. But I'm lucky, because David has basically done all the hard work, such as coming through all the letters and pulling together all this information about her. So I can kind of piggyback on that and feature some of that information here, but also play with it a little bit. So you can see here, for instance, this postcard, I am trying to sort of slightly provoke people to get involved. And, you know, for instance, if kids perhaps actually get them to help kind of quote-unquote curate the objects, you know, write notes and tell us what they think about it. So the box doesn't have a strict narrative sort of... or biographical structure per se, but it has narrative sign posts that kind of are trying to slightly try to evoke response, but sort of choose your own adventure. And as you can see on this picture, this is me sort of trying to create a little bit of a narrative sort of thread. And so it kind of goes... starts with her work in the Eastern Mediterranean excavations and then goes into more curatorial work. And then this other side, sort of to the left, is more sort of object-based information. So it's kind of playing this idea of narrative. And some of this is a challenge because a museum and a box doesn't really do narrative, so I kind of want to see if we could bring an element to that. And also I just want to point out the voice of Winifred, which you'll have to have a listen to if you think, was kindly taken on by Dr. Hannah Platts, who's a lecturer in ancient history at Royal Holloway, and she was very kind to sort of give me a lot of feedback as we went through this process. And also I kind of like the parallel of her being a classical archaeology lecturer, so she has a background as well, which is nice. So, again, about translating the archive into the box, I can play you a short clip as an example of the sort of thing I've been trying to do on the clips that sort of connect to the box. While I was excavating in Macedonia in 1924, I became fascinated with the possibility of prehistoric links between the Balkans, the Aegean and Anatolia, modern-day Turkey, something very much overlooked in archaeological studies. So, I began searching for sites to demonstrate these connections. I don't wish to boast, but I was the first British woman to be granted an excavation license in Greece. Fortunately, my nature and upbringing enabled me to easily lead on excavations. My sturdy riding breeches and boots, the appropriate wear for female archaeologists, helped me to explore widely across Greece and Asia Minor. Okay, that's under that. And I should point out that excavation photo as David showed is actually from her excavations in Turkey, not in Greece. I just thought it was a nice photo because you could see her outfit. And I think the thing is because this sort of information are drawings of pots and stone objects and plans of sites. It's very standard archaeological information, but I wanted to make that a little bit more interesting in itself because these all have a history and an interesting story behind them. So I kind of wanted to see how we could start to kind of get those stories back into the museum, but also as something that was of interest in itself. So I'm sort of trying to kind of envision a past as remembered by them in a sense in order to create a type of suspension of belief that allow users to become enchanted or emotionally involved in the data presented. So this involvement could be further enhanced via extra co-curation and participation. And this is really building on concepts of Sarah Perry and Ruth Tringham. There's been a lot of work in archaeological circles around this recently which are calling for further collaboration and emotional approach to presenting and using archaeological data for engagement. So here's another example sort of the type of archival material I've tried to bring in. As David mentioned she did a huge amount of work in the Fitzwilliam on the collections itself, but she also it was a pretty Victorian collection when she started working there and so she actually made a plan and did a whole new layout of the total kind of classical galleries so they were chronological and they actually made sense. Which is a massive undertaking for someone who wasn't paid to do this work. So you can see here this is a drawing of her kind of working out the plan and she wrote in one of her notebooks connected to this nice poem so that's also one of our audio clips I have and it mentions this sort of objects in the bottom which is unfortunately probably a fake Minoan snake goddess figuring that she purchased and unfortunately got a little bit of hassle over. So she has a lot of these personal touches which are really interesting to bring in. So lastly I just wanted to say this project is an experiment we're actively seeking feedback and evoking responses. If I got wrong let me know because I'm trying to interpret a situation that I didn't experience myself so I think in my opinion these kind of best projects the best stories involve participation and discovery and again returning to my quote let these tales be added to those let's add layers of stories to our museum collections and see what we can get with them. And this picture I just took in field work I was just in Morocco doing archaeological field work for a month and I just saw the shadow kind of reminding me that all these sort of chain of women we all cast a shadow and made me think of I could see Winifred having a similar experience and we must think ahead to our shadows that we pass on to the future future researchers.