Interstate 75 and 85, Atlanta, Georgia

Maker: Frederick H. Evans (1853-1943)

Born: UK

Active: UK

Medium: photogravure

Size: 8.6" x 7.5"

Location:

 

Object No. 2016.1071

Shelf: N-9.5

 

Publication: Mark Haworth-Booth, The Golden Age of Photography Portfolio, Aperture, New York, 1985.

Graver la Lumiere, Fondation William Cuendet, Vevey, 2002 pg 17

Julien Faure-Conorton, La Photographie Pictorialiste, Actes Sud, Paris, 2025, pg 1

 

Other Collections:

 

Provenance: Binoche et Giquello, Photographies Anciennes et Modernes, Paris, No. 10, 2016, Lot 72.

 

Notes: published by the Silver Mountain Foundation. Printed by John Goodman. Frederick H. Evans (26 June 1853 – 24 June 1943) was a British photographer, best known for his images of architectural subjects, such as English and French cathedrals.[

Evans was born and died in London. He began his career as a bookseller, but retired from that to become a full-time photographer in 1898, when he adopted the platinotype technique for his photography. Platinotype images, with extensive and subtle tonal range, non glossy-images, and better resistance to deterioration than other methods available at the time, suited Evans' subject matter. Almost as soon as he began, however, the cost of platinum - and consequently, the cost of platinum paper for his images - began to rise. Because of this cost, and because he was reluctant to adopt alternate methodologies, by 1915 Evans retired from photography altogether. Evans' ideal of straightforward, "perfect" photographic rendering - unretouched or modified in any way - as an ideal was well-suited to the architectural foci of his work: the ancient, historic, ornate and often quite large cathedrals, cloisters and other buildings of the English and French countryside. This perfectionism, along with his tendency to exhibit and write about his work frequently, earned for him international respect and much imitation. He ultimately became regarded as perhaps the finest architectural photographer of his, or any, era - though some professionals privately felt that the Evans' philosophy favoring extremely literal images was restrictive of the creative expression rapidly becoming available within the growing technology of the photographic field. Evans was also an able photographer of landscapes and portraits, and among the many notable friends and acquaintances he photographed was George Bernard Shaw, with whom he also often corresponded. Evans was made an honorary fellow of the Royal Photographic Society in 1928, he was also a member of the Linked Ring photographic society

 

To view our archive organized by Collections, visit: OUR COLLECTIONS

 

For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE

The Postcard

 

A postally unused postcard that was published in 1986 by Impact of Pittsburg, California 94565. The card, which was designed and distributed in the USA, was printed in Korea.

 

The photography was by Ken Raveill, and the card, which has a divided back, was made with recycled paper.

 

Hearst Castle

 

Hearst Castle, known formally as La Cuesta Encantada ("The Enchanted Hill"), is an estate in San Simeon, located on the Central Coast of California. Conceived by William Randolph Hearst, the publishing tycoon, and his architect Julia Morgan, the castle was built between 1919 and 1947.

 

George Bernard Shaw described Hearst Castle as:

 

"What God would have built

if he had had the money."

 

Today, Hearst Castle is a museum open to the public as a California State Park and registered as a National Historic Landmark and California Historical Landmark.

 

George Hearst, William Randolph Hearst's father, had purchased the original 40,000-acre (162 km2) estate in 1865 and Camp Hill, the site for the future Hearst Castle, was used for family camping vacations during Hearst's youth.

 

In 1919 William inherited $11,000,000 (equivalent to $172,000,000 in 2021) and estates, including the land at San Simeon. He used his fortune to further develop his media empire of newspapers, magazines and radio stations, the profits from which supported a lifetime of building and collecting.

 

Within a few months of Phoebe Hearst's death, he had commissioned Morgan to:

 

"Build something a little more

comfortable up on the hill."

 

This was the genesis of the present castle. Morgan was an architectural pioneer:

 

"America's first truly independent

female architect."

 

She was the first woman to study architecture at the School of Beaux-Arts in Paris, the first to have her own architectural practice in California, and the first female winner of the American Institute of Architects' Gold Medal.

 

Julia worked in close collaboration with Hearst for over twenty years, and the castle at San Simeon is her best-known creation.

 

In the Roaring Twenties and into the 1930's, Hearst Castle reached its social peak. Originally intended as a family home for Hearst, his wife Millicent and their five sons, by 1925 he and Millicent had effectively separated and he held court at San Simeon with his mistress, the actress Marion Davies.

 

Their guest list comprised most of the Hollywood stars of the period; Charlie Chaplin, Cary Grant, the Marx Brothers, Greta Garbo, Buster Keaton, Mary Pickford, Jean Harlow and Clark Gable all visited, some on multiple occasions.

 

Political luminaries encompassed Calvin Coolidge and Winston Churchill, while other notables included Charles Lindbergh, P. G. Wodehouse and George Bernard Shaw.

 

Visitors gathered each evening at Casa Grande for drinks in the Assembly Room, dined in the Refectory and watched the latest movie in the theater before retiring to the luxurious accommodation provided by the guest houses of Casa del Mar, Casa del Monte and Casa del Sol.

 

During the days, they admired the views, rode, played tennis, bowls or golf and swam in "the most sumptuous swimming pool on earth".

 

While Hearst entertained, Morgan built; the castle was under almost continual construction from 1920 until 1939, with work resuming after the end of World War II until Hearst's final departure in 1947.

 

Hearst, his castle and his lifestyle were satirized by Orson Welles in his 1941 film Citizen Kane. In the film, which Hearst sought to suppress, Charles Foster Kane's palace Xanadu is said to contain:

 

"Paintings, pictures, statues, the very stones

of many another palace – a collection of

everything so big it can never be cataloged

or appraised; enough for ten museums; the

loot of the world".

 

Welles's was referring to Hearst's mania for collecting; the dealer Joseph Duveen called him the "Great Accumulator".

 

With a passion for acquisition almost from childhood, he bought architectural elements, art, antiques, statuary, silverware and textiles on an epic scale. Shortly after starting San Simeon, he began to conceive of making the castle:

 

"A museum of the best

things that I can secure".

 

Foremost among his purchases were architectural elements from Western Europe, particularly Spain. Over thirty ceilings, doorcases, fireplaces and mantels, entire monasteries, paneling and a medieval tithe barn were purchased, shipped to Hearst's Brooklyn warehouses and transported on to California.

 

Much was then incorporated into the fabric of Hearst Castle. In addition, he built up collections of more conventional art and antiques of high quality; his assemblage of ancient Greek vases was one of the world's largest.

 

In May 1947, Hearst's health compelled him and Marion Davies to leave the castle for the last time. He died in Los Angeles in 1951, and Morgan died in 1957. The following year, the Hearst family gave the castle and much of its contents to the State of California, and the mansion was opened to the public on the 17th. May 17, 1958.

 

It has since operated as the Hearst San Simeon State Historical Monument, and attracts about 750,000 visitors annually.

 

The Hearst family retains ownership of the majority of the 82,000 acres (332 km2) wider estate and, under a land conservation agreement reached in 2005, has worked with the California State Parks Department and American Land Conservancy to preserve the undeveloped character of the area.

 

Early History to 1864

 

The coastal range of Southern California has been occupied since prehistoric times. The indigenous inhabitants were the Salinans and the Chumash. In the late 18th. century, Spanish missions were established in the area in order to convert the Native American population.

 

The Mission San Miguel Arcángel, one of the largest, opened in what is now San Luis Obispo county in 1797. By the 1840's, the mission had declined and the priests departed. In that decade, the governors of Mexican California distributed the mission lands in a series of grants.

 

Three of these were Rancho Piedra Blanca, Rancho Santa Rosa and Rancho San Simeon. The Mexican–American War of 1846–1848 saw the area pass into the control of the United States under the terms of the Mexican Cession. The California Gold Rush of the next decade brought an influx of American settlers, among whom was the 30-year old George Hearst.

 

Buying the land: 1865–1919

 

Born in Missouri in 1820, George Hearst made his fortune as a miner of gold and silver, notably at the Comstock Lode and the Homestake Mine. He then undertook a political career, becoming a senator in 1886, and bought The San Francisco Examiner.

 

Investing in land, he bought the Piedra Blanca property in 1865, and subsequently extended his holdings with the acquisition of most of the Santa Rosa estate, and much of the San Simeon lands.

 

In the 1870's George Hearst built a ranch house on his estate, which remains a private property maintained by the Hearst Corporation. The San Simeon area became a site for family camping expeditions, including his young son, William. A particularly favored spot was named Camp Hill, the site of the future Hearst Castle.

 

Years later Hearst recalled his early memories of the place:

 

"My father brought me to San Simeon

as a boy. I had to come up the slope

hanging on to the tail of a pony.

We lived in a cabin on this spot and I

could see forever. That's the West –

forever."

 

George Hearst developed the estate somewhat, introducing beef and dairy cattle, planting extensive fruit orchards, and expanding the wharf facilities at San Simeon Bay. He also bred racehorses.

 

While his father developed the ranch, Hearst and his mother traveled, including an eighteen-month tour of Europe in 1873, where Hearst's life-long obsession with art collecting began.

 

When George Hearst died in 1891, he left an estate of $18 million to his widow including the California ranch. Phoebe Hearst shared the cultural and artistic interests of her son, collecting art and patronizing architects.

 

She was also a considerable philanthropist, founding schools and libraries, supporting the fledgling University of California, Berkeley, including the funding of the Hearst Mining Building in memory of her husband, and making major donations to a range of women's organizations, including the YWCA.

 

During the late 1890's, Mrs Hearst encountered Julia Morgan, a young architecture student at Berkeley. On Phoebe Hearst's death in 1919, William Hearst inherited the ranch, which had grown to 250,000 acres and 14 miles (23 km) of coastline, as well as $11 million.

 

250,000 acres is a huge area for an estate - to accommodate that area in a square, it would need sides of over 19.8 miles (32 km).

 

Within days of his mother's death, William was at Morgan's San Francisco office.

 

Julia Morgan

 

Julia Morgan, who was born in 1872, was 47 when Hearst entered her office in 1919. Her biographer Mark A. Wilson has described her subsequent career as that of:

 

"America's first independent

full-time woman architect".

 

After studying at Berkeley, where she worked with Bernard Maybeck, and in 1898 she became the first woman to win entry to the prestigious École des Beaux-Arts in Paris. Passing out from the École in 1902, Morgan returned to San Francisco and took up a post at the architectural practice of John Galen Howard.

 

Howard recognized Morgan's talents, but also exploited them:

 

"The best thing about this person

is, I pay her almost nothing, as it is

a woman."

 

In 1904, Julia passed the California architects' licensing examination, the first woman to do so, establishing her own office in 1906 at 456 Montgomery Street in San Francisco.

 

During her time with Howard, Morgan was commissioned by Phoebe Hearst to undertake work at her Hacienda del Pozo de Verona estate at Pleasanton. This led to work at Wyntoon and to a number of commissions from Hearst himself; an unexecuted design for a mansion at Sausalito, north of San Francisco, a cottage at the Grand Canyon, and the Los Angeles Examiner Building.

 

In 1919, when he turned up at Morgan's office, Hearst was fifty-six years old, and the owner of a publishing empire that included twenty-eight newspapers, thirteen magazines, eight radio stations, four film studios, extensive real-estate holdings and thirty-one thousand employees.

 

He was also a significant public figure: although his political endeavors had proved largely unsuccessful, the influence he exerted through his direct control of his media empire attracted fame and opprobrium in equal measure.

 

In 1917, one biographer described him as:

 

"The most hated man

in the country".

 

The actor Ralph Bellamy, a guest at San Simeon in the mid-1930's, recorded Hearst's working methods in a description of a party in the Assembly Room:

 

"The party was quite gay. And in the midst of it,

Mr Hearst came in. There was a teletype machine

just inside, and he stopped and he read it.

He went to a table and picked up a phone.

He asked for the editor of his San Francisco

newspaper and he said, 'Put this in a two-column

box of the front pages of all the newspapers

tomorrow morning.'

And without notes he dictated an editorial."

 

Morgan and Hearst's partnership at San Simeon lasted from 1919 until his final departure from the castle in 1947. Their correspondence, preserved in the Julia Morgan archive in the Robert E. Kennedy Library at Cal Poly San Luis Obispo, runs to some 3,700 letters and telegrams.

 

Victoria Kastner, Hearst Castle's in-house custodian, has described the partnership as "a rare, true collaboration," and there are many contemporary accounts of the closeness of the relationship. Walter Steilberg, a draughtsman in Morgan's office, once observed them at dinner:

 

"The rest of us could have been a

hundred miles away; they didn't pay

any attention to anybody ... these

two very different people just clicked".

 

Thomas Aidala, in his 1984 history of the castle, made a similar observation:

 

"Seated opposite each other, they

would discuss and review work,

consider design changes, pass

drawings back and forth ... seemingly

oblivious of the rest of the guests."

 

Having a Ball: 1925–1938

 

Hearst and his family occupied Casa Grande for the first time at Christmas, 1925. Thereafter, Hearst's wife, Millicent, went back to New York, and from 1926 until they left for the last time in 1947, Hearst's mistress Marion Davies acted as his chatelaine at the castle.

 

The Hollywood and political elite often visited in the 1920's and 1930's. Among Hearst's guests were Calvin Coolidge, Winston Churchill, Charlie Chaplin, Cary Grant, the Marx Brothers, Charles Lindbergh, and Clark Gable.

 

Churchill described his host, and Millicent Hearst and Davies, in a letter to his own wife:

 

"A grave simple child – with no doubt a

nasty temper – playing with the most

costly toys.

Two magnificent establishments, two

charming wives, complete indifference

to public opinion, oriental hospitalities."

 

Weekend guests were either brought by private train from Glendale Station north of Los Angeles, and then by car to the castle, or flew into Hearst's airstrip, generally arriving late on Friday evening or on Saturday. Cecil Beaton wrote of his impressions during his first visit for New Year's Eve in 1931:

 

"We caught sight of a vast, sparkling white

castle in Spain. It was out of a fairy story.

The sun poured down with theatrical

brilliance on tons of white marble and white

stone.

There seemed to be a thousand statues,

pedestals, urns. The flowers were unreal in

their ordered profusion.

Hearst stood smiling at the top of one of

the many flights of garden steps".

 

Guests were generally left to their own devices during the day. Horseback riding, shooting, swimming, golf, croquet and tennis were all available, while Hearst would lead mounted parties for picnics on the estate. The only absolute deadline was for cocktails in the assembly room at 7.30 on Saturday night.

 

Alcohol was rationed; guests were not permitted to have liquor in their rooms, and were limited to one cocktail each before dinner. This was due not to meanness on Hearst's part, but to his concerns over Davies's alcoholism, though the rule was frequently flouted.

 

The actor David Niven later reflected on his supplying illicit alcohol to Davies:

 

"It seemed fun at the time to stoke up

her fire of outrageous fun and I got a

kick out of feeling I had outwitted one

of the most powerful and best informed

men on earth, but what a disloyal and

crummy betrayal of him, and what a

nasty potential nail to put in her coffin."

 

Dinner was served at 9.00 in the refectory. Wine came from Hearst's 7,000-bottle cellar. Charlie Chaplin commented on the fare:

 

"Dinners were elaborate -- pheasant, wild

duck, partridge and venison -- but were

also informal: amidst the opulence, we

were served paper napkins, it was only

when Mrs Hearst was in residence that

the guests were given linen ones."

 

The informality extended to the ketchup bottles and condiments in jars which were remarked on by many guests.

 

Dinner was invariably followed by a movie; initially outside, and then in the theater. The actress Ilka Chase recorded a showing in the early 1930's:

 

"The theater was not yet complete – the plaster

was still wet – so an immense pile of fur coats

was heaped at the door, and each guest picked

one up and enveloped himself before entering...

Hearst and Marion, close together in the gloom

and bundled in their fur coats, looked for all the

world like the big and baby bears".

 

Movies were generally films from Hearst's own studio, Cosmopolitan Productions, and often featured Marion Davies. Sherman Eubanks, whose father worked as an electrician at the castle, recorded in an oral history:

 

"Mr Hearst would push a button and call up to

the projectionist and say 'Put on Marion's Peg

o' My Heart'.

So I've seen Peg o' My Heart about fifty times.

This is not being critical. I'm simply saying that's

the way it was. This repetition tended to put a

slight strain on the guests' gratitude."

 

In 1937, Patricia Van Cleeve married at the castle, the grandest social occasion there since the visit of President and Mrs Coolidge in February 1930. Ken Murray records these two events as the only occasions when formal attire was required of guests to the castle.

 

Van Cleeve, who married the actor Arthur Lake, was always introduced as Marion Davies' favorite niece. It was frequently rumored that she was in fact Davies and Hearst's daughter, something she herself acknowledged just before her death in 1993.

 

In February 1938, a plane crash at the San Simeon airstrip led to the deaths of Lord and Lady Plunket, who were traveling to the castle as Hearst's guests, and the pilot Tex Phillips. The only other passenger, the bobsledding champion, James Lawrence, survived.

 

The Specter at the Feast: Hearst, Welles and Xanadu

 

Hearst Castle was the inspiration for Xanadu, and Hearst himself the main model for Charles Foster Kane in Orson Welles's 1941 film Citizen Kane.

 

Having made his name with the Mercury Theatre production of The War of the Worlds in 1938, Welles arrived in Hollywood in 1939 to make a film version of Joseph Conrad's novel, Heart of Darkness for RKO Pictures.

 

The film was not made, and Welles began a collaboration with the screenwriter Herman J. Mankiewicz on a screenplay originally entitled American. The film tells the stories of Kane, a media magnate and aspiring politician, and of his second wife Susan Alexander, a failed opera singer driven to drink, who inhabit a castle in Florida.

 

Filming began in June 1940, and the movie premiered on the 1st. June 1941. Although at the time Orson Welles and RKO denied that the film was based on Hearst, his long-time friend and collaborator, John Houseman was clear:

 

"The truth is simple: for the basic concept

of Charles Foster Kane and for the main

lines and significant events of his public life,

Mankiewicz used as his model the figure of

William Randolph Hearst".

 

Told of the film's content before its release – his friends, the gossip columnists Hedda Hopper and Louella Parsons having attended early screenings – Hearst made strenuous efforts to stop the premiere. When these failed, he sought to damage the film's circulation by alternately forbidding all mention of it in his media outlets, or by using them to attack both the movie and Welles.

 

Hearst's assault damaged the film at the box office, and harmed Welles' subsequent career.

 

Since its inception in 1952 through to 2012, the Sight and Sound Critics' Poll voted Citizen Kane the greatest film of all time in every decade of polling. On the 9th. March 2012 the film was screened in the movie theater at Hearst Castle for the first time as part of the San Luis Obispo International Film Festival.

 

Depression, Death and After: 1939–Present

 

By the late 1930's, the Great Depression and Hearst's profligacy had brought him to the brink of financial ruin. Debts totaled $126 million, and he was compelled to cede financial control of the Hearst Corporation. Newspapers and radio stations were sold, and much of his art collection was dispersed in a series of sales, often for much less than he had paid.

 

Hearst railed against his losses, and the perceived incompetence of the sales agents, Parish-Watson & Co:

 

"They greatly cheapened them and us,

he advertises like a bargain basement

sale. I am heartbroken".

