It was MCN again this past week, and in Pittsburgh to boot! I had a great week, visiting several museums and networking with plenty of people in the museum field. The conference was invigorating – I feel truly motivated for the first time in a while and I hope to carry that through, first through here on my blog but also in other aspects as well.
One of the most interesting experiences of the week was the networking event at the Andy Warhol Museum. The museum itself is designed for the visitor to start at the top floor, at the beginning of his life, and then follow it down each floor to his death (on the third floor) and the response to his legacy in the remaining two. However, I was not aware of this myself and so went up the opposite direction, up the stairs. It made for a surprising inversion of the content – the colleague I was with and I commented on that as we walked through, initially through our mutual confusion and later as we began to realize the mistake we had made. Also, the couch and silver balloon installations were super-neat.
Conference networking can take many forms…
– with Megan Brett
Additionally, a colleague I met at the conference and I decided to trek out to The Mattress Factory (which, despite its name, is not in fact a mattress factory, but rather a contemporary art museum which prides itself on working with artists to create site-specific art installations). The artwork was fascinating…and not just a little bit creepy, as the below photos from the secondary buildings’ intallations demonstrate. From imposing structures impossibly built inside rooms, to intricately laid-out facades of tiny scenes haphazardly placed for one to navigate through – and even to barren rooms with a lone chair facing a recurring screen of a dying plant, all serving to make one re-evaluate what they’re seeing, what they’re hearing, and even what is real:
Not to be outdone, the main building also offered its fair share of uncomfortable moments, as indicated by “It’s All About ME, Not You” – a permanent exhibition by Greer Lankton on sex, sexuality, violence, and addiction.
The show itself, which is autobiographical in nature, was initially exhibited in 1996. Alas, Lankton died on the opening night, so her family donated the work to the museum in her name to have it displayed in perpetuity. The work itself, as the above photo illustrates, is not for the faint of heart. Even in this glimpse one sees the individual laid in her bed, a veritable mountain of pill bottles strewn around her; a victim of self-medication gone too far perhaps? Additional symbols of female suffering abound as well; paraplegic women bleeding from their torsos, anorexic sufferers, and also a series of Christian symbolism – perhaps a reference to her self-condemnation?
Of course, this past week wasn’t all about museum visits and drinking with colleagues; I also got to listen to some great speech sessions throughout the week. One in particular of note was a panel headlined by a colleague and friend of mine from the Peabody Essex Museum, Ed Rodley, who had a lot to say on exhibit development and innovation – namely, that we just don’t innovate enough. Innovation, he argues, is more than tweaking the status quo, but rather engaging the material and, even more so, the process at every stage of development. Transition is a series of questions following a trial-by-error methodology where we iterate, then adjust based on results, and iterate again. Nothing, he argues, is ever complete, and we should be aware of that.
More so than that, innovation is also about questioning one’s mindset: if we always start from the same point of addressing a problem, then we are only ever going to get the same result, so we need to change the mindset. Our brains like patterns, and in fact we go out of our way to make them, even when they don’t really exist. But if we change our initial input, then that small change (or innovation) can lead us down a completely different path. Put another way (as Mark Rosewater of Magic: the Gathering is found of saying): “Limitations breed creativity.” By giving ourselves a rule that we must adhere to, we force our brains to change the outcome, giving us a fresh new perspective to work from. Of course, as one of Ed’s co-panelists pointed out, we don’t want to continually be completely transforming every element of everything all the time – there’s a point where ‘transformative’ becomes ‘disruptive turbulence.’ The goal is to work on knowing when to throw the baby out, and when to simply change the temperature, so to speak.
And with that, I must bid you all adieu. As I said at the beginning, though, I do promise to update more regularly, probably on Sundays or Mondays, based on when I can expect to have downtime on the computer at work, but we shall see.
So, until next week, bye!
