Egypt. But as you, as you find things, it can, does trouble start when you first discover things in many contexts. Once you find something, you have to immediately start to worry about having changed its context, having changed its environment, and is it going to [SOUND] fall apart on you or, how does that work in Egypt? >> This is absolutely a concern in Egypt too, [CROSSTALK] absolutely. [CROSSTALK] Of course and once something is exposed, it's very windy, for instance. Something that's fragile in the wind, if you've got a plas, plastered surface or you've got cloth that is completely dessicated, after how many 1000 years, it can go poof in the wind. >> I didn't realize that, okay. >Conservation is then. >> Right there in the field. >> Absolutely. >> At the moment. >> So well, this is our first duty if we are going to understand what we find, we have to make sure that its preserved in the best condition as possible. So, we always have conservators with us. And, frequently, it is necessary to intervene in the field even before we remove something for analysis. One of the things we've been doing a lot with lately in Egypt is using a substance called cyclododecane. Which is. >> Spell that, [CROSSTALK] [LAUGH]. Cyclododecane please. >> Don't ask me to spell that. Our conservators call it Magic Wax. >> [LAUGH] I like that better. >> [LAUGH] It's actually inconvenient, in cosmetics and things. You find that, as so many things that archeologists use, it had [CROSSTALK] another use first. >> Yeah well, cosmetics is better than you know, military developments. >> [CROSSTALK] I see, that's probably true with our survey equipment and things. >> Oh that's true. >> But in terms of cyclododecane, it has one of the things that is super great about it, it's, it's a solid wax that doesn't go through a liquid phase necessarily. So, it goes straight from being solid to being a gas. And what this does, means is that it can be put on something without interfering with a substance itself and it will then disappear. It's sublimates, it simply goes into the air. >> Incredible. >> So, you can melt it. So, what we do is we take a burner out into >> Okay. >> the field. We melt it. For instance, one, one very recent application of this, that my grad students were working on, we find ibis mummies, the mummified birds. They're very, very dry at this point. And the cloth [CROSSTALK] is really brittle and so to lift them without damaging the cloth is extremely difficult. >> Mm-hm. >> Now we find that we have hundreds of these and we're not quite as careful. But when we first were finding them we were just, any little fiber of this cloth we had to be. >> [NOISE] You know, yeah, yeah Okay. >> Exactly. And so we would take out the cyclododecane and we would melt it on site, melt it over a burner. And then use paint brushes very, very carefully to apply a coat of this. Sometimes you can put a coat of, of a layer of medical gauze on top then. And then put some more wax so that you give it a structure. >> Okay, give it a backing as it were. >> Absolutely, we do this with painting plaster. >> Okay. >> For instance too. >> Uh-huh. >> In the field. And then it solidifies, and you can remove it. You can take it back to the house and leave it to, to sublimate. And, and once the wax is sublime, then you have, you have your object in there. It's been no chemical change in the object. The only change is that you've been able to remove it to a different place. >> Now that's interesting though, I've heard of conservation methods that, you know, seem suitable and safe in their time that are subsequently found to be maybe not such a good idea in a, you know, sort of fixing the Parthenon with iron clamps, which then rust and don't do well in earthquakes and. But, but we're good on this here? >> Well, you're completely correct, this is the ethic of conservation now, is don't do any, any intervention that can be undone. And in a way this isn't an intervention, this is simply strengthening something long enough to remove it. Any, any further consolidation that's going to be done, is going to be done back at the house to preserve it for a long time. You can't actually see an artifact when it's covered in this wax at all. We need the wax to go away in order to study it. But simply in terms of getting it from the field into a stable environment in the house. >> How long does that take? Let's say you're coming out of, you think, oop, I ibis mummy, bring the magic wax. Just, I'm just curious is that like a ten minute job, a. >> [CROSSTALK] It depends on the size and the condition of what you are looking at. It can take, really it can take ten minutes. It can take three hours. So. And then you've got to put a backing on and remove it, remove it responsibly. But of course not everything we find is nearly so fragile. >> No.
>> So, I mean you know.