 

Construction at Hearst Castle virtually ceased. After the attack on Pearl Harbor, the castle was closed up and Hearst and Davies moved to Wyntoon, which was perceived to be less vulnerable to enemy attack.

 

They returned in 1945, and construction on a limited scale recommenced, finally ending in 1947. In early May of that year, with his health declining, Hearst and Davies left the castle for the last time. The pair settled in at 1007 North Beverly Drive in Beverly Hills.

 

William Randolph Hearst died in 1951, his death abruptly severing him from Davies, who was excluded from the funeral by Hearst's family:

 

"For thirty-two years I had him,

and they leave me with his

empty room".

 

In 1950 Julia Morgan closed her San Francisco office after a career of forty-two years. Ill health marred her retirement and she died, a virtual recluse, in early 1957.

 

In 1958 the Hearst Corporation donated Hearst Castle, its gardens, and many of its contents, to the state of California. A plaque at the castle reads:

 

"La Cuesta Encantada presented to

the State of California in 1958 by the

Hearst Corporation in memory of

William Randolph Hearst who created

this Enchanted Hill, and of his mother,

Phoebe Apperson Hearst, who

inspired it".

 

The castle was opened to the public for the first time in June 1958. Hearst Castle was added to the National Register of Historic Places on the 22nd. June.

 

Hearst was always keen to protect the mystique of his castle. In 1926, he wrote to Morgan to congratulate her after a successful party was held on the hill:

 

"Those wild movie people said it was

wonderful and that the most extravagant

dream of a movie picture fell far short of

this reality. They all wanted to make a

picture there but they are NOT going to

be allowed to do this."

 

Commercial filming at the castle is still rarely allowed. Since 1957 only two projects have been granted permission:

 

-- Stanley Kubrick's 1960 film Spartacus used the castle to stand in as the villa of Marcus Licinius Crassus, played by Lawrence Olivier.

 

-- In 2014, Lady Gaga's music video for "G.U.Y." was filmed at the Neptune and Roman Pools.

 

On the 12th. February 1976, the Casa del Sol guesthouse was damaged by a bomb. The device was placed by allies of the Symbionese Liberation Army (SLA), in retaliation for Patty Hearst, Hearst's granddaughter, testifying in court at her trial for armed robbery, following her kidnapping by the SLA in 1974.

 

On the 22nd. December 2003, an earthquake occurred with its epicenter some three miles north of the castle. With a magnitude of 6.5, it was the largest earthquake recorded at San Simeon. The very limited structural damage which resulted was a testament to the quality of the castle's construction.

 

Since its opening, the castle has become a major California tourist attraction, attracting over 850,000 visitors in 2018. Recent changes to the tour arrangements now allow visitors time to explore the grounds independently at the conclusion of the conducted tours.

 

The Hearst family maintains a connection with the castle, which was closed for a day in early August 2019 for the wedding of Amanda Hearst, Hearst's great-granddaughter.

 

The castle closed in March 2020, due to the COVID-19 pandemic. After 2 years of closure and repairs to the access road due to rainstorm damage, the castle reopened on the 11th. May 2022.

 

Architecture of Hearst Castle

 

Hearst's original idea was to build a bungalow, according to Walter Steilberg, one of Morgan's draftsmen who recalled Hearst's words from the initial meeting:

 

"I would like to build something up on

the hill at San Simeon. I get tired of

going up there and camping in tents.

I'm getting a little too old for that.

I'd like to get something that would

be a little more comfortable".

 

However within a month, Hearst's original ideas for a modest dwelling had greatly expanded. Discussion on the style began with consideration of "Jappo-Swisso" themes. Then the Spanish Colonial Revival style was favored. Morgan had used this style when she worked on Hearst's Los Angeles Herald Examiner headquarters in 1915.

 

Hearst appreciated the Spanish Revival but was dissatisfied with the crudeness of the colonial structures in California. Mexican colonial architecture had more sophistication, but he objected to its abundance of ornamentation.

 

Thomas Aidala, in his 1984 study of the castle, notes the Churrigueresque influence on the design of the main block:

 

"Flat and unembellished exterior surfaces;

decorative urges are particularized and

isolated, focused mainly on doorways,

windows and towers".

 

The Panama-California Exposition of 1915 in San Diego held the closest approximations in California to the approach Hearst desired. But William's European tours, and specifically the inspiration of the Iberian Peninsula, led him to Renaissance and Baroque examples in southern Spain that more exactly suited his tastes. He particularly admired a church in Ronda, Spain and asked Morgan to model the Casa Grande towers after it.

 

In a letter to Morgan dated 31st. December 1919, Hearst wrote:

 

"The San Diego Exposition is the best source

of Spanish in California. The alternative is to

build in the Renaissance style of southern Spain.

We picked out the towers of the church at Ronda...

a Renaissance decoration, particularly that of the

very southern part of Spain, could harmonize well

with them.

I would very much like to have your views on what

style of architecture we should select."

 

This blend of Southern Spanish Renaissance, Revival and Mediterranean examples became San Simeon's defining style:

 

"Something a little different than other

people are doing out in California".

 

The architectural writers Arrol Gellner and Douglas Keister describe Casa Grande as

 

"A palatial fusion of Classicism and Mediterranean

architecture that transcended the Mission Revival

era and instead belonged to the more archaeological

Period Revival styles that gained favor after the

Panama-California Exposition of 1915".

 

Hearst Castle has a total of 42 bedrooms, 61 bathrooms, 19 sitting rooms, 127 acres (half a square kilometer) of gardens, indoor and outdoor swimming pools, tennis courts, a movie theater, an airfield and, during Hearst's lifetime, the world's largest private zoo.

 

Hearst was an inveterate rethinker who would frequently order the redesign of previously agreed, and often built, structures: the Neptune Pool was rebuilt three times before he was satisfied.

 

He was aware of his propensity for changing his mind; in a letter dated the 18th. March 1920, he wrote to Morgan:

 

"All little houses stunning. Please complete

before I can think up any more changes".

 

As a consequence of Hearst's persistent design changes, and financial difficulties in the early and later 1930's, the complex was never finished.

 

By the late summer of 1919, Morgan had surveyed the site, analyzed its geology, and drawn initial plans for Casa Grande. Construction began in 1919 and continued through 1947 when Hearst left the estate for the last time.

 

During the early years of construction, until Hearst's stays at San Simeon became longer and more frequent, his approval for the ongoing design was obtained by Morgan sending him models of planned developments.

 

By the late 1920's the main model, designed by another female architect Julian C. Mesic, had become too large to ship, and Mesic and Morgan would photograph it, hand-color the images, and send these to Hearst.

 

Construction of Hearst Castle

 

The castle's location presented major challenges for construction. It was remote; when Morgan began coming to the estate for site visits in 1919, she would leave her San Francisco office on Friday afternoon and take an eight-hour, 200-mile train journey to San Luis Obispo, followed by a fifty-mile drive to San Simeon.

 

The relative isolation made recruiting and retaining a workforce a constant difficulty. In the early years, the estate lacked water, its limited supplies coming from three natural springs on Pine Mountain, a 3,500-foot-high (1,100 m) peak seven miles (11 km) east of Hearst Castle.

 

The issue was addressed by the construction of three reservoirs, and Morgan devised a gravity-based water delivery system that transported water from the nearby mountain springs to the reservoirs, including the main one on Rocky Butte, a 2,000-foot (610 m) knoll less than a mile southeast of Hearst Castle.

 

Water was of particular importance; as well as feeding the pools and fountains Hearst desired, it provided electricity, by way of a private hydroelectric plant, until the San Joaquin Light and Power Corporation began service to the castle in 1924.

 

The climate presented a further challenge. The proximity to the coast brought strong winds in from the Pacific Ocean, and the site's elevation meant that winter storms were frequent and severe.

 

After a period of severe storms in February 1927, Hearst wrote a letter:

 

"We are all leaving the hill. We are drowned,

blown and frozen out. Before we build anything

more, let's make what we have practical,

comfortable and beautiful.

If we can't do that we might just as well change

the names of the houses to Pneumonia House,

Diphtheria House and Influenza Bungalow.

The main house we can call the Clinic."

 

Water was also essential for the production of concrete, the main structural component of the houses and their ancillary buildings.

 

Morgan had substantial experience of building in steel-reinforced concrete and, together with the firm of consulting engineers Earl and Wright, experimented in finding suitable stone, eventually settling on that quarried from the mountain top on which the foundation platform for the castle was built.

 

Combining this with desalinated sand from San Simeon Bay produced concrete of exceptionally high quality. Later, white sand was brought in from Carmel. Material for construction was transported either by train and truck, or by sea into a wharf built in San Simeon Bay below the site. In time, a light railway was constructed from the wharf to the castle, and Morgan built a compound of warehouses for storage and accommodation for workers by the bay.

 

Brick and tile works were also developed on site, as brick was used extensively, and tiling was an important element of the decoration of the castle. Morgan used several tile companies to produce her designs, including Grueby Faience, Batchelder, California Faience and Solon & Schemmel.

 

Albert Solon and Frank Schemmel came to Hearst Castle to undertake tiling work, and Solon's brother, Camille, was responsible for the design of the mosaics of blue-and-gold Venetian glass tile used in the Roman pool and the murals in Hearst's Gothic library.

 

Morgan worked with a series of construction managers; Henry Washburn from 1919 to 1922, then Camille Rossi from 1922, until his firing by Hearst in 1932, and finally George Loorz until 1940. From 1920 to 1939, there were between 25 and 150 workmen employed in construction at the castle.

 

Costs of Hearst Castle

 

The exact cost of the entire San Simeon complex is unknown. Kastner makes an estimate of expenditure on construction and furnishing the complex between 1919 and 1947 as "under $10,000,000".

 

Thomas Aidala suggests a slightly more precise figure for the overall cost at between $7.2 and $8.2 million. Hearst's relaxed approach to using the funds of his companies, and sometimes the companies themselves, to make personal purchases made clear accounting for expenditure almost impossible.

 

In 1927 one of his lawyers wrote:

 

"The entire history of your corporation

shows an informal method of withdrawal

of funds".

 

In 1945, when the Hearst Corporation was closing the Hearst Castle account for the final time, Morgan gave a breakdown of construction costs, which did not include expenditure on antiques and furnishings.

 

Casa Grande's build cost is given as $2,987,000, and that for the guest houses, $500,000. Other works, including nearly half a million dollars on the Neptune pool, brought the total to $4,717,000.

 

Morgan's fees for twenty-odd years of almost continuous work came to $70,755. Her initial fee was a 6% commission on total costs. This was later increased to 8.5%. Many additional expenses, and challenges in getting prompt payment, led her to receive rather less than this.

 

Kastner suggests that Morgan made an overall profit of $100,000 on the entire, twenty-year, project. Her modest remuneration was unimportant to her. At the height of Hearst's financial travails in the late 1930's, when his debts stood at over $87 million, Morgan wrote to him,

 

"I wish you would use me in any way

that relieves your mind as to the care

of your belongings. There never has

been, nor will there be, any charge in

this connection, it is an honor and a

pleasure".

 

Casa del Mar

 

Casa del Mar, the largest of the three guest houses, provided accommodation for Hearst himself until Casa Grande was ready in 1925. He stayed in the house again in 1947, during his last visit to the estate.

 

Casa del Mar contains 5,350 square feet (546 square meters) of floor space. Although luxuriously designed and furnished, none of the guest houses had kitchen facilities, a lack that sometimes irritated Hearst's guests. Adela Rogers St. Johns recounted her first visit:

 

"I rang and asked the maid for coffee.

With a smile, she said I would have to

go up to the castle for that.

I asked Marion Davies about this. She

said W. R. Hearst did not approve of

breakfast in bed."

 

Adjacent to Casa del Mar is the wellhead from Phoebe Hearst's Hacienda del Pozo de Verona, which Hearst moved to San Simeon when he sold his mother's estate after her death in 1919.

 

Casa del Monte

 

Casa del Monte was the first of the guest houses, originally entitled simply Houses A (del Mar), B (del Monte) and C (del Sol). It was built by Morgan on the slopes below the site of Casa Grande during 1920–1924.

 

Hearst had initially wanted to commence work with the construction of the main house, but Morgan persuaded him to begin with the guest cottages because the smaller structures could be completed more quickly.

 

Each guest house faces the Esplanade, and appears as a single story at its front entrance. Additional stories descend rearward down the terraced mountain side. Casa del Monte has 2,550 sq ft (237 sq. meters) of living space.

 

Casa del Sol

 

The decorative style of the Casa del Sol is Moorish, accentuated by the use of antique Persian tiles. A bronze copy of Donatello's David stands atop a copy of an original Spanish fountain.

 

The inspiration for the fountain came from an illustration in a book, The Minor Ecclesiastical, Domestic and Garden Architecture of Southern Spain, written by Austin Whittlesey and published in 1919.

 

Hearst sent a copy to Morgan, while retaining another for himself, and it proved a fertile source of ideas. The size of the house is 3,620 square feet (242 sq. meters).

 

Morgan's staff were responsible for the cataloguing of those parts of Hearst's art collection which were shipped to California, and an oral record made in the 1980's indicates the methodology used for furnishing the buildings at San Simeon:

 

"We would set the object up, and then I would

stand with a yardstick to give it scale. Sam Crow

would take a picture. Then we would give it a

number and I would write a description.

These were made into albums.

When Mr Hearst would write and say 'I want a

Florentine mantel in Cottage C in Room B, and

four yards of tiles,' then we would look it up in

the books and find something that would fit."

 

Casa Grande

 

Construction of Casa Grande began in April 1922. Work continued almost until Hearst's final departure on the 2nd. May 1947, and even then the house was unfinished. The size of Casa Grande is 68,500 square feet (5,634 sq. meters).

 

The main western façade is four stories. The entrance front, inspired by a gateway in Seville, is flanked by twin bell towers modeled on the tower of the church of Santa Maria la Mayor.

 

The layout of the main house was originally to a T-plan, with the assembly room to the front, and the refectory at a right angle to its center. The subsequent extensions of the North and South wings modified the original design.

 

As elsewhere, the core construction material is concrete, though the façade is faced in stone. In October 1927 Morgan wrote to Arthur Byne:

 

"We finally took the bull by the horns

and are facing the entire main building

with a Manti stone from Utah."

 

Morgan assured Hearst that it would be "the making of the building".

 

A cast-stone balcony fronts the second floor, and another in cast-iron the third. Above this is a large wooden overhang or gable. This was constructed in Siamese teak, originally intended to outfit a ship, which Morgan located in San Francisco.

 

The carving was undertaken by her senior carver Jules Suppo. Sara Holmes Boutelle suggests Morgan may have been inspired by a somewhat similar example at the Mission San Xavier del Bac in Arizona. The façade terminates with the bell towers, comprising the Celestial suites, the carillon towers and two cupolas.

 

The curator Victoria Kastner notes a particular feature of Casa Grande, the absence of any grand staircases. Access to the upper floors is either by elevators or stairwells in the corner turrets of the building. Many of the stairwells are undecorated and the plain, poured concrete contrasts with the richness of the decoration elsewhere.

 

The terrace in front of the entrance, named Central Plaza, has a quatrefoil pond at its center, with a statue of Galatea on a Dolphin. The statue was inherited, having been bought by Phoebe Hearst when her son was temporarily short of money.

 

The doorway from the Central Plaza into Casa Grande illustrates Morgan and Hearst's relaxed approach to combining genuine antiques with modern reproductions to achieve the effects they both desired. A 16th.-century iron gate from Spain is topped by a fanlight grille, constructed in a matching style in the 1920's by Ed Trinkeller, the castle's main ironmonger.

 

The castle made use of the latest technology. Casa Grande was wired with an early sound system, allowing guests to make music selections which were played from a Capehart phonograph located in the basement, and piped into rooms in the house through a system of speakers. Alternatively, six radio stations were available.

 

The entire estate was also equipped with 80 telephones, operated through a PBX switchboard, which was staffed 24 hours a day, and ran under the exclusive exchange 'Hacienda'.

 

Fortune recorded an example of Hearst's delighting in the ubiquitous access the system provided:

 

"A guest) fell to wondering about the result

of a ball game while seated by a campfire

with Mr Hearst, a day's ride from the castle.

'I'll tell you' volunteers Mr Hearst and,

fumbling with the rock against which he was

leaning, pulls from there a telephone, asks

for New York, and relieves his guest's curiosity".

 

The Assembly Room

 

The assembly room is the main reception room of the castle, described in 1985 by Taylor Coffman as:

 

"One of San Simeon's most

magnificent interiors".

 

The fireplace, originally from a Burgundian chateau in Jours-lès-Baigneux, is named the Great Barney Mantel, after a previous owner, Charles T. Barney, from whose estate Hearst bought it after Barney's suicide.

 

The ceiling is from an Italian palazzo. A concealed door in the paneling next to the fireplace allowed Hearst to surprise his guests by entering unannounced. The door opened off an elevator which connected with his Gothic suite on the third floor.

 

The assembly room, completed in 1926, is nearly 2,500 square feet in extent, and was described by the writer and illustrator Ludwig Bemelmans as:

 

"Looking like half of Grand

Central Station".

 

The room held some of Hearst's best tapestries. These include four from a set celebrating the Roman general Scipio Africanus, designed by Giulio Romano, and two copied from drawings by Peter Paul Rubens depicting The Triumph of Religion.

 

The need to fit the tapestries above the paneling and below the roof required the installation of the unusually low windows.

 

The room has the only piece of Victorian decorative art in the castle, the Orchid Vase lamp, made by Tiffany for the Exposition Universelle held in Paris in 1889. It was bought by Phoebe Hearst, who had the original vase converted to a lamp. William placed it in the assembly room in tribute to his mother.

 

The Refectory

 

The refectory was the only dining room in the castle, and was built between 1926 and 1927. The choir stalls which line the walls are from the La Seu d'Urgell Cathedral in Catalonia, and the silk flags mounted on the walls are Palio banners from Siena.

 

Hearst originally intended a "vaulted Moorish ceiling" for the room but, finding nothing suitable, he and Morgan settled on the Italian Renaissance example, dating from around 1600, which Hearst purchased from a dealer in Rome in 1924.

 

Victoria Kastner considered that the flat roof, with life-size carvings of saints:

 

"Strikes a discordant note of

horizontality among the vertical

lines of the room".

 

The style of the whole is Gothic, in contrast to the Renaissance approach adopted in the preceding assembly room. The refectory is said to have been Morgan's favorite interior within the castle.

 

The design of both the refectory and the assembly room was greatly influenced by the monumental architectural elements, especially the fireplaces and the choir stalls used as wainscoting, and works of art, particularly the tapestries, which Hearst determined would be incorporated into the rooms.

 

The central table provided seating for 22 in its usual arrangement of two tables, which could be extended to three or four, on the occasion of larger gatherings. The tables were sourced from an Italian monastery, and were the setting for some of the best pieces from Hearst's collection of silverware. One of the finest is a wine cooler dating from the early 18th. century and weighing 14.2 kg by the Anglo-French silversmith David Willaume.

