Tag Archives: British Museum

In Ñspel: The Guardian view on the Rosetta Stone: a monument to code-breaking

The Rosetta Stone in the British Museum. Photograph: Amir Makar/AFP/Getty Images
Ɖ R’zeta Ston in ɖ Britiś Ḿziym. Foṭgraf: Amir Makar/AFP/Geti Iṃjz

Ɖ Gardịn vy on ɖ R’zeta Ston: a mońmnt t codbrecñ

(Transcription of an editorial published in the Guardian on 30 September 2022)

F it wr’nt fr hymaṇti’z paśn fr criptogṛfi, wn v ɖ wrld’z most feṃs arṭfacts wd jst b a brocn slab v ston

Frîde 30 Sptmbr 2022

Ɖs wīc’s 200ʈ aṇvrsri v ɖ dīcodñ v ɖ R’zeta Ston z jeṇretñ a rer levl v petriotic xîtmnt. A seḷbreśn z undr we in Ījipt, ẃć hz bn ptiśnñ fr ɖ rtrn v ɖ ston. A sumr v luv fr its dcodr, Jean-François Champollion, culṃnets in Frans ɖs wīc wɖ ɖ oṗnñ v an xbiśn at ɖ Louvre’z saṭlît ḿziym in Lens. Mnẃl, ɖ Britiś Ḿziym – ẃr it hz lein in stet sins docñ on Britiś śorz – z girñ p fr its ǒn blocbustr xbiśn.

Yt ɖ arîvl v ɖ “vri krịs ston” in ɖ YC in 1802 woṛntd onli ɖ brīfist v mnśnz in ɖ Lundn pres, ẃć rportd ɖt it wz amñ a śiplod v Ijipśn antiqtiz c’lectd bî ɖ Frenć armi ɖt hd bcm “ɖ proṗti v ɖ concrrz”. Ɖz wr spôlz v a wor, nt agnst ɖ Ijipśnz bt agnst Npolionic forsz, sînd ovr undr ɖ Trīti v Aḷxandria.

Ɖ ston hd bn dscuvrd nir ɖ tǎn v R’zeta, nǎ Raśīd, in ɖ Nîl dlta jst ʈri yirz rlịr. V ɖ ʈri scripts wɖ ẃć it wz inscrîbd – Grīc, Coptic n hîṛglific – onli Grīc wz comprihnsbl; it wd tec anɖr tū decedz fr Champollion t hv ɖ yrīca momnt ɖt wd nt onli mc ɖ ston intu wn v ɖ wrld’z most feṃs arṭfacts, bt wd ad a ny deḟniśn t ɖ Ñgliś-lanḡj dix́nri. R’zeta Ston: brecʈru or dscuṿri ɖt pṛvîdz crūśl nolij fr ɖ solvñ v puzlz or probḷmz.

In its meṭforicl sns, ɖ ston bcem a cōlñcard fr ɖ sayns v codbrecñ: n it z in ɖs, rɖr ɖn eni qoḷti intrinzic t ɖ objict itslf, ɖt its majic lîz. Champollion’z dīcodñ v a riyli rɖr dul dcri bî a caunsl v prīsts, afrmñ ɖ royl cult v ɖ 13-yir-old Toḷmi V, pṛvîdd a ci t ɖ puzl v hîṛglifics, n ɖr-bî opnd ǎt a hol ny vista in ɖ studi v enćnt Ijipśn culćr.

Hvr, sạntific brecʈrūz r hardli evr ɖ rzult v a sngl momnt v insṗreśn, n Champollion’z wz no xpśn. Sevṛl hieroglyphic caṛctrz hd bn îdnṭfaid bî Aṛb scolrz az far bac az ɖ 10ʈ snć̣ri. Mnẃl, Toṃs Yuñ, a doctr n fizsist feṃsli dscrîbd az “ɖ last man hu ń evrʈñ”, wrct ǎt ɖt sǎnd pleid a rǒl (alñsd picṭgramz n idiogramz), wɖ a siriz v hîṛglifs sǎndñ ǎt ɖ nem Toḷmi. Ɖo Yuñ’z fîndñz dd’nt g eni frɖr, h publiśt ɖm in ɖ Insîcḷpīdia Britanica in 1819, so ɖe wd hv féd intu ɖ Frenć scolr’z ʈncñ.

Ʈru LGBTQ+ turz, ẃć r śortli t rīc̣mns, ɖ Britiś Ḿziym olso rīsntli bgan t onr anɖr cntribytr t ɖ ston’z hisṭri: Wiłm Jon Báncs, a wlʈi ge Ījiptoḷjist hu instōld an oḅlisc on hiz Dorsit istet n wz rli t sjst ɖt ɖ ʈri txts on ɖ R’zeta Ston mt ol se ɖ sem ʈñ.

