Upper left to right: Karl Marx (1818 - 1883), Adam Smith (1723 - 1790), G.W. Hegel (1770 - 1831);

Lower left to right: Thorstein Veblen (1857 - 1929). Gyorgy Luckacs (1885 - 1971), J.M. Keynes (1883 - 1946), Milton Friedman (1912 - 2006).

 

Abstract - PhD (2013) - Quadralectics

Christopher W. Smithmyer

Nova Southeastern University, 2015 - 752 pages

 

Quadralectics is a study of the magnitude of conflict that occurs when a society shifts from one socio-economic phase to another. The purpose of this study is to quantify levels of conflict due to societal shifts in order to better prepare for the results of the conflict. This study uses a hybridization of qualitative meta-synthesis (QMS), recursive frame analysis (RFA), and Grounded Theory (GT) research methodologies to survey the historical record for instances of social change and then comparatively analyzes the resultant conflict. The heart of the Quadralectic study is the Quadralectic paradigm which integrates four dialectic models to create a four-dimensional space in which known forms of socio-economic phenomenon exist. The model is similar to a house with rooms, each room is a socioeconomic phenomenon, and the further rooms are from each other, the more conflict is created by the change. We call these movements transitions. Once in place, the Quadralectic model can be used to forecast conflict during periods of social upheaval and allow for the domestic and international community to be better prepared to respond to said conflict.

---

Smythmyer’s Quadralectics - A Reply – by Marten Kuilman - September 2018.

 

Every occurrence of the word ‘quadralectics’ arouses my interest since I coined the word in the early nineteen-eighties of the previous century. I had busied myself for a couple of years with an intellectual quest to understand the complexities of life. After several failed efforts, the penny dropped (on the 31st of March 1984): division and movement are the crucial components in every communication. And a four-division in a circular environment would be the most practical tool to understand the ever-expanding brine of information known as knowledge. A further theoretical examination resulted in the birth of a ‘quadralectic philosophy’ (KUILMAN, 2009/ 2011).

 

The kernel of the new approach consisted of two theoretical four-divisions shifting along each other. Measurable shift-values were produced at the intersection of the division lines (of the various quadrants). The sixteen values formed a sequence, which can be expressed in a graph. This graph represents the receding and approaching actions that take place between communication partners in any conceivable interchange based on a four-division.

 

It took another sixteen years – after the introduction of the internet in my life (Dec, 1999) – to start a worldwide search for ‘soul mates’. The initial harvest at the start of the new millennium was poor. The oldest referral to the term ‘quadralectics’ was traced back to 1996 when the term was used in an (anonymous) article about the enigmatic writer Thomas Pynchon and his novel “The Crying of Lot 49’ (1966). Two years later there was also a lead to Taoist sources as recorded by Roger T. Ames (1998, p. 169).

 

Kent PALMER (2000) mentioned the term for the first time in a scientific environment in several articles and later in his Ph.D. (Quadralectics of Design, 2009/2010). He was a system engineer, who put an emphasis on non-dual forms of thinking. It was clear - although I could not follow some of his terminologies - that he was concerned with the same widening of thinking as proposed in my quadralectic endeavors.

 

Over the years the use and occurrence of the word ‘quadralectics’ on the internet grew steadily – not only due to my own contributions. At present (2018) some 38.200 results are recorded (in 0,50 seconds). And Smythmyer’s Ph.D. on ‘Quadralectics’ was in 2013 a new star in the quadralectic firmament (SMYTHMYER, 2013).

 

A shining star, well written and a great piece of work. It was a pleasure to read such a clear display of socio-economic currents and individuals (with Marx as their leading actor) from the past to the present – capped off by the introduction of the ‘infant theory’ of quadralectics. Maybe the title of the Ph.D. is slightly misleading since the main subject of study is not the quadralectic method itself, but the application of a particular modus operandi (four-fold way of thinking) in the field of economy and sociology.

 

Smythmyer indicated (p. 51) that he moved on new ground when he coined the title ‘Quadralectics’: ‘Hegel and Marx thought in two dimensions, this model worked in four. As a tribute to their works, I selected the title Quadralectics, as a symbol of a system with four parts in a four-dimensional matrix. Now all that was left was to create a way to take this theorem and forge it into a theory.'

 

In the next part of this essay, I will try to incorporate Smythmyer’s understanding and utilization of the term ‘Quadralectics’ into my own interpretation of this particular form of four-fold thinking.

 

The reading started off on the wrong foot. Shivers went down my spine when, early in the book (Ch. I), the word ‘quadralectics’ was connected with conflict and proposed as a tool to measure and predict the magnitude of aggressive encounters. Furthermore, quadralectics is seen as an integration of four dialectic models. Both descriptions are way-out of the interpretation of ‘my’ quadralectics (KUILMAN, 1996/2011).

 

In fact, the roots of my epistemology can be found in the critical rejection of historical writing in terms of conflict. The rhetorical question: ‘is it possible to write history without the unsavory markers of conflict?’, was asked early in my life. And my subsequent intellectual development was geared towards finding an answer to that question. One of the achievements of a quadralectic worldview (as I see it) is its ‘neutral’ character – in contrast to lower forms of division thinking.

 

Therefore the ‘conflict’, which is present in every communication (or ongoing history) is incorporated in quadralectics – but it is not the leading agent. ‘Conflict’ has to make a cognitive move from its common dualistic understanding to a quadralectic environment. The nature of conflict is rooted in a misunderstanding of division thinking between the communication partners. Its cause has to be redefined in terms of incomprehension rather than the measure of the implementation of force.

 

After the initial shock of Smythmyer’s introduction, it soon became clear that our mutual suppositions (as expressed in the name ‘quadralectics’) had – as far as the basic mechanism goes – a lot in common. He describes ‘conflict’ as a ‘transition within a paradigm of interconnected socioeconomic elements’ (p. 14). This definition leads directly to the importance of ‘shift’. Displacement, as a result of movement, played a crucial role in the conception of ‘my’ quadralectics in the 1980s. The transition/shift can be measured, either within the paradigms and/or the division environment (the Technological Coefficient versus the Communication Coefficient).

 

I wholeheartedly underwrite Smythmyer’s stimulating objective (p. 20): ‘By increasing the objective capabilities of defining socio-economic paradigms and status shifts within those paradigms, quadralectics will be more useful for the analysis of current socio-economic shifts, thus allowing for better preparation in the case of any conflict that may or may not happen’.

 

The literature review (Ch. II) is the Master Template in which the great names in socio-economic history provide the substratum of research. Smythmyer’s idea, I presume, is to find ‘the beginning’ in communication with thinkers like Hegel, Marx, Friedman, Luckacs, Veblen (my favorite) and many others (including Adolf Hitler and Ross Perot). Most of these thinkers operate in the realm of lower division thinking (dialectic) and are therefore unable to see the potential of the area ‘in-between’. Many of their theories and observations are the result of creative thinking, but only within the limits and the confinement of an oppositional straightjacket.

 

Smythmyer’s intention to ‘broaden the lens’ away from a dialectic research and a bifurcated universe is exactly the viewpoint I took in the early stages of my research of the four-fold. However, to see ‘Quadralectics’ (only) as the relationship between conflict and social change (p. 51) is, in my opinion, to narrow a view. The ‘four parts in a four-dimensional matrix’, as envisaged by Smythmyer, are bound to become the essential tools of modern, post-dialectic thinking. The choice of this epistemology is appropriately chosen. But the application of a general and a specific form of quadralectics – as a philosophical framework - should be noted.

 

The use of ‘quadralectics’ (or even ‘quadralectic theory’, p. 124) in the socio-economic context is just one of the many fields of knowledge were the specific way of four-fold thinking (quadralectics proper) can be applied. The very moment the X-as (first dimension) is divided in Anarchy, Feudalism, Capitalism, Socialism and Communism and the Y-axis (second dimension) in Plutocracy, Hegemony, Capitalism, Populism and Communalism a (subjective) valuation frame is introduced (based on either control of means of production or the control structure of wealth).

 

There is nothing wrong with these choices, as long as it is realized that the divisions follow a linear trend from maximum to minimum. Capitalism is on both X- and Y-axis nicely tucked in the middle - implicit pointing to the Golden Mean, the zenith of beauty, consisting of symmetry, proportion and harmony. When ‘hegemony’ is ‘near the middle of the paradigm’ (p. 194/195) it implies close to be ‘good’ and versatile. This viewpoint might be true, but only within a dialectic inspired discours.

 

This bickering should not disguise the fact that Smythmyer gave a brilliant and clear exposé of the various human organisations and their power structures. But I have the feeling – mainly because of the linear character of the subdivisions – that the ‘neutral’ side of (theoretical) quadralectics is ignored.

 

Quadralectics - as a specific form of four-fold thinking - requires a different perception. It poses a cyclic nature versus the linear disposition (of the dialectic). The different mindset implies that dialectic notions, like the beginning, middle and end and such notions as ‘a Golden Mean’, need a new understanding: there is no beginning, middle and end on a divided circular line. We can only speak of a ‘First’ and ‘Last’ visibility – and have to understand what that visibility means. Also the ‘Golden Mean’ as a comparison of two lengths of lines becomes redundant in a circular setting. Dialectics uses the two-division as its guideline (and tool of analogy), while a quadralectic communication applies the (arithmetical) result of a shift between two four-divisions as its base for valuation. The difference is immense, but if one is unable to see outside the dualistic framework, it is neglectable. A comparison with Newton’s approach to physics and Einstein’s improvement (by introducing the speed of light) is relevant.

 

The statement (p. 169) ‘Marxism is the key tool in the Quadralectic paradigm’ looks, with good will, like a facsimile of the dialectic encounter of the two four-divisions in an embryonal quadralectic environment. It cannot be denied that the quadralectic model pays tribute and incorporates the two-division in its genetic history. Division and movement (shift) are the basic elements of its being, but not necessarily in an evolutionary way. Dialectic evolution is completely different from quadralectic evolution. The first is a line, the second is a graph. However the phrase ‘to create an interrelated structure to explain and predict social changes within the socioeconomic paradigm’ is also feasible in the operational phase of a quadralectic epistemology.

 

A further visualization of two types of control (of the masses) is given in Chapter XIII. The five-fold control of means of production (X-axis) meets the five-fold control of the structure of wealth (Y-axis). They form the first and second dimension, A reinterpretation of Aristotle’s Forms, in Part IV, makes up the third dimension. The Forms represent ‘a pattern of known socioeconomic phenomenon’ (p. 218). In particular the action of ’filling up the gaps (,,,) to fit into the quadralectic paradigm’ is a sound piece of original work, despite the fact that the methodology can be criticized from a (theoretical) quadralectic point of view. The full picture (on the Z-axis) consists of a nine-fold division (from simple to complex): tyranny, monarchy, meritocracy, technocracy, aristocracy, egalitarianism, mob rule, democracy and polity.

 

The above-mentioned lattice (or three-dimensional arrangement) moves through time to bring in the fourth dimension. Or, like Smythmyer put it (p. 220): 'we will see how they require only a temporal element to become a complete four-dimensional model.’ In Part V (not in the list of contents, but given as Part VI) the long-awaited moment was about to happen: the calculation of the conflict coefficient. The introduction of the Ph.D. (p. 20) promised a magic wand, which could predict the magnitude of a conflict within the socio-economic paradigm. If only that could be achieved then the world would be a better place…

 

The introduction of Morgan’s three stages (savagery - barbarianism - civilization) comes as a deception. (MORGAN, 1877). The descriptions in terms of a condition humaine is prehistoric and simplistic. On the other hand, the ten-fold scale of conflicts (with a linear increase in violence) can be helpful. The actual calculation from the shift in a socio-economic phenomenon towards a real conflict number (using -1, 0 and +1) is, in my opinion, insufficiently described. The map in the appendix (as promised ‘for those of you who are visually oriented’, p. 303) is not given. Maybe it helps to clarify the number of spaces (shift) ‘a society moves through the paradigm to figure out its conflict number’.

 

Despite these shortcomings (for me), I understand the principles behind the generation of the ‘conflict number’. There are reminiscences to a quadralectic approach (of shifting four-divisions), but I would not call the procedure of the creation of a conflict number ‘quadralectics’. Values are still generated in a linear environment (and often based on a subjective understanding of ‘high’ and ‘low’ and entities like minimum and maximum and the rigid digital world of plus (+) and minus (-). Three (linear) axes moving in time do not make a quadralectic cosmos. The quadralectic (scientific) reality consists, in my view, of an observer who used the universal communication graph (CF-graph) in the changeability of the partners in a the communication.

 

The universal character implies that any juxtaposition between whatever sort of topic can be put to the quadralectic test. So, a comparison between certain socio-economic manifestations and the occurrence and intensity of a conflict and subsequent violence is a viable research option. All we have to know are the boundaries of visibility in place and time of the communication units. A form of ‘intensity’ can be measured as soon as these boundaries are established. The place on the CF-graph provides (by analogy) a fairly confident picture (within the given communication) what is going to happen. So it is not the actual figure (CF-value) which determined its worth, but the place on the graph. Place is in the end more important than time. Although in the understanding of quadralectics the place (on the graph) is also the time…

 

A glance on the Theorems of Quadralectics (Appendix I) gives a certain preoccupation for (Neo)Darwinistic ideas. One cannot fail to notice statements about survival (2, 6), choice of desirable traits (3, 8), genetic material (5), natural selection (9) and sexual selection (11, 12). I have no clue as to what these theorems contribute to the subject at hand. Is it an effort to understand the nature of conflict? Is it a revival of the survival of the fittest? It is hard to say, but whatever explanation: it has little to do with quadralectics.

 

A closer look at the bibliography is relevant. The writings of the classical, communistic leaders are out in force (Lenin, 13 entries), Mao (29), Marx (15) and Stalin (14). Fortunately Stephen Gould, a much more amicable researcher, got 7 entries. Thornstein Veblen ’Theory of the Leisure Class’ (1899), Michael Young’s ‘The Rise of the Meritocracy‘ (1951) and James Burnham’s ‘The Managerial Revolution’ (1941) are sadly missed. Maybe their writings did not fit into the ‘conflict’ model.

 

All in all, Smythmyer’s Ph.D. is a refreshing study, which gives a deeper insight into the way human beings live together. The outset to combine expressions of conflict with a particular socio-economic phenomenon is challenging. The intention to use a wider scope is prize-worthy, but the name ‘quadralectic’ is not fully appropriate.

  

Suggested literature

  

AMES, Roger T. (Ed.) (1998). Wandering at Ease in the Zhuangzi. Albany: State University of New York Press, ISBN 0-7914-3921-6/3922-4.

 

BURNHAM, James (1941). The Managerial Revolution. What is Happening in the World? New York: John Day Co.

 

KUILMAN, Marten (1996/2011). Four. A Rediscovery of the ‘Tetragonus mundus’. Falcon Press, Heemstede. ISBN 978-90-814420-1-5

tetragonusmundus.wordpress.com/inhoud/

 

KUILMAN, Marten (2009/2011) Visions of Four Notions. Introduction to a Quadralectic Epistemology. Falcon Press, Heemstede. ISBN 978-90-814420-2-2

wordpress.com/view/visionsoffour.wordpress.com

 

MORGAN, Lewis H. (1877/1974). Ancient Society, or Researching the lines of Human Progress from Savagery through Barbarian In to Civilization. Gloucester MA, Peter Smith.

 

PALMER, Kent D. (1994). The Fragmentation of Being and the Path Beyond the Void. Apeiron Press, Orange.

archonic.net/apeiron.htm

works.bepress.com/kent_palmer/2

 

- (2000). Reflexive Autopoietic Dissipative Special Systems Theory: An Approach to Emergent Meta-systems through Holonomics.

archonic.net/autopoiesis.html

dialog.net/htdocs/homepage.02/autopoiesis.html

 

- (2010). Emergent Design. Explorations in Systems Phenomenology in Relation to Ontology, Hermeneutics and the Meta-dialectics of Design. A thesis submitted for the Degree of Doctor of Philosophy School of Electrical and Information Engineering Division of Information Technology, Engineering, and the Environment University of South Australia, 28 September 2009.

 

SMYTHMYER, Christopher W. (2013). Quadralectics. Nova Southeastern University, 2015. The Seven Swords of Strategic Business: Companion Book.

 

VEBLEN, Thorstein (1899). The Theory of the Leisure Class: An Economic Study of Institutions.

 

YOUNG, Michael (1951). The Rise of the Meritocracy.

---

Additional remarks

 

Table of Contents does not mention the Chapters.

The latter are introduced on p. 18ff.

Chapters and parts become a confusing mix (for me).

 

My reconstruction of the table of contents is as follows:

 

Part I - ?

 

Introduction

Ch I - no heading, just description under ‘Chapters’

Ch II - Literature review

Ch. III - Methodology

 

Part II - Theory – is not mentioned in the text (p. 65) but called ‘in Chapters’

 

Introduction of Theory

 

At p. 67ff a division in parts (I – IV) is given

Part I – Marx

Part II – Plutocracy etc.

Part III – Aristotle

Part IV – Technological Coefficient

 

But where do these parts fit into the table of contents?

 

Ch. IV - Of the Applied Methodology

Ch. V - Theoretical Overview

 

Part III - Of the Marxist Dialectic - is not mentioned in the Contents as Part III.

 

Ch. VI - General Principles

Ch. VII - Of Anarchy

Ch. VIII - Of Feudalism

Ch. IX - Of Capitalism

Ch. X - Of Socialism

Ch. XI - Of Communism

Ch. XII - Conclusion Dialectics = Conclusion of the dialectic

 

Part III Quadralectic Vertices = Part IV in the text (p. 170)

 

A figure to show the outlay and division of the X and Y-axes would have been helpful. ‘Quadralectic vertices’ point to four (4) vertices (tetrahedron), but the text continues with a five division (Plutocracy, Hegemony, Capitalism, Populism and Communalism)

 

Ch. XIII - Introduction = Introduction to the Quadralectic Dialectic.

Ch. XIV - Of Plutocracy

 

What happened to Ch XV – XVI?

 

Ch. XVII - Hegemony

Ch. XVIII - Of Capitalism

Ch. XIX – Of Populism

Ch. XX – Of Communalism

 

Part IV Aristotle – In text: Aristotle’s Form

 

Ch. XVI - Introduction - should be Ch. XXI (see above)

Ch. XVII - Tyranny - should be Ch. XXII

Ch. XVIII - Monarchy - should be Ch. XXIII

Ch. XIX - Meritocracy - should be Ch. XXIV

Ch. XX - Technocracy - should be Ch. XXV

Ch. XXI - Aristocracy - should be Ch. XXVI

Ch. XXII - Egalitarianism - should be Ch. XXVII

Ch. XXIII - Mob Rule - should be Ch. XXVIII

Ch. XXIV - Democracy - should be Ch. XXIX

Ch. XXV - Polity - should be Ch. XXX

Ch. XXVI - Development - should be Ch. XXXI

Ch. XXVII - Conclusion

 

Part V - Missing

Part VI - TC - is part VII in text

Part VI - Navigating

Part VII – Catharsis

----

Corrections

 

p. 22 - p. Chapter 1 (Arabic) is written as Chapter I (Roman)

p. 22 - White et al – capital W

p. 22 - Freidman - Friedman

p. 23 - duel = dual

p. 24 - as Maritian states – who is Maritian?

p. 38 and p. 39 - Freidman = Friedman

p. 40 - these there element = these three elements

p. 95 - by an large = by and large

p. 102 - destabilize = destabalize

p. 103 - form of society

p. 105 - pleas not = please not

p. 106 - Doctor = doctor

p. 109 - maintianed is = maintained its

p.112 - now = no law or rule

p.114 - 369 sensence unclear

De Dion diamonds – de Beer diamonds?

p. 119 - her = here is an article

p. 129 - There is not real strong king = there is no real strong king

p. 131 - invasion – s

p. 132 - Myan = Mayan

p. 134 - structure – s

p. 139 - Di Vinci = Da Vinci

p. 148 - for person gain = for personal gain

p. 151 - not test = no test

p. 159 - many socialism = socialists

doe = do

p. 175 - heav?

p. 180 - can buy out a for profit corporation

p. 188 - A excellent example = An excellent exemple

p. 189 - duel = dual

p. 193 - Brittan = Britain

p. 201 - the people thought he building = through the building

p.205 - the focus in on keeping – the focus is on keeping

p. 214 - at out disposal – at our disposal

p. 218 - filling the in the blank – filling in the blank

p. 246 - have and have not’s

p. 252 - in a capitalism (2x)

p. 254 - Velbin = Veblin

p. 257 - a intrinsic worth = an intrinsic worth

p. 260 – as simple as

p. 293 - Out western civilization = our

p. 294 - ho = how

p. 296 - the survival or the artisan = survival of the artisan

p. 297/299 - Brittan = Britain

p. 300 - one the decline = on the decline

p. 328 - Jon Elster = John Elster

   

Photographed in Saratoga, California

 

=> Please click on the image to see the largest size. <=

 

===================

From Wikipedia: The wrentit (Chamaea fasciata) is a small bird that lives in chaparral, oak woodlands, and bushland on the western coast of North America. It is the only species in the genus Chamaea.

 

Its systematics have been the subject of much debate, the wrentit having been placed in many different families by different authors for as long as it has been known to science. Its common name reflects the uncertainty, and its external resemblance to both tits and wrens. It is by no means closely related to either, however.

 

Description:

The wrentit is a small, 15 cm (5.9 in) bird with uniform dull olive, brown, or grayish plumage. It has short wings and a long tail often held high (hence the comparison to wrens). It has a short bill and a pale iris. Given its retiring nature and loud voice, the wrentit is more likely to be detected by its call than by sight. The distinct sound that it makes is similar to the sound of a ping-pong ball falling on the table.

 

Systematics:

The wrentit has been variously placed in its own family, the Chamaeidae, or with the long-tailed tits (Aegithalidae), the true tits and chickadees (Paridae), the "Old World warblers" (Sylviidae), and with the "Old World babblers" (Timaliidae). The American Ornithologists' Union places the wrentit in the latter family, giving it the distinction of being the only babbler known from the New World. This is based on DNA–DNA hybridization studies, which are phenetic, however, and therefore not considered methodologically adequate today.[citation needed]

 

Through DNA sequence analysis, it was subsequently discovered that the wrentit was more closely allied to Sylvia warblers and some aberrant "babblers". These consequently must be placed in the family Sylviidae together with the wrentit and the parrotbills which also turned out to be close relatives. Thus, the wrentit is the only American species of the "true" or sylviid warblers. Peculiarly, the Dartford warbler and close relatives like Marmora's warbler bear an uncanny resemblance to the wrentit; their ecology is quite similar indeed as all are birds of Mediterranean scrub. However, biogeography and the molecular data build a strong case for this similarity being a case of convergent evolution between birds that are close relatives but by far not as close as their appearance would suggest.

 

Alice Cibois suggested that as some babblers are closer to typical warblers than these are to marsh-warblers for example, the Sylviidae should be merged into the Timaliidae.As such an abolishing of the senior synonym would require a formal International Commission on Zoological Nomenclature ruling and the typical warblers and relatives are still a monophyletic group at present, this proposal is not advanced by most researchers until the remaining Sylviidae and Timaliidae genera are studied as regards their relationships.

 

Distribution:

The wrentit is a sedentary (non-migratory) resident of a narrow strip of coastal habitat in the western coast of North America, being found from Oregon south through California, to Baja California, the north state of the Baja California peninsula.

 

It is usually restricted to certain chaparral and woodland habitats. It nests in 1 metre (3 ft) high shrubs such as poison oak (Toxicodendron diversilobum), coyote bush (Baccharis pilularis) and California blackberry (Rubus ursinus). Logging and other changes in habitat have led to this species expanding its range recently, particularly northwards.

 

Ecology:

Wrentits mate for life, forming pair bonds only a few months after hatching. Both sexes sing; the faster rhythm of the male's song is one of the few ways to differentiate the sexes. Both sexes also defend their territory year-round and participate in building the nest, a four-stage process that takes about two weeks. The three or four eggs are incubated for 14 days, again by both sexes. The chicks fledge after 15 days (at which stage they are unable to fly) and are fed by their parents for another 40 days.

 

The wrentit feeds by skulking through dense scrub gleaning exposed insects found by sight. It feeds primarily on beetles, caterpillars, bugs, and ants, but also takes small berries and seeds.

  

AB2A9525-1_fCAFlkr

Date of Interview: November 9, 1929 (2014)

Interviewer: Zoe Foodiboo

Interviewee(s): Alexandra “Sasa” Steigerwald

Location: Home of Sasa Steigerwald, Mittelstrasse Hof 1e, 1920s Berlin Project (owned and managed by Frau Jo Yardley), Second Life.

  

Abstract: Fraulein Steigerwald has been a part of the 1920s Berlin Community for nearly 3 years. She’s one of the regular girls at the Herrenclub and is a dancer (and founding member) of the dance troupe, The Flapperettes. In this interview, Frl. Steigerwald shares memories of her early days in Berlin, reminisces about the founding of the Flapperettes, and talks about her work as both an actress and model. She also spends some OOC (out of character) time discussing her roleplay methodology and her thoughts on Berlin’s past and future. Other tenants mentioned in this interview include: Frau Jo Yardley, Patrice Courneyer, Pola Solo, Mab Ashdene, Zeno McAuley, Dora Duchamp, BJ Boberg, Tequila Mockingbird, Jelena Matova, Sein Loire, Nik Darkwatch, Walter Gedenspire, Morganic Clarrington, Adele Kling, EC Moleno, Bruno Bonj, Charika Bauer, Augusta von Nassau, Rosemary and Gustov Chesnokov, Karl Bhalti, Luzie Cheng, and Florence “Flossie” Bradshaw.

  

**********

  

Sasa Steigerwald: well this is my place

  

Zoe Foodiboo settles into the couch and sneaks looks around

  

ZF: You have a lovely home, Fraulein Steigerwald. Well then, where shall we begin?

  

SS: let's begin with the beginning. or the end

  

ZF: The beginning will do....

  

Zoe pulls out a pad and pencil, wishing for the umpteenth time that she could afford an assistant to take notes…

  

Sasa leans over to let her cigarette ashes fall into the ashtray

  

Zoe quickly rummages in her purse, fishes out a cigarette, then settles back into her seat

  

SS: so what do you want to know?

  

Zoe clears her throat, "Ah well....let's see....how is it that you came to Berlin?"

  

SS: Well, I grew up in a large mansion outside Berlin, in Potsdam, so I've always been close to Berlin. And from early on, I knew that Berlin was the place where things happen...when Potsdam was choking me to death by boredom.

  

Zoe jots down a few notes, "mmmhmmm....Potsdam....mmmhmmm….”

  

SS: so I decided to move here two years and nine months ago. It was in February 1927. My family had other plans for me.

  

Zoe Foodiboo: Oh?

  

SS: First of all, when I showed that I wasn't happy with my life there, my mother wanted me to join a monastery and become a nun.

I did not want that at all …. No way.

  

Zoe nods thoughtfully

  

SS: It was such a boring childhood there...no emotions..no signs of affection. Just keeping up the appearance. Snobbery. I left when I could. Any kind of life would be better than that life.

  

Zoe nods, "Did you know anyone here? Where did you stay when you first arrived?"

  

SS: I was lucky to find a small smelly basement apartment at Bruderstrasse. And no not really, I didn't know anyone.

  

Zoe wrinkles her nose ever so slightly at the mention of Bruderstrasse.

  

SS: But I quickly got some friends.

  

ZF: Was it easy making friends? Where did you spend your time when you first arrived? And whom did you meet?

  

SS: I tried to actually spend some time at the library, but I got bored. Sorry.

  

Zoe smiles, initially pleased....then frowns

  

SS: so I ended up at the places where people meet and I got to meet my neighbors. I met Charika [Bauer], Augusta [von Nassau], Karl [Bhalti], the Chesnokovs [Rosemary and Gustov Chesnokov] and then I met Flossie [Bradshaw], wherever she is now…

 

ZF: Flossie!

  

SS: I also met and got to know BJ Boberg [Bror Jacob Boberg, artist name BJ Blue], the musician and songwriter - he was also new in Berlin then. He didn't have a place to live so I let him sleep on my rug for some weeks.

  

Zoe jots down "Flossie....Herr Boberg....staying with you? Unchaperoned? oh my...interesting! Were your parents still supporting you at this point? Financially, I mean.

  

SS: I brought some savings with me - that money I was never allowed to touch. And anyway that apartment was so cheap, so anyone could afford it

  

Zoe nods

  

SS: my parents did not want me to stay here at all, in this sinful place. Especially moving from the mansion to the small smelly apartment next to Club Eldorado. "Undignified" ::mimics her mother's frowning:: Such boring Potsdam upper class nitwits … anyway, then I got in touch with Pola [Solo], since I realised I needed some sort of income. And I started working for the Herrenclub

  

ZF: Ah, Fraulein Solo....Tell me a little about your first days working there.

  

SS: I thought I could do a good job there, since men were starting to hit on me since I got to Berlin.

  

ZF: Naturally. You're very pretty.

  

SS: Well she told me the rules, what to do and what not to do, and I got my first client the same day.

  

ZF: Rules? What sort of rules?

  

SS: The wachtmeisters tend to leave us alone as long as we don't openly solicit - walking up to people and offering our service openly - we can't do that. Such double standards…

  

Zoe arches an eyebrow

  

SS: also, I'm forbidden to talk about my clients with anyone outside the Herrenclub.

  

ZF: Darn. I mean....errr....of course!

  

SS: They have to trust my discretion. Or I am at least not allowed to mention any names.

  

ZF: What's it like working for Fraulein Solo and Fraulein [Mab] Ashdene?

  

SS: They are fine. At least towards those who work hard and bring in a lot of money.

  

ZF: You must do very well....

  

Sasa shrugs, “Well, one has to do what one has to do. There are so many things I can't do, but that I can and I do well. Like a one trick pony.”

  

Zoe Foodiboo gazes at Sasa curiously but decides not to further pursue it, lest she find herself in dangerously indiscrete waters

  

Sasa lights another cigarette

  

ZF: Now then, working at the Herrenclub isn't your only job...tell me about the Flapperettes. How did that all start?

  

SS: Yeah the flaps. That started with me seeing an ad written by Zeno McAuley. He wanted to start a dance troupe that he could manage.

  

ZF: Herr McAuley....we do miss him so.

  

SS: yeah, we do, but it was his idea to start it all, and me and Adele [Kling] were the first ones who auditioned. And later the same day Dora [Duchamp], Tequila [Mockingbird] and Luzie [Cheng] had joined.

  

ZF: What was the audition process like?

  

SS: It was more or less showing some dance moves. Nothing too exciting. Our first common practise was at the football field.

  

ZF: Fun! Tell me about that.

  

SS: well we just didn't have anywhere to go then, so we went there, and also it is the calmer part of Berlin so not that many nosey people would turn up.

  

Zoe chuckles

  

SS: our first show was at the stage at der Keller. I don't remember how many numbers we did then, maybe 3-4.

  

ZF: What did you wear? What were your dances like?

  

SS: the dress we always open with is the first costume we had, now we dance to the song Flapperette, but we had some other starting song then. And then we had a belly dance routine, and we still do that now and then.

  

Zoe scribbles on her pad, trying to get it all down

  

SS: then we have added number by number and I think we have over ten different numbers to choose between now...maybe even more. We found our roles in the group quickly anyway.

  

ZF: Nice! Now then, Herr McAuley is no longer involved with the Flapperettes, correct?

  

SS: No, Walter Gedenspire, Tequila's cousin, took over the manager role.

  

ZF: I see. And who does what? The roles you mentioned....

  

SS: Tequila is the choreographer. Dora is the administrator ... is that the right word?

  

Zoe nods, "Sounds about right."

  

SS: Jelena [Matova] who just have joined is in charge of the photographing. We all help with the stage changes. Teki [Tequila] also creates the stage backdrops. My main task up until now has been to make sure the egos get along and don't start fighting during the rehearsals.

  

ZF: That sounds like quite a job.

  

SS: The roles are changing a bit now, we're all trying new things within the group.

  

ZF: How often do you perform and where?

  

SS: We perform between 3-5 shows every year, and we've mostly been in Berlin but we have been abroad too on shorter tours, we've been in Paris for instance.

  

ZF: Lovely!

  

SS: yeah

  

ZF: Did your fame as a Flapperette help inspire Herr Boberg's song & accompanying film?

  

SS: Actually, it's funny that you mentioned him, since he is the one who suggested the name The Flapperettes

  

ZF: Is that true? Interesting!

  

SS: and we had two different suggestions and voted. Iit was 2-2 before I voted, and I voted for Flapperettes

  

ZF: May I ask what the other suggestions were?

  

SS: Actually i don't remember but it was long, silly and altogether horrible.

  

Zoe grins

  

SS: I was ready to fight for the name "The Flapperettes" but I didn't need to.

  

ZF: Excellent.

  

SS: but you mentioned BJ's song.

  

ZF: Ah yes. So how did the song evolve...."Lipstick something?"

  

SS: Do you mean "Lipstick on her knee"?

  

ZF: yes, that's it.

  

SS: You have to ask him about that, but he came up to me and said that he wanted to make a short movie to accompany a tango that he had written and recorded with his trio. Since the song had a story about a young dancer with blonde short hair, he thought I would be perfect for the role.

  

ZF: Makes sense

  

SS: so we spent around a day shooting the film out in the Berlin streets and at his apartment at Friedrichstrasse. He had a lot of patience actually.

  

ZF: All in one day? Nice! ...a lot of patience?

  

SS: I think he had filmed parts of the film before, parts where I wasn't in the film. Oh yeah, we filmed a bit at the Odeon theatre too.

  

ZF: sounds like quite a project!

  

SS: yeah well acting is not that easy. Walk here, walk there, look happy, look sad, hug him, kiss him, frown, flirt, take off your clothes...all that

  

Zoe blinks surprised, then rearranges her face into placidity

  

SS: and we had to make sure we stood in some different angles so we didn't show too much on the film. But the result was fine.

  

ZF: You were also photographed for a calendar, weren't you? I seem to remember seeing something in the window of the apotheke last year....

  

SS: yeah I was asked to take part of that. And I was told to dress a bit sailor-like and have my photos taken at the apotheke since it was also an advert for Clarrington's apotheke. So I had around 12-14 photos taken there.

  

Zoe nods

  

SS: and one of them was chosen for the calendar.

  

ZF: Who was the photographer?

  

SS: a local photographer, I forgot his name.

  

ZF: And was it Frl Duchamp who was in charge of publishing the calendar?

  

SS: Yeah. Dora's always in charge. ::winks::

  

Zoe smiles diplomatically

  

SS: … and anyway I've been doing some freelance modeling to keep the money coming in …

  

ZF: Oh?

  

SS: I got these pictures sent to me by a photographer this morning

::points at the two black and white photographs at the table in front of them::

  

Zoe follows Sasa’s gaze and leans in to take a look...then immediately pulls back, startled

  

SS: yeah well it pays well

  

Zoe stammers, "oh my.....you're...I....ummmmm....."

  

Sasa smiles "Yeah, he wants me that way"

  

Zoe tries to quickly think of something pleasant to say, "Nude photography can be very artful. er, artsy. I mean, artistic....um...yes. Well." ::clumsily reaches for a glass on the table and pours herself a drink::

  

Sasa shrugs

  

Zoe gulps her drink down, then clears her throat, "What else do you get up to in Berlin? I think I've seen you out on the football field on my way to work.” ::clears her throat again:: “Clothed.”

  

Sasa laughs loudly “Yeah, I’ve been at the football field clothed. I love sports. Been both wrestling with EC [Moleno] and fencing with Bruno [Bonj] and I think Sein [Loire] tried to play football with us”

  

ZF: Very nice uniforms!

  

SS: Me and Patrice [Cournoyer] share a deep interest for football. Patrice made those uniforms and I provided some research for them. Anyway, I like athletes as well.

  

ZF mutters "I'm sure you do..."

  

SS: … and we both had some fun playing football down at the field…

  

ZF: Do you have a regular team?

  

SS: I don't know how regular I would say it is. We have played some games with friends who have joined. The team is called Hertha Berlin.

  

ZF: You played against some men once, didn't you?

  

SS: We were going to organize some games last summer but we had trouble with the owners of the field...but we played some games two summers ago. We played one game me and Pat against a team consisting of two guys and we won, mainly because Patrice was brilliant.

  

ZF: Nice! Who were the men?

  

SS: oh let's see...one of them was a guy who later was forced away from Berlin - don't remember his name - and the other one hasn't been in Berlin for a long time now.

  

Zoe nods

  

SS: Alas I can't recall his name either

  

ZF: What a shame

  

Sasa wrinkles her forehead, “No, I can't remember”

  

ZF: You've built quite a life for yourself here in Berlin. Is there anything we're leaving out?

  

SS: you mean the juicy bits?

  

Zoe giggles

  

SS: I like to be around people. And I want people to like me. I don't know, but I really want affection, maybe because I didn't get much of it when I was a kid. Maybe that is why I dislike that old upper class twit kind of life.

  

Zoe nods thoughtfully

  

SS: and anyway, I have sometimes made some bad decisions when it comes to relationships …

  

ZF: Haven't we all?

  

SS: but I guess one gets stronger from that. Dating that communist Nik [Darkwatch] almost got me shot. But yeah, we all have -

it's part of life

  

Sasa stretches a bit in her chair and wipes some dust from her bathrobe.

  

ZF: So it is…

  

SS: and anyway I try to keep it all on the inside, just to show the quirky, happy, flirty, witty Sasa

  

ZF: We love it all.

  

Sasa frowns and blows out some cigarette smoke.

  

SS: yeah, that's the "Sasa" we love. So that's what I do. But I keep making the same mistakes over and over and over again...if they are mistakes.

  

Zoe listens

  

SS: anyway, it means that there are some that aren't that keen on me here, they look down on the life i live, but it's the life I know how to live.

  

ZF: We all must do our best.

  

SS: ...and that I'm good at.

  

Zoe smiles, “Now then, for the folks living in the "real" world....tell me, how did you discover the 1920s Berlin project?”

  

SS: I had a fairly new computer and I had read about SL so I tried it, explored different sims that were presented on the SL website. And then I read about the 1920s Berlin Project, and I was amazed that it seemed to be such a lively place unlike so many nice sims filled with bots. I like the social interaction, meeting people and talking to them. I bought a yellow flapper dress from Pola Solo's store and started exploring Berlin, I sat silently by a table at Der Keller and listened to the talk . I was like a grey silent mouse, if you can imagine that, and slowly but surely I realised what kind of role I could play here.

  

ZF: That's a good way to go about it and learn the social customs of a new place.

  

SS: yes, the first time I danced in Berlin, it was Morganic Clarrington to asked me for a dance

  

ZF: awww

  

SS: probably because he felt sorry for the silent girl wearing a huge beret :D

  

ZF: heh

  

SS: it took around two months actually before i got my character right, and even longer before I started to understand her :D

  

ZF: Did you do any research for your character?

  

SS: yes

  

ZF: tell me about that

  

SS: first of all about the Weimar Republic, just reading the articles at the library helps a lot. Then unlike my SL character, I'm very methodical, and I actually got some inspiration from some RL characters. and also from my RL profession.

  

Zoe nods

  

SS: I'm a psychiatric nurse in RL (not too flattering for Sasa that I have borrowed features from patients I've met)

  

ZF: heh - that's rather perfect, actually.