 

The Library

 

The library is on the second floor, directly above the assembly room. The ceiling is 16th. century Spanish, and a remnant is used in the library's lobby. It comprises three separate ceilings, from different rooms in the same Spanish house, which Morgan combined into one.

 

The fireplace is the largest Italian example in the castle. Carved from limestone, it is attributed to the medieval sculptor and architect Benedetto da Maiano.

 

The library contains a collection of over 5,000 books, with another 3,700 in Hearst's study above. The majority of the library collections, including Hearst's choicest pieces from his sets of, often signed, first editions by Charles Dickens, his favorite author, were sold at sales at Parke-Bernet at 1939 and Gimbels in 1941. The library is also the location for much of Hearst's important holding of antique Greek vases.

 

The Cloisters and the Doge's Suite

 

The Cloisters form a grouping of four bedrooms above the refectory and, along with the Doge's Suite above the breakfast room, were completed in 1926. The Doge's Suite was occupied by Millicent Hearst on her rare visits to the castle.

 

The room is lined with blue silk, and has a Dutch painted ceiling, in addition to two more of Spanish origin, which was once the property of architect Stanford White.

 

Morgan also incorporated an original Venetian loggia in the suite, refashioned as a balcony. The suite leads on to Morgan's inventive North and South Duplex apartments, with sitting areas and bathrooms at entry level and bedrooms on mezzanine floors above.

 

The Gothic Suite

 

The Gothic suite was Hearst's private apartment on the third floor. He moved there in 1927. It comprises the Gothic study or library and Hearst's own South Gothic bedroom and private sitting room.

 

The ceiling of the bedroom is one of the best Hearst bought; Spanish, of the 14th. century, it was discovered by his Iberian agent Arthur Byne who also located the original frieze panels which had been detached and sold some time before.

 

The whole was installed at the castle in 1924. The space originally allocated for the study was too low to create the impression desired by Morgan and Hearst, a difficulty Morgan surmounted by raising the roof and supporting the ceiling with concrete trusses.

 

These, and the walls, were painted with frescoes by Camille Solon. Light was provided by two ranges of clerestory windows. The necessity of raising the roof to incorporate the study occasioned one of the few instances where Hearst hesitated:

 

"I telegraphed you my fear of the cost...

I imagine it would be ghastly."

 

Nevertheless Morgan urged further changes and expense. The result vindicated Morgan. The study, completed in 1931, is dominated by a portrait of Hearst at age 31, painted by his life-long friend, Orrin Peck.

 

The Celestial Suites

 

The Celestial bedrooms, with a connecting, shared, sitting room, were created between 1924 and 1926. The bell towers were raised to improve the proportions of the building, and the suites constructed in the spaces created below.

 

The relatively cramped spaces allowed no room for storage, and en-suite bathrooms were "awkwardly squeezed" into lower landings. Ludwig Bemelmans, a guest in the 1930's, recalled:

 

"There was no place to hang your

clothes, so I hung mine on wire

coat hangers that a former tenant

had left hanging on the arms of

two six-armed gold candelabra,

the rest I put on the floor".

 

The sitting room contains one of the most important paintings in Hearst's collection, Bonaparte Before the Sphinx (1868) by Jean-Léon Gérôme. The suites are linked externally by a walkway, the Celestial Bridge, which is decorated with elaborate tiling.

 

The North and South Wings

 

The North, or Billiard, and the South, or Service, wings complete the castle, and were begun in 1929.

 

The North wing houses the billiard room on the first floor, which was converted from the original breakfast room. It has a Spanish antique ceiling and a French fireplace, and contains the oldest tapestry in the castle, a Millefleur hunting scene woven in Flanders in the 15th. century.

 

The spandrel over the doorcase is decorated with a frieze of 16th. century Persian tiles depicting a battle. The 34 tiles originate from Isfahan and were purchased by Hearst at the Kevorkian sale in New York in 1922.

 

The theater, which leads off the billiard room, was used both for amateur theatricals and the showing of movies from Hearst's Cosmopolitan Studios. The theater accommodated fifty guests and had an electric keyboard that enabled the bells in the carillon towers to be played. The walls are decorated in red damask, which originally hung in the Assembly room, and feature gilded caryatids.

 

The upper stories of the North Wing were the last to be worked upon, and were never completed. Activity recommenced in 1945 and Morgan delegated the work to her assistant, Warren McClure. Many of the rooms are unfinished, but Aidala considers that the bathrooms in the wing represent first-rate examples of streamline design.

 

The Service Wing contains the kitchen. The hotel-scale units and worktops are constructed in Monel Metal, an expensive form of nickel alloy invented in 1901. The wing contains further bedroom suites, a staff dining room, and gives entry to the 9,000 square foot basement which contained a wine cellar, pantries, the boiler plant which heated the main house, and a barber shop, for the use of Hearst's guests.

 

Planned but Uncompleted Elements

 

Hearst and Morgan intended a large ballroom or cloister to connect the North and South wings at the rear of Casa Grande and unify the whole composition, but it was never undertaken.

 

In 1932, Hearst contemplated incorporating the reja (grille) he had acquired from Valladolid Cathedral in 1929 into this room. He described his vision in a letter to Morgan dated that year:

 

"A great ballroom and banqueting hall,

that is the scheme! Isn't it a pippin."

 

The letter was signed "Sincerely, Your Assistant Architect".

 

Other structures that did not develop beyond drawings and plans included two more guest houses, in English and Chinese architectural styles.

 

Collections

 

After a visit to Ansiglioni's workshop in 1889, William wrote the following in a letter to his mother:

 

"Why didn't you buy Ansiglioni's Galatea. It is

superb...I have a great notion to buy it myself,

the one thing that prevents me is a scarcity of

funds.

The man wants eight thousand dollars for the

blooming thing. I have the art fever terribly.

Queer, isn't it?

I never miss a gallery and I go and nosey about

the pictures and statuary and wish they were mine."

 

Hearst was a voracious collector of art, with the stated intention of making the castle "a museum of the best things that I can secure."

 

The dealer Joseph Duveen, from whom Hearst bought despite their mutual dislike, called him the "Great Accumulator." His robust approach to buying, particularly the purchase and removal of entire historic structures, generated considerable ill-feeling, and sometimes outright opposition.

 

William's deconstruction and removal of the 14th. century Bradenstoke Priory in England led the Society for the Protection of Ancient Buildings to organize a campaign which used language so violent that its posters had to be pasted over for fear of a libel suit.

 

Hearst sometimes encountered similar opposition elsewhere. In 1919 he was writing to Morgan about:

 

"The patio from Bergos (sic) which, by the

way, I own but cannot get out of Spain".

 

The dismantling of a monastery in Sacramenia, which Hearst bought in its entirety in the 1920's, saw his workmen attacked by enraged villagers.

 

Hearst's tardiness in paying his bills was another less attractive feature of his purchasing approach; in 1925 Morgan was obliged to write to Arthur Byne:

 

"Mr. Hearst accepts your

dictum – cash or nothing".

 

Some of the finest pieces from the collections of books and manuscripts, tapestries, paintings, antiquities and sculpture, amounting to about half of Hearst's total art holdings, were sold in sales in the late 1930's and early 1940's, when Hearst's publishing empire was facing financial collapse, but a great deal remains.

 

William's art buying had started when he was young and, in his tested fashion, he established a company, the International Studio Arts Corporation, as a vehicle for purchasing works and as a means of dealing with their export and import.

 

In 1975, the Hearst Corporation donated the archive of Hearst's Brooklyn warehouses, the gathering point for almost all of his European acquisitions before their dispersal to his many homes, to Long Island University.

 

As of 2015, the university has embarked on a digitization project which will ultimately see the 125 albums of records, and sundry other materials, made available online.

 

Antiquities

 

The ancient Egyptian, Greek and Roman antiquities are the oldest works in Hearst's collection. The oldest of all are the stone figures of the Egyptian goddess Sekhmet which stand on the South Esplanade below Casa Grande. They date from the Eighteenth and Nineteenth Dynasties, approximately 1550 to 1189 BC.

 

Morgan designed the pool setting for the pieces, with tiling inspired by ancient Egyptian motifs. In the courtyard of Casa del Monte is one of a total of nine Roman sarcophagi collected by Hearst, dated to 230 AD, and previously held at the Palazzo Barberini, which was acquired at the Charles T. Yerkes sale in 1910.

 

The most important element of the antiquities collection is the holding of Greek vases, on display in the second-floor library. Although 65 vases were purchased by the Metropolitan Museum of Art in New York after Hearst's death, those which remain at the castle still form one of the world's largest private groups. Hearst began collecting vases in 1901, and his collection was moved from his New York homes to the castle in 1935.

 

At its peak, the collection numbered over 400 pieces. The vases were placed on the tops of the bookshelves in the library, each carefully wired in place to guard against vibrations from earthquakes. At the time of Hearst's collecting, many of the vases were believed to be of Etruscan manufacture, but later scholars ascribe all of them to Greece.

 

Sculptures

 

Hearst often bought multiple lots from sales of major collections; in 1930 he purchased five antique Roman statues from the Lansdowne sale in London. Four are now in the collection of the Los Angeles County Museum of Art, and one in the Metropolitan.

 

William collected bronzes as well as marble figures; a cast of a stone original of Apollo and Daphne by Bernini, dating from around 1617, stands in the Doge's suite.

 

In addition to his classical sculptures, Hearst was content to acquire 19th. century versions, or contemporary copies of ancient works:

 

"If we cannot find the right thing

in a classic statue, we can find a

modern one".

 

He was a particular patron of Charles Cassou, and also favored the early 19th. century Danish sculptor Bertel Thorvaldsen whose Venus Victorious remains at the castle.

 

Both this, and the genuinely classical Athena from the collection of Thomas Hope, were displayed in the Assembly room, along with the Venus Italica by Antonio Canova. Other works by Thorvaldsen include the four large marble medallions in the Assembly room depicting society's virtues.

 

Two 19th. century marbles are in the anteroom to the Assembly room, Bacchante, by Frederick William MacMonnies, a copy of his bronze original, and Pygmalion and Galatea by Gérôme.

 

A monumental statue of Galatea, attributed to Leopoldo Ansiglioni and dating from around 1882, stands in the center of the pool on the Main terrace in front of Casa Grande.

 

Textiles

 

Tapestries include the Scipio set by Romano in the Assembly room, two from a set telling the Biblical story of Daniel in the Morning room, and the millefleur hunting scene in the Billiard room. The hunting scene is particularly rare, one of only "a handful from this period in the world".

 

Hearst also assembled and displayed an important collection of Navajo textiles at San Simeon, including blankets, rugs and serapes. Most were purchased from Herman Schweizer, who ran the Indian Department of the Fred Harvey Company.

 

Originally gathered at Hearst's hacienda at Jolon, they were moved to Wyntoon in 1940 before being brought to San Simeon. They were finally donated to the Los Angeles County Museum of Art in 1942.

 

Hearst was always interested in pieces that had historical and cultural connections to the history of California and Central and Latin America. The North Wing contains two Peruvian armorial banners. Dating from the 1580's, they show the shields of Don Luis Jerónimo Fernández Cabrera y Bobadilla, Count of Chinchón and viceroy of Peru.

 

Nathaniel Burt, the composer and critic evaluated the collections at San Simeon thus:

 

"Far from being the mere kitsch that

most easterners have been led to

believe, San Simeon is full of real

beauties and treasures".

 

Paintings

 

The art collection includes works by Tintoretto, whose portrait of Alvisius Vendramin hangs in the Doge's suite, Franz Xaver Winterhalter who carried out the double portraits of Maximilian I of Mexico and his empress Carlota, located in Casa del Mar, and two portraits of Napoléon by Jean-Léon Gérôme.

 

Hearst's earliest painting, a Madonna and Child from the school of Duccio di Buoninsegna, dates from the early 14th. century. A gift from his friend, the editor Cissy Patterson, the painting hangs in Hearst's bedroom.

 

Portrait of a Woman, by Giulio Campi, hangs in a bedroom in the North Wing. In 1928 Hearst acquired the Madonna and Child with Two Angels, by Adriaen Isenbrandt.

 

The curator Taylor Coffman describes this work, which hangs in the Casa del Mar sitting room, as perhaps "San Simeon's finest painting". In 2018, a previously unattributed Annunciation in the Assembly room was identified as a work of 1690 by Bartolomé Pérez.

 

The Gardens and Grounds of Hearst Castle

 

The Esplanade, a curving, paved walkway, connects the main house with the guest cottages; Hearst described it as:

 

"Giving a finished touch to the big

house, to frame it in, as it were."

 

Morgan designed the pedestrianized pavement with great care, to create a coup de théâtre for guests, desiring:

 

"A strikingly noble and saississant effect

be impressed upon everyone on arrival."

 

Hearst concurred:

 

"Heartily approve. I certainly want that

saississant effect. I don't know what it

is, but I think we ought to have at least

one such on the premises".

 

A feature of the gardens are the lampposts topped with alabaster globes; modeled on "janiform hermae", the concept was Hearst's. The Swan lamps, remodeled with alabaster globe lights to match the hermae, were designed by Morgan's chief draftsman, Thaddeus Joy.

 

Others who influenced Hearst and Morgan in their landscaping include Charles Adams Platt, an artist and gardener who had made a particular study of the layout and planting of Italian villas. Also Nigel Keep, Hearst's orchardman, who worked at San Simeon from 1922 to 1947, and Albert Webb, Hearst's English head gardener who was at the hill from 1922 to 1948.

 

The Neptune Pool

 

The Neptune Pool, "the most sumptuous swimming pool on earth", is located near the edge of the hilltop. It is enclosed by a retaining wall and underpinned by a framework of concrete struts to allow for movement in the event of earthquakes.

 

The pool is often cited as an example of Hearst's changeability; it was reconstructed three times before he was finally satisfied. Originally begun as an ornamental pond, it was first expanded in 1924 as Millicent Hearst desired a swimming pool.

 

It was enlarged again during 1926–1928 to accommodate Cassou's statuary. Finally, in 1934, it was extended again to act as a setting for a Roman temple, in part original and in part comprising elements from other structures which Hearst transported from Europe and had reconstructed at the site.

 

The pool holds 345,000 gallons of water, and is equipped with seventeen shower and changing rooms. It was heated by oil-fired burners. In early 2014, the pool was drained due to drought conditions and leakage.

 

After a long-term restoration project to fix the leaking, the pool was refilled in August 2018. The restoration of the pool was recognized with a Preservation Design Award for Craftsmanship from the California Preservation Foundation in 2019.

 

The pool is well-supplied with sculpture, particularly works by Charles Cassou. His centerpiece, opposite the Roman temple, is The Birth of Venus. An even larger sculptural grouping, depicting Neptune in a chariot drawn by four horses, was commissioned to fill the empty basin above the Venus. Although carved, it was never installed.

 

Roman Pool

 

The Roman Pool, constructed under the tennis courts, provided an indoor alternative to the Neptune pool. Originally mooted by Hearst in 1927, construction did not begin until 1930, and the pool was not completed until 1935.

 

Hearst initially wanted the pool to be fed by salt-water, but the design challenges proved to be insuperable. A disastrous attempt to fulfill Hearst's desires by pouring 20 tons of washed rock salt into the pool saw the disintegration of the cast-iron heat exchanger and pump.

 

Inspiration for the mosaic decoration came from the Mausoleum of Galla Placidia in Ravenna. The tiles are of Murano glass, with gold-leaf, and were designed by Solon and manufactured in San Francisco.

 

Although a pool of "spectacular beauty", it was little used as it was located in a less-visited part of the complex.

 

The Pergola and Zoo

 

Two other major features of the grounds were the pergola and the zoo. The pergola, an ornamental bridleway, runs to the west of Casa Grande. Comprising concrete columns, covered in espaliered fruit trees, Morgan ensured that it was built to a height sufficient to allow Hearst, "a tall man with a tall hat on a tall horse", to ride unimpeded down its mile-long length.

 

Plans for a zoo, to house Hearst's large collection of wild animals, were drawn up by Morgan, and included an elephant house and separate enclosures for antelopes, camels, zebras and bears. The zoo was never constructed, but a range of shelters and pits were built, sited on Orchard Hill.

 

The Estate

 

At the height of Hearst's ownership, the estate totaled more than 250,000 acres. W. C. Fields commented on the extent of the estate while on a visit:

 

"Wonderful place to bring up children.

You can send them out to play. They

won't come back till they're grown."

 

23 miles to the north of the castle, Morgan constructed the Milpitas Hacienda, a ranch-house that acted as a trianon to the main estate, and as a focus for riding expeditions.

 

Appraisals of Hearst Castle

 

As with Hearst himself, Hearst Castle and its collections have been the subject of considerable criticism. From the 1940's the view of Hearst and Morgan's most important joint creation as the phantasmagorical Xanadu of Orson Welles's imagination has been commonplace.

 

Some literary depictions were gently mocking; P. G. Wodehouse's novel of 1953, The Return of Jeeves has a character describe her stay:

 

"I remember visiting San Simeon once,

and there was a whole French Abbey

lying on the grass."

 

John Steinbeck's unnamed description was certainly of Hearst:

 

"They's a fella, newspaper fella near the

coast, got a million acres. Fat, sof' fella

with little mean eyes an' a mouth like a

ass-hole".

 

The writer John Dos Passos went further, explicitly referencing Hearst in the third volume of his 1938 U.S.A trilogy:

 

"The emperor of newsprint retired to his

fief of San Simeon where he built an

Andalusian palace and there spends his

last years amid the relaxing adulations

of screen stars, admen, screenwriters,

publicity-men, columnists.

Until he dies, a spent Caesar grown old

with spending."

 

The English architectural writer Clive Aslet was little more complimentary about the castle. Disliking its "unsympathetic texture of poured concrete", he described it as "best seen from a distance".

 

The unfinished, and unresolved, rear façade of Casa Grande has been the subject of particular negative comment; Carleton Winslow and Nicola Frye, in their history from 1980, suggest:

 

"The flanking North and South wings

compete rather disastrously with the

central doge's suite block."

 

Others questioned the castle's very existence; the architect Witold Rybczynski asked:

 

"What is this Italian villa doing on the

Californian Coastal Range? A costly

piece of theatrical décor that ignores

its context and lacks meaning."

 

Hearst's collections were similarly disparaged. The art historian William George Constable echoed Joseph Duveen when he assessed Hearst as:

 

"Not a collector but a gigantic

and voracious magpie."

 

Later decades after Hearst's death have seen a more sympathetic and appreciative evaluation of his collections, and the estate he and Morgan created to house them.

 

The director of the Metropolitan Museum of Art, Thomas Hoving, although listing Hearst only at number 83 in his evaluation of America's top 101 art collectors, wrote:

 

"Hearst is being reevaluated. He may

have been much more of a collector

than was thought at the time of his

death."

 

The curator Mary Levkoff, in her 2008 study, Hearst the Collector, contends that he was indeed a collector, describing the four separate "staggeringly important" collections of antique vases, tapestries, armor and silver which Hearst had brought together.

 

She wrote of the challenge of bringing their artistic merit to light from under the shadow of his own reputation.

 

Of Morgan's building, its stock has risen with the re-evaluation of her standing and accomplishments, which saw her inducted into the California Hall of Fame in 2008. She became the first woman to receive the American Institute of Architects Gold Medal in 2014, and to have an obituary in The New York Times as recently as 2019.