Ɖ aṇvrsri śd nt jst b sìn az ɖ stori v wn briłnt codbrecr n a brocn slab v granodayrît, bt az a ćans t seḷbret ɖ c’labṛtiv jīńs v criptogṛfi itslf acrs continnts n snć̣riz.

Instroduction to Ñspel

EL ANATSUI │ October Gallery, London → 28 March 2015

“El Anatsui z wn v ɖ most xîtñ cntmprri vižl ātists v âr tîm. Imrjñ fṛm ɖ vîbṛnt pôst-indipndns ātmuvmnts v 1960z n ’70z West Africa, h hz gn on t rsiv wîdspred inṭnašnl aclem fr hiz sculpčṛl xperimnts wɖ mīdia, fwm n tṛdišn. Octobr Gaḷri hz bn wrcñ clôsli wɖ El Anatsui sns 1993.

Ʈrt a dstnĝst forti-yir c̣rir az bʈ sculptr n tīčr – az Pṛfesr v Sculpčr n Dīpātmntl Hed at ɖ Ynivrṣti v Nîjiria, Nsca – El Anatsui hz adrst a vast renj v sošl, ṗlitcl n historicl cnsrnz, n imbrest an īqli dvrs renj v mīdia n prôsesz. Mcñ ys v tūlz az dvrs az čênswz, weldñtwčz n pârtūlz, az wel az dveḷpñ a renj v prôsesz sč az ɖ intric̣t n medittv sowñ prôses v hiz lêtr wrc, h hz šêpt fând mtirı̣lz ɖt renj fṛm casava grêtrz, rêlwêslīprz, driftwŭd, ayņêlz n običri printñplêts, aḷmiňm botltops, ets. t criet a wîd vrayti v novl sculpčṛl fwmz. El Anatsui’z îconic botltop insṭlešnz hv pṛvoct a frenzi v inṭnašnl atnšn btwn 2002 n ɖ preznt, wɖ instityšnz qwñ t aqîr ɖz mezṃrîzñ wrcs. Crietd fṛm mni ʈâzndz v aḷmiňm botltops wîrd tgɖr wɖ copr, ɖz magnifisnt wōlsculpčrz cntiny t xît n amez ōdı̣nsz ẇrvr ɖe r xibitd. Hiz sculpčrz hv bn c̣lctd bî mêjr inṭnašnl myziymz, includñ ɖ Britiš Myziym, Lundn, ɖ Sẽtra Põpidu, Paris, ɖ D’Yuñ Myziym, San Fṛnsisco, ɖ Smiʈsôňn Instityšn, Wošñtn, ɖ myziym Cnst Palast, Düsldwf, n mni uɖr prestijs instityšnz bsdz.

Strained Roots (detail), 2014. Aluminium and copper wire, size variable. Photo: Jonathan Greet
Strained Roots (detail), 2014. Aluminium and copper wire, size variable. Photo: Jonathan Greet

Wn v El Anatsui’z šimrñ botltop wōlhaññz, Freš n Fêdñ Memriz (2007), cōzd a qayt sensešn ẇn, jrñ ɖ 2007 Venis Bienāle, it trnsfwmd ɖ historic Palatso Fwtūni ẇn drêpt upn its âtr fsād. At ɖ Dbî Ātfer, 2010, Octobr Gaḷri prizntd anɖr lj-scêl mastrpìs – In ɖ Wrld, bt D’nt nô ɖ Wrld (2009)t grt aclem, n ɖ wrcs hv cntinyd t xpand in sîz, v lêt, n hv bn yzd t adwn ɖ âtsd wōlz v verı̣s myziymz n gaḷriz arnd ɖ wrld. Ɖz ljr xtrnl insṭlešnz includ: Ôzônleyr n Yam̦and on ɖ Old Našnl Gaḷri v Brlin (2010), Brôcn Brij I, on ɖ Mze Gałera, Paris (2012), Brôcn Brij II on ɖ Hî Lîn, Ny Ywc, (2012/13) n TSIATSIA – srčñ fr cnẋn (2013), El Anatsui’z ljst botl-top wrc t dêt. Ɖs šimrñ taṗstri v lît imbelišt ɖ fsād v ɖ Royl Acaḍmi v Āts, Lundn, jrñ its 245ʈ Suṃrexibišn.

In an inṭvy wɖ Octobr Gaḷri, El Anatsui nôtd, Ɖ amezñ ʈñ abt wrcñ wɖ ɖz mtalic ‘fabrics’ z ɖt ɖ poṿti v ɖ mtirı̣lz yzd in no we pricludz ɖ telñ v rič n wundrfl stwriz.”

AG+BA (detail), 2014.   Aluminium, copper wire and nylon string,   size variable. Photo: Jonathan Greet
AG+BA (detail), 2014. Aluminium, copper wire and nylon string,
size variable. Photo: Jonathan Greet

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