  

SS: Yes, I know my character's fears and secret thoughts. But I can't always control her. :D She hates authorities since they remind her of her strict upbringing. So when people tell her/orders her to do a thing she refuses just for the sake of it. She can be very obstinate and she is a bit childish that way. She is very afraid of being abandoned but she is also afraid of showing her true feelings. When she gets bored she may cause mayhem just for her own entertainment and sometimes she use other people for that, and that’s not a nice feature at all.

  

ZF: Tell me about your approach to roleplay.

  

SS: I'm not good at long paragraphs. I prefer to let people understand Sasa through what she says.

  

Zoe nods

  

SS: And what her avatars does, there's no need for long descriptions.

Also, it's difficult to be witty if one has to formulate a long paragraph because it has to come out quickly. Sasa has a quick tongue, and that does not fit well with long paragraphs.

  

Zoe nods in agreement, “Sasa is known for her zingers”

  

SS: That is probably where she is most like my real self.

  

ZF: Awesome. I sometimes crack up at my screen after some clever remark you've made :)

  

SS: Of course since one cannot script it, Sasa just says it without thinking. I often would stop myself in RL because I think the remark is too silly. Also, sometimes Sasa has been asked to use that quick wit during shows with the Flapperettes, but it’s not that easy. When one is asked to be witty, it becomes very tricky.

  

ZF: So rp-ing Sasa affords you a little freedom?

  

SS: Yes I think so

  

ZF: You said you've been here for almost 3 years? How has the sim changed since you first arrived, if at all? Aside from all the wonderful meshing :)

  

SS: It has grown first of all.

  

ZF: oh, true!

  

SS: People have come and gone and sometimes got back. Just like in real life you can't take it for granted that people will stay forever.

  

ZF: so true....

  

SS: Some who I have been close to have disappeared. And some have returned. When I was new, I got the impression that there were fewer people who organized things, but they organized more things. Like Zeno.

  

Zoe nods

  

SS: When he left it created a sort of a hole when it came to organized events, before others started to take over and help each other organizing. And it is better that more people are active with that. I haven't organized anything though.

  

ZF: You're so active, though!

  

SS: I'm not an organizer really.

  

ZF: You do help organize, even if you're not leading the project.

  

SS: I'm not that creative. I don't come up with that many ideas, and those I come up with aren’t that new. But I think I bring some colour at least.

  

ZF: oh pish, I think you're extremely creative. Your rp skills contribute a lot to the atmosphere, imho.

  

Sasa smiles

  

ZF: Do you have any hopes as far as the future of Berlin? or predictions?

  

SS: As long as the community is active it will keep strong, but I don't know how much more it can grow

  

Zoe nods

  

SS: but then I didn't expect the homesteads

  

ZF: Gosh, I just love the homesteads

  

SS: The thing I'm thinking is that if Frau [Jo] Yardley goes on to create the next project, that London sim, it's a risk that she will start compete with herself

  

ZF: She will need a lot of help…

  

SS: anyway we all know that nothing lasts forever, and who knows how long SL will exist. But if that is not a problem, I think it will continue to be strong and active. But it is up to us.

  

ZF: Well, my final question is always the same....what do you love most about our Berlin?

  

SS: The people. That there are all sorts of people from different social and economic classes and that the feeling is so realistic here. Even if I know that the Berliners are real people who in many cases are very different from their avatars, this is where they can be whoever they want to be.

  

That's freedom.

 

As seen in Japantown, San Francisco.

Let's start the methodological part of the set - each of the graffiti-painted sidewalls. At least I hope that I got them all. should be at least 14 of them. Let's see.

 

[Königs-Wusterhausen_20230726_1354_e-m10_07269854]

Prof. John Pollini working STUDENTS AT OSTIA ANTICA. Pollini in my opinion is the number 1 authority on Julio Claudian Portrait study. I have had much correspondence with Prof. Pollini and he is passionate about Roman Art. Here is his curriculum Vitae:

 

Education

B.A. Classics, University of Washington, 1/1968

M.A. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1973

Ph.D. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1978

 

Academic Appointment, Affiliation, and Employment History

Professor, Department of Art History (Adjunct Professor for Department of Classics and Department of History), University of Southern California, 1991-

Dean of the School of Fine Arts, University of Southern California, 1993-1996

Chairman of the Department of Art History, University of Southern California, 1990-1993

Associate Professor, Department of Art History and Department of Classics (adjunct appointment), University of Southern California, 1987-1991

Assistant Professor, Department of Classics, Johns Hopkins University, 1980-1987

Curator, Johns Hopkins University Archaeological Museum, 1980-1987

Visiting Assistant Professor, Department of Classics, Johns Hopkins University, 1979-1980

Mellon Postdoctoral Fellow, Department of Classics, Case Western Reserve University, 1978-1979

 

Description of Research

Summary Statement of Research Interests

Professor Pollini's research is concerned with methodologies of classical art and archaeology, ancient history, classical philology, epigraphy and numismatics. His other scholarly research interests include ancient religion, mythology, narratology, rhetoric and propaganda. Over the years Professor Pollini has excavated at the Greco-Roman site of Aphrodisias, Turkey, and the Etruscan site of Ghiaccio Forte, Italy, and participated in the underwater survey of the port of Tarquinia (Gravisca), Italy. Trained in the methodologies of classical art & archaeology, ancient history, classical philology, epigraphy, and numismatics, Professor Pollini is committed to interdisciplinary teaching and research. Professor Pollini has lectured widely both in the United States and abroad. He has published numerous articles and authored several books.

 

Research Specialties

Classical Art and Archaeology

 

Honors and Awards

Elected Life Member, German Archaeological Association, 2000-

American Council of Learned Societies Fellowship, awarded for second time, 2006-2007

Guggenheim Fellowship, deferred until 2007-2008, 2006-2007

Whitehead Professor at the American School of Classical Studies at Athens (Honorific Appointment), 9/1/2006-6/1/2007

Departmental Nominee for University Associates Award for Excellence in Teaching 2002, 2002-2005

Mellon Foundation Award for Excellence in Mentoring, 2004-2005

Departmental Nominee for University Associates Award for Excellence in Teaching 1998, 1998-2001

National Endowment for the Humanities Fellowship, awarded for second time, 1995-1996

American Council of Learned Societies Fellowship, 1987-1988

National Endowment for the Humanities Fellowship, 1983-1984

Mellon Postdoctoral Fellowship, 1978-1979

Fulbright Award, Fellowship to Italy, 1975-1976

   

CURRICULUM VITAE

 

JOHN POLLINI

 

Department of Art History

Von Kleinsmid Center 351 University of Southern California

Los Angeles, CA 90089-0047

  

Professor of Classical Art and Archaeology, Department of Art History

Joint Professor, Department of History

Adjunct Professor, Department of Classics

 

President, Classical Archaeological Association of Southern California (CAASC)

  

DEGREES

 

Ph. D. Ancient History and Mediterranean Archaeology, University of California at

Berkeley (1978) (interdisciplinary program involving the Departments of Art History,

Classics, and History; major field: Etruscan and Roman Art and Archaeology; minor

fields: Greek Art and Archaeology and Roman History; Ph.D. equivalency exams in

ancient Greek and Latin) [Diss.: Studies in Augustan “Historical” Reliefs]

 

M.A. Ancient History and Mediterranean Archaeology, University of California at

Berkeley (l973) [MA Thesis: Two Marble Portrait Statues of Pugilists from Carian

Aphrodisias: Iconography and Third Century A.D. Sculptural Traditions in the Roman

East]

 

B.A. magna cum laude, Classics, University of Washington (1968)

 

POSTDOCTORAL ACADEMIC APPOINTMENTS

 

Dean of the School of Fine Arts, University of Southern California, with administrative,

budgetary, and fund-raising responsibilities (1993-1996)

 

Chairman of the Department of Art History, University of Southern California

(1990-1993)

 

Full Professor, University of Southern California, Department of Art History

(1991-present), with joint appointment in the Department of History and adjunct

appointment in the Department of Classics

 

Associate Professor, University of Southern California, Department of Art History, with

adjunct appointment in the Department of Classics (1987-1991)

 

Assistant Professor, Johns Hopkins University, Department of Classics (1980-1987) and

 

Curator of the Johns Hopkins University Archaeological Museum (1980-1987)

 

Visiting Assistant Professor, Johns Hopkins University, Department of Classics

(1979-1980)

 

Mellon Postdoctoral Fellow, Case Western Reserve University, Department of Classics

(1978-1979)

 

INTERNATIONAL AND NATIONAL FELLOWSHIPS, GRANTS,

AWARDS, HONORS

 

William E. Metcalf Lectureship (2008)

 

John Simon Guggenheim Memorial Foundation Fellowship (2006-2007, deferred to

2007-2008)

 

Whitehead Professor of Archaeology, American School of Classical Studies at

Athens (2006-2007)

 

American Council of Learned Societies Fellowship (2006-2007)

 

Kress Foundation Travel Grant (Summer 2006)

 

Mellon Foundation Award for Excellence in Mentoring (2005)

 

Taggart Foundation Grant: Campus Martius Virtual Reality Project (2005)

 

Distinguished Lecturer, Biblical Archaeological Society and Center for Classical

Archaeology, University of Oklahoma, Norman (2005): Series of three lectures on

Roman and Christian Religion, Art, and Ideology

 

Kress Foundation Travel Grant (2003)

 

Senior Humboldt Research Prize (nominated) to Berlin, Germany, for 2000-2001

 

Elected Member (for life) of the German Archaeological Institute (Berlin) (2000)

 

National Endowment for the Humanities Fellowship for Independent Study and

Research (1995-1996)

 

Kress Foundation Travel Grant (Summer 1988)

 

American Council of Learned Societies Fellowship (1987-1988)

 

Kress Foundation Travel Grant (1987)

 

National Endowment for the Humanities Fellowship for Independent Study and

Research (1983-1984)

 

Mellon Postdoctoral Fellowship, Case Western Reserve University (1978-1979)

 

Mabelle McLeod Lewis Memorial Fund Fellowship to Italy (1975-1976)

 

Fulbright Fellowship, Università di Roma, Rome, Italy (1975-1976)

 

UNIVERSITY FELLOWSHIPS, GRANTS, AWARDS, HONORS

 

Departmental Nominee for University Associates Award for Excellence in Teaching

(2002-2005)

 

College Faculty Research Development Award (consecutive years: 2000-2007)

 

University of Southern California Grant for Innovative Undergraduate Teaching

(with Lynn Swartz Dodd and Nicholas Cipolla) for a virtual reality project “Imaging

Antiquity: Creating Context through Virtual Reconstructions, Digital Resources, and

Traditional Media” (2003-2004)

 

Grant for the “College Initiative for the Study of Political Violence” (2002)

 

University of Southern California Grant for Innovative Undergraduate Teaching

(with Bruce Zuckermann and Lynn Swartz Dodd) to develop a new interdisciplinary and

interdepartmental course entitled “Accessing Antiquity: Actual Objects in Virtual Space”

(2000-2001)

 

University of Southern California Senior Nominee for National Endowment for the

Humanities Summer Stipend for Faculty Research (1998-1999)

 

Departmental Nominee for University Associates Award for Excellence in Teaching

(1998-2001)

 

College Awards and Grants for Research Excellence (consecutive years: 1997-2000)

 

Hewlett Foundation Award and Grant for General Education Course Development

(1997-1998)

 

Faculty Research and Innovation Fund Grant, University of Southern California (1988)

 

University of California Traveling Fellowship (1976-1977)

 

Dean’s Fellowship, U.C. Berkeley (1973-1975)

 

Phi Beta Kappa (1968), University of Washington

 

ADDITIONAL EDUCATIONAL PREPARATION

 

Field trips sponsored by the American Academy in Rome, German Archaeological

Institute, and Comune di Roma (1975-1978)

 

Research in Rome, Italy for dissertation (1975-1978), as well as further study of Greek

and Roman art and architecture in Italy and elsewhere in Europe during this period

 

Supervised study of Greek and Roman sculpture at the J. Paul Getty Museum, with

J. Frel (1973-1975)

 

Course in Greek art and archaeology at the Universität München, Munich, Germany

with E. Homann-Wedeking (1971)

 

Study of the German language at the Goethe Institute, Grafing (Munich), Germany (1971)

 

Course work in Roman, Etruscan, and Italic art and architecture, Università di Roma,

with G. Becatti, M. Pallottino, F. Castagnoli, and M. Squarciapino (1970-1971)

 

ARCHAEOLOGICAL FIELD WORK

 

Underwater survey of port of Tarquinia (Gravisca), Italy (1977): Consultant

 

Excavation of Etruscan site of Ghiaccio Forte, Italy (1973)

 

Excavation of Greco-Roman site of Aphrodisias, Turkey (1970-1972)

 

Excavation of Spanish/Indian Mission, Guavave, Arizona (1965-1966)

 

LANGUAGES

 

Ancient: Latin and Greek

Modern: German, Italian, French, modern Greek, some Turkish

 

BOOKS

 

PUBLISHED:

 

I) The Portraiture of Gaius and Lucius Caesar (Fordham University Press, New York

1987) (with a book subvention from the National Endowment for the Humanities).

 

II) Roman Portraiture: Images of Character and Virtue, with graduate student

participation (Fisher Gallery, Los Angeles 1990).

 

III) Gallo-Roman Bronzes and the Process of Romanization:The Cobannus Hoard

(Monumenta Graeca et Romana IX) (Brill, Leiden 2002).

 

IV) The de Nion Head: A Masterpiece of Archaic Greek Sculpture (Philipp von

Zabern, Mainz 2003).

 

V) Terra Marique: Studies in Art History and Marine Archaeology in Honor of Anna

Marguerite McCann on the Receipt of the Gold Medal of the Archaeological Institute

of America (editor, designer, and contributor of introduction, publication list, and

one of 19 essays) (Oxbow Publications, Oxford 2005).

 

SUBMITTED:

 

VI) From Republic to Empire: Rhetoric, Religion, and Power in the Visual Culture of

Ancient Rome (University of Oklahoma Press), comprising eight chapters:

CHAPTER I: The Leader and the Divine: Diverse Modes of Representation in Roman Numismatics

CHAPTER II: The Cult Image of Julius Caesar: Conflicts in Religious Theology and Ideology in

Augustus’ Representational Program

CHAPTER III: From Warrior to Statesman in Augustan Art and Ideology: Augustus and the Image of

Alexander

CHAPTER IV: The Ideology of “Peace through Victory” and the Ara Pacis: Visual Rhetoric and the

Creation of a Dynastic Narrative [revised and updated essay originally published in

German]

CHAPTER V: The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of

Anamorphosis, Anakyklosis and Numen Mixtum [revised and updated publication].

CHAPTER VI: Divine Providence in Early Imperial Ideology: The Smaller Cancelleria Relief and

the Ara Providentiae Augustae

CHAPTER VII: The “Insanity” of Caligula or the “Insanity” of the Jews? Differences in Perception

and Religious Beliefs

CHAPTER VIII: “Star Power” in Imperial Rome: Astral Theology, Castorian Imagery, and the Dual

Heirs in the Transmission of the Leadership of the State

 

IN PROGRESS:

 

VII) Christian Destruction and Desecration of Images of Classical Antiquity: A Study

in Religious Intolerance in the Ancient World

 

VIII) Dynastic Narratives in Augustan Art and Thought: The Rhetoric and Poetry of

Visual Imagery [with DVD Virtual Reality Program of the Monuments]

 

IX) The Image of Augustus: Art, Ideology, and the Rhetoric of Leadership

 

X) Social, Sexual, and Religious Intercourse: Sacrificial Ministrants and Sex-Slaves

in Roman Art -- 3rd Century B.C. - 4th Century A.D.

  

ARTICLES

 

PUBLISHED:

 

1) “A Flavian Relief Portrait in the J. Paul Getty Museum,” in Getty Museum Journal

5 (1977) 63-66.

 

2) “Gnaeus Domitius Ahenobarbus and the Ravenna Relief,” in Römische Mitteilungen

88 (1981) 117-40.

 

3) “A Pre-Principate Portrait of Gaius (Caligula)?” in Journal of the Walters Art

Gallery 40 (1982) 1-12.

 

4) “Damnatio Memoriae in Stone: Two Portraits of Nero Recut to Vespasian in

American Museums,” in American Journal of Archaeology 88 (1984) 547-55.

 

5) “The Meaning and Date of the Reverse Type of Gaius Caesar on Horseback,” in

American Numismatic Society Museum Notes 30 (1985) 113-17.

 

6) “Response to E. Judge’s ‘On Judging the Merits of Augustus,’” in Center for

Hermeneutical Studies: Colloquy 49 (1985) 44-46.

 

7) “Ahenobarbi, Appuleii and Some Others on the Ara Pacis,” in American Journal of

Archaeology 90 (1986) 453-60.

 

8) “The Findspot of the Statue of Augustus from Prima Porta,” in Bullettino della

Commissione Archeologica Comunale di Roma 92 (1987/88) 103-108.

 

9) “Two Acrolithic or Pseudo-Acrolithic Sculptures of the Mature Classical Period in

the Archaeological Museum of the Johns Hopkins University,” in Classical Marble:

Geochemistry,Technology, Trade (NATO ASI Series E vol. 153), edd. N. Herz and

M. Waelkens (Dordrecht 1988) 207-17.

 

10) “Man or God: Divine Assimilation and Imitation in the Late Republic and Early

Principate,” in Between Republic and Empire: Interpretations of Augustus and His

Principate, edd. K.A. Raaflaub and M. Toher (Berkeley 1990) 333-63.

 

11) “The Marble Type of the Augustus from Prima Porta: An Isotopic Analysis,” in

Journal of Roman Archaeology 5 (1992) 203-208.

 

12) “The Tazza Farnese: Principe Augusto ‘Redeunt Saturnia Regna’!” in American

Journal of Archaeology 96 (1992) 249-55, 283-300.

 

13) “The Cartoceto Bronzes: Portraits of a Roman Aristocratic Family of the Late First

Century B.C.,” in American Journal of Archaeology 97 (1993) 423-46.

 

14) “The Gemma Augustea: Ideology, Rhetorical Imagery, and the Construction of a

Dynastic Narrative,” in Narrative and Event in Ancient Art, ed. P. Holliday

(Cambridge 1993) 258-98.

 

15) “The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of

Anamorphosis, Anakyklosis and Numen Mixtum,” in Von der Bauforschung zur

Denkmalpflege, Festschrift für Alois Machatschek (Vienna 1993) 181-217.

 

16) “The ‘Trojan Column’ at USC: Reality or Myth?” in Trojan Family (May, 1994)

30-31.

 

17) “The Augustus from Prima Porta and the Transformation of the Polykleitan Heroic

Ideal,” in Polykleitos, the Doryphoros, and Tradition, ed. W. Moon (Madison 1995)

262-82.

 

18) “The ‘Dart Aphrodite’: A New Replica of the ‘Arles Aphrodite Type,’ the Cult Image

of Venus Victrix in Pompey’s Theater at Rome, and Venusian Ideology and Politics

in the Late Republic - Early Principate,” in Latomus 55 (1997) 757-85.

 

19) “Parian Lychnites and the Prima Porta Statue: New Scientific Tests and the Symbolic

Value of the Marble” (with N. Herz, K. Polikreti, and Y. Maniatis), in Journal of

Roman Archaeology 11 (1998) 275-84.

 

20) “The Warren Cup: Homoerotic Love and Symposial Rhetoric in Silver,” in The Art

Bulletin 81 (1999) 21-52.

 

21) “Ein mit Inschriften versehener Legionärshelm von der pannonisch-dakischen Grenze

des römischen Reiches: Besitzverhältnisse an Waffen in der römischen Armee,” in

M. Junkelmann, Römische Helme VIII Sammlung Axel Guttmann, ed. H. Born

(Mainz 2000) 169-88.

 

22) “The Marble Type of the Statue of Augustus from Prima Porta: Facts and Fallacies,

Lithic Power and Ideology, and Color Symbolism in Roman Art,” in Paria Lithos:

Parian Quarries, Marble and Workshops of Sculpture (Proceedings of the First

International Conference on the Archaeology of Paros and the Cyclades, Paros, 2-5

October 1997), edd. D.U. Schilardi and D. Katsonopoulou (Athens 2000) 237-52.

 

23) “The Riace Bronzes: New Observations,” in Acten des 14. Internationalen

Kongresses für Antike Bronzen, Kölner Jahrbuch 33 (2000) 37-56.

 

24) “Two Bronze Portrait Busts of Slave-Boys from a Shrine of Cobannus in Roman

Gaul,” in Studia Varia II: Occasional Papers on Antiquities of The J. Paul Getty

Museum 10 (2001) 115-52.

 

25) “A New Portrait of Octavian/Augustus Caesar,” in Roman Sculpture in the

Art Museum, Princeton University (Princeton 2001) 6-11.

 

26) “Two Gallo-Roman Bronze Portraits of Sacrificial Ministrants in the J. Paul Getty

Museum,” in From the Parts to the Whole 2: Acta of the 13th International Bronze

Congress, Cambridge, Massachusetts, May 28 - June 1, 1996, edd. C.C.

Mattusch, A. Brauer, and S.E. Knudsen (Portsmouth, Rhode Island 2002) 89-91.

 

27) “‘Frieden-durch-Sieg’ Ideologie und die Ara Pacis Augustae: Bildrhetorik und

die Schöpfung einer dynastischen Erzählweise,” in Krieg und Sieg: Narrative

Wanddarstellungen von Altägypten bis ins Mittelalter (Internationales

Kolloquium 23. - 30. Juli 1997 im Schloss Heindorf, Langenlois; Österreichischen

Akademie der Wissenschaften XXIV), edd. M. Bietak und M. Schwarz (Vienna

2002) 137-59.

 

28) “A New Portrait of Octavia and the Iconography of Octavia Minor and Julia Maior,”

Römische Mitteilungen 109 (2002) 11-42.

 

29) “Slave-Boys for Sexual and Religious Service: Images of Pleasure and Devotion,” in

Flavian Rome: Culture, Image, Text, edd. A.J. Boyle and W.J. Dominik (Leiden

2003) 149-66.

 

30) “The Caelian Hill Sacrificial Minister: A Marble Head of an Imperial Slave-Boy from

the Antiquarium Comunale on the Caelian Hill in Rome,” in Römische Mitteilungen

111 (2004) 1-28.

 

31) “A New Head of Augustus from Herculaneum: A Marble Survivor of a Pyroclastic

Surge,” in Römische Mitteilungen 111 (2004) 283-98.

 

32) “The Armstrong and Nuffler Heads and the Portraiture of Julius Caesar, Livia, and

Antonia Minor in Terra Marique: Studies in Honor of Anna Marguerite McCann

on the Receipt of the Gold Medal of the Archaeological Institute of America, ed.

J. Pollini (Oxbow Publications, Oxford 2005) 89-122.

 

33) “A New Marble Portrait of Tiberius: Portrait Typology and Ideology,” in Antike Kunst

48 (2005) 57-72.

 

34) “A North African Portrait of Caracalla from the Mellerio Collection and the

Iconography of Caracalla and Geta,” in Revue Archéologique (2005) 55-77.

 

35) “A Bronze Gorgon Handle Ornament of the Ripe Archaic Greek Period,” in Annuario

della Scuola Archeologica Italiana di Atene e delle Missioni Italiani in Oriente 83

(2005) 235-47.

 

36) “Ritualizing Death in Republican Rome: Memory, Religion, Class Struggle, and the

Wax Ancestral Mask Tradition’s Origin and Influence on Veristic Portraiture” in

Performing Death: Social Analyses of Funerary Ritual in the Ancient Near East

and Mediterranean (Oriental Institute Seminars 3, University of

Chicago), ed. N. Laneri (Chicago 2007) 237-85.

 

37) “A New Bronze Portrait Bust of Augustus,” in Latomus 66 (2007) 270-73.

 

FORTHCOMING:

 

38) “Gods and Emperors in the East: Images of Power and the Power of Intolerance,”

in the proceedings of an international conference on “‘Sculptural Environment’ of the

Roman Near East: Reflections on Culture, Ideology, and Power” (University of

Michigan), in Interdisciplinary Studies in Ancient Culture and Religion,

edd. E.A. Friedland, S.C. Herbert, and Y.Z. Eliav (Peeters Publ.: Leuven).

 

39) “A New Portrait Bust of Tiberius in the Collection of Michael Bianco,” in Bulletin

Antieke Beschaving 83 (2008) 133-38.

 

40) “The Desecration and Mutilation of the Parthenon Frieze by Christians and Others,” in

Athenische Mitteilungen 122 (2007).

 

41) “Problematics of Making Ambiguity Explicit in Virtual Reconstructions:

A Case Study of the Mausoleum of Augustus,” for the proceedings of an international

conference, “Computer Technology and the Arts: Theory and Practice,” sponsored by

the British Academy and the University of London.

 

42) “A Winged Goat Table Leg Support from the House of Numerius Popidius Priscus at

Pompeii,” in Pompei, Regio VII, Insula 2, pars occidentalis. Indagini, Studi,

Materiali (la Soprintendenza Archeologica di Pompei), ed. L. Pedroni.

 

43) “Augustus: Portraits of Augustus,” in Oxford Encyclopedia of Ancient Greece and

Rome (2008).

 

44) “A New Bronze Lar and the Role of the Lares in the Domestic and Civic Religion of the Romans,” in Latomus (2008).

  

IN PROGRESS:

 

45) “The ‘Colville Athena’ Head and Its Typology.”

 

46) “Idealplastik and Idealtheorie: Paradeigmatic Systems, Homosexual Desire, and the

Rhetoric of Identity in Polykleitos’ Doryphoros and Diadoumenos.”

 

REVIEW ARTICLES

 

PUBLISHED:

 

D. Boschung, Die Bildnisse des Augustus (Das römische Herrscherbild I.2) (Berlin 1993),

in Art Bulletin 81 (1999) 723-35.

 

E. Varner, Mutilation and Transformation: Damnatio Memoriae and Roman Imperial

Portraiture (Monumenta Graeca et Romana 10) (Leiden 2004), in Art Bulletin 88

(2006) 591-98.

  

BOOK REVIEWS

 

PUBLISHED:

 

M. Torelli, Typology and Structure of Roman Historical Reliefs, in American Journal of

Archaeology 87 (1983) 572-73.

 

J. Ganzert, Das Kenotaph für Gaius Caesar in Limyra, in American Journal of

Archaeology 90 (1986) 134-36.

 

R. Brilliant, Visual Narratives. Storytelling in Etruscan and Roman Art in American

Journal of Philology 107 (1986) 523-27.

 

PUBLISHED IN CHOICE:

 

E. Bartman, Portraits of Livia: Imaging the Imperial Woman in Augustan Rome, in

vol. 37 (1999) 126.

 

B.S. Ridgway, Prayers in Stone: Greek Architectural Sculpture (Ca. 600 - 100 B.C.),

in vol. 37 (2000) 1095.

 

W.E. Mierse, Temples and Towns in Roman Iberia: The Social and Architectural

Dynamics of Sanctuary Designs from the Third Century B.C. to the Third Century A.D.

in vol. 37 (2000) 1458.

 

V. Karageorgis, Ancient Art from Cyprus: The Cesnola Collection in The Metropolitan

Museum of Art (New York 2000)in vol. 38 (2000) 1953.

 

Z. Hawass, Valley of the Golden Mummies (New York 2000) in vol. 38 (2001)

4036.

 

M.W. Jones, Principles of Roman Architecture (New Haven 2000) in vol. 38 (2001)

5409.

 

F. Salmon, Building on Ruins: The Rediscovery of Rome and English Architecture

(Ashgate 2000) in vol. 39 (2001) 106.

 

J. Boardman, The History of Greek Vases: Potters, Painters and Pictures (New York

2001) in vol. 39 (2002) 3755.

 

Roman Sculpture in the Art Museum, Princeton University, ed. J. M. Padgett (Princeton

2001) in vol. 39 (2002) 6218.

 

G. Hedreen, Capturing Troy: The Narrative Function of Landscape in Archaic and Early

Classical Greek Art (Ann Arbor, 2001) in vol. 40 (2002) 73.

 

A. J. Clark, M. Elston, and M.L. Hart, Understanding Greek Vases: A Guide to Terms,

Styles, and Techniques (Los Angeles 2002) in vol. 40 (2003) 3185.

 

S. Woodford, Images of Myths in Classical Antiquity (Cambridge 2003) in vol. 41

(2003) 89.

 

J. Aruz with R. Wallenfels (edd.), Art of the First Cities: The Third Millennium B.C. from

the Mediterranean to the Indus (The Metropolitan Museum of Art, New York) (New

Haven 2003) in vol. 41 (2004) 2584.

 

G. Curtis, Disarmed: The Story of the Venus de Milo (New York 2003) in vol. 41 (2004)

5083.

 

Games for the Gods: The Greek Athlete and the Olympic Spirit, edd. J.J. Herrmann and C.

Kondoleon (Boston Museum of Fine Arts) in vol. 42 (2004) 646.

 

E.W. Leach, The Social Life of Painting in Ancient Rome and on the Bay of Naples

(Cambridge 2004) in vol. 42 (2004) 1215-16.

 

D. Mazzoleni, Domus: Wall Painting in the Roman House (Los Angeles 2004) in vol. 42

(2005) 1809.

 

S. Fine, Art and Judaism in the Greco-Roman World: Toward a New Jewish Archaeology

(Cambridge 2005) in vol. 43 (2006) 1586-87.

 

C.H. Hallett, The Roman Nude: Heroic Portrait Statuary 200 B.C. -- A.D. 300 (Oxford

2005) in vol. 44 (2006).

 

Constantine the Great: York’s Roman Emperor, edd. E. Hartley, J. Hawkes, M. Henig, and

F. Mee (York 2006) in vol. 44 (2006).

 

M.D. Stansbury-O’Donnell, Vase Painting, Gender, and Social Identity in Archaic Athens

(Cambridge 2006) in vol. 44 (2006).

 

PRINCIPAL INSTRUCTIONAL MATERIALS (Hard Copy and Online):

 

Greek Art and Archaeology: Course Manual (113 pages, 23 plates) and online version of

this Course Manual with digitized images

 

Roman Art and Archaeology: Course Manual (158 pages, 58 plates) and online version

of this Course Manual with digitized images

 

Digging into the Past: Material Culture and the Civilizations of the Ancient

Mediterranean: Course Manual (43 pages)

 

Proseminar Guide to General and Specific Works on Greek and Roman Art and

Archaeology and Related Disciplines (50 pages) and online version

 

Website for AHIS 425, “Introduction to Interdisciplinary Research and Methodology

in Classical Art and Archaeology and Related Disciplines” with links to other important

websites in the fields of Art, Archaeology, Classics, and Ancient History

 

Website for AHIS 201g: “Digging into the Past: Material Culture and the

Civilizations of the Ancient Mediterranean” (with digitized images)

 

PAPERS GIVEN AT INTERNATIONAL AND NATIONAL

CONFERENCES AND SYMPOSIA

 

On Judging the Merits of Augustus: Center for Hermeneutical Studies: Colloquy,

Berkeley (April, 1985)

 

Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,

National Gallery of Art (October, 1986)

 

Augustus: Monuments, Arts, and Religion: Brown University (March, 1987)

 

Aspects of Ancient Religion: University of California at Berkeley (April, 1987)

 

Marble and Ancient Greece and Rome: International conference sponsored by

NATO at Il Ciocco (Tuscany), Italy (May, 1988)

 

Polykleitos, the Doryphoros and Its Influence: University of Wisconsin, Madison

(October, 1989)

 

UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (December, 1992)

 

XIIIth International Bronze Congress: Harvard University (May 28 - June 1, 1996)

 

UCLA-USC Seminar in Roman Studies: Roman Representations: Subjectivity, Power

and Space: USC, Los Angeles (March, 1997)

 

International Symposium at Cuma (Naples): Flavian Poets, Artists, Architects and

Engineers in the Campi Flegrei (July, 1997)

 

International Symposium at the University of Vienna: Interdisziplinäres Kolloquium

Historische Architekturreliefs vom Alten Ägypten bis zum Mittelalter (July, 1997)

 

First International Conference on the Archaeology of Paros and the Cyclades: Paros,

Greece (October, 1997)

 

Getty Research Institute Colloquium: Work in Progress (November, 1997)

 

Annual Meetings of the Art Historians of Southern California at California State

University, Northridge, California (November, 1998)

 

XIV. Internationaler Kongress für Antike Bronzen: Werkstattkreise, Figuren und Geräte

(Sponsored by Das Römisch-Germanisches Museum der Stadt Köln und das

Archäologisches Institut der Universität zu Köln [September 1999]): Besides giving paper,

chaired the session “Bronzestatuen und -statuetten: Fundkomplexen, Fundgruppen,

Einzelstücke, und Typen”

 

First International Symposium on Roman Imperial Ideology: Politics, Art, and

Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and chaired

session on “Ideology, Historiography, and the Imperial Family” (May, 2000)

 

International Symposium at Emory University, Atlanta: Tyranny and Transformation

(October, 2000)

 

Annual Meeting of the Art Historians of Southern California at the Getty Center,

Los Angeles, California (November, 2000)

Getty Research Institute Colloquium: Work in Progress (December, 2000)

 

Second International Symposium on Roman Imperial Ideology: Politics, Art, and

Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “The Image of

the Princeps and the Ruler Cult” (May, 2001)

 

UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (April, 2002)

 

Third International Symposium on Roman Imperial Ideology: Politics, Art, and

Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “Roman History

and Ideology” (May, 2002)

 

Symposium on the Age of Augustus at UCLA -- (Feb., 2003)

 

Fourth International Symposium on Roman Imperial Ideology: Politics, Art, and

Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and

chaired session (May, 2003)

 

International Archaeological Congress, Harvard University (Aug. 2003): Besides giving a

paper, chaired session on “Ancient Society”

 

VIIth International ASMOSIA Conference, Thasos, Greece (Sept. 2003)

 

International Conference in the Arts and the Humanities, Honolulu, Hawaii (Jan. 2004)

 

Symposium on Roman Sculpture, Minneapolis Museum of Art (organized by Richard

Brilliant) (April, 2004)

 

International Symposium on Interaction of Indigenous and Foreign Cults in Italy at Cuma

(Naples) (May, 2004): Besides giving a paper, chaired session

 

International Conference at University of Michigan: “‘Sculptural Environment’ of the

Roman Near East: Reflections on Culture, Ideology, and Power (November 2004)

 

International Conference at Stanford University: “Seeing the Past” (February 2005)

 

International Conference at the University of London: “Computer Technology and the Arts:

Theory and Practice” (November 2005)

 

International Conference at the University of Chicago: “Performing Death: Social Analyses

of Funerary Ritual in the Mediterranean” (February 2006)

  

VIIIth International ASMOSIA Conference, Aix-en-Provence, France (June 2006)

 

Symposium “Art of Warfare”: Michael C. Carlos Museum, Emory University (January

2007)

 

PAPERS PRESENTED AT ANNUAL CONVENTIONS OF THE

ARCHAEOLOGICAL INSTITUTE OF ARCHAEOLOGY AND THE

COLLEGE ART ASSOCIATION

 

Boston (AIA, December, 1979)

 

New Orleans (AIA, December, 1980)

 

San Francisco (AIA, December, 1981)

 

Philadelphia (AIA, December, 1982)

 

Cincinnati (AIA, December, 1983)

 

Toronto (AIA, December, 1984)

 

Washington, D.C. (AIA, December, 1985) -- invited paper, “The Promulgation of the

Image of the Leader in Roman Art,” in a special AIA plenary session on Politics and

Art

 

San Antonio (AIA, December, 1986) -- invited paper, “Time, Narrativity, and Dynastic

Constructs in Augustan Art and Thought,” at a joint AIA-APA session on topics

illustrating connections between Roman art and philology

 

Houston (CAA, February, 1988) -- invited paper, “The Gemma Augustea and the

Construction of a Dynastic Narrative,” for a CAA session on Narrative and Event in

Greek and Roman Art

 

Atlanta (AIA, December, 1994) -- discussant for a joint AIA-APA session on “Rethinking

Nero’s Legacy: New Perspectives on Neronian Art, Literature, and History”

 

New York (AIA, December, 1996) -- special poster session: “The Marble Type of the

Statue of Augustus from Prima Porta: New Scientific Tests” (prepared in collaboration

with Norman Herz, Director of Programs, Center for Archaeological Sciences, University

of Georgia)

 

Chicago (AIA, December, 1997)

 

Washington, D.C. (AIA, December, 1998) -- invited paper, “A Portrait of a Sex-Slave

‘Stud’ (?) in the Metropolitan Museum of Art in New York,” for a special colloquium in

honor of Anna Marguerite McCann on the receipt of the “Gold Medal” of the

Archaeological Institute of America

 

San Francisco (AIA, January, 2004) -- joint paper with N.Cipolla and L. Swartz Dodd

 

OTHER ACADEMIC AND PUBLIC LECTURES/TALKS

 

American Academy, Rome, Italy (March, 1976)

 

Cleveland Society AIA, Cleveland, Ohio (April, 1979)

 

Johns Hopkins University, Baltimore, Md. (September, 1980)

 

Institute of Fine Arts, New York, N.Y. (October, 1980)

 

Metropolitan Museum of Art, New York, N.Y. (January, 1983)

 

New York Society AIA, New York, N.Y. (January, 1983)

 

Baltimore Society AIA, Baltimore, Md. (February, 1983)

 

University of Toronto, Toronto, Canada (March, 1987)

 

University of Southern California, Los Angeles, Ca. (March, 1987)

 

Columbia University, New York, N.Y. (April, 1987)

 

Classical Archaeological Society of Southern California, UCLA, Ca. (November 1989)

 

Tulane University, New Orleans, La. (February, 1990)

 

Classical Archaeological Society of Southern California, USC, Ca. (February 1990)

 

Los Angeles Society AIA, Los Angeles, Ca. (March, 1990)

 

Fisher Gallery and School of Fine Arts, University of Southern California, Los Angeles,

Ca. (March, 1990)

 

Institute of Fine Arts, New York, N.Y. (April, 1990)

 

American Academy, Rome, Italy (May, 1990)

 

University of Vienna and Kunsthistorisches Museum, Vienna, Austria (June, 1990)

 

San Diego Society AIA, San Diego, Ca. (September, 1990)

 

Classical Archaeological Society of Southern California, Getty Museum, Malibu, Ca.

(November, 1990).

 

University of Pennsylvania, Philadelphia, Pa. (December, 1990)

 

Classical Archaeological Society of Southern California, Gamble House, Pasadena, Ca.