 

The writer John Julius Norwich recorded his recantation after a visit to the castle:

 

"I went prepared to mock; I remained

to marvel. Hearst Castle is a palace in

every sense of the word."

 

Final Thoughts From William Randolph Hearst

 

"News is something somebody doesn't

want printed; all else is advertising.”

 

"Don't be afraid to make a mistake,

your readers might like it."

 

"Putting out a newspaper without

promotion is like winking at a girl

in the dark -- well-intentioned, but

ineffective."

 

"Truth is not only stranger than

fiction, it is more interesting."

 

"You must keep your mind on the

objective, not on the obstacle."

Ah! Post WW2 planners utopia! As early as 1942/43 British planners were looking ahead to post-war reconstruction - both to deal with the devastation of Britain's urban fabric by enemy bombing as well as the social and economic 'evils' of much of the unchecked Victorian urban and industrial expansion. Hitherto much of the methodology behind contemporary urban expansion and new housing was to manage the rapid suburban development that, in many cities had lead to edge of town development of 'suburbia' - interestingly loved by those who lived and aspired to such 'semis' and hated by planners and architects as drab fungal growths on the urban fringe ('subtopia'). The other great priority was slum clearance and in-city redvelopment of existing urban areas. Most British towns, cities and regions produced massive development plans and these were to form the foundation of many elements of post-war construction - most notably in the landmark Town & Country Planning Act of 1947 in which the new Labour Government enshrined the production of planning and plans themselves, introduced the 'green belt' concept to protect the boundaries of existing and pushed for the construction of quite a British solution - "New Towns". In the 1940s and '50s numerous New Towns were 'designated' including a ring of such towns around London that had been suggested in the 1944 Greater London Plan. This magnificent volume, sister to the 1943 County of London Plan, was largely authored by one of the doyen of UK planning, Patrick Abercrombie. It put forward plans that helped formulate various of the London 'new towns' - one site considered was the large Essex village of Chipping Ongar, better known as Ongar. Eventually Ongar was de-selected in c1947 largely because of the cost of the ambitious transport plans involving the London - Ongar branch railway line - the scheme would have seen extension of the line into a loop running through to Brentwood and electrification. This foundered, due to potential costs in post-war austerity - had it happened the history of the branch (that ended up being reluctantly electrified as part of London Transport's Central line and eventually abandoned in 1994) would have been very, very different. Anyhow - the Plan contains some illustrations of the 'new world' proposed - by the illustrator Peter Shepheard, they are in that marvellous style that seems so utopian to us now but must have been so asperational and vital to a British population that had suffered years of war, depression and who often lived in crowded, drab slums. Here we see spring in the air at the sleek lines of a proposed neighbourhood shopping centre that would have helped form the nucleus of the Greensted 'village' to the west of Ongar. Much was made of the traffic free environment - this form of segregation was seen as being key to allow the relaxed, carefree lifestyle New Towns would offer. Happy women and children, cavorting with cats and dogs (I see no men - they're all at work!) do the daily shopping, having arrived by foot or London Transport bus - one of the drawbacks of many post-war plans was the inability to deal with late 20th century growth in personal ownership of motor cars that is seen in road sizes and car parking in many UK towns and cities. In the evening you could have gone to the Greensted Ritz - to see Carmen Miranda in Rio, I'm amazed it isn't 'Brave New World"!

 

If Ongar didn't get off the drawing board a neighbouring Essex village of Harlow did and was to see precisely the sorts of changes that Ongar had illustrated. Harlow, designated in 1947, saw many of these proposals implemented and, in time, was seen to be the most successful of the 'New Towns'. Places such as Harlow are easily sneered at I fear but one has to admire the energy and passion put into the intention to 'better' peoples lives, whatever you think of the planning and concepts. Interesting that now, in 2014, a new generation of New Towns is proposed to help manage the UK's housing shortage - based on the premise that the 1947 Act, now seen by some as being at the roots of the 'strangulation' of urban development, has been radically overturned we may turn back to one of the very concepts that engendered such centralised planning!

Om Namo Shivan aka Apollo of Pluralism

Being photographed after 2nd Chobi Mela IX workshop. Working Internationally: Strategies and Methodologies. Shafiq Alam AFP, Abir Abdullah EPA, Shahidul Alam Drik/Pathshala at Pathshala South Asian Media Institute

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.

 

Carved figures of the Green Man appear on our churches and cathedrals yet this is an ancient pagan symbol of rebirth, traditionally associated with May Day…

Ellen Castelow

~

www.historic-uk.com/CultureUK/The-Green-Man/

~

ai/gimp

TUCSON, AZ — Pictured here are three light meters that I use.

 

Our tools and methodology often are the result of the type of photography that we do, or would like to do. Often a piece of equipment is purchased to solve a particular problem.

 

People have criticized me for actually using a light meter. I don’t always. In fact when I started, my teacher wouldn’t even allow my to have a camera that had one. But it saves me time and having to retake photos. As a young reporter, I HATED having to retake photos. Way to much work, and it irritated the people around me.

 

Historically, my most often used light meter is the Pentax Spotmeter V (pictured at the right). In fact I have two of them, and they both have served me well. To be able to be point at sections of my subject and read how much light is reflecting allows me to plan how I will shape the photo. This mostly came about when a photog could take multiple images, at multiple exposures and splice them together. How wonderful!!!

 

The other light meters, the Sekonic L-758DR, and the Sekonic C-500, I plan to write about at another date.

 

The images were tagged with Photo Mechanic 6; camera and lens profiles were added added with Photoshop Lightroom and then merged using Photomatix. The images were spruced-up using the Topaz filter Denoise AI and Adjust AI and the final was touched-up using Adobe Photoshop.

 

__________

PENTAX 645Z

SMC Pentax-FA 645 120mm F4 Macro

ISO 100, ƒ4, ⅛-30 seconds

In Disney, I tried to really nail good shots, moving away from a spray-and-pray methodology I started with; accuracy by volume if you will. More often than not, I was nailing the shot I wanted in 2 to 3 frames, which really made me happy. I've finally noticed how a shot sets up in the viewfinder, how everything comes together. This is one of those shots I nailed in two, and only then by accident (I had left my camera on Continuous High from trying some HDR bracketing). I just love Spaceship Earth. Do I have to say anymore than that?

 

This shot looks way better on black, so tap L on your keyboard please!

 

Buy prints on SmugMug! | Like me on Facebook! | Follow me on Twitter! | Check out my website!

  

Considered, methodological, quiet, contemplative.

Today’s film photographer isn’t someone you’ll likely see running after the next shot. He plods, ponders, thinks, frames and shoots before moving on to pastures new. Welcome to the world of Colin Wilson; 35mm and 120 shooter ...

 

emulsive.org/interviews/i-am-colin-wilson-and-this-is-why...

 

#ColinWilson #Hasselblad #Hasselblad501CM #IlfordHP5 #ImpossibleProject #KodakEktar100 #Pentax #PentaxLX

Lord Ra Riaz Gohar Shahi says, ‘I have written down in my book (thereligionofgod.com/) the methodology of how to obtain God, how to bring God in the heart. Exercise the method. If you’re Christian and need help, call upon Jesus to come and help you. If you are a Jew, call upon Abraham or Moses to come and help you. If you are a Muslim, call upon Prophet Mohammad or any relevant saint.’ If they do not appear to help you, in the end when you are helpless and hopeless, then Lord Ra Riaz Gohar Shahi invites you to put Gohar Shahi to the test. Now, Gohar Shahi says, ‘Call upon me and put me to a test.’ After this sentence, don’t ask me whether or not Gohar Shahi will help you. Put Gohar Shahi to a test. - HH Younus AlGohar, CEO of MFI

Another take on droplets collision. Same methodology as my previous shot, just another cup and some other colors.

 

Evolution of the collision of 2 milk droplets in coffee, shot using the flash in stroboscopic mode. I didn't have much time on my hands, so this was achieved after about (only) 100 tries. This shape is less symmetric than on my previous photo, but I improved the focus on the droplets.

© All Rights Reserved - Black Diamond Images

 

Tiwanaku, on the Bolivian Altiplano, at an altitude of 3,850 m was once located on the southern shores of Lake Titicaca but is now 12 km distant, (or one and a half hours drive from La Paz). This historically important pre Incan and pre Columbian, archaeological site has been severely impacted by looting and for a brief period, a former Bolivian presidential decree sanctioned "repurposing" of the stones.

 

Tiwanaku was the ritual and administrative capital of the technologically advanced pre inca Aymaran civilization for approximately five hundred years from 400AD up until its eventual decline in 900AD AD.

Other sources suggest that Tiwanaku rose from 600 AD and survived until 1200 AD. Some archaeologists suggest that the site may have been occupied from as early as 1500BC and that from 300 BC to 300 AD, Tiwanaku began to evolve as the moral and cosmological center for the Tiwanaku empire.

In the later stages of this civilization a dramatic shift in climate occurred and cities like Tiwanaku, by then, further away from Lake Titicaca, began to be impacted by climate change and drought which resulted in the retreat of Lake Titicaca and a gradual decline of successful agriculture on the site. As the surplus of food declined, the power of the ruling elites began to wane. With continued drought, people died or otherwise moved to less drought impacted areas ultimately forcing the decline of the Aymaran Tiwanaku empire.

 

The site is slowly being excavated by archaeologists but funding is always a problem not to mention the inevitable disagreements over methodology and interpretation of what is being uncovered by excavations.

Most of the ancient city was built from adobe however, the monumental stone buildings of the ceremonial centre survive in protected archaeological zones.

 

During opportunistic periods many structures were dismantled or removed and some of the standing monoliths were covered in graffiti. Nevertheless all that remains is still of great interest to archaeologists. Many of the small and large stone blocks have been carved out with perfect 90 degree angles and even with today's tools the consistent accuracy of these angles would be difficult to duplicate. Archeaologists are also still trying to work out how they managed to move such large stone blocks from quarries some considerable distances away, even as far as the other side of Lake Titicaca.

 

As the essential site expert guides point out there are some eerie resemblances to other cultures such as the Moai of Easter Island and some face carvings could even suggest a relationship with Polynesia. Other theories point to bearded white men from the north as the founders of the Tiwanaku civilization. The two left hands evident on the statues can also be found on Egyptian statues.

The original statue named Kon Tiki among others, and the Gateway of the Sun remain and there is a sunken courtyard with stone walls with protruding heads with no two the same.

While the local Aymarans still speak their own language unfortunately they are unable to decipher the carved inscriptions and to date no equivalent of the Rosetta Stone has been found.

 

Structures that have so far been excavated at Tiwanaku include the Akapana, Akapana East, and Pumapunku stepped platforms, the Kalasasaya, the Kheri Kala, and Putuni enclosures, as well as the Semi-Subterranean Temple. All these structures may be visited by the general public.

 

More Info at Wikipedia & HERE

 

Read about Thor Heyadahl's Theory of the relationship of the Tiwanakans to Polynesians HERE

 

uncoveredhistory.com/south-america/exploring-the-mysterie...

Maker: Frederick H. Evans (1853-1943)

Born: UK

Active: UK

Medium: photogravure

Size: 5 3/4" x 7 1/4"

Location: UK

 

Object No. 2015.830

Shelf: C-5

 

Publication: Camera Work IV, 1903

Anne Hammond, Ed, Frederick H Evans, Selected Texts and bibliography, Clio Press, Oxford, 1992, pg 52

Camera Work, The Complete Illustrations 1903-1917, Taschen, 1997 pg 143

Camera Work, A Pictorial Guide, Dover, 1978, pg

 

Other Collections:

 

Provenance: Doyle Auctioneers, Rare Books, Autographs & Photographs, November 23, 2015, lot 678

Rank: 40

 

Notes: Frederick H. Evans (26 June 1853 – 24 June 1943) was a British photographer, best known for his images of architectural subjects, such as English and French cathedrals.[

Evans was born and died in London. He began his career as a bookseller, but retired from that to become a full-time photographer in 1898, when he adopted the platinotype technique for his photography. Platinotype images, with extensive and subtle tonal range, non glossy-images, and better resistance to deterioration than other methods available at the time, suited Evans' subject matter. Almost as soon as he began, however, the cost of platinum - and consequently, the cost of platinum paper for his images - began to rise. Because of this cost, and because he was reluctant to adopt alternate methodologies, by 1915 Evans retired from photography altogether. Evans' ideal of straightforward, "perfect" photographic rendering - unretouched or modified in any way - as an ideal was well-suited to the architectural foci of his work: the ancient, historic, ornate and often quite large cathedrals, cloisters and other buildings of the English and French countryside. This perfectionism, along with his tendency to exhibit and write about his work frequently, earned for him international respect and much imitation. He ultimately became regarded as perhaps the finest architectural photographer of his, or any, era - though some professionals privately felt that the Evans' philosophy favoring extremely literal images was restrictive of the creative expression rapidly becoming available within the growing technology of the photographic field. Evans was also an able photographer of landscapes and portraits, and among the many notable friends and acquaintances he photographed was George Bernard Shaw, with whom he also often corresponded. Evans was made an honorary fellow of the Royal Photographic Society in 1928, he was also a member of the Linked Ring photographic society

 

To view our archive organized by themes and subjects, visit: OUR COLLECTIONS

 

For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE

Ardstraw, Strabane, County Tyrone, Northern Ireland

 

This stunning sunflower field was planted for the sole purpose to raise money for Charities. The methodology is that everyone is welcome to visit, donate what they wish into a sealed collection box, then are free to walk anywhere & enjoy these flowers in any form. For your contribution you are advised to cut a few flowers to take home as a thank you token. Don’t panic as these flowers are going to wither away soon, so cutting a few to bring home doesn’t impact the ecology of the field. There are literally millions of these flowers so there are plenty to be shared with folk to help brighten their day a little 🌻

 

As everyone can clearly see, this is a wonderful idea for a very great cause. Although whilst standing in the middle of all these sunflowers waiting for patches of light to shine through the moving clouds, I soon recognised an equally important underlying benefit to all these sunflowers. All around me on almost every flower head Bumble Bees & other flying insects feeding off the sunflower pollen. I have heard recently that our bees are in decline due to lack of flowers etc so this was amazing to experience. These stunning Sunflowers are helping both us humans & bees equally. There should be more projects like this, even if there was funding for farmers to partially plant a small corner portion of their fields with sunflowers. It would have an immediate positive effect on us all.

 

Hope you enjoy! Please Favourite & Follow to view my newest upcoming works, Thank you

 

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Here is my present to you on this Halloween eve: a quick chart on dispatching rightly those bumps in the night. See larger size for better detail.

Go North East's Hexham-based Mercedes Sprinter 516CDi/Mellor Strata 9091 (LM17 WHD), which carries a plain silver base livery, is pictured here in the yard at Riverside Depot, Gateshead, following delivery to Go North East. 03/11/17

 

Following the demonstration of two Mercedes Benz/Sprinter City 45 vehicles, 9095 (BT15 KLZ) and 9097 (BT66 TZM), earlier this year, Go North East has acquired a further minibus for demonstration trials. This example is designed and built by the UK-based Mellor Coachcraft. The vehicle's lightweight design and construction methodology coupled with an efficient sprinter drive train equals a class leading fuel economy of up to 22mpg. Its small length and width allows operation in narrow streets, housing estates with parked cars or rural lanes, without compromising passenger numbers, allowing up to 21 seated passengers.

 

It will be allocated to "Tynedale Links" services X81/185/681 to compare against the low-carbon emission Optare Solo SRs currently allocated to these services, and to compare against the Mercedes Benz/Sprinter City 45 demonstrator minibuses trialled on these routes earlier in the year.

via Instagram ift.tt/1UK7xBh

In previous post I explained some bits about my own methodology achieving 'good colors' which involved Zeiss glass, VSCO-presets and diligent editing. However, this shortlist is missing something and it's called 'a taste'. I've found that no matter how much one has other resources like lenses or hours for editing, it doesn't compensate the inner vision which comes down to taste. When I started my search for the 'good colors' and 'the look' in general I really didn't know how to do define my target. Sure, I had some examples of what I liked, but to be honest they didn't take me very far. Like all newcomers in photography, I unconsciously thought that 'good colors' somehow mean same as 'more colors' - and I tried to approach the colors with 'Saturation', 'Vibrance' and 'Clarity' sliders. This was years ago when I had wrongly thought that software would give me some sort of edge when it comes to photography. Today I tend to think that I need a careful exposure and while some software provides nice tools, it more about getting basic stuff like white balance, curves and contrast right than esoteric filters.

 

One could argue that my current 'look' is based on this same premise of 'bold colors', but I would argue it is achieved more delicately. Between the old and new me I have definitely developed my vision and taste. One principle guiding my taste is the idea that photographs should look like 'photographs'. What does this tautology mean, you might ask? Like I already wrote earlier, I think that standard JPEGs out of the camera often look to much like a 'digital files' rather than actual material photographs everyone has seen in their earlier life. I tend to think that when editing photographs one should try to approach these real photographs and try to avoid the temptation of editing them, for example, too perfect (but still keep them contemporary). I'm always questioning myself from this point of view and to be honest I'm also often unsure since there are so many options. While my current look is based on strong and rich colors, there exists many other paths which also carry the legacy of the film era in terms of colors. Think, for example, photographs which have been taken with films and pushed/pulled a stop or two. They represent one specific aspect of the film era and it is evident that these grainy pictures and their subdued colors have molded our perception of photography in a great way. Or the golden slide films like Kodachrome and such, which have vibrant colors and dark shadows - that's another look which everyone knows. I guess what I'm trying to say is that there are many different photographic worlds which lives inside the historical legacy of pre-digital photography, and if you're just editing your pictures to 'look better' you are probably missing out something. Testing different looks with something like VSCO and trying to learn differences between different presets might be one way to develop your taste. Getting some books and following interesting photographers might be another. Third way could be to buy some real film and test how it turns out. All in all, it serves to pay attention to 'colors' in some other ways than just the usual raw-editor route.

 

Days of Zeiss: www.daysofzeiss.com

The Symbiotic Matrix of Rovingian Existence - The Quantum Perspective by Daniel Arrhakis (2026)

  

The Symbiotic Matrix of Rovingian Existence - The Quantum Perspective

 

Introduction

 

Rovingian animism posits that existence is neither a static attribute of matter nor an isolated emanation of consciousness. It invariably emerges from the symbiotic product of both.

 

This unifying principle condenses into a fundamental ontological postulate for Rovingian animism: "There is no pure observer isolated on a spiritual pedestal, nor is there pure matter floating in a vacuum without witnesses."

 

Far from being confined to abstract mysticism or idealistic solipsism, this postulate finds its validation and resonance at the frontiers of contemporary science.

 

Through the formal foundations of quantum mechanics and systems biology, it is demonstrated that the separability between matter (the observed) and consciousness or spirit (the observer) is a methodological illusion.

 

Reality, in physical and biological terms, is an uninterrupted co-creation and a symbiosis between consciousness and matter.

 

The Participatory Universe: The Dissolution of Quantum Separability

 

The Myth of Isolated Matter

 

Classical and mechanistic physics operated for centuries under the Cartesian assumption of a universe composed of pure matter floating in a vacuum without witnesses. In this deterministic model, the observer was a mere passive spectator, totally isolated from the workings of reality.

