Dr. Max Fomitchev-Zamilov

Ball bearing supported. Porter's wheel is a piece of high technology. Right. Because it's straight. So the table itself is straight and rigid, which if you do it out of wood, it will be all curved. If you do it out of clay, it will be curved. And in a ball bearing, of course, you know. That's a 20th century technology.

So I would put the thesis of this work is this. I've developed a numerical analysis technique that is applicable to round or cylindrical artefacts. And it involves a 3D scan of this artifact that you slice into circular slices and you determine how round and how concentric those slices are. And out of how round and how concentric those slices are, you build the quality metric.

So I would put the thesis of this work is this. I've developed a numerical analysis technique that is applicable to round or cylindrical artefacts. And it involves a 3D scan of this artifact that you slice into circular slices and you determine how round and how concentric those slices are. And out of how round and how concentric those slices are, you build the quality metric.

So I would put the thesis of this work is this. I've developed a numerical analysis technique that is applicable to round or cylindrical artefacts. And it involves a 3D scan of this artifact that you slice into circular slices and you determine how round and how concentric those slices are. And out of how round and how concentric those slices are, you build the quality metric.

That's basically a sum of roundness and concentricity of outer and inner surfaces, and how these surfaces are concentric, you know, between each other. So you add all of those up and you get a number. And then once you have a scans of a bunch of objects and you apply this algorithm to every one of them, you get a distribution.

That's basically a sum of roundness and concentricity of outer and inner surfaces, and how these surfaces are concentric, you know, between each other. So you add all of those up and you get a number. And then once you have a scans of a bunch of objects and you apply this algorithm to every one of them, you get a distribution.

That's basically a sum of roundness and concentricity of outer and inner surfaces, and how these surfaces are concentric, you know, between each other. So you add all of those up and you get a number. And then once you have a scans of a bunch of objects and you apply this algorithm to every one of them, you get a distribution.

And it turned out that in objects that I analyzed, which were 22 objects from your collection, from Matt Bell's collection, three modern objects made on a lathe, and two manually made objects by Olga Vdovina, it turned out that they all fall into two very distinct categories, and I called them precise class and imprecise class.

And it turned out that in objects that I analyzed, which were 22 objects from your collection, from Matt Bell's collection, three modern objects made on a lathe, and two manually made objects by Olga Vdovina, it turned out that they all fall into two very distinct categories, and I called them precise class and imprecise class.

And it turned out that in objects that I analyzed, which were 22 objects from your collection, from Matt Bell's collection, three modern objects made on a lathe, and two manually made objects by Olga Vdovina, it turned out that they all fall into two very distinct categories, and I called them precise class and imprecise class.

And imprecise class is entirely consistent with manual labor using stones and stick. And all Gavdovina's vases fall squarely into that category. And 11 artifacts from your collection are consistent with machining technology as being, you know, turned on a lathe. So three modern artifacts fall into that category. And some of your vases, like this dolerite vase and and one of the granite vases.

And imprecise class is entirely consistent with manual labor using stones and stick. And all Gavdovina's vases fall squarely into that category. And 11 artifacts from your collection are consistent with machining technology as being, you know, turned on a lathe. So three modern artifacts fall into that category. And some of your vases, like this dolerite vase and and one of the granite vases.

And imprecise class is entirely consistent with manual labor using stones and stick. And all Gavdovina's vases fall squarely into that category. And 11 artifacts from your collection are consistent with machining technology as being, you know, turned on a lathe. So three modern artifacts fall into that category. And some of your vases, like this dolerite vase and and one of the granite vases.

And I'm 10 times more precise in terms of this quality metric than the contemporary lathe-made, you know, gift shop artifacts. You know, granted, gift shop artifacts aren't, you know, the highest quality objects. So it's, I will not say it's impossible to make it. You know, maybe with enough care by a good artist, you can achieve the same degree of quality. So who knows?

And I'm 10 times more precise in terms of this quality metric than the contemporary lathe-made, you know, gift shop artifacts. You know, granted, gift shop artifacts aren't, you know, the highest quality objects. So it's, I will not say it's impossible to make it. You know, maybe with enough care by a good artist, you can achieve the same degree of quality. So who knows?

And I'm 10 times more precise in terms of this quality metric than the contemporary lathe-made, you know, gift shop artifacts. You know, granted, gift shop artifacts aren't, you know, the highest quality objects. So it's, I will not say it's impossible to make it. You know, maybe with enough care by a good artist, you can achieve the same degree of quality. So who knows?

The conclusion is you can use this technique to classify these objects. I cannot say whether it's a modern forgery or genuine. All I can say is you can tell them apart. And then somebody else needs to argue, you know, based on provenance of where these objects were found, if they were, you know, genuine Egyptian artifact or a contemporary forgery. But either way, it's a useful technique.

The conclusion is you can use this technique to classify these objects. I cannot say whether it's a modern forgery or genuine. All I can say is you can tell them apart. And then somebody else needs to argue, you know, based on provenance of where these objects were found, if they were, you know, genuine Egyptian artifact or a contemporary forgery. But either way, it's a useful technique.

The conclusion is you can use this technique to classify these objects. I cannot say whether it's a modern forgery or genuine. All I can say is you can tell them apart. And then somebody else needs to argue, you know, based on provenance of where these objects were found, if they were, you know, genuine Egyptian artifact or a contemporary forgery. But either way, it's a useful technique.

You're able to tell one from another, and also, If we apply, you know, the same analysis to a piece from a museum collection, let's say, you know, a Petri collection or Cairo Museum or some other, you know, British museum, and they fall into the precise category, it becomes harder to ignore the fact that maybe, you know, we don't know something about ancient history.