I know it has been a long while since I’ve posted anything on this site, but I’ve been dealing with a lot of life stuff (moving, transitioning into a new job, etc) and I’ve also been struggling with what I want this blog to be. I am still struggling with that, but I hope to start making consistent content again in the near future.
All the housekeeping aside though, I have exciting news! I was chosen as a volunteer for this year’s MCN conference in New Orleans! This is my first time attending the conference, and I’m super-excited!
For those unaware, MCN (Museum Computer Network) is a 501(c)(3) nonprofit organization dedicated to helping museums and other cultural organizations navigate the complex and ever-changing digital world.
This moves beyond “this is how to use twitter and wordpress to market your institution,” by the way. Rather, the goal is to help museums adjust to the digital world on a more basic institutional level. Things like how to adapt and adopt policies for the digital age. It’s one thing to get the newest digital collections interface for your collection, but another entirely to figure out which one works specifically for your needs. similarly with evaluation and marketing – how best can you reach your audience? And how can you best reach rhose who aren’t traditional members of your audience?
Our world is getting ever-more complex. Just twenty years ago, mobile phones were huge, bulky, and cost thousands of dollars, and the internet barely existed outside of the military and university systems. Now, ‘smartphones’ with more computing power than we sent humans to the moon with are nigh-ubiquitous, and the internet has evolved into a tremendous platform for independent knowledge generation and sharing. Google now exists as the prime information-checking source, replacinf encyclopedias and dictionaries. All of this change is an extreme amount of development for that short of an amount of time, and there is no sign of digital development slowing down any time soon. This is why MCN is so important, and I couldn’t be more honoured to attend.
I know that this has been a long time in coming, but I’ve decided that instead of posting portions of my thesis at a time, to instead post its entirety on a separate page for you all to peruse at your leisure. Please check it out here!
In other news, the semester is drawing to a close here at Tufts University, complete with a lot of work to finish in the next few days. However, I am happy to announce that a few weeks ago, I was able to attend the annual ARCE conference in Portland, OR! There were so many great talks – indeed, too many to keep straight in my head, let alone see! I also had the happy opportunity to meet several major figures in the Egyptological world, including James Hoch, who literally wrote the book on Egyptian grammar! (his book formed the basis of my grammatical understanding of Three Wonders, and as such is cited therein) It was a great shame, however, that I was unable to see my advisor from Beloit, who could not make it, nor could I introduce myself to Harold Hays, who as I mentioned before passed away this past year.
Nonetheless, ARCE was a great experience, and I can’t wait until Houston in 2015!
As many of my personal friends know, I am a bit of a nerd. Specifically, I love playing the card game “Magic: the Gathering.” Currently, I have amassed a small collection, as well as several decks. I find deck-building to be almost as much fun as playing – kind of like when I design an exhibit. Indeed, these decks could even be considered “exhibits” of my collection – the pieces currently on “display” (i.e. being used).
To make this analogy even more literal, I have decided to embark on a new project – inventorying my collection and inputting them into a museum database. Unfortunately, I cannot afford the databases that are most widely used by museums: Emu, re:Discovery, PastPerfect, etc. Also, I am already well-versed in PastPerfect and have had some experience with the other 2 listed here. Instead, I am interested in trying my hand at some of the free systems out there. A simple google search uncovers a long list, which is where my need for advice comes in: is there a particular free database that is gaining traction? One that I should absolutely learn? Please comment here or message me through my contact form with suggestions!
I have just submitted my first abstract to an academic annual meeting conference. This particular academic organization is ARCE: The American Research Center in Egypt. I got my abstract in just under the deadline, and of course I do not expect it to be accepted. However, my goal is to get my name out as an individual interested in pursuing this career, and possibly making professional connections. As such, I do plan on attending the actual conference in any case, which is in Portland, OR on April 4-6, 2014. This is the abstract that I just submitted for approval:
Considering Gender and Religious Accessibility:
Gendered Stratification in Achieving Religious Absolution
In her essay “An Archaeology of Social Relations in an Egyptian Village” (1998), Lynn Meskell considers gender relations through the delineation of space in the domestic sphere. Specifically drawing upon the excavated evidence of Bruyère at Deir el Medina, she organizes Egyptian domestic life based on the use of ritualistic iconography in combination with stereotypical machinations of gender, such as workmen’s tools and cooking supplies. By drawing on this iconography, she advances a notion of Bruyère’s lit clos (Meskell 223) as the main representation of middle-aged women at the site.