 

Quantum mechanics definitively destroyed this conception, transforming the scientist into an active and inseparable participant in the cosmic fabric.

 

The Measurement Problem and the Wave Function

 

In quantum formalism, an isolated physical system does not possess strictly defined macroscopic properties. Instead, it exists in a superimposed potential state, mathematically described by the wave function (Psi). The transition from this potential state to concrete reality—the so-called collapse of the wave function—occurs only in the act of measurement.

 

The variables of a physical system only acquire real and defined coordinates at the exact moment of interaction with another system, be it the environment or the measuring instrument itself.

 

The Axiom of the Interdependent Cosmos – The Participatory Universe

 

The axiom of the interdependent cosmos is the fundamental principle that absolutely nothing in the universe exists in isolation, and each element is defined by its relations with the whole.

 

This phenomenon illustrates a fundamental ontological postulate for Rovingian Animism: there is no pure observer isolated on a spiritual pedestal, nor pure matter without witnesses.

 

It is the exchange of information between the experimental apparatus and the observed system that forces nature to manifest itself in a single spatiotemporal coordinate.

 

As the physicist John Wheeler argued, we inhabit a "participatory universe." Matter needs coupling with measurement and consciousness to actualize itself in raw reality; without this witness, the external world remains a spectral fog of intangible probabilities.

 

“There is no pure observer isolated on a spiritual pedestal, nor pure matter floating in a vacuum without witnesses” – Quantum matter requires a “witness” to collapse into factual reality, while consciousness needs a material substrate to anchor and express its interpretative dynamism.

 

Entanglement and Non-Separability

 

The principle of entanglement, formalized by Bell's Theorem and validated experimentally, demonstrates that interacting particles remain linked in an informational matrix that transcends classical space-time. Changing the state of one instantaneously determines the state of the other, regardless of distance.

 

This subatomic non-separability mirrors Rovingian Symbiosis: if the fundamental components of the cosmos reject isolation, the strict philosophical division between res extensa (matter) and res cogitans (consciousness) collapses.

 

Relational Quantum Mechanics (RQM)

 

Proposed by physicist Carlo Rovelli, this interpretation argues that quantum objects do not possess absolute intrinsic properties. An electron only acquires characteristics (such as velocity or position) in relation to other objects or the environment with which it interacts. From this perspective, the observer and the observed system merge into a single, indivisible quantum system.

 

Thus, the universe itself is seen as a dynamic web of constantly changing relationships and interactions.

  

_____________________________________________________________________________________________________

 

A Matriz Simbiótica da Existência Rovingiana - A Perspetiva Quântica

  

Introdução

 

O animismo rovingiano postula que a existência não é um atributo estático da matéria, nem uma emanação isolada da consciência. Ela emerge, invariavelmente, do produto simbiótico de ambas.

Este princípio unificador condensa-se num postulado ontológico fundamental para o animismo rovingiano : "Não há um observador puro isolado num pedestal espiritual, nem há uma matéria pura a flutuar num vácuo sem testemunhas".

 

Longe de se encerrar no misticismo abstrato ou no solipsismo idealista, este postulado encontra a sua validação e ressonância nas fronteiras da ciência contemporânea.

Através dos alicerces formais da mecânica quântica e da biologia sistémica, demonstra-se que a separabilidade entre matéria (observado) e consciência ou espírito (o observador) é uma ilusão metodológica.

A realidade, em termos físicos e biológicos, é uma cocriação ininterrupta e uma simbiose entre consciência e matéria.

  

O Universo Participativo: A Dissolução da Separabilidade Quântica

 

O Mito da Matéria Isolada

 

A física clássica e de matriz mecanicista operou, durante séculos, sob o pressuposto cartesiano de um universo composto por matéria pura a flutuar num vácuo sem testemunhas. Neste modelo determinista, o observador era um mero espectador passivo, totalmente isolado da engrenagem da realidade.

 

A mecânica quântica destruiu definitivamente esta conceção, transformando o cientista num participante ativo e indissociável do tecido cósmico.

 

O Problema da Medição e a Função de Onda

 

No formalismo quântico, um sistema físico isolado não possui propriedades macroscópicas estritamente definidas. Em vez disso, ele existe num estado de sobreposição de potencialidades, descrito matematicamente pela função de onda (Psi). A transição deste estado potencial para a realidade concreta — o chamado colapso da função de onda — ocorre apenas no ato da medição.

 

As variáveis de um sistema físico só adquirem coordenadas reais e definidas no momento exato da interação com outro sistema, seja ele o meio envolvente ou o próprio instrumento de medição.

 

O Axioma do Cosmos Interdependente – O Universo participativo

 

O axioma do cosmos interdependente é o princípio fundamental de que absolutamente nada no universo existe de forma isolada, sendo que cada elemento é definido pelas suas relações com o todo.

 

Este fenómeno ilustra um postulado ontológico fundamental para o Animismo Rovingiano: não existe um observador puro isolado num pedestal espiritual, nem uma matéria pura sem testemunhas.

 

É o intercâmbio de informação entre o aparato experimental e o sistema observado que força a natureza a manifestar-se numa única coordenada espaciotemporal.

 

Como defendeu o físico John Wheeler, habitamos um "universo participativo". A matéria necessita do acoplamento com a medição e a consciência para se atualizar na realidade bruta; sem este testemunho, o mundo exterior permanece um nevoeiro espectral de probabilidades intangíveis.

 

“Não existe um observador puro isolado num pedestal espiritual, nem uma matéria pura a flutuar num vácuo sem testemunhas” - A matéria quântica exige a "testemunha" para colapsar em realidade factual, enquanto a consciência necessita do substrato material para ancorar e expressar o seu dinamismo interpretativo.

  

Entrelaçamento e Não-Separabilidade

 

O princípio do entrelaçamento (entanglement), formalizado pelo Teorema de Bell e validado experimentalmente, demonstra que partículas que interagiram permanecem ligadas numa matriz informacional que transcende o espaço-tempo clássico. A alteração do estado de uma determina instantaneamente o estado da outra, independentemente da distância.

 

Esta não-separabilidade subatómica espelha a Simbiose Rovingiana: se as componentes fundamentais do cosmos rejeitam o isolamento, a divisão filosófica estrita entre a res extensa (matéria) e a res cogitans (consciência) colapsa.

 

Mecânica Quântica Relacional (RQM)

 

Proposta pelo físico Carlo Rovelli, esta interpretação defende que os objetos quânticos não possuem propriedades intrínsecas absolutas. Um eletrão só adquire características (como velocidade ou posição) em relação a outros objetos ou ao ambiente com o qual interage. Sob esta perspetiva, o observador e o sistema observado fundem-se num único sistema quântico indivisível.

Assim o próprio universo é encarado como uma teia dinâmica de relações e interações em constante mudança.

    

© All Rights Reserved - Black Diamond Images

 

Tiwanaku, on the Bolivian Altiplano, at an altitude of 3,850 m was once located on the southern shores of Lake Titicaca but is now 12 km distant, (or one and a half hours drive from La Paz). This historically important pre Incan and pre Columbian, archaeological site has been severely impacted by looting and for a brief period, a former Bolivian presidential decree sanctioned "repurposing" of the stones.

 

Tiwanaku was the ritual and administrative capital of the technologically advanced pre inca Aymaran civilization for approximately five hundred years from 400AD up until its eventual decline in 900AD AD.

Other sources suggest that Tiwanaku rose from 600 AD and survived until 1200 AD. Some archaeologists suggest that the site may have been occupied from as early as 1500BC and that from 300 BC to 300 AD, Tiwanaku began to evolve as the moral and cosmological center for the Tiwanaku empire.

In the later stages of this civilization a dramatic shift in climate occurred and cities like Tiwanaku, by then, further away from Lake Titicaca, began to be impacted by climate change and drought which resulted in the retreat of Lake Titicaca and a gradual decline of successful agriculture on the site. As the surplus of food declined, the power of the ruling elites began to wane. With continued drought, people died or otherwise moved to less drought impacted areas ultimately forcing the decline of the Aymaran Tiwanaku empire.

 

The site is slowly being excavated by archaeologists but funding is always a problem not to mention the inevitable disagreements over methodology and interpretation of what is being uncovered by excavations.

Most of the ancient city was built from adobe however, the monumental stone buildings of the ceremonial centre survive in protected archaeological zones.

 

During opportunistic periods many structures were dismantled or removed and some of the standing monoliths were covered in graffiti. Nevertheless all that remains is still of great interest to archaeologists. Many of the small and large stone blocks have been carved out with perfect 90 degree angles and even with today's tools the consistent accuracy of these angles would be difficult to duplicate. Archeaologists are also still trying to work out how they managed to move such large stone blocks from quarries some considerable distances away, even as far as the other side of Lake Titicaca.

 

As the essential site expert guides point out there are some eerie resemblances to other cultures such as the Moai of Easter Island and some face carvings could even suggest a relationship with Polynesia. Other theories point to bearded white men from the north as the founders of the Tiwanaku civilization. The two left hands evident on the statues can also be found on Egyptian statues.

The original statue named Kon Tiki among others, and the Gateway of the Sun remain and there is a sunken courtyard with stone walls with protruding heads with no two the same.

While the local Aymarans still speak their own language unfortunately they are unable to decipher the carved inscriptions and to date no equivalent of the Rosetta Stone has been found.

 

Structures that have so far been excavated at Tiwanaku include the Akapana, Akapana East, and Pumapunku stepped platforms, the Kalasasaya, the Kheri Kala, and Putuni enclosures, as well as the Semi-Subterranean Temple. All these structures may be visited by the general public.

 

More Info at Wikipedia & HERE

 

Read about Thor Heyadahl's Theory of the relationship of the Tiwanakans to Polynesians HERE

I started experimenting with my art generator again recently to see how the shapes might work when put to a different use. This is a low-res model.

 

I initially built the program in Flash about three years ago influenced by the processes and methodologies of Joshua Davis.

 

©2008 James White. All rights reserved.

www.signalnoise.com | Signalnoise Store.

Methodology behind a “Pick”

A Observe

B select

C approach

D Complimrnt/Distract

E Begin the lift

F Close Casually

 

Main Story

 

In the early 1910’s a phamplett on pickpocketing, several centuries olde, came into the Universities Archives with a collection donated by a County Constabultory.

 

Catalogued and Filed away it remained basically unnoticed for decades until a student looking for material to complete a thesis on criminal justice stumbled upon it quite by accident

 

Most of the chapters dealt with the various methods of pickpocketing pockets and purses, along with a section on lifting men’s watches .

 

Towards the end she chillingly read a treatise on how to lift a ladies jewelry, something she was not aware was an area of pick pocketing!, or anything else of that nature!

 

It pretty much gave me a whole new insight into an area of crime she had never realized even existed, and is pretty much the reason I have created this account on flickr…

 

With the help of a pair of fellow students at the time she made a video on the subject using pointers mentioned in the Phamplette as an addition to her written thesis on the subject…

 

Here are still(s) from that video with various observations

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

Along with some random guidelines outlined in the phamplette:

 

-The Lifting necklaces, is by far the easiest and usually The more Valuable of pieces to obtain .

-Their Bracelets, brooches and rings ( covered in later chapters) are a bit more difficult, but can be easily quite as valuable as any other bit of Gliss(Jewels). Especially if gloves are being worn.

- Earrings can be taken , usually singly, with increased chance of just appearing to have been lost, but if both are taken it would have the quite opposite effect once discovered. Recommended only for the most accomplished of Pickpockets.

-Chapters on How to select and approach your subject were also included:

- look for the more expensive material of clothing. Easier to lift from, and the “more valuable the cloth, usually the more valuable the jewel”

-The methodology over the use of Dance Cards.

-How to tell real jewels from rhinestones

-If Dancing, start at her waist, slowly work you hand up, be very aware if she appears to notice, hence the amount of alcohol consumed is an important factor. Keep her eyes in contact, do not let your gaze drift to her jewels!

-Continue the dance, ask her if you can have another a bit later after meeting the gents in the smoking lounge, or suggest going out for fresh aire, a good time to lift a bracelet if the necklace attempt fails.

-When attempting a lift while not dancing, hold her gloved hand and gently caress as you talk, then lift a ring or bracelet as you take her attention elsewhere’s

-A well-executed bit of tickling, especially on the younger lassies, can create a number of easily undefended advantages!

-Just as advantageous can be a well-timed nudge, bump, or trip along with advantageously placed hands upon a slippery dressed female victim.

-Just as you make the final lift, distract her attention to anything away from her immediate surroundings, point out something for her to look at, taking her mind away from your game!.

-Cardinal rule, do not ever mention her jewels! Keep her mind in the complete opposite directions by compliments on her on her hair, perfume, and most certainly her dress., but act as if she is wearing no jewels at all, be totally oblivious, and concentrated on the task at hand.

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

This phamplette went into much more detail than we are able to give here, for rather obvious legal implications!

  

I thought I would give the strobist methodology a try...

 

Flash to camera left at 1/4 power - 160@f/16

A bit more on my blog - 525photo

1/2 x 2

W.I.P. Product Methodology: Tracing paper.

 

A Hinged Realization of a Plane Tessellation

 

"It was in the left hand try-pot of the Pequod, with the soapstone diligently circling round me, that I was first indirectly struck by the remarkable fact, that in geometry all bodies gliding along the cycloid, my soapstone for example, will descend from any point in precisely the same time."

Moby Dick by Herman Melville, 1851

Downtown Atlanta, Georgia

The construction of a new fire station to replace Gipton and Stanks fire stations and removal of 24 fulltime posts from the establishment by way of planned retirements.

Key Points:

 Gipton is classed as a very high risk area and Stanks as medium risk area.

 Stanks fire station is poorly located at the outer edge of the local community and access/egress from the site is problematic.

 In the 5 year period between 2004/5 and 2009/10 operational demand in these areas reduced by 28% (there has been a reduction of 61% of serious fires) . 2

 WYFRS has piloted a new type of vehicle (Fire Response Unit) to deal with smaller fires and incidents to free up fire appliances to respond to more serious emergencies.

 The pilot has been successful and it is believed that a District based Fire Response Unit will handle in the region of 3,000 calls per year.

 The new fire station would have lower running costs.

 The two Killingbeck fire appliances would be supplemented by a Resilience Pump for use during spate conditions.

 Targeted community safety and risk reduction work would continue.

  

1. Foreword

 

1.1 This proposal forms one of a number of similar initiatives developed by West Yorkshire Fire and Rescue Service (WYFRS) as part of its plans for the future provision of a highly effective and professional Fire and Rescue Service.

1.2 Each proposal is based on sound and comprehensive research, using real data from past performance and predictions of future demand and risk. Multiple sources of analysis have been used, allied to professional judgment and experience, to form the basis of robust business cases for change. The proposals are also reflective of the significant improvements in fire and community safety achieved over the past 10 years and represents a return on the investment made by the Authority on behalf of the public of West Yorkshire.

1.3 The proposals also incorporate a number of new and innovative approaches to addressing the challenge of maintaining high standards of performance for an emergency response service, within ever tightening financial constraints. The proposals have been developed as a package of inter related initiatives, representing major capital investment in local communities, whilst at the same time delivering annual recurring savings.

 

2. Introduction

 

2.1. Gipton fire station was constructed in 1937; it provides the initial emergency response cover for the residential and commercial areas of Gipton, Harehills, Burmantofts, Killingbeck, Halton Moor and Oakwood.

 The fire station area covers approximately 8.45 square miles.

 There is a population of 75,316.

 There are approximately 2015 commercial properties within the area.

2.2. Stanks fire station was constructed 1973; it provides the initial emergency response cover for the mainly residential locations of Whinmoor, Swarcliffe, Whitkirk, Colton, Halton, Crossgates, Scarcroft, North Seacroft, Wellington Hill, Manston, Barwick-in-Elmet, Scholes and Thorner.

 The station area covers approximately 14.39 square miles

 There is a population of 42,452

 There are approximately 663 commercial properties within the area.

2.3. Gipton has been classified as a very high risk area using the WYFRS Risk Matrix methodology. During 2009/10 there were 2196 operational incidents within this area including 86 dwelling fires and 33 Road Traffic Collisions. Stanks fire station area has been classified as medium risk and during the same period there were 688 operational incidents in the area including 34 dwelling fires and 12 Road Traffic Collisions. 1

2.4. Three fire appliances currently provide the initial fire and rescue coverage for Gipton and Stanks and are constantly crewed by 60 whole-time firefighters. The operational demand in these areas has reduced by 28% between 2004/5 and 2009/10 (there has been a reduction of 61% of serious fires) yet the provision of operational resources has remained the same over this period of time. 24

 

3. Community Impact Assessment

 

3.1. The following statement is taken from the 2011-2015 Community Risk Management Strategy and emphasises our commitment to deliver an efficient economic and effective range of services, “Every area within WYFRS will be considered in order to provide a better service at reduced cost”.

3.2. To enable WYFRS to deliver against this commitment a wide range of analysis and modelling tools have been used to determine the current and predicted levels of service delivery, together with their associated costs. These tools have also been used to undertake four separate impact assessments in regard to WYFRS proposals which will seek to:

 Identify options which minimise reductions in service delivery standards and where there is scope for service delivery improvement.

 Develop measures that will mitigate any negative impact upon service delivery and where possible maximise opportunities to achieve improvements.

3.3. WYFRS has developed a risk matrix which allocates a separate score/rating for hazards within communities. It is possible to use this risk rating in conjunction with the costs for providing services to each fire station to compare the cost of fire and rescue cover for each area. Gipton is one of the more cost effective stations in West Yorkshire but Stanks is almost 50% more expensive proportionate to the risk. 6

3.4. For most parts of the day the operational demand on resources based at the new station will be comparable to those of equally resourced fire stations. Figure 1 compares the predicted average operational activity levels for the new station with those of two other fire stations provided with two appliances. It indicates that although operational activity levels are generally comparable they are slightly higher during the evening hours due to the occurrence of smaller nuisance fires. 7

3.5. A Fire Response Unit has been piloted in Leeds District; this unit will attend small fires, car fires and certain fire alarms. These types of incident occur frequently in the East Leeds area. Figure 2 shows the level of activity in the new fire station area with the incidents the Fire response Unit attends taken out of the activity levels. The benefit of the Fire Response Unit can clearly be seen. The activity levels for the new station have been reduced considerably compared to other stations; it also shows that the new station will be less operationally active during the evening than the other local stations.

3.6. The new station in East Leeds will have a comparable level of activity to other fire stations provided with two appliances. 7

Figure 2 - Activity Timeline of Incidents Excluding Secondary Fires and Some False Alarms

Site Locations

3.7. An extensive review of emergency response cover has recently been completed and this has included the use of evaluation tools alongside local knowledge and professional judgment to identify optimum locations to build new WYFRS fire stations.

3.8. A site search mapping system has identified a number of appropriate areas across the County to build new fire stations and a number of sites have been identified within these areas which would provide the best solutions. A new fire station site must first be available for purchase and also provide access to road networks, it must not be located within flood plains and it must meet local planning permission requirements.

