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The Tau empire has always preferred peaceful expansion over violent. Why waste troops when systems may be willingly coerced into being annexed? To give themselves willingly to the pursuit of the Greater Good.
However, after the Damocles Gulf Crusade, Imperial forces became very guarded against Tau diplomatic infiltration. Fear of the vengeful force of the Emperor, of punitive Astartes crusades or a harrowing Inquisition. This fear would become the primary obstacle identified by Tau Water Caste as preventing peaceful annexation of planets.
Responding to this, it was decided by the Ethereal Caste to train and arm an auxiliary force of Gue'vesa (Humans who have defected to serve the Tau and the Greater Good). These would be selected from the most veteran and well trained of the former Guardsmen, especially those with intelligence or covert ops backgrounds, and inserted into targeted systems in advance of any diplomatic envoy. Here, these undercover operatives would seek out Inquisition personnel and gauge the loyalties of the nobility and governing officials. The Gue'vesa Hunters would identify and eliminate Inquisition assets and any other approved threats to potential Tau diplomacy to prepare for the delegation's arrival. After the Water Caste Tau Diplomat arrived, these Gue'vesa hunters would continue to operate in the shadows to ensure their safety as well as thwart any Imperial intelligence operations.
If all went to plan, the Gue'vesa Hunters could ensure that the system was able to engage in negotiations without fearful pressure, and that the Empire of Man would not learn of the defection until after Tau Annexation was complete.
To assist with this mission, dead drops of Tau armor, weapons, and technology would also be inserted to provide the Gue'vesa Hunters with support should human gear be insufficient for the mission. A special Pulse Rifle designed to better suit human physicality was included in these arsenals, and became symbolic of the increasing numbers and participation of Gue'vesa within the Tau Empire.
Hey, hey, I think I'm gettin' there. Only two of the elements in this one were my shots and the rest were stock photos. Fair enough. But the methodology was yours truly's and it didn't take anywhere near as long to complete (though I don't think it is) as it would otherwise have.
Original File: Breadman.psb
The fire hydrant is attractive, appealing and outstanding. So you can easily find them when you need them for firefighting purpose. Yet they are humble, not over-shiny and not over-exaggerating in appearance.
It is a nice example that combines the conflicting qualities in real world.
It is like my first lesson in photography. Our teacher told us to take more pictures i.e. to experiment and explore, and at the same time take less pictures i.e. being more critical and selective on your subject, scene and light.
Dialectics is a philosophical methodology using the opposite forces or ideas and finding solutions by resolving and integrating the ideas.
This is the fire hydrant at the corner opposite to my home and the shot was taken with my Fuji point & shoot.
Happy weekend!
I spent some time near Rocky Mtn Natl Park over Spring Break from school, and was able to find a bobcat hunting east of the Park. It was quite an experience to to watch this kitty as she patiently stalked the tall grass. Cats are so very patient. I've had more opportunities to observe wild canines than cats, and the differences in hunting methodology is very interesting.
C4C- Images taken to test the methodology of table top lighting. All these are lit with a simple side light and a second curtain flash on camera. The Goose is just a friend who pops in now and again.
The first lesson I have learned is to clean all the dust away first...and to smooth out he table cover.
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
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!
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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!
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
Both are non-profit sites and for educational use only.
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
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
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.
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
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
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.
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
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
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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.
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This phamplette went into much more detail than we are able to give here, for rather obvious legal implications!
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
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.
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
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).
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!
*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.
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.
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.
Irrlichtelieren (Will-o’-the-wisping-around)
Jane K. Brown
UNIVERSITY OF WASHINGTON
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. ↩
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
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.
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
Explicación visual del proceso de una metodología de Pensamiento Visual. A visual explanation about the process of a Visual Thinking methodology
I see a methodology of building something that lasts. Something that will withstand the rigors of monthly exhibitions over years of travel. Something which tens of thousands will be able to enjoy in as pristine condition as possible.
I also see the immense substructure of a more than 11,000-brick model depicting the Flavian Amphitheatre (Colosseum) at its glorious height circa mid-4th century CE.
Many will see something else, and that's okay.
There is no progress without first breaking tired and arbitrary moulds. ✊
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Wind mill, Strängnäs, Södermanland, Sweden. The making of this photo: shutter-life.com/2009/02/a-fear-to-find-motion-blur-and-a...
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.
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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.
works.bepress.com/kent_palmer/2
- (2000). Reflexive Autopoietic Dissipative Special Systems Theory: An Approach to Emergent Meta-systems through Holonomics.
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.
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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
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Corrections
p. 22 - p. Chapter 1 (Arabic) is written as Chapter I (Roman)
p. 22 - White et al – capital W
p. 22 - Freidman - Friedman
p. 23 - duel = dual
p. 24 - as Maritian states – who is Maritian?
p. 38 and p. 39 - Freidman = Friedman
p. 40 - these there element = these three elements
p. 95 - by an large = by and large
p. 102 - destabilize = destabalize
p. 103 - form of society
p. 105 - pleas not = please not
p. 106 - Doctor = doctor
p. 109 - maintianed is = maintained its
p.112 - now = no law or rule
p.114 - 369 sensence unclear
De Dion diamonds – de Beer diamonds?
p. 119 - her = here is an article
p. 129 - There is not real strong king = there is no real strong king
p. 131 - invasion – s
p. 132 - Myan = Mayan
p. 134 - structure – s
p. 139 - Di Vinci = Da Vinci
p. 148 - for person gain = for personal gain
p. 151 - not test = no test
p. 159 - many socialism = socialists
doe = do
p. 175 - heav?
p. 180 - can buy out a for profit corporation
p. 188 - A excellent example = An excellent exemple
p. 189 - duel = dual
p. 193 - Brittan = Britain
p. 201 - the people thought he building = through the building
p.205 - the focus in on keeping – the focus is on keeping
p. 214 - at out disposal – at our disposal
p. 218 - filling the in the blank – filling in the blank
p. 246 - have and have not’s
p. 252 - in a capitalism (2x)
p. 254 - Velbin = Veblin
p. 257 - a intrinsic worth = an intrinsic worth
p. 260 – as simple as
p. 293 - Out western civilization = our
p. 294 - ho = how
p. 296 - the survival or the artisan = survival of the artisan
p. 297/299 - Brittan = Britain
p. 300 - one the decline = on the decline
p. 328 - Jon Elster = John Elster
Photographed in Saratoga, California
=> Please click on the image to see the largest size. <=
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From Wikipedia: The wrentit (Chamaea fasciata) is a small bird that lives in chaparral, oak woodlands, and bushland on the western coast of North America. It is the only species in the genus Chamaea.
Its systematics have been the subject of much debate, the wrentit having been placed in many different families by different authors for as long as it has been known to science. Its common name reflects the uncertainty, and its external resemblance to both tits and wrens. It is by no means closely related to either, however.
Description:
The wrentit is a small, 15 cm (5.9 in) bird with uniform dull olive, brown, or grayish plumage. It has short wings and a long tail often held high (hence the comparison to wrens). It has a short bill and a pale iris. Given its retiring nature and loud voice, the wrentit is more likely to be detected by its call than by sight. The distinct sound that it makes is similar to the sound of a ping-pong ball falling on the table.
Systematics:
The wrentit has been variously placed in its own family, the Chamaeidae, or with the long-tailed tits (Aegithalidae), the true tits and chickadees (Paridae), the "Old World warblers" (Sylviidae), and with the "Old World babblers" (Timaliidae). The American Ornithologists' Union places the wrentit in the latter family, giving it the distinction of being the only babbler known from the New World. This is based on DNA–DNA hybridization studies, which are phenetic, however, and therefore not considered methodologically adequate today.[citation needed]
Through DNA sequence analysis, it was subsequently discovered that the wrentit was more closely allied to Sylvia warblers and some aberrant "babblers". These consequently must be placed in the family Sylviidae together with the wrentit and the parrotbills which also turned out to be close relatives. Thus, the wrentit is the only American species of the "true" or sylviid warblers. Peculiarly, the Dartford warbler and close relatives like Marmora's warbler bear an uncanny resemblance to the wrentit; their ecology is quite similar indeed as all are birds of Mediterranean scrub. However, biogeography and the molecular data build a strong case for this similarity being a case of convergent evolution between birds that are close relatives but by far not as close as their appearance would suggest.
Alice Cibois suggested that as some babblers are closer to typical warblers than these are to marsh-warblers for example, the Sylviidae should be merged into the Timaliidae.As such an abolishing of the senior synonym would require a formal International Commission on Zoological Nomenclature ruling and the typical warblers and relatives are still a monophyletic group at present, this proposal is not advanced by most researchers until the remaining Sylviidae and Timaliidae genera are studied as regards their relationships.
