Earlier this year a game came out which is right up CREWS’s street. Heaven’s Vault is a narrative sci-fi archaeology game where the central mechanic sees the player attempting to decipher a writing system found in ancient inscriptions. It justifiably received a lot of praise from reviewers, offering up a pleasingly thoughtful alternative to the usual video-game portrayal of archaeologists as gung-ho action heroes who negotiate traps and fight mercenaries, Nazis and wild animals. Its developers, Inkle, are well-known for crafting careful and well-written branching narratives, so the exploration and decipherment elements are wrapped up in an appealing choose-your-own-adventure structure.
The 350th anniversary of the last entry in Samuel Pepys’s diary seemed a good occasion for a Twitter thread (with emojis). Here is the thread for those of you not on Twitter:
(The blog post referred to is HERE)
I was interviewed for an online BBC article recently, and asked to comment on the potential for using new technologies to help with deciphering and understanding ancient inscriptions. You can read the full article (which also features numerous cuneiformist colleagues, especially Émilie Pagé-Perron’s project in Toronto), here:
When I was little, I wanted to be Indiana Jones. I grew up on those films, and archaeology was the first profession I dreamed of. The more I watched them, the more I was drawn to some particular scenes that involve pieces of writing – looking back, it feels as though my career began when I became curious about how to become someone who could look at an ancient inscription and work out what it meant.
In the world of Indiana Jones, being able to read an inscription tends to be linked with cracking codes and solving mysteries. In some ways, that is what I do for a living now (how lucky am I?) – although not usually in life-or-death situations or while being chased by Nazis. Continue reading “Indiana Jones and the Ancient Inscriptions”
Welcome to the first in a series of posts on the objects taking part in our display at the Fitzwilliam Museum. You can read more about the setting up of the display, which is an exciting collaboration with the Fitzwilliam and the British Museum, in our previous post. The idea is to use a small set of objects from these museums (plus two replicas made by the CREWS team) to highlight what we are working on and to tell some of the stories behind writing in the ancient eastern Mediterranean.
One of the stars of the show is this limestone statuette base found in the remains of a religious complex at Idalion in Cyprus, known as the Idalion Bilingual, which is on loan from the British Museum for our display (you can see its BM listing HERE). This is inscribed with a dedication written in Phoenician (Phoenician consonantal alphabet) and Greek (Cypriot syllabic script). The Idalion Bilingual was the inscription that provided the vital key needed to decipher with Cypriot syllabic writing system, and is sometimes thought of as the ‘Rosetta stone’ of Cyprus. Continue reading “CREWS Display: The Idalion Bilingual”
I have been meaning to post something about the Bisitun (or Behistun) inscription for ages now, but never seem to get round to it. Noticing that today is International Mountain Day has finally spurred me to action – though this will have to be a short post for now because I don’t have time at the moment to do this wonderful monument the justice it deserves.
The inscription can be found 100m up a cliff, on Mt Behistun in present-day Iran. It’s huge (15 x 25 m) and incorporates images as well as trilingual text in Old Persian, Elamite and Babylonian. All three languages are written in different types of cuneiform, i.e. wedge-shaped writing that was adapted and developed by different societies of the Near East. By the time of this inscription (late 6th or early 5th C BC), cuneiform had already been in use for thousands of years, so what we are seeing here are very late manifestations of a multi-stranded tradition of writing with a very long history. Continue reading “Writing on High”
Philip has just had an article published on Eurogamer looking at writing systems, and the problem of decipherment, in computer games and the ancient world. You can read the whole thing here:
Last week I had the pleasure of going on a tour around the Pepys Library at Cambridge’s Magdalene College, where the book collection of famous 17th century diarist Samuel Pepys is kept – including his famous diary itself. Pepys wrote his diary in a sort of code, which got me thinking about how we decipher coded texts, a problem closely related to working with undeciphered ancient writing systems.
The bookplate Samuel Pepys carefully pasted into the books in his collection. By permission of the Pepys Library, Magdalene College, Cambridge.
Readers may be interested in a post I’ve written over on the Oxbow Books blog. It ties in with a recently published book, but I hope it’s interesting in its own right as a brief introduction to the syllabic writing systems of the Bronze Age Aegean and Cyprus (Cretan Hieroglyphic, Linear A, Linear B, Cypro-Minoan).
The main point is to show that what we mean by ‘undeciphered script’ can vary quite a lot, from writing systems where we have no idea about the values of signs to ones where we know what many of the signs stand for but do not understand the underlying language. And it’s also just a little bit about how I live up to my lifelong dream to be Indiana Jones…
You can read the post HERE.
~ Pippa Steele (Principal Invesitgator of the CREWS project)