3.9. Analysis has been undertaken using the Fire Service Emergency Cover (FSEC – see also para 3.15) toolkit, together with the Phoenix/Active resource modelling toolkit.

3.10. The optimum area for a fire station between Gipton and Stanks has been identified as being situated on the A64 in the vicinity of Killingbeck police station. This proposed site is approximately 1.6 miles from Gipton Approach and 2.2 miles from Sherburn Road. The presence of a large site owned by West Yorkshire Police at this location may also present some potential to co-locate resources.

Determining where resources should be located

3.11. Independent research has assisted WYFRS to determine the potential impact that the implementation of each proposal would have on fire appliance attendance times to operational incidents. A simulation model has been used to identify the performance impact of moving resources to the new fire station. This modelling measures how the location of a new fire station would have performed if it had been in existence and responded to the actual incidents that did occurred in this area between 2007/8 and 2009/10. 4

3.12. Models have been run for locating a two fire appliances at Gipton and closing Stanks, and then run again for locating a two fire appliances at Stanks and closing Gipton, both these options provide a significantly lower level of response performance than would be achieved by locating

 

3.13. The proposals has a small reduction in performance in fire appliance attendance times against the Risk based Planning Assumptions for all incidents across the whole of West Yorkshire of approximately 0.3% for first appliance and 0.1% for the second appliance. 4

3.14. Local Impact – Figure 3 identifies that:

 There is a reduction in response performance against the Risk Based Planning Assumptions in the Gipton station area. The main reason for this is simultaneous activity. This change will be greatly mitigated by the Fire Response Unit. The predicted response times still represent good performance and are appropriate for the. Further impact will be achieved by targeted risk reduction activities.

Fire Service Emergency Cover (FSEC) toolkit

3.15 The FSEC software toolkit has been developed by Central Government (Department for Communities and Local Government) for use by Fire and Rescue Authorities in determining appropriate fire and emergency cover. It enables the relationship between dwelling fire casualties and the social demographics of small areas in the county (super output areas) and the location of response resources (fire stations) to be determined. Four demographic benchmarks are used to demonstrate this relationship and to represent predicted risk associated with a range of appliance response times.

3.16 Analysis of the FSEC outputs (which is a cost benefit analysis in regard to property and life risk) predicts that the relocating the fire station to Killingbeck will:

 Reduce the risk to the community.

 Result in significant efficiencies. 9

3.17 The FSEC modelling suggests that the impact of the Killingbeck proposal would be less than other relocation options

3.18 The Phoenix/Active software tool is another analysis tool used to identify the impact of any changes of the Risk Based Planning Assumptions referred to above. It predicts that locally there is likely to be a small adverse impact on the performance against Risk Based Planning Assumptions. Across the Brigade the impact is negligible. 10

Predicted Risk Level

3.19. A new fire station located, within the Killingbeck area would attract the same risk classification as the Gipton fire station area therefore the new fire station would be classified as very high risk. Targeted risk reduction activity will help to reduce the risk, with the aim of reducing it sufficiently enough to re-categorise the area as high risk in the future. 1

3.20. Isochrones (travel distance) can be drawn around the proposed location of the new fire station (Section 8). These indicate the distance the appliance would be able to travel within the Risk Based Planning Assumption time of 7 minutes.

3.21. Section 8 also illustrates that for this area of West Yorkshire a single fire station in the new location provides fire appliance coverage which is more proportionate to risk than the current arrangements.

Risk Reduction

3.20 During 2010 a comprehensive and integrated framework for service delivery was developed, this is outlined in the Community Risk Management Strategy 2011-15. This was implemented in 2011 and is proving a very effective means for targeting resources and reducing risk and is an essential method for reducing any negative impact of change in fire cover. Fundamental to this approach is the introduction of District Risk Reduction Teams and Local Area Risk Reductions Teams.

3.21 The location of a fire station in the Killingbeck area will enable targeted community safety activities such as Home Fire Safety Checks to continue.

 

4 Firefighter Safety Impact Assessment

 

Risk and firefighters gathering risk information about premises.

4.1 One of WYFRS’s risk indicators is dedicated solely to “Firefighter safety” and has taken cognisance of the following statement within the 2009 WYFRS Firefighter Safety Strategy; “Effective gathering and analysis of information prior to operational incident attendance is of critical importance”.

4.2 The firefighter safety indicator captures the following information to reflect this statement:

 The predominance of specified commercial properties within each fire station area.

 The availability of associated risk information held for commercial properties.

 The predominance of high-rise properties within each fire station area.

4.3 The swift arrival of supporting resources can have a beneficial impact upon the safe management of operational incidents and this is the rationale for this information being captured by the indicator.

4.4 Following the 2009/10 evaluation process the firefighter safety risk bandings for Gipton and Stanks have been determined as high and very low respectively. 1

8

4.5 The targets for operational risk information for the 2012/13 IRMP Action Plan will be set in a proportionate manner, with areas of higher risk levels receiving a greater number of operational risk information inspections. More inspections will take place in areas such as Gipton to increase the availability of risk information available to firefighters via the Mobile Data Terminals (MDT’s) and as more information is made available the corresponding risk level will be reduced.

4.6 The Premises Data-base currently indicates that there are a total of 1650 commercial properties within the Gipton and Stanks area that have not been made subject to an operational information inspection. A high priority has been placed on firefighters in Gipton visiting the premises where incidents could potentially occur. 11

4.7 It is therefore anticipated that the availability of risk information via the Mobile Data Terminals (MDT’s) for properties within all areas will be considerably improved by 2015, by which time the corresponding firefighter safety risk banding will have been reduced to Medium

The arrival times of the 2nd fire appliance

4.9. During 2009/10 there were a total of 333 operational incidents within the areas of Gipton and Stanks which required the attendance of more than one pumping appliance (one every 1.1 days). 12

4.10. Currently the North and East Leeds area has two fire appliances based at Gipton, Moortown and Leeds with one at Rothwell, Garforth, Stanks and Wetherby.

4.11. Increased second pump arrival times require the first attending crew to manage the initial stages of certain incidents in isolation; there is some potential for fires to become more developed in these initial stages.

4.12. The proposal improves the second appliance attendance times into Garforth station areas and there is little impact for the others local station areas.

 

5. Equality Impact Assessment

 

5.1 The new Public Sector Equality Duty places a requirement on the organisation to ensure where changes affect service delivery to the community or employees WYFRS assess those changes for any possible negative impact on equality. In this context equality refers to the protected characteristics in the Equality Act 2010, race, gender, disability, religion and belief, sexual orientation, age, gender-reassignment, maternity and pregnancy and marriage and civil partnerships.

5.2 This Equality Impact Assessment has been completed by using information drawn from the Office for National Statistics in regard to this area and has been used to determine whether the removal of a fire appliance from the area will lead to an adverse or disproportionate impact upon any sections of the population. 13

5.3 A 2008 report provided by the Communities and Local Government (CLG) department analysed the correlation between dwelling fires and socio demographics. This report has been used to provide an indication of whether any particular groups within the population are at heightened risk from fire. The report indicates that sick/disabled persons, lone pensioners and Black Caribbean/African groups were associated with a greater incidence of dwelling fires.

5.4 The Gipton and Harehills population was estimated as being 24,904 during 2001 with a fairly equal gender distribution. The predominant ethnic group within the population is White British with Asian/Asian British representing the next major group, followed by Pakistani, Black British/Caribbean and Asian/British Bangladeshi.

9

5.5 Approximately 49% of the resident Gipton and Harehills population are Christians, 23% are of Muslim faith and 25% declared no religious preference. In 2001 16% of the population was aged over 60 and 20% of the population had a limiting long-term illness.

5.6 The WYFRS Prevention strategy contained within the 2011-2015 Community Risk Management Strategy emphasises that risk reduction activities will be focussed toward areas of the county identified as being at higher risk from dwelling fires, deliberate fire setting and road traffic collisions and that an appropriate and proportionate allocation of resources will be made available for District Risk Reduction Teams (DRRT) to achieve this.

5.7 Although the Ward statistics indicate that the communities of Gipton and Harehills are very diverse the findings of the Equality Impact Assessment are that this proposal will not lead to any negative changes in the delivery of Prevention, Protection and Response services and consequently there will be no anticipated impact upon any under-represented groups. The Equality Impact Assessment also confirms that there is no negative impact on any employee group.

 

6. Organisational Impact Assessment

 

Efficiencies

 

6.1 This proposal will enable WYFRS to manage some of the financial deficit caused by reduced government funding.

6.2. The proposal has considered the less than optimal positioning of existing fire stations and appliances together with the reduced operational demand placed and associated costs. The most cost effective solution to these issues is to provide a new fire station and ensure that two fire appliances will be crewed by nine firefighters who will respond to emergencies in less than two minutes from being mobilised.

6.3. This can be achieved by reducing the staffing at Gipton and Stanks by 24 posts; this will be done by way of planned retirements. The staffing and duty system at the new fire station will remain the same.

6.4. The removal of posts that coincide with forecasted retirements will achieve significant revenue savings.

6.5. Although capital investment will be required to construct a new fire station, part of these costs will potentially be off-set by the sale of the two existing fire station sites.

6.6. There will be other associated savings delivered by this proposal, including:

 Reduction of Personal Protective Equipment.

 Reduction in consumables and station maintenance costs.

 The new station will be more environmentally friendly and have energy efficiency technology.

6.7. The analysis undertaken for Gipton and Stanks has identified that there is considerable overlap in the existing Risk Based Planning Assumption isochrones (footprints) for these areas. This overlap represents a duplication of resource coverage and therefore one of the objectives for providing a more efficient service within these areas is to reduce this overlap. 14

10

Impact across West Yorkshire and Resilience

6.8 The reduction in pumping appliances in this area does have a small impact upon attendance times against the Risk Based Planning Assumptions across West Yorkshire for all incidents; performance is reduced by 0.3% for first appliances and 0.1% for second appliances. 4

6.9 In order to maintain WYFRS’s operational resilience, the fire appliance currently sited at Stanks will be relocated at the new fire station. This fire appliance will not be continually staff but will be activated during periods of anticipated or unanticipated high levels of operational activity and in response to significant events which could affect emergency response; such as wide area flooding, bonfire night, periods of bad weather or when attending very large incidents.

6.10 The use of Resilience Pumps supports WYFRS strategy of staffing the appropriate number of fire appliances for normal levels of activity and having the mechanisms to add further fire appliance when required. This strategy is important in maintaining an excellent fire and rescue service whilst meeting the efficiencies required by the reduction in public service budgets.

 

7. Conclusions

 

7.1 The existing fire stations at Gipton and Stanks are 3.7 miles apart and consolidating resources at a new fire station at a central location is an economic, effective and efficient way of providing fire and rescue services for these areas.

7.2 The provision of two front-line fire appliances constantly crewed by whole-time firefighters is still deemed appropriate for this area despite the success of previous year’s risk reduction activities.

7.3 Targeted risk reduction initiatives co-ordinated by the Leeds Outer North East, Inner North East and Outer East Local Area Risk Reduction Teams will be undertaken.

7.4 It is expected that the targets established for gathering safety critical risk information, will mitigate the impact upon the safety of WYFRS firefighters resulting from the removal of a pumping appliance from this area.

7.5 The introduction of a Resilience Pump will maintain three appliances in the area and support WYFRSs resilience arrangements

7.6 The consolidation of Gipton and Stanks resources at one central location together with the addition of a Resilience Pump will deliver significant efficiency savings whilst maintaining a high level of service delivery and providing employees with vastly improved accommodation facilities.

 

The methodology of feudal taxation and detached written religious order might find a late stronghold of post prehistoric belief (today grouped under the term pagan) in need of particular local attention. The ancient Abbey of La Roubière sits on the far off hill and the Église Saint-Quirinusux of Montjeaux (pictured above) may have each had roles to play from either side of the 12th century.

 

The diversity of Abbeys is greater than any constant, suffice to say that setting examples of ways-of-being and gently integrating ancient belief systems were elements within their patina of early expression. The approach of the above church may have been in contrast and perhaps closer in approach to visual ridicule.

 

We know that elders of the post neolithic Celtic traditions spent large amounts of time learning by heart verbal stories and heuristics. A last stronghold in the greater area of the Statue Menhirs - with more quiet corners than noisy junctions - may have had learned persons in and around a loci that became known as Mount Jupiter (Mons Jovis and the 'Monjeaux' of this church); people who held ideas of deep history in a collective consciousness. A third example that suggests local difficulties with residual pagan beliefs will be covered in the future.

 

When looking at the chapiteaux do we see residual transport 'dragons' - living myths from the past, the people of the cow symbol (Sardinia to Mont Bego), and the owl (see past posts for speculation regarding its potential importance) - all shown to be either fighting each other, dangerous for the common man or useless in catching the wrong pests.

 

The visual stories of these carvings were perhaps blatant to understand for modest and illiterate farm workers impressed by the new and then modern religious buildings, and equally impressed by old traditions and the rich stories, sense of people and place and wisdom that came with them.

 

The head of one of the dragons is missing.

 

AJM 16.07.20

*Finally Got A Pro Account Sorted Out.

 

Contemporary Landscape University Project.

Landscape - Rural.

Location - Barr Beacon (Birmingham).

Photography And Post Processing - Me.

 

This project gave me a chance to analyse the materials, methodologies, processes and techniques of other landscape photographers. The aim was to develop and refine my basic core subject skills and abilities of Photography and Moving Image. The project brief required the ability to shoot both of the following topics and investigate it's relationship with landscape through depiction and research. One must be Urban (a.) Which sounds interesting and the other Rural (b.) My final body of work will consist of two fine conventional black and white prints presented in an appropriate form with the 35mm negatives. My final prints i will scan on to my computer then upload them on Flickr for everybody to see. I will also try out some digital color/colour landscape experiments. To compliment this i will add contact sheets and test stripes. i think some of the most important things to consider with Landscape Photography is form, shape and tone.

 

A Urban Landscape is something which is based in the main city and an Rural landscape is based in the countryside. Now i have the basic research, knowledge and to push this project further i needed to decide on a theme. I combined my theme on environmentalism, memories and surrealism. I picked one for my final body of work which was environmentalism and i establish connections. Environmentalism is interesting as a social movement, it's the need for a point of view, to show the Landscape for what it is and to change the publics perception/point of view. Memories might be interesting but surrealism could again be interesting taking an object/subject and constructing it.

Ah! Post WW2 planners utopia! As early as 1942/43 British planners were looking ahead to post-war reconstruction - both to deal with the devastation of Britain's urban fabric by enemy bombing as well as the social and economic 'evils' of much of the unchecked Victorian urban and industrial expansion. Hitherto much of the methodology behind contemporary urban expansion and new housing was to manage the rapid suburban development that, in many cities had lead to edge of town development of 'suburbia' - interestingly loved by those who lived and aspired to such 'semis' and hated by planners and architects as drab fungal growths on the urban fringe ('subtopia'). The other great priority was slum clearance and in-city redvelopment of existing urban areas. Most British regions produced massive development plans and these were to form the foundation of many elements of post-war construction - most notably in the landmark Town & Country Planning Act of 1947 in which the new Labour Government enshrined the production of planning and plans themselves, introduced the 'green belt' concept to protect the boundaries of existing and pushed for the construction of quite a British solution - "New Towns". In the 1940s and '50s numerous New Towns were 'designated' including a ring of such towns around London that had been suggested in the 1944 Greater London Plan. This magnificent volume, sister to the 1943 County of London Plan, was largely authored by one of the doyen of UK planning, Patrick Abercrombie. It put forward plans that helped formulate various of the London 'new towns' - one site considered was the large Essex village of Chipping Ongar, better known as Ongar. Eventually Ongar was de-selcted in c1947 largely because of the cost of the ambitious transport plans involving the London - Ongar branch railway line - the scheme would have seen extension of the line into a loop running through to Brentwood and electrification. This foundered, due to potential costs in post-war austerity - had it happened the history of the branch (that ended up being reluctantly electrified as part of London Transport's Central line and eventually abandoned in 1994) would have been very, very different. Anyhow - the Plan contains some illustrations of the 'new world' proposed - by the illustrator Peter Shepheard, they are in that marvellous style that seems so utopian to us now but must have been so asperational and vital to a British population that had suffered years of war, depression and who often lived in crowded, drab slums. Here we see the proposed neighbourhood planned around the lands surrounding the UK's oldest timber church at the hamlet of Greensted to the west of Ongar. The church is seen on the right - the perspective is slightly south of west so this is looking towards Toot Hill. Much was made of the mixture of types of housing and the preservation of landscape forms and features - fingers of rural greenery containing the carefully planned settlement - the basis of the relaxed, carefree lifestyle New Towns would offer. In contrast to suburban development each 'neighbourhood' had a full range of shopping, educational and social centres, serving the local population and supportingt he town as a whole.

 

If Ongar didn't get off the drawing board a neighbouring Essex village of Harlow did and was to see precisely the sorts of changes that Ongar had illustrated. Harlow, designated in 1947, saw many of these proposals implemented and, in time, was seen to be the most successful of the 'New Towns'. Places such as Harlow are easily sneered at I fear but one has to admire the energy and passion put into the intention to 'better' peoples lives, whatever you think of the planning and concepts. Interesting that now, in 2014, a new generation of New Towns is proposed to help manage the UK's housing shortage - based on the premise that the 1947 Act, now seen by some as being at the roots of the 'strangulation' of urban development, has been radically overturned we may turn back to one of the very concepts that engendered such centralised planning!

Pachamama Raymi is a methodology which seeks to break through the vicious circle of environmental degradation and rural poverty, promoting the sustainable management of natural resources.

For Meteorologist it's been summer since June 1, but astronomical summer begins today. However you mark the beginning of summer it's definitely in full effect here today in RVA (Richmond VA).

via Instagram bit.ly/1Qifn1p

Sometimes, the process and methodology precede all others...but the outcome is essentially what matters most. If the work allows to open up multiple levels of meaning and interpretation, that is exactly what any drawings stand for.

  

Ryota Matsumoto Studio

  

Website: ryotamatsumotostudio.blogspot.com

 

Poverty in India is widespread, and a variety of methods have been proposed to measure it. The official measure of Indian government, before 2005, was based on food security and it was defined from per capita expenditure for a person to consume enough calories and be able to pay for associated essentials to survive. Since 2005, Indian government adopted the Tendulkar methodology which moved away from calorie anchor to a basket of goods and used rural, urban and regional minimum expenditure per capita necessary to survive.

 

The World Bank has similarly revised its definition and benchmarks to measure poverty since 1990, with $1.25 per day income on purchasing power parity basis as the definition in use from 2005 to 2013. Some semi-economic and non-economic indices have also been proposed to measure poverty in India; for example, the Multi-dimensional Poverty Index placed 33% weight on number of years spent in school and education and 6.25% weight on financial condition of a person, in order to determine if that person is poor.

 

The different definitions and different underlying small sample surveys used to determine poverty in India, have resulted in widely different estimates of poverty from 1950s to 2010s. In 2013, the Indian government stated 21.9% of its population is below its official poverty limit. The World Bank, in 2010 based on 2005's PPPs International Comparison Program, estimated 32.7% of Indian population, or about 400 million people, lived below $1.25 per day on purchasing power parity basis. According to United Nations Development Programme, an estimated 29.8% of Indians lived below poverty line in 2009-2010.

