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found this comb at a Jimmy Eat World concert
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Artists Covertly Scan Bust of Nefertiti and Release the Data for Free Online
An Iraqi/German pair of artists just pulled off what might be one of the most digitally-enhanced art heists in recent time. They covertly scanned the Nefertiti bust (with an Xbox 360 Kinect sensor, no less) and released the 3D printing plans online. They did so as an act of defiance, as the bust was actually looted from an Egyptian site by German archaeologists.[x]
[article by Claire Voone /Hyperallergic]
Last October, two artists entered the Neues Museum in Berlin, where they clandestinely scanned the bust of Queen Nefertiti, the state museum’s prized gem. Three months later, they released the collected 3D dataset online as a torrent, providing completely free access under public domain to the one object in the museum’s collection off-limits to photographers. Anyone may download and remix the information now; the artists themselves used it to create a 3D-printed, one-to-one polymer resin model they claim is the most precise replica of the bust ever made, with just micrometer variations. That bust now resides permanently in the American University of Cairo as a stand-in for the original, 3,300-year-old work that was removed from its country of origin shortly after its discovery in 1912 by German archaeologists in Amarna.
Nora Al-Badri and Jan Nikolai Nelles with the 3D bust in Cairo
The project, called “The Other Nefertiti,” is the work of German-Iraqi artist Nora Al-Badri and German artist Jan Nikolai Nelles, who consider their actions an artistic intervention to make cultural objects publicly available to all. For years, Germany and Egypt have hotly disputed the rightful location of the stucco-coated, limestone Queen, with Egyptian officials claiming that she left the country illegally and demanding the Neues Museum return her. With this controversy of ownership in mind, Al-Badri and Nelles also want, more broadly, for museums to reassess their collections with a critical eye and consider how they present the narratives of objects from other cultures they own as a result of colonial histories.
The Neues Museum, which the artists believe knows about their project but has chosen not to respond, is particularly guarded towards accessibility to data concerning its collections. According to the pair, although the museum has scanned Nefertiti’s bust, it will not make the information public — a choice that increasingly seems backwards as more and more museums around the world are encouraging the public to access their collections, often through digitization projects. Notably, the British Museum has hosted a “scanathon” where visitors scanned objects on display with their smartphones to crowdsource the creation of a digital archive — an event that contrasts starkly with Al-Badri and Nelles’s covert deed.
3D rendering of the bust of Nefertiti
“We appeal to [the Neues Museum] and those in charge behind it to rethink their attitude,” Al-Badri told Hyperallergic. “It is very simple to achieve a great outreach by opening their archives to the public domain, where cultural heritage is really accessible for everybody and can’t be possessed.”
In a gesture of clear defiance to institutional order, Al-Badri and Nelles leaked the information at Europe’s largest hacker conference, the annual Chaos Communication Congress. Within 24 hours, at least 1,000 people had already downloaded the torrent from the original seed, and many of them became seeders as well. Since then, the pair has also received requests from Egyptian universities asking to use the information for academic purposes and even businesses wondering if they may use it to create souvenirs. Nefertiti’s bust is one of the most copied works from Ancient Egypt — aside from those with illicit intents, others have used photogrammetry to reconstruct it — and its allure and high-profile presence make it a particularly charged work to engage with in discussions of ownership and institutional representations of artifacts.
“The head of Nefertiti represents all the other millions of stolen and looted artifacts all over the world currently happening, for example, in Syria, Iraq, and in Egypt,” Al-Badri said. “Archaeological artifacts as a cultural memory originate for the most part from the Global South; however, a vast number of important objects can be found in Western museums and private collections. We should face the fact that the colonial structures continue to exist today and still produce their inherent symbolic struggles.”
Al-Badri and Nelles take issue, for instance, with the Neues Museum’s method of displaying the bust, which apparently does not provide viewers with any context of how it arrived at the museum — thus transforming it and creating a new history tantamount to fiction, they believe. Over the years, the bust has become a symbol of German identity, a status cemented by the fact that the museum is state-run, and many Egyptians have long condemned this shaping of identity with an object from their cultural heritage.
vimeo
The heist: museumshack from jnn on Vimeo
Ultimately, the artists hope their actions will place pressure on not only the Neues Museum but on all museums to repatriate objects to the communities and nations from which they came.
Rather than viewing such an idea as radical, they see it as pragmatic, as a logical update to cultural institutions in the digital era: especially given the technological possibilities of today, the pair believes museums who repatriate artifacts could then show copies or digital representatives of them. Many people have already created their own Nefertitis from the released data; the 3D statue in the American University in Cairo stands as such an example of Al-Badri and Nelles’s ideals for the future of museums, in addition to being one immediate solution that may arise from individual action.
“Luckily there are ways where we don’t even need any topdown effort from institutions or museums,” Al-Badri said, “but where the people can reclaim the museums as their public space through alternative virtual realities, fiction, or captivating the objects like we did.”
3D-printed bust of Nefertiti
[source: Hyperallergic, emphasis mine]
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I finally finished the Ham squad
from left to right we have
America’s favourite fighting French break
Hunkules Mulligan
Alexander No-chill-ington
John Needs-to-also-chill-aurens
Aaron Burr, sir
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Happy as a clam.
The Muppet Show, “Sylvester Stallone”
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why are cool socks not a bigger part of society. why doesn't everyone have cool socks with designs on them. why do we confine ourselves to white socked hell
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Watch: Comedian Adam Conover just obliterated every stereotype about millennials in one presentation.
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y’all need to know what happened in the spanish masterchef last night
okay so we’ve got sweet little laura here
laura is 8 years old. even though she’d been constantly ignored and undervalued by some of the other contestants because of her age, she was definitely one of the best. everyone thought she’d definitely get to the final.
last night was the semifinal.
she wasn’t doing too badly until the last test, which was so hard that it had only ever been done in the grown-up masterchef. the contestants had to follow the instructions of a professional chef who cooked at the same time they did. it was not a test in which you could afford to waste time or get distracted.
and laura, poor, sweet, tiny laurita, whose pots and pans were almost as big as she was, got burnt.
she tried so, so hard to carry on with the test. she knew that having the burn treated would take up too much valuable time, so she kept cooking. but she couldn’t. the burn was bad, she was fighting back tears, and even the judges were starting to get worried. she had to go.
at this point, spain began to cry.
everyone thought it was game over for her. she’d be too far behind when she came back. there was no way she’d be able to make up for lost time.
BUT THEN
SWEET CINNAMON ROLL LUKAS SWOOPED IN AND COOKED IN HER PLACE AND TOOK CARE OF HER DISH AND INGREDIENTS WHILE HE WAS COOKING HIS OWN THING
THIS WAS THE SEMIFINAL AND HE WAS PUTTING HIS PLACE IN THE FINAL AT RISK SO HE COULD HELP HIS FRIEND
HERE YOU CAN PRACTICALLY SEE THE JUDGES AND THE CHEF ASKING THEMSELVES IF THIS IS REAL LIFE
SPAIN WAS BAWLING
and then laurita came back with a heavily bandaged hand. she tried to continue, but it was too much for her since she was basically cooking with one hand.
AND LUKAS KEPT HELPING HER
in the end, laura had to leave for good. she just couldn’t cook. she tried, though, and she was asked if she wanted to leave twice before she said yes.
and so our princess left.
thankfully, at least something good happened. lukas made it to the final, and most of spain is rooting for him.
these kids are angels, guys, and i’m crying. i’m crying so much.
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