Heritage sciences are experiencing a resurgence at UNamur. This field of research—which involves applying techniques and expertise from the exact sciences (physics, chemistry, biology) to study ancient heritage objects—is reinventing itself thanks to the PHOENIX project, led by seven researchers from the Faculties of Science (Department of Physics) and Philosophy and Letters (Departments of History and Classical Languages and Literatures). 

“PHOENIX emerged from the collaboration of several researchers from different backgrounds, yet all driven by the same desire to study the materiality of heritage objects. One notable figure is Julien Colaux, whose predecessor had led the first heritage science projects at UNamur’s Laboratory of Analysis by Nuclear Reactions (LARN). It’s a sort of return to our roots,” recalls Nicolas Ruffini-Ronzani, a researcher in the Department of History, president of the PaTHs Institute, and one of the project’s leaders. 

With PHOENIX, researchers aim to “make” two types of objects speak: ancient coins and medieval parchments (see box). More specifically, their research is guided by three objectives:

• To understand the composition of the artifacts being studied. For the parchments, to identify the animal species (sheep, goat, or calf); and for the coins, to characterize the metal alloy.
• Gain a better understanding of the production and processing workflow. For example, determine which parts of the animal were used in the production of a parchment.
• To propose the most precise dating possible. 

It is in this last objective that the main challenge lies. “We won’t be able to date these objects to within a year,” warns Olivier Deparis, a professor in the Department of Physics and a member of the NISM research institute. “The idea is to provide a time frame that is as precise, if not more so, than that already provided by paleography (the study of ancient scripts) or textual analysis. If we can narrow it down to a quarter-century, that will already be a significant step forward.”

To achieve this, the PHOENIX team uses various non-invasive techniques, in particular infrared and Raman spectroscopy, time-of-flight secondary ion mass spectrometry (ToF-SIMS), and ion beam analysis (IBA). These approaches—which utilize UNamur’s state-of-the-art tools such as the ALTAÏS particle accelerator (see Omalius #36)—provide detailed information on the physicochemical composition of materials, such as the animal origin and ink formulations for parchments or the type of metal alloy for coins. “The use of the exact sciences will enrich our studies and thus allow us to better understand how these objects were produced in the past,” explains Nicolas Ruffini-Ronzani. “Contrary to what one might think, collaboration between the humanities and the exact sciences has a long history, dating back to the 19^th century, and even much earlier in the case of coins.”

These tools will make it possible to examine parchments and coins down to the finest detail, at the pixel level. These in-depth analyses therefore generate a colossal volume of raw data to process. This is where artificial intelligence comes into play to speed up the processing and reveal the information “hidden” in the data, identifying major trends invisible to the naked eye. 

Above all, it will provide a boost in meeting the challenge of dating the objects under study. Dated documents, such as charters, will thus be used as references to test the model’s robustness by comparing the results obtained with already known dates. “If the results are convincing, the technique could be applied to undated documents,” says Nicolas Ruffini-Ronzani. This would represent a significant breakthrough in historical research.

“The use of machine learning methods is not a panacea,” Olivier Deparis qualifies, however. “We wanted to explore it as an open-ended question to assess its benefits.”

PHOENIX could thus herald a new era for heritage sciences, where artificial intelligence—much like the phoenix after which the project is named—opens up new ways to analyze and understand materials from the past.

• Francesca Cecchet (Department of Physics – NISM and NARILIS Institutes)
• Lucas Baseil (Department of Physics – NISM Institute)
• Julien Colaux (Department of Physics – NISM and PaTHs Institutes)
• Olivier Deparis (Department of Physics – NISM, naXys, and PaTHs Institutes)
• Christophe Flament (Department of Classical Languages and Literatures – PaTHs Institute)
• Louise Fauchier (Department of Classical Languages and Literature – PaTHs Institute)
• Laurent Houssiau (Department of Physics – NISM Institute)
• Alexandre Mayer (Department of Physics – NISM and naXys Institutes)
• Giulia Morabito (Department of Physics – NISM and PaTHs Institutes)
• Nicolas Ruffini-Ronzani (Department of History – PaTHs Institute)
• Nicolas Gros (Department of Physics – NISM and PaTHs Institutes)
• Manon Bart (Department of Physics – NISM and naXys Institutes)

The PHOENIX project is funded by the Concerted Research Action (ARC) program from September 2024 to August 2029. It is a continuation of the interdisciplinary Pergamenum21 project, launched in 2014 by the Moretus Plantin University Library (BUMP) under the leadership of Professor Olivier Deparis and dedicated to the scientific study of parchment with a view to improving conservation practices.

Young people from Rochefort showcased the PHOENIX project at the international First Lego League competition, a robotics contest open to students aged 10 to 16. To align with the annual theme focused on new technologies in the field of archaeology, this team from the Rochefort Youth and Culture Center drew inspiration from IBA technology to develop a research game designed to identify the origin of Ancient Greek coins modeled using a 3D printer. Their project caught the jury’s eye and earned them a spot in the national finals, which took place last March. Beyond the competition, this original game will be presented during Family Day at the Malagne Archaeological Park (Rochefort). 