Yet, the presence of only fertility deities in this context suggests at a larger construction of society –namely, that of gender relations in a religious context. For example, Ramesside coffins depict a masculinization of the deceased woman, in order for her to become one with Osiris and thereby be resurrected in the afterlife. Similarly, female Pharaohs generally undertook a masculinizing process to assert their own dominance. Moreover, gendered space is illustrated through isolated represenations of the divine; namely, distinctions between fertility deities, such as Bes, and more stately gods, like Amun-Re. Finally, gender relations are exemplified in couple burials and artistic iconography, wherein women are ordinarily depicted as subservient to their male relatives and husbands. Therefore, religious absolution could only be accessed by women through a male interlocutor, a gendered imbalance indicative of the stratification of the society.
I have sad news to tell my readers.
Very recently, my undergraduate thesis advisor emailed to inform me that Harold Hayes, Lecturer of Egyptology at Leiden University, passed away on November 20, 2013, as a result of heart failure from a recurring illness. Thee following is his obituary:
Harold Hayes was a good friend of my advisor, and his paper The Historicity of Papyrus Westcar served as the crux of my undergraduate honours thesis argument, of which I enumerated in Section IV, below. He was a brilliant man, and I should have liked to meet him. Rest in peace, Harold Hayes, LPH.
IV. THREE TALES OF WONDER: A LITERARY ANALYSIS
In interpreting Egyptian “prose” tales as representing some sort of historicity, one misses the underlying message these texts attempt to achieve. For example, we read in Three Tales of Wonder, “He spoke concerning her [Redjadet] that they [her 3 sons] shall achieve this excellent office in this land in its entirety” (Papyrus Westcar IX 11). By making this claim, the magician Djedi prophetically tells of the coming of the first three kings of Dynasty V. These three kings serve as the precedent that the entirety of the Papyrus Westcar is an explanation of the change in political power from Dynasty IV to V (Lichtheim 1973:216), as well as the change in the religious dynamic. Dr. Harold M. Hays disagrees with this assessment.
“For my own part, even after having set its wonders aside, I would argue that the text comes up short when approached for its historical content, but that, on the contrary, it can be prized as a literary work” (Hayes 2000:2).
In laying out his thesis in The Historicity of Papyrus Westcar, Hays enumerates three main points, thereby rejecting the theory that Three Tales of Wonder should be viewed as purely historical in intent. His first point addresses the claim that Papyrus Westcar demonstrates the development of the sun cult in Dynasty V (Hays 2000:2). As early as Dynasty IV, the pharaohs appear to increase their use of the “Son of Re” (i.e., “son of the sun”) name. Concerning the advent of the “Sun Temple,” under Pharaoh Userkaf (the first Pharaoh of Dynasty V[i]) Hays notes several issues. Three of the kings after Khufu, he points out, use the “Son of Re” name in Dynasty IV. These are the Pharaohs Djedefre, Khafre, and Menkaure (Hays 2000:2-3). Khafre and Menkaure are two of the three pharaohs who constructed the large pyramids at Giza. Conversely, when one considers the pharaohs of Dynasty V, the dynasty in which some scholars claim the “Son of Re” name developed, there exist only four uses of the title (Hays 2000:3): Sahure, Niuserre, Izezi, and Wenis.