(March 1991)

 

Henry T. Rowell Lecturer: Baltimore Society AIA, Baltimore, Md. (November, 1991)

 

Villanova University, Villanova, Pa. (November, 1991)

 

Royal-Athena Galleries, Los Angeles, Ca. (October, 1992)

 

Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art,

Washington D.C. (November, 1992)

 

University of North Carolina, Chapel Hill, N.C. (November, 1992)

 

Duke University, Durham, N.C. (November, 1992)

 

University of California, Los Angeles: UCLA/USC Seminar in Roman Studies, Los

Angeles, Ca. (December, 1992)

 

University of Southern California, Los Angeles, Ca. (January, 1993)

 

J. Paul Getty Museum and Center for the History of Art and the Humanities, Malibu,

Ca. (February, 1993)

 

Classical Archaeological Society of Southern California, UCLA, Ca. (March 1993)

 

California State University, Long Beach, Ca. (March, 1993)

 

Stanford University, Palo Alto, Ca. (April, 1993)

 

University of California, Berkeley, Ca. (April, 1993)

 

California State University, Northridge, Ca. (April, 1993)

 

University of Arizona, Tucson, Az. (April, 1993)

 

American Academy, Rome, Italy (June, 1994)

 

Getty Center for the History of Art and the Humanities (Director’s Series) (Dec., 1994)

 

University of California, Irvine (May, 1997)

 

American Academy, Rome, Italy (July, 1997)

 

American School of Classical Studies, Athens (October, 1997)

 

Los Angeles County Museum of Art, Los Angeles (March, 1998)

 

British School at Rome (June, 1998)

 

University of California, Berkeley (November, 1998)

 

Classical Archaeological Society of Southern California, University of California,

Santa Barbara (March, 1999)

 

Work in Progress: Getty Research Institute, Brentwood, California (December, 2000)

 

Classical Archaeological Society of Southern California, Getty Research Institute,

Brentwood, Ca. (April, 2001)

 

American Academy, Rome, Italy (May, 2001)

 

Loyola Marymount, Los Angeles (March, 2002)

 

Southern California Institute of Architecture (February, 2003)

 

Columbia University, New York (April, 2003)

 

University of Amsterdam, the Netherlands (May, 2003)

 

University of Nijmegen, the Netherlands (May, 2003)

 

American School of Classical Studies, Athens (September, 2003)

 

University of Oklahoma, Norman (March, 2005)

 

Cambridge University, Cambridge, England (November, 2005)

 

American School of Classical Studies at Athens, Greece (March, 2007)

 

University of Athens, Greece (May, 2007)

 

Los Angeles Society of the AIA, Los Angeles (December, 2007)

 

College of William and Mary (January, 2008)

 

Duke University, Durham (February, 2008)

 

Dickinson College, Carlisle, PA (March, 2008)

 

University of Nebraska, Lincoln (April, 2008)

 

AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS as Whitehead Professor of Archaeology (2006-2007)

 

Participated in all Fall trips of the School to various parts of Greece, giving

presentations on each of the trips.

 

Participated in the School’s Spring trip to Central Anatolia, giving several presentations.

 

Offered a seminar in the Winter Quarter: “Christian Destruction and Desecration of

Images and Shrines of Classical Antiquity.”

  

MISCELLANEOUS TALKS AND PRESENTATIONS

 

Lectures and talks on site regarding the architecture and topography of Rome, Ostia,

and Hadrian’s Villa for members of the Technische Universität für Architektur und

Denkmalpflege, Vienna, Austria; the Summer School of the American Academy in

Rome; St. Olaf College’s Junior Year Abroad Program; and M.A. students of

architecture in a joint summer program of the University of Southern California and the

University of Illinois; and the Intercollegiate Center for Classical Studies in Rome.

 

Talks on various aspects of Classical art and archaeology at meetings of the

Archaeological Society of the Mid-Atlantic States (1980-1987)

 

Gallery talks on the ancient collections of the Archaeological Museum of the Johns

Hopkins University (in capacity as curator) and of the Walters Art Gallery (1979-1987)

 

Gallery talks on the ancient collections of the J. Paul Getty Museum and the Los Angeles

County Museum of Art (1987-present)

 

Talk for USC graduate students in the Dept. of Classics at the Ara Pacis and Mausoleum of

Augustus in Rome (May 26, 2006), organized by Prof. Claudia Moatti, Dept. of Classics

 

SPECIAL TALKS AND LECTURES AT USC

 

Seminar for Professor Claudia Moatti, Department of Classics: “Problems in Ancient Art”

(March, 2005)

 

Seminar for Dr. Daniela Bleichmar, Department of Art History: Rediscovering the

Classical Past: The Relationship of Art History, Archaeology, and Visual Culture (March,

2005)

 

University of Southern California’s 125th Celebration: For Symposium on “Trojan

Legends” presented paper: “USC's Trojan Column: An Ancient and Modern Myth”

(October, 2005)

 

MEDIA INTERVIEWS AND CONSULTATION

 

New York Times, International Herald Tribune, Los Angeles Times, The New Yorker, The

History Channel, Arts and Entertainment Channel, KPCC Radio Los Angeles, NBC, Fox

 

Featured piece on my innovative work on the marble type of the statue of Augustus from

Prima Porta: A. Elders, “Tracing the Stones of Classical Brilliance,” in Hermes -- Greece

Today 35 (1999) 20-24.

 

ORGANIZER AND LEADER OF TOURS OF MUSEUMS AND SITES

 

Turkey (for Board of Councilors and donors of the School of Fine Arts, USC, 1995; for

university students and the general public, 1998)

 

Greece (Attica and the Peloponnese) (for university students and the general public, 1999)

 

Central Italy (for university students and the general public, 2000, 2002, 2003)

 

PARTICIPATION IN OTHER COLLOQUIA AND SYMPOSIA

 

Roman Sculpture and Architecture: German Archaeological Institute, Rome

(January, 1978)

 

Roman Architecture: Center for Advanced Study in the Visual Arts, National Gallery

of Art (January, 1981)

 

The Age of Augustus. The Rise of Imperial Ideology: Brown University (April, 1982)

 

Pictorial Narratives in Antiquity and the Middle Ages: The Johns Hopkins University and

the Center for Advanced Study in the Visual Arts, National Gallery of Art (March, 1984)

 

Villa Gardens of the Roman Empire: Dumbarton Oaks (May, 1984)

 

Retaining the Original -- Multiple Originals, Copies, and Reproductions: Center for

Advanced Study in the Visual Arts, National Gallery of Art (March, 1985)

 

Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,

National Gallery of Art (October, 1986)

 

Marble -- Art Historical and Sculptural Perspectives on Ancient Sculpture: J. Paul Getty

Museum (April, 1988)

 

International Conference on Roman Archaeology and Latin Epigraphy: University of

Rome and the French School of Rome (May, 1988)

 

Roman Portraits in Context: Emory University (January, 1989)

 

Small Bronze Sculpture from the Ancient World: J. Paul Getty Museum (March, 1989)

 

Alexandria and Alexandrianism: J. Paul Getty Museum (April, 1993)

 

International Symposium: “Rome Reborn” Visual Reality Program at UCLA (December,

1996)

 

History of Restoration of Ancient Stone Sculptures, J. Paul Getty Museum (October, 2001)

 

Re-Restoring Ancient Stone Sculpture, J. Paul Getty Museum (March, 2003)

 

Marble Conference on Thasos, Liman, Thasos (Sept. 2003)

 

OTHER PROFESSIONAL ACTIVITIES

 

Editorial Assistant (1968-1969) and Associate Editor (1969-1970), AGON: Journal of

Classical Studies

 

Editorial Board, American Journal of Philology (January, 1982-January, 1987)

 

Delegate from Baltimore Society AIA to National Convention (1984-1986)

 

Vice-President, Baltimore Society of the AIA (1985-1987)

 

Co-Director, Exhibition on Roman Portraiture, Fisher Gallery (1989)

 

Co-Founder (with Dr. Diana Buitron) of the Classical Archaeological Society of the Mid-

Atlantic States (1978-87)

 

Founder and President of the Classical Archaeological Society of Southern California

(1987-present)

 

Member of the Ancient Art Council of the Los Angeles County Museum of Art (1987-

present)

 

Oversaw the publication and helped edit the newsletter “ARTFACTS” of the

School of Fine Arts (1993-1996) during my tenure as Dean of the School of Fine Arts

 

USC Representative to Advisory Council of the American Academy in Rome

(1993-present)

 

Comitato di Collaborazione Culturale to the Consul General of Italy at Los Angeles

(1995-1998)

 

Advisory Committee for the Virtual Reality Project for Ancient Rome (“Rome Reborn”)

(1996-1998)

 

Delegate from Los Angeles Society AIA to National Convention (Chicago, Dec., 1997)

 

Reviewer for the Getty Grant Program (1999)

 

Reviewer for the MacArthur Foundation Grant (2000, 2003)

 

Planning Committee for a Four-Year International Conference on “Roman Imperial

Ideology” at the Villa Vergiliana at Cuma (Naples), organized by J. Rufus Fears (2000-

2003)

 

Consultant for the Forum of Augustus Project: Sovrintendenza Archeologica Comunale,

Direzione al Foro di Augusto (2004-present)

 

Editor of the newsletter “Musings” for the Department of Art History, USC (2005)

 

Planning Committee for the Internation Bronze Congress in Athens, Greece (2006-2007)

 

Chaired two sessions -- “Roman Sculpture” and “Augustan Art” -- at the Annual Meeting

of the Archaeological Institute of America (San Diego 2007)

  

UNIVERSITY COMMITTEES AND OTHER SERVICE

 

Faculty Senate (1988-1991)

 

Advisory Committee to the Dean of the School of Fine Arts (1990-1991, 1992-1993)

 

Chairman, Personnel Committee of the School of Fine Arts (1988-1990)

 

Library Liaison Officer for Art and Architecture Library (1987-present)

 

Search Committee for Reference Librarian of the Art and Architecture Library

(1989-1990 and 2000)

University Library Committee (1989-1990, 1998-2001)

 

Recruitment Committee for the School of Fine Arts (1989-1995)

 

Space Allocation Committee, School of Fine Arts (1989-1990)

 

University Research Committee (1990-1991)

 

Promotion Committee, School of Fine Arts (1990-1995)

 

University Ad Hoc Committee on Revenue Center Management (1990-1995)

 

Committee for University Development, School of Fine Arts (1993-1995)

 

Development Task Force, the School of Fine Arts (1993-1995)

 

Consultative Committee to the Provost (Spring 1993-1995)

 

University Galleries Advisory Committee (1993-1995)

 

University Committee on Transnational and Multicultural Affairs (1993-1995)

 

Provost’s Council at USC (formerly Council of Deans) (1993-1995)

 

USC Representative to the Advisory Council of the American Academy in Rome

(1993-present)

 

Founder and Member of the Board of Councilors for the School of Fine Arts (1994-1995)

 

Consortium Council of Deans for Development at USC (1995)

 

Tenure and Promotion Committee, Department of Art History (1995-to present)

 

Recruitment Committee for Department of Art History in the College of

Letters, Arts, and Sciences (1996-2005)

 

Program Proposer for the Establishment of an Interdepartmental and Interdisciplinary

Ancient Mediterranean Studies Program (1997-1999)

 

Chinese Search Committee, Department of Art History (1998-1999)

 

Japanese Search Committee, Department of Art History (1998-1999)

 

Professor-In-Charge, USC-Getty Lecture Series, Seminar, and Faculty Dinner (honoring

Salvatore Settis) (1998-1999)

 

Curriculum Committee (Co-Chair) (1998-1999)

 

Chair, Committee for Selection of Departmental Chair (1999-2000)

 

Chair, Merit Review Committee (1999-2000)

 

Committee for the Establishment of an Undergraduate Major in Archaeology

(2002-present)

 

Greek Art Search Committee, Department of Art History and Classics (2001-2004)

 

Faculty Search Committee, Department of Art History: Senior Hiring Initiative (2003-

present)

 

Junior Faculty Review Committee, Department of Art History (2003)

 

USC’s Arts and Humanities Committee (2003-2004)

 

Chair of Oversight Committee for the Interdisciplinary Archaeology Major (Spring 2006)

  

MEMBERSHIPS IN NATIONAL AND INTERNATIONAL PROFESSIONAL ORGANIZATIONS

 

NATIONAL:

 

Archaeological Institute of America

 

College Art Association

 

American Philological Association

 

Association of Ancient Historians

 

Vergilian Society

 

INTERNATIONAL:

 

Deutsches Archäologisches Institut

 

Associazione Internazionale di Archeologia Classica

 

Association for the Study of Marble and Other Stones in Antiquity (AMOSIA)

 

Society for the Promotion of Roman Studies

 

If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:

 

Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/

 

The Portraiture of Caligula- Joe Geranio- Administrator- at

portraitsofcaligula.com/

 

Both are non-profit sites and for educational use only.

 

Prof. John Pollini working with STUDENTS AT OSTIA

John Pollini in my opinion is the number 1 authority on Julio Claudian Portrait study. I have had much correspondence with Prof. Pollini and he is passionate about Roman Art. Here is his curriculum Vitae:

 

Education

B.A. Classics, University of Washington, 1/1968

M.A. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1973

Ph.D. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1978

 

Academic Appointment, Affiliation, and Employment History

Professor, Department of Art History (Adjunct Professor for Department of Classics and Department of History), University of Southern California, 1991-

Dean of the School of Fine Arts, University of Southern California, 1993-1996

Chairman of the Department of Art History, University of Southern California, 1990-1993

Associate Professor, Department of Art History and Department of Classics (adjunct appointment), University of Southern California, 1987-1991

Assistant Professor, Department of Classics, Johns Hopkins University, 1980-1987

Curator, Johns Hopkins University Archaeological Museum, 1980-1987

Visiting Assistant Professor, Department of Classics, Johns Hopkins University, 1979-1980

Mellon Postdoctoral Fellow, Department of Classics, Case Western Reserve University, 1978-1979

 

Description of Research

Summary Statement of Research Interests

Professor Pollini's research is concerned with methodologies of classical art and archaeology, ancient history, classical philology, epigraphy and numismatics. His other scholarly research interests include ancient religion, mythology, narratology, rhetoric and propaganda. Over the years Professor Pollini has excavated at the Greco-Roman site of Aphrodisias, Turkey, and the Etruscan site of Ghiaccio Forte, Italy, and participated in the underwater survey of the port of Tarquinia (Gravisca), Italy. Trained in the methodologies of classical art & archaeology, ancient history, classical philology, epigraphy, and numismatics, Professor Pollini is committed to interdisciplinary teaching and research. Professor Pollini has lectured widely both in the United States and abroad. He has published numerous articles and authored several books.

 

Research Specialties

Classical Art and Archaeology

 

Honors and Awards

Elected Life Member, German Archaeological Association, 2000-

American Council of Learned Societies Fellowship, awarded for second time, 2006-2007

Guggenheim Fellowship, deferred until 2007-2008, 2006-2007

Whitehead Professor at the American School of Classical Studies at Athens (Honorific Appointment), 9/1/2006-6/1/2007

Departmental Nominee for University Associates Award for Excellence in Teaching 2002, 2002-2005

Mellon Foundation Award for Excellence in Mentoring, 2004-2005

Departmental Nominee for University Associates Award for Excellence in Teaching 1998, 1998-2001

National Endowment for the Humanities Fellowship, awarded for second time, 1995-1996

American Council of Learned Societies Fellowship, 1987-1988

National Endowment for the Humanities Fellowship, 1983-1984

Mellon Postdoctoral Fellowship, 1978-1979

Fulbright Award, Fellowship to Italy, 1975-1976

   

CURRICULUM VITAE

 

JOHN POLLINI

 

Department of Art History

Von Kleinsmid Center 351 University of Southern California

Los Angeles, CA 90089-0047

  

Professor of Classical Art and Archaeology, Department of Art History

Joint Professor, Department of History

Adjunct Professor, Department of Classics

 

President, Classical Archaeological Association of Southern California (CAASC)

  

DEGREES

 

Ph. D. Ancient History and Mediterranean Archaeology, University of California at

Berkeley (1978) (interdisciplinary program involving the Departments of Art History,

Classics, and History; major field: Etruscan and Roman Art and Archaeology; minor

fields: Greek Art and Archaeology and Roman History; Ph.D. equivalency exams in

ancient Greek and Latin) [Diss.: Studies in Augustan “Historical” Reliefs]

 

M.A. Ancient History and Mediterranean Archaeology, University of California at

Berkeley (l973) [MA Thesis: Two Marble Portrait Statues of Pugilists from Carian

Aphrodisias: Iconography and Third Century A.D. Sculptural Traditions in the Roman

East]

 

B.A. magna cum laude, Classics, University of Washington (1968)

 

POSTDOCTORAL ACADEMIC APPOINTMENTS

 

Dean of the School of Fine Arts, University of Southern California, with administrative,

budgetary, and fund-raising responsibilities (1993-1996)

 

Chairman of the Department of Art History, University of Southern California

(1990-1993)

 

Full Professor, University of Southern California, Department of Art History

(1991-present), with joint appointment in the Department of History and adjunct

appointment in the Department of Classics

 

Associate Professor, University of Southern California, Department of Art History, with

adjunct appointment in the Department of Classics (1987-1991)

 

Assistant Professor, Johns Hopkins University, Department of Classics (1980-1987) and

 

Curator of the Johns Hopkins University Archaeological Museum (1980-1987)

 

Visiting Assistant Professor, Johns Hopkins University, Department of Classics

(1979-1980)

 

Mellon Postdoctoral Fellow, Case Western Reserve University, Department of Classics

(1978-1979)

 

INTERNATIONAL AND NATIONAL FELLOWSHIPS, GRANTS,

AWARDS, HONORS

 

William E. Metcalf Lectureship (2008)

 

John Simon Guggenheim Memorial Foundation Fellowship (2006-2007, deferred to

2007-2008)

 

Whitehead Professor of Archaeology, American School of Classical Studies at

Athens (2006-2007)

 

American Council of Learned Societies Fellowship (2006-2007)

 

Kress Foundation Travel Grant (Summer 2006)

 

Mellon Foundation Award for Excellence in Mentoring (2005)

 

Taggart Foundation Grant: Campus Martius Virtual Reality Project (2005)

 

Distinguished Lecturer, Biblical Archaeological Society and Center for Classical

Archaeology, University of Oklahoma, Norman (2005): Series of three lectures on

Roman and Christian Religion, Art, and Ideology

 

Kress Foundation Travel Grant (2003)

 

Senior Humboldt Research Prize (nominated) to Berlin, Germany, for 2000-2001

 

Elected Member (for life) of the German Archaeological Institute (Berlin) (2000)

 

National Endowment for the Humanities Fellowship for Independent Study and

Research (1995-1996)

 

Kress Foundation Travel Grant (Summer 1988)

 

American Council of Learned Societies Fellowship (1987-1988)

 

Kress Foundation Travel Grant (1987)

 

National Endowment for the Humanities Fellowship for Independent Study and

Research (1983-1984)

 

Mellon Postdoctoral Fellowship, Case Western Reserve University (1978-1979)

 

Mabelle McLeod Lewis Memorial Fund Fellowship to Italy (1975-1976)

 

Fulbright Fellowship, Università di Roma, Rome, Italy (1975-1976)

 

UNIVERSITY FELLOWSHIPS, GRANTS, AWARDS, HONORS

 

Departmental Nominee for University Associates Award for Excellence in Teaching

(2002-2005)

 

College Faculty Research Development Award (consecutive years: 2000-2007)

 

University of Southern California Grant for Innovative Undergraduate Teaching

(with Lynn Swartz Dodd and Nicholas Cipolla) for a virtual reality project “Imaging

Antiquity: Creating Context through Virtual Reconstructions, Digital Resources, and

Traditional Media” (2003-2004)

 

Grant for the “College Initiative for the Study of Political Violence” (2002)

 

University of Southern California Grant for Innovative Undergraduate Teaching

(with Bruce Zuckermann and Lynn Swartz Dodd) to develop a new interdisciplinary and

interdepartmental course entitled “Accessing Antiquity: Actual Objects in Virtual Space”

(2000-2001)

 

University of Southern California Senior Nominee for National Endowment for the

Humanities Summer Stipend for Faculty Research (1998-1999)

 

Departmental Nominee for University Associates Award for Excellence in Teaching

(1998-2001)

 

College Awards and Grants for Research Excellence (consecutive years: 1997-2000)

 

Hewlett Foundation Award and Grant for General Education Course Development

(1997-1998)

 

Faculty Research and Innovation Fund Grant, University of Southern California (1988)

 

University of California Traveling Fellowship (1976-1977)

 

Dean’s Fellowship, U.C. Berkeley (1973-1975)

 

Phi Beta Kappa (1968), University of Washington

 

ADDITIONAL EDUCATIONAL PREPARATION

 

Field trips sponsored by the American Academy in Rome, German Archaeological

Institute, and Comune di Roma (1975-1978)

 

Research in Rome, Italy for dissertation (1975-1978), as well as further study of Greek

and Roman art and architecture in Italy and elsewhere in Europe during this period

 

Supervised study of Greek and Roman sculpture at the J. Paul Getty Museum, with

J. Frel (1973-1975)

 

Course in Greek art and archaeology at the Universität München, Munich, Germany

with E. Homann-Wedeking (1971)

 

Study of the German language at the Goethe Institute, Grafing (Munich), Germany (1971)

 

Course work in Roman, Etruscan, and Italic art and architecture, Università di Roma,

with G. Becatti, M. Pallottino, F. Castagnoli, and M. Squarciapino (1970-1971)

 

ARCHAEOLOGICAL FIELD WORK

 

Underwater survey of port of Tarquinia (Gravisca), Italy (1977): Consultant

 

Excavation of Etruscan site of Ghiaccio Forte, Italy (1973)

 

Excavation of Greco-Roman site of Aphrodisias, Turkey (1970-1972)

 

Excavation of Spanish/Indian Mission, Guavave, Arizona (1965-1966)

 

LANGUAGES

 

Ancient: Latin and Greek

Modern: German, Italian, French, modern Greek, some Turkish

 

BOOKS

 

PUBLISHED:

 

I) The Portraiture of Gaius and Lucius Caesar (Fordham University Press, New York

1987) (with a book subvention from the National Endowment for the Humanities).

 

II) Roman Portraiture: Images of Character and Virtue, with graduate student

participation (Fisher Gallery, Los Angeles 1990).

 

III) Gallo-Roman Bronzes and the Process of Romanization:The Cobannus Hoard

(Monumenta Graeca et Romana IX) (Brill, Leiden 2002).

 

IV) The de Nion Head: A Masterpiece of Archaic Greek Sculpture (Philipp von

Zabern, Mainz 2003).

 

V) Terra Marique: Studies in Art History and Marine Archaeology in Honor of Anna

Marguerite McCann on the Receipt of the Gold Medal of the Archaeological Institute

of America (editor, designer, and contributor of introduction, publication list, and

one of 19 essays) (Oxbow Publications, Oxford 2005).

 

SUBMITTED:

 

VI) From Republic to Empire: Rhetoric, Religion, and Power in the Visual Culture of

Ancient Rome (University of Oklahoma Press), comprising eight chapters:

CHAPTER I: The Leader and the Divine: Diverse Modes of Representation in Roman Numismatics

CHAPTER II: The Cult Image of Julius Caesar: Conflicts in Religious Theology and Ideology in

Augustus’ Representational Program

CHAPTER III: From Warrior to Statesman in Augustan Art and Ideology: Augustus and the Image of

Alexander

CHAPTER IV: The Ideology of “Peace through Victory” and the Ara Pacis: Visual Rhetoric and the

Creation of a Dynastic Narrative [revised and updated essay originally published in

German]

CHAPTER V: The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of

Anamorphosis, Anakyklosis and Numen Mixtum [revised and updated publication].

CHAPTER VI: Divine Providence in Early Imperial Ideology: The Smaller Cancelleria Relief and

the Ara Providentiae Augustae

CHAPTER VII: The “Insanity” of Caligula or the “Insanity” of the Jews? Differences in Perception

and Religious Beliefs

CHAPTER VIII: “Star Power” in Imperial Rome: Astral Theology, Castorian Imagery, and the Dual

Heirs in the Transmission of the Leadership of the State

 

IN PROGRESS:

 

VII) Christian Destruction and Desecration of Images of Classical Antiquity: A Study

in Religious Intolerance in the Ancient World

 

VIII) Dynastic Narratives in Augustan Art and Thought: The Rhetoric and Poetry of

Visual Imagery [with DVD Virtual Reality Program of the Monuments]

 

IX) The Image of Augustus: Art, Ideology, and the Rhetoric of Leadership

 

X) Social, Sexual, and Religious Intercourse: Sacrificial Ministrants and Sex-Slaves

in Roman Art -- 3rd Century B.C. - 4th Century A.D.

  

ARTICLES

 

PUBLISHED:

 

1) “A Flavian Relief Portrait in the J. Paul Getty Museum,” in Getty Museum Journal

5 (1977) 63-66.

 

2) “Gnaeus Domitius Ahenobarbus and the Ravenna Relief,” in Römische Mitteilungen

88 (1981) 117-40.

 

3) “A Pre-Principate Portrait of Gaius (Caligula)?” in Journal of the Walters Art

Gallery 40 (1982) 1-12.

 

4) “Damnatio Memoriae in Stone: Two Portraits of Nero Recut to Vespasian in

American Museums,” in American Journal of Archaeology 88 (1984) 547-55.

 

5) “The Meaning and Date of the Reverse Type of Gaius Caesar on Horseback,” in

American Numismatic Society Museum Notes 30 (1985) 113-17.

 

6) “Response to E. Judge’s ‘On Judging the Merits of Augustus,’” in Center for

Hermeneutical Studies: Colloquy 49 (1985) 44-46.

 

7) “Ahenobarbi, Appuleii and Some Others on the Ara Pacis,” in American Journal of

Archaeology 90 (1986) 453-60.

 

8) “The Findspot of the Statue of Augustus from Prima Porta,” in Bullettino della

Commissione Archeologica Comunale di Roma 92 (1987/88) 103-108.

 

9) “Two Acrolithic or Pseudo-Acrolithic Sculptures of the Mature Classical Period in

the Archaeological Museum of the Johns Hopkins University,” in Classical Marble:

Geochemistry,Technology, Trade (NATO ASI Series E vol. 153), edd. N. Herz and

M. Waelkens (Dordrecht 1988) 207-17.

 

10) “Man or God: Divine Assimilation and Imitation in the Late Republic and Early

Principate,” in Between Republic and Empire: Interpretations of Augustus and His

Principate, edd. K.A. Raaflaub and M. Toher (Berkeley 1990) 333-63.

 

11) “The Marble Type of the Augustus from Prima Porta: An Isotopic Analysis,” in

Journal of Roman Archaeology 5 (1992) 203-208.

 

12) “The Tazza Farnese: Principe Augusto ‘Redeunt Saturnia Regna’!” in American

Journal of Archaeology 96 (1992) 249-55, 283-300.

 

13) “The Cartoceto Bronzes: Portraits of a Roman Aristocratic Family of the Late First

Century B.C.,” in American Journal of Archaeology 97 (1993) 423-46.

 

14) “The Gemma Augustea: Ideology, Rhetorical Imagery, and the Construction of a

Dynastic Narrative,” in Narrative and Event in Ancient Art, ed. P. Holliday

(Cambridge 1993) 258-98.

 

15) “The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of

Anamorphosis, Anakyklosis and Numen Mixtum,” in Von der Bauforschung zur

Denkmalpflege, Festschrift für Alois Machatschek (Vienna 1993) 181-217.

 

16) “The ‘Trojan Column’ at USC: Reality or Myth?” in Trojan Family (May, 1994)

30-31.

 

17) “The Augustus from Prima Porta and the Transformation of the Polykleitan Heroic

Ideal,” in Polykleitos, the Doryphoros, and Tradition, ed. W. Moon (Madison 1995)

262-82.

 

18) “The ‘Dart Aphrodite’: A New Replica of the ‘Arles Aphrodite Type,’ the Cult Image

of Venus Victrix in Pompey’s Theater at Rome, and Venusian Ideology and Politics

in the Late Republic - Early Principate,” in Latomus 55 (1997) 757-85.

 

19) “Parian Lychnites and the Prima Porta Statue: New Scientific Tests and the Symbolic

Value of the Marble” (with N. Herz, K. Polikreti, and Y. Maniatis), in Journal of

Roman Archaeology 11 (1998) 275-84.

 

20) “The Warren Cup: Homoerotic Love and Symposial Rhetoric in Silver,” in The Art

Bulletin 81 (1999) 21-52.

 

21) “Ein mit Inschriften versehener Legionärshelm von der pannonisch-dakischen Grenze

des römischen Reiches: Besitzverhältnisse an Waffen in der römischen Armee,” in

M. Junkelmann, Römische Helme VIII Sammlung Axel Guttmann, ed. H. Born

(Mainz 2000) 169-88.

 

22) “The Marble Type of the Statue of Augustus from Prima Porta: Facts and Fallacies,

Lithic Power and Ideology, and Color Symbolism in Roman Art,” in Paria Lithos:

Parian Quarries, Marble and Workshops of Sculpture (Proceedings of the First

International Conference on the Archaeology of Paros and the Cyclades, Paros, 2-5

October 1997), edd. D.U. Schilardi and D. Katsonopoulou (Athens 2000) 237-52.

 

23) “The Riace Bronzes: New Observations,” in Acten des 14. Internationalen

Kongresses für Antike Bronzen, Kölner Jahrbuch 33 (2000) 37-56.

 

24) “Two Bronze Portrait Busts of Slave-Boys from a Shrine of Cobannus in Roman

Gaul,” in Studia Varia II: Occasional Papers on Antiquities of The J. Paul Getty

Museum 10 (2001) 115-52.

 

25) “A New Portrait of Octavian/Augustus Caesar,” in Roman Sculpture in the

Art Museum, Princeton University (Princeton 2001) 6-11.

 

26) “Two Gallo-Roman Bronze Portraits of Sacrificial Ministrants in the J. Paul Getty

Museum,” in From the Parts to the Whole 2: Acta of the 13th International Bronze

Congress, Cambridge, Massachusetts, May 28 - June 1, 1996, edd. C.C.

Mattusch, A. Brauer, and S.E. Knudsen (Portsmouth, Rhode Island 2002) 89-91.

 

27) “‘Frieden-durch-Sieg’ Ideologie und die Ara Pacis Augustae: Bildrhetorik und

die Schöpfung einer dynastischen Erzählweise,” in Krieg und Sieg: Narrative

Wanddarstellungen von Altägypten bis ins Mittelalter (Internationales

Kolloquium 23. - 30. Juli 1997 im Schloss Heindorf, Langenlois; Österreichischen

Akademie der Wissenschaften XXIV), edd. M. Bietak und M. Schwarz (Vienna

2002) 137-59.

 

28) “A New Portrait of Octavia and the Iconography of Octavia Minor and Julia Maior,”

Römische Mitteilungen 109 (2002) 11-42.

 

29) “Slave-Boys for Sexual and Religious Service: Images of Pleasure and Devotion,” in

Flavian Rome: Culture, Image, Text, edd. A.J. Boyle and W.J. Dominik (Leiden

2003) 149-66.

 

30) “The Caelian Hill Sacrificial Minister: A Marble Head of an Imperial Slave-Boy from

the Antiquarium Comunale on the Caelian Hill in Rome,” in Römische Mitteilungen

111 (2004) 1-28.

 

31) “A New Head of Augustus from Herculaneum: A Marble Survivor of a Pyroclastic

Surge,” in Römische Mitteilungen 111 (2004) 283-98.

 

32) “The Armstrong and Nuffler Heads and the Portraiture of Julius Caesar, Livia, and

Antonia Minor in Terra Marique: Studies in Honor of Anna Marguerite McCann

on the Receipt of the Gold Medal of the Archaeological Institute of America, ed.

J. Pollini (Oxbow Publications, Oxford 2005) 89-122.

 

33) “A New Marble Portrait of Tiberius: Portrait Typology and Ideology,” in Antike Kunst

48 (2005) 57-72.

 

34) “A North African Portrait of Caracalla from the Mellerio Collection and the

Iconography of Caracalla and Geta,” in Revue Archéologique (2005) 55-77.

 

35) “A Bronze Gorgon Handle Ornament of the Ripe Archaic Greek Period,” in Annuario

della Scuola Archeologica Italiana di Atene e delle Missioni Italiani in Oriente 83

(2005) 235-47.

 

36) “Ritualizing Death in Republican Rome: Memory, Religion, Class Struggle, and the

Wax Ancestral Mask Tradition’s Origin and Influence on Veristic Portraiture” in

Performing Death: Social Analyses of Funerary Ritual in the Ancient Near East

and Mediterranean (Oriental Institute Seminars 3, University of

Chicago), ed. N. Laneri (Chicago 2007) 237-85.

 

37) “A New Bronze Portrait Bust of Augustus,” in Latomus 66 (2007) 270-73.

 

FORTHCOMING:

 

38) “Gods and Emperors in the East: Images of Power and the Power of Intolerance,”

in the proceedings of an international conference on “‘Sculptural Environment’ of the

Roman Near East: Reflections on Culture, Ideology, and Power” (University of

Michigan), in Interdisciplinary Studies in Ancient Culture and Religion,

edd. E.A. Friedland, S.C. Herbert, and Y.Z. Eliav (Peeters Publ.: Leuven).

 

39) “A New Portrait Bust of Tiberius in the Collection of Michael Bianco,” in Bulletin

Antieke Beschaving 83 (2008) 133-38.

 

40) “The Desecration and Mutilation of the Parthenon Frieze by Christians and Others,” in

Athenische Mitteilungen 122 (2007).

 

41) “Problematics of Making Ambiguity Explicit in Virtual Reconstructions:

A Case Study of the Mausoleum of Augustus,” for the proceedings of an international

conference, “Computer Technology and the Arts: Theory and Practice,” sponsored by

the British Academy and the University of London.

 

42) “A Winged Goat Table Leg Support from the House of Numerius Popidius Priscus at

Pompeii,” in Pompei, Regio VII, Insula 2, pars occidentalis. Indagini, Studi,

Materiali (la Soprintendenza Archeologica di Pompei), ed. L. Pedroni.

 

43) “Augustus: Portraits of Augustus,” in Oxford Encyclopedia of Ancient Greece and

Rome (2008).

 

44) “A New Bronze Lar and the Role of the Lares in the Domestic and Civic Religion of the Romans,” in Latomus (2008).

  

IN PROGRESS:

 

45) “The ‘Colville Athena’ Head and Its Typology.”

 

46) “Idealplastik and Idealtheorie: Paradeigmatic Systems, Homosexual Desire, and the

Rhetoric of Identity in Polykleitos’ Doryphoros and Diadoumenos.”

 

REVIEW ARTICLES

 

PUBLISHED:

 

D. Boschung, Die Bildnisse des Augustus (Das römische Herrscherbild I.2) (Berlin 1993),

in Art Bulletin 81 (1999) 723-35.

 

E. Varner, Mutilation and Transformation: Damnatio Memoriae and Roman Imperial

Portraiture (Monumenta Graeca et Romana 10) (Leiden 2004), in Art Bulletin 88

(2006) 591-98.

  

BOOK REVIEWS

 

PUBLISHED:

 

M. Torelli, Typology and Structure of Roman Historical Reliefs, in American Journal of

Archaeology 87 (1983) 572-73.

 

J. Ganzert, Das Kenotaph für Gaius Caesar in Limyra, in American Journal of

Archaeology 90 (1986) 134-36.

 

R. Brilliant, Visual Narratives. Storytelling in Etruscan and Roman Art in American

Journal of Philology 107 (1986) 523-27.

 

PUBLISHED IN CHOICE:

 

E. Bartman, Portraits of Livia: Imaging the Imperial Woman in Augustan Rome, in

vol. 37 (1999) 126.

 

B.S. Ridgway, Prayers in Stone: Greek Architectural Sculpture (Ca. 600 - 100 B.C.),

in vol. 37 (2000) 1095.

 

W.E. Mierse, Temples and Towns in Roman Iberia: The Social and Architectural

Dynamics of Sanctuary Designs from the Third Century B.C. to the Third Century A.D.

in vol. 37 (2000) 1458.

 

V. Karageorgis, Ancient Art from Cyprus: The Cesnola Collection in The Metropolitan

Museum of Art (New York 2000)in vol. 38 (2000) 1953.

 

Z. Hawass, Valley of the Golden Mummies (New York 2000) in vol. 38 (2001)

4036.

 

M.W. Jones, Principles of Roman Architecture (New Haven 2000) in vol. 38 (2001)

5409.

 

F. Salmon, Building on Ruins: The Rediscovery of Rome and English Architecture

(Ashgate 2000) in vol. 39 (2001) 106.

 

J. Boardman, The History of Greek Vases: Potters, Painters and Pictures (New York

2001) in vol. 39 (2002) 3755.

 

Roman Sculpture in the Art Museum, Princeton University, ed. J. M. Padgett (Princeton

2001) in vol. 39 (2002) 6218.

 

G. Hedreen, Capturing Troy: The Narrative Function of Landscape in Archaic and Early

Classical Greek Art (Ann Arbor, 2001) in vol. 40 (2002) 73.

 

A. J. Clark, M. Elston, and M.L. Hart, Understanding Greek Vases: A Guide to Terms,

Styles, and Techniques (Los Angeles 2002) in vol. 40 (2003) 3185.

 

S. Woodford, Images of Myths in Classical Antiquity (Cambridge 2003) in vol. 41

(2003) 89.

 

J. Aruz with R. Wallenfels (edd.), Art of the First Cities: The Third Millennium B.C. from

the Mediterranean to the Indus (The Metropolitan Museum of Art, New York) (New

Haven 2003) in vol. 41 (2004) 2584.

 

G. Curtis, Disarmed: The Story of the Venus de Milo (New York 2003) in vol. 41 (2004)

5083.

 

Games for the Gods: The Greek Athlete and the Olympic Spirit, edd. J.J. Herrmann and C.

Kondoleon (Boston Museum of Fine Arts) in vol. 42 (2004) 646.

 

E.W. Leach, The Social Life of Painting in Ancient Rome and on the Bay of Naples

(Cambridge 2004) in vol. 42 (2004) 1215-16.

 

D. Mazzoleni, Domus: Wall Painting in the Roman House (Los Angeles 2004) in vol. 42

(2005) 1809.

 

S. Fine, Art and Judaism in the Greco-Roman World: Toward a New Jewish Archaeology

(Cambridge 2005) in vol. 43 (2006) 1586-87.

 

C.H. Hallett, The Roman Nude: Heroic Portrait Statuary 200 B.C. -- A.D. 300 (Oxford

2005) in vol. 44 (2006).

 

Constantine the Great: York’s Roman Emperor, edd. E. Hartley, J. Hawkes, M. Henig, and

F. Mee (York 2006) in vol. 44 (2006).

 

M.D. Stansbury-O’Donnell, Vase Painting, Gender, and Social Identity in Archaic Athens

(Cambridge 2006) in vol. 44 (2006).