Distribution:
The wrentit is a sedentary (non-migratory) resident of a narrow strip of coastal habitat in the western coast of North America, being found from Oregon south through California, to Baja California, the north state of the Baja California peninsula.
It is usually restricted to certain chaparral and woodland habitats. It nests in 1 metre (3 ft) high shrubs such as poison oak (Toxicodendron diversilobum), coyote bush (Baccharis pilularis) and California blackberry (Rubus ursinus). Logging and other changes in habitat have led to this species expanding its range recently, particularly northwards.
Ecology:
Wrentits mate for life, forming pair bonds only a few months after hatching. Both sexes sing; the faster rhythm of the male's song is one of the few ways to differentiate the sexes. Both sexes also defend their territory year-round and participate in building the nest, a four-stage process that takes about two weeks. The three or four eggs are incubated for 14 days, again by both sexes. The chicks fledge after 15 days (at which stage they are unable to fly) and are fed by their parents for another 40 days.
The wrentit feeds by skulking through dense scrub gleaning exposed insects found by sight. It feeds primarily on beetles, caterpillars, bugs, and ants, but also takes small berries and seeds.
AB2A9525-1_fCAFlkr
Date of Interview: November 9, 1929 (2014)
Interviewer: Zoe Foodiboo
Interviewee(s): Alexandra “Sasa” Steigerwald
Location: Home of Sasa Steigerwald, Mittelstrasse Hof 1e, 1920s Berlin Project (owned and managed by Frau Jo Yardley), Second Life.
Abstract: Fraulein Steigerwald has been a part of the 1920s Berlin Community for nearly 3 years. She’s one of the regular girls at the Herrenclub and is a dancer (and founding member) of the dance troupe, The Flapperettes. In this interview, Frl. Steigerwald shares memories of her early days in Berlin, reminisces about the founding of the Flapperettes, and talks about her work as both an actress and model. She also spends some OOC (out of character) time discussing her roleplay methodology and her thoughts on Berlin’s past and future. Other tenants mentioned in this interview include: Frau Jo Yardley, Patrice Courneyer, Pola Solo, Mab Ashdene, Zeno McAuley, Dora Duchamp, BJ Boberg, Tequila Mockingbird, Jelena Matova, Sein Loire, Nik Darkwatch, Walter Gedenspire, Morganic Clarrington, Adele Kling, EC Moleno, Bruno Bonj, Charika Bauer, Augusta von Nassau, Rosemary and Gustov Chesnokov, Karl Bhalti, Luzie Cheng, and Florence “Flossie” Bradshaw.
**********
Sasa Steigerwald: well this is my place
Zoe Foodiboo settles into the couch and sneaks looks around
ZF: You have a lovely home, Fraulein Steigerwald. Well then, where shall we begin?
SS: let's begin with the beginning. or the end
ZF: The beginning will do....
Zoe pulls out a pad and pencil, wishing for the umpteenth time that she could afford an assistant to take notes…
Sasa leans over to let her cigarette ashes fall into the ashtray
Zoe quickly rummages in her purse, fishes out a cigarette, then settles back into her seat
SS: so what do you want to know?
Zoe clears her throat, "Ah well....let's see....how is it that you came to Berlin?"
SS: Well, I grew up in a large mansion outside Berlin, in Potsdam, so I've always been close to Berlin. And from early on, I knew that Berlin was the place where things happen...when Potsdam was choking me to death by boredom.
Zoe jots down a few notes, "mmmhmmm....Potsdam....mmmhmmm….”
SS: so I decided to move here two years and nine months ago. It was in February 1927. My family had other plans for me.
Zoe Foodiboo: Oh?
SS: First of all, when I showed that I wasn't happy with my life there, my mother wanted me to join a monastery and become a nun.
I did not want that at all …. No way.
Zoe nods thoughtfully
SS: It was such a boring childhood there...no emotions..no signs of affection. Just keeping up the appearance. Snobbery. I left when I could. Any kind of life would be better than that life.
Zoe nods, "Did you know anyone here? Where did you stay when you first arrived?"
SS: I was lucky to find a small smelly basement apartment at Bruderstrasse. And no not really, I didn't know anyone.
Zoe wrinkles her nose ever so slightly at the mention of Bruderstrasse.
SS: But I quickly got some friends.
ZF: Was it easy making friends? Where did you spend your time when you first arrived? And whom did you meet?
SS: I tried to actually spend some time at the library, but I got bored. Sorry.
Zoe smiles, initially pleased....then frowns
SS: so I ended up at the places where people meet and I got to meet my neighbors. I met Charika [Bauer], Augusta [von Nassau], Karl [Bhalti], the Chesnokovs [Rosemary and Gustov Chesnokov] and then I met Flossie [Bradshaw], wherever she is now…
ZF: Flossie!
SS: I also met and got to know BJ Boberg [Bror Jacob Boberg, artist name BJ Blue], the musician and songwriter - he was also new in Berlin then. He didn't have a place to live so I let him sleep on my rug for some weeks.
Zoe jots down "Flossie....Herr Boberg....staying with you? Unchaperoned? oh my...interesting! Were your parents still supporting you at this point? Financially, I mean.
SS: I brought some savings with me - that money I was never allowed to touch. And anyway that apartment was so cheap, so anyone could afford it
Zoe nods
SS: my parents did not want me to stay here at all, in this sinful place. Especially moving from the mansion to the small smelly apartment next to Club Eldorado. "Undignified" ::mimics her mother's frowning:: Such boring Potsdam upper class nitwits … anyway, then I got in touch with Pola [Solo], since I realised I needed some sort of income. And I started working for the Herrenclub
ZF: Ah, Fraulein Solo....Tell me a little about your first days working there.
SS: I thought I could do a good job there, since men were starting to hit on me since I got to Berlin.
ZF: Naturally. You're very pretty.
SS: Well she told me the rules, what to do and what not to do, and I got my first client the same day.
ZF: Rules? What sort of rules?
SS: The wachtmeisters tend to leave us alone as long as we don't openly solicit - walking up to people and offering our service openly - we can't do that. Such double standards…
Zoe arches an eyebrow
SS: also, I'm forbidden to talk about my clients with anyone outside the Herrenclub.
ZF: Darn. I mean....errr....of course!
SS: They have to trust my discretion. Or I am at least not allowed to mention any names.
ZF: What's it like working for Fraulein Solo and Fraulein [Mab] Ashdene?
SS: They are fine. At least towards those who work hard and bring in a lot of money.
ZF: You must do very well....
Sasa shrugs, “Well, one has to do what one has to do. There are so many things I can't do, but that I can and I do well. Like a one trick pony.”
Zoe Foodiboo gazes at Sasa curiously but decides not to further pursue it, lest she find herself in dangerously indiscrete waters
Sasa lights another cigarette
ZF: Now then, working at the Herrenclub isn't your only job...tell me about the Flapperettes. How did that all start?
SS: Yeah the flaps. That started with me seeing an ad written by Zeno McAuley. He wanted to start a dance troupe that he could manage.
ZF: Herr McAuley....we do miss him so.
SS: yeah, we do, but it was his idea to start it all, and me and Adele [Kling] were the first ones who auditioned. And later the same day Dora [Duchamp], Tequila [Mockingbird] and Luzie [Cheng] had joined.
ZF: What was the audition process like?
SS: It was more or less showing some dance moves. Nothing too exciting. Our first common practise was at the football field.
ZF: Fun! Tell me about that.
SS: well we just didn't have anywhere to go then, so we went there, and also it is the calmer part of Berlin so not that many nosey people would turn up.
Zoe chuckles
SS: our first show was at the stage at der Keller. I don't remember how many numbers we did then, maybe 3-4.
ZF: What did you wear? What were your dances like?
SS: the dress we always open with is the first costume we had, now we dance to the song Flapperette, but we had some other starting song then. And then we had a belly dance routine, and we still do that now and then.
Zoe scribbles on her pad, trying to get it all down
SS: then we have added number by number and I think we have over ten different numbers to choose between now...maybe even more. We found our roles in the group quickly anyway.
ZF: Nice! Now then, Herr McAuley is no longer involved with the Flapperettes, correct?
SS: No, Walter Gedenspire, Tequila's cousin, took over the manager role.
ZF: I see. And who does what? The roles you mentioned....
SS: Tequila is the choreographer. Dora is the administrator ... is that the right word?
Zoe nods, "Sounds about right."