Thus, there is no significant rise in the use of the “Son of Re” name, and no correlation with the advent of sun temples. Izezi and Wenis are the last two pharaohs of Dynasty V, and yet these two kings did not have sun temples constructed in their name. Conversely, Sahure and Niuserre are the only pharaohs who used the “Son of Re” name and who also had sun temples constructed. This means that the construction of sun temples and use of the “Son of Re” name are not correlated (Hays 2000:3), and that Re was already an important deity before the start of the Fifth Dynasty. Furthermore, Hays suggests that the “Harmakhis temple” at the base of the Sphinx (carved in the Fourth Dynasty, at the time that Khafre’s pyramid was constructed), could also be considered a sun temple, which seriously challenges the belief that these temple types are purely a Dynasty V phenomenon.
Hays’ second point discusses the issue of kingship succession. In response to King Khufu’s discontent with Djedi’s prophecy, the sage explains, “… [F]irst your son, then his son, then one of them” (Papyrus Westcar IX 14). This means that Khufu’s son, Hardedef, will assume power after Khufu, followed by Hardedef’s son, before shifting power to the three sons of Redjadet. However, Hays points out that the Old Kingdom king lists clearly illustrate that not two, but four pharaohs intervened between Khufu (Dynasty IV) and the first king (Userkaf) of Dynasty V (Hays 2000:7).
Finally, Hays’ discusses (based on the king lists) the names of the first three pharaohs of Dynasty V (Hays 2000:7): Userkaf, Sahure, and finally Nefirerkare, whose birth name was Kakai. In referring to the names as translated from the Ancient Egyptian, similarities of the first and last of these names are of interest to Hays (Hays 2000:7). He leaves the second name out of his discussion, believing it to not be close enough in spelling to mention. Furthermore, although he mentions in a footnote that the name “Redjadet,” referring to the mother of the three kings in the story could actually be a reference to Khentikaus, who was the mother of probably two of the first three kings of Dynasty V (Hays 2000:8), he concludes that these two names are too dissimilar to be taken as mere artistic license. However, he does admit that there is a certain artistic similarity between the names of the first and third pharaohs: Wsrf (Papyrus Westcar X 9) with Userkaf, and Kkw (Papyrus Westcar X 23) with Kakai, the birth name of Nefirerkare (Hays 2000:7).
Although he believes the second name of Ra sAx (Papyrus Westcar X 17) is not at all related to the name of Sahure, one can interpret the name Ra sAx as quite similar to the actual king’s name. This is because it was common in ancient Egyptian writing to honorifically transpose names: i.e., to write the deity’s name first because it was the most important element in the name (Brewer and Teeter 2007:138). By placing Re at the end of the name, and then transliterating it into Ancient Greek, one easily gets the name Saphres, or Sahure as we know him. Perhaps, then, one can understand the names in Three Tales of Wonder as representing the names of the first three kings of Dynasty V. Yet, this does not detract from Hays’ overall argument. The names, as accurate as they may be, are still only puns on the originals. Therefore, there is artistic license in how this scene is constructed; artistic license, which Hays is certain, has some motive other than merely representing, or misrepresenting, history.
Hays’ first point concerning solar imagery in Dynasty IV seems reasonable. For example, some have suggested that the function of the mortuary temple of Khufu in his pyramid complex at Giza was to venerate the pharaoh’s “celestial aspect of Ra” (Brewer and Teeter 2007:182). Ritual boats found at the site suggest this interpretation. These boats could have served the pharaoh on his celestial journey across the heavens in his afterlife (Brewer and Teeter 2007:182) in order to forever manage Egypt from above. With respect to Hays’ second point, modern scholars basically agree that three or four Dynasty IV pharaohs followed after Khufu’s reign to the beginning of Dynasty V. A footnote from Hays discusses the argument that two “blood-successors standing for more than one each” (Hays 2000:7) does exist, and that the ancient author could have, as artistic license, combined multiple successors together. However, this is a weak argument, and one that Hays does not readily accept. Rather, to explain this inaccuracy, Hays argues that there must have been another reason for doing so (Hays 2000:8).