 

PRINCIPAL INSTRUCTIONAL MATERIALS (Hard Copy and Online):

 

Greek Art and Archaeology: Course Manual (113 pages, 23 plates) and online version of

this Course Manual with digitized images

 

Roman Art and Archaeology: Course Manual (158 pages, 58 plates) and online version

of this Course Manual with digitized images

 

Digging into the Past: Material Culture and the Civilizations of the Ancient

Mediterranean: Course Manual (43 pages)

 

Proseminar Guide to General and Specific Works on Greek and Roman Art and

Archaeology and Related Disciplines (50 pages) and online version

 

Website for AHIS 425, “Introduction to Interdisciplinary Research and Methodology

in Classical Art and Archaeology and Related Disciplines” with links to other important

websites in the fields of Art, Archaeology, Classics, and Ancient History

 

Website for AHIS 201g: “Digging into the Past: Material Culture and the

Civilizations of the Ancient Mediterranean” (with digitized images)

 

PAPERS GIVEN AT INTERNATIONAL AND NATIONAL

CONFERENCES AND SYMPOSIA

 

On Judging the Merits of Augustus: Center for Hermeneutical Studies: Colloquy,

Berkeley (April, 1985)

 

Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,

National Gallery of Art (October, 1986)

 

Augustus: Monuments, Arts, and Religion: Brown University (March, 1987)

 

Aspects of Ancient Religion: University of California at Berkeley (April, 1987)

 

Marble and Ancient Greece and Rome: International conference sponsored by

NATO at Il Ciocco (Tuscany), Italy (May, 1988)

 

Polykleitos, the Doryphoros and Its Influence: University of Wisconsin, Madison

(October, 1989)

 

UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (December, 1992)

 

XIIIth International Bronze Congress: Harvard University (May 28 - June 1, 1996)

 

UCLA-USC Seminar in Roman Studies: Roman Representations: Subjectivity, Power

and Space: USC, Los Angeles (March, 1997)

 

International Symposium at Cuma (Naples): Flavian Poets, Artists, Architects and

Engineers in the Campi Flegrei (July, 1997)

 

International Symposium at the University of Vienna: Interdisziplinäres Kolloquium

Historische Architekturreliefs vom Alten Ägypten bis zum Mittelalter (July, 1997)

 

First International Conference on the Archaeology of Paros and the Cyclades: Paros,

Greece (October, 1997)

 

Getty Research Institute Colloquium: Work in Progress (November, 1997)

 

Annual Meetings of the Art Historians of Southern California at California State

University, Northridge, California (November, 1998)

 

XIV. Internationaler Kongress für Antike Bronzen: Werkstattkreise, Figuren und Geräte

(Sponsored by Das Römisch-Germanisches Museum der Stadt Köln und das

Archäologisches Institut der Universität zu Köln [September 1999]): Besides giving paper,

chaired the session “Bronzestatuen und -statuetten: Fundkomplexen, Fundgruppen,

Einzelstücke, und Typen”

 

First International Symposium on Roman Imperial Ideology: Politics, Art, and

Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and chaired

session on “Ideology, Historiography, and the Imperial Family” (May, 2000)

 

International Symposium at Emory University, Atlanta: Tyranny and Transformation

(October, 2000)

 

Annual Meeting of the Art Historians of Southern California at the Getty Center,

Los Angeles, California (November, 2000)

Getty Research Institute Colloquium: Work in Progress (December, 2000)

 

Second International Symposium on Roman Imperial Ideology: Politics, Art, and

Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “The Image of

the Princeps and the Ruler Cult” (May, 2001)

 

UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (April, 2002)

 

Third International Symposium on Roman Imperial Ideology: Politics, Art, and

Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “Roman History

and Ideology” (May, 2002)

 

Symposium on the Age of Augustus at UCLA -- (Feb., 2003)

 

Fourth International Symposium on Roman Imperial Ideology: Politics, Art, and

Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and

chaired session (May, 2003)

 

International Archaeological Congress, Harvard University (Aug. 2003): Besides giving a

paper, chaired session on “Ancient Society”

 

VIIth International ASMOSIA Conference, Thasos, Greece (Sept. 2003)

 

International Conference in the Arts and the Humanities, Honolulu, Hawaii (Jan. 2004)

 

Symposium on Roman Sculpture, Minneapolis Museum of Art (organized by Richard

Brilliant) (April, 2004)

 

International Symposium on Interaction of Indigenous and Foreign Cults in Italy at Cuma

(Naples) (May, 2004): Besides giving a paper, chaired session

 

International Conference at University of Michigan: “‘Sculptural Environment’ of the

Roman Near East: Reflections on Culture, Ideology, and Power (November 2004)

 

International Conference at Stanford University: “Seeing the Past” (February 2005)

 

International Conference at the University of London: “Computer Technology and the Arts:

Theory and Practice” (November 2005)

 

International Conference at the University of Chicago: “Performing Death: Social Analyses

of Funerary Ritual in the Mediterranean” (February 2006)

  

VIIIth International ASMOSIA Conference, Aix-en-Provence, France (June 2006)

 

Symposium “Art of Warfare”: Michael C. Carlos Museum, Emory University (January

2007)

 

PAPERS PRESENTED AT ANNUAL CONVENTIONS OF THE

ARCHAEOLOGICAL INSTITUTE OF ARCHAEOLOGY AND THE

COLLEGE ART ASSOCIATION

 

Boston (AIA, December, 1979)

 

New Orleans (AIA, December, 1980)

 

San Francisco (AIA, December, 1981)

 

Philadelphia (AIA, December, 1982)

 

Cincinnati (AIA, December, 1983)

 

Toronto (AIA, December, 1984)

 

Washington, D.C. (AIA, December, 1985) -- invited paper, “The Promulgation of the

Image of the Leader in Roman Art,” in a special AIA plenary session on Politics and

Art

 

San Antonio (AIA, December, 1986) -- invited paper, “Time, Narrativity, and Dynastic

Constructs in Augustan Art and Thought,” at a joint AIA-APA session on topics

illustrating connections between Roman art and philology

 

Houston (CAA, February, 1988) -- invited paper, “The Gemma Augustea and the

Construction of a Dynastic Narrative,” for a CAA session on Narrative and Event in

Greek and Roman Art

 

Atlanta (AIA, December, 1994) -- discussant for a joint AIA-APA session on “Rethinking

Nero’s Legacy: New Perspectives on Neronian Art, Literature, and History”

 

New York (AIA, December, 1996) -- special poster session: “The Marble Type of the

Statue of Augustus from Prima Porta: New Scientific Tests” (prepared in collaboration

with Norman Herz, Director of Programs, Center for Archaeological Sciences, University

of Georgia)

 

Chicago (AIA, December, 1997)

 

Washington, D.C. (AIA, December, 1998) -- invited paper, “A Portrait of a Sex-Slave

‘Stud’ (?) in the Metropolitan Museum of Art in New York,” for a special colloquium in

honor of Anna Marguerite McCann on the receipt of the “Gold Medal” of the

Archaeological Institute of America

 

San Francisco (AIA, January, 2004) -- joint paper with N.Cipolla and L. Swartz Dodd

 

OTHER ACADEMIC AND PUBLIC LECTURES/TALKS

 

American Academy, Rome, Italy (March, 1976)

 

Cleveland Society AIA, Cleveland, Ohio (April, 1979)

 

Johns Hopkins University, Baltimore, Md. (September, 1980)

 

Institute of Fine Arts, New York, N.Y. (October, 1980)

 

Metropolitan Museum of Art, New York, N.Y. (January, 1983)

 

New York Society AIA, New York, N.Y. (January, 1983)

 

Baltimore Society AIA, Baltimore, Md. (February, 1983)

 

University of Toronto, Toronto, Canada (March, 1987)

 

University of Southern California, Los Angeles, Ca. (March, 1987)

 

Columbia University, New York, N.Y. (April, 1987)

 

Classical Archaeological Society of Southern California, UCLA, Ca. (November 1989)

 

Tulane University, New Orleans, La. (February, 1990)

 

Classical Archaeological Society of Southern California, USC, Ca. (February 1990)

 

Los Angeles Society AIA, Los Angeles, Ca. (March, 1990)

 

Fisher Gallery and School of Fine Arts, University of Southern California, Los Angeles,

Ca. (March, 1990)

 

Institute of Fine Arts, New York, N.Y. (April, 1990)

 

American Academy, Rome, Italy (May, 1990)

 

University of Vienna and Kunsthistorisches Museum, Vienna, Austria (June, 1990)

 

San Diego Society AIA, San Diego, Ca. (September, 1990)

 

Classical Archaeological Society of Southern California, Getty Museum, Malibu, Ca.

(November, 1990).

 

University of Pennsylvania, Philadelphia, Pa. (December, 1990)

 

Classical Archaeological Society of Southern California, Gamble House, Pasadena, Ca.

(March 1991)

 

Henry T. Rowell Lecturer: Baltimore Society AIA, Baltimore, Md. (November, 1991)

 

Villanova University, Villanova, Pa. (November, 1991)

 

Royal-Athena Galleries, Los Angeles, Ca. (October, 1992)

 

Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art,

Washington D.C. (November, 1992)

 

University of North Carolina, Chapel Hill, N.C. (November, 1992)

 

Duke University, Durham, N.C. (November, 1992)

 

University of California, Los Angeles: UCLA/USC Seminar in Roman Studies, Los

Angeles, Ca. (December, 1992)

 

University of Southern California, Los Angeles, Ca. (January, 1993)

 

J. Paul Getty Museum and Center for the History of Art and the Humanities, Malibu,

Ca. (February, 1993)

 

Classical Archaeological Society of Southern California, UCLA, Ca. (March 1993)

 

California State University, Long Beach, Ca. (March, 1993)

 

Stanford University, Palo Alto, Ca. (April, 1993)

 

University of California, Berkeley, Ca. (April, 1993)

 

California State University, Northridge, Ca. (April, 1993)

 

University of Arizona, Tucson, Az. (April, 1993)

 

American Academy, Rome, Italy (June, 1994)

 

Getty Center for the History of Art and the Humanities (Director’s Series) (Dec., 1994)

 

University of California, Irvine (May, 1997)

 

American Academy, Rome, Italy (July, 1997)

 

American School of Classical Studies, Athens (October, 1997)

 

Los Angeles County Museum of Art, Los Angeles (March, 1998)

 

British School at Rome (June, 1998)

 

University of California, Berkeley (November, 1998)

 

Classical Archaeological Society of Southern California, University of California,

Santa Barbara (March, 1999)

 

Work in Progress: Getty Research Institute, Brentwood, California (December, 2000)

 

Classical Archaeological Society of Southern California, Getty Research Institute,

Brentwood, Ca. (April, 2001)

 

American Academy, Rome, Italy (May, 2001)

 

Loyola Marymount, Los Angeles (March, 2002)

 

Southern California Institute of Architecture (February, 2003)

 

Columbia University, New York (April, 2003)

 

University of Amsterdam, the Netherlands (May, 2003)

 

University of Nijmegen, the Netherlands (May, 2003)

 

American School of Classical Studies, Athens (September, 2003)

 

University of Oklahoma, Norman (March, 2005)

 

Cambridge University, Cambridge, England (November, 2005)

 

American School of Classical Studies at Athens, Greece (March, 2007)

 

University of Athens, Greece (May, 2007)

 

Los Angeles Society of the AIA, Los Angeles (December, 2007)

 

College of William and Mary (January, 2008)

 

Duke University, Durham (February, 2008)

 

Dickinson College, Carlisle, PA (March, 2008)

 

University of Nebraska, Lincoln (April, 2008)

 

AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS as Whitehead Professor of Archaeology (2006-2007)

 

Participated in all Fall trips of the School to various parts of Greece, giving

presentations on each of the trips.

 

Participated in the School’s Spring trip to Central Anatolia, giving several presentations.

 

Offered a seminar in the Winter Quarter: “Christian Destruction and Desecration of

Images and Shrines of Classical Antiquity.”

  

MISCELLANEOUS TALKS AND PRESENTATIONS

 

Lectures and talks on site regarding the architecture and topography of Rome, Ostia,

and Hadrian’s Villa for members of the Technische Universität für Architektur und

Denkmalpflege, Vienna, Austria; the Summer School of the American Academy in

Rome; St. Olaf College’s Junior Year Abroad Program; and M.A. students of

architecture in a joint summer program of the University of Southern California and the

University of Illinois; and the Intercollegiate Center for Classical Studies in Rome.

 

Talks on various aspects of Classical art and archaeology at meetings of the

Archaeological Society of the Mid-Atlantic States (1980-1987)

 

Gallery talks on the ancient collections of the Archaeological Museum of the Johns

Hopkins University (in capacity as curator) and of the Walters Art Gallery (1979-1987)

 

Gallery talks on the ancient collections of the J. Paul Getty Museum and the Los Angeles

County Museum of Art (1987-present)

 

Talk for USC graduate students in the Dept. of Classics at the Ara Pacis and Mausoleum of

Augustus in Rome (May 26, 2006), organized by Prof. Claudia Moatti, Dept. of Classics

 

SPECIAL TALKS AND LECTURES AT USC

 

Seminar for Professor Claudia Moatti, Department of Classics: “Problems in Ancient Art”

(March, 2005)

 

Seminar for Dr. Daniela Bleichmar, Department of Art History: Rediscovering the

Classical Past: The Relationship of Art History, Archaeology, and Visual Culture (March,

2005)

 

University of Southern California’s 125th Celebration: For Symposium on “Trojan

Legends” presented paper: “USC's Trojan Column: An Ancient and Modern Myth”

(October, 2005)

 

MEDIA INTERVIEWS AND CONSULTATION

 

New York Times, International Herald Tribune, Los Angeles Times, The New Yorker, The

History Channel, Arts and Entertainment Channel, KPCC Radio Los Angeles, NBC, Fox

 

Featured piece on my innovative work on the marble type of the statue of Augustus from

Prima Porta: A. Elders, “Tracing the Stones of Classical Brilliance,” in Hermes -- Greece

Today 35 (1999) 20-24.

 

ORGANIZER AND LEADER OF TOURS OF MUSEUMS AND SITES

 

Turkey (for Board of Councilors and donors of the School of Fine Arts, USC, 1995; for

university students and the general public, 1998)

 

Greece (Attica and the Peloponnese) (for university students and the general public, 1999)

 

Central Italy (for university students and the general public, 2000, 2002, 2003)

 

PARTICIPATION IN OTHER COLLOQUIA AND SYMPOSIA

 

Roman Sculpture and Architecture: German Archaeological Institute, Rome

(January, 1978)

 

Roman Architecture: Center for Advanced Study in the Visual Arts, National Gallery

of Art (January, 1981)

 

The Age of Augustus. The Rise of Imperial Ideology: Brown University (April, 1982)

 

Pictorial Narratives in Antiquity and the Middle Ages: The Johns Hopkins University and

the Center for Advanced Study in the Visual Arts, National Gallery of Art (March, 1984)

 

Villa Gardens of the Roman Empire: Dumbarton Oaks (May, 1984)

 

Retaining the Original -- Multiple Originals, Copies, and Reproductions: Center for

Advanced Study in the Visual Arts, National Gallery of Art (March, 1985)

 

Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,

National Gallery of Art (October, 1986)

 

Marble -- Art Historical and Sculptural Perspectives on Ancient Sculpture: J. Paul Getty

Museum (April, 1988)

 

International Conference on Roman Archaeology and Latin Epigraphy: University of

Rome and the French School of Rome (May, 1988)

 

Roman Portraits in Context: Emory University (January, 1989)

 

Small Bronze Sculpture from the Ancient World: J. Paul Getty Museum (March, 1989)

 

Alexandria and Alexandrianism: J. Paul Getty Museum (April, 1993)

 

International Symposium: “Rome Reborn” Visual Reality Program at UCLA (December,

1996)

 

History of Restoration of Ancient Stone Sculptures, J. Paul Getty Museum (October, 2001)

 

Re-Restoring Ancient Stone Sculpture, J. Paul Getty Museum (March, 2003)

 

Marble Conference on Thasos, Liman, Thasos (Sept. 2003)

 

OTHER PROFESSIONAL ACTIVITIES

 

Editorial Assistant (1968-1969) and Associate Editor (1969-1970), AGON: Journal of

Classical Studies

 

Editorial Board, American Journal of Philology (January, 1982-January, 1987)

 

Delegate from Baltimore Society AIA to National Convention (1984-1986)

 

Vice-President, Baltimore Society of the AIA (1985-1987)

 

Co-Director, Exhibition on Roman Portraiture, Fisher Gallery (1989)

 

Co-Founder (with Dr. Diana Buitron) of the Classical Archaeological Society of the Mid-

Atlantic States (1978-87)

 

Founder and President of the Classical Archaeological Society of Southern California

(1987-present)

 

Member of the Ancient Art Council of the Los Angeles County Museum of Art (1987-

present)

 

Oversaw the publication and helped edit the newsletter “ARTFACTS” of the

School of Fine Arts (1993-1996) during my tenure as Dean of the School of Fine Arts

 

USC Representative to Advisory Council of the American Academy in Rome

(1993-present)

 

Comitato di Collaborazione Culturale to the Consul General of Italy at Los Angeles

(1995-1998)

 

Advisory Committee for the Virtual Reality Project for Ancient Rome (“Rome Reborn”)

(1996-1998)

 

Delegate from Los Angeles Society AIA to National Convention (Chicago, Dec., 1997)

 

Reviewer for the Getty Grant Program (1999)

 

Reviewer for the MacArthur Foundation Grant (2000, 2003)

 

Planning Committee for a Four-Year International Conference on “Roman Imperial

Ideology” at the Villa Vergiliana at Cuma (Naples), organized by J. Rufus Fears (2000-

2003)

 

Consultant for the Forum of Augustus Project: Sovrintendenza Archeologica Comunale,

Direzione al Foro di Augusto (2004-present)

 

Editor of the newsletter “Musings” for the Department of Art History, USC (2005)

 

Planning Committee for the Internation Bronze Congress in Athens, Greece (2006-2007)

 

Chaired two sessions -- “Roman Sculpture” and “Augustan Art” -- at the Annual Meeting

of the Archaeological Institute of America (San Diego 2007)

  

UNIVERSITY COMMITTEES AND OTHER SERVICE

 

Faculty Senate (1988-1991)

 

Advisory Committee to the Dean of the School of Fine Arts (1990-1991, 1992-1993)

 

Chairman, Personnel Committee of the School of Fine Arts (1988-1990)

 

Library Liaison Officer for Art and Architecture Library (1987-present)

 

Search Committee for Reference Librarian of the Art and Architecture Library

(1989-1990 and 2000)

University Library Committee (1989-1990, 1998-2001)

 

Recruitment Committee for the School of Fine Arts (1989-1995)

 

Space Allocation Committee, School of Fine Arts (1989-1990)

 

University Research Committee (1990-1991)

 

Promotion Committee, School of Fine Arts (1990-1995)

 

University Ad Hoc Committee on Revenue Center Management (1990-1995)

 

Committee for University Development, School of Fine Arts (1993-1995)

 

Development Task Force, the School of Fine Arts (1993-1995)

 

Consultative Committee to the Provost (Spring 1993-1995)

 

University Galleries Advisory Committee (1993-1995)

 

University Committee on Transnational and Multicultural Affairs (1993-1995)

 

Provost’s Council at USC (formerly Council of Deans) (1993-1995)

 

USC Representative to the Advisory Council of the American Academy in Rome

(1993-present)

 

Founder and Member of the Board of Councilors for the School of Fine Arts (1994-1995)

 

Consortium Council of Deans for Development at USC (1995)

 

Tenure and Promotion Committee, Department of Art History (1995-to present)

 

Recruitment Committee for Department of Art History in the College of

Letters, Arts, and Sciences (1996-2005)

 

Program Proposer for the Establishment of an Interdepartmental and Interdisciplinary

Ancient Mediterranean Studies Program (1997-1999)

 

Chinese Search Committee, Department of Art History (1998-1999)

 

Japanese Search Committee, Department of Art History (1998-1999)

 

Professor-In-Charge, USC-Getty Lecture Series, Seminar, and Faculty Dinner (honoring

Salvatore Settis) (1998-1999)

 

Curriculum Committee (Co-Chair) (1998-1999)

 

Chair, Committee for Selection of Departmental Chair (1999-2000)

 

Chair, Merit Review Committee (1999-2000)

 

Committee for the Establishment of an Undergraduate Major in Archaeology

(2002-present)

 

Greek Art Search Committee, Department of Art History and Classics (2001-2004)

 

Faculty Search Committee, Department of Art History: Senior Hiring Initiative (2003-

present)

 

Junior Faculty Review Committee, Department of Art History (2003)

 

USC’s Arts and Humanities Committee (2003-2004)

 

Chair of Oversight Committee for the Interdisciplinary Archaeology Major (Spring 2006)

  

MEMBERSHIPS IN NATIONAL AND INTERNATIONAL PROFESSIONAL ORGANIZATIONS

 

NATIONAL:

 

Archaeological Institute of America

 

College Art Association

 

American Philological Association

 

Association of Ancient Historians

 

Vergilian Society

 

INTERNATIONAL:

 

Deutsches Archäologisches Institut

 

Associazione Internazionale di Archeologia Classica

 

Association for the Study of Marble and Other Stones in Antiquity (AMOSIA)

 

Society for the Promotion of Roman Studies

 

If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:

 

Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/

 

The Portraiture of Caligula- Joe Geranio- Administrator- at

portraitsofcaligula.com/

 

Both are non-profit sites and for educational use only.

 

52 Weeks of Pix 2016

Week 37 of 52

Theme: Time

 

This image was made from a collage of five individual watch pictures converted using "Tiny Planet" methodology in Photoshop Elements. Final touch-up was with Picasa, including the frame. Images were shot using two off-camera SB-800 Nikon Speedlights and two Fotodiox light boxes.

 

BTW, I just saw my ISO setting. I need to get that changed! LOL!

 

Bernise Ang, Principal and Methodology Lead, Zeroth Labs, Singapore at the World Economic Forum on Latin America 2017 in Buenos Aires, Argentina. Copyright by World Economic Forum / Benedikt von Loebell

Things are a bit busy at this end of the season. Summer has hung on, and hung on. Ramadan has been and gone; Easter is just around the corner. So too is the first frost. Now's the time for getting in the harvest and putting away the tools.

 

That rush is why all you'll get on this April Fools Day is a few harmless pranks, and this quick snapshot. These are just some of the tools headed into storage.

 

On the left is my refractomer. It's calibrated to measure the wt% of dissolved sugar. For me, it's the piece of gear that extends the discussion about apple picking time. For any apple, it's the lift test first: has the abscission zone weakened? Then are the seeds changing from white through shades of brown. I don't use the iodine test; instead, I reach for the refractomer.

 

Next to it is one of my alcohol hydrometers. I could use it to measure the sugar in apple juice too. But that requires a bigger sample and cloudiness in the juice makes the scale difficult to read. Instead of bending light, it measures the specific gravity of the liquid: apple or grape juice, beer wort, whatever. The dissolved sugar makes the Sp.Gr. higher so when it is fermented out to alcohol the Sp.Gr. is lower. That's when I reach for a hydrometer — to determine the end point of fermentation. There's nothing worse than your cider exploding!

 

Out of curiosity, I also check the pH of my apple juice. Too low and the cider will be sour — so-called pig whistle cider. There's nothing fancy about my method — universal indicator paper is good enough.

 

This year's ripening season was weirdly early. It means I lost fruit I hadn't bothered to monitor because, on paper, it was too soon. That, and the hail storms messed up the apple yield. Typically there'd be so many apples and three distinct periods of ripening that I'd rack the two earliest batches to rest, then blend them back later before adding priming sugar and maybe a boosting shot of yeast to get the bottle fermentation I mostly use. Yes, I do some dry still varietal cider, or semi-sweet. But they're a lot of bother with multiple handling steps and for semi-sweet either the notion of chemical stabilisation or pasteurisation to prevent a secondary fermentation. Mostly, I can't be bothered. This year, I don't have to worry. There was so little fruit, high pH and high sugar, all at once, that the blending happened with the scratter and press. So instead of racking, decanting, blending and all the rest, this years cider has gone straight from the fermenter to the bottles with — touch wood — enough live yeast remaining to consume the priming sugar and carbonate the cider.

 

Righto, now back to work. Jack Frost is on his way!

   

The development of technology has improved the efficiency and speed with which global companies conduct day-to-day business in every industry. Technology has impacted core methodology, key analytics, safety, quality and communications. New technology also creates additional vulnerabilities for exploitation of highly confidential data and critical operations. As the cyber-risk profile evolves, regulators are focused on creating and enforcing data security requirements throughout the company, including at executive levels. Panelists explored the role of the general counsel as a strategist in helping the business assess the value and significance of technology with risk mitigation in mind. Panelists addressed best practices for being prepared for a cyberattack, and the role of the legal department in a cross-disciplinary response team. In addition, panelists focused on increased risks for officers and directors and duties associated with reporting to the executive team and the board.

 

Moderator: Stefanie Fogel

Panelists: Denise Jackson, Caroline Krass, Rena Mears and Rena Hozore Reiss

 

DLA Piper | Women's Conference 2018 | Ritz Carlton | Spoon Photo and Design

S Methode

 

Pause und Präsentation

  

5S (methodology)

en.wikipedia.org/wiki/5S_(methodology)

 

• 5S Kaizen

 

Es ist eine Idee aus dem japanischen Toyota-Produktionssystem.

Just in time Prozess Steuerung

5S was developed in Japan and was identified as one of the techniques that enabled Just in Time manufacturing.

 

.. verbessert durch Philip Effinger an Hand von Mercedes Benz just in time Produktions-Steuerung

(Promotions-Arbeit)

Philip Effinger, Visualization of business process models, Dissertation thesis, 208 pages, Eberhard Karls Universitä Tübingen, 2013

Arbeitsbereich Paralleles Rechnen

Wilhelm-Schickard-Institut für Informatik

Fakultät für Informations- und Kognitionswissenschaften

Eberhard-Karls-Universität Tübingen

Zum letzten sprachlichen Feinschliff haben noch Johannes Spielmann

und Kristina Abels beigetragen.

Wurde bei der Toyota PKW Prozesssteuerung entwickelt.

 

Das Automobilwerk in Tichy (Polen) - Fiat und andere Marken werden dort gebaut - orientiert sich daran, weshalb der Panda I und II so erfolgreich waren.

 

Panda II wird wieder in Italien gebaut im skandalbekannten Alfa-Sud Werk.

Deshalb hat der Ford Fiesta (2016) den Fiat Panda erstmals in Europa überflügelt, bezogen auf die Verkaufszahlen.

  

• S – Sortieren

•• S – Systematisieren

••• S – Saubermachen

•••• S – Standardisieren

••••• S – Selbstdisziplin

-

Als sechstes S wird zumeist noch • SHUKAN • genannt. Als Shukan wird der Zustand betitelt bei dem die ständige Beachtung und Optimierung der 5 S Methode zur Gewohnheit wird.

-

  

5. Shitsuke = Selbstdisziplin - Sustain

Die vorgestellten Methoden werden tagtäglich konsequent eingehalten.

Das nächste Level der 5S Methode wird erreicht, indem ein weiterer Durchlauf der 5S angestoßen wird, bei dem ein noch höheres Niveau des zu erreichenden Zustandes erreicht werden wird.

- ständige Verbesserung (Kaizen).

 

ps

Logikfehler:

(... führt zum absurdum!)

  

Ohne Selbstdisziplin wird schnell wieder das altbekannte und vertraute Chaos in der Arbeitsumgebung herrschen.

 

Für dauerhafte Erfolge ist daher Selbstdisziplin unabdingbar.

 

Präsentieren Sie Ihre Ergebnisse und Fortschritte vielleicht in einer Fotodokumentation.

 

Für Chaos Begabte braucht es keine Regeln!

Aber ein eidetisches Gedächtnis („Fotografisches Gedächtnis“) ist von Vorteil!

- auch "Ikonisches Gedächtnis" genannt - und ein Langzeit-Gedächtnis.

 

„Die Fähigkeit ein genaues, detailliertes, visuelles Bild einer komplexen Szenerie oder ein Muster zu behalten (umgangssprachlich manchmal als ‚fotografisches Gedächtnis‘ bezeichnet), oder die nur bei einer Minderheit existierende Fähigkeit ein Bild (gedanklich) zu ‚sehen‘, das eine exakte Kopie der ursprünglichen sensorischen Information darstellt.“

Das ikonische Gedächtnis hat eine weitaus größere Kapazität als das Kurzzeitgedächtnis

 

Ganz gemäß Arthur Brisbane (1911):

"Use a picture. It's worth a thousand words."

  

Zweck der 5S Methode

 

Was soll vermieden werden?

Verschwendung von kostbarer Zeit durch:

• Warten

• Suchen

• Ablegen

• Nachdenken

• Doppelarbeit

• Stapeln von Teilen

I've never understood why the Illinois EPA and the Feds keep claiming that the officials in Deadwood 'only' used 'as little' as ten or twenty percent contaminated well water to mix with pure city water to provide the final mix of drinking water that the residents of Deadwood drank.

 

The media never questions those numbers or the government's methodology in coming up with them.

 

I'm telling you it's bullshit.

 

It's a snowjob.

 

'Drink your kool-aid and quit askin' so many questions.'

 

I was there from the beginning and I've seen it every step of the way.

 

Krista and I gave them documents that appeared to show that the numbers were often much higher than that.

 

But the government would 'average' the numbers to get them lower and it just didn't make sense to me.

 

When I scored these documents from the IEPA a lightbulb went off.

 

Whenever Deadwood used the contaminated well to provide any more than about thirty percent of the total drinking water for the village they were sucking water from the Cal Sag Canal.

 

Even at the twenty percent they admitted it looks like that canal water was making its way down people's throats and cooking up their macaroni and cheese.

 

Take a look at the first document I posted below... maybe you can figure it out.

 

The chemical everyone talks about in the well... vinyl chloride... that doesn't really have a scary sounding name as chemicals go... vinyl might be scary in the fashion world... and 'chloride' is something you find in table salt...

 

but vinyl chloride's some terrible stuff when it gets into the human body.

 

Just google it.

 

The smorgasboard of chemicals that are sitting in the bottom of that canal... that's some very scary stuff.

 

'Today, sediments on the river bottom are "among the most contaminated and toxic that have ever been reported." Only sludge worms inhabit the Indiana Harbor and Ship Canal, indicating that severe pollution exists. The Grand Calumet suffers from contamination from polychlorinated biphenyls (PCBs), polynuclear aromatic hydrocarbons (PAHs) and heavy metals, such as mercury, cadmium, chromium and lead. Additional problems include high fecal coliform bacteria levels, biochemical oxygen demand (BOD) and suspended solids, oil and grease. These contaminants originate from both point and nonpoint sources.'

 

This shit makes the chemical in the Erin Brakovich story, hexavalent chromium, look like baby aspirin!

 

You don't wanna be drinkin water with that stuff in it.

 

You don't want your children drinking that water.

 

You don't even want your dog drinking that water.

 

I wouldn't even water my houseplants with it.

 

And the people of Deadwood were doing all of that.

 

And they were doing it for more than twenty years.

 

It's the cocktail of chemicals in that canal that's being completely ignored by the government in this case.

 

How come I can figure it out and I'm just a street photographer?

 

Why aren't the government scientists even discussing the possibility that the people of Deadwood drank this stuff for more than twenty years?

 

It's not because Iron Fist has the kinda power to keep that secret.

 

It's because the Illinois EPA and the Federal Government don't want people to know it.

 

Because if you knew that you'd know just how inept or corrupt those organizations really are.

 

You'd know just how much they fucked up.

 

That's why I don't think that they want you to know.

 

They were supposed to be looking out for us.

 

Instead, they let unsuspecting people drink death-water for a long time.

 

They messed up and people are getting sick because of it.

 

They just don't want you to know how much they messed up.

 

But Viewminder knows it.

 

And Viewminder knows what it means.

 

The people gotta demand that the government come clean in this case.

 

The people are going to have to fight for the truth.

 

They shouldn't... but that's how it's gonna be.

 

All of the documents below come from the Illinois EPA.

 

Their own documents appear to show that water from the Cal Sag Canal was finding its way into that well that was being 'secretly' used and that shitwater was coming out of the faucets of the residents of Deadwood.

 

In order to know the extent of it we need to know how much water that Iron Fist's scheme was pumping out of that well.

 

And from what I've seen and experienced so far, the only thing the government is doing is obscuring the truth.

 

It seems pretty easy to me... how much city water did they buy in the years they used the contaminated well... and how much city water are they buying now, after the IEPA destroyed the evidence... I mean the contaminated well?

 

The difference between those two numbers is pretty much gonna be your answer.

 

But that must be either too logical or too easy.

 

Children in Deadwood are dying.

 

And they're dying from afflictions that are more likely to be from that canal water than the vinyl chloride that found its way into Municipal Well Number One.

 

The government says that 'incidental contact' with that canal water is dangerous... just being splashed by it is bad for you.

 

But the people of Deadwood were showering in it, drinking with it and cooking with it.

 

It wasn't even treated with anything more than random and farsically inadequate doses of chlorine.

 

There's one thing for certain.

 

While the government fell asleep at the wheel, the people of Deadwood were drinking a deadly cocktail of chemicals every night before they went to bed.

 

And they were showering in it every morning when they woke up... letting it cover their skin... breathing in the volatile vapors that 'steamed' out of it.

 

And the whole thing started when they charged my wife with child endangerment and tried to take my daughter away from us.

 

While they were poisoning all of the children in Deadwood.

 

We are never going to see the truth unless we demand it.

 

The only thing we're gonna see if we do nothing is a couple of low level water department clerks go to prison.

 

A 'fall guy' and a 'fall girl.'

 

A couple of 'heads on a platter' to calm down the masses and make it look like the government gave a shit.

 

Yeah... they lied on the paperwork... but there's people who hold a lot more responsibility for this who are just gonna skate on it.

 

I waited almost three years to see what the feds were gonna do.

 

And then they indict a couple of clerks?

 

For lying to them?

 

They could give a shit about you and your family being poisoned.

 

They don't care that thousands of people have been made into 'lab rats' by the political schemes of Iron Fist and his gang.

 

They're offended because they got lied to.

 

I didn't wanna hafta be the guy driving this thing.

 

But you know what?

 

Those people deserve the truth.

 

We all deserve the truth.

 

And we're not gonna get anything close to the truth unless we fight for it.

 

If we do nothing, we're never gonna know anything.

 

From the series 'There's Something in the Water' here on Flickr... www.flickr.com/photos/light_seeker/sets/72157627041317913...

  

Friedrich Wilhelm Heinrich Alexander von Humboldt (September 14, 1769 – May 6, 1859) was a Prussian geographer, naturalist and explorer.

 

Humboldt's quantitative work on botanical geography laid the foundation for the field of biogeography. Between 1799 and 1804, Humboldt travelled extensively in Latin America, exploring and describing it for the first time from a modern scientific point of view. His description of the journey was written up and published in an enormous set of volumes over 21 years. He was one of the first to propose that the lands bordering the Atlantic Ocean were once joined (South America and Africa in particular). Later, his five-volume work, Kosmos (1845), attempted to unify the various branches of scientific knowledge.

 

Humboldt was born in Berlin. His father, Alexander Georg von Humboldt, belonged to a prominent Pomeranian family; a major in the Prussian Army, he was rewarded for his services in the Seven Years' War with the post of Royal Chamberlain. In 1766, he married Maria Elizabeth Colomb, the widow of Baron von Hollwede, and they had two sons. The money of Baron von Holwede, left to his former wife, was instrumental in funding Alexander's explorations, contributing more than 70% of Alexander's income.

 

Due to his juvenile penchant for collecting and labelling plants, shells and insects, Alexander received the playful title of "the little apothecary". His father died in 1779, after which his mother saw to his education.

 

Marked for a political career, he studied finance for six months at the University of Frankfurt; a year later, on April 25, 1789, he matriculated at Göttingen, then known for the lectures of C. G. Heyne and J. F. Blumenbach. His vast and varied interests were by this time fully developed, and during a vacation in 1789, he made a scientific excursion up the Rhine and produced the treatise Mineralogische Beobachtungen über einige Basalte am Rhein (Brunswick, 1790) (Mineralogic Observations on Several Basalts on the River Rhine).

 

Humboldt's passion for travel was confirmed by a friendship formed at Göttingen with Georg Forster, Heyne's son-in-law and the companion of Captain James Cook on Cook's second voyage.

 

Thereafter, his talents were devoted to the purpose of preparing himself as a scientific explorer. With this emphasis, he studied commerce and foreign languages at Hamburg, geology at Technische Universität Bergakademie Freiberg under A. G. Werner, anatomy at Jena under J. C. Loder and astronomy and the use of scientific instruments under F. X. von Zach and J. G. Köhler.

 

The death of his mother, on November 19, 1796, set him free to follow the bent of his genius, and to fulfil his long-cherished dream of travel. On the postponement of Captain Nicolas Baudin's proposed voyage of circumnavigation, which he had been officially invited to accompany, Humboldt left Paris for Marseille with Aimé Bonpland, the designated botanist of the frustrated expedition, hoping to join Napoleon Bonaparte in Egypt. The two travellers eventually found their way to Madrid, where the unexpected patronage of the minister Don Mariano Luis de Urquijo convinced them to make Spanish America the scene of their explorations.

 

Armed with powerful recommendations from the King of Spain, they sailed in the Pizarro from A Coruña, on June 5, 1799, stopped six days on the island of Tenerife to climb the volcano Teide, and landed at Cumaná, Venezuela, on July 16. He proceeded with Bonpland to Caracas where he would climb the Avila mount with Andres Bello. In February 1800, Humboldt and Bonpland left the coast with the purpose of exploring the course of the Orinoco River. This trip lasted four months and covered 1,725 miles of wild and largely uninhabited country.

 

Around March 19, 1800, von Humboldt and Bonpland discovered and captured some electric eels. They both received potentially dangerous electric shocks during their investigations.

 

On November 24, the two friends set sail for Cuba where they met fellow botanist and plant collector John Fraser, and after a stay of some months they regained the mainland at Cartagena, Colombia. Ascending the swollen stream of the Magdalena River and crossing the frozen ridges of the Cordillera Real, they reached Quito on January 6, 1802, after a tedious and difficult journey. Their stay there was marked by the ascent of Pichincha and an attempt on Chimborazo. Humboldt and his party reached an altitude of 19,286 feet, a world record at the time.

 

The journey concluded with an expedition to the sources of the Amazon en route for Lima, Peru. At Callao, Humboldt observed the transit of Mercury on November 9, and studied the fertilizing properties of guano, the subsequent introduction of which into Europe was due mainly to his writings. A tempestuous sea-voyage brought them to Mexico, where they resided for a year, travelling to different cities.

 

Next, Humboldt made a short visit to the United States, staying in the White House as a guest of President Thomas Jefferson. Jefferson, a scientist himself, was delighted to have Humboldt as a guest and the two held numerous intense discussions on scientific matters. After six weeks, Humboldt set sail for Europe from the mouth of the Delaware and landed at Bordeaux on August 3, 1804.

 

The editing and publication of the encyclopedic mass of scientific, political and archaeological material that had been collected by him during his absence from Europe was now Humboldt's most urgent desire. He finally, in the spring of 1808, settled in Paris with the purpose of securing the scientific cooperation required for bringing his great work through the press. This colossal task, which he at first hoped would occupy but two years, eventually cost him twenty-one, and even then it remained incomplete. In these early years in Paris, he shared accommodation and a laboratory with his former rival, and now friend, Joseph-Louis Gay-Lussac, both working together on the analysis of gases and the composition of the atmosphere.

 

Humboldt viewed nature holistically, and tried to explain natural phenomena without the appeal to religious dogma. He believed in the central importance of observation, and as a consequence had amassed a vast array of the most sophisticated scientific instruments then available. Each had its own velvet lined box and was the most accurate and portable of its time; nothing quantifiable escaped measurement. According to Humboldt, everything should be measured with the finest and most modern instruments and sophisticated techniques available, for that collected data was the basis of all scientific understanding. This quantitative methodology would become known as "Humboldtian science."

 

Humboldt wrote "Nature herself is sublimely eloquent. The stars as they sparkle in firmament fill us with delight and ecstasy, and yet they all move in orbit marked out with mathematical precision."

 

Humboldt dedicated large parts of his work to describing the conditions of slaves, Indians and society in general. He often showed his disgust for the slavery and inhumane conditions in which Indians and others were treated and he often criticized the colonial policies.

 

Humboldt was one of the most famous men in Europe. The acclaimed American painter Rembrandt Peale painted him during his European stay, between 1808 and 1810, as one of the most prominent figures in Europe at the time.

 

Paradigm: A worldview underlying the theories and methodology of a particular scientific subject.