SS: Jelena [Matova] who just have joined is in charge of the photographing. We all help with the stage changes. Teki [Tequila] also creates the stage backdrops. My main task up until now has been to make sure the egos get along and don't start fighting during the rehearsals.
ZF: That sounds like quite a job.
SS: The roles are changing a bit now, we're all trying new things within the group.
ZF: How often do you perform and where?
SS: We perform between 3-5 shows every year, and we've mostly been in Berlin but we have been abroad too on shorter tours, we've been in Paris for instance.
ZF: Lovely!
SS: yeah
ZF: Did your fame as a Flapperette help inspire Herr Boberg's song & accompanying film?
SS: Actually, it's funny that you mentioned him, since he is the one who suggested the name The Flapperettes
ZF: Is that true? Interesting!
SS: and we had two different suggestions and voted. Iit was 2-2 before I voted, and I voted for Flapperettes
ZF: May I ask what the other suggestions were?
SS: Actually i don't remember but it was long, silly and altogether horrible.
Zoe grins
SS: I was ready to fight for the name "The Flapperettes" but I didn't need to.
ZF: Excellent.
SS: but you mentioned BJ's song.
ZF: Ah yes. So how did the song evolve...."Lipstick something?"
SS: Do you mean "Lipstick on her knee"?
ZF: yes, that's it.
SS: You have to ask him about that, but he came up to me and said that he wanted to make a short movie to accompany a tango that he had written and recorded with his trio. Since the song had a story about a young dancer with blonde short hair, he thought I would be perfect for the role.
ZF: Makes sense
SS: so we spent around a day shooting the film out in the Berlin streets and at his apartment at Friedrichstrasse. He had a lot of patience actually.
ZF: All in one day? Nice! ...a lot of patience?
SS: I think he had filmed parts of the film before, parts where I wasn't in the film. Oh yeah, we filmed a bit at the Odeon theatre too.
ZF: sounds like quite a project!
SS: yeah well acting is not that easy. Walk here, walk there, look happy, look sad, hug him, kiss him, frown, flirt, take off your clothes...all that
Zoe blinks surprised, then rearranges her face into placidity
SS: and we had to make sure we stood in some different angles so we didn't show too much on the film. But the result was fine.
ZF: You were also photographed for a calendar, weren't you? I seem to remember seeing something in the window of the apotheke last year....
SS: yeah I was asked to take part of that. And I was told to dress a bit sailor-like and have my photos taken at the apotheke since it was also an advert for Clarrington's apotheke. So I had around 12-14 photos taken there.
Zoe nods
SS: and one of them was chosen for the calendar.
ZF: Who was the photographer?
SS: a local photographer, I forgot his name.
ZF: And was it Frl Duchamp who was in charge of publishing the calendar?
SS: Yeah. Dora's always in charge. ::winks::
Zoe smiles diplomatically
SS: … and anyway I've been doing some freelance modeling to keep the money coming in …
ZF: Oh?
SS: I got these pictures sent to me by a photographer this morning
::points at the two black and white photographs at the table in front of them::
Zoe follows Sasa’s gaze and leans in to take a look...then immediately pulls back, startled
SS: yeah well it pays well
Zoe stammers, "oh my.....you're...I....ummmmm....."
Sasa smiles "Yeah, he wants me that way"
Zoe tries to quickly think of something pleasant to say, "Nude photography can be very artful. er, artsy. I mean, artistic....um...yes. Well." ::clumsily reaches for a glass on the table and pours herself a drink::
Sasa shrugs
Zoe gulps her drink down, then clears her throat, "What else do you get up to in Berlin? I think I've seen you out on the football field on my way to work.” ::clears her throat again:: “Clothed.”
Sasa laughs loudly “Yeah, I’ve been at the football field clothed. I love sports. Been both wrestling with EC [Moleno] and fencing with Bruno [Bonj] and I think Sein [Loire] tried to play football with us”
ZF: Very nice uniforms!
SS: Me and Patrice [Cournoyer] share a deep interest for football. Patrice made those uniforms and I provided some research for them. Anyway, I like athletes as well.
ZF mutters "I'm sure you do..."
SS: … and we both had some fun playing football down at the field…
ZF: Do you have a regular team?
SS: I don't know how regular I would say it is. We have played some games with friends who have joined. The team is called Hertha Berlin.
ZF: You played against some men once, didn't you?
SS: We were going to organize some games last summer but we had trouble with the owners of the field...but we played some games two summers ago. We played one game me and Pat against a team consisting of two guys and we won, mainly because Patrice was brilliant.
ZF: Nice! Who were the men?
SS: oh let's see...one of them was a guy who later was forced away from Berlin - don't remember his name - and the other one hasn't been in Berlin for a long time now.
Zoe nods
SS: Alas I can't recall his name either
ZF: What a shame
Sasa wrinkles her forehead, “No, I can't remember”
ZF: You've built quite a life for yourself here in Berlin. Is there anything we're leaving out?
SS: you mean the juicy bits?
Zoe giggles
SS: I like to be around people. And I want people to like me. I don't know, but I really want affection, maybe because I didn't get much of it when I was a kid. Maybe that is why I dislike that old upper class twit kind of life.
Zoe nods thoughtfully
SS: and anyway, I have sometimes made some bad decisions when it comes to relationships …
ZF: Haven't we all?
SS: but I guess one gets stronger from that. Dating that communist Nik [Darkwatch] almost got me shot. But yeah, we all have -
it's part of life
Sasa stretches a bit in her chair and wipes some dust from her bathrobe.
ZF: So it is…
SS: and anyway I try to keep it all on the inside, just to show the quirky, happy, flirty, witty Sasa
ZF: We love it all.
Sasa frowns and blows out some cigarette smoke.
SS: yeah, that's the "Sasa" we love. So that's what I do. But I keep making the same mistakes over and over and over again...if they are mistakes.
Zoe listens
SS: anyway, it means that there are some that aren't that keen on me here, they look down on the life i live, but it's the life I know how to live.
ZF: We all must do our best.
SS: ...and that I'm good at.
Zoe smiles, “Now then, for the folks living in the "real" world....tell me, how did you discover the 1920s Berlin project?”
SS: I had a fairly new computer and I had read about SL so I tried it, explored different sims that were presented on the SL website. And then I read about the 1920s Berlin Project, and I was amazed that it seemed to be such a lively place unlike so many nice sims filled with bots. I like the social interaction, meeting people and talking to them. I bought a yellow flapper dress from Pola Solo's store and started exploring Berlin, I sat silently by a table at Der Keller and listened to the talk . I was like a grey silent mouse, if you can imagine that, and slowly but surely I realised what kind of role I could play here.
ZF: That's a good way to go about it and learn the social customs of a new place.
SS: yes, the first time I danced in Berlin, it was Morganic Clarrington to asked me for a dance
ZF: awww
SS: probably because he felt sorry for the silent girl wearing a huge beret :D
ZF: heh
SS: it took around two months actually before i got my character right, and even longer before I started to understand her :D
ZF: Did you do any research for your character?
SS: yes
ZF: tell me about that
SS: first of all about the Weimar Republic, just reading the articles at the library helps a lot. Then unlike my SL character, I'm very methodical, and I actually got some inspiration from some RL characters. and also from my RL profession.
Zoe nods
SS: I'm a psychiatric nurse in RL (not too flattering for Sasa that I have borrowed features from patients I've met)
ZF: heh - that's rather perfect, actually.
SS: Yes, I know my character's fears and secret thoughts. But I can't always control her. :D She hates authorities since they remind her of her strict upbringing. So when people tell her/orders her to do a thing she refuses just for the sake of it. She can be very obstinate and she is a bit childish that way. She is very afraid of being abandoned but she is also afraid of showing her true feelings. When she gets bored she may cause mayhem just for her own entertainment and sometimes she use other people for that, and that’s not a nice feature at all.
ZF: Tell me about your approach to roleplay.
SS: I'm not good at long paragraphs. I prefer to let people understand Sasa through what she says.
Zoe nods
SS: And what her avatars does, there's no need for long descriptions.
Also, it's difficult to be witty if one has to formulate a long paragraph because it has to come out quickly. Sasa has a quick tongue, and that does not fit well with long paragraphs.
Zoe nods in agreement, “Sasa is known for her zingers”
SS: That is probably where she is most like my real self.
ZF: Awesome. I sometimes crack up at my screen after some clever remark you've made :)
SS: Of course since one cannot script it, Sasa just says it without thinking. I often would stop myself in RL because I think the remark is too silly. Also, sometimes Sasa has been asked to use that quick wit during shows with the Flapperettes, but it’s not that easy. When one is asked to be witty, it becomes very tricky.