In looking at Hays’ theory of the current interpretation of Papyrus Westcar, one can see how labeling the work as “prose” is problematic. There is a message being imparted to the reader, and it is not just history. If the historicity of Papyrus Westcar is the entire purpose of the tale, then why include a section in which Khufu is told about a boating party conducted years ago by his father, Snefru? Why include a story in which Khufu actually witnesses a sage replace severed heads onto their proper bodies? These questions represent the crux of Hays’ argument (Hays 2000:8). After hearing the story of the boating party, Khufu states “I have seen his display of skill” (Lichtheim 1973:217) and decrees an offering to be made. Yet, it is clear that he has not witnessed this miracle. His son, Prince Hardedef, points this out, and suggests that he witness a true miracle in his own time (Papyrus Westcar VI 22-25), the miracles of the magician Djedi. Hays argues that by introducing Djedi, Prince Hardedef introduces “a narrative about true and false things” (Hays 2000:9), reflecting how truth and lies are represented. Entertainment and seriousness, an extension of the dichotomy of true and false things, are blurred throughout the story. A chief lector-priest like Djada-em-ankh in the boating party story (Lichtheim 1973:217) and the magician Djedi in the story of the severed heads are called upon to placate the bored pharaoh. Compare that with the three gods sent down to aid Redjadet in giving birth. They are disguised as “female musicians with Khnum as their palanquin” (Papyrus Westcar IX 27-28). The lector-priest might not have existed, or managed to reclaim a lost pendant from the sea, but the three future pharaohs certainly did exist and were bound to the aid of those who appear as entertainers. In the former two cases, the role of chief lector-priest and the role of the magician are adopted for whimsy, but in the case of the births frivolity is a disguise for importance.
Taking into consideration the dichotomy of “true and false things” (Hays 2000:9), Papyrus Westcar questions itself as a relevant historical source (Hays 2000:9). We have already seen how the names of the three kings are puns on their original names, and that the order of kings is misrepresented. Therefore, according to Hays, Papyrus Westcar is using history to impart a message and it is this: “…[I]f the story is to be read as a coherent whole, then how all of the old kings are characterized has to be put in relation to the new line” (Hays 2000:11). The tale is perfectly balanced. At the front, there is King Snefru, King Khufu, and Prince Hardedef. At the end, there are the three sons of Redjadet. Snefru, as seen through the boating party, is bored and decides to have scantily clad women take him for a joyride in a boat (Lichtheim 1973:216). Khufu, also bored, demands his sons to tell him tales of miracles and magicians (Hays 2000:12). Prince Hardedef secures the magician Djedi for the purpose of entertainment. These are all incredibly selfish undertakings; instead of conducting the duties of the State, these decadent pharaohs look for an escape from their work. Contrast this with the three new kings. They, Re promises the gods, will “build new temples, and that their altars will be endowed, their offering tables abundantly provided for, and their divine offerings multiplied” (Hays 2000:12); all things, in other words, that a true and just pharaoh ought to do. Additionally, these offerings will be made available to all the gods, not just to the sun-god Re, further weakening the theory that this is a treatise on the sun cult. Finally, the miracle of Redjadet’s birthing experience is a miracle created for the greater good of Egypt rather than for personal satisfaction. Thus, Three Tales of Wonder elaborates on what it means to be a “good” king, thereby placing the tale within a specific historical context to drive home the point. The historicity of the tale is generally irrelevant, except to provide a historical context for which kings the author considers to be effective rulers versus which ones are not.
[i] Note the similarity of the name “Userkaf” to that of “Wsrf,” as seen in the papyrus. I will return to this point later.
Brewer, Douglas J. and Emily Teeter. 2007. Egypt and the Egyptians: Second Edition. Cambridge, UK: Cambridge University Press.
de Buck, A.1963. The Papyrus Westcar. Egyptian Reading Book, 2nd Ed. Leiden: Nederlands Instituut voor het Nabije Oosten.
Hays, Harold M. April 2000. The Historicity of Papyrus Westcar. Presented at the annual ARCE meeting, held at Berkeley.