 

That, my friends, is a crossword puzzle. If paradigms are analogous to species, the one that includes pencils and crossword puzzles is on the brink of extinction ..

 

Whether it be the elderly, children, homeless, the workers or the men and women that carry out the mating ritual on the city sidewalks. .. My social photography intends only to inform, and to share with others what I observe and find to be interesting. I apologize if I inadvertently offend anyone ~Rhpsr

Liquidity costs: a new numerical methodology and an empirical study. Michel, Reutenauer, Talay, Tanré arxiv.org/abs/1501.07404 #q-fin

a test piece from a new working theory of pleating.

 

polygons are defined by the same methodology used to make Voronoi tessellations; borders are then used as a reference crease along with the central point of the polygon to create the appropriate "fold flat" crease pattern. in this case, you can see the original 1/2 pleat creasings, which were further divided into 1/4 width pleats.

 

This was a test using random polygons; other methods of more usefulness (applications for use with regular polygonal shapes) are in development.

 

much fruit on this tree, I think. I hope I am able to refine my ideas enough to make them usable.

 

if you find this idea interesting at all, please drop me a line at origomi [ at ] mac.com. I'd be happy to talk to you about it.

Hiking with dogs over the years in hot weather, I've noticed they each have their own style of cooling off in the water. Gracie would wade in to the depth that allowed efficient heat exchange between the cool water and the blood flowing through her long legs. Kaley just needed to get her belly wet and she was good to go. Skylar will wade in to the maximum water depth and stand for a long time, swimming if she can.

 

But Abby has the most unique method of all, plowing her face through the water and then shaking it off. If the water isn't deep enough to get her face in fully, she will use her front legs to splash water. It seems like she just wants to cool her muzzle. I love this goofy girl and I'm just glad it makes her happy.

Moschopolis is the first wine series of the homonym Moscopolis Winery. The brand is based on the premium wine quality matured in barrels, scientific approach of the owners' aged experience and thorough methodology of each production step -from the born of the grape- to the bottling.

 

Instead of introducing a representational metaphor in the label, we created a wine-self-reference one, a label that carries only wines' internal and essential information. This was achieved by collecting, structuring and organising the most important elements. By introducing a clear typographic system on the label, extroversion has been achieved, which arrives from the decision to include all information available directly to the viewer. The label introduces the wine and the winery, as if the owner is present by himself - without being.

 

Secondly, methodology was accomplished visually through this system, in a way that verifies the brands' own practice. Thirdly, education, as a way of communicating all the essential elements of this product to the also non familiar to barrel wines audience. Last but not least, considering the marketplace abroad, there is a clear reference to the origin (product of Greece) by including international words routed in greek language, such as Genesis, Aura, Methodology etc.

 

Part of this orthological approach was to name each label with a number, so as to keep a consistency that is related and actually verified with the nature of the brand’s practices.

 

All of the above was carefully crafted and printed in two colours with a hot bronze foil working as a stamp of the aged barrel.

 

—

Check the whole project here

goo.gl/vK5d11

 

Printed by Labelpress

 

Shooted by M. Tsouloufa & J.Sachpazis

Illustration for a comparative ecophylogenetic analysis of local myrmecofaunas, based on r/K selection theory and intra / interspecific parabiosis / lestobiosis, particularly focused on allochthonous and invasive species.

 

[Hypoponera Santschi 1938: 154+†1 (IT: 4+†0) spp]

[Ponerini: 45 gg, 1,294 spp; Ponerinæ: 2 tbb, 60 gg, 1,426 spp]

 

Conspecific parapatric ☿, sx side.

 

Para/lestobiotic of L. lasioides. Cfr. notes¹ over the above image.

 

Like other species in the H. punctuatissima group, H. eduardi produces ☿-♀ or ♃ (ergatoid) intercastes as well as alate ♀ and its dimorphic ♂♂ consist of an alate and an ergatoid form. ♃♀♀ have distinctly larger eyes than ☿☿ (ca 20–30 ommatidia) and ♃♂♂ have small eyes (7–8 ommatidia), reduced mandibles and 13-segmented antennæ. The polymorphism of both ♀♀ and ♂♂, and the reproductive biology of H. eduardi have been documented by Le Masne (1956). He referred to ☿-♀ intercastes as major ☿☿, following Forel (1894) and also noted the presence of a less numerous caste intermediate between ☿☿ and intercastes that he termed "media ☿☿". All Hypoponera are thought to be predators of small arthropods but published details about their diet are sparse. A lack of information about other aspects of their biology is also typical for most species.

 

NOTES

 

1. 49b: Mandible triangular to elongate-triangular, masticatory margin sometimes edentate, usually with several to many teeth.

57b: Maxillary palp with 0-1 segments.

57b: Subpetiolar process in profile rounded to acutely angulate posteroventrally but never with a pair of teeth; an anterior fenestra or thin-spot usually absent but present in some spp.

55b: Petiole (A2) in profile an erect scale or node. Prora present on 1st gastral sternite below helcium. Postsclerites of 2nd gastral segment (A4 posterior to gastral constriction) not cylindrical, in profile as high as long or nearly so, at most only slightly longer than 1st segment.

52b: Gaster (A3-A7) in lateral & dorsal view with a distinct impression between presclerites & postsclerites of 2nd gastral segment (A4) that appears as a girdling constriction of gaster.

 

REFERENCES

 

S. Cantone 2018: Winged ants - queen.

S. Mammola & al. 2017: Invertebrata epi/hypogean survey.

M.K.L. Wong & B. Guénard 2017: Subterranean ants.

C.A. Schmidt & S.O. Shattuck 2014: Ponerinæ classification.

C.A. Schmidt 2013: Ponerinæ phylogeny.

R. Pacheco & H.L. Vasconcelos 2012: SPT.

F.A. Schmidt & R.R.C. Solar 2010: Hypogæic pitfall traps.

C.A. Schmidt 2009: Ponerinæ taxonomic revision, pp. 106-111.

K.T. Ryder Wilkie & al. 2007: Biodiversity below ground.

 

antmaps.org • subterranean sampling • US20090031611A1

Mohandas Karamchand Gandhi 2 October 1869 – 30 January 1948) was an Indian lawyer, anti-colonial nationalist and political ethicist who employed nonviolent resistance to lead the successful campaign for India's independence from British rule. He inspired movements for civil rights and freedom across the world. The honorific Mahātmā (from Sanskrit 'great-souled, venerable'), first applied to him in South Africa in 1914, is now used throughout the world.

 

Born and raised in a Hindu family in coastal Gujarat, Gandhi trained in the law at the Inner Temple in London, and was called to the bar in June 1891, at the age of 22. After two uncertain years in India, where he was unable to start a successful law practice, he moved to South Africa in 1893 to represent an Indian merchant in a lawsuit. He went on to live in South Africa for 21 years. There, Gandhi raised a family and first employed nonviolent resistance in a campaign for civil rights. In 1915, aged 45, he returned to India and soon set about organising peasants, farmers, and urban labourers to protest against discrimination and excessive land-tax.

 

Assuming leadership of the Indian National Congress in 1921, Gandhi led nationwide campaigns for easing poverty, expanding women's rights, building religious and ethnic amity, ending untouchability, and, above all, achieving swaraj or self-rule. Gandhi adopted the short dhoti woven with hand-spun yarn as a mark of identification with India's rural poor. He began to live in a self-sufficient residential community, to eat simple food, and undertake long fasts as a means of both introspection and political protest. Bringing anti-colonial nationalism to the common Indians, Gandhi led them in challenging the British-imposed salt tax with the 400 km (250 mi) Dandi Salt March in 1930 and in calling for the British to quit India in 1942. He was imprisoned many times and for many years in both South Africa and India.

 

Gandhi's vision of an independent India based on religious pluralism was challenged in the early 1940s by a Muslim nationalism which demanded a separate homeland for Muslims within British India. In August 1947, Britain granted independence, but the British Indian Empire was partitioned into two dominions, a Hindu-majority India and a Muslim-majority Pakistan. As many displaced Hindus, Muslims, and Sikhs made their way to their new lands, religious violence broke out, especially in the Punjab and Bengal. Abstaining from the official celebration of independence, Gandhi visited the affected areas, attempting to alleviate distress. In the months following, he undertook several hunger strikes to stop the religious violence. The last of these was begun in Delhi on 12 January 1948, when he was 78. The belief that Gandhi had been too resolute in his defense of both Pakistan and Indian Muslims spread among some Hindus in India. Among these was Nathuram Godse, a militant Hindu nationalist from Pune, western India, who assassinated Gandhi by firing three bullets into his chest at an interfaith prayer meeting in Delhi on 30 January 1948.

 

Gandhi's birthday, 2 October, is commemorated in India as Gandhi Jayanti, a national holiday, and worldwide as the International Day of Nonviolence. Gandhi is considered to be the Father of the Nation in post-colonial India. During India's nationalist movement and in several decades immediately after, he was also commonly called Bapu (Gujarati endearment for "father", roughly "papa", "daddy"[

 

Gandhi's father, Karamchand Uttamchand Gandhi (1822–1885), served as the dewan (chief minister) of Porbandar state. His family originated from the then village of Kutiana in what was then Junagadh State. Although he only had been a clerk in the state administration and had an elementary education, Karamchand proved a capable chief minister.

 

During his tenure, Karamchand married four times. His first two wives died young, after each had given birth to a daughter, and his third marriage was childless. In 1857, he sought his third wife's permission to remarry; that year, he married Putlibai (1844–1891), who also came from Junagadh, and was from a Pranami Vaishnava family. Karamchand and Putlibai had four children: a son, Laxmidas (c. 1860–1914); a daughter, Raliatbehn (1862–1960); a second son, Karsandas (c. 1866–1913). and a third son, Mohandas Karamchand Gandhi who was born on 2 October 1869 in Porbandar (also known as Sudamapuri), a coastal town on the Kathiawar Peninsula and then part of the small princely state of Porbandar in the Kathiawar Agency of the British Raj.

 

In 1874, Gandhi's father Karamchand left Porbandar for the smaller state of Rajkot, where he became a counsellor to its ruler, the Thakur Sahib; though Rajkot was a less prestigious state than Porbandar, the British regional political agency was located there, which gave the state's diwan a measure of security. In 1876, Karamchand became diwan of Rajkot and was succeeded as diwan of Porbandar by his brother Tulsidas. His family then rejoined him in Rajkot.

 

As a child, Gandhi was described by his sister Raliat as "restless as mercury, either playing or roaming about. One of his favourite pastimes was twisting dogs' ears." The Indian classics, especially the stories of Shravana and king Harishchandra, had a great impact on Gandhi in his childhood. In his autobiography, he states that they left an indelible impression on his mind. He writes: "It haunted me and I must have acted Harishchandra to myself times without number." Gandhi's early self-identification with truth and love as supreme values is traceable to these epic characters.

 

The family's religious background was eclectic. Mohandas was born into a Gujarati Hindu Modh Bania family. Gandhi's father Karamchand was Hindu and his mother Putlibai was from a Pranami Vaishnava Hindu family. Gandhi's father was of Modh Baniya caste in the varna of Vaishya. His mother came from the medieval Krishna bhakti-based Pranami tradition, whose religious texts include the Bhagavad Gita, the Bhagavata Purana, and a collection of 14 texts with teachings that the tradition believes to include the essence of the Vedas, the Quran and the Bible. Gandhi was deeply influenced by his mother, an extremely pious lady who "would not think of taking her meals without her daily prayers... she would take the hardest vows and keep them without flinching. To keep two or three consecutive fasts was nothing to her."

  

Gandhi (right) with his eldest brother Laxmidas in 1886

At age 9, Gandhi entered the local school in Rajkot, near his home. There, he studied the rudiments of arithmetic, history, the Gujarati language and geography. At the age of 11, he joined the High School in Rajkot, Alfred High School. He was an average student, won some prizes, but was a shy and tongue tied student, with no interest in games; his only companions were books and school lessons.

 

In May 1883, the 13-year-old Mohandas was married to 14-year-old Kasturbai Gokuldas Kapadia (her first name was usually shortened to "Kasturba", and affectionately to "Ba") in an arranged marriage, according to the custom of the region at that time. In the process, he lost a year at school but was later allowed to make up by accelerating his studies. His wedding was a joint event, where his brother and cousin were also married. Recalling the day of their marriage, he once said, "As we didn't know much about marriage, for us it meant only wearing new clothes, eating sweets and playing with relatives." As was the prevailing tradition, the adolescent bride was to spend much time at her parents' house, and away from her husband.

 

Writing many years later, Mohandas described with regret the lustful feelings he felt for his young bride: "even at school I used to think of her, and the thought of nightfall and our subsequent meeting was ever haunting me." He later recalled feeling jealous and possessive of her, such as when she would visit a temple with her girlfriends, and being sexually lustful in his feelings for her.

 

In late 1885, Gandhi's father Karamchand died. Gandhi, then 16 years old, and his wife of age 17 had their first baby, who survived only a few days. The two deaths anguished Gandhi. The Gandhi couple had four more children, all sons: Harilal, born in 1888; Manilal, born in 1892; Ramdas, born in 1897; and Devdas, born in 1900.

 

In November 1887, the 18-year-old Gandhi graduated from high school in Ahmedabad. In January 1888, he enrolled at Samaldas College in Bhavnagar State, then the sole degree-granting institution of higher education in the region. However, he dropped out, and returned to his family in Porbandar.

 

Gandhi had dropped out of the cheapest college he could afford in Bombay. Mavji Dave Joshiji, a Brahmin priest and family friend, advised Gandhi and his family that he should consider law studies in London. In July 1888, his wife Kasturba gave birth to their first surviving son, Harilal. His mother was not comfortable about Gandhi leaving his wife and family, and going so far from home. Gandhi's uncle Tulsidas also tried to dissuade his nephew. Gandhi wanted to go. To persuade his wife and mother, Gandhi made a vow in front of his mother that he would abstain from meat, alcohol and women. Gandhi's brother Laxmidas, who was already a lawyer, cheered Gandhi's London studies plan and offered to support him. Putlibai gave Gandhi her permission and blessing.

 

On 10 August 1888, Gandhi, aged 18, left Porbandar for Mumbai, then known as Bombay. Upon arrival, he stayed with the local Modh Bania community whose elders warned him that England would tempt him to compromise his religion, and eat and drink in Western ways. Despite Gandhi informing them of his promise to his mother and her blessings, he was excommunicated from his caste. Gandhi ignored this, and on 4 September, he sailed from Bombay to London, with his brother seeing him off. Gandhi attended University College, London, where he took classes in English literature with Henry Morley in 1888–1889.

 

He also enrolled at the Inns of Court School of Law in Inner Temple with the intention of becoming a barrister.[38] His childhood shyness and self-withdrawal had continued through his teens. He retained these traits when he arrived in London, but joined a public speaking practice group and overcame his shyness sufficiently to practise law.

 

He demonstrated a keen interest in the welfare of London's impoverished dockland communities. In 1889, a bitter trade dispute broke out in London, with dockers striking for better pay and conditions, and seamen, shipbuilders, factory girls and other joining the strike in solidarity. The strikers were successful, in part due to the mediation of Cardinal Manning, leading Gandhi and an Indian friend to make a point of visiting the cardinal and thanking him for his work.

 

Gandhi's time in London was influenced by the vow he had made to his mother. He tried to adopt "English" customs, including taking dancing lessons. However, he did not appreciate the bland vegetarian food offered by his landlady and was frequently hungry until he found one of London's few vegetarian restaurants. Influenced by Henry Salt's writing, he joined the London Vegetarian Society, and was elected to its executive committee under the aegis of its president and benefactor Arnold Hills. An achievement while on the committee was the establishment of a Bayswater chapter. Some of the vegetarians he met were members of the Theosophical Society, which had been founded in 1875 to further universal brotherhood, and which was devoted to the study of Buddhist and Hindu literature. They encouraged Gandhi to join them in reading the Bhagavad Gita both in translation as well as in the original.

 

Gandhi had a friendly and productive relationship with Hills, but the two men took a different view on the continued LVS membership of fellow committee member Thomas Allinson. Their disagreement is the first known example of Gandhi challenging authority, despite his shyness and temperamental disinclination towards confrontation.

 

Allinson had been promoting newly available birth control methods, but Hills disapproved of these, believing they undermined public morality. He believed vegetarianism to be a moral movement and that Allinson should therefore no longer remain a member of the LVS. Gandhi shared Hills' views on the dangers of birth control, but defended Allinson's right to differ. It would have been hard for Gandhi to challenge Hills; Hills was 12 years his senior and unlike Gandhi, highly eloquent. He bankrolled the LVS and was a captain of industry with his Thames Ironworks company employing more than 6,000 people in the East End of London. He was also a highly accomplished sportsman who later founded the football club West Ham United. In his 1927 An Autobiography, Vol. I, Gandhi wrote:

 

The question deeply interested me...I had a high regard for Mr. Hills and his generosity. But I thought it was quite improper to exclude a man from a vegetarian society simply because he refused to regard puritan morals as one of the objects of the society

 

A motion to remove Allinson was raised, and was debated and voted on by the committee. Gandhi's shyness was an obstacle to his defence of Allinson at the committee meeting. He wrote his views down on paper but shyness prevented him from reading out his arguments, so Hills, the President, asked another committee member to read them out for him. Although some other members of the committee agreed with Gandhi, the vote was lost and Allinson excluded. There were no hard feelings, with Hills proposing the toast at the LVS farewell dinner in honour of Gandhi's return to India.

 

Gandhi, at age 22, was called to the bar in June 1891 and then left London for India, where he learned that his mother had died while he was in London and that his family had kept the news from him. His attempts at establishing a law practice in Bombay failed because he was psychologically unable to cross-examine witnesses. He returned to Rajkot to make a modest living drafting petitions for litigants, but he was forced to stop when he ran afoul of British officer Sam Sunny.

 

In 1893, a Muslim merchant in Kathiawar named Dada Abdullah contacted Gandhi. Abdullah owned a large successful shipping business in South Africa. His distant cousin in Johannesburg needed a lawyer, and they preferred someone with Kathiawari heritage. Gandhi inquired about his pay for the work. They offered a total salary of £105 (~$4,143.31 2023 money) plus travel expenses. He accepted it, knowing that it would be at least a one-year commitment in the Colony of Natal, South Africa, also a part of the British Empire.

 

In April 1893, Gandhi, aged 23, set sail for South Africa to be the lawyer for Abdullah's cousin. He spent 21 years in South Africa, where he developed his political views, ethics and politics.

 

Immediately upon arriving in South Africa, Gandhi faced discrimination because of his skin colour and heritage. He was not allowed to sit with European passengers in the stagecoach and told to sit on the floor near the driver, then beaten when he refused; elsewhere he was kicked into a gutter for daring to walk near a house, in another instance thrown off a train at Pietermaritzburg after refusing to leave the first-class. He sat in the train station, shivering all night and pondering if he should return to India or protest for his rights. He chose to protest and was allowed to board the train the next day. In another incident, the magistrate of a Durban court ordered Gandhi to remove his turban, which he refused to do. Indians were not allowed to walk on public footpaths in South Africa. Gandhi was kicked by a police officer out of the footpath onto the street without warning.

 

When Gandhi arrived in South Africa, according to Herman, he thought of himself as "a Briton first, and an Indian second". However, the prejudice against him and his fellow Indians from British people that Gandhi experienced and observed deeply bothered him. He found it humiliating, struggling to understand how some people can feel honour or superiority or pleasure in such inhumane practices. Gandhi began to question his people's standing in the British Empire.

 

The Abdullah case that had brought him to South Africa concluded in May 1894, and the Indian community organised a farewell party for Gandhi as he prepared to return to India. However, a new Natal government discriminatory proposal led to Gandhi extending his original period of stay in South Africa. He planned to assist Indians in opposing a bill to deny them the right to vote, a right then proposed to be an exclusive European right. He asked Joseph Chamberlain, the British Colonial Secretary, to reconsider his position on this bill. Though unable to halt the bill's passage, his campaign was successful in drawing attention to the grievances of Indians in South Africa. He helped found the Natal Indian Congress in 1894, and through this organisation, he moulded the Indian community of South Africa into a unified political force. In January 1897, when Gandhi landed in Durban, a mob of white settlers attacked him and he escaped only through the efforts of the wife of the police superintendent. However, he refused to press charges against any member of the mob.

 

During the Boer War, Gandhi volunteered in 1900 to form a group of stretcher-bearers as the Natal Indian Ambulance Corps. According to Arthur Herman, Gandhi wanted to disprove the British colonial stereotype that Hindus were not fit for "manly" activities involving danger and exertion, unlike the Muslim "martial races". Gandhi raised eleven hundred Indian volunteers, to support British combat troops against the Boers. They were trained and medically certified to serve on the front lines. They were auxiliaries at the Battle of Colenso to a White volunteer ambulance corps. At the battle of Spion Kop Gandhi and his bearers moved to the front line and had to carry wounded soldiers for miles to a field hospital because the terrain was too rough for the ambulances. Gandhi and thirty-seven other Indians received the Queen's South Africa Medal.

 

In 1906, the Transvaal government promulgated a new Act compelling registration of the colony's Indian and Chinese populations. At a mass protest meeting held in Johannesburg on 11 September that year, Gandhi adopted his still evolving methodology of Satyagraha (devotion to the truth), or nonviolent protest, for the first time. According to Anthony Parel, Gandhi was also influenced by the Tamil moral text Tirukkuṛaḷ after Leo Tolstoy mentioned it in their correspondence that began with "A Letter to a Hindu". Gandhi urged Indians to defy the new law and to suffer the punishments for doing so. Gandhi's ideas of protests, persuasion skills and public relations had emerged. He took these back to India in 1915.

 

Gandhi focused his attention on Indians and Africans while he was in South Africa. He initially was not interested in politics. This changed, however, after he was discriminated against and bullied, such as by being thrown out of a train coach because of his skin colour by a white train official. After several such incidents with Whites in South Africa, Gandhi's thinking and focus changed, and he felt he must resist this and fight for rights. He entered politics by forming the Natal Indian Congress. According to Ashwin Desai and Goolam Vahed, Gandhi's views on racism are contentious in some cases, but that changed afterward.[further explanation needed] Gandhi suffered persecution from the beginning in South Africa. Like with other coloured people, white officials denied him his rights, and the press and those in the streets bullied and called him a "parasite", "semi-barbarous", "canker", "squalid coolie", "yellow man", and other epithets. People would spit on him as an expression of racial hate.

 

While in South Africa, Gandhi focused on the racial persecution of Indians before he started to focus on racism against Africans. In some cases, state Desai and Vahed, his behaviour was one of being a willing part of racial stereotyping and African exploitation. During a speech in September 1896, Gandhi complained that the whites in the British colony of South Africa were "degrading the Indian to the level of a raw Kaffir". Scholars cite it as an example of evidence that Gandhi at that time thought of Indians and black South Africans differently. As another example given by Herman, Gandhi, at the age of 24, prepared a legal brief for the Natal Assembly in 1895, seeking voting rights for Indians. Gandhi cited race history and European Orientalists' opinions that "Anglo-Saxons and Indians are sprung from the same Aryan stock or rather the Indo-European peoples", and argued that Indians should not be grouped with the Africans.

 

Years later, Gandhi and his colleagues served and helped Africans as nurses and by opposing racism. The Nobel Peace Prize winner Nelson Mandela is among admirers of Gandhi's efforts to fight against racism in Africa. The general image of Gandhi, state Desai and Vahed, has been reinvented since his assassination as though he was always a saint, when in reality his life was more complex, contained inconvenient truths, and was one that changed over time.[68] Scholars have also pointed the evidence to a rich history of co-operation and efforts by Gandhi and Indian people with nonwhite South Africans against persecution of Africans and the Apartheid.

 

In 1906, when the Bambatha Rebellion broke out in the colony of Natal, the then 36-year-old Gandhi, despite sympathising with the Zulu rebels, encouraged Indian South Africans to form a volunteer stretcher-bearer unit. Writing in the Indian Opinion, Gandhi argued that military service would be beneficial to the Indian community and claimed it would give them "health and happiness". Gandhi eventually led a volunteer mixed unit of Indian and African stretcher-bearers to treat wounded combatants during the suppression of the rebellion.

 

The medical unit commanded by Gandhi operated for less than two months before being disbanded.[72] After the suppression of the rebellion, the colonial establishment showed no interest in extending to the Indian community the civil rights granted to white South Africans. This led Gandhi to becoming disillusioned with the Empire and aroused a spiritual awakening with him; historian Arthur L. Herman wrote that his African experience was a part of his great disillusionment with the West, transforming him into an "uncompromising non-cooperator".

 

By 1910, Gandhi's newspaper, Indian Opinion, was covering reports on discrimination against Africans by the colonial regime. Gandhi remarked that the Africans are "alone are the original inhabitants of the land. … The whites, on the other hand, have occupied the land forcibly and appropriated it to themselves."

 

In 1910, Gandhi established, with the help of his friend Hermann Kallenbach, an idealistic community they named Tolstoy Farm near Johannesburg. There he nurtured his policy of peaceful resistance.

 

In the years after black South Africans gained the right to vote in South Africa (1994), Gandhi was proclaimed a national hero with numerous monuments.

 

At the request of Gopal Krishna Gokhale, conveyed to him by C. F. Andrews, Gandhi returned to India in 1915. He brought an international reputation as a leading Indian nationalist, theorist and community organiser.

 

Gandhi joined the Indian National Congress and was introduced to Indian issues, politics and the Indian people primarily by Gokhale. Gokhale was a key leader of the Congress Party best known for his restraint and moderation, and his insistence on working inside the system. Gandhi took Gokhale's liberal approach based on British Whiggish traditions and transformed it to make it look Indian.

 

Gandhi took leadership of the Congress in 1920 and began escalating demands until on 26 January 1930 the Indian National Congress declared the independence of India. The British did not recognise the declaration but negotiations ensued, with the Congress taking a role in provincial government in the late 1930s. Gandhi and the Congress withdrew their support of the Raj when the Viceroy declared war on Germany in September 1939 without consultation. Tensions escalated until Gandhi demanded immediate independence in 1942 and the British responded by imprisoning him and tens of thousands of Congress leaders. Meanwhile, the Muslim League did co-operate with Britain and moved, against Gandhi's strong opposition, to demands for a totally separate Muslim state of Pakistan. In August 1947 the British partitioned the land with India and Pakistan each achieving independence on terms that Gandhi disapproved.

 

In April 1918, during the latter part of World War I, the Viceroy invited Gandhi to a War Conference in Delhi. Gandhi agreed to actively recruit Indians for the war effort. In contrast to the Zulu War of 1906 and the outbreak of World War I in 1914, when he recruited volunteers for the Ambulance Corps, this time Gandhi attempted to recruit combatants. In a June 1918 leaflet entitled "Appeal for Enlistment", Gandhi wrote "To bring about such a state of things we should have the ability to defend ourselves, that is, the ability to bear arms and to use them... If we want to learn the use of arms with the greatest possible despatch, it is our duty to enlist ourselves in the army." He did, however, stipulate in a letter to the Viceroy's private secretary that he "personally will not kill or injure anybody, friend or foe."

 

Gandhi's war recruitment campaign brought into question his consistency on nonviolence. Gandhi's private secretary noted that "The question of the consistency between his creed of 'Ahimsa' (nonviolence) and his recruiting campaign was raised not only then but has been discussed ever since."

 

In July 1918, Gandhi admitted that he couldn't persuade even one individual to enlist for the world war. "So far I have not a single recruit to my credit apart," Gandhi wrote. He added: "They object because they fear to die."

 

Gandhi's first major achievement came in 1917 with the Champaran agitation in Bihar. The Champaran agitation pitted the local peasantry against largely Anglo-Indian plantation owners who were backed by the local administration. The peasants were forced to grow indigo (Indigofera sp.), a cash crop for Indigo dye whose demand had been declining over two decades, and were forced to sell their crops to the planters at a fixed price. Unhappy with this, the peasantry appealed to Gandhi at his ashram in Ahmedabad. Pursuing a strategy of nonviolent protest, Gandhi took the administration by surprise and won concessions from the authorities.

 

In 1918, Kheda was hit by floods and famine and the peasantry was demanding relief from taxes. Gandhi moved his headquarters to Nadiad, organising scores of supporters and fresh volunteers from the region, the most notable being Vallabhbhai Patel. Using non-co-operation as a technique, Gandhi initiated a signature campaign where peasants pledged non-payment of revenue even under the threat of confiscation of land. A social boycott of mamlatdars and talatdars (revenue officials within the district) accompanied the agitation. Gandhi worked hard to win public support for the agitation across the country. For five months, the administration refused, but by the end of May 1918, the Government gave way on important provisions and relaxed the conditions of payment of revenue tax until the famine ended. In Kheda, Vallabhbhai Patel represented the farmers in negotiations with the British, who suspended revenue collection and released all the prisoners.

 

In 1919, following World War I, Gandhi (aged 49) sought political co-operation from Muslims in his fight against British imperialism by supporting the Ottoman Empire that had been defeated in the World War. Before this initiative of Gandhi, communal disputes and religious riots between Hindus and Muslims were common in British India, such as the riots of 1917–18. Gandhi had already supported the British crown with resources and by recruiting Indian soldiers to fight the war in Europe on the British side. This effort of Gandhi was in part motivated by the British promise to reciprocate the help with swaraj (self-government) to Indians after the end of World War I. The British government had offered, instead of self-government, minor reforms instead, disappointing Gandhi. Gandhi announced his satyagraha (civil disobedience) intentions. The British colonial officials made their counter move by passing the Rowlatt Act, to block Gandhi's movement. The Act allowed the British government to treat civil disobedience participants as criminals and gave it the legal basis to arrest anyone for "preventive indefinite detention, incarceration without judicial review or any need for a trial".

 

Gandhi felt that Hindu-Muslim co-operation was necessary for political progress against the British. He leveraged the Khilafat movement, wherein Sunni Muslims in India, their leaders such as the sultans of princely states in India and Ali brothers championed the Turkish Caliph as a solidarity symbol of Sunni Islamic community (ummah). They saw the Caliph as their means to support Islam and the Islamic law after the defeat of Ottoman Empire in World War I. Gandhi's support to the Khilafat movement led to mixed results. It initially led to a strong Muslim support for Gandhi. However, the Hindu leaders including Rabindranath Tagore questioned Gandhi's leadership because they were largely against recognising or supporting the Sunni Islamic Caliph in Turkey.

 

The increasing Muslim support for Gandhi, after he championed the Caliph's cause, temporarily stopped the Hindu-Muslim communal violence. It offered evidence of inter-communal harmony in joint Rowlatt satyagraha demonstration rallies, raising Gandhi's stature as the political leader to the British. His support for the Khilafat movement also helped him sideline Muhammad Ali Jinnah, who had announced his opposition to the satyagraha non-co-operation movement approach of Gandhi. Jinnah began creating his independent support, and later went on to lead the demand for West and East Pakistan. Though they agreed in general terms on Indian independence, they disagreed on the means of achieving this. Jinnah was mainly interested in dealing with the British via constitutional negotiation, rather than attempting to agitate the masses.

 

In 1922 the Khilafat movement gradually collapsed following the end of the non-cooperation movement with the arrest of Gandhi. A number of Muslim leaders and delegates abandoned Gandhi and Congress. Hindu-Muslim communal conflicts reignited. Deadly religious riots re-appeared in numerous cities, with 91 in United Provinces of Agra and Oudh alone.

 

With his book Hind Swaraj (1909) Gandhi, aged 40, declared that British rule was established in India with the co-operation of Indians and had survived only because of this co-operation. If Indians refused to co-operate, British rule would collapse and swaraj (Indian independence) would come.

 

In February 1919, Gandhi cautioned the Viceroy of India with a cable communication that if the British were to pass the Rowlatt Act, he would appeal to Indians to start civil disobedience. The British government ignored him and passed the law, stating it would not yield to threats. The satyagraha civil disobedience followed, with people assembling to protest the Rowlatt Act. On 30 March 1919, British law officers opened fire on an assembly of unarmed people, peacefully gathered, participating in satyagraha in Delhi.

 

People rioted in retaliation. On 6 April 1919, a Hindu festival day, he asked a crowd to remember not to injure or kill British people, but to express their frustration with peace, to boycott British goods and burn any British clothing they owned. He emphasised the use of non-violence to the British and towards each other, even if the other side used violence. Communities across India announced plans to gather in greater numbers to protest. Government warned him to not enter Delhi. Gandhi defied the order. On 9 April, Gandhi was arrested.

 

On 13 April 1919, people including women with children gathered in an Amritsar park, and British Indian Army officer Reginald Dyer surrounded them and ordered troops under his command to fire on them. The resulting Jallianwala Bagh massacre (or Amritsar massacre) of hundreds of Sikh and Hindu civilians enraged the subcontinent, but was supported by some Britons and parts of the British media as a necessary response. Gandhi in Ahmedabad, on the day after the massacre in Amritsar, did not criticise the British and instead criticised his fellow countrymen for not exclusively using 'love' to deal with the 'hate' of the British government. Gandhi demanded that the Indian people stop all violence, stop all property destruction, and went on fast-to-death to pressure Indians to stop their rioting.

 

The massacre and Gandhi's non-violent response to it moved many, but also made some Sikhs and Hindus upset that Dyer was getting away with murder. Investigation committees were formed by the British, which Gandhi asked Indians to boycott.[109] The unfolding events, the massacre and the British response, led Gandhi to the belief that Indians will never get a fair equal treatment under British rulers, and he shifted his attention to swaraj and political independence for India. In 1921, Gandhi was the leader of the Indian National Congress. He reorganised the Congress. With Congress now behind him, and Muslim support triggered by his backing the Khilafat movement to restore the Caliph in Turkey, Gandhi had the political support and the attention of the British Raj.

 

Gandhi expanded his nonviolent non-co-operation platform to include the swadeshi policy – the boycott of foreign-made goods, especially British goods. Linked to this was his advocacy that khadi (homespun cloth) be worn by all Indians instead of British-made textiles. Gandhi exhorted Indian men and women, rich or poor, to spend time each day spinning khadi in support of the independence movement. In addition to boycotting British products, Gandhi urged the people to boycott British institutions and law courts, to resign from government employment, and to forsake British titles and honours. Gandhi thus began his journey aimed at crippling the British India government economically, politically and administratively.

 

The appeal of "Non-cooperation" grew, its social popularity drew participation from all strata of Indian society. Gandhi was arrested on 10 March 1922, tried for sedition, and sentenced to six years' imprisonment. He began his sentence on 18 March 1922. With Gandhi isolated in prison, the Indian National Congress split into two factions, one led by Chitta Ranjan Das and Motilal Nehru favouring party participation in the legislatures, and the other led by Chakravarti Rajagopalachari and Sardar Vallabhbhai Patel, opposing this move. Furthermore, co-operation among Hindus and Muslims ended as Khilafat movement collapsed with the rise of Atatürk in Turkey. Muslim leaders left the Congress and began forming Muslim organisations. The political base behind Gandhi had broken into factions. Gandhi was released in February 1924 for an appendicitis operation, having served only two years.

 

After his early release from prison for political crimes in 1924, over the second half of the 1920s Gandhi continued to pursue swaraj. He pushed through a resolution at the Calcutta Congress in December 1928 calling on the British government to grant India dominion status or face a new campaign of non-cooperation with complete independence for the country as its goal. After his support for World War I with Indian combat troops, and the failure of Khilafat movement in preserving the rule of Caliph in Turkey, followed by a collapse in Muslim support for his leadership, some such as Subhas Chandra Bose and Bhagat Singh questioned his values and non-violent approach. While many Hindu leaders championed a demand for immediate independence, Gandhi revised his own call to a one-year wait, instead of two.

 

The British did not respond favourably to Gandhi's proposal. British political leaders such as Lord Birkenhead and Winston Churchill announced opposition to "the appeasers of Gandhi" in their discussions with European diplomats who sympathised with Indian demands. On 31 December 1929, an Indian flag was unfurled in Lahore. Gandhi led Congress in a celebration on 26 January 1930 of India's Independence Day in Lahore. This day was commemorated by almost every other Indian organisation. Gandhi then launched a new Satyagraha against the British salt tax in March 1930. Gandhi sent an ultimatum in the form of a letter personally addressed to Lord Irwin, the viceroy of India, on 2 March. Gandhi condemned British rule in the letter, describing it as "a curse" that "has impoverished the dumb millions by a system of progressive exploitation and by a ruinously expensive military and civil administration...It has reduced us politically to serfdom." Gandhi also mentioned in the letter that the viceroy received a salary "over five thousand times India's average income." In the letter, Gandhi also stressed his continued adherence to non-violent forms of protest.

 

This was highlighted by the Salt March to Dandi from 12 March to 6 April, where, together with 78 volunteers, he marched 388 kilometres (241 mi) from Ahmedabad to Dandi, Gujarat to make salt himself, with the declared intention of breaking the salt laws. The march took 25 days to cover 240 miles with Gandhi speaking to often huge crowds along the way. Thousands of Indians joined him in Dandi. On 5 May he was interned under a regulation dating from 1827 in anticipation of a protest that he had planned. The protest at Dharasana salt works on 21 May went ahead without him see. A horrified American journalist, Webb Miller, described the British response thus:

 

In complete silence the Gandhi men drew up and halted a hundred yards from the stockade. A picked column advanced from the crowd, waded the ditches and approached the barbed wire stockade... at a word of command, scores of native policemen rushed upon the advancing marchers and rained blows on their heads with their steel-shot lathis [long bamboo sticks]. Not one of the marchers even raised an arm to fend off blows. They went down like ninepins. From where I stood I heard the sickening whack of the clubs on unprotected skulls... Those struck down fell sprawling, unconscious or writhing with fractured skulls or broken shoulders.

 

This went on for hours until some 300 or more protesters had been beaten, many seriously injured and two killed. At no time did they offer any resistance.

 

This campaign was one of his most successful at upsetting British hold on India; Britain responded by imprisoning over 60,000 people. Congress estimates, however, put the figure at 90,000. Among them was one of Gandhi's lieutenants, Jawaharlal Nehru.

 

According to Sarma, Gandhi recruited women to participate in the salt tax campaigns and the boycott of foreign products, which gave many women a new self-confidence and dignity in the mainstream of Indian public life. However, other scholars such as Marilyn French state that Gandhi barred women from joining his civil disobedience movement because he feared he would be accused of using women as a political shield. When women insisted on joining the movement and participating in public demonstrations, Gandhi asked the volunteers to get permissions of their guardians and only those women who can arrange child-care should join him. Regardless of Gandhi's apprehensions and views, Indian women joined the Salt March by the thousands to defy the British salt taxes and monopoly on salt mining. After Gandhi's arrest, the women marched and picketed shops on their own, accepting violence and verbal abuse from British authorities for the cause in the manner Gandhi inspired.

 

Indian Congress in the 1920s appealed to Andhra Pradesh peasants by creating Telugu language plays that combined Indian mythology and legends, linked them to Gandhi's ideas, and portrayed Gandhi as a messiah, a reincarnation of ancient and medieval Indian nationalist leaders and saints. The plays built support among peasants steeped in traditional Hindu culture, according to Murali, and this effort made Gandhi a folk hero in Telugu speaking villages, a sacred messiah-like figure.

 

According to Dennis Dalton, it was Gandhi's ideas that were responsible for his wide following. Gandhi criticised Western civilisation as one driven by "brute force and immorality", contrasting it with his categorisation of Indian civilisation as one driven by "soul force and morality". Gandhi captured the imagination of the people of his heritage with his ideas about winning "hate with love". These ideas are evidenced in his pamphlets from the 1890s, in South Africa, where too he was popular among the Indian indentured workers. After he returned to India, people flocked to him because he reflected their values.