 

Poverty in India is a historical reality. From late 19th century through early 20th century, under British colonial rule, poverty in India intensified, peaking in 1920s. Famines and diseases killed millions each time. After India gained its independence in 1947, mass deaths from famines were prevented, but poverty increased, peaking post-independence in 1960s. A variety of welfare and food security initiatives, along with rapid economic growth since 1991, has led to sharp reductions in extreme poverty in India. However, those above poverty line live a fragile economic life. Lack of basic essentials of life such as safe drinking water, sanitation, housing, health infrastructure as well as malnutrition impact the lives of hundreds of millions.

 

The World Bank reviewed and proposed revisions in May 2014, to its poverty calculation methodology and purchasing power parity basis for measuring poverty worldwide, including India. According to this revised methodology, the world had 872.3 million people below the new poverty line, of which 179.6 million people lived in India. In other words, India with 17.5% of total world's population, had 20.6% share of world's poorest in 2013.

 

DEFINITION OF POVERTY

Poverty in India is widespread, and a variety of methods have been proposed to measure it. The official measure of Indian government, before 2005, was based on food security and it was defined from per capita expenditure for a person to consume enough calories and be able to pay for associated essentials to survive. Since 2005, Indian government adopted the Tendulkar methodology which moved away from calorie anchor to a basket of goods and used rural, urban and regional minimum expenditure per capita necessary to survive.

 

The World Bank has similarly revised its definition and benchmarks to measure poverty since 1990, with $1.25 per day income on purchasing power parity basis as the definition in use from 2005 to 2013. Some semi-economic and non-economic indices have also been proposed to measure poverty in India; for example, the Multi-dimensional Poverty Index placed 33% weight on number of years spent in school and education and 6.25% weight on financial condition of a person, in order to determine if that person is poor.

 

The different definitions and different underlying small sample surveys used to determine poverty in India, have resulted in widely different estimates of poverty from 1950s to 2010s. In 2013, the Indian government stated 21.9% of its population is below its official poverty limit. The World Bank, in 2010 based on 2005's PPPs International Comparison Program, estimated 32.7% of Indian population, or about 400 million people, lived below $1.25 per day on purchasing power parity basis. According to United Nations Development Programme, an estimated 29.8% of Indians lived below poverty line in 2009-2010.

 

Poverty in India is a historical reality. From late 19th century through early 20th century, under British colonial rule, poverty in India intensified, peaking in 1920s. Famines and diseases killed millions each time. After India gained its independence in 1947, mass deaths from famines were prevented, but poverty increased, peaking post-independence in 1960s. A variety of welfare and food security initiatives, along with rapid economic growth since 1991, has led to sharp reductions in extreme poverty in India. However, those above poverty line live a fragile economic life. Lack of basic essentials of life such as safe drinking water, sanitation, housing, health infrastructure as well as malnutrition impact the lives of hundreds of millions.

 

The World Bank reviewed and proposed revisions in May 2014, to its poverty calculation methodology and purchasing power parity basis for measuring poverty worldwide, including India. According to this revised methodology, the world had 872.3 million people below the new poverty line, of which 179.6 million people lived in India. In other words, India with 17.5% of total world's population, had 20.6% share of world's poorest in 2013.

 

INTERNATIONAL COMPARISON

India determines household poverty line by summing up the individual per capita poverty lines of the household members. This practice is similar to many developing countries, but different from developed countries such as the United States that adjust poverty line on an incremental basis per additional household member. For example, in the United States, the poverty line for a household with just one member was set at $11,670 per year for 2014, while it was set at $23,850 per year for a 4-member household (or $5963 per person for the larger household). The rationale for the differences arise from the economic realities of each country. In India, households may include surviving grandparents, parents and children. They typically do not incur any or significant rent expenses every month particularly in rural India, unlike housing in mostly urban developed economies. The cost of food and other essentials are shared within the household by its members in both cases. However, a larger portion of a monthly expenditure goes to food in poor households in developing countries, while housing, conveyance and other essentials cost significantly more in developed economies.

 

For its current poverty rate measurements, India calculates two benchmarks. The first includes a basket of goods including food items but does not include the implied value of home, value of any means of conveyance or the economic value of other essentials created, grown or used without a financial transaction, by the members of a household. The second poverty line benchmark adds rent value of residence as well as the cost of conveyance, but nothing else, to the first benchmark. This practice is similar to those used in developed countries for non-cash income equivalents and poverty line basis.

 

2010s

The World Bank has reviewed its poverty definition and calculation methodologies several times over the last 25 years. In early 1990s, The World Bank anchored absolute poverty line as $1 per day. This was revised in 1993, and the absolute poverty line was set at $1.08 a day for all countries on a purchasing power parity (PPP)basis, after adjusting for inflation to the 1993 U.S. dollar. In 2005, after extensive studies of cost of living across the world, The World Bank raised the measure for global poverty line to reflect the observed higher cost of living. Thereafter, the World Bank determined poverty rates from those living on less than US$1.25 per day on 2005 PPP basis, a measure that has been widely used in media and scholarly circles.

 

In May 2014, after revisiting its poverty definition, methodology and economic changes around the world, the World Bank proposed another major revision to PPP calculation methodology, international poverty line and indexing it to 2011 U.S. dollar. The new method proposes setting poverty line at $1.78 per day on 2011 PPP basis. According to this revised World Bank methodology, India had 179.6 million people below the new poverty line, China had 137.6 million, and the world had 872.3 million people below the new poverty line on an equivalent basis as of 2013. India, in other words, while having 17.5% of total world's population, had 20.6% share of world's poor.

Semi-economic measures of poverty

 

Other measures such as the semi-economic Multi-dimensional Poverty Index (MPI), which places 33% weight on education and number of schooling years in its definition of poverty, and places 6.25% weight on income and assets owned, suggests there were 650 million people (53.7% of population) living in MPI-poverty in India. 421 million of MPI-defined poor are concentrated in eight North Indian and East Indian states of Bihar, Chhattisgarh, Jharkhand, Madhya Pradesh, Orissa, Rajasthan, Uttar Pradesh and West Bengal. The table below presents this semi-economic poverty among the states of India based on the Multi-dimensional Poverty Index, using a small sample survey data for Indian states in 2005.

 

OTHER ESTIMATES

According to a 2011 poverty Development Goals Report, as many as 320 million people in India and China are expected to come out of extreme poverty in the next four years, with India's poverty rate projected to drop from 51% in 1990 to about 22% in 2015. The report also indicates that in Southern Asia, only India is on track to cut poverty by half by the 2015 target date.

 

GLOBAL HUNGER INDEX

Global Hunger Index (GHI) is an index that places a third of weight on proportion of the population that is estimated to be undernourished, a third on the estimated prevalence of low body weight to height ratio in children younger than five, and remaining third weight on the proportion of children dying before the age of five for any reason. According to 2011 GHI report, India has improved its performance by 22% in 20 years, from 30.4 to 23.7 over 1990 to 2011 period. However, its performance from 2001 to 2011 has shown little progress, with just 3% improvement.

 

CAUSES

One cause is a high population growth rate, although demographers generally agree that this is a symptom rather than cause of poverty. While services and industry have grown at double-digit figures, agriculture growth rate has dropped from 4.8% to 2%. About 60% of the population is employed in agriculture whereas the contribution of agriculture to the GDP is about 18%. The surplus of labour in agriculture has caused many people to not have jobs. Farmers are a large vote bank and use their votes to resist reallocation of land for higher-income industrial project.

 

REDUCTION OF POVERTY

Since the early 1950s, Indian government initiated various schemes to help the poor attain self-sufficiency in food production. These have included ration cards and price controls over the supply of basic commodities, particularly food at controlled prices, available throughout the country. These efforts prevented famines, but did little to eliminate or reduce poverty in rural or urban areas between 1950 and 1980.

 

One of the main reasons for record decline in Poverty is India's rapid economic growth rate since 1991. Another reason proposed is India's launch of social welfare programs such as Mahatma Gandhi National Rural Employment Guarantee Act (MGNREGA) and Midday Meal Scheme in Government Schools.[citation needed] Klonner and Oldiges, in a 2012 study, conclude that MGNREGA helps reduce rural poverty gap (intensity of rural poverty), seasonal poverty, but not overall poverty.

 

WIKIPEDIA

Explore #288 Oct. 5, 2008

Welcome to the Irrlicht Engine

 

The Irrlicht Engine is an open source realtime 3D engine written in C++. It is cross-platform, using D3D, OpenGL and its own software renderers. OpenGL-ES2 and WebGL renderers are also in development. It is a stable library which has been worked on for nearly 2 decades. We've got a huge community and Irrlicht is used by hobbyists and professional companies alike. You can find enhancements for it all over the web, like alternative terrain renderers, portal renderers, exporters, world layers, tutorials, editors, language bindings and so on. And best of all: It's completely free.

 

irrlicht.sourceforge.io/

  

Irrlichtelieren (Will-o’-the-wisping-around)

Jane K. Brown

UNIVERSITY OF WASHINGTON

orcid.org/0000-0002-7527-1150

The lexeme Irrlichtelieren (will-o’-the-wisping-around, i.e. thinking outside the box) is Goethe’s neologism for a heterodox line of thought that displaces traditional methods of philosophy and science. Although the term occurs only once, in the student scene of Faust, Part One (FA 1.7:83.1917), the shifting value of will-o’-the-wisps in Faust and other works corresponds to the theories of scientific method Goethe advanced in essays of the 1790s and especially to the methodology of his Zur Farbenlehre (Theory of Color) of 1810. While in Goethe’s letters and in the devil’s language in Faust, will-o’-the-wisps betoken illusion, they develop in the course of Faust into symbols of the ineffable truth that Kantian metaphysics had effectively substituted for God. The ironic dialectic of the will-o’-the-wisps shapes Goethe’s views of pedagogy and scientific epistemology and his positions on the idealist subject/object dichotomy, on the relationships of nature and truth, on representation and knowledge, and on knowledge and community.

Introduction

Etymological Implications

Learning as Flitting Around

Subject-Object Relations

The Relationship of Nature and Truth

Representation as Knowledge

Knowledge and Community

Notes

Related Entries

Works Cited and Further Reading

Introduction

 

The neologism irrlichtelieren can be defined as: “An innovative and eccentric line of thought, [. . .] a lexical innovation [. . .] that configures the ‘improper’ imperative of Goethean thought [. . .] to displace the ‘proper’ way of doing philosophy (including logic, rationalist metaphysics, and transcendental idealism) by repurposing its traditional instruments of torture.”1 Goethe invented the word and used it only once, in the student scene of Faust I. Derived from the noun Irrlicht (will-o’-the-wisp, or ignis fatuus), it initially identifies the confused thinking of the student who has yet to learn logic,

Daß er bedächtiger so fortan

Hinschleiche die Gedankenbahn,

Und nicht etwa, die Kreuz und Quer,

Irrlichteliere hin und her. (FA 1.7:83.1914–17)2

So that he creep more circumspectly

along the train of thought

and not go will-o’-the-wisping

back and forth and here and there.

However, the use of will-o’-the-wisp in Faust transforms this apparent praise of logic into its opposite, so that “will-o’-the-wisping back and forth” comes to represent the epistemology actually promoted not only in Faust but also in Goethe’s essays on scientific methodology and optics from the 1790s and in his massive Zur Farbenlehre (Theory of Colors) of 1810. Derived from irren (erring), the central theme of Faust, where the Lord says “Es irrt der Mensch, so lang er strebt” (FA 1.7:27.317; man errs as long as he strives) and Licht (light), used consistently as an image for knowledge or truth in Goethe, as so often in the period, irrlichtelieren becomes a useful term for Goethe’s process of learning truth by trial and error. It engages a series of epistemological issues typical of the period: thinking outside the box, subject/object, the relation of nature and truth, the role of representation in knowledge, and the epistemology of community formation. Irrlichtelieren not only exemplifies Goethe’s tendency to heuristic rather than systematic thought (unlike that of his Romantic colleagues), but indeed embodies its own meaning—for will-o’-the-wisps and similar figures appear as characters in his (arguably) most characteristic works: Faust and the Märchen (Fairy Tale) of 1795. Furthermore, the word irrlichtelieren appears in Faust in the context of philosophical discourse when Mephistopheles is holding forth on the place of logic in the curriculum; similarly, in Faust II, a will-o’-wisp-like creature named Homunculus, seeking to become, is introduced in the context of implied questions of becoming in idealist philosophy as well as the philosophical-scientific discourse of classical antiquity invoked by the two pre-Socratics Anaxagoras and Thales. Yet because, unlike most of the terms in this lexicon, irrlichtelieren begins in Goethe’s poetic works as a metaphor that then becomes a personification, it emerges as a philosophical concept only in the metadiscourse of scholarly analysis.

Etymological Implications

 

The addition of “-ieren” to the word “Irrlicht” turns it into a verb, so that it means “to wisp around.” The combination of “will-o’-the-wisp” with the formal French suffix is intentionally frivolous, as is often the case with Goethe at his most ironic and most profound moments. In Goethe’s day, an Irrlicht was a still mysterious natural phenomenon (now understood as a natural fluorescence originating in the spontaneous combustion of gases from rotting matter in marshy places). Its entry into folklore, specifically as a mischievous nature spirit, is documented in Germany only beginning in the sixteenth century, when the Latin term ignis fatuus (silly flame) was invented by a German humanist to lend the long-existing German word intellectual credibility.3 Although Goethe was familiar with explanations for Irrlichter extending back to Paracelsus (1493–1541) and, beyond him, to the pre-Socratics, he used it as a scientific term only once, in a reference to two essays by his friend, the botanist and Romantic natural philosopher Christian Gottfried Nees von Esenbeck (1776–1858).4 Esenbeck considered both will-o’-the-wisps and falling stars to be entirely natural phenomena connected to a slime (Schleim), but in a tension typical of Romantic Naturphilosophie remained uncertain as to whether its effects were natural or supernatural. Sly allusions to Esenbeck are to be found in Faust via the presence of falling stars in the “Walpurgis Night’s Dream” and the sticky roses that torment Mephistopheles in act five of Faust II. Otherwise, Goethe used Irrlicht in his poetic works, essays, and correspondence always negatively, to refer to delusions.5 Thus, in Faust, “will-o’-the-wisp” emerges primarily from the mouth of Mephistopheles, the skeptical conjuror of illusions, and its ultimate significance as the best way to learn about truth arises from the fundamental irony inherent in the devil’s role in the play.

Learning as Flitting Around

 

Irrlichter are delusive because they constantly move around and because their light leads travelers astray. And yet, for the author of innumerable works about characters who wander aimlessly, wandering is a primary mode of being. Examples of such characters include Faust, for whom erring is the only path to salvation; the hero of Wilhelm Meisters Lehrjahre (1795/96; Wilhelm Meister’s Apprenticeship) and almost everyone in Wilhelm Meisters Wanderjahre (1829; Wilhelm Meister’s Journeyman Years); the indecisive traveler of Briefe aus der Schweiz (1808; Letters from Switzerland), who worries whether he should climb the Furka in winter; and the traveler in Italienische Reise (1816/17; Italian Journey), who hesitates to go to Sicily and decides not to go to Greece. In his autobiography, Dichtung und Wahrheit (1833; Poetry and Truth), Goethe regularly defines epochs of his life in terms of place and consistently features his own lack of agency in his choice of places. He, too, was a constant wanderer, even after he was more or less settled in Weimar.

Wandering is also the primary mode of scientific experimentation in the essays of the 1790s, where a “good experiment” (Goethe’s word is “Erfahrung [. . .] einer höhern Art”; FA 1.25:34) requires multiple observations of the same object from many different points of view (see, especially, “Der Versuch als Vermittler zwischen Objekt und Subjekt” of 1793). Indeed, the word Erfahrung contains the verb fahren (to travel). In this respect, Goethe was already ahead of Hegel, whose Phänomenologie was originally called “Die Wissenschaft der Erfahrung des Bewußtseins” (The Science of the Experience of Consciousness) and who emphasizes the notion of “dialektische Bewegung” (dialectical movement) at the heart of Erfahrung. Similarly, Part 1 of the Farbenlehre calls upon the reader to engage in several long series of observations, each of which ends with analogical amplifications of central observation rather than with a theoretical conclusion. Indeed, at the end of a Goethean experiment, the phenomenon “kann niemals isoliert werden” (FA 1.25:126; can never be isolated), the truth is to remain untouched in the unarticulated center of all the different observations. The same is still true in the Wanderjahre of the late 1820s, a text that both celebrates wandering and delights in the juxtaposition of seemingly contradictory points of view in its narratives and aphorisms. Indeed, Goethe’s cultivation of aphorism, as also his history of the science of color in the form of separate descriptions of scientists without an overarching narrative, reflect this same method of what, at first, seems to be random flitting. Irrlichterlieren is the freedom to attend to each detail carefully in itself before connecting it to others.

 

Subject-Object Relations

 

The experimental method Goethe described in the 1790s, when he was doing research in botany, anatomy, geology, and optics, when he was also absorbed in Kant’s Kritik der Urteilskraft (Critique of Judgment) and bringing scientists and philosophers (like Hegel) of the new idealist movement to the university at Jena had, as its explicit purpose, the mediation between subject and object. The multiperspectivism of “Der Versuch als Vermittler” (The Experiment as Mediator) arises from the need to keep scientific knowledge from imposing the subject on the object, the basic problem of idealism. Too much subjectivity causes the investigator to draw arbitrary and often unwarranted connections among phenomena and to become too attached to hypotheses, while too much objectivity reduces scientific knowledge to a mere collection of isolated facts (FA 1.25:31–33). Goethe resolves the problem with the term “Entäußerung,” renunciation, or, literally, withdrawal of one’s self to the outside. Goethe’s “experiment” escapes subjectivity but connects facts by multiplying and varying the conditions of observation. The quality of wandering now becomes flitting around outside of the box—that is, behaving like an Irrlicht flitting around outdoors. Similarly, Faust removes himself to the outside of his study and his identity with the aid of Mephistopheles, the invoker of will-o’-the-wisps in the play, while the world of the Märchen transcends itself through the mediation of actual will-o’-the-wisps visiting from abroad. Such is the model for Goethe’s epistemology.