ZF: So rp-ing Sasa affords you a little freedom?
SS: Yes I think so
ZF: You said you've been here for almost 3 years? How has the sim changed since you first arrived, if at all? Aside from all the wonderful meshing :)
SS: It has grown first of all.
ZF: oh, true!
SS: People have come and gone and sometimes got back. Just like in real life you can't take it for granted that people will stay forever.
ZF: so true....
SS: Some who I have been close to have disappeared. And some have returned. When I was new, I got the impression that there were fewer people who organized things, but they organized more things. Like Zeno.
Zoe nods
SS: When he left it created a sort of a hole when it came to organized events, before others started to take over and help each other organizing. And it is better that more people are active with that. I haven't organized anything though.
ZF: You're so active, though!
SS: I'm not an organizer really.
ZF: You do help organize, even if you're not leading the project.
SS: I'm not that creative. I don't come up with that many ideas, and those I come up with aren’t that new. But I think I bring some colour at least.
ZF: oh pish, I think you're extremely creative. Your rp skills contribute a lot to the atmosphere, imho.
Sasa smiles
ZF: Do you have any hopes as far as the future of Berlin? or predictions?
SS: As long as the community is active it will keep strong, but I don't know how much more it can grow
Zoe nods
SS: but then I didn't expect the homesteads
ZF: Gosh, I just love the homesteads
SS: The thing I'm thinking is that if Frau [Jo] Yardley goes on to create the next project, that London sim, it's a risk that she will start compete with herself
ZF: She will need a lot of help…
SS: anyway we all know that nothing lasts forever, and who knows how long SL will exist. But if that is not a problem, I think it will continue to be strong and active. But it is up to us.
ZF: Well, my final question is always the same....what do you love most about our Berlin?
SS: The people. That there are all sorts of people from different social and economic classes and that the feeling is so realistic here. Even if I know that the Berliners are real people who in many cases are very different from their avatars, this is where they can be whoever they want to be.
That's freedom.
Prof. John Pollini working STUDENTS AT OSTIA ANTICA. Pollini in my opinion is the number 1 authority on Julio Claudian Portrait study. I have had much correspondence with Prof. Pollini and he is passionate about Roman Art. Here is his curriculum Vitae:
Education
B.A. Classics, University of Washington, 1/1968
M.A. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1973
Ph.D. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1978
Academic Appointment, Affiliation, and Employment History
Professor, Department of Art History (Adjunct Professor for Department of Classics and Department of History), University of Southern California, 1991-
Dean of the School of Fine Arts, University of Southern California, 1993-1996
Chairman of the Department of Art History, University of Southern California, 1990-1993
Associate Professor, Department of Art History and Department of Classics (adjunct appointment), University of Southern California, 1987-1991
Assistant Professor, Department of Classics, Johns Hopkins University, 1980-1987
Curator, Johns Hopkins University Archaeological Museum, 1980-1987
Visiting Assistant Professor, Department of Classics, Johns Hopkins University, 1979-1980
Mellon Postdoctoral Fellow, Department of Classics, Case Western Reserve University, 1978-1979
Description of Research
Summary Statement of Research Interests
Professor Pollini's research is concerned with methodologies of classical art and archaeology, ancient history, classical philology, epigraphy and numismatics. His other scholarly research interests include ancient religion, mythology, narratology, rhetoric and propaganda. Over the years Professor Pollini has excavated at the Greco-Roman site of Aphrodisias, Turkey, and the Etruscan site of Ghiaccio Forte, Italy, and participated in the underwater survey of the port of Tarquinia (Gravisca), Italy. Trained in the methodologies of classical art & archaeology, ancient history, classical philology, epigraphy, and numismatics, Professor Pollini is committed to interdisciplinary teaching and research. Professor Pollini has lectured widely both in the United States and abroad. He has published numerous articles and authored several books.
Research Specialties
Classical Art and Archaeology
Honors and Awards
Elected Life Member, German Archaeological Association, 2000-
American Council of Learned Societies Fellowship, awarded for second time, 2006-2007
Guggenheim Fellowship, deferred until 2007-2008, 2006-2007
Whitehead Professor at the American School of Classical Studies at Athens (Honorific Appointment), 9/1/2006-6/1/2007
Departmental Nominee for University Associates Award for Excellence in Teaching 2002, 2002-2005
Mellon Foundation Award for Excellence in Mentoring, 2004-2005
Departmental Nominee for University Associates Award for Excellence in Teaching 1998, 1998-2001
National Endowment for the Humanities Fellowship, awarded for second time, 1995-1996
American Council of Learned Societies Fellowship, 1987-1988
National Endowment for the Humanities Fellowship, 1983-1984
Mellon Postdoctoral Fellowship, 1978-1979
Fulbright Award, Fellowship to Italy, 1975-1976
CURRICULUM VITAE
JOHN POLLINI
Department of Art History
Von Kleinsmid Center 351 University of Southern California
Los Angeles, CA 90089-0047
Professor of Classical Art and Archaeology, Department of Art History
Joint Professor, Department of History
Adjunct Professor, Department of Classics
President, Classical Archaeological Association of Southern California (CAASC)
DEGREES
Ph. D. Ancient History and Mediterranean Archaeology, University of California at
Berkeley (1978) (interdisciplinary program involving the Departments of Art History,
Classics, and History; major field: Etruscan and Roman Art and Archaeology; minor
fields: Greek Art and Archaeology and Roman History; Ph.D. equivalency exams in
ancient Greek and Latin) [Diss.: Studies in Augustan “Historical” Reliefs]
M.A. Ancient History and Mediterranean Archaeology, University of California at
Berkeley (l973) [MA Thesis: Two Marble Portrait Statues of Pugilists from Carian
Aphrodisias: Iconography and Third Century A.D. Sculptural Traditions in the Roman
East]
B.A. magna cum laude, Classics, University of Washington (1968)
POSTDOCTORAL ACADEMIC APPOINTMENTS
Dean of the School of Fine Arts, University of Southern California, with administrative,
budgetary, and fund-raising responsibilities (1993-1996)
Chairman of the Department of Art History, University of Southern California
(1990-1993)
Full Professor, University of Southern California, Department of Art History
(1991-present), with joint appointment in the Department of History and adjunct
appointment in the Department of Classics
Associate Professor, University of Southern California, Department of Art History, with
adjunct appointment in the Department of Classics (1987-1991)
Assistant Professor, Johns Hopkins University, Department of Classics (1980-1987) and
Curator of the Johns Hopkins University Archaeological Museum (1980-1987)
Visiting Assistant Professor, Johns Hopkins University, Department of Classics
(1979-1980)
Mellon Postdoctoral Fellow, Case Western Reserve University, Department of Classics
(1978-1979)
INTERNATIONAL AND NATIONAL FELLOWSHIPS, GRANTS,
AWARDS, HONORS
William E. Metcalf Lectureship (2008)
John Simon Guggenheim Memorial Foundation Fellowship (2006-2007, deferred to
2007-2008)
Whitehead Professor of Archaeology, American School of Classical Studies at
Athens (2006-2007)
American Council of Learned Societies Fellowship (2006-2007)
Kress Foundation Travel Grant (Summer 2006)
Mellon Foundation Award for Excellence in Mentoring (2005)
Taggart Foundation Grant: Campus Martius Virtual Reality Project (2005)
Distinguished Lecturer, Biblical Archaeological Society and Center for Classical
Archaeology, University of Oklahoma, Norman (2005): Series of three lectures on
Roman and Christian Religion, Art, and Ideology
Kress Foundation Travel Grant (2003)
Senior Humboldt Research Prize (nominated) to Berlin, Germany, for 2000-2001