 

Gandhi also campaigned hard going from one rural corner of the Indian subcontinent to another. He used terminology and phrases such as Rama-rajya from Ramayana, Prahlada as a paradigmatic icon, and such cultural symbols as another facet of swaraj and satyagraha. During his lifetime, these ideas sounded strange outside India, but they readily and deeply resonated with the culture and historic values of his people.

 

The government, represented by Lord Irwin, decided to negotiate with Gandhi. The Gandhi–Irwin Pact was signed in March 1931. The British Government agreed to free all political prisoners, in return for the suspension of the civil disobedience movement. According to the pact, Gandhi was invited to attend the Round Table Conference in London for discussions and as the sole representative of the Indian National Congress. The conference was a disappointment to Gandhi and the nationalists. Gandhi expected to discuss India's independence, while the British side focused on the Indian princes and Indian minorities rather than on a transfer of power. Lord Irwin's successor, Lord Willingdon, took a hard line against India as an independent nation, began a new campaign of controlling and subduing the nationalist movement. Gandhi was again arrested, and the government tried and failed to negate his influence by completely isolating him from his followers.

 

In Britain, Winston Churchill, a prominent Conservative politician who was then out of office but later became its prime minister, became a vigorous and articulate critic of Gandhi and opponent of his long-term plans. Churchill often ridiculed Gandhi, saying in a widely reported 1931 speech:

 

It is alarming and also nauseating to see Mr Gandhi, a seditious Middle Temple lawyer, now posing as a fakir of a type well known in the East, striding half-naked up the steps of the Vice-regal palace....to parley on equal terms with the representative of the King-Emperor.

 

Churchill's bitterness against Gandhi grew in the 1930s. He called Gandhi as the one who was "seditious in aim" whose evil genius and multiform menace was attacking the British empire. Churchill called him a dictator, a "Hindu Mussolini", fomenting a race war, trying to replace the Raj with Brahmin cronies, playing on the ignorance of Indian masses, all for selfish gain. Churchill attempted to isolate Gandhi, and his criticism of Gandhi was widely covered by European and American press. It gained Churchill sympathetic support, but it also increased support for Gandhi among Europeans. The developments heightened Churchill's anxiety that the "British themselves would give up out of pacifism and misplaced conscience".

 

During the discussions between Gandhi and the British government over 1931–32 at the Round Table Conferences, Gandhi, now aged about 62, sought constitutional reforms as a preparation to the end of colonial British rule, and begin the self-rule by Indians. The British side sought reforms that would keep the Indian subcontinent as a colony. The British negotiators proposed constitutional reforms on a British Dominion model that established separate electorates based on religious and social divisions. The British questioned the Congress party and Gandhi's authority to speak for all of India. They invited Indian religious leaders, such as Muslims and Sikhs, to press their demands along religious lines, as well as B. R. Ambedkar as the representative leader of the untouchables. Gandhi vehemently opposed a constitution that enshrined rights or representations based on communal divisions, because he feared that it would not bring people together but divide them, perpetuate their status, and divert the attention from India's struggle to end the colonial rule.

 

The Second Round Table conference was the only time he left India between 1914 and his death in 1948. He declined the government's offer of accommodation in an expensive West End hotel, preferring to stay in the East End, to live among working-class people, as he did in India. He based himself in a small cell-bedroom at Kingsley Hall for the three-month duration of his stay and was enthusiastically received by East Enders. During this time he renewed his links with the British vegetarian movement.

 

After Gandhi returned from the Second Round Table conference, he started a new satyagraha. He was arrested and imprisoned at the Yerwada Jail, Pune. While he was in prison, the British government enacted a new law that granted untouchables a separate electorate. It came to be known as the Communal Award. In protest, Gandhi started a fast-unto-death, while he was held in prison. The resulting public outcry forced the government, in consultations with Ambedkar, to replace the Communal Award with a compromise Poona Pact.

 

In 1934 Gandhi resigned from Congress party membership. He did not disagree with the party's position but felt that if he resigned, his popularity with Indians would cease to stifle the party's membership, which actually varied, including communists, socialists, trade unionists, students, religious conservatives, and those with pro-business convictions, and that these various voices would get a chance to make themselves heard. Gandhi also wanted to avoid being a target for Raj propaganda by leading a party that had temporarily accepted political accommodation with the Raj.

 

Gandhi returned to active politics again in 1936, with the Nehru presidency and the Lucknow session of the Congress. Although Gandhi wanted a total focus on the task of winning independence and not speculation about India's future, he did not restrain the Congress from adopting socialism as its goal. Gandhi had a clash with Subhas Chandra Bose, who had been elected president in 1938, and who had previously expressed a lack of faith in nonviolence as a means of protest. Despite Gandhi's opposition, Bose won a second term as Congress President, against Gandhi's nominee, Bhogaraju Pattabhi Sitaramayya. Gandhi declared that Sitaramayya's defeat was his defeat. Bose later left the Congress when the All-India leaders resigned en masse in protest of his abandonment of the principles introduced by Gandhi.

 

Gandhi opposed providing any help to the British war effort and he campaigned against any Indian participation in World War II. The British government responded with the arrests of Gandhi and many other Congress leaders and killed over 1,000 Indians who participated in this movement. A number of violent attacks were also carried out by the nationalists against the British government. While Gandhi's campaign did not enjoy the support of a number of Indian leaders, and over 2.5 million Indians volunteered and joined the British military to fight on various fronts of the Allied Forces, the movement played a role in weakening the control over the South Asian region by the British regime and it ultimately paved the way for Indian independence.

 

Gandhi's opposition to the Indian participation in World War II was motivated by his belief that India could not be party to a war ostensibly being fought for democratic freedom while that freedom was denied to India itself. He also condemned Nazism and Fascism, a view which won endorsement of other Indian leaders. As the war progressed, Gandhi intensified his demand for independence, calling for the British to Quit India in a 1942 speech in Mumbai. This was Gandhi's and the Congress Party's most definitive revolt aimed at securing the British exit from India. The British government responded quickly to the Quit India speech, and within hours after Gandhi's speech arrested Gandhi and all the members of the Congress Working Committee. His countrymen retaliated the arrests by damaging or burning down hundreds of government owned railway stations, police stations, and cutting down telegraph wires.

 

In 1942, Gandhi now nearing age 73, urged his people to completely stop co-operating with the imperial government. In this effort, he urged that they neither kill nor injure British people, but be willing to suffer and die if violence is initiated by the British officials. He clarified that the movement would not be stopped because of any individual acts of violence, saying that the "ordered anarchy" of "the present system of administration" was "worse than real anarchy." He urged Indians to karo ya maro ("do or die") in the cause of their rights and freedoms.

 

Gandhi's arrest lasted two years, as he was held in the Aga Khan Palace in Pune. During this period, his long time secretary Mahadev Desai died of a heart attack, his wife Kasturba died after 18 months' imprisonment on 22 February 1944; and Gandhi suffered a severe malaria attack. While in jail, he agreed to an interview with Stuart Gelder, a British journalist. Gelder then composed and released an interview summary, cabled it to the mainstream press, that announced sudden concessions Gandhi was willing to make, comments that shocked his countrymen, the Congress workers and even Gandhi. The latter two claimed that it distorted what Gandhi actually said on a range of topics and falsely repudiated the Quit India movement.

 

Gandhi was released before the end of the war on 6 May 1944 because of his failing health and necessary surgery; the Raj did not want him to die in prison and enrage the nation. He came out of detention to an altered political scene – the Muslim League for example, which a few years earlier had appeared marginal, "now occupied the centre of the political stage" and the topic of Jinnah's campaign for Pakistan was a major talking point. Gandhi and Jinnah had extensive correspondence and the two men met several times over a period of two weeks in September 1944 at Jinnah's house in Bombay, where Gandhi insisted on a united religiously plural and independent India which included Muslims and non-Muslims of the Indian subcontinent coexisting. Jinnah rejected this proposal and insisted instead for partitioning the subcontinent on religious lines to create a separate Muslim homeland (later Pakistan).These discussions continued through 1947.

 

While the leaders of Congress languished in jail, the other parties supported the war and gained organisational strength. Underground publications flailed at the ruthless suppression of Congress, but it had little control over events. At the end of the war, the British gave clear indications that power would be transferred to Indian hands. At this point Gandhi called off the struggle, and around 100,000 political prisoners were released, including the Congress's leadership.

 

Gandhi opposed the partition of the Indian subcontinent along religious lines. The Indian National Congress and Gandhi called for the British to Quit India. However, the All-India Muslim League demanded "Divide and Quit India". Gandhi suggested an agreement which required the Congress and the Muslim League to co-operate and attain independence under a provisional government, thereafter, the question of partition could be resolved by a plebiscite in the districts with a Muslim majority.

 

Jinnah rejected Gandhi's proposal and called for Direct Action Day, on 16 August 1946, to press Muslims to publicly gather in cities and support his proposal for the partition of the Indian subcontinent into a Muslim state and non-Muslim state. Huseyn Shaheed Suhrawardy, the Muslim League Chief Minister of Bengal – now Bangladesh and West Bengal, gave Calcutta's police special holiday to celebrate the Direct Action Day. The Direct Action Day triggered a mass murder of Calcutta Hindus and the torching of their property, and holidaying police were missing to contain or stop the conflict. The British government did not order its army to move in to contain the violence. The violence on Direct Action Day led to retaliatory violence against Muslims across India. Thousands of Hindus and Muslims were murdered, and tens of thousands were injured in the cycle of violence in the days that followed. Gandhi visited the most riot-prone areas to appeal a stop to the massacres.

 

Archibald Wavell, the Viceroy and Governor-General of British India for three years through February 1947, had worked with Gandhi and Jinnah to find a common ground, before and after accepting Indian independence in principle. Wavell condemned Gandhi's character and motives as well as his ideas. Wavell accused Gandhi of harbouring the single minded idea to "overthrow British rule and influence and to establish a Hindu raj", and called Gandhi a "malignant, malevolent, exceedingly shrewd" politician. Wavell feared a civil war on the Indian subcontinent, and doubted Gandhi would be able to stop it.

 

The British reluctantly agreed to grant independence to the people of the Indian subcontinent, but accepted Jinnah's proposal of partitioning the land into Pakistan and India. Gandhi was involved in the final negotiations, but Stanley Wolpert states the "plan to carve up British India was never approved of or accepted by Gandhi".

 

The partition was controversial and violently disputed. More than half a million were killed in religious riots as 10 million to 12 million non-Muslims (Hindus and Sikhs mostly) migrated from Pakistan into India, and Muslims migrated from India into Pakistan, across the newly created borders of India, West Pakistan and East Pakistan.

 

Gandhi spent the day of independence not celebrating the end of the British rule but appealing for peace among his countrymen by fasting and spinning in Calcutta on 15 August 1947. The partition had gripped the Indian subcontinent with religious violence and the streets were filled with corpses. Gandhi's fasting and protests are credited for stopping the religious riots and communal violence.

 

At 5:17 pm on 30 January 1948, Gandhi was with his grandnieces in the garden of Birla House (now Gandhi Smriti), on his way to address a prayer meeting, when Nathuram Godse, a Hindu nationalist, fired three bullets into his chest from a pistol at close range. According to some accounts, Gandhi died instantly. In other accounts, such as one prepared by an eyewitness journalist, Gandhi was carried into the Birla House, into a bedroom. There he died about 30 minutes later as one of Gandhi's family members read verses from Hindu scriptures.

 

Prime Minister Jawaharlal Nehru addressed his countrymen over the All-India Radio saying:

 

Friends and comrades, the light has gone out of our lives, and there is darkness everywhere, and I do not quite know what to tell you or how to say it. Our beloved leader, Bapu as we called him, the father of the nation, is no more. Perhaps I am wrong to say that; nevertheless, we will not see him again, as we have seen him for these many years, we will not run to him for advice or seek solace from him, and that is a terrible blow, not only for me, but for millions and millions in this country.

 

Godse, a Hindu nationalist, with links to the Hindu Mahasabha and the Rashtriya Swayamsevak Sangh, made no attempt to escape; several other conspirators were soon arrested as well. The accused were Nathuram Vinayak Godse, Narayan Apte, Vinayak Damodar Savarkar, Shankar Kistayya, Dattatraya Parchure, Vishnu Karkare, Madanlal Pahwa, and Gopal Godse.

 

The trial began on 27 May 1948 and ran for eight months before Justice Atma Charan passed his final order on 10 February 1949. The prosecution called 149 witnesses, the defense none. The court found all of the defendants except one guilty as charged. Eight men were convicted for the murder conspiracy, and others were convicted for violation of the Explosive Substances Act. Savarkar was acquitted and set free. Nathuram Godse and Narayan Apte were sentenced to death by hanging and the remaining six (including Godse's brother, Gopal) were sentenced to life imprisonment.

 

Gandhi's death was mourned nationwide. Over a million people joined the five-mile-long funeral procession that took over five hours to reach Raj Ghat from Birla house, where he was assassinated, and another million watched the procession pass by. Gandhi's body was transported on a weapons carrier, whose chassis was dismantled overnight to allow a high-floor to be installed so that people could catch a glimpse of his body. The engine of the vehicle was not used; instead four drag-ropes held by 50 people each pulled the vehicle. All Indian-owned establishments in London remained closed in mourning as thousands of people from all faiths and denominations and Indians from all over Britain converged at India House in London.

 

Gandhi was cremated in accordance with Hindu tradition. His ashes were poured into urns which were sent across India for memorial services. Most of the ashes were immersed at the Sangam at Allahabad on 12 February 1948, but some were secretly taken away. In 1997, Tushar Gandhi immersed the contents of one urn, found in a bank vault and reclaimed through the courts, at the Sangam at Allahabad. Some of Gandhi's ashes were scattered at the source of the Nile River near Jinja, Uganda, and a memorial plaque marks the event. On 30 January 2008, the contents of another urn were immersed at Girgaum Chowpatty. Another urn is at the palace of the Aga Khan in Pune (where Gandhi was held as a political prisoner from 1942 to 1944) and another in the Self-Realization Fellowship Lake Shrine in Los Angeles.

 

The Birla House site where Gandhi was assassinated is now a memorial called Gandhi Smriti. The place near Yamuna river where he was cremated is the Rāj Ghāt memorial in New Delhi. A black marble platform, it bears the epigraph "Hē Rāma" (Devanagari: हे ! राम or, Hey Raam). These are said to be Gandhi's last words after he was shot.

 

New York, often called New York City or simply NYC, is the most populous city in the United States, located at the southern tip of New York State on one of the world's largest natural harbors. The city comprises five boroughs, each of which is coextensive with a respective county. It is a global city and a cultural, financial, high-tech, entertainment, and media center with a significant influence on commerce, health care, scientific output, life sciences, research, technology, education, politics, tourism, dining, art, fashion, and sports. Home to the headquarters of the United Nations, New York is an important center for international diplomacy, and is sometimes described as the world's most important city and the capital of the world.

 

With an estimated population in 2022 of 8,335,897 distributed over 300.46 square miles (778.2 km2), the city is the most densely populated major city in the United States. New York has more than double the population of Los Angeles, the nation's second-most populous city. New York is the geographical and demographic center of both the Northeast megalopolis and the New York metropolitan area, the largest metropolitan area in the U.S. by both population and urban area. With more than 20.1 million people in its metropolitan statistical area and 23.5 million in its combined statistical area as of 2020, New York City is one of the world's most populous megacities. The city and its metropolitan area are the premier gateway for legal immigration to the United States. As many as 800 languages are spoken in New York, making it the most linguistically diverse city in the world. In 2021, the city was home to nearly 3.1 million residents born outside the U.S., the largest foreign-born population of any city in the world.

 

New York City traces its origins to Fort Amsterdam and a trading post founded on the southern tip of Manhattan Island by Dutch colonists in approximately 1624. The settlement was named New Amsterdam (Dutch: Nieuw Amsterdam) in 1626 and was chartered as a city in 1653. The city came under English control in 1664 and was renamed New York after King Charles II granted the lands to his brother, the Duke of York. The city was temporarily regained by the Dutch in July 1673 and was renamed New Orange; however, the city has been named New York since November 1674. New York City was the capital of the United States from 1785 until 1790. The modern city was formed by the 1898 consolidation of its five boroughs: Manhattan, Brooklyn, Queens, The Bronx, and Staten Island, and has been the largest U.S. city ever since.

 

Anchored by Wall Street in the Financial District of Lower Manhattan, New York City has been called both the world's premier financial and fintech center and the most economically powerful city in the world. As of 2022, the New York metropolitan area is the largest metropolitan economy in the world with a gross metropolitan product of over US$2.16 trillion. If the New York metropolitan area were its own country, it would have the tenth-largest economy in the world. The city is home to the world's two largest stock exchanges by market capitalization of their listed companies: the New York Stock Exchange and Nasdaq. New York City is an established safe haven for global investors. As of 2023, New York City is the most expensive city in the world for expatriates to live. New York City is home to the highest number of billionaires, individuals of ultra-high net worth (greater than US$30 million), and millionaires of any city in the world

 

The written history of New York City began with the first European explorer, the Italian Giovanni da Verrazzano in 1524. European settlement began with the Dutch in 1608 and New Amsterdam was founded in 1624.

 

The "Sons of Liberty" campaigned against British authority in New York City, and the Stamp Act Congress of representatives from throughout the Thirteen Colonies met in the city in 1765 to organize resistance to Crown policies. The city's strategic location and status as a major seaport made it the prime target for British seizure in 1776. General George Washington lost a series of battles from which he narrowly escaped (with the notable exception of the Battle of Harlem Heights, his first victory of the war), and the British Army occupied New York and made it their base on the continent until late 1783, attracting Loyalist refugees.

 

The city served as the national capital under the Articles of Confederation from 1785 to 1789, and briefly served as the new nation's capital in 1789–90 under the United States Constitution. Under the new government, the city hosted the inauguration of George Washington as the first President of the United States, the drafting of the United States Bill of Rights, and the first Supreme Court of the United States. The opening of the Erie Canal gave excellent steamboat connections with upstate New York and the Great Lakes, along with coastal traffic to lower New England, making the city the preeminent port on the Atlantic Ocean. The arrival of rail connections to the north and west in the 1840s and 1850s strengthened its central role.

 

Beginning in the mid-19th century, waves of new immigrants arrived from Europe dramatically changing the composition of the city and serving as workers in the expanding industries. Modern New York traces its development to the consolidation of the five boroughs in 1898 and an economic and building boom following the Great Depression and World War II. Throughout its history, New York has served as a main port of entry for many immigrants, and its cultural and economic influence has made it one of the most important urban areas in the United States and the world. The economy in the 1700s was based on farming, local production, fur trading, and Atlantic jobs like shipbuilding. In the 1700s, New York was sometimes referred to as a breadbasket colony, because one of its major crops was wheat. New York colony also exported other goods included iron ore as a raw material and as manufactured goods such as tools, plows, nails and kitchen items such as kettles, pans and pots.

 

The a

Mine was not an idle comment. There really was a spider on my door; this one. I couldn't get a decent shot this morning because, well, "The Mistress" was misbehaving, the spider got bored, and scuttled of to sit up near the cornice. Later, as I was waiting for the peloton to climb Mont Ventoux, my little eight legged friend came down to join the party. This time, there was more patience…

 

It was Richard Harvey UK who started calling her "The Mistress". For all her beauty and ability, she did not want to play with a small, hairy spider. At about an inch across, this one is a baby. I don't know where it came from. I know one daddy long legs tried to hitch a ride home in the van with the beds. I dealt with that one. Why was I picking up the beds ? I told you that when I ask to get something delivered or serviced, there's silence, then a click, followed by a dial tone. Try as we might, the bed man and me, nobody would take on the job. Money wasn't enough.

 

Her problem was simple: she wasn't focussing on that "thing". Like the trip to get the beds, this was going to need someone to take charge. While we waited for the race, I assembled the kit: tripod, focussing rail, tripod mount ring "B", red LED light so I didn't alarm my visitor, a Speedlite and off-camera cable, and a cable shutter release. It was a long wait for the action after all. Spider was patient too…

 

Righto, here's the drill: "The Mistress" is amendable to a little manual action, LiveView let's the user make fine adjustments, and the focussing rail means the tweaking can happen without risk of shifting off the subject when everything is in a straight line. Done. Now it's just a matter of firing off a few shots until the spider gets annoyed enough to leave.

 

You are clever enough to work out where the flash was from the shadows. I know you are clever because you are here! Set to aperture priority, there's control over DoF that, quite frankly, "The Mistress" would disregard.

 

So there you have it: the shadowy spider which in the morning was on my door, but this evening, was on the wall.

 

Because you are clever AND curious, no the wall isn't painted in exactly that colour. But while I was juggling all the other things, with low LED lighting in the room and supplementary flash from the 580EX II, I had enough to worry about without bringing white balance into an already complex enough equation.

  

The little squirrel that could....his methodology revealed.

Test shot comparing the Leica M240 + Leica 50mm Summilux-M with a Sony NEX-5N + Leica 50mm Summilux-R. Disclaimer: highly unscientific methodology.

 

This is one of my test scenes for checking focusing accuracy. This is a wall clock about 11" in diameter (28 cm). I shoot this scene from a distance of about 7 feet (~2.2m). From this distance, I like to see how the smallest print on the dial at the bottom ("SWISS MADE") is rendered.

 

Since this text is too small to see through a camera viewfinder, I focus on the text that says GMT-MASTER II.

 

Once again, I got the best focus rather easily and quickly with the Sony NEX-5N, using its EVF and focus peaking. With the M240, after more effort, I got it almost right, but the Sony surpassed it.

 

To get an idea of the difficulty of this little job of focusing, please see the bottom image below, which was also shot at f/1.4 with the Nikon 50mm AF-S Nikkor 50mm f/1.4G lens and the Nikon D800E. This was later at night, so I used the on-camera flash. I took three shots, and they all came out exactly the same.

 

Although not as good as the Leica 50mm Summilux, the Nikon 50/1.4G lens is a decent lens and better than the image shows. So part of the difficulty here was the difficulty of spot-focusing on the lettering on the dial using the AF.

 

That is why people still use manual focusing!

 

The M240 also got the blue tones wrong. Both the NEX and the Nikon got it right.

Natince is some equiv. of Prince (The project management methodology)

My visual notes for The #Lean #Startup #Methodology by @ericries www.theleanstartup.com #entrepreneurship

 

Methodischer Konflikt mit sich selbst...

Methodological conflict with itself...

 

By Eduardo Merille. Rhett Williamson is a doctoral candidate in forensic chemistry at FIU. He specializes in the development of new and improved methods for the analysis of inks, which helps trace fraudulent security documents and currency. Williamson’s research has led to the development of an ink library, a first-of-its kind database that can be used by forensic labs throughout the world for security intelligence and anti-counterfeiting measures. The goal of his work is to allow for the implementation of this methodology along with the database in forensic laboratories throughout the country and world. Williamson’s research has been presented at numerous national and international conferences and meetings.

English: Emperor Tiberius's triumph. Silver skyphos with repoussé decoration, late 1st century BC–early 1st century AD. From the villa della Pisanella at Boscoreale, 1895.

Français : Triomphe de l'empereur Tibère. Skyphos en argent repoussé, fin du Ier siècle av. J.-C.-début du Ier siècle ap. J.-C. Provenance : villa della Pisanella à Boscoreale, 1895.

Dimensions H. 9.2 cm (3 ½ in.), W. 21 cm (8 ¼ in.)

Credit line Dation in payment, 1990

Accession number Bj 2367

Location Department of Greek, Etruscan and Roman antiquities, Sully, first floor, room 33, case 8

Source/Photographer Marie-Lan Nguyen (User:Jastrow), 2009

Preferred Citation: Kuttner, Ann L. Dynasty and Empire in the Age of Augustus: The Case of the Boscoreale Cups. Berkeley: University of California Press, c1995 1995. ark.cdlib.org/ark:/13030/ft309nb1mw/

  

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Conclusion: The Boscoreale Cups and Roman Art

  

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Conclusion:

The Boscoreale Cups and Roman Art

I should like to do two things here. One is to sum up the major art-historical findings of this study, as the last chapter commented on its historical findings. The other is to speak directly about my own methodology as a Roman art historian; this might seem to be more appropriate in an introduction to a study of this kind, but I feel that only the reader who has absorbed at least some of this work will be critically equipped to judge the efficacy and clarity of my approach. Its first principle is simply to ask of any period, What works of art existed, and what did they look like? So much has been lost, and lost permanently beyond all hope of retrieval; thus all fragments, hints, and indications become, like the BR cups, extremely valuable. Although it is difficult to keep always in mind an imaginative construct to supplement the poor reality of the tangible remains, the rewards of such effort are considerable. For instance, Eck stresses how the arrangement of inscriptions, often all we have left of ancient dedications, can indicate the basic structure of the lost statuary above; his point seems simple, but he was the first to consider in this light inscriptions known for over fifty years and to reconstruct from its base an actual monument of the kind long postulated as prototype for the famous Puteoli base of Tiberius (figs. 47, 62)[1]

 

The reader will have noted throughout a concern with the relationship of spectator to object, in terms of the intent of the original designer(s) and patron(s) who engendered Roman images, with regard to the audiences whom they wished to comprehend these images' didactic content and to appreciate their esthetic structures. In visual, as in verbal, communication, true comprehension depends on a shared language of forms and symbols; an iconographer must, like a historian, strive to the best of her necessarily limited powers to reconstruct the relevant prior experience and assump-

  

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tions of the persons whose perceptions she investigates. This truism is very seldom made explicit. I stand here behind T. Hölscher's unparalleled 1984 essay on the question of the Publikum for the state monuments we seek to interpret today, though I am more optimistic that one can know something of audiences besides those of the elite "senatorial" level. This optimism—though austere and limited—is founded on the principle of the lowest common denominator, the value of badly made and/or mass-produced, relatively cheap artifacts. I believe that the basic symbolic language available to classes other than the elite can be discerned in the often drastically simplified elements of "high" ideology and iconography that make it onto the crude glass pastes that crowd the back pages of gem catalogues, onto matrix-stamped military armament decoration, onto Arretine ware pottery molds, and so forth. Obviously, I also believe that numismatic designs were very often intended to disseminate legible imagery for political purposes, that the state coinage did indeed function as a vehicle for political propaganda directed toward the uneducated, as well as educated, classes; I also think these messages were usually obvious and simple.

 

I have been speaking of audiences and messages in the plural. A natural consequence of the multiple stratifications of society in the Roman Empire was a differentiation of culture and a variation in cultural sophistication among different classes, peoples, and regions in the Empire. It is also plain that the most capable Roman patrons were (like Greeks before them) interested in creating monuments and images that spoke to more than one segment of society and that had more than one symbolic message. To describe this quality in a work of art, multi- or polyvalency is a common image usefully borrowed from the vocabulary of atomic structure. I find useful the notion of resonance, transferred from the realm of musical effects to the world of artifacts. As the striking of a piano key produces a sound with multiple tones, so the impact of the Gemma Augustea (fig. 16) or Arch of Constantine on thoughtful vision sets off not a unitary impression but a series of related multiple impressions; the proximity and/or prior existence of related monuments known to the spectator weaves a kind of web of associations comparable to the resonant effects produced by the proximity of other strings to the piano key actually struck.

 

The danger in reconstructing the original resonances of an extant monument is that one will read into the work messages not intended for the original Roman audience. One can so easily become oversubtle, assert too much rather than too little. There are two brakes on exegetical speed-

  

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ing; first, to be explicit and knowledgeable about the historical audience postulated for an artifact; second, always to look for parallels to show that the reading one proposes was at least possible in a given context. Truisms again, but not always appreciated or observed. Only multiple occurrences of a given symbol or form justify the assertion of a pattern of action, whether formal (style) or symbolic (iconography). One needs also a plausible hypothesis to account for such patterns: one must try to document the means by which an artist or his audience could have seen the images by which they are held to have been influenced, and this takes one back to the question of a given audience and the imagery accessible to it. To cite a classic instance, it is often asserted that the architectural form of the Ara Pacis deliberately echoes that of the Athenian Altar of Pity. If true, the quote can have been expected to be legible only to the elite, who would have traveled to Athens, not to the Roman plebs; on the other hand all segments of the urban population can be expected to have recognized the parallel with the Januum, one of the oldest, most prestigious, and most central of all sanctuaries in the capital.

 

I have acknowledged my debt to the investigative approach formulated by Hölscher. I have gained much from the implicit and explicit definitions developed by many others of what evidence is relevant to interpreting Roman political art. It should be clear by now that often I find myself in the company of the contemporary German art historians Zanker, Simon, Fittschen, et al., asking similar questions of similar material; asked to assign myself to a "school," I should name also the Italians, F. Coarelli and M. Torelli. My real debt to Coarelli's efforts to understand artistic production in terms of patronage and the politically charged architectural geography of Rome is obscured here by the fact that this work explores mainly imperial, rather than Republican, art. Even where I disagree with Torelli's conclusions, I have tried to keep in mind the imperative heading his essays on Roman historical relief: Roman narrative and commemorative art can be illuminated by Roman texts, but they must be texts with a cognate function. Finally, in all projects I have ever undertaken with regard to Roman art, I am in debt to Otto Brendel's Prolegomena to the Study of Roman Art (New Haven, 1979): his definitions of the essential questions asked (and not asked) of Roman art and his vision of multiple lines of development separated by medium and genre have irrevocably marked my own perceptions of Roman images.

 

The consequences of holding to these tenets are evident in my readings of the Boscoreale Cups and of many other monuments besides. The Boscoreale Cups, and the monument from which they were copied, have been

  

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demonstrated primarily on political grounds to be works of Augustus' reign, specifically of the period between Tiberius' triumph in 8/7 B.C. and his exile in 6 B.C. Now firmly dated, these panels are important to the stylistic history of Roman relief; they illuminate the early occurrence not only of stock figures common in the later canon but of experiments with complex figure groupings and the depiction of "space" that are not usually associated with Augustan art. No aspect of compositional structure in these panels is discordant with the date reached on iconographic grounds; the three-beat structure of the allegory BR I:1, for instance, is typical of classicizing Augustan work in many media. Indeed, if it were absolutely necessary, the pieces could be plausibly dated between the Ara Pacis (13-9 B.C.) and the Gemma Augustea (A.D. 10–14) purely by stylistic analysis. I have discussed at many points the formal congruence of the cups with the Ara Pacis; the Gemma Augustea's upper register has compositional structures very similar to the BR audience scenes and displays a different, but no less complex, exploration of the alignment of figures in space (fig. 16). The "dating" value of the Ara Pacis is as a public sculptural monument exemplifying the best work of the court ateliers; the Gemma Augustea indicates a familiarity on its artist's part with monuments on a similar scale, for radical stylistic (as opposed to iconographic) experimentation is not to be expected of any gem cutter's workshop.

 

This book has tried to explain, as completely as possible, the imagery of the Boscoreale Cups. The listing of parallels as a mode of scholarship is mere antiquarianism if it is seen as an end and not as a means; inevitably, some of my "lists" have remained at this level, but these investigations have always tried to ask the primary questions What does image X signify, why is it used, and what is it doing on the Boscoreale Cups? In the search for a compelling argument I have tried to cast my net as wide as possible, to bring forward all relevant available evidence from textual and visual sources; my lapses will, I hope, be corrected by others in the same benevolent spirit of argument in which I have critiqued the interpretations of the scholars whose work fed mine.

 

The effort to explain generated many tangents and thematic excursuses. The process of explanation works both ways: images adduced to explain the BR cups are themselves illuminated by the process of explanatory ordering. Thus the cups prove to be valuable points of comparison for understanding many other works, under two main headings: the modes of policy and propaganda that much Roman art was intended to serve, and the complex patterns of form, temporality, and causation with which Roman narrative and commemorative arts concerned themselves as pri-

  

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― 203 ―

mary objects of artistic endeavor. The purview of the book ranges from the earliest to the latest products of the Roman city-state, from terracotta pediments erected by nameless Republican nobiles to the monuments of the generals contesting and defending the late Empire; it takes in the Anaglypha Traiani and the Hadrianeum, the Ludovisi sarcophagus and the arches of Galerius and Constantine, the Beneventum Arch of Trajan, the Throne of Claudius and the Puteoli base, cuirass statues famous (Primaporta, Cherchel) and obscure (Castello d'Aglie, Amphipolis), famous and not-so-famous cameos, Arretine ware, military decoration, the imperial fora and the Aphrodisias Sebasteion, the cenotaph of Gaius at Limyra and of Drusus at Mainz . . .

 

The central contribution of this book to Roman art history is, I hope, a better understanding of Augustan artistic production, reached in the process of embedding the BR cup panels firmly in the high road of the Augustan monumental tradition. This enlarged understanding has two aspects. First, these investigations have radically enlarged and deepened our knowledge and comprehension of many individual works of art and coin images. The monument most significantly illuminated in this way is that marble microcosmos the Ara Pacis Augustae, especially in regard to its celebration of the worldwide Roman imperium and the imperial nature of Augustus' pax; for it is now clear beyond a shadow of a doubt that children of foreign rulers march in the processions of the Ara Pacis, and I have tried to stress the importance of others' findings that the peoples of empire were personified on the inner altar. Hardly another aspect of the Ara Pacis, whether of iconography, temporal or conceptual structure, landscape or relief style, cannot benefit from comparative analysis of the BR cups.[2]

 

Second, these investigations have significantly expanded our knowledge of specific Augustan artistic genres and themes. One can now be much more specific about that acknowledged phenomenon, the paradigmatic influence of Augustan monuments and imagery on later imperial artistic production. No longer will it be possible to contemplate Hadrianic ethnic personification groups in ignorance of the many Augustan examples, their Republican roots, and their Julio-Claudian "offspring"; the seated togate statue will not be a mysterious, ill-considered figure type; no longer will the great Flavian and second-century achievements in historical relief seem to have arisen from a near vacuum. At the same time, the book has tried to show how the Augustan production was itself grounded in Republican political and creative culture, even as Augustus' artists draw on all the resources of their Classical and Hellenistic heritage to put an Augustan stamp on this latest phase of Republican culture.

  

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― 204 ―

This widened perspective strengthens the appreciation of certain themes as peculiarly Augustan. For instance, the observable Augustan interest in images of children, especially very little children, is exemplified by BR I; this theme seems to be consciously evoked only and to a limited extent in Trajanic art, although the institution (alimenta ) with which it is there associated was important politically both under Trajan's predecessor Domitian and his successor Hadrian. Under both headings, individual monuments and genres, our understanding of the self-images that Augustus sought to promulgate has been enhanced. The parameters often ascribed to the terms of his self-glorification have been permanently broadened: the public Augustus must now include the Jupiter-consul of BR I:1, who joins the naked, heroized Augustus of (lost) commemorative statuary whom Zanker, Coarelli, and others have stubbornly brought to our attention in recent years.

 

Comprehensive stylistic comparison with the extant canon of Republican and Julio-Claudian art has not been my aim. Now that the BR cups are more firmly dated, such comparison becomes possible; one can hope to see them enter broader discussions of Roman relief style. In closing I would like to comment on an artistic aspect of BR I:1 not previously discussed that may illustrate the inherent possibilities of such comparative analysis for enlarging our appreciation of Augustan art in general.

 

On BR I:1 in the allegory of Augustus' world rule Venus is about to "make" the Curia Actium Victory group (cf. fig. 20). Mars too is about to "make" a sculpture group, of a type well documented in the Augustan and Julio-Claudian periods (see pp. 41f); a class of honorific monuments in Rome showed a Roman magistrate standing or seated in the midst of a group of personifications of peoples or communities whom he had benefited. In the implied narrative here, once Mars brings up his group and they range themselves before the emperor, such a grouping will come to pass. The viewer's full appreciation of the narrative is conditional upon his knowledge of such public monuments. It was by now commonplace in Greco-Roman art to show the performance of simple acts of construction such as the decking of a trophy or the inscribing of an honorific shield by a goddess. It seems, however, to be a mark of Augustan political art that narrative at all levels, physical and symbolic, should so often be structured by such visual puns.

 

This characteristic indicates a high level of sophistication on the part of the artist and the audience expected to appreciate and relish such an aspect; it also assumes a high degree of familiarity with prominent individual examples of official monuments. This kind of narrative-visual structure

  

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― 205 ―

can be observed on the Augustan Arcus Novus panel (fig. 12), where Amor floats through the air toward Venus' shoulder, intending to land there, as on the Ravenna relief (fig. 8), where his legs still kick in the air. It is also evident on the Belvedere altar's main panel (fig. 11); between the two laurel trees of Augustus' Palatine abode Victory floats to earth to place Augustus' clipeus virtutis on its pillar, as it appeared in the Curia.[3] And it structures the literal narrative of the bottom half of the Gemma Augustea (fig. 16), as well as the symbolic narrative of the entire cameo. In the lower exergue a trophy group is being put together—soldiers haul up the central wooden post, a captive barbarian couple are already positioned at its foot on the left, as another pair of soldiers haul over a man and woman meant to flank the post on the right, to build a Roman trophy group of classic type known from countless representations in art and probably enacted in actual triumphal parades. The soldiers at left heave the main tree toward Augustus as Tiberius overhead moves down toward him in the upper panel along a converging path; the strong sense of two dynamic lines of motion converging simultaneously on Augustus, in the two fields/worlds on the cameo, is conceptually very like the BR panel, where the two surges of motion occur within a single panel. (The lower exergue as an isolated unit has a structure parallel to the cup panel: motion from the sides toward the center.) This parallelism already sets up a symbolic narrative that is given more definite shape in the implied "future" when the trophy will be exactly between Augustus (note the position of its foot) and Tiberius, who will be immediately before him—emperor and heir aligned on a "real" historical axis of victory.

 

Presented with such compositions, the viewer gets double for his money: he gets the composition as it exists, a glimpse of figures in action aligned in a meaningful pattern, and he is also given an evocation of an alignment that is about to evolve out of the one that he sees. This implicit second alignment not only extends the symbolic message he can read but also anchors the artistic construct he sees to other artistic constructs he already knows; because the mind is tugged toward the familiar composition just over the temporal horizon, these tableaux are given a real temporal dynamism.

 

Self-conscious artistic reference to other works of art is a well-known hallmark of Hellenistic and Roman literary art. In the visual arts it operates at a basic level in all iconographic correspondence, as in the individual figures and pairings of the BR allegory. It has not, however, been noted before as operating at the narrative level and in a temporal dimension, as here in these Augustan pieces.[4] The Boscoreale Cups testify that even if

  

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― 206 ―

written discourse on art was mainly limited (as in Pliny) to "Old Masters," at least some Romans some of the time noticed and enjoyed the contemporary products of Augustus' sculptors. And the kind of visual game just outlined is further proof that we are not different from the Romans of 7 B.C. in giving serious attention to and finding pleasure in the world of Augustan art.

  

--------------------------------------------------------------------------------

  

Conclusion: The Boscoreale Cups and Roman Art

    

--------------------------------------------------------------------------------

 

Preferred Citation: Kuttner, Ann L. Dynasty and Empire in the Age of Augustus: The Case of the Boscoreale Cups. Berkeley: University of California Press, c1995 1995. ark.cdlib.org/ark:/13030/ft309nb1mw/

 

For some thoughts on the Panasonic S1R and my ad hoc "test methodology", please click the top image below.

