'Project code-named Humpty': Creation, Destruction and Reconstruction. An art and archaeological science collaboration.

“代号为Humpty的项目”[P c-n H]是一个叙事艺术过程，由艺术家Kate约翰逊构思，以响应“碎片遗产”[FH]项目的更广泛目标，该项目授予布拉德福德大学的考古科学，主题为：数字化转型。这是一个项目，在'章节'交付带来的艺术家和考古学家进入一个共享的创造性和科学竞技场。艺术家用粘土创作了一个10英尺高的具象雕塑。它将用一种独特的材料铸造，适合在悬崖上故意破碎，目的是产生不受内部金属电枢影响的碎片。考古学家将像从考古遗址中一样检索碎片，并通过他们在FH项目中开发的创新重建和数字可视化技术手动重建碎片。从表面上看，创造一个巨大的雕塑，只是为了把它分成几块，然后把这些碎片重新组合在一起，这似乎是一个轻浮的冒险。虽然这个项目涉及一定程度的风险，但它不是一个轻率的承诺。P c-n H函数形式上和概念上都是完整的，它被设计成允许多层解释。它促进了对我们与我们制作的对象的关系的反思，技术时代手工技能的本质以及与艺术对象相关的价值和美的本质。它关注的是当今和整个考古记录中人类行为的悖论。它将有助于向更广泛的公众以及遗产从业者，策展人，对象处理者和挖掘者加强数字转型主题的更广泛遗产。P c-n H触及AHRC精神的核心，支持旨在增强“对我们时代，我们的能力和我们的遗产的理解”的项目。与项目合作伙伴布拉德福德联合国教科文组织电影城合作，将制作短片记录每个阶段的过程。这些电影的制作将为艺术家和考古学家提供学术界以外的合作机会。与更广泛的公众接触将通过在一个开放的城市空间放映电影来实现，预计客流量至少达到30 000人。在Swinden采石场举行的现场碎片/碎片回收活动将容纳500至2000人，通过音乐将人群参与其中，活动将被拍摄下来。P c-n H扩展了当代艺术的主题，并为日益增长的艺术和考古合作企业做出了重要贡献，同时拥抱更广泛的跨学科和非学术交流。

'Project code-named Humpty' [P c-n H] is a narrative art process, conceived by artist Kate Johnson in response to the wider goals of the 'Fragmented Heritage' [FH] project, awarded to archaeological sciences at the University of Bradford, under the umbrella of the theme: Digital Transformations. It is a project, delivered in 'chapters' bringing artist and archaeologists into a shared creative and scientific arena. A 10' high figurative sculpture has been created by the artist in clay. It will be cast in a uniquely developed material suitable for deliberate fragmentation over a precipice, with the purpose of yielding fragments which have not been influenced by an internal metal armature. Archaeologists will retrieve the fragments as if from an archaeological site and manually reconstruct the fragments, informed by innovative reconstruction and digital visualisation technologies they have developed on the FH project. When taken at face value, creating a monumental sculpture only to break it into pieces with the goal of putting the pieces back together again might seem a frivolous venture. Although the project involves some degree of risk, a frivolous undertaking it is not. P c-n H functions formally and conceptually and in its entirety, it is designed to allow for multiple layers of interpretation. It promotes reflection on our relationship with the objects we make, the nature of manual skill in a technological age as well as the nature of value and of beauty in relation to the art object. It concerns the paradoxes of human behaviour today and throughout the archaeological record. It will serve to strengthen the wider legacy of the Digital Transformations theme to the wider public as well as to heritage practitioners, curators, object handlers and excavators. P c-n H touches the core of the AHRC's ethos in supporting projects serving to enhance 'understanding of our times, our capacities and our inheritance'.In collaboration with Project Partner Bradford UNESCO City of Film, short films will be made documenting the process of the piece at each stage. The making of these films will give the artist and archaeologists opportunities for collaboration outside of academia. Engagement with the wider public will occur through the screening of the films in an open city space reaching an expected footfall of a minimum of 30,000. A live fragmentation/fragment retrieval event at Swinden Quarry accommodating a crowd of between 500 and 2000 people will incorporate crowd participation through music and the event will be filmed. P c-n H extends themes in contemporary art and importantly contributes to the growing genre of art and archaeology collaborative ventures whilst embracing wider interdisciplinary and non-academic communication.