James, T.G.H. 2005. The British Museum Concise Introduction to Ancient Egypt. Ann Arbor, MI: University of Michigan Press.
Lichtheim, Miriam.1973. Ancient Egyptian Literature Vol. I: The Old and Middle Kingdoms. Berkeley and Los Angeles, CA: University of California Press.
Strauss, Susan. 1996. The Passionate Fact: Storytelling in Natural History and Cultural Interpretation. Golden, CO: Fulcrum Publishing.
References for Translation:
de Buck, A. 1963. The Papyrus Westcar. Egyptian Reading Book, 2nd Ed. Leiden: Nederlands Instituut voor het Nabije Oosten.
Gardiner, Sir Alan. 1957. Egyptian Grammar: Being an Introduction to the Study of Hieroglyphs, Third Edition. Oxford, UK: Griffith Insitute.
Hoch, James E. 1997. Middle Egyptian Grammar. Toronto, Canada: Benben Publications.
Faulkner, Raymond O. 1962. A Concise Dictionary of Middle Egyptian. Oxford: Griffith Institute.
Shennun, David. 1977. English-Egyptian Index of Faulkner’s Concise Dictionary of Middle Egyptian. Malibu, CA: Undena Publications.
A new semester has begun at Tufts University, and with it a new program. This year, I officially begin my Master’s in Classical Archaeology, now that my internship is drawing to a close. I am still working at the MIT Museum, but in a limited role, for I am a TA of a course this fall, Classics 0037: History of Ancient Greece. Not only will I be grading in this course, but I am also teaching a discussion section once a week, with approximately 15-20 students from the larger seminar class. Additionally, I return to my position at the Tufts University Art Gallery, but with a change – guided tours! Now refreshingly trained in VTS, or Visual Thinking Strategies, I will be giving tours to groups throughout the year. This does not mean that my other duties have changed, however. Indeed, I am once again taking up the mantle of marketing, with a return to my weekly post “Devon’s Pick of the Week.” Originally posted to the Tufts University Art Gallery Facebook Page, I will also post them on this website, so keep an eye out for those!
As for courses, I am taking an advanced level Archaeology of Ancient Egypt and the Near East course, as well as a refresher course in Greek. I am also taking Latin, but as the summer intensive only prepared me for Latin 3 (undergraduate-level Intermediate Latin – as expected), I am taking an intense independent study with my adviser to get me from Latin 3 to what is effectively Latin 6 – a graduate-level Latin course in the Spring. I’m nervous, but I should be OK.
Wish me luck, and have a good semester everyone!
Hey! I know that’s it’s been awhile, but I’ve had a lot that I’ve been doing lately, including beginning the label writing of my displays at the Medford Historical Society. Yet now, without further ado, I give you my version of the mission statement of Warehouse 13 – one a bit more intense and academic than their standard “snag, bag, and tag” motto.
Warehouse 13 is a government-funded institution seeking to collect and secure artifacts of supernatural or super-scientific nature for the future of humanity. The objects preserved in Warehouse 13’s collection are considered to be dangerous in some fashion, whether through downsides of use, or through continual overuse. The Warehouse maintains their collections in seclusion to protect the outside world from their contained power. Similarly, Warehouse 13 seeks to protect the world from the evil use of its collections, periodically utilizing their objects to prevent broad-scale disaster. Through careful monitoring, and state-of-the-art, specialized preservation techniques, Warehouse 13 maintains the world’s only collection of powerfully dangerous artifacts.
Any successful museum and related institution needs a mission statement; the goal of which is to broadly define the nature of the institution. A good mission statement will generally describe the museum generally: a sweeping overview of its collections, and its primary goals of their use. However, their goal is not to enumerate every aspect of the institutional psyche – that is for the collection plan to completely flush out. The most important thing about a mission statement is that it is short – one should consider it as the so-called ‘elevator pitch’ of the institution. As such, mission statements are generally small paragraphs – approximately 3-4 sentences in my experience.  Here are a few examples from places I have worked: 
“The Milwaukee Public Museum, one of the largest in the United States, is a museum of human and natural history providing a dynamic and stimulating environment for learning, with something to excite and challenge visitors with a diversity of interests.” 