With a beekeeping tradition dating back several centuries, Wallonia boasts a unique network of beekeepers, educational apiaries, and local chapters that preserve a true living heritage. It is largely thanks to this strong connection between the product and its terroir that Walloon honey has joined the prestigious list of Walloon products bearing the PGI (Protected Geographical Indication) label. 

“Starting in the early 20th century, the sector became more professional and dynamic, largely thanks to improvements in apiary management and honey quality,” explains Natacha Aucuit, a food history researcher who contributed to this recognition of Walloon honey.

This method, now widely used in Wallonia, produces a spreadable, creamy, uniform honey that retains its natural properties.

“What struck me as I traced the history of this product was its deeply human aspect: knowledge is passed down within beekeeping communities, from master beekeepers to apprentices, embodying the strength of a regional tradition,” notes Natacha Aucuit.

This white sausage has deep roots in the city of Liège, but it is produced throughout the province. It is at the heart of Liège’s folk traditions: “This product is usually eaten cold, sliced. It is sometimes included in the drèssêye, a typical Liège assortment of cold cuts,” explains Natacha Aucuit. 

In addition to Walloon Honey PGI and Liège White Sausage PGI, other Walloon products are the focus of the Agrilabel unit, which is responsible for the recognition process. Currently, two applications are in progress: 

• The revision of the specifications for Ardennes Ham PGI
• The Wépion Strawberry

• Florenville IGP Sausage
• Ardennes Sausage IGP
• Ardenne Collier IGP
• Ardennes Pipe IGP
• Chimay Escavèche PGI
• Gaume Sausage PGI

Founded in 2011 at the initiative of the Wallonia Public Service and supported by the Office of the Walloon Minister of Agriculture, AgriLabel assists producers in obtaining European quality labels (PDO, PGI, and TSG) or regional labels (Label Qualité Plus). This work is based on a partnership between the University of Liège – Gembloux Agro-Bio Tech and UNamur.

In this context, the University of Liège-Gembloux Agro-Bio Tech focuses primarily on product characterization and producers’ expertise, as well as the delineation of the geographical production area. For its part, UNamur is responsible for demonstrating the socio-historical link between the product and its terroir, the designation’s historical recognition, and its reputation—essential elements for the recognition of a designation as a PDO or PGI.

Natacha Aucuit, a researcher specializing in food history at UNamur and a member of ILEE and Transitions, makes a key contribution to the AgriLabel unit under the supervision of Professor Isabelle Parmentier. Since 2013, she has been working on drafting applications for the registration of designations or modifications for products such as the Wépion Strawberry or the Ardennes Ham PGI. Her role consists primarily of establishing a documented historical link between the product and its terroir, based on rigorous research and a scientific approach.

While the extension of the Tihange and Doel power plants has drawn little reaction, Danielle Leenaerts’ research project uses art to reignite the discussion in a novel way. This project is unique in that it explores representations of civil and military nuclear energy across various media that engage in dialogue with one another, namely: a photo exhibition at the Delta, a book, and a study day. Her work brings together the perspectives of artists with diverse viewpoints and rejects the polarization of the debate. The goal is rather to encourage society to face a reality it strives to conceal. This approach demonstrates that culture and research are essential tools for addressing today’s geopolitical and environmental challenges. Interview.

This project runs parallel to my teaching of contemporary art history. As part of this, I received an FNRS–PDR research grant, which provided a broader foundation for the project. This allowed me to structure it in three parts: an exhibition, a book, and a study day.  

I am interested in nuclear energy because this theme encapsulates the core political, geopolitical, and human issues of the past 75 years. On the one hand, with the invention of the atomic bomb, regarding military nuclear power, and on the other hand, with the exponential growth in the use of civil nuclear power for energy production. According to the philosopher Günther Anders, we have in fact entered the “atomic age” with the constant risk of “globocide”—that is, the possibility of destroying all life on the Earth’s surface. And we are fully aware of this reality when it comes to military nuclear power. But humans are also in denial about the risks inherent in the use of civil nuclear power, as the Fukushima disaster recently demonstrated. This is a true cognitive dissonance because we know the risks and the duration of the potential fallout, yet we do not react. Worse still, our energy consumption is skyrocketing, as civil nuclear power is presented as the primary solution to decarbonization. A solution that sidesteps the issues of risk and the management of nuclear waste, whose half-life spans several centuries or tens of millennia. These absolutely essential questions must be discussed by civil society but are not. This is also what I aim to achieve with this research project: to enable a public debate on the issue of nuclear power, because it concerns us all and will have an impact on our future. 