Elected Member (for life) of the German Archaeological Institute (Berlin) (2000)
National Endowment for the Humanities Fellowship for Independent Study and
Research (1995-1996)
Kress Foundation Travel Grant (Summer 1988)
American Council of Learned Societies Fellowship (1987-1988)
Kress Foundation Travel Grant (1987)
National Endowment for the Humanities Fellowship for Independent Study and
Research (1983-1984)
Mellon Postdoctoral Fellowship, Case Western Reserve University (1978-1979)
Mabelle McLeod Lewis Memorial Fund Fellowship to Italy (1975-1976)
Fulbright Fellowship, Università di Roma, Rome, Italy (1975-1976)
UNIVERSITY FELLOWSHIPS, GRANTS, AWARDS, HONORS
Departmental Nominee for University Associates Award for Excellence in Teaching
(2002-2005)
College Faculty Research Development Award (consecutive years: 2000-2007)
University of Southern California Grant for Innovative Undergraduate Teaching
(with Lynn Swartz Dodd and Nicholas Cipolla) for a virtual reality project “Imaging
Antiquity: Creating Context through Virtual Reconstructions, Digital Resources, and
Traditional Media” (2003-2004)
Grant for the “College Initiative for the Study of Political Violence” (2002)
University of Southern California Grant for Innovative Undergraduate Teaching
(with Bruce Zuckermann and Lynn Swartz Dodd) to develop a new interdisciplinary and
interdepartmental course entitled “Accessing Antiquity: Actual Objects in Virtual Space”
(2000-2001)
University of Southern California Senior Nominee for National Endowment for the
Humanities Summer Stipend for Faculty Research (1998-1999)
Departmental Nominee for University Associates Award for Excellence in Teaching
(1998-2001)
College Awards and Grants for Research Excellence (consecutive years: 1997-2000)
Hewlett Foundation Award and Grant for General Education Course Development
(1997-1998)
Faculty Research and Innovation Fund Grant, University of Southern California (1988)
University of California Traveling Fellowship (1976-1977)
Dean’s Fellowship, U.C. Berkeley (1973-1975)
Phi Beta Kappa (1968), University of Washington
ADDITIONAL EDUCATIONAL PREPARATION
Field trips sponsored by the American Academy in Rome, German Archaeological
Institute, and Comune di Roma (1975-1978)
Research in Rome, Italy for dissertation (1975-1978), as well as further study of Greek
and Roman art and architecture in Italy and elsewhere in Europe during this period
Supervised study of Greek and Roman sculpture at the J. Paul Getty Museum, with
J. Frel (1973-1975)
Course in Greek art and archaeology at the Universität München, Munich, Germany
with E. Homann-Wedeking (1971)
Study of the German language at the Goethe Institute, Grafing (Munich), Germany (1971)
Course work in Roman, Etruscan, and Italic art and architecture, Università di Roma,
with G. Becatti, M. Pallottino, F. Castagnoli, and M. Squarciapino (1970-1971)
ARCHAEOLOGICAL FIELD WORK
Underwater survey of port of Tarquinia (Gravisca), Italy (1977): Consultant
Excavation of Etruscan site of Ghiaccio Forte, Italy (1973)
Excavation of Greco-Roman site of Aphrodisias, Turkey (1970-1972)
Excavation of Spanish/Indian Mission, Guavave, Arizona (1965-1966)
LANGUAGES
Ancient: Latin and Greek
Modern: German, Italian, French, modern Greek, some Turkish
BOOKS
PUBLISHED:
I) The Portraiture of Gaius and Lucius Caesar (Fordham University Press, New York
1987) (with a book subvention from the National Endowment for the Humanities).
II) Roman Portraiture: Images of Character and Virtue, with graduate student
participation (Fisher Gallery, Los Angeles 1990).
III) Gallo-Roman Bronzes and the Process of Romanization:The Cobannus Hoard
(Monumenta Graeca et Romana IX) (Brill, Leiden 2002).
IV) The de Nion Head: A Masterpiece of Archaic Greek Sculpture (Philipp von
Zabern, Mainz 2003).
V) Terra Marique: Studies in Art History and Marine Archaeology in Honor of Anna
Marguerite McCann on the Receipt of the Gold Medal of the Archaeological Institute
of America (editor, designer, and contributor of introduction, publication list, and
one of 19 essays) (Oxbow Publications, Oxford 2005).
SUBMITTED:
VI) From Republic to Empire: Rhetoric, Religion, and Power in the Visual Culture of
Ancient Rome (University of Oklahoma Press), comprising eight chapters:
CHAPTER I: The Leader and the Divine: Diverse Modes of Representation in Roman Numismatics
CHAPTER II: The Cult Image of Julius Caesar: Conflicts in Religious Theology and Ideology in
Augustus’ Representational Program
CHAPTER III: From Warrior to Statesman in Augustan Art and Ideology: Augustus and the Image of
Alexander
CHAPTER IV: The Ideology of “Peace through Victory” and the Ara Pacis: Visual Rhetoric and the
Creation of a Dynastic Narrative [revised and updated essay originally published in
German]
CHAPTER V: The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of
Anamorphosis, Anakyklosis and Numen Mixtum [revised and updated publication].
CHAPTER VI: Divine Providence in Early Imperial Ideology: The Smaller Cancelleria Relief and
the Ara Providentiae Augustae
CHAPTER VII: The “Insanity” of Caligula or the “Insanity” of the Jews? Differences in Perception
and Religious Beliefs
CHAPTER VIII: “Star Power” in Imperial Rome: Astral Theology, Castorian Imagery, and the Dual
Heirs in the Transmission of the Leadership of the State
IN PROGRESS:
VII) Christian Destruction and Desecration of Images of Classical Antiquity: A Study
in Religious Intolerance in the Ancient World
VIII) Dynastic Narratives in Augustan Art and Thought: The Rhetoric and Poetry of
Visual Imagery [with DVD Virtual Reality Program of the Monuments]
IX) The Image of Augustus: Art, Ideology, and the Rhetoric of Leadership
X) Social, Sexual, and Religious Intercourse: Sacrificial Ministrants and Sex-Slaves
in Roman Art -- 3rd Century B.C. - 4th Century A.D.
ARTICLES
PUBLISHED:
1) “A Flavian Relief Portrait in the J. Paul Getty Museum,” in Getty Museum Journal
5 (1977) 63-66.
2) “Gnaeus Domitius Ahenobarbus and the Ravenna Relief,” in Römische Mitteilungen
88 (1981) 117-40.
3) “A Pre-Principate Portrait of Gaius (Caligula)?” in Journal of the Walters Art
Gallery 40 (1982) 1-12.
4) “Damnatio Memoriae in Stone: Two Portraits of Nero Recut to Vespasian in
American Museums,” in American Journal of Archaeology 88 (1984) 547-55.
5) “The Meaning and Date of the Reverse Type of Gaius Caesar on Horseback,” in
American Numismatic Society Museum Notes 30 (1985) 113-17.
6) “Response to E. Judge’s ‘On Judging the Merits of Augustus,’” in Center for
Hermeneutical Studies: Colloquy 49 (1985) 44-46.
7) “Ahenobarbi, Appuleii and Some Others on the Ara Pacis,” in American Journal of
Archaeology 90 (1986) 453-60.
8) “The Findspot of the Statue of Augustus from Prima Porta,” in Bullettino della
Commissione Archeologica Comunale di Roma 92 (1987/88) 103-108.
9) “Two Acrolithic or Pseudo-Acrolithic Sculptures of the Mature Classical Period in
the Archaeological Museum of the Johns Hopkins University,” in Classical Marble:
Geochemistry,Technology, Trade (NATO ASI Series E vol. 153), edd. N. Herz and
M. Waelkens (Dordrecht 1988) 207-17.
10) “Man or God: Divine Assimilation and Imitation in the Late Republic and Early
Principate,” in Between Republic and Empire: Interpretations of Augustus and His
Principate, edd. K.A. Raaflaub and M. Toher (Berkeley 1990) 333-63.
11) “The Marble Type of the Augustus from Prima Porta: An Isotopic Analysis,” in
Journal of Roman Archaeology 5 (1992) 203-208.
12) “The Tazza Farnese: Principe Augusto ‘Redeunt Saturnia Regna’!” in American
Journal of Archaeology 96 (1992) 249-55, 283-300.
13) “The Cartoceto Bronzes: Portraits of a Roman Aristocratic Family of the Late First
Century B.C.,” in American Journal of Archaeology 97 (1993) 423-46.
14) “The Gemma Augustea: Ideology, Rhetorical Imagery, and the Construction of a
Dynastic Narrative,” in Narrative and Event in Ancient Art, ed. P. Holliday
(Cambridge 1993) 258-98.
15) “The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of
Anamorphosis, Anakyklosis and Numen Mixtum,” in Von der Bauforschung zur
Denkmalpflege, Festschrift für Alois Machatschek (Vienna 1993) 181-217.
16) “The ‘Trojan Column’ at USC: Reality or Myth?” in Trojan Family (May, 1994)
30-31.
17) “The Augustus from Prima Porta and the Transformation of the Polykleitan Heroic
Ideal,” in Polykleitos, the Doryphoros, and Tradition, ed. W. Moon (Madison 1995)
262-82.