 

The Zeiss 35mm f/1.4 Distagon ZM is one of the top 3-4 lenses for the M-mount, although it doesn't get the notoriety that a less capable lens like a Noctilux 50mm f/0.95 gets.

 

I got the silver edition of this lens years ago, but it is really mediocre on my Sony A7x cameras. I must have "decided" to sell this lens at least a half dozen times, and in fact, I had it listed on eBay some 3-4 times. Every time, I did not get the price I was seeking, and I did not have the heart to dump it for a low ball price.

 

After many YEARS, finally, today when I took some test shots with the Panasonic, it was like a light turning on. The image quality is really stunning, and I don't think anyone who shoots with this lens on a Leica M camera like an M10 or M 240 or even an SL really has any idea how amazing this lens is. I suspect the word will get around quickly once people start shooting with this lens on a Panasonic S1R or a future Sigma full-frame Foveon camera.

 

The shot above is the absolute lower left corner of the frame, at 100% magnification, shot at f/1.4. There is nothing more in the frame to the left or below what you see above. This is also SOOC JPEG, with no post processing.

 

The in-camera JPEG processing is quite mediocre – it is easy to see posterization effects. But having used other Panasonic Lumix cameras in the past, I have no doubt that the raw files will be far superior.

 

Net-net, I am very pleased with both the lens and how it works with the Panasonic S1R.

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Walking day: from Shepherds Bush to Ravenscourt Park ro Acton to Gunnersbury Park to Kew and then home from Richmond station.

 

I found an interesting web article (undated) giving some background to this mural: "The pan-London MyMural project launches in Acton this week with a beautiful painting by artist Leonard Lesic.

 

The London Mayors Office is supporting the project, its methodology and aspirations. Adam Cooper from the Culture and Creative Industries Unit, Greater London Authority stated: “MyMural is a great initiative that is bringing a fantastic new piece of art to Acton. The mural at Berrymede School will hopefully inspire a next generation of young artist."

 

MyMural inspires, enables and normalizes the possibilities for new artworks among everyday settings. Thanks to support from Cockayne – Grants for the Arts (London Community Foundation), GLA Mayors Office and a Charity Auction donation from Stik, we are very pleased to announce that MyMural is launching in Acton. This pilot contributes to an important sea change in the way artists work with residents in the city.

 

Marcus Willcocks and Prof. Lorraine Gamman, partners from University of the Arts London explained: “MyMural is a new scheme that pairs street artists with communities who want to integrate more art, creativity and colour into their neighourhoods. Leonard Lesic’s work creatively responds to topics discussed as important among the community at Berrymede Infant School. As well as providing the ‘canvas’, the school community helped curate the opportunity and agree the artist, in collaboration with Rachel Pepper and team at Artification, Mark Clack at Wood Street Walls, and the DAC/MyMural team at Central Saint Martins. We are so grateful to support from the GLA, the London Community Foundation and artist, Stik, for their confidence in MyMural. Through collective effort the project working to bring artists and neighbourhood communities together more easily, to curate our streets less as ‘developed’ places and more as living, breathing,

creative places.”

 

MyMural brings together internationally experienced collaborators from arts facilitation, practice-led academic research and engagements, together with regional and local authorities and a world-renowned street art practitioner to bring new opportunities for high-quality artworks to happen in new contexts in London.

 

The Mayor of London has highlighted culture as one of his key priorities. He is committed to ensuring that London retains its status as the world’s leading capital city for culture and creativity and ensuring more Londoners access arts and culture. A key feature of London’s Cultural Infrastructure Plan is to give outstanding artists opportunities to make exciting new work, encourage Londoners to get more involved in creative activities, as well as cultivate London’s creative value by opening access to the use of spaces as open galleries.

 

MyMural began by meeting and speaking with residents about the kind of imagery and art they would like to see in their neighbourhood. The resulting Artist Opportunity was based on these aspirations. It was shared and artists responded to the brief. We received numerous artist submissions which residents viewed and voted for. The MyMural team invited the shortlisted artists to develop their site specific design. Artist Leonard Lesic was selected.

 

Leonard painted a beautiful piece on the wall of a nearby, now demolished, block in 2013. We are very pleased that he returns to South Acton to create this new public art for Acton in 2019.

 

"ARTification has been bringing art to the streets since 2005. A bridge between artists and residents, we have created 20+ pieces of street art in the public realm including the tallest in the UK by Stik and Thierry Noir. We are very pleased that MyMural is creating the latest piece to take art to the streets." Dr Rachel Pepper (ARTification Director)

 

Feedback from Berrymede Infants School about the painting:

“This MyMural community project is a great way of bringing art and pleasure to everyone in the Acton area” Mrs Ohene (Head teacher)

 

"Having a wall that is colourful which will attract the children's eye at playtime and give them many opportunities to have discussions about the things on the painting is an excellent way to engage children.” Fahmida (Parent Governor)

 

“The mural captures the idea that working hard at school will give you the freedom to go anywhere you want.” Mrs Shawe (Parent support adviser).

 

Leonard Lesic, the Artist commented:

"I am very excited to be painting in Acton again after six years. The first time on Charles Hocking House was a great time, and I have a lot of nice memories. The idea of painting at Berrymede school is wonderful, and the mural will have positive message looking into future.''

 

Leonard responded imaginatively to the brief, and we are very pleased to see a new and inspirational mural in Acton.

 

--------

 

MyMural is an initiative between Stik, Central Saint Martins, Artification, Wood Street Walls and the Greater London Authority. It is a new pilot scheme working with artists and residents, to enable fantastic artworks on shared residential and community buildings across London.

 

ARTification is an Acton-based charity that celebrates art, culture, community."

 

Source: www.artification.org.uk/blog/aspirational-mural-acton

You feel me ...? Maybe I should clean the mirror ;-)

"For now we see through a glass, darkly; but then face to face"

week 6 of 52 in 2012 Theme: Morning

These were developed with the same methodology as Caffenol Test VI, and are from the second half of the same roll of film. However! I mixed a fresh batch of Caffenol for the purpose and though everything else was the same - ratios, temp, time - the new brew acted much more vigorously.

 

As such, these films had to be bleached with Tetenal C-41 Bleach-Fix for 60 seconds after salt fixing, to reduce density down to workable images. This has contributed to the extra grain, contrast and the other artefacts sneaking in on the images.

 

All things considered, they look pretty bloody good.

Impossible

Prof. John Pollini working STUDENTS AT OSTIA ANTICA

John Pollini in my opinion is the number 1 authority on Julio Claudian Portrait study. I have had much correspondence with Prof. Pollini and he is passionate about Roman Art. Here is his curriculum Vitae:

 

Education

B.A. Classics, University of Washington, 1/1968

M.A. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1973

Ph.D. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1978

 

Academic Appointment, Affiliation, and Employment History

Professor, Department of Art History (Adjunct Professor for Department of Classics and Department of History), University of Southern California, 1991-

Dean of the School of Fine Arts, University of Southern California, 1993-1996

Chairman of the Department of Art History, University of Southern California, 1990-1993

Associate Professor, Department of Art History and Department of Classics (adjunct appointment), University of Southern California, 1987-1991

Assistant Professor, Department of Classics, Johns Hopkins University, 1980-1987

Curator, Johns Hopkins University Archaeological Museum, 1980-1987

Visiting Assistant Professor, Department of Classics, Johns Hopkins University, 1979-1980

Mellon Postdoctoral Fellow, Department of Classics, Case Western Reserve University, 1978-1979

 

Description of Research

Summary Statement of Research Interests

Professor Pollini's research is concerned with methodologies of classical art and archaeology, ancient history, classical philology, epigraphy and numismatics. His other scholarly research interests include ancient religion, mythology, narratology, rhetoric and propaganda. Over the years Professor Pollini has excavated at the Greco-Roman site of Aphrodisias, Turkey, and the Etruscan site of Ghiaccio Forte, Italy, and participated in the underwater survey of the port of Tarquinia (Gravisca), Italy. Trained in the methodologies of classical art & archaeology, ancient history, classical philology, epigraphy, and numismatics, Professor Pollini is committed to interdisciplinary teaching and research. Professor Pollini has lectured widely both in the United States and abroad. He has published numerous articles and authored several books.

 

Research Specialties

Classical Art and Archaeology

 

Honors and Awards

Elected Life Member, German Archaeological Association, 2000-

American Council of Learned Societies Fellowship, awarded for second time, 2006-2007

Guggenheim Fellowship, deferred until 2007-2008, 2006-2007

Whitehead Professor at the American School of Classical Studies at Athens (Honorific Appointment), 9/1/2006-6/1/2007

Departmental Nominee for University Associates Award for Excellence in Teaching 2002, 2002-2005

Mellon Foundation Award for Excellence in Mentoring, 2004-2005

Departmental Nominee for University Associates Award for Excellence in Teaching 1998, 1998-2001

National Endowment for the Humanities Fellowship, awarded for second time, 1995-1996

American Council of Learned Societies Fellowship, 1987-1988

National Endowment for the Humanities Fellowship, 1983-1984

Mellon Postdoctoral Fellowship, 1978-1979

Fulbright Award, Fellowship to Italy, 1975-1976

   

CURRICULUM VITAE

 

JOHN POLLINI

 

Department of Art History

Von Kleinsmid Center 351 University of Southern California

Los Angeles, CA 90089-0047

  

Professor of Classical Art and Archaeology, Department of Art History

Joint Professor, Department of History

Adjunct Professor, Department of Classics

 

President, Classical Archaeological Association of Southern California (CAASC)

  

DEGREES

 

Ph. D. Ancient History and Mediterranean Archaeology, University of California at

Berkeley (1978) (interdisciplinary program involving the Departments of Art History,

Classics, and History; major field: Etruscan and Roman Art and Archaeology; minor

fields: Greek Art and Archaeology and Roman History; Ph.D. equivalency exams in

ancient Greek and Latin) [Diss.: Studies in Augustan “Historical” Reliefs]

 

M.A. Ancient History and Mediterranean Archaeology, University of California at

Berkeley (l973) [MA Thesis: Two Marble Portrait Statues of Pugilists from Carian

Aphrodisias: Iconography and Third Century A.D. Sculptural Traditions in the Roman

East]

 

B.A. magna cum laude, Classics, University of Washington (1968)

 

POSTDOCTORAL ACADEMIC APPOINTMENTS

 

Dean of the School of Fine Arts, University of Southern California, with administrative,

budgetary, and fund-raising responsibilities (1993-1996)

 

Chairman of the Department of Art History, University of Southern California

(1990-1993)

 

Full Professor, University of Southern California, Department of Art History

(1991-present), with joint appointment in the Department of History and adjunct

appointment in the Department of Classics

 

Associate Professor, University of Southern California, Department of Art History, with

adjunct appointment in the Department of Classics (1987-1991)

 

Assistant Professor, Johns Hopkins University, Department of Classics (1980-1987) and

 

Curator of the Johns Hopkins University Archaeological Museum (1980-1987)

 

Visiting Assistant Professor, Johns Hopkins University, Department of Classics

(1979-1980)

 

Mellon Postdoctoral Fellow, Case Western Reserve University, Department of Classics

(1978-1979)

 

INTERNATIONAL AND NATIONAL FELLOWSHIPS, GRANTS,

AWARDS, HONORS

 

William E. Metcalf Lectureship (2008)

 

John Simon Guggenheim Memorial Foundation Fellowship (2006-2007, deferred to

2007-2008)

 

Whitehead Professor of Archaeology, American School of Classical Studies at

Athens (2006-2007)

 

American Council of Learned Societies Fellowship (2006-2007)

 

Kress Foundation Travel Grant (Summer 2006)

 

Mellon Foundation Award for Excellence in Mentoring (2005)

 

Taggart Foundation Grant: Campus Martius Virtual Reality Project (2005)

 

Distinguished Lecturer, Biblical Archaeological Society and Center for Classical

Archaeology, University of Oklahoma, Norman (2005): Series of three lectures on

Roman and Christian Religion, Art, and Ideology

 

Kress Foundation Travel Grant (2003)

 

Senior Humboldt Research Prize (nominated) to Berlin, Germany, for 2000-2001

 

Elected Member (for life) of the German Archaeological Institute (Berlin) (2000)

 

National Endowment for the Humanities Fellowship for Independent Study and

Research (1995-1996)

 

Kress Foundation Travel Grant (Summer 1988)

 

American Council of Learned Societies Fellowship (1987-1988)

 

Kress Foundation Travel Grant (1987)

 

National Endowment for the Humanities Fellowship for Independent Study and

Research (1983-1984)

 

Mellon Postdoctoral Fellowship, Case Western Reserve University (1978-1979)

 

Mabelle McLeod Lewis Memorial Fund Fellowship to Italy (1975-1976)

 

Fulbright Fellowship, Università di Roma, Rome, Italy (1975-1976)

 

UNIVERSITY FELLOWSHIPS, GRANTS, AWARDS, HONORS

 

Departmental Nominee for University Associates Award for Excellence in Teaching

(2002-2005)

 

College Faculty Research Development Award (consecutive years: 2000-2007)

 

University of Southern California Grant for Innovative Undergraduate Teaching

(with Lynn Swartz Dodd and Nicholas Cipolla) for a virtual reality project “Imaging

Antiquity: Creating Context through Virtual Reconstructions, Digital Resources, and

Traditional Media” (2003-2004)

 

Grant for the “College Initiative for the Study of Political Violence” (2002)

 

University of Southern California Grant for Innovative Undergraduate Teaching

(with Bruce Zuckermann and Lynn Swartz Dodd) to develop a new interdisciplinary and

interdepartmental course entitled “Accessing Antiquity: Actual Objects in Virtual Space”

(2000-2001)

 

University of Southern California Senior Nominee for National Endowment for the

Humanities Summer Stipend for Faculty Research (1998-1999)

 

Departmental Nominee for University Associates Award for Excellence in Teaching

(1998-2001)

 

College Awards and Grants for Research Excellence (consecutive years: 1997-2000)

 

Hewlett Foundation Award and Grant for General Education Course Development

(1997-1998)

 

Faculty Research and Innovation Fund Grant, University of Southern California (1988)

 

University of California Traveling Fellowship (1976-1977)

 

Dean’s Fellowship, U.C. Berkeley (1973-1975)

 

Phi Beta Kappa (1968), University of Washington

 

ADDITIONAL EDUCATIONAL PREPARATION

 

Field trips sponsored by the American Academy in Rome, German Archaeological

Institute, and Comune di Roma (1975-1978)

 

Research in Rome, Italy for dissertation (1975-1978), as well as further study of Greek

and Roman art and architecture in Italy and elsewhere in Europe during this period

 

Supervised study of Greek and Roman sculpture at the J. Paul Getty Museum, with

J. Frel (1973-1975)

 

Course in Greek art and archaeology at the Universität München, Munich, Germany

with E. Homann-Wedeking (1971)

 

Study of the German language at the Goethe Institute, Grafing (Munich), Germany (1971)

 

Course work in Roman, Etruscan, and Italic art and architecture, Università di Roma,

with G. Becatti, M. Pallottino, F. Castagnoli, and M. Squarciapino (1970-1971)

 

ARCHAEOLOGICAL FIELD WORK

 

Underwater survey of port of Tarquinia (Gravisca), Italy (1977): Consultant

 

Excavation of Etruscan site of Ghiaccio Forte, Italy (1973)

 

Excavation of Greco-Roman site of Aphrodisias, Turkey (1970-1972)

 

Excavation of Spanish/Indian Mission, Guavave, Arizona (1965-1966)

 

LANGUAGES

 

Ancient: Latin and Greek

Modern: German, Italian, French, modern Greek, some Turkish

 

BOOKS

 

PUBLISHED:

 

I) The Portraiture of Gaius and Lucius Caesar (Fordham University Press, New York

1987) (with a book subvention from the National Endowment for the Humanities).

 

II) Roman Portraiture: Images of Character and Virtue, with graduate student

participation (Fisher Gallery, Los Angeles 1990).

 

III) Gallo-Roman Bronzes and the Process of Romanization:The Cobannus Hoard

(Monumenta Graeca et Romana IX) (Brill, Leiden 2002).

 

IV) The de Nion Head: A Masterpiece of Archaic Greek Sculpture (Philipp von

Zabern, Mainz 2003).

 

V) Terra Marique: Studies in Art History and Marine Archaeology in Honor of Anna

Marguerite McCann on the Receipt of the Gold Medal of the Archaeological Institute

of America (editor, designer, and contributor of introduction, publication list, and

one of 19 essays) (Oxbow Publications, Oxford 2005).

 

SUBMITTED:

 

VI) From Republic to Empire: Rhetoric, Religion, and Power in the Visual Culture of

Ancient Rome (University of Oklahoma Press), comprising eight chapters:

CHAPTER I: The Leader and the Divine: Diverse Modes of Representation in Roman Numismatics

CHAPTER II: The Cult Image of Julius Caesar: Conflicts in Religious Theology and Ideology in

Augustus’ Representational Program

CHAPTER III: From Warrior to Statesman in Augustan Art and Ideology: Augustus and the Image of

Alexander

CHAPTER IV: The Ideology of “Peace through Victory” and the Ara Pacis: Visual Rhetoric and the

Creation of a Dynastic Narrative [revised and updated essay originally published in

German]

CHAPTER V: The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of

Anamorphosis, Anakyklosis and Numen Mixtum [revised and updated publication].

CHAPTER VI: Divine Providence in Early Imperial Ideology: The Smaller Cancelleria Relief and

the Ara Providentiae Augustae

CHAPTER VII: The “Insanity” of Caligula or the “Insanity” of the Jews? Differences in Perception

and Religious Beliefs

CHAPTER VIII: “Star Power” in Imperial Rome: Astral Theology, Castorian Imagery, and the Dual

Heirs in the Transmission of the Leadership of the State

 

IN PROGRESS:

 

VII) Christian Destruction and Desecration of Images of Classical Antiquity: A Study

in Religious Intolerance in the Ancient World

 

VIII) Dynastic Narratives in Augustan Art and Thought: The Rhetoric and Poetry of

Visual Imagery [with DVD Virtual Reality Program of the Monuments]

 

IX) The Image of Augustus: Art, Ideology, and the Rhetoric of Leadership

 

X) Social, Sexual, and Religious Intercourse: Sacrificial Ministrants and Sex-Slaves

in Roman Art -- 3rd Century B.C. - 4th Century A.D.

  

ARTICLES

 

PUBLISHED:

 

1) “A Flavian Relief Portrait in the J. Paul Getty Museum,” in Getty Museum Journal

5 (1977) 63-66.

 

2) “Gnaeus Domitius Ahenobarbus and the Ravenna Relief,” in Römische Mitteilungen

88 (1981) 117-40.

 

3) “A Pre-Principate Portrait of Gaius (Caligula)?” in Journal of the Walters Art

Gallery 40 (1982) 1-12.

 

4) “Damnatio Memoriae in Stone: Two Portraits of Nero Recut to Vespasian in

American Museums,” in American Journal of Archaeology 88 (1984) 547-55.

 

5) “The Meaning and Date of the Reverse Type of Gaius Caesar on Horseback,” in

American Numismatic Society Museum Notes 30 (1985) 113-17.

 

6) “Response to E. Judge’s ‘On Judging the Merits of Augustus,’” in Center for

Hermeneutical Studies: Colloquy 49 (1985) 44-46.

 

7) “Ahenobarbi, Appuleii and Some Others on the Ara Pacis,” in American Journal of

Archaeology 90 (1986) 453-60.

 

8) “The Findspot of the Statue of Augustus from Prima Porta,” in Bullettino della

Commissione Archeologica Comunale di Roma 92 (1987/88) 103-108.

 

9) “Two Acrolithic or Pseudo-Acrolithic Sculptures of the Mature Classical Period in

the Archaeological Museum of the Johns Hopkins University,” in Classical Marble:

Geochemistry,Technology, Trade (NATO ASI Series E vol. 153), edd. N. Herz and

M. Waelkens (Dordrecht 1988) 207-17.

 

10) “Man or God: Divine Assimilation and Imitation in the Late Republic and Early

Principate,” in Between Republic and Empire: Interpretations of Augustus and His

Principate, edd. K.A. Raaflaub and M. Toher (Berkeley 1990) 333-63.

 

11) “The Marble Type of the Augustus from Prima Porta: An Isotopic Analysis,” in

Journal of Roman Archaeology 5 (1992) 203-208.

 

12) “The Tazza Farnese: Principe Augusto ‘Redeunt Saturnia Regna’!” in American

Journal of Archaeology 96 (1992) 249-55, 283-300.

 

13) “The Cartoceto Bronzes: Portraits of a Roman Aristocratic Family of the Late First

Century B.C.,” in American Journal of Archaeology 97 (1993) 423-46.

 

14) “The Gemma Augustea: Ideology, Rhetorical Imagery, and the Construction of a

Dynastic Narrative,” in Narrative and Event in Ancient Art, ed. P. Holliday

(Cambridge 1993) 258-98.

 

15) “The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of

Anamorphosis, Anakyklosis and Numen Mixtum,” in Von der Bauforschung zur

Denkmalpflege, Festschrift für Alois Machatschek (Vienna 1993) 181-217.

 

16) “The ‘Trojan Column’ at USC: Reality or Myth?” in Trojan Family (May, 1994)

30-31.

 

17) “The Augustus from Prima Porta and the Transformation of the Polykleitan Heroic

Ideal,” in Polykleitos, the Doryphoros, and Tradition, ed. W. Moon (Madison 1995)

262-82.

 

18) “The ‘Dart Aphrodite’: A New Replica of the ‘Arles Aphrodite Type,’ the Cult Image

of Venus Victrix in Pompey’s Theater at Rome, and Venusian Ideology and Politics

in the Late Republic - Early Principate,” in Latomus 55 (1997) 757-85.

 

19) “Parian Lychnites and the Prima Porta Statue: New Scientific Tests and the Symbolic

Value of the Marble” (with N. Herz, K. Polikreti, and Y. Maniatis), in Journal of

Roman Archaeology 11 (1998) 275-84.

 

20) “The Warren Cup: Homoerotic Love and Symposial Rhetoric in Silver,” in The Art

Bulletin 81 (1999) 21-52.

 

21) “Ein mit Inschriften versehener Legionärshelm von der pannonisch-dakischen Grenze

des römischen Reiches: Besitzverhältnisse an Waffen in der römischen Armee,” in

M. Junkelmann, Römische Helme VIII Sammlung Axel Guttmann, ed. H. Born

(Mainz 2000) 169-88.

 

22) “The Marble Type of the Statue of Augustus from Prima Porta: Facts and Fallacies,

Lithic Power and Ideology, and Color Symbolism in Roman Art,” in Paria Lithos:

Parian Quarries, Marble and Workshops of Sculpture (Proceedings of the First

International Conference on the Archaeology of Paros and the Cyclades, Paros, 2-5

October 1997), edd. D.U. Schilardi and D. Katsonopoulou (Athens 2000) 237-52.

 

23) “The Riace Bronzes: New Observations,” in Acten des 14. Internationalen

Kongresses für Antike Bronzen, Kölner Jahrbuch 33 (2000) 37-56.

 

24) “Two Bronze Portrait Busts of Slave-Boys from a Shrine of Cobannus in Roman

Gaul,” in Studia Varia II: Occasional Papers on Antiquities of The J. Paul Getty

Museum 10 (2001) 115-52.

 

25) “A New Portrait of Octavian/Augustus Caesar,” in Roman Sculpture in the

Art Museum, Princeton University (Princeton 2001) 6-11.

 

26) “Two Gallo-Roman Bronze Portraits of Sacrificial Ministrants in the J. Paul Getty

Museum,” in From the Parts to the Whole 2: Acta of the 13th International Bronze

Congress, Cambridge, Massachusetts, May 28 - June 1, 1996, edd. C.C.

Mattusch, A. Brauer, and S.E. Knudsen (Portsmouth, Rhode Island 2002) 89-91.

 

27) “‘Frieden-durch-Sieg’ Ideologie und die Ara Pacis Augustae: Bildrhetorik und

die Schöpfung einer dynastischen Erzählweise,” in Krieg und Sieg: Narrative

Wanddarstellungen von Altägypten bis ins Mittelalter (Internationales

Kolloquium 23. - 30. Juli 1997 im Schloss Heindorf, Langenlois; Österreichischen

Akademie der Wissenschaften XXIV), edd. M. Bietak und M. Schwarz (Vienna

2002) 137-59.

 

28) “A New Portrait of Octavia and the Iconography of Octavia Minor and Julia Maior,”

Römische Mitteilungen 109 (2002) 11-42.

 

29) “Slave-Boys for Sexual and Religious Service: Images of Pleasure and Devotion,” in

Flavian Rome: Culture, Image, Text, edd. A.J. Boyle and W.J. Dominik (Leiden

2003) 149-66.

 

30) “The Caelian Hill Sacrificial Minister: A Marble Head of an Imperial Slave-Boy from

the Antiquarium Comunale on the Caelian Hill in Rome,” in Römische Mitteilungen

111 (2004) 1-28.

 

31) “A New Head of Augustus from Herculaneum: A Marble Survivor of a Pyroclastic

Surge,” in Römische Mitteilungen 111 (2004) 283-98.

 

32) “The Armstrong and Nuffler Heads and the Portraiture of Julius Caesar, Livia, and

Antonia Minor in Terra Marique: Studies in Honor of Anna Marguerite McCann

on the Receipt of the Gold Medal of the Archaeological Institute of America, ed.

J. Pollini (Oxbow Publications, Oxford 2005) 89-122.

 

33) “A New Marble Portrait of Tiberius: Portrait Typology and Ideology,” in Antike Kunst

48 (2005) 57-72.

 

34) “A North African Portrait of Caracalla from the Mellerio Collection and the

Iconography of Caracalla and Geta,” in Revue Archéologique (2005) 55-77.

 

35) “A Bronze Gorgon Handle Ornament of the Ripe Archaic Greek Period,” in Annuario

della Scuola Archeologica Italiana di Atene e delle Missioni Italiani in Oriente 83

(2005) 235-47.

 

36) “Ritualizing Death in Republican Rome: Memory, Religion, Class Struggle, and the

Wax Ancestral Mask Tradition’s Origin and Influence on Veristic Portraiture” in

Performing Death: Social Analyses of Funerary Ritual in the Ancient Near East

and Mediterranean (Oriental Institute Seminars 3, University of

Chicago), ed. N. Laneri (Chicago 2007) 237-85.

 

37) “A New Bronze Portrait Bust of Augustus,” in Latomus 66 (2007) 270-73.

 

FORTHCOMING:

 

38) “Gods and Emperors in the East: Images of Power and the Power of Intolerance,”

in the proceedings of an international conference on “‘Sculptural Environment’ of the

Roman Near East: Reflections on Culture, Ideology, and Power” (University of

Michigan), in Interdisciplinary Studies in Ancient Culture and Religion,

edd. E.A. Friedland, S.C. Herbert, and Y.Z. Eliav (Peeters Publ.: Leuven).

 

39) “A New Portrait Bust of Tiberius in the Collection of Michael Bianco,” in Bulletin

Antieke Beschaving 83 (2008) 133-38.

 

40) “The Desecration and Mutilation of the Parthenon Frieze by Christians and Others,” in

Athenische Mitteilungen 122 (2007).

 

41) “Problematics of Making Ambiguity Explicit in Virtual Reconstructions:

A Case Study of the Mausoleum of Augustus,” for the proceedings of an international

conference, “Computer Technology and the Arts: Theory and Practice,” sponsored by

the British Academy and the University of London.

 

42) “A Winged Goat Table Leg Support from the House of Numerius Popidius Priscus at

Pompeii,” in Pompei, Regio VII, Insula 2, pars occidentalis. Indagini, Studi,

Materiali (la Soprintendenza Archeologica di Pompei), ed. L. Pedroni.

 

43) “Augustus: Portraits of Augustus,” in Oxford Encyclopedia of Ancient Greece and

Rome (2008).

 

44) “A New Bronze Lar and the Role of the Lares in the Domestic and Civic Religion of the Romans,” in Latomus (2008).

  

IN PROGRESS:

 

45) “The ‘Colville Athena’ Head and Its Typology.”

 

46) “Idealplastik and Idealtheorie: Paradeigmatic Systems, Homosexual Desire, and the

Rhetoric of Identity in Polykleitos’ Doryphoros and Diadoumenos.”

 

REVIEW ARTICLES

 

PUBLISHED:

 

D. Boschung, Die Bildnisse des Augustus (Das römische Herrscherbild I.2) (Berlin 1993),

in Art Bulletin 81 (1999) 723-35.

 

E. Varner, Mutilation and Transformation: Damnatio Memoriae and Roman Imperial

Portraiture (Monumenta Graeca et Romana 10) (Leiden 2004), in Art Bulletin 88

(2006) 591-98.

  

BOOK REVIEWS

 

PUBLISHED:

 

M. Torelli, Typology and Structure of Roman Historical Reliefs, in American Journal of

Archaeology 87 (1983) 572-73.

 

J. Ganzert, Das Kenotaph für Gaius Caesar in Limyra, in American Journal of

Archaeology 90 (1986) 134-36.

 

R. Brilliant, Visual Narratives. Storytelling in Etruscan and Roman Art in American

Journal of Philology 107 (1986) 523-27.

 

PUBLISHED IN CHOICE:

 

E. Bartman, Portraits of Livia: Imaging the Imperial Woman in Augustan Rome, in

vol. 37 (1999) 126.

 

B.S. Ridgway, Prayers in Stone: Greek Architectural Sculpture (Ca. 600 - 100 B.C.),

in vol. 37 (2000) 1095.

 

W.E. Mierse, Temples and Towns in Roman Iberia: The Social and Architectural

Dynamics of Sanctuary Designs from the Third Century B.C. to the Third Century A.D.

in vol. 37 (2000) 1458.

 

V. Karageorgis, Ancient Art from Cyprus: The Cesnola Collection in The Metropolitan

Museum of Art (New York 2000)in vol. 38 (2000) 1953.

 

Z. Hawass, Valley of the Golden Mummies (New York 2000) in vol. 38 (2001)

4036.

 

M.W. Jones, Principles of Roman Architecture (New Haven 2000) in vol. 38 (2001)

5409.

 

F. Salmon, Building on Ruins: The Rediscovery of Rome and English Architecture

(Ashgate 2000) in vol. 39 (2001) 106.

 

J. Boardman, The History of Greek Vases: Potters, Painters and Pictures (New York

2001) in vol. 39 (2002) 3755.

 

Roman Sculpture in the Art Museum, Princeton University, ed. J. M. Padgett (Princeton

2001) in vol. 39 (2002) 6218.

 

G. Hedreen, Capturing Troy: The Narrative Function of Landscape in Archaic and Early

Classical Greek Art (Ann Arbor, 2001) in vol. 40 (2002) 73.

 

A. J. Clark, M. Elston, and M.L. Hart, Understanding Greek Vases: A Guide to Terms,

Styles, and Techniques (Los Angeles 2002) in vol. 40 (2003) 3185.

 

S. Woodford, Images of Myths in Classical Antiquity (Cambridge 2003) in vol. 41

(2003) 89.

 

J. Aruz with R. Wallenfels (edd.), Art of the First Cities: The Third Millennium B.C. from

the Mediterranean to the Indus (The Metropolitan Museum of Art, New York) (New

Haven 2003) in vol. 41 (2004) 2584.

 

G. Curtis, Disarmed: The Story of the Venus de Milo (New York 2003) in vol. 41 (2004)

5083.

 

Games for the Gods: The Greek Athlete and the Olympic Spirit, edd. J.J. Herrmann and C.

Kondoleon (Boston Museum of Fine Arts) in vol. 42 (2004) 646.

 

E.W. Leach, The Social Life of Painting in Ancient Rome and on the Bay of Naples

(Cambridge 2004) in vol. 42 (2004) 1215-16.

 

D. Mazzoleni, Domus: Wall Painting in the Roman House (Los Angeles 2004) in vol. 42

(2005) 1809.

 

S. Fine, Art and Judaism in the Greco-Roman World: Toward a New Jewish Archaeology

(Cambridge 2005) in vol. 43 (2006) 1586-87.

 

C.H. Hallett, The Roman Nude: Heroic Portrait Statuary 200 B.C. -- A.D. 300 (Oxford

2005) in vol. 44 (2006).

 

Constantine the Great: York’s Roman Emperor, edd. E. Hartley, J. Hawkes, M. Henig, and

F. Mee (York 2006) in vol. 44 (2006).

 

M.D. Stansbury-O’Donnell, Vase Painting, Gender, and Social Identity in Archaic Athens

(Cambridge 2006) in vol. 44 (2006).

 

PRINCIPAL INSTRUCTIONAL MATERIALS (Hard Copy and Online):

 

Greek Art and Archaeology: Course Manual (113 pages, 23 plates) and online version of

this Course Manual with digitized images

 

Roman Art and Archaeology: Course Manual (158 pages, 58 plates) and online version

of this Course Manual with digitized images

 

Digging into the Past: Material Culture and the Civilizations of the Ancient

Mediterranean: Course Manual (43 pages)

 

Proseminar Guide to General and Specific Works on Greek and Roman Art and

Archaeology and Related Disciplines (50 pages) and online version

 

Website for AHIS 425, “Introduction to Interdisciplinary Research and Methodology

in Classical Art and Archaeology and Related Disciplines” with links to other important

websites in the fields of Art, Archaeology, Classics, and Ancient History

 

Website for AHIS 201g: “Digging into the Past: Material Culture and the

Civilizations of the Ancient Mediterranean” (with digitized images)

 

PAPERS GIVEN AT INTERNATIONAL AND NATIONAL

CONFERENCES AND SYMPOSIA

 

On Judging the Merits of Augustus: Center for Hermeneutical Studies: Colloquy,

Berkeley (April, 1985)

 

Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,

National Gallery of Art (October, 1986)

 

Augustus: Monuments, Arts, and Religion: Brown University (March, 1987)

 

Aspects of Ancient Religion: University of California at Berkeley (April, 1987)

 

Marble and Ancient Greece and Rome: International conference sponsored by

NATO at Il Ciocco (Tuscany), Italy (May, 1988)

 

Polykleitos, the Doryphoros and Its Influence: University of Wisconsin, Madison

(October, 1989)

 

UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (December, 1992)

 

XIIIth International Bronze Congress: Harvard University (May 28 - June 1, 1996)

 

UCLA-USC Seminar in Roman Studies: Roman Representations: Subjectivity, Power

and Space: USC, Los Angeles (March, 1997)

 

International Symposium at Cuma (Naples): Flavian Poets, Artists, Architects and

Engineers in the Campi Flegrei (July, 1997)

 

International Symposium at the University of Vienna: Interdisziplinäres Kolloquium

Historische Architekturreliefs vom Alten Ägypten bis zum Mittelalter (July, 1997)

 

First International Conference on the Archaeology of Paros and the Cyclades: Paros,

Greece (October, 1997)

 

Getty Research Institute Colloquium: Work in Progress (November, 1997)

 

Annual Meetings of the Art Historians of Southern California at California State

University, Northridge, California (November, 1998)

 

XIV. Internationaler Kongress für Antike Bronzen: Werkstattkreise, Figuren und Geräte

(Sponsored by Das Römisch-Germanisches Museum der Stadt Köln und das

Archäologisches Institut der Universität zu Köln [September 1999]): Besides giving paper,

chaired the session “Bronzestatuen und -statuetten: Fundkomplexen, Fundgruppen,

Einzelstücke, und Typen”

 

First International Symposium on Roman Imperial Ideology: Politics, Art, and

Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and chaired

session on “Ideology, Historiography, and the Imperial Family” (May, 2000)

 

International Symposium at Emory University, Atlanta: Tyranny and Transformation

(October, 2000)

 

Annual Meeting of the Art Historians of Southern California at the Getty Center,

Los Angeles, California (November, 2000)

Getty Research Institute Colloquium: Work in Progress (December, 2000)

 

Second International Symposium on Roman Imperial Ideology: Politics, Art, and

Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “The Image of

the Princeps and the Ruler Cult” (May, 2001)

 

UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (April, 2002)

 

Third International Symposium on Roman Imperial Ideology: Politics, Art, and

Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “Roman History

and Ideology” (May, 2002)

 

Symposium on the Age of Augustus at UCLA -- (Feb., 2003)

 

Fourth International Symposium on Roman Imperial Ideology: Politics, Art, and

Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and

chaired session (May, 2003)

 

International Archaeological Congress, Harvard University (Aug. 2003): Besides giving a

paper, chaired session on “Ancient Society”

 

VIIth International ASMOSIA Conference, Thasos, Greece (Sept. 2003)

 

International Conference in the Arts and the Humanities, Honolulu, Hawaii (Jan. 2004)

 

Symposium on Roman Sculpture, Minneapolis Museum of Art (organized by Richard

Brilliant) (April, 2004)

 

International Symposium on Interaction of Indigenous and Foreign Cults in Italy at Cuma

(Naples) (May, 2004): Besides giving a paper, chaired session

 

International Conference at University of Michigan: “‘Sculptural Environment’ of the

Roman Near East: Reflections on Culture, Ideology, and Power (November 2004)

 

International Conference at Stanford University: “Seeing the Past” (February 2005)

 

International Conference at the University of London: “Computer Technology and the Arts:

Theory and Practice” (November 2005)

 

International Conference at the University of Chicago: “Performing Death: Social Analyses

of Funerary Ritual in the Mediterranean” (February 2006)

  

VIIIth International ASMOSIA Conference, Aix-en-Provence, France (June 2006)

 

Symposium “Art of Warfare”: Michael C. Carlos Museum, Emory University (January

2007)

 

PAPERS PRESENTED AT ANNUAL CONVENTIONS OF THE

ARCHAEOLOGICAL INSTITUTE OF ARCHAEOLOGY AND THE

COLLEGE ART ASSOCIATION

 

Boston (AIA, December, 1979)

 

New Orleans (AIA, December, 1980)

 

San Francisco (AIA, December, 1981)

 

Philadelphia (AIA, December, 1982)

 

Cincinnati (AIA, December, 1983)

 

Toronto (AIA, December, 1984)

 

Washington, D.C. (AIA, December, 1985) -- invited paper, “The Promulgation of the

Image of the Leader in Roman Art,” in a special AIA plenary session on Politics and

Art

 

San Antonio (AIA, December, 1986) -- invited paper, “Time, Narrativity, and Dynastic

Constructs in Augustan Art and Thought,” at a joint AIA-APA session on topics

illustrating connections between Roman art and philology

 

Houston (CAA, February, 1988) -- invited paper, “The Gemma Augustea and the

Construction of a Dynastic Narrative,” for a CAA session on Narrative and Event in

Greek and Roman Art

 

Atlanta (AIA, December, 1994) -- discussant for a joint AIA-APA session on “Rethinking

Nero’s Legacy: New Perspectives on Neronian Art, Literature, and History”

 

New York (AIA, December, 1996) -- special poster session: “The Marble Type of the

Statue of Augustus from Prima Porta: New Scientific Tests” (prepared in collaboration

with Norman Herz, Director of Programs, Center for Archaeological Sciences, University

of Georgia)

 

Chicago (AIA, December, 1997)

 

Washington, D.C. (AIA, December, 1998) -- invited paper, “A Portrait of a Sex-Slave

‘Stud’ (?) in the Metropolitan Museum of Art in New York,” for a special colloquium in

honor of Anna Marguerite McCann on the receipt of the “Gold Medal” of the

Archaeological Institute of America

 

San Francisco (AIA, January, 2004) -- joint paper with N.Cipolla and L. Swartz Dodd

 

OTHER ACADEMIC AND PUBLIC LECTURES/TALKS

 

American Academy, Rome, Italy (March, 1976)

 

Cleveland Society AIA, Cleveland, Ohio (April, 1979)

 

Johns Hopkins University, Baltimore, Md. (September, 1980)

 

Institute of Fine Arts, New York, N.Y. (October, 1980)

 

Metropolitan Museum of Art, New York, N.Y. (January, 1983)

 

New York Society AIA, New York, N.Y. (January, 1983)

 

Baltimore Society AIA, Baltimore, Md. (February, 1983)

 

University of Toronto, Toronto, Canada (March, 1987)

 

University of Southern California, Los Angeles, Ca. (March, 1987)

 

Columbia University, New York, N.Y. (April, 1987)

 

Classical Archaeological Society of Southern California, UCLA, Ca. (November 1989)

 

Tulane University, New Orleans, La. (February, 1990)

 

Classical Archaeological Society of Southern California, USC, Ca. (February 1990)

 

Los Angeles Society AIA, Los Angeles, Ca. (March, 1990)

 

Fisher Gallery and School of Fine Arts, University of Southern California, Los Angeles,

Ca. (March, 1990)

 

Institute of Fine Arts, New York, N.Y. (April, 1990)

 

American Academy, Rome, Italy (May, 1990)

 

University of Vienna and Kunsthistorisches Museum, Vienna, Austria (June, 1990)

 

San Diego Society AIA, San Diego, Ca. (September, 1990)

 

Classical Archaeological Society of Southern California, Getty Museum, Malibu, Ca.