“As a teaching museum, the mission of the Wright Museum of Art advances the educational goals of Beloit College. Our principal purpose is to provide the college and local community with diverse opportunities to appreciate, interact with, and understand the visual arts through exhibitions, collections, and programming. The Wright promotes experiential learning through an engagement with art that is both visual and tactile. It also endeavors to promote a critical reading of art as it shapes our cultural and intellectual history.” 
“The Logan Museum of Anthropology is a teaching museum that engages the Beloit College community in learning about the world’s cultures, anthropology, and museology. Through our collections and programs we foster the integration of knowledge and experience to enrich liberal learning.” 
“Their purpose was to collect and preserve the history of this historic city, to correct the myths that had grown up over the years, to build a historical library, to collect the artifacts of local history, and to celebrate historical anniversaries.” 
* * *
Notice how each of these institutions has their own mission statement, tailored to the program. None is carbon-copied, but each have similarities of the others. First, notice how each are quite short – only the Wright Museum’s mission is considered ‘long,’ and even then it is only four sentences. Additionally, each provide a list of so-called ‘action words’ (doing words) instead of invoking a passive. These involve the basic tenants of museum work: collecting, preserving, and exhibiting artifacts, but others crop in as well. Both Beloit museums stress teaching as a core aspect of their identity – important as academic museums whose primary goals are to provide professional training for future museum careers. Furthermore, the Wright Museum stresses art in various forms and contexts – highlighting both its breadth of collection and need to differentiate from the Logan, whose focus is anthropological.
Meanwhile, the Milwaukee Public Museum takes careful note of their importance as an institutional by stressing its size and the importance of its collections, not to mention its broad collective scope of both “human and natural history” (emphasis mine). In this manner, the Milwaukee Public Museums sets itself apart as an icon of museums, placing it on par with such well-known competitors such as the Field Museum in Chicago.
Turning mission statements on its head, the Medford Historical Society instead stresses the research-oriented goals of the institution and a very specific goal for their use – “to celebrate historical anniversaries.” Medford makes no mention of exhibits in their mission, although they do have many displays on view. Yet, the mission is to reflect the prime purposes of the institution, and currently the volunteer-run organization is more focused on matters of researching local history, especially debunking local myths, over that of exhibitions. This is reflected in their mission, which currently emphasizes collection, preservation, and constructing an archive.
Clearly, mission and modus operandi should match. If there is ever a point where they deviate, then one or the other should be updated. The mission especially should be evaluated periodically. These are the things that I must keep in mind as I construct my own facsimile of a mission statement for Warehouse 13. On several instances, characters quip of their primary duties as: “snag, bag, and tag.” However, in practice there is so much more that the Warehouse is in charge of that their mission needs to be flushed out. Tune in soon for my rendition!
 Often, they will be incorporated with other tidbits of information, especially on an “About” page on a website. Of all the information that could be provided, only the initial summary serves as the mission statement.
 (in collections)
 I worked as a history intern between June and August of 2011 for my undergraduate minor in museum studies
 I worked as a Gallery Ambassador from May 2010 to May 2012, with a semester off (Spring 2011) for study abroad
 Between 2008 and 2012, I volunteered at the Logan Museum on several occasions. This included sorting and cleaning lithics as well as leading educational activities. I also volunteered to conduct an exhibit in the fall of 2010
 Logan Museum of Anthropology. “Mission”. Logan Museum of Anthropology, as subsidiary of Beloit College. © 2013 Beloit College. Last accessed July 18, 2013. http://www.beloit.edu/logan/about/mission/
 I am currently interning here as part of my museum studies graduate certificate program at Tufts University
 This was somewhat harder to find. It is not labeled specifically, but when you read the home page, it explains what the goals of the founders were, which is pretty analogous to now. The same wording is provided in the “About MHS” page. It is worth noting that the website is being updated.