18) “The ‘Dart Aphrodite’: A New Replica of the ‘Arles Aphrodite Type,’ the Cult Image
of Venus Victrix in Pompey’s Theater at Rome, and Venusian Ideology and Politics
in the Late Republic - Early Principate,” in Latomus 55 (1997) 757-85.
19) “Parian Lychnites and the Prima Porta Statue: New Scientific Tests and the Symbolic
Value of the Marble” (with N. Herz, K. Polikreti, and Y. Maniatis), in Journal of
Roman Archaeology 11 (1998) 275-84.
20) “The Warren Cup: Homoerotic Love and Symposial Rhetoric in Silver,” in The Art
Bulletin 81 (1999) 21-52.
21) “Ein mit Inschriften versehener Legionärshelm von der pannonisch-dakischen Grenze
des römischen Reiches: Besitzverhältnisse an Waffen in der römischen Armee,” in
M. Junkelmann, Römische Helme VIII Sammlung Axel Guttmann, ed. H. Born
(Mainz 2000) 169-88.
22) “The Marble Type of the Statue of Augustus from Prima Porta: Facts and Fallacies,
Lithic Power and Ideology, and Color Symbolism in Roman Art,” in Paria Lithos:
Parian Quarries, Marble and Workshops of Sculpture (Proceedings of the First
International Conference on the Archaeology of Paros and the Cyclades, Paros, 2-5
October 1997), edd. D.U. Schilardi and D. Katsonopoulou (Athens 2000) 237-52.
23) “The Riace Bronzes: New Observations,” in Acten des 14. Internationalen
Kongresses für Antike Bronzen, Kölner Jahrbuch 33 (2000) 37-56.
24) “Two Bronze Portrait Busts of Slave-Boys from a Shrine of Cobannus in Roman
Gaul,” in Studia Varia II: Occasional Papers on Antiquities of The J. Paul Getty
Museum 10 (2001) 115-52.
25) “A New Portrait of Octavian/Augustus Caesar,” in Roman Sculpture in the
Art Museum, Princeton University (Princeton 2001) 6-11.
26) “Two Gallo-Roman Bronze Portraits of Sacrificial Ministrants in the J. Paul Getty
Museum,” in From the Parts to the Whole 2: Acta of the 13th International Bronze
Congress, Cambridge, Massachusetts, May 28 - June 1, 1996, edd. C.C.
Mattusch, A. Brauer, and S.E. Knudsen (Portsmouth, Rhode Island 2002) 89-91.
27) “‘Frieden-durch-Sieg’ Ideologie und die Ara Pacis Augustae: Bildrhetorik und
die Schöpfung einer dynastischen Erzählweise,” in Krieg und Sieg: Narrative
Wanddarstellungen von Altägypten bis ins Mittelalter (Internationales
Kolloquium 23. - 30. Juli 1997 im Schloss Heindorf, Langenlois; Österreichischen
Akademie der Wissenschaften XXIV), edd. M. Bietak und M. Schwarz (Vienna
2002) 137-59.
28) “A New Portrait of Octavia and the Iconography of Octavia Minor and Julia Maior,”
Römische Mitteilungen 109 (2002) 11-42.
29) “Slave-Boys for Sexual and Religious Service: Images of Pleasure and Devotion,” in
Flavian Rome: Culture, Image, Text, edd. A.J. Boyle and W.J. Dominik (Leiden
2003) 149-66.
30) “The Caelian Hill Sacrificial Minister: A Marble Head of an Imperial Slave-Boy from
the Antiquarium Comunale on the Caelian Hill in Rome,” in Römische Mitteilungen
111 (2004) 1-28.
31) “A New Head of Augustus from Herculaneum: A Marble Survivor of a Pyroclastic
Surge,” in Römische Mitteilungen 111 (2004) 283-98.
32) “The Armstrong and Nuffler Heads and the Portraiture of Julius Caesar, Livia, and
Antonia Minor in Terra Marique: Studies in Honor of Anna Marguerite McCann
on the Receipt of the Gold Medal of the Archaeological Institute of America, ed.
J. Pollini (Oxbow Publications, Oxford 2005) 89-122.
33) “A New Marble Portrait of Tiberius: Portrait Typology and Ideology,” in Antike Kunst
48 (2005) 57-72.
34) “A North African Portrait of Caracalla from the Mellerio Collection and the
Iconography of Caracalla and Geta,” in Revue Archéologique (2005) 55-77.
35) “A Bronze Gorgon Handle Ornament of the Ripe Archaic Greek Period,” in Annuario
della Scuola Archeologica Italiana di Atene e delle Missioni Italiani in Oriente 83
(2005) 235-47.
36) “Ritualizing Death in Republican Rome: Memory, Religion, Class Struggle, and the
Wax Ancestral Mask Tradition’s Origin and Influence on Veristic Portraiture” in
Performing Death: Social Analyses of Funerary Ritual in the Ancient Near East
and Mediterranean (Oriental Institute Seminars 3, University of
Chicago), ed. N. Laneri (Chicago 2007) 237-85.
37) “A New Bronze Portrait Bust of Augustus,” in Latomus 66 (2007) 270-73.
FORTHCOMING:
38) “Gods and Emperors in the East: Images of Power and the Power of Intolerance,”
in the proceedings of an international conference on “‘Sculptural Environment’ of the
Roman Near East: Reflections on Culture, Ideology, and Power” (University of
Michigan), in Interdisciplinary Studies in Ancient Culture and Religion,
edd. E.A. Friedland, S.C. Herbert, and Y.Z. Eliav (Peeters Publ.: Leuven).
39) “A New Portrait Bust of Tiberius in the Collection of Michael Bianco,” in Bulletin
Antieke Beschaving 83 (2008) 133-38.
40) “The Desecration and Mutilation of the Parthenon Frieze by Christians and Others,” in
Athenische Mitteilungen 122 (2007).
41) “Problematics of Making Ambiguity Explicit in Virtual Reconstructions:
A Case Study of the Mausoleum of Augustus,” for the proceedings of an international
conference, “Computer Technology and the Arts: Theory and Practice,” sponsored by
the British Academy and the University of London.
42) “A Winged Goat Table Leg Support from the House of Numerius Popidius Priscus at
Pompeii,” in Pompei, Regio VII, Insula 2, pars occidentalis. Indagini, Studi,
Materiali (la Soprintendenza Archeologica di Pompei), ed. L. Pedroni.
43) “Augustus: Portraits of Augustus,” in Oxford Encyclopedia of Ancient Greece and
Rome (2008).
44) “A New Bronze Lar and the Role of the Lares in the Domestic and Civic Religion of the Romans,” in Latomus (2008).
IN PROGRESS:
45) “The ‘Colville Athena’ Head and Its Typology.”
46) “Idealplastik and Idealtheorie: Paradeigmatic Systems, Homosexual Desire, and the
Rhetoric of Identity in Polykleitos’ Doryphoros and Diadoumenos.”
REVIEW ARTICLES
PUBLISHED:
D. Boschung, Die Bildnisse des Augustus (Das römische Herrscherbild I.2) (Berlin 1993),
in Art Bulletin 81 (1999) 723-35.
E. Varner, Mutilation and Transformation: Damnatio Memoriae and Roman Imperial
Portraiture (Monumenta Graeca et Romana 10) (Leiden 2004), in Art Bulletin 88
(2006) 591-98.
BOOK REVIEWS
PUBLISHED:
M. Torelli, Typology and Structure of Roman Historical Reliefs, in American Journal of
Archaeology 87 (1983) 572-73.
J. Ganzert, Das Kenotaph für Gaius Caesar in Limyra, in American Journal of
Archaeology 90 (1986) 134-36.
R. Brilliant, Visual Narratives. Storytelling in Etruscan and Roman Art in American
Journal of Philology 107 (1986) 523-27.
PUBLISHED IN CHOICE:
E. Bartman, Portraits of Livia: Imaging the Imperial Woman in Augustan Rome, in
vol. 37 (1999) 126.
B.S. Ridgway, Prayers in Stone: Greek Architectural Sculpture (Ca. 600 - 100 B.C.),
in vol. 37 (2000) 1095.
W.E. Mierse, Temples and Towns in Roman Iberia: The Social and Architectural
Dynamics of Sanctuary Designs from the Third Century B.C. to the Third Century A.D.
in vol. 37 (2000) 1458.
V. Karageorgis, Ancient Art from Cyprus: The Cesnola Collection in The Metropolitan
Museum of Art (New York 2000)in vol. 38 (2000) 1953.
Z. Hawass, Valley of the Golden Mummies (New York 2000) in vol. 38 (2001)
4036.