Photography was already the subject of my dissertation, so this issue has been on my mind for a long time. It is my primary area of focus in both teaching and research. Indeed, photography has long been conspicuously absent from art history research, which has traditionally focused primarily on the fine arts in the broadest sense. For me, it was also important to introduce this type of representation into the academic field, particularly in the history of contemporary art. Along the way, I became aware of a whole series of works dealing with nuclear energy, and I saw them as an attempt to bring these issues to light. These artists’ works allow us to engage with questions that are not addressed in the media or are addressed in a simplified, even polarizing manner. 

I also wanted to avoid anything fictional regarding the nuclear issue. Photography serves as documentary evidence, yet at the same time, it offers a representation that speaks to the world through an aesthetic medium that invites us to pause and reflect. Photography is an art form that allows us to associate images with concepts and to humanize the nuclear issue. 

Currently, the government has decided not to phase out nuclear power and has extended the operating life of the Tihange and Doel plants. I am very surprised by the lack of reaction from civil society on this issue. Decarbonization is, of course, necessary, but nuclear power is not the only solution. Moreover, it is a solution that poses numerous risks and is highly polluting. We’re talking about radioactive waste that will remain radioactive for thousands of years. This projects us into time frames that are unimaginable. It is one of the major challenges in how the public will receive the exhibition. I hope this exhibition will help identify the issues and risks while there is still time to change things. I am therefore very curious to see how the public will react and am very grateful to the Delta for hosting the exhibition project. The Delta and Confluent des Savoirs have also worked to make the information accessible to the general public in order to communicate our knowledge about nuclear power more effectively. This information provides a framework for the exhibition, but the interpretation of the works remains entirely up to the public. Everyone is free to interpret them as they wish. In any case, I hope this exhibition will prompt the public to ask questions and spark a debate.

Starting with the Belgian context and an artist, Cécile Massart, who for 30 years has dedicated herself to the issue of civil nuclear power and waste management—and more specifically to raising awareness of storage sites. Cécile Massart has created markers for underground storage sites. Her pioneering work raised my awareness of nuclear issues. I also came across the work of a young photographer who focused on Tihange for his graduation project. A Belgian focus therefore made sense. Then, my interest in nuclear accidents led me to other photographers, such as Anaïs Tondeur. Finally, I became interested in military nuclear power, and other photographers came to the forefront. Ultimately, the ten selected photographers offer a diverse representation of the nuclear chain (waste, material processing, decommissioning, activist occupation, etc.) and both civilian and military issues. 

The book, *(Faire) face au nucléaire*, which will be released in late March, and the exhibition are two separate mediums. The book is not a catalog of the exhibition. It features most of the artists but not necessarily the works on display. The book allows for a deeper analysis and contextualizes the understanding of nuclear power in relation to the artworks. It also explores the aesthetics of the works in greater depth. The data presented in the book is also more detailed and precise than that featured in the exhibition. The book outlines the results of in-depth research. But I want to clarify that the book’s focus is art history, not physics. It does, however, help readers grasp the general context, key elements, and major issues surrounding nuclear energy. 

The book also helps readers understand the artists’ positions on the nuclear issue. Some are anti-nuclear, while others take a more nuanced stance. The book thus presents a full spectrum of viewpoints on the issue. I hope it will also foster public debate and move beyond the polarized “for” or “against” positions on nuclear power. The book aims to reintroduce factual information into the debate, rather than opinions, and to refocus attention on the question of life. It seeks to offer knowledge and nuance. 

I am more convinced than ever that this is a healthy space for expression. These works give concrete form to the abstract. Photography is a powerful artistic medium that has fostered an interest in these issues. Art allows for an unprecedented space of freedom. But the scope of artistic expression still needs to be defended. My research is also significant from this perspective. It shows that artistic expression is possible even when culture faces budget cuts. 

I’m not sure yet. Bringing this project to fruition was a major challenge. I’ll continue to support the project and share it through other formats and channels (lectures, videos, etc.) to keep it alive. In the near future, I hope to continue exploring contemporary art in French-speaking Belgium and to keep engaging with social issues.

Throughout the day, the symposium explored how narratives, medical figures, and the experience of illness feed into literary writing, as well as medical thought and practice. Several presentations showed how medicine can be viewed as a deeply narrative discipline, in which listening, interpretation, and transmission play a central role. Literature, for its part, has taken up themes such as illness, addiction, suffering, and care, offering sensitive and critical perspectives on the human experience of vulnerability. 

The dialogue between disciplines has proved particularly fruitful. On the one hand, doctors have become great writers; on the other, writing and reading are at the heart of advances in medical science and can also have therapeutic power in themselves.

The disciplines of literature and medicine, represented in particular by Simon Absil, Yves Poumay, Elisabeth Leijnse, Emma-Louise Silva, and Anne Roekens, have demonstrated how much they gain from being combined, both in research and in the training of future health professionals.

The day ended with a visit to the anatomy laboratory, followed by a virtual presentation of the BUMP's precious works related to medicine.