>> Yes thank God for potsherds. >> Exactly. >> And then they go. And so your, your basically your, your once you get things out, they go back to your, your, your, your palatial dig house, or? >> Oh, and it is a palatial dig house. You know, there are really two categories of things, of course. There are the things that are never going to be removed from the site. Architecture, we're not going to take offsite, so we have to deal with conservation of that or recording of it, analyzing it in situ. >> Okay. >> And then we have the artifactual material, which is going to go back to the house. >> The, the first stop for us is simply to analyze it. So we bring it to the house where we have work rooms inside, but we also have a yard where we have little trays, if you will. > Mm-hm, mm-hm, mm-hm. >> That are, are designed for us to lay out ceramics or lithics by context. >> Mm-hm, okay. >> And record them. Wash, record, draw. >> So keeping. >> Context follows the artifact all the way through the system. >> All the way through the system. [CROSSTALK] Of course, otherwise there's no point in collecting it. >> You'd be surprised. Well, yeah. No, good. So everything comes back to the house. Every, the ceramics, I mean, not the architecture. But everything but architecture back to the house and then sort of triage. Certain people work on certain things or? >> Absolutely. And one of the most important jobs in the house is that of the registrar. Who is the person who performs the triage and say's okay, what is needed? >> Yeah. >> What type of analysis? What type of storage? >> Mm-hm . >> Making sure that the con, context numbers get into the database. >> Mm-hmm. >> So, because of course this is what we're after, we're after the information, not the stuff itself. >> Not the stuff itself. There's, you really need a very strong minded person to be registrar, because, sometimes you're tired, it's hot. You've been out there digging, they've been sitting inside having a good time, drinking lemonade. And they'll come after you, saying, where did this, are you sure, did you record this? And you sometimes you want to throttle them, but they're the ones who keep order in the system. And you have to think about like a forensic chain of evidence almost. >> You do absolutely, you have to have someone you can completely trust in that position. >> You said architecture has to, obviously has to stay and you in some cases, do you always conserve architecture or are there other ways to, you know, preserve it. Other ways to leave it alone. >> Most of the architecture that I have been finding is mud brick and mud brick is really - it's not a particularly strong material. You can't walk all over mud brick and expect it to look the same. >> Right. >> On the one hand there are buildings that are four thousand plus years old of mud brick that are still standing. On the other hand they can't become tourist attractions in the ordinary sense. And in... >> Yeah, people. Yeah, touching, walking, okay. >> Absolutely, [CROSSTALK] they can't deal with traffic. And so one of the things we do is we back-fill at the end of every season, every unit that we've excavated is filled in. The first layer we put in is sifted sand because that's going to prot, protect and preserve the architecture as best as possible. >> Okay. >> But if we need to see it again, we'll uncover it again. It really would, we can see deterioration. Even in the span of a single season with something that is exposed. And so it simply would be irresponsible not to cover things up. >> Do you throw like a modern coin or something? When, when, when people back fill, which is good archaeological practice. There's always this, yeah we gotta put something in to show that we were there, there has been a disturbance of this site. So people don't say, oh, this is strange. You know, thinking that, you know, that there had never been an archaeologist involved, but clearly something has happened. So what do you, what do you do? >> Our favorite is a Twinkie. There's, there's a Hostess plant in Egypt and the, there are Twinkies on site every day, every breakfast. We have Twinkies after breakfast, so we toss a Twinkie in. >> And the Twinkie will preserve? >> You better believe it. >> I knew Twinkies weren't real. I knew Twinkies were. Oh my God. >> And the wrapper, of course, Totally inorganic, that. >> [LAUGH] And where does this stuff live? Where, you know? >> Sure, so there are, architecture is going to live underground, [CROSSTALK] right, with it's happy Twinkie. >> With the happy Twinkie, yeah. >> Absolutely, but the artifacts that we find, really they're are sort of two levels of preservation for these. The things that are sort of bulk, bulk artifacts, like ceramics. >> Uh-huh, uh-huh. >> those live in the house until they're analyzed. >> Okay. >> After they've been analyzed, very often, we re-bury the shards. >> in, in, in, just, a pottery dumb near the house. >> In context still, or? >> No, they're no longer in context. Once, that's going to be an interesting thing for someone to find in the future. >> Uh-huh, that's an interesting strategy. That's, I'm not sure if every country would let you do that, but. >> Sure. I mean, it's just a dump, more or less. >> Yeah, okay. >> but, because there isn't storage space for all of this, with so many projects working at Abydos with so much produced, that, you, you can you can see our sherd yard from Google Earth, in fact. >> We're going to look for that. >> So, it's a lot of stuff, it's a lot of stuff and we do need to get rid of it once we've analyzed it. Now, somethings, some small finds are not going to be gotten rid of. >> Okay. Yeah, what do you keep? Or what? >> Human remains, for instance, we usually keep. >> Human remains. >> And small artifacts that are not ceramic, or shawbtis which sometimes are ceramic. Little statuettes, [CROSSTALK] amulets, things like this, absolutely. Stone tools we tend to keep, they're not in as much bulk. >> Things that are particularly fine or of value, actually go into the government magazines so that they're locked up. >> And are they in Abydos. There's a. >> No, they're not in Abydos. There's a, their regional magazines and regional museums in fact all over Egypt. And very fine things end up in museums. >> What percentage would you say of all, well, all the stuff you found in Abydos actually makes it you know, to. >> Percentage. >> To the big time you know. >> Percentage by weight, percentage by number. >> Any, any number you want to give me. >> Sure. I tend to register between about 50 and 300 objects. It really depends on what we're finding. >> Uh-huh, uh-huh. >> After a five week season, so. >> Mm-hm. >> That's very small, compared to what we find, we find tens of thousands of sherds. >> Right, and is there anything on display in a big museum you can point out and say, you know. My project, my team found that. >> There are things that are slated to go on display when the conservation is complete. And I still have ask, access to these artifacts. So once they're in the government magazine, if I need to study them, I simply put in a permit application and I'm allowed to. >> That's very good.