(November, 1990).

 

University of Pennsylvania, Philadelphia, Pa. (December, 1990)

 

Classical Archaeological Society of Southern California, Gamble House, Pasadena, Ca.

(March 1991)

 

Henry T. Rowell Lecturer: Baltimore Society AIA, Baltimore, Md. (November, 1991)

 

Villanova University, Villanova, Pa. (November, 1991)

 

Royal-Athena Galleries, Los Angeles, Ca. (October, 1992)

 

Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art,

Washington D.C. (November, 1992)

 

University of North Carolina, Chapel Hill, N.C. (November, 1992)

 

Duke University, Durham, N.C. (November, 1992)

 

University of California, Los Angeles: UCLA/USC Seminar in Roman Studies, Los

Angeles, Ca. (December, 1992)

 

University of Southern California, Los Angeles, Ca. (January, 1993)

 

J. Paul Getty Museum and Center for the History of Art and the Humanities, Malibu,

Ca. (February, 1993)

 

Classical Archaeological Society of Southern California, UCLA, Ca. (March 1993)

 

California State University, Long Beach, Ca. (March, 1993)

 

Stanford University, Palo Alto, Ca. (April, 1993)

 

University of California, Berkeley, Ca. (April, 1993)

 

California State University, Northridge, Ca. (April, 1993)

 

University of Arizona, Tucson, Az. (April, 1993)

 

American Academy, Rome, Italy (June, 1994)

 

Getty Center for the History of Art and the Humanities (Director’s Series) (Dec., 1994)

 

University of California, Irvine (May, 1997)

 

American Academy, Rome, Italy (July, 1997)

 

American School of Classical Studies, Athens (October, 1997)

 

Los Angeles County Museum of Art, Los Angeles (March, 1998)

 

British School at Rome (June, 1998)

 

University of California, Berkeley (November, 1998)

 

Classical Archaeological Society of Southern California, University of California,

Santa Barbara (March, 1999)

 

Work in Progress: Getty Research Institute, Brentwood, California (December, 2000)

 

Classical Archaeological Society of Southern California, Getty Research Institute,

Brentwood, Ca. (April, 2001)

 

American Academy, Rome, Italy (May, 2001)

 

Loyola Marymount, Los Angeles (March, 2002)

 

Southern California Institute of Architecture (February, 2003)

 

Columbia University, New York (April, 2003)

 

University of Amsterdam, the Netherlands (May, 2003)

 

University of Nijmegen, the Netherlands (May, 2003)

 

American School of Classical Studies, Athens (September, 2003)

 

University of Oklahoma, Norman (March, 2005)

 

Cambridge University, Cambridge, England (November, 2005)

 

American School of Classical Studies at Athens, Greece (March, 2007)

 

University of Athens, Greece (May, 2007)

 

Los Angeles Society of the AIA, Los Angeles (December, 2007)

 

College of William and Mary (January, 2008)

 

Duke University, Durham (February, 2008)

 

Dickinson College, Carlisle, PA (March, 2008)

 

University of Nebraska, Lincoln (April, 2008)

 

AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS as Whitehead Professor of Archaeology (2006-2007)

 

Participated in all Fall trips of the School to various parts of Greece, giving

presentations on each of the trips.

 

Participated in the School’s Spring trip to Central Anatolia, giving several presentations.

 

Offered a seminar in the Winter Quarter: “Christian Destruction and Desecration of

Images and Shrines of Classical Antiquity.”

  

MISCELLANEOUS TALKS AND PRESENTATIONS

 

Lectures and talks on site regarding the architecture and topography of Rome, Ostia,

and Hadrian’s Villa for members of the Technische Universität für Architektur und

Denkmalpflege, Vienna, Austria; the Summer School of the American Academy in

Rome; St. Olaf College’s Junior Year Abroad Program; and M.A. students of

architecture in a joint summer program of the University of Southern California and the

University of Illinois; and the Intercollegiate Center for Classical Studies in Rome.

 

Talks on various aspects of Classical art and archaeology at meetings of the

Archaeological Society of the Mid-Atlantic States (1980-1987)

 

Gallery talks on the ancient collections of the Archaeological Museum of the Johns

Hopkins University (in capacity as curator) and of the Walters Art Gallery (1979-1987)

 

Gallery talks on the ancient collections of the J. Paul Getty Museum and the Los Angeles

County Museum of Art (1987-present)

 

Talk for USC graduate students in the Dept. of Classics at the Ara Pacis and Mausoleum of

Augustus in Rome (May 26, 2006), organized by Prof. Claudia Moatti, Dept. of Classics

 

SPECIAL TALKS AND LECTURES AT USC

 

Seminar for Professor Claudia Moatti, Department of Classics: “Problems in Ancient Art”

(March, 2005)

 

Seminar for Dr. Daniela Bleichmar, Department of Art History: Rediscovering the

Classical Past: The Relationship of Art History, Archaeology, and Visual Culture (March,

2005)

 

University of Southern California’s 125th Celebration: For Symposium on “Trojan

Legends” presented paper: “USC's Trojan Column: An Ancient and Modern Myth”

(October, 2005)

 

MEDIA INTERVIEWS AND CONSULTATION

 

New York Times, International Herald Tribune, Los Angeles Times, The New Yorker, The

History Channel, Arts and Entertainment Channel, KPCC Radio Los Angeles, NBC, Fox

 

Featured piece on my innovative work on the marble type of the statue of Augustus from

Prima Porta: A. Elders, “Tracing the Stones of Classical Brilliance,” in Hermes -- Greece

Today 35 (1999) 20-24.

 

ORGANIZER AND LEADER OF TOURS OF MUSEUMS AND SITES

 

Turkey (for Board of Councilors and donors of the School of Fine Arts, USC, 1995; for

university students and the general public, 1998)

 

Greece (Attica and the Peloponnese) (for university students and the general public, 1999)

 

Central Italy (for university students and the general public, 2000, 2002, 2003)

 

PARTICIPATION IN OTHER COLLOQUIA AND SYMPOSIA

 

Roman Sculpture and Architecture: German Archaeological Institute, Rome

(January, 1978)

 

Roman Architecture: Center for Advanced Study in the Visual Arts, National Gallery

of Art (January, 1981)

 

The Age of Augustus. The Rise of Imperial Ideology: Brown University (April, 1982)

 

Pictorial Narratives in Antiquity and the Middle Ages: The Johns Hopkins University and

the Center for Advanced Study in the Visual Arts, National Gallery of Art (March, 1984)

 

Villa Gardens of the Roman Empire: Dumbarton Oaks (May, 1984)

 

Retaining the Original -- Multiple Originals, Copies, and Reproductions: Center for

Advanced Study in the Visual Arts, National Gallery of Art (March, 1985)

 

Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,

National Gallery of Art (October, 1986)

 

Marble -- Art Historical and Sculptural Perspectives on Ancient Sculpture: J. Paul Getty

Museum (April, 1988)

 

International Conference on Roman Archaeology and Latin Epigraphy: University of

Rome and the French School of Rome (May, 1988)

 

Roman Portraits in Context: Emory University (January, 1989)

 

Small Bronze Sculpture from the Ancient World: J. Paul Getty Museum (March, 1989)

 

Alexandria and Alexandrianism: J. Paul Getty Museum (April, 1993)

 

International Symposium: “Rome Reborn” Visual Reality Program at UCLA (December,

1996)

 

History of Restoration of Ancient Stone Sculptures, J. Paul Getty Museum (October, 2001)

 

Re-Restoring Ancient Stone Sculpture, J. Paul Getty Museum (March, 2003)

 

Marble Conference on Thasos, Liman, Thasos (Sept. 2003)

 

OTHER PROFESSIONAL ACTIVITIES

 

Editorial Assistant (1968-1969) and Associate Editor (1969-1970), AGON: Journal of

Classical Studies

 

Editorial Board, American Journal of Philology (January, 1982-January, 1987)

 

Delegate from Baltimore Society AIA to National Convention (1984-1986)

 

Vice-President, Baltimore Society of the AIA (1985-1987)

 

Co-Director, Exhibition on Roman Portraiture, Fisher Gallery (1989)

 

Co-Founder (with Dr. Diana Buitron) of the Classical Archaeological Society of the Mid-

Atlantic States (1978-87)

 

Founder and President of the Classical Archaeological Society of Southern California

(1987-present)

 

Member of the Ancient Art Council of the Los Angeles County Museum of Art (1987-

present)

 

Oversaw the publication and helped edit the newsletter “ARTFACTS” of the

School of Fine Arts (1993-1996) during my tenure as Dean of the School of Fine Arts

 

USC Representative to Advisory Council of the American Academy in Rome

(1993-present)

 

Comitato di Collaborazione Culturale to the Consul General of Italy at Los Angeles

(1995-1998)

 

Advisory Committee for the Virtual Reality Project for Ancient Rome (“Rome Reborn”)

(1996-1998)

 

Delegate from Los Angeles Society AIA to National Convention (Chicago, Dec., 1997)

 

Reviewer for the Getty Grant Program (1999)

 

Reviewer for the MacArthur Foundation Grant (2000, 2003)

 

Planning Committee for a Four-Year International Conference on “Roman Imperial

Ideology” at the Villa Vergiliana at Cuma (Naples), organized by J. Rufus Fears (2000-

2003)

 

Consultant for the Forum of Augustus Project: Sovrintendenza Archeologica Comunale,

Direzione al Foro di Augusto (2004-present)

 

Editor of the newsletter “Musings” for the Department of Art History, USC (2005)

 

Planning Committee for the Internation Bronze Congress in Athens, Greece (2006-2007)

 

Chaired two sessions -- “Roman Sculpture” and “Augustan Art” -- at the Annual Meeting

of the Archaeological Institute of America (San Diego 2007)

  

UNIVERSITY COMMITTEES AND OTHER SERVICE

 

Faculty Senate (1988-1991)

 

Advisory Committee to the Dean of the School of Fine Arts (1990-1991, 1992-1993)

 

Chairman, Personnel Committee of the School of Fine Arts (1988-1990)

 

Library Liaison Officer for Art and Architecture Library (1987-present)

 

Search Committee for Reference Librarian of the Art and Architecture Library

(1989-1990 and 2000)

University Library Committee (1989-1990, 1998-2001)

 

Recruitment Committee for the School of Fine Arts (1989-1995)

 

Space Allocation Committee, School of Fine Arts (1989-1990)

 

University Research Committee (1990-1991)

 

Promotion Committee, School of Fine Arts (1990-1995)

 

University Ad Hoc Committee on Revenue Center Management (1990-1995)

 

Committee for University Development, School of Fine Arts (1993-1995)

 

Development Task Force, the School of Fine Arts (1993-1995)

 

Consultative Committee to the Provost (Spring 1993-1995)

 

University Galleries Advisory Committee (1993-1995)

 

University Committee on Transnational and Multicultural Affairs (1993-1995)

 

Provost’s Council at USC (formerly Council of Deans) (1993-1995)

 

USC Representative to the Advisory Council of the American Academy in Rome

(1993-present)

 

Founder and Member of the Board of Councilors for the School of Fine Arts (1994-1995)

 

Consortium Council of Deans for Development at USC (1995)

 

Tenure and Promotion Committee, Department of Art History (1995-to present)

 

Recruitment Committee for Department of Art History in the College of

Letters, Arts, and Sciences (1996-2005)

 

Program Proposer for the Establishment of an Interdepartmental and Interdisciplinary

Ancient Mediterranean Studies Program (1997-1999)

 

Chinese Search Committee, Department of Art History (1998-1999)

 

Japanese Search Committee, Department of Art History (1998-1999)

 

Professor-In-Charge, USC-Getty Lecture Series, Seminar, and Faculty Dinner (honoring

Salvatore Settis) (1998-1999)

 

Curriculum Committee (Co-Chair) (1998-1999)

 

Chair, Committee for Selection of Departmental Chair (1999-2000)

 

Chair, Merit Review Committee (1999-2000)

 

Committee for the Establishment of an Undergraduate Major in Archaeology

(2002-present)

 

Greek Art Search Committee, Department of Art History and Classics (2001-2004)

 

Faculty Search Committee, Department of Art History: Senior Hiring Initiative (2003-

present)

 

Junior Faculty Review Committee, Department of Art History (2003)

 

USC’s Arts and Humanities Committee (2003-2004)

 

Chair of Oversight Committee for the Interdisciplinary Archaeology Major (Spring 2006)

  

MEMBERSHIPS IN NATIONAL AND INTERNATIONAL PROFESSIONAL ORGANIZATIONS

 

NATIONAL:

 

Archaeological Institute of America

 

College Art Association

 

American Philological Association

 

Association of Ancient Historians

 

Vergilian Society

 

INTERNATIONAL:

 

Deutsches Archäologisches Institut

 

Associazione Internazionale di Archeologia Classica

 

Association for the Study of Marble and Other Stones in Antiquity (AMOSIA)

 

Society for the Promotion of Roman Studies

 

If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:

 

Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/

 

The Portraiture of Caligula- Joe Geranio- Administrator- at

portraitsofcaligula.com/

 

Both are non-profit sites and for educational use only.

 

I was eager to get back into the swing of things after a two week holiday from the city. My break from the street allowed me to reflect on my methodology for this project. I decided to hang out at specific spots for longer periods of time, partially to allow me to observe the goings on and to look for interactions, but also to be better prepared for the folks walking by. Today was my first attempt with this new strategy. Finding a position on a bright street corner, I settled in to watch. A well-dressed woman walked by, but I failed to act quickly enough before she was gone. I barely had time to regret my inaction, however, when I noticed a well dressed man pause nearby.

 

This is Nick. I complimented him on his great sense of style, then asked if he would mind if I made a portrait of him. Nick and I had an interesting conversation during our brief meeting and photoshoot, discussing fashion and my project. I find that I often get quizzed about the nature of and reasons for the project and when they learn about my intent, people are usually quite supportive of the idea, and Nick was no different. We had a few moments to chat before he had to go and meet his buddy. I’m obviously not the only one to notice Nick’s good style: the friend he was meeting is getting married soon and wants Nick’s help picking out some “nice” clothes.

  

{EDIT I removed the cinema tone to this image}

*** Constructive Critiques Welcome***

_______________ _ _ _ _

 

Find out more about the project and see

pictures taken by other photographers

at the 100 Strangers Flickr Group page.

_______________ _ _ _ _

Day 190 (v 11.0) - it's not the why, it's the how

by rescueareef ift.tt/20N9M8a

1 декабря 2021, Совещание Научно-методического совета по культурному наследию Министерства культуры РФ / 1 December 2021, Meeting of the Scientific and Methodological Council for Cultural Heritage of the Ministry of Culture of the Russian Federation

People always know how lush the west lake looks like in summer and seldom know the winter scene. A traditional Chinese boat looming on the lake under the fog weather. Withered lotus …Photographed @ The West Lake, Hangzhou China by Xifang Zhang, a postgrad from the department of Methodology.

SYMBOLIC MEANINGS OF CLASSICAL CHINESE GARDEN DESIGN ELEMENTS Prof. Suining Ding, Indiana University-Purdue University, Fort Wayne Suining Ding is an Associate Professor at Indiana University-Purdue University, FortWayne. Her research

interests include Digital 3D modeling, cross-cultural comparison of architecture, design methodology and design process, cognitive perceptions of interior space, and relationships of human behavior and environment. American Society for Engineering Education, 2012

Culture Reflections Embodied in Modern Architecture: An Analysis Symbolic Meanings of Classical Chinese Garden Design Elements and Principles When people walk into a space or built environment, people should feel the design intention made manifest through visual cues. Amos Rapoport stated that the built environment holds meaning as part of a cultural system of symbols, and influences our actions and our determinations of social order . It also has been a consensus that designers must understand the effect of the physical manifestation of design on people in the body of knowledge of the interior design profession . Therefore, understanding the symbolic meanings conveyed by design elements become crucial for designers. This paper presents a case study of analysis of classical Chinese garden design elements including water, plants, architecture, rocks and tracery windows (borrowed views) in modern architecture designed by I.M. Pei. This case study has been used in teaching cross-cultural comparison of architecture course. The purpose of this case study is to reveal symbolic meanings that interpreted by classical Chinese garden design elements in modern architecture. Findings illustrate distinct design strategies of utilizing Chinese garden design philosophy and principles in modern architecture that embodies culture reflections. Findings also help students to further understand that the built environment conveys meaning as part of cultural system, which is one of the learning objectives of cross-cultural comparison of architecture course. Culture and Design: Cross-cultural Comparison of architecture is a course designed to expose students to culture varieties that reflected on architecture. In this course, the meaning and symbolism of the art of Chinese architecture and Chinese garden is examined, focusing on the cultural, philosophical, and religious influences. Both architecture and garden in eastern country

and western country are introduced and compared with given rubrics. One of the segments in this course is to introduce the concept of cultural reflections in modern built environment. The artistic characteristics of classical Chinese garden design include the harmonious relationship between the parts and the whole. This humanistic philosophy and approach of classical Chinese garden design can be an inspiration to modern architecture practice and a resource for the creation of a new architecture. In this course, the Chinese garden design principles are identified and the building adaptations to the modern world are explored.

This course has been taught during the past five years. With the continuing course

improvement, a new case study has been added to the course content in order to better introduce the concept of cultural reflections in modern architecture. Particularly, the case study not only reveals the meaning of Chinese garden design elements in modern architecture, but also it provides distinct design guidelines for future architectural design. This paper describes this new case study that has been added to the Culture and Design course. Review of Literature. There are five design elements in classical Chinese garden design. They are water, plants, architecture, rocks and tracery windows (borrowed views). An overview of images of design elements of classical Chinese garden can be found in Figure . All Chinese gardens contain architecture. In addition, gardens are enclosed by pavilions, verandahs, halls and walls. The spaces in the garden are formed by architecture. The main difference between Western and Eastern gardens and their basic elements lies in the use of architecture and not in vegetation . Another element in a Chinese garden is stone. A stone may serve as a central theme of a courtyard, where it is placed on a pedestal, in a pond, or cemented together to form caves or peaks. One kind of stone is made from lake rock, quarried from a small island in Taihu Lake near Suzhou. Water serves as another natural element in Chinese garden design in addition to landscaping. In the private garden, a large body of water is not possible but a pond is a must. A bridge usually is built across narrow channels, or causeways are used as stepping stones to connect several smaller ponds in order to enhance the depth of the garden . Reflections made from a pool can enlarge the dimension of a garden visually. Scenery and track is another characteristic of classical Chinese garden. Gardens are different in shape and size. The large garden is naturally divided into more courtyards, and each courtyard has its particular theme in order to create a particular feeling of place. Because of the courtyards are interconnected, they create a series of spaces that have special meanings. As one enters the small entry leading to a garden and walks into a particular space, although it is usually small in scale and wrapped around with winding verandahs, the feeling gained is always the same as repose, harmony, serenity and elegance. Pei employs a lot of traditional Chinese symbolism in his Suzhou Art Museum. The SuZhou Art Museum floor plan is shown in Figure 2 in Appendix. He built it on a symmetrical north-south axis, which is one of the design principles of Chinese architecture. It allows the building to take advantage of the sun’s warmth and reflections . The structure is built to surprise the visitor when walking down the winding interior corridors offering tracery windows with a view of the central courtyards and gardens. Traditional garden; elements are prominent. There is the main garden, with eight small gardens. Every angle has a garden view. From the outside, the buildings reflect the traditional Suzhou private garden style; it is in harmony with its surrounding atmosphere. The five garden design elements are used in the design of the garden, such as local Taihu stones and rocks, water, bamboo, and a walking bridge that zigzags across the pond. Stone is the skeletal structure and is used in SuZhou Art Museum as sculpture. Water is qi energy and is balanced with the rigidity of stone. The bamboo represents uprightness, and the flowers add colors and present the four seasons. In the main garden, there is special Chinese stonework “ink-wash painting” Pei uses the white wall as paper; stone as paint, creating a unique visual effect with granite replicate a miniature mountain of abstract sculpture. Purpose and Method The purpose of this case study is to analyze and interpret the classical Chinese garden design elements including stone, water, architecture, plants, literature and arts as well as borrowed view(tracery window), as a form of symbolic culture reflection in modern architecture. This analysis is based on the methods of historical inquiry and literature review. Findings illustrate distinct approaches in reflecting culture heritage in modern built environment through symbolic forms. This study proposes four major design strategies to interpret the symbolic meaning of culture heritage: nature, poetic and painterly concept, scenery and track, as well as mystery and wonder. Nature elements in design refer to landscaping, water, courtyard and stone. All these design elements are integral part of classical Chinese garden that create poetic and painterly feelings, creating a place of natural beauty with a serene and elegant atmosphere. . Through the use of this concept, a unique garden architecture was created. Poetry, prose, painting and music in China are interrelated and were used to express inner feeling through symbolism. Garden design, nevertheless, was different from poetry or prose. The media are not brush or paper, but rather a process, where there is never a final stroke of the pen or a last word, and which is in a continual state of change. It is the placement of the elements which make a garden, such as water, rocks, trees and flowers, architecture and space as well as the utilization of the effects of natural phenomena including the change of seasons, light, color, shadow and sound to achieve aesthetic feelings and evoke associations between objects and the observer . Architecture in a garden serves to “frame” or emphasize a good view. All these elements in the garden are connected by covered verandahs, which create mystery and wonder in the garden. The verandahs on both sides of the wall become what is called double verandah and the wall between them can be pierced with tracery windows to unite the two spaces visually . Sometimes a verandah is built over water on stilts, looking very much like a covered bridge. More mystery and wonder would be presented to observers when verandahs are in zigzag form, following the shape and slope of the site. Sometimes it will bend on the way up a hill, reach an edge of a pool, pass through flowerbeds and cross valleys, twisting and seemingly there is no end. Although the verandah was built for circulation, it is not intended to reach its destination in a hurry. One could stop and wonder, read at the table and watch scenery and turn to wonder another mystery and pose again. The main purpose was to stroll leisurely and wonder around for more attractions. Sometimes it appears that the walker reaches the end of a path, but with a sudden turn there is another path or another open space. There is always something unexpected to see which surprise the visitor. In Pei’ SuZhou Art Museum, the geometry thinking in the design made visitors feel to be in a world of pure lines and triangles, squares, and symmetry. Pei, the modernist seamlessly blends the modern and the culture in his SuZhou Art Museum. The geometry and spatial quality of his work satisfy the modern architecture by revealing culture meaning in modern built environment. Pei expressed his philosophy of using Chinese garden design elements in modern architectural design in Harvard Asia Pacific Review: “Chinese gardens are very unusual in the sense that you can create a microcosm of the world in such tiny space. And that has always been in my mind, so that I am never discouraged when I don’t have as much room to work with. I can always say, look at the SuZhou gardens and what wonders you can create with them. It is a sense of scale…” . It is obvious that Chinese garden design principles have inspired Pei’s modern architectural design. Chinese garden design elements have been the major components in his work in modern built environment.

The four design strategies set forth in this case study assist in understanding the symbolic

meaning of Chinese Garden design elements in modern built environment - SuZhou Art Museum designed by I.M.Pei. These four design strategies aid the students to understand the symbolic meaning interpret in the modern architecture through symbolic forms. The first strategy is to use natural elements, such as rocks, bamboo, water and landscaping. Bamboo presents uprightness. The flowers add color and present the four seasons. The second strategy is to present poetic and painterly concept in design. Poetry and painting express inner feeling through symbolism that is a process to achieve aesthetic feelings and evoke associations between objects and the observer. When poetic and painterly concept is integrated in a designed space, the aesthetic feelings and appreciations are achieved for observers. In SuZhou Art Museum, Pei used stone to form a scene as ink-wash painting according to painting in Song Dynasty. The third strategy is to create scenery and track. Architecture, pavilions, verandahs, halls and walls, tracery windows are design elements that can be used to create scenery and track in a space. In SuZhou Art Museum, Pei made west wing longer (seems more interesting), and had a water fall at the end of the hall way, so the sounds of water can be very attractive to visitors. So it leads people turn left and see west wing first . There are also many tracery windows along the hallways.The fourth strategy is to create mystery and wonder in a space. These can be achieved by using verandahs in zigzag form, following the shape or slop of the site and tracery windows on verandah walls. In SuZhou Art museum, zigzag walking bridge was designed across the pond. The analysis of these design strategies in Table -1 also assist and inform an examination of how future modern design could utilize classical Chinese garden design principles and philosophy. This approach may help designers to create a contemporary space with cultural reflections. In Harvard Asia Pacific Review, Pei indicated: “I remember the twists and turns of Chinese garden that you never see the end as you do at Versailles. In a Chinese garden, you make turn, and then you pause, you see something, and you turn again, and you see something different. This concept lingers with me, and I continue to draw from it.” It is a very comprehensive conclusion that drawing ideas and inspirations from Chinese garden design will be an enduring process in order to create modern architecture that embodies culture reflections. Design Elements in Classical Chinese Garden Symbolic Meaning

Interpreted in SuZhou Art Museum natural landscaping, water, courtyard, Taihu stones and rocks, walking bridge one main garden and eight small gardens - Taihu stones and rocks, water, bamboo presents uprightness, the flowers to add color and to present the four seasons poetic and painterly concept poetry and painting to express inner feeling through symbolism, a process to achieve aesthetic feelings and evoke associations between

objects and the observer Chinese stonework "ink-wash painting". Pei used stone to form a scene according to painting in Song Dynasty scenery and track buildings, pavilions, verandahs, hall and walls, tracery windows made west wing longer (seems more interesting), and had a water fall at the end of the hall way, so the sounds of water can be very attractive to visitors. So it leads people turn left and see west wing first. Many tracery windows mystery and wonder verandahs in zigzag form, following the shape or slop of the site, tracery windows on verandah walls zigzag walking bridge across the pond

References

Liu, L. (1989). Chinese Architecture. Academy Editions, London

Martin, C. & Guerin, D. (2005). The Interior Design Profession’s Body of Knowledge. Interior Design Educators Council. Retrieved September 20, 2011, from www.careersininteriordesign.com/idbok.pdf Pei. I.M. (Summer, 1997) Finding Roots. Harvard Asia Pacific Review. Retrieved on March 12, 2012 from www.hcs.harvard.edu/~hapr/summer97_culture/roots.html

[4] Rapoport, Amos, (1990). The Meaning of the Built Environment: A Nonverbal Communication Approach. University of Arizona Press. Appendix Chinese Garden Design Elements Verandahs with tracery windows and Zigzag bridges over the pond lead to more mystery and wonder Water, Plants, Stones and Rocks Tracery Windows (Borrowed Views)

Figure 1: Classical Chinese Garden Design Elements SuZhou Art Museum – Designed by I.M.Pei Figure 2: SuZhou Art Museum Floor PlanSuZhou Art Museum – Designed by I.M.Pei,The west wing was designed longer (seems more interesting), and had a water fall at the end of the hall way, so the sounds of water can be very attractive to visitors. So it leads people turn left and see west wing first. There are many tracery windows in the hallway. A symmetrical north-south axis is designed to locate the building, which is one of the design principles of Chinese architecture. It allows the building to take advantage of the sun warmth and reflection. The colors of the building are gray, black and white, which are typical colors in classical private garden in SuZhou. Special Chinese stonework “ink-wash painting” - Pei uses the white wall as paper; stone as paint, creating a unique visual effect with granite replicate a miniature mountain of abstract sculpture.

A BRIEF HISTORY AND ANALYSIS OF PAKISTAN’S TB CONTROL MECHANISMS

 

By

 

Dr Ghulam Nabi Kazi

 

As the world braces itself for the fallout of a serious pandemic of COVID-19, we must nevertheless not lose sight of another serious killer –Tuberculosis - that devours 4,500 people daily from around the world, nor the suffering TB patients who are at a much greater risk of contracting COVID-19.

Pakistan was initially slow in responding to the World Health Organization declaration of Tuberculosis as a global emergency in 1993. The Government of Sindh was the first to draw up a concrete 3-year plan from 2000-2003 based on the TB-Directly Observed Treatment Short Course (DOTS) methodology. The Federal Government and other provinces followed suit in 2001 and on World TB Day on March 24, 2001 the Ministry of Health led by Minister H. E. Dr Abdul Malik Kasi and Secretary H. E. Mr. Ejaz Rahim declared TB as a national emergency and issued the Islamabad Declaration, in the context of Pakistan.

The Islamabad Declaration was initially met with a great response from governmental agencies and the health development partners including robust technical support from the Word Health Organization, social mobilization from the Stop TB Partnership and financing support from the United States Agency for International Development (USAID), British Department for International Development (DFID), Family Health International (FHI), German Leprosy and Relief Association (GLRA), German Development Bank (KfW), German Technical Cooperation (GTZ), Japan Anti-Tuberculosis Association/Research Institute for Tuberculosis (JATA/RIT), Japanese International Cooperation Agency (JICA), Royal Netherlands Association for the Prevention of Tuberculosis (KNCV Tuberculosis Foundation) and the International Union Against Tuberculosis and Lung Disease (The Union). These agencies also took part in WHO-led reviews and their joint recommendations guided the follow-up action at the relevant operational level. The core elements of the National and Provincial Tuberculosis Control Programs were financed by the government. Subsequently, the major donors routed all their grants for Tuberculosis through the Global Fund to Fight AIDS, Tuberculosis and Malaria (GFATM).

By 2005, the diagnostic and treatment facilities were established in all eligible public sector health facilities and were offered free of cost along with a significant amount of social mobilization. In April 2004, the WHO Inter-Country meeting of National Tuberculosis Control Program Managers was held in Lahore, indicating that Pakistan had come a long way. That was the finest hour of TB Control in Pakistan. Things had fallen into place, the facilities were strengthened, enhanced and expanded through public-private mix along with a remarkable show of commitment, dedication and a camaraderie of all stakeholders working towards a common cause just like family members.

Thereafter the program developed with greater facilities including the rampant use of GeneXpert – a molecular test for TB reducing the reliance on sputum smear microscopy by a great deal. Mobile Cad4TB Vans equipped with software that can automatically analyze chest radiographs for signs of tuberculosis. The latest technology provided by the Stop TB Partnership is in the Fuji-Xair technology, a hand held device armed with artificial intelligence, will be used for active case finding in coal miners and their associated communities in several parts of Pakistan.

The National Tuberculosis Program of Pakistan being nearly 19-20 years old is quite mature now and remains one of the country’s best performing programs. It would, however, be wrong to assume that everything is hunky-dory.

Let us try and analyze the results:

1.First and foremost, out of the estimated 560,000 cases in Pakistan around 200,000 cases are missed annually and are not being notified in the national or provincial programs. What is happening to these ‘missing’ patients is purely a matter of conjecture. It is possible those cases may be visiting private practitioners and hopefully getting cured but there is also the possibility that they are not getting any treatment at all or approaching quacks, faith healers or erroneously prescribing doctors making them TB carriers for life and spreading the disease to their contacts.

2.The last National TB prevalence survey – a colossal undertaking – left us with an incidence of 265 per 100,000 population. While there is a clamour from the provinces for a fresh prevalence survey, it appears to be an exercise in futility, while incurring a lot of expenditure as no change may have occurred in the intervening period since the last survey.

3.The overwhelming fact is that with a case notification rate of 65-70%, Pakistan has failed to make a dent in the incidence or prevalence and with the same level of effort, no significant change is likely. Thus while we may consider this effort as ‘controlling’ TB, any talk of elimination is a far cry at the moment and will require increasing the pace of effort manifold if the international commitments are to be honored.

4.By paying for only 3% of the estimated costs of the National Strategic Plan and with 31% of the costs being borne by international donors (read the Global Fund), Pakistan has not only 66% of its NSP go unfunded but has also allowed the program to be controlled from abroad. The current situation is highly untenable because if Pakistan doesn’t assume control and authority over its TB control mechanism and delays funding some of its important elements, it can never to hope to achieve the targets either of the health system as a whole or its programmatic targets.

5.Our case detection data clearly depicts that while the program funding was largely indigenous, the case notification was improving at a great pace, however, as soon as the bulk of the funding came from the Global Fund, the growth has plateaued off and come to a halt or even reduced somewhat keeping in view the population growth rate despite massive investment. Although in the first case it can be argued that the program was expanding to all districts of the country and therefore the case detection was simultaneously growing as well, that argument doesn’t hold for the period from 2010 onwards when the whole of the country had TB diagnostic and treatment coverage including some opportunities for public-private mix.

6.The good news is that Universal Health Coverage (UHC) index of essential coverage including TB care has grown from 50% in 2000 to over 75% in 2017, lowering the proportion of the population that is yet uncovered, while social protection is also growing. However, the TB treatment coverage was estimated at 64% in 2018.

At the operational level, the program is not a major priority within the district health system. The district being the hub of all programmatic activity, it has to have a multi-sectoral accountability framework headed by the Deputy Commissioner to bring about the necessary coordination among the social sectors and economic line departments. However, the role of the communities in creating awareness and urging people with cough and other TB related symptoms to seek help is sub-optimal if not totally lacking at present. This warrants the need to enhance community participation at all levels for the smooth functioning of the program.

The World Health Organization has remained a trusted partner of the National and Provincial TB Control Programs ever since the year 2000 and they usually provide the much needed technical support from all tiers of the organization, namely headquarters, the Regional Office for the Eastern Mediterranean and the Country Office for Pakistan that is functional since 1960. The current Special Assistant to the Prime Minister for Health Dr Zafar Mirza has remained a senior WHO staff member and has reiterated his commitment on several occasions to rid Pakistan of Tuberculosis as soon as practicable.

Here there is a need to make a mention of The Stop TB Partnership is a unique international body headed by its dynamic Executive Director Dr Lucica Ditiu has been aiming for a TB-free world. Founded in 2001, the Partnership has harnessed over 1700 partners in transforming the fight against TB in over 100 countries. A cornerstone of the Partnership's mission is to ensure that every TB patient has access to effective diagnosis, treatment and cure. This necessarily entails reducing the inequitable social and economic toll of TB, by placing the emphasis on the marginalized, deprived and hard-to-reach populations in all countries of the world. In addition to Pakistan, the Partnership has been working in high burden TB countries such as Angola, Bangladesh, Brazil, China, Democratic Peoples’ Republic of Korea, Democratic Republic of Congo, Ethiopia, India, Indonesia, Kenya, Mozambique, Myanmar, Nigeria, Philippines, Russian Federation, South Africa, Thailand, Tanzania, Viet Nam, Cambodia, Central African Republic, Congo, Lesotho, Liberia, Namibia, Papua New Guinea, Sierra Leone, Zambia and Zimbabwe. Through its TB-REACH initiative several projects have been launched all over Pakistan with a view to provide TB care services to marginalized populations at their doorsteps through active case finding. The Dopasi Foundation is furthering the objectives of the Stop TB Partnership in Pakistan by creating enormous awareness in the general public, using celebrities as Stop TB Ambassadors, emphasizing on the need for providing TB Care as a basic human right and carrying out a prevalence survey of TB in coalminers and their associated communities all over the country and specifically in the targeted districts in each province by screening close to 400,000 persons.

To summarize, the way forward for TB Control and Elimination in Pakistan will comprise of activities to transform the political declarations into concrete End-TB Initiatives with costed work plans, the Federal and Provincial Governments will need to significantly increase their allocations to health and specifically for eliminating the funding gap in the TB response. A federal authority for TB, AIDS and Malaria will help in robustly pursuing the federal roles of laying down the policy guidelines, providing technical strength, carry out surveillance, and liaise with international donors and health partners. Such an authority will bring about better inter provincial harmony both at policy and implementation level and carry out intra-sectoral and multi-sectoral collaboration. Demand creation for TB services needs to be brought about by a structured community engagement. We also need to enhance the capacity of Provincial TB Control Programs so that they can spearhead the TB response across Pakistan. These steps are likely to increase the government ownership and reduce dependence on external financing.

As TB-Management Units (TB-MUs) may not be able to cater to the needs of peripheral or hard-to-reach populations, it is prudent to involve first level care facilities such as BHUs, Dispensaries and MNCH centers, and the Lady Health Workers (LHWs) linked to them, in the provision of TB services. This will also provide the pathway to universal health coverage. These facilities can help in identifying presumptive TB cases, arrange sample collection and transportation to TBMUs, carry out contact investigation, provide treatment to patients with active TB and preventive treatment to eligible persons identified with latent TB infection (LTBI). They can also help in tracing and retrieving TB patients who interrupt treatment.

At the district level, Deputy Commissioners should convene the district steering committee as ‘first amongst equals’, comprising of all economic and social sector line departments, civil society organizations, elected representatives, TB survivors, TB activists and media personalities. The District Health Officer may act as member/secretary of these steering committees and act as the secretariat by developing working papers. The Task Force should meet at least on a quarterly basis to review the program performance and the incremental benefit accruing from multi-sectoral collaboration.

Other priority tasks already on the government’s agenda include the formation of a Parliamentary Caucus on TB Control with a multi-mix of MNAs/Senators from all parties, genders and religions, headed by Dr Nausheen Hamid the parliamentary secretary for Health. The caucus will draft legislation on TB elimination issues such as mandatory notification of TB cases (already done in Sindh province) and restrict off-the-counter sale of TB medicines among other things.

The Government is also most anxious to avoid catastrophic health costs, particularly in TB patients to avoid their falling down the poverty line. Therefore, health insurance is being expanded to a greater proportion of persons in the low-income groups. Let’s hope all these measures prove enough to rid the country of this ancient disease, whose cause has been known since over a century, medication available since over 70 years and free services available throughout the country since almost two decades. We just need to cast the net more broadly to detect all the cases and provide user-friendly services to eliminate it once and for all times. It’s the least we can do for our children to provide them a safer and cleaner environment than we had. We simply cannot allow this deadly disease to devastate over 4,000 people and their families daily across the world and rob our coming generations of a TB-Free World. We are presently at the crossroads; what we do over the next ten years will determine how things shape by 2030. If missed, this chance will never come again and will have ghastly implications in terms of human and financial losses. IT’S TIME!

 

Copyright: Dr Ghulam Nabi Kazi