Medford Historical Society.“The Medford Historical Society.” Last accessed July 18, 2013. http://www.medfordhistorical.org/
 For example, the pilot episode wherein Arty introduces Pete and Myka to the Warehouse.
Alexander, Jace (director). “Warehouse 13: Pilot.” Episode written by: Brent Mote, Jane Espenson, and David Simkins. First aired: July 7, 2009.
I know that I said I would start posting about my favourite show, Warehouse 13, but I have to break in first with an update about my internship at the Medford Historical Society. This summer, I have been doing a lot of work for them regarding their Civil War collection, even conducting research at the MOLLUS (Military Order of the Loyal Legion of the United States- a Civil War veterans’ organization for commissioned officers and their male descendants) archives housed at the Heritage Center in Philadelphia, PA. It was really enlightening in terms of their organizational structure, if not about Medford’s branch specifically. Sadly, while I was able to make some leads on some questions we at the Society have, I was not able to make any definite conclusions.
On my return, however, we began the daunting task of opening up the Civil War memorabilia cases (gifted to the Society in 1948 from the Grand Army of the Republic, or G.A.R., yet another Civil War veterans’ organization). The cases are heavy and contain a seemingly random assortment of objects (as you can see below):
(and before you ask the labels are, more often than not, completely unreadable)
These objects, laid out aesthetically, with no eye towards interpretation, had all been WIRED in, piece by piece, using copper. These wires have since embedded themselves into the wooden backing of the case or, in the cases of most of the soft lead bullets, into the artifact itself. The buttons are even more of a nightmare, since their shafts have been forced into the wood, almost as if they were sewn into the wood using the metal wire. And of course, with such a variety of objects contained in an enclosed space, things have been reacting horribly; most metals are rusting, if not completely oxidized already, the labels (as I mentioned above) are almost (or completely) disintegrating, and black mold runs rampant. Thus, we have been wearing gloves and surgical masks throughout the whole process.
(I’m not wearing gloves in this photo only because I needed the dexterity of my hands to remove the screws holding the frame for the glass in place. I assure you that I put them on as soon as the frames were removed)
And finally, there is the issue of how they were mounted on the wall. They literally hang by (an admittedly rather thick) wire on hook screws, holding them to the wall in the alcove. Upon removing the first pair of panels, we learned that the wall had been painted after the cases were hung, which means that the artifacts have been exposed to the fumes, which has not helped their deterioration.
Now that the pieces are being removed, this is at the forefront of our minds, and we are working carefully to ensure the survival of these delicate items, which span from metal work (like buttons and bullets), to fabric, paper, and even natural items like chestnuts (no kidding, one panel had 3!!!) Obviously, storage will be an issue as we continue the project, but my site supervisor has a plan involving compartmentalized blue boxes from Gaylord, so we should be well-prepared.
In the long run, the items from each panel will not be kept together, but rather sorted into groups, depending on the types of objects that they are. For now, however, panels are being kept separate, at least until each object has been entered into PastPerfect, which itself will take a long time. There are a total of 7 cases, with 13 panels of these items, and so far only three of the panels have been emptied. the rest are still hanging, ready to be removed.
Once the panels have been taken down and the objects are all removed, we will re-cover the back of the cases with a new, lighter, backing. the plan is to then create temporary displays regarding Medford, which can be changed out periodically. Civil War will still be present in the exhibitions, but on a smaller scale. Currently, the plan is to keep a small section of the alcove devoted to Medford in the Civil War. A large case in the main exhibition hall, which already offers a Civil War display, would be re-done to focus on specific elements of the Civil War; likely what the soldiers carried. In this way, the Medford Historical Society can more aptly focus on their mission of maintaining and showcasing Medford’s city history.