Alice Stevenson is a Londoner who neither drives, runs nor cycles. Instead Alice walks, navigating the city's parks, pavements and paths daily, in all weathers. As the miles have mounted so too has her knowledge of the city - the thoroughfares and the alleyways, the beauty spots and the forgotten corners. She is a unique guide with a unique eye. Whether you are walking with a purpose or walking to escape, or simply looking for new ways to appreciate the city, Ways to Walk in London is a revelation. Including walks above-ground and below-ground, waterways, pathways and the Pedway, Alice also opens our eyes to London's hidden places and pasts. An inspiring collection of walks, notes and artworks, revealing London's multiple layers and different moods.

An inspiring visual adventure. Driven by curiosity, restlessness and a desire to better understand her own country, artist Alice Stevenson spent two years exploring and drawing Great Britain. With an eye for the odd and an antenna for the unexpectedly beautiful, she documented her slow, attentive forays. Her journeying was wide: steam trains in Snowdonia, art galleries on remove Scottish islands, Kent coastlines, Dorset villages, East Anglian saltmarshes, the erstwhile utopias of Harlow and Portmeirion and the wild fells of eastern Cumbria. Yet she found many hidden delights in the dense populations of cities, from Hull and Plymouth, to Belfast and Edinburgh. The result is a book celebrating detail, of landscape and architecture, and creativity, an essential human urge. A rich, artistic journey through a land deep in natural and man-made puzzles and wonders.

This Element addresses the cultural production of ancient Egypt in the museum as a mixture of multiple pasts and presents that cohere around collections; their artefacts, documentation, storage, research, and display. Its four sections examine how ideas about the past are formed by museum assemblages: how their histories of acquisition and documentation shape interpretation, the range of materials that comprise them, the influence of their geographical framing, and the moments of remaking that might be possible. Throughout, the importance of critical approaches to interpretation is underscored, reasserting the museum as a site of active research and experiment, rather than only exhibitionary product or communicative media. It argues for a multi-directional approach to museum work that seeks to reveal the inter-relations of collection histories and which has implications not just for museum representation and documentation, but also for archaeological practice more broadly.

This Handbook provides a transnational reference point for critical engagements with the legacies of, and futures for, global archaeological collections. It challenges the common misconception that museum archaeology is simply a set of procedures for managing and exhibiting assemblages. Instead, this volume advances museum archaeology as an area of reflexive research and practice addressing the critical issues of what gets prioritized by and researched in museums, by whom, how, and why. Through twenty-eight chapters, authors problematize and suggest new ways of thinking about historic, contemporary, and future relationships between archaeological fieldwork and museums, as well as the array of institutional and cultural paradigms through which archaeological enquiries are mediated. Case studies embrace not just archaeological finds, but also archival field notes, photographic media, archaeological samples, and replicas. Throughout, museum activities are put into dialogue with other aspects of archaeological practice, with the aim of situating museum work within a more holistic archaeology that does not privilege excavation or field survey above other aspects of disciplinary engagement. These concerns will be grounded in the realities of museums internationally, including Latin America, Africa, Asia, Oceania, North America, and Europe. In so doing, the common heritage sector refrain 'best practice' is not assumed to solely emanate from developed countries or European philosophies, but instead is considered as emerging from and accommodated within local concerns and diverse museum cultures.