M.W. Jones, Principles of Roman Architecture (New Haven 2000) in vol. 38 (2001)
5409.
F. Salmon, Building on Ruins: The Rediscovery of Rome and English Architecture
(Ashgate 2000) in vol. 39 (2001) 106.
J. Boardman, The History of Greek Vases: Potters, Painters and Pictures (New York
2001) in vol. 39 (2002) 3755.
Roman Sculpture in the Art Museum, Princeton University, ed. J. M. Padgett (Princeton
2001) in vol. 39 (2002) 6218.
G. Hedreen, Capturing Troy: The Narrative Function of Landscape in Archaic and Early
Classical Greek Art (Ann Arbor, 2001) in vol. 40 (2002) 73.
A. J. Clark, M. Elston, and M.L. Hart, Understanding Greek Vases: A Guide to Terms,
Styles, and Techniques (Los Angeles 2002) in vol. 40 (2003) 3185.
S. Woodford, Images of Myths in Classical Antiquity (Cambridge 2003) in vol. 41
(2003) 89.
J. Aruz with R. Wallenfels (edd.), Art of the First Cities: The Third Millennium B.C. from
the Mediterranean to the Indus (The Metropolitan Museum of Art, New York) (New
Haven 2003) in vol. 41 (2004) 2584.
G. Curtis, Disarmed: The Story of the Venus de Milo (New York 2003) in vol. 41 (2004)
5083.
Games for the Gods: The Greek Athlete and the Olympic Spirit, edd. J.J. Herrmann and C.
Kondoleon (Boston Museum of Fine Arts) in vol. 42 (2004) 646.
E.W. Leach, The Social Life of Painting in Ancient Rome and on the Bay of Naples
(Cambridge 2004) in vol. 42 (2004) 1215-16.
D. Mazzoleni, Domus: Wall Painting in the Roman House (Los Angeles 2004) in vol. 42
(2005) 1809.
S. Fine, Art and Judaism in the Greco-Roman World: Toward a New Jewish Archaeology
(Cambridge 2005) in vol. 43 (2006) 1586-87.
C.H. Hallett, The Roman Nude: Heroic Portrait Statuary 200 B.C. -- A.D. 300 (Oxford
2005) in vol. 44 (2006).
Constantine the Great: York’s Roman Emperor, edd. E. Hartley, J. Hawkes, M. Henig, and
F. Mee (York 2006) in vol. 44 (2006).
M.D. Stansbury-O’Donnell, Vase Painting, Gender, and Social Identity in Archaic Athens
(Cambridge 2006) in vol. 44 (2006).
PRINCIPAL INSTRUCTIONAL MATERIALS (Hard Copy and Online):
Greek Art and Archaeology: Course Manual (113 pages, 23 plates) and online version of
this Course Manual with digitized images
Roman Art and Archaeology: Course Manual (158 pages, 58 plates) and online version
of this Course Manual with digitized images
Digging into the Past: Material Culture and the Civilizations of the Ancient
Mediterranean: Course Manual (43 pages)
Proseminar Guide to General and Specific Works on Greek and Roman Art and
Archaeology and Related Disciplines (50 pages) and online version
Website for AHIS 425, “Introduction to Interdisciplinary Research and Methodology
in Classical Art and Archaeology and Related Disciplines” with links to other important
websites in the fields of Art, Archaeology, Classics, and Ancient History
Website for AHIS 201g: “Digging into the Past: Material Culture and the
Civilizations of the Ancient Mediterranean” (with digitized images)
PAPERS GIVEN AT INTERNATIONAL AND NATIONAL
CONFERENCES AND SYMPOSIA
On Judging the Merits of Augustus: Center for Hermeneutical Studies: Colloquy,
Berkeley (April, 1985)
Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,
National Gallery of Art (October, 1986)
Augustus: Monuments, Arts, and Religion: Brown University (March, 1987)
Aspects of Ancient Religion: University of California at Berkeley (April, 1987)
Marble and Ancient Greece and Rome: International conference sponsored by
NATO at Il Ciocco (Tuscany), Italy (May, 1988)
Polykleitos, the Doryphoros and Its Influence: University of Wisconsin, Madison
(October, 1989)
UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (December, 1992)
XIIIth International Bronze Congress: Harvard University (May 28 - June 1, 1996)
UCLA-USC Seminar in Roman Studies: Roman Representations: Subjectivity, Power
and Space: USC, Los Angeles (March, 1997)
International Symposium at Cuma (Naples): Flavian Poets, Artists, Architects and
Engineers in the Campi Flegrei (July, 1997)
International Symposium at the University of Vienna: Interdisziplinäres Kolloquium
Historische Architekturreliefs vom Alten Ägypten bis zum Mittelalter (July, 1997)
First International Conference on the Archaeology of Paros and the Cyclades: Paros,
Greece (October, 1997)
Getty Research Institute Colloquium: Work in Progress (November, 1997)
Annual Meetings of the Art Historians of Southern California at California State
University, Northridge, California (November, 1998)
XIV. Internationaler Kongress für Antike Bronzen: Werkstattkreise, Figuren und Geräte
(Sponsored by Das Römisch-Germanisches Museum der Stadt Köln und das
Archäologisches Institut der Universität zu Köln [September 1999]): Besides giving paper,
chaired the session “Bronzestatuen und -statuetten: Fundkomplexen, Fundgruppen,
Einzelstücke, und Typen”
First International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and chaired
session on “Ideology, Historiography, and the Imperial Family” (May, 2000)
International Symposium at Emory University, Atlanta: Tyranny and Transformation
(October, 2000)
Annual Meeting of the Art Historians of Southern California at the Getty Center,
Los Angeles, California (November, 2000)
Getty Research Institute Colloquium: Work in Progress (December, 2000)
Second International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “The Image of
the Princeps and the Ruler Cult” (May, 2001)
UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (April, 2002)
Third International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “Roman History
and Ideology” (May, 2002)
Symposium on the Age of Augustus at UCLA -- (Feb., 2003)
Fourth International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and
chaired session (May, 2003)
International Archaeological Congress, Harvard University (Aug. 2003): Besides giving a
paper, chaired session on “Ancient Society”
VIIth International ASMOSIA Conference, Thasos, Greece (Sept. 2003)
International Conference in the Arts and the Humanities, Honolulu, Hawaii (Jan. 2004)
Symposium on Roman Sculpture, Minneapolis Museum of Art (organized by Richard
Brilliant) (April, 2004)
International Symposium on Interaction of Indigenous and Foreign Cults in Italy at Cuma
(Naples) (May, 2004): Besides giving a paper, chaired session
International Conference at University of Michigan: “‘Sculptural Environment’ of the
Roman Near East: Reflections on Culture, Ideology, and Power (November 2004)
International Conference at Stanford University: “Seeing the Past” (February 2005)
International Conference at the University of London: “Computer Technology and the Arts:
Theory and Practice” (November 2005)
International Conference at the University of Chicago: “Performing Death: Social Analyses
of Funerary Ritual in the Mediterranean” (February 2006)
VIIIth International ASMOSIA Conference, Aix-en-Provence, France (June 2006)
Symposium “Art of Warfare”: Michael C. Carlos Museum, Emory University (January
2007)
PAPERS PRESENTED AT ANNUAL CONVENTIONS OF THE
ARCHAEOLOGICAL INSTITUTE OF ARCHAEOLOGY AND THE
COLLEGE ART ASSOCIATION
Boston (AIA, December, 1979)
New Orleans (AIA, December, 1980)
San Francisco (AIA, December, 1981)
Philadelphia (AIA, December, 1982)
Cincinnati (AIA, December, 1983)
Toronto (AIA, December, 1984)
Washington, D.C. (AIA, December, 1985) -- invited paper, “The Promulgation of the
Image of the Leader in Roman Art,” in a special AIA plenary session on Politics and
Art
San Antonio (AIA, December, 1986) -- invited paper, “Time, Narrativity, and Dynastic
Constructs in Augustan Art and Thought,” at a joint AIA-APA session on topics
illustrating connections between Roman art and philology
Houston (CAA, February, 1988) -- invited paper, “The Gemma Augustea and the
Construction of a Dynastic Narrative,” for a CAA session on Narrative and Event in
Greek and Roman Art
Atlanta (AIA, December, 1994) -- discussant for a joint AIA-APA session on “Rethinking
Nero’s Legacy: New Perspectives on Neronian Art, Literature, and History”
New York (AIA, December, 1996) -- special poster session: “The Marble Type of the
Statue of Augustus from Prima Porta: New Scientific Tests” (prepared in collaboration
with Norman Herz, Director of Programs, Center for Archaeological Sciences, University
of Georgia)
Chicago (AIA, December, 1997)
Washington, D.C. (AIA, December, 1998) -- invited paper, “A Portrait of a Sex-Slave
‘Stud’ (?) in the Metropolitan Museum of Art in New York,” for a special colloquium in
honor of Anna Marguerite McCann on the receipt of the “Gold Medal” of the
Archaeological Institute of America
San Francisco (AIA, January, 2004) -- joint paper with N.Cipolla and L. Swartz Dodd
OTHER ACADEMIC AND PUBLIC LECTURES/TALKS
American Academy, Rome, Italy (March, 1976)
Cleveland Society AIA, Cleveland, Ohio (April, 1979)
Johns Hopkins University, Baltimore, Md. (September, 1980)
Institute of Fine Arts, New York, N.Y. (October, 1980)
Metropolitan Museum of Art, New York, N.Y. (January, 1983)
New York Society AIA, New York, N.Y. (January, 1983)
Baltimore Society AIA, Baltimore, Md. (February, 1983)
University of Toronto, Toronto, Canada (March, 1987)
University of Southern California, Los Angeles, Ca. (March, 1987)
Columbia University, New York, N.Y. (April, 1987)
Classical Archaeological Society of Southern California, UCLA, Ca. (November 1989)
Tulane University, New Orleans, La. (February, 1990)
Classical Archaeological Society of Southern California, USC, Ca. (February 1990)
Los Angeles Society AIA, Los Angeles, Ca. (March, 1990)
Fisher Gallery and School of Fine Arts, University of Southern California, Los Angeles,
Ca. (March, 1990)
Institute of Fine Arts, New York, N.Y. (April, 1990)
American Academy, Rome, Italy (May, 1990)
University of Vienna and Kunsthistorisches Museum, Vienna, Austria (June, 1990)
San Diego Society AIA, San Diego, Ca. (September, 1990)
Classical Archaeological Society of Southern California, Getty Museum, Malibu, Ca.