The Relationship of Nature and Truth

 

In the Farbenlehre and repeatedly in the Wanderjahre Goethe asserts that the truth, the phenomenon (and later Urphänomen, or sometimes das Absolute), remains unknowable. Ringed about by observations, it is incommensurable, a secret to be respected, in some contexts to be reverenced, but to remain unviolated. Especially the Farbenlehre makes generous use of the terms “higher” and “highest” to rank insights and phenomena and does not hesitate to address transition points from the material to the spiritual/intellectual realm. Above all, the volume communicates the profound respect the scientist owes to the purity and essential impenetrability of the natural phenomenon. Just as in the earlier methodological essays, the phenomenon proper, which Goethe calls the “Urphänomen,” remains, to the end, a riddle at the center of all the scientist’s observations. Esenbeck’s theory of the mysterious slime that characterizes will-o’-the-wisps and falling stars is a similar mystery at the heart of a scientific explanation, leaving an opening to the realm of Geist (spirit/mind). The Irrlicht is Goethe’s image for this essential part of his epistemology. The Irrlicht can never be grasped, like the rainbow in the first scene of Faust II or the jewels scattered by Knabe Lenker (Boy Charioteer) in act two that turn to insects in the hand. In its inconstant motion, it escapes the control even of Mephistopheles in the Walpurgis Night of Faust I and it is repeatedly imagined in evanescent lights in Faust I and in a series of mysterious attractive figures in Faust II, such as Knabe Lenker, Homunculus, the angels of the burning roses in act five, and, finally, the rising Mater Gloriosa, always just out of reach at the very end of the play. In the Märchen the will-o’-the-wisps, having transubstantiated the green snake, restore the world to order and harmony and end by scattering gold, always in Goethe a symbol of the vital force of life, natura naturans. As folklore figures, will-o’-the-wisps are Goethe’s ideal image of Romantic natural supernaturalism, of the permeable, ungraspable boundary between nature and spirit, between the real and the ideal.

Representation as Knowledge

 

While the Absolute cannot be grasped directly, it can nevertheless be known through representations the mind stages for itself. The essay “Physik überhaupt” (1798; Physics in general) already introduces aesthetic terminology: the goal of Goethe’s series of observations is not to pin down the phenomenon but to understand it in a sequence or in a series of episodes. To present it, then, requires the condensing activity of the subject to represent aspects of the object “in einer stetigen Folge der Erscheinungen” (FA 1.25:126; in a regular series of appearances). “Aesthetic” is the appropriate term here, because all of Goethe’s poetic writing of the 1790s has episodic plots consisting of a series of experiences repeated from varied perspectives. The tripartite structure of the Farbenlehre similarly reflects Goethe’s basic principle of examining any phenomenon from several different points of view, both between and within parts, and his corresponding stylistic tendency toward episodic organization.

Yet, aesthetic terminology plays an even greater role in the epistemology of the Farbenlehre. Part 1 discusses the subject-object tension, for example, by focusing on “Begrenzung” (limitation) as the essential cause of color rather than Newton’s refraction. Color, like any other phenomenon, can only be recognized as such through its boundaries. Defining the edges of color or of light, then, transforms it into an image, a Bild (“Anzeige und Übersicht des goetheschen Werkes zur Farbenlehre,” FA 1.23.1:1045). Such framing equates to looking at the phenomenon from outside, a single perspective at a time, followed by connecting single observations into patterns in order to transform attentive looking into theorizing (FA 1.23.1:14), as already in the essays of the 1790s. But the consistent focus on the word Bild for what Goethe calls “theorizing” dominates this work (see also FA 1.23.1:12, 120). The foreword to the Farbenlehre compares understanding people’s inner (hidden) character through their deeds to understanding the nature of light through color: “Die Farben sind Taten des Lichts, Taten und Leiden” (FA 1.23.1:12; Colors are the deeds of light, what it does and what it endures). The comparison of human character to light has suddenly morphed into personification when colors become the deeds and sufferings of humanity. Colors have become actors, and indeed, given the Aristotelian atmosphere evoked by “Taten und Leiden,” tragic actors. Actors are images, personifications, representations, and not essences, but these “actors” are the realia of empirical observations. Reality is now something staged. Indeed, the first part of the Farbenlehre provides illustrations to enable the reader to repeat, to reenact, the “experiments” described in the text, and Goethe justifies this move by comparing his illustrations to a play performance, which requires spectacle, sound, and motion to be realized (FA 1.23.1:18–19). Theorizing is transformed into interpretation as observation of nature is equated to observation of a play on stage.

This dramatizing personification underpins Goethe’s understanding of light. The human eye, he asserts, does not see forms, but only light, dark, and color. He continues, “Das Auge hat sein Dasein dem Licht zu danken. Aus gleichgültigen thierischen Hülfsorganen ruft sich das Licht ein Organ hervor, das seines Gleichen werde; und so bildet sich das Auge am Lichte für’s Licht, damit das innere Licht dem äußeren entgegentrete” (FA 1.23.1:24; The eye owes its existence to light. From among the lesser ancillary organs of the animals, light calls forth one organ to be its like, and thus the eye is formed by the light and for the light so that the inner light may emerge to meet the outer light).6 Now light is the creator god calling forth the human eye, made in the god’s own image. From here it is but a step back to Faust, with its little erring lights, the will-o’-the-wisps, and Faust as, in effect, the erring human eye, looking at and wanting to experience the entire creation, a notion of experience as viewing already adumbrated at the end of the Vorspiel auf dem Theater (Prelude on the Stage) and in the final line of the first scene in Faust II, “Am farbigen Abglanz haben wir das Leben” (FA 1.7.206:4727; Life is ours in the colorful reflection). Indeed, the Irrlichter in Faust actually anticipate the trajectory of color and light in the Farbenlehre. They enter the play in Mephistopheles’ frivolous neologism, irrlichtelieren, and appear on stage as speaking actors in the Walpurgis Night and in the Walpurgis Night’s Dream, then as Knabe Lenker, Homunculus, and the impish angels in Faust II. Seeming at first to be delusions leading into error, they become images, then actors, who mirror for Faust and for us the presence in the world of the invisible and incommensurable truth that gives it meaning. The whole drama is nothing but plays within the play, and, in the end, it turns out that is all anyone can expect. In the final scene, Faust floats upward and onward apparently into the infinite, but in order to know that, to perceive the infinites, images are still necessary. Hence the baroque Catholic imagery that is obviously and uncomfortably not “real.” The final “chorus mysticus” (FA 1.7:464.12104–11) speaks of “Gleichnis” (parable), an extreme form of image, and then of dramatic action (“getan” [done], “Ereignis” [event]), exactly the way the Farbenlehre describes the representation of light in color. “Das Unzulängliche” (what is inadequate/unachievable) itself is transformed in the process. In Goethe’s day, this adjective meant “inadequate” but, in Goethe’s usage, becomes “unachievable”—a category of the object becomes a category of subjective striving. The play ends with the impossible riddle, “das ewig-Weibliche” (the eternal feminine). It is the Urphänomen, the phenomenon that underlies all our observations but remains alone as a riddle in the center.

Knowledge and Community

 

As Irrlichter are promoted from metaphor to personification in Faust, they become mediators, agents of cooperation. They take on bodies, and in the course of Faust II appear in the bodies of poetry, the vital spirit of life, in effect as Beauty in the form of Helen, and eventually as the angelic messengers of Divine Love. In the course of the play, they represent everything up a great chain of being from delusive nature to higher truth, to pure spirit. In the Märchen their ontological status engages the same totality, but not in such a clearly ordered hierarchy. In that tale, they become brighter and apparently more solid after substantial meals of gold, and as they scatter their energy in showers of gold coins they lose substance and even visibility. But the fact that they generously spend their golden substance is crucial. In both their getting and spending they enable the troubled inhabitants of the fairytale world to work together as a community and to restore their golden age of unity, peace, and prosperity. Their arrival signals the beginning of the restoration, and their departure its completion. They are the circulators of gold, of the vitality of nature and spirit; they are the light of this particular world, its erring light. As the mediators between spirit and nature, they also enable the establishment of human community, the injection of ideal order into an otherwise imperfect real world. Cooperation is also an essential element of Goethe’s scientific epistemology: scientific knowledge is built up one small piece at a time, whether as the process of repeated observations by a single individual or, at least as importantly, as the accumulation of observations by many individuals over long periods. The historical section of the Farbenlehre is longer than its theoretical section and polemic against Newton put together. Irrlichtelieren, as a unique mode of engagement with others, inspires a different kind of cooperative knowledge from the chains of tradition.

Nevertheless, it would be naive and most un-Goethean to regard this view as simple optimistic progressivism. Irrlichter are transient, evanescent phenomena. They may inspire social cohesion for the moment, as in the Märchen, but they are eternal wanderers, succeeded in the tale, to be sure, by other wanderers, but hardly guarantors of a permanent future outside of a fairy tale. Similarly, Faust’s utopian draining of swamps does not last forever in the real world of Faust, and Faust’s own vision of the future foresees them constantly recreated in a permanent struggle with the sea. And the sea is not only a force of destruction, but is also, in itself, a life-giving force. It, too, is a wanderer. It takes wanderers, the force of constant change, to promote social community but, like the visitors to the New World in the Wanderjahre, they always leave again.

Goethe’s early political ideal was Justus Möser’s federalism of small states. While he read political thinkers like Jean-Jacques Rousseau, Gaetano Filangieri, and Cesare Beccaria, he never favored large permanent systems. He loved Rome, center of the world, for the personal relationships and development it afforded him, but not as the great political center. Not the Aeneid, the great epic of the founding of the Roman Empire, excited him, but the Odyssey, in which the hero’s struggles increasingly have to do with escaping the lures of women to return to his small island home, when he must yet again depart on another journey to plant an oar in a place where journeying by sea and epic heroism are unknown. Goethe admired but did not celebrate Napoleon, and he juxtaposed to his demonic hero Faust the passive, bourgeois heroes Wilhelm Meister and the Hermann of Hermann und Dorothea (1797; Hermann and Dorothea). His politics favored the small-scale operations that allowed for variation, change, indeed the “frivolity” of will-o’-wisps. In a common cliché, Goethe is the last Renaissance man, the last universalist, which is another way of saying that his scientific and poetic epistemologies, or his epistemology and his poetology, are essentially linked, as in this anything but frivolous term irrlichtelieren.

Clark Muenzer, personal communication. See also Muenzer’s “Begriff” entry in this volume. ↩

All references to Faust are cited parenthetically by line number. All translations are my own unless otherwise indicated. ↩

See the entry “Irrlicht” in Handwörterbuch des deutschen Aberglaubens, ed. Hanns Bächtold-Stäubli and Eduard Hoffmann-Krayer (Berlin: de Gruyter, 1931-32). ↩

G. Schmid, “Irrlicht und Sternschnuppe,” Goethe 13 (1951): 268-89. ↩

See the entries “Irrlicht,” “irrlichtartig,” and “irrlichtelieren” in the Goethe-Wörterbuch, ed. Berlin-Brandenburgische Akademie der Wissenschaften, Deutsche Akademie der Wissenschaften zu Berlin, Akademie der Wissenschaften in Göttingen, and the Heidelberger Akademie der Wissenschaften (Stuttgart: Kohlhammer, 1978), 2:235-43. woerterbuchnetz.de/?sigle=GWB#0. ↩

Johann Wolfgang Goethe. Scientific Studies, trans. Douglas Miller (Suhrkamp: New York, 1988), 164. First sentence altered by JKB. ↩

  

goethe-lexicon.pitt.edu/GL/article/view/15

Explicación visual del proceso de una metodología de Pensamiento Visual. A visual explanation about the process of a Visual Thinking methodology

An F-35A Lightning II assigned to the 4th Expeditionary Fighter Squadron receives fuel from a KC-10 Extender assigned to the 908th Expeditionary Air Refueling Squadron to receive fuel during Exercise Agile Lightning Aug. 6, 2019. The exercise demonstrated the adaptive basing methodology where personnel and aircraft can operate in austere environments to complete essential missions vital to the defense of U.S. assets and personnel.

  

From Wikipedia, the free encyclopedia

 

The Lockheed Martin F-35 Lightning II is a family of single-seat, single-engine, all-weather, stealth, fifth-generation, multirole combat aircraft, designed for ground-attack and air-superiority missions. It is built by Lockheed Martin and many subcontractors, including Northrop Grumman, Pratt & Whitney, and BAE Systems.

 

The F-35 has three main models: the conventional takeoff and landing F-35A (CTOL), the short take-off and vertical-landing F-35B (STOVL), and the catapult-assisted take-off but arrested recovery, carrier-based F-35C (CATOBAR). The F-35 descends from the Lockheed Martin X-35, the design that was awarded the Joint Strike Fighter (JSF) program over the competing Boeing X-32. The official Lightning II name has proven deeply unpopular and USAF pilots have nicknamed it Panther, instead.

 

The United States principally funds F-35 development, with additional funding from other NATO members and close U.S. allies, including the United Kingdom, Italy, Australia, Canada, Norway, Denmark, the Netherlands, and formerly Turkey. These funders generally receive subcontracts to manufacture components for the aircraft; for example, Turkey was the sole supplier of several F-35 parts until its removal from the program in July 2019. Several other countries have ordered, or are considering ordering, the aircraft.

 

As the largest and most expensive military program ever, the F-35 became the subject of much scrutiny and criticism in the U.S. and in other countries. In 2013 and 2014, critics argued that the plane was "plagued with design flaws", with many blaming the procurement process in which Lockheed was allowed "to design, test, and produce the F-35 all at the same time," instead of identifying and fixing "defects before firing up its production line". By 2014, the program was "$163 billion over budget [and] seven years behind schedule". Critics also contend that the program's high sunk costs and political momentum make it "too big to kill".

 

The F-35 first flew on 15 December 2006. In July 2015, the United States Marines declared its first squadron of F-35B fighters ready for deployment. However, the DOD-based durability testing indicated the service life of early-production F-35B aircraft is well under the expected 8,000 flight hours, and may be as low as 2,100 flight hours. Lot 9 and later aircraft include design changes but service life testing has yet to occur. The U.S. Air Force declared its first squadron of F-35As ready for deployment in August 2016. The U.S. Navy declared its first F-35Cs ready in February 2019. In 2018, the F-35 made its combat debut with the Israeli Air Force.

 

The U.S. stated plan is to buy 2,663 F-35s, which will provide the bulk of the crewed tactical airpower of the U.S. Air Force, Navy, and Marine Corps in coming decades. Deliveries of the F-35 for the U.S. military are scheduled until 2037 with a projected service life up to 2070.

 

Development

 

F-35 development started in 1992 with the origins of the Joint Strike Fighter (JSF) program and was to culminate in full production by 2018. The X-35 first flew on 24 October 2000 and the F-35A on 15 December 2006.

 

The F-35 was developed to replace most US fighter jets with the variants of a single design that would be common to all branches of the military. It was developed in co-operation with a number of foreign partners, and, unlike the F-22 Raptor, intended to be available for export. Three variants were designed: the F-35A (CTOL), the F-35B (STOVL), and the F-35C (CATOBAR). Despite being intended to share most of their parts to reduce costs and improve maintenance logistics, by 2017, the effective commonality was only 20%. The program received considerable criticism for cost overruns during development and for the total projected cost of the program over the lifetime of the jets.

 

By 2017, the program was expected to cost $406.5 billion over its lifetime (i.e. until 2070) for acquisition of the jets, and an additional $1.1 trillion for operations and maintenance. A number of design deficiencies were alleged, such as: carrying a small internal payload; performance inferior to the aircraft being replaced, particularly the F-16; lack of safety in relying on a single engine; and flaws such as the vulnerability of the fuel tank to fire and the propensity for transonic roll-off (wing drop). The possible obsolescence of stealth technology was also criticized.

  

Design

 

Overview

 

Although several experimental designs have been developed since the 1960s, such as the unsuccessful Rockwell XFV-12, the F-35B is to be the first operational supersonic STOVL stealth fighter. The single-engine F-35 resembles the larger twin-engined Lockheed Martin F-22 Raptor, drawing design elements from it. The exhaust duct design was inspired by the General Dynamics Model 200, proposed for a 1972 supersonic VTOL fighter requirement for the Sea Control Ship.

 

Lockheed Martin has suggested that the F-35 could replace the USAF's F-15C/D fighters in the air-superiority role and the F-15E Strike Eagle in the ground-attack role. It has also stated the F-35 is intended to have close- and long-range air-to-air capability second only to that of the F-22 Raptor, and that the F-35 has an advantage over the F-22 in basing flexibility and possesses "advanced sensors and information fusion".

 

Testifying before the House Appropriations Committee on 25 March 2009, acquisition deputy to the assistant secretary of the Air Force, Lt. Gen. Mark D. "Shack" Shackelford, stated that the F-35 is designed to be America's "premier surface-to-air missile killer, and is uniquely equipped for this mission with cutting-edge processing power, synthetic aperture radar integration techniques, and advanced target recognition".

 

Improvements

Ostensible improvements over past-generation fighter aircraft include:

 

Durable, low-maintenance stealth technology, using structural fiber mat instead of the high-maintenance coatings of legacy stealth platforms

Integrated avionics and sensor fusion that combine information from off- and on-board sensors to increase the pilot's situational awareness and improve target identification and weapon delivery, and to relay information quickly to other command and control (C2) nodes

High-speed data networking including IEEE 1394b and Fibre Channel (Fibre Channel is also used on Boeing's Super Hornet.

The Autonomic Logistics Global Sustainment, Autonomic Logistics Information System (ALIS), and Computerized maintenance management system to help ensure the aircraft can remain operational with minimal maintenance manpower The Pentagon has moved to open up the competitive bidding by other companies. This was after Lockheed Martin stated that instead of costing 20% less than the F-16 per flight hour, the F-35 would actually cost 12% more. Though the ALGS is intended to reduce maintenance costs, the company disagrees with including the cost of this system in the aircraft ownership calculations. The USMC has implemented a workaround for a cyber vulnerability in the system. The ALIS system currently requires a shipping-container load of servers to run, but Lockheed is working on a more portable version to support the Marines' expeditionary operations.

Electro-hydrostatic actuators run by a power-by-wire flight-control system

A modern and updated flight simulator, which may be used for a greater fraction of pilot training to reduce the costly flight hours of the actual aircraft

Lightweight, powerful lithium-ion batteries to provide power to run the control surfaces in an emergency

Structural composites in the F-35 are 35% of the airframe weight (up from 25% in the F-22). The majority of these are bismaleimide and composite epoxy materials. The F-35 will be the first mass-produced aircraft to include structural nanocomposites, namely carbon nanotube-reinforced epoxy. Experience of the F-22's problems with corrosion led to the F-35 using a gap filler that causes less galvanic corrosion to the airframe's skin, designed with fewer gaps requiring filler and implementing better drainage. The relatively short 35-foot wingspan of the A and B variants is set by the F-35B's requirement to fit inside the Navy's current amphibious assault ship parking area and elevators; the F-35C's longer wing is considered to be more fuel efficient.

 

Costs

A U.S. Navy study found that the F-35 will cost 30 to 40% more to maintain than current jet fighters, not accounting for inflation over the F-35's operational lifetime. A Pentagon study concluded a $1 trillion maintenance cost for the entire fleet over its lifespan, not accounting for inflation. The F-35 program office found that as of January 2014, costs for the F-35 fleet over a 53-year lifecycle was $857 billion. Costs for the fighter have been dropping and accounted for the 22 percent life cycle drop since 2010. Lockheed stated that by 2019, pricing for the fifth-generation aircraft will be less than fourth-generation fighters. An F-35A in 2019 is expected to cost $85 million per unit complete with engines and full mission systems, inflation adjusted from $75 million in December 2013.

Wind mill, Strängnäs, Södermanland, Sweden. The making of this photo: shutter-life.com/2009/02/a-fear-to-find-motion-blur-and-a...

The disadvantages of my methodology at this time... The fixed 135mm lens means rapid re-framing is impractical and the choice of 61mp means file sizes are cumbersome, so this is "reduced" in pixel numbers.

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

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

   

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]

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.

 

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.