Analysis and clinical findings of cases positive for the novel synthetic cannabinoid receptor agonist MDMB-CHMICA

Context: MDMB-CHMICA is a synthetic cannabinoid receptor agonist which has caused concern due to its presence in cases of adverse reaction and death. Method: 43 cases of suspected synthetic cannabinoid ingestion were identified from patients presenting at an Emergency Department and from post-mortem casework. These were subjected to liquid-liquid extraction using tertiary-butyl methyl ether and quantitatively analysed by Electospray Ionisation Liquid Chromatography – tandem Mass Spectrometry. For positive samples, case and clinical details were sought and interrogated. Results: 11 samples were found positive for MDMB-CHMICA. Concentrations found ranged from <1 – 22 ng/mL (mean: 6 ng/mL, median: 3 ng/mL). The age range was 15 – 44 years (mean: 26 years, median: 21 years), with the majority (82%) of positive results found in males. Clinical presentations included hypothermia, hypoglycaemia, syncope, recurrent vomiting, altered mental state and serotonin toxicity, with corresponding concentrations of MDMB-CHMICA as low as <1 ng/mL. Duration of hospitalisation ranged from 3 – 24 hours (mean: 12 hours, median: 8 hours). Discussion: The concentration range presented in this case series is indicative of MDMB-CHMICA having a high potency, as is known to be the case for other synthetic cannabinoid receptor agonists. The age range and gender representation were consistent with that reported for users of other drugs of this type. The clinical presentations observed were typical of synthetic cannabinoid receptor agonists and show the difficulties in identifying reactions potentially associated with drugs of this type. Conclusion: The range of MDMB-CHMICA concentrations in Emergency Department presentations (n=9) and post-mortem cases (n=2) was reported. No correlation between the concentration of this drug and clinical presentation or cause of death was reported in this sample. However, the potential for harm associated with low concentrations of MDMB-CHMICA and the symptoms of toxicity being non-specific was highlighted

Contemporary Art and the Display of Ancient Egypt

Artistic interventions are now a popular means of delivering fresh perspectives on museum displays, including in galleries devoted to ancient Egypt. Installations are commonly said to put the past and present ‘into dialogue’ with each other, offering external critical voices on the work of decolonisation. Contemporary Art and the Display of Ancient Egypt argues that the contemporary and the ancient do not necessarily inform each other. Instead they are mediated by, and mediations of, the museum that produces them. Rather than explore how contemporary artists have been inspired by Egypt, this book examines how they have shaped the language and discourse around study of the Egyptian past by looking at the wider field of public display in which both have been historically situated. Building on this critical history of practice, the book draws from experiments in bringing contemporary artistic sculptures, conceptual pieces, multimedia films, sounds, smells and performances into galleries: at the British Museum in London, the Egyptian Museum in Turin and the State Museum of Egyptian Art in Munich. These are used to explore what contemporary art does in these spaces, the motivations for inviting artists in, and the legacies of those interventions. It ends with a reflection on how academics and curators can be involved in the creative process and how artists contribute to academic research

The Petrie Museum of Egyptian Archaeology: Characters and Collections

The Petrie Museum of Egyptian Archaeology first opened its doors in 1915, and since then has attracted visitors from all over the world as well as providing valuable teaching resources. Named after its founder, the pioneering archaeologist Flinders Petrie, the Museum holds more than 80,000 objects and is one of the largest and finest collections of Egyptian and Sudanese archaeology in the world. Richly illustrated and engagingly written, the book moves back and forth between recent history and the ancient past, between objects and people. Experts discuss the discovery, history and care of key objects in the collections such as the Koptos lions and Roman era panel portraits. The rich and varied history of the Petrie Museum is revealed by the secrets that sit on its shelves

Introduction: Museum Archaeology

This chapter outlines the rationale for a volume devoted to Museum Archaeology and argues that it is the concept of ‘archaeological context’ that provides a disciplinary centre. This entails a shift from curation of single objects to the curation of relationships among objects, archives, fieldsites, and people. Museum Archaeology can and should be a critical awareness of the histories and agencies that form assemblages, a reflexive practice for ongoing archaeological documentation and analysis, and a responsive, sensitive, and community-engaged approach to interpretation and access. How these principles are developed through the volume is presented here, alongside a summary of the seven themed sections: (1) collecting, categorizing, and challenging histories; (2) contemporary agencies of curation and communities of practice; (3) the spaces and places of museums; (4) alternative materialities: beyond finds; (5) fieldwork in the museum; (6) exhibitionary cultures; an

BLIND SPOTS IN MUSEUM ANTHROPOLOGY: Ancient Egypt in the Ethnographic Museum

In the past few decades, the literature in museum anthropology has advocated efforts to be more transparent about its colonial origins, address the historical injustices of imperial collecting, and rethink display narratives in collaboration with source communities. In this paper, however, we question the extent to which the epistemic and political predicaments underlying ethnographic representations are being fundamentally and systematically confronted. As we highlight with the example of ancient Egyptian material, it is apparent that significant parts of museum holdings remain freighted by unquestioned colonial and Eurocentric discourses. We employ a case study of the Egyptian material redisplayed in the “World Cultures” gallery of the Horniman Museum, London, to demonstrate how the ethnographic museum continues to unwittingly produce “silences” around collections. To redress the lacunae we provide examples of the way in which this body of material could be more meaningfully integrated within museological discourses that have informed the rethinking of other aspects of world culture

“Artefacts of Excavation”: A Transnational Perspective on Ancient Egypt in the Modern World

Report

Dialogues between Past and Present? Modern Art, Contemporary Art Practice, and Ancient Egypt in the Museum

Whenever twentieth-century modern art or new contemporary artworks are included amongst displays of ancient Egypt, press statements often assert that such juxtapositions are ‘surprising’, ‘innovative’, and ‘fresh’, celebrating the external perspective they bring to such collections. But contemporary art’s relationship with museums and other disciplines needs to be understood in a longer-term perspective. Pairings of twentieth- and twenty-first-century artistic works with objects of antiquity is an activity that has been undertaken for more than a century in what has been a relatively long period of mutually reinforcing influences between modern/contemporary art, museum display, the art market, and Egyptian heritage. Together, they have decontextualised ancient Egyptian culture and shaped the language and perspectives of scholars, curators, and artists. In this paper, rather than considering how artists have been inspired by ancient Egypt, I will give a few examples of how more recent art practices from the late nineteenth century onwards have impacted the language and discourse of Egyptology and its museum representation. Then, using more recent artist engagements with the British Museum, I argue for greater interdisciplinary dialogues between artists and Egyptologists, as both take more critical stances towards research that recontextualises the power and agency of collections, representation, and knowledge production

Contemporary Art and the Display of Ancient Egypt

Artistic interventions are now a popular means of delivering fresh perspectives on museum displays, including in galleries devoted to ancient Egypt. Installations are commonly said to put the past and present ‘into dialogue’ with each other, offering external critical voices on the work of decolonisation. Contemporary Art and the Display of Ancient Egypt argues that the contemporary and the ancient do not necessarily inform each other. Instead they are mediated by, and mediations of, the museum that produces them. Rather than explore how contemporary artists have been inspired by Egypt, this book examines how they have shaped the language and discourse around study of the Egyptian past by looking at the wider field of public display in which both have been historically situated. Building on this critical history of practice, the book draws from experiments in bringing contemporary artistic sculptures, conceptual pieces, multimedia films, sounds, smells and performances into galleries: at the British Museum in London, the Egyptian Museum in Turin and the State Museum of Egyptian Art in Munich. These are used to explore what contemporary art does in these spaces, the motivations for inviting artists in, and the legacies of those interventions. It ends with a reflection on how academics and curators can be involved in the creative process and how artists contribute to academic research. Praise for Contemporary Art and the Display of Ancient Egypt ‘This is an important and innovative study on the recent history of incorporating art installations in galleries of Egyptian antiquities. Offering a thoughtful, critical analysis of the ways in which contemporary art and ancient artefacts are juxtaposed in museum settings, the book calls for a more nuanced and politically engaged practice of collaboration between artists and Egyptologists.' Stephanie Moser, University of Southampton ‘Archaeologist Alice Stevenson provides a thoughtful consideration of the goals and intent behind contemporary art interventions in exhibitions of ancient Egyptian art. She challenges the curators, scholars and museum professionals who design these exhibitions to move beyond the simplistic ancient art/contemporary art juxtaposition, and instead use contemporary art interventions to create spaces for both artistic and academic insight and inspiration. I look forward to such dialogue!' Kara Cooney, UCL

The Petrie Museum of Egyptian Archaeology: Characters and Collections

The Petrie Museum of Egyptian Archaeology first opened its doors in 1915, and since then has attracted visitors from all over the world as well as providing valuable teaching resources. Named after its founder, the pioneering archaeologist Flinders Petrie, the Museum holds more than 80,000 objects and is one of the largest and finest collections of Egyptian and Sudanese archaeology in the world. Richly illustrated and engagingly written, the book moves back and forth between recent history and the ancient past, between objects and people. Experts discuss the discovery, history and care of key objects in the collections such as the Koptos lions and Roman era panel portraits. The rich and varied history of the Petrie Museum is revealed by the secrets that sit on its shelves