(November, 1990).
University of Pennsylvania, Philadelphia, Pa. (December, 1990)
Classical Archaeological Society of Southern California, Gamble House, Pasadena, Ca.
(March 1991)
Henry T. Rowell Lecturer: Baltimore Society AIA, Baltimore, Md. (November, 1991)
Villanova University, Villanova, Pa. (November, 1991)
Royal-Athena Galleries, Los Angeles, Ca. (October, 1992)
Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art,
Washington D.C. (November, 1992)
University of North Carolina, Chapel Hill, N.C. (November, 1992)
Duke University, Durham, N.C. (November, 1992)
University of California, Los Angeles: UCLA/USC Seminar in Roman Studies, Los
Angeles, Ca. (December, 1992)
University of Southern California, Los Angeles, Ca. (January, 1993)
J. Paul Getty Museum and Center for the History of Art and the Humanities, Malibu,
Ca. (February, 1993)
Classical Archaeological Society of Southern California, UCLA, Ca. (March 1993)
California State University, Long Beach, Ca. (March, 1993)
Stanford University, Palo Alto, Ca. (April, 1993)
University of California, Berkeley, Ca. (April, 1993)
California State University, Northridge, Ca. (April, 1993)
University of Arizona, Tucson, Az. (April, 1993)
American Academy, Rome, Italy (June, 1994)
Getty Center for the History of Art and the Humanities (Director’s Series) (Dec., 1994)
University of California, Irvine (May, 1997)
American Academy, Rome, Italy (July, 1997)
American School of Classical Studies, Athens (October, 1997)
Los Angeles County Museum of Art, Los Angeles (March, 1998)
British School at Rome (June, 1998)
University of California, Berkeley (November, 1998)
Classical Archaeological Society of Southern California, University of California,
Santa Barbara (March, 1999)
Work in Progress: Getty Research Institute, Brentwood, California (December, 2000)
Classical Archaeological Society of Southern California, Getty Research Institute,
Brentwood, Ca. (April, 2001)
American Academy, Rome, Italy (May, 2001)
Loyola Marymount, Los Angeles (March, 2002)
Southern California Institute of Architecture (February, 2003)
Columbia University, New York (April, 2003)
University of Amsterdam, the Netherlands (May, 2003)
University of Nijmegen, the Netherlands (May, 2003)
American School of Classical Studies, Athens (September, 2003)
University of Oklahoma, Norman (March, 2005)
Cambridge University, Cambridge, England (November, 2005)
American School of Classical Studies at Athens, Greece (March, 2007)
University of Athens, Greece (May, 2007)
Los Angeles Society of the AIA, Los Angeles (December, 2007)
College of William and Mary (January, 2008)
Duke University, Durham (February, 2008)
Dickinson College, Carlisle, PA (March, 2008)
University of Nebraska, Lincoln (April, 2008)
AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS as Whitehead Professor of Archaeology (2006-2007)
Participated in all Fall trips of the School to various parts of Greece, giving
presentations on each of the trips.
Participated in the School’s Spring trip to Central Anatolia, giving several presentations.
Offered a seminar in the Winter Quarter: “Christian Destruction and Desecration of
Images and Shrines of Classical Antiquity.”
MISCELLANEOUS TALKS AND PRESENTATIONS
Lectures and talks on site regarding the architecture and topography of Rome, Ostia,
and Hadrian’s Villa for members of the Technische Universität für Architektur und
Denkmalpflege, Vienna, Austria; the Summer School of the American Academy in
Rome; St. Olaf College’s Junior Year Abroad Program; and M.A. students of
architecture in a joint summer program of the University of Southern California and the
University of Illinois; and the Intercollegiate Center for Classical Studies in Rome.
Talks on various aspects of Classical art and archaeology at meetings of the
Archaeological Society of the Mid-Atlantic States (1980-1987)
Gallery talks on the ancient collections of the Archaeological Museum of the Johns
Hopkins University (in capacity as curator) and of the Walters Art Gallery (1979-1987)
Gallery talks on the ancient collections of the J. Paul Getty Museum and the Los Angeles
County Museum of Art (1987-present)
Talk for USC graduate students in the Dept. of Classics at the Ara Pacis and Mausoleum of
Augustus in Rome (May 26, 2006), organized by Prof. Claudia Moatti, Dept. of Classics
SPECIAL TALKS AND LECTURES AT USC
Seminar for Professor Claudia Moatti, Department of Classics: “Problems in Ancient Art”
(March, 2005)
Seminar for Dr. Daniela Bleichmar, Department of Art History: Rediscovering the
Classical Past: The Relationship of Art History, Archaeology, and Visual Culture (March,
2005)
University of Southern California’s 125th Celebration: For Symposium on “Trojan
Legends” presented paper: “USC's Trojan Column: An Ancient and Modern Myth”
(October, 2005)
MEDIA INTERVIEWS AND CONSULTATION
New York Times, International Herald Tribune, Los Angeles Times, The New Yorker, The
History Channel, Arts and Entertainment Channel, KPCC Radio Los Angeles, NBC, Fox
Featured piece on my innovative work on the marble type of the statue of Augustus from
Prima Porta: A. Elders, “Tracing the Stones of Classical Brilliance,” in Hermes -- Greece
Today 35 (1999) 20-24.
ORGANIZER AND LEADER OF TOURS OF MUSEUMS AND SITES
Turkey (for Board of Councilors and donors of the School of Fine Arts, USC, 1995; for
university students and the general public, 1998)
Greece (Attica and the Peloponnese) (for university students and the general public, 1999)
Central Italy (for university students and the general public, 2000, 2002, 2003)
PARTICIPATION IN OTHER COLLOQUIA AND SYMPOSIA
Roman Sculpture and Architecture: German Archaeological Institute, Rome
(January, 1978)
Roman Architecture: Center for Advanced Study in the Visual Arts, National Gallery
of Art (January, 1981)
The Age of Augustus. The Rise of Imperial Ideology: Brown University (April, 1982)
Pictorial Narratives in Antiquity and the Middle Ages: The Johns Hopkins University and
the Center for Advanced Study in the Visual Arts, National Gallery of Art (March, 1984)
Villa Gardens of the Roman Empire: Dumbarton Oaks (May, 1984)
Retaining the Original -- Multiple Originals, Copies, and Reproductions: Center for
Advanced Study in the Visual Arts, National Gallery of Art (March, 1985)
Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,
National Gallery of Art (October, 1986)
Marble -- Art Historical and Sculptural Perspectives on Ancient Sculpture: J. Paul Getty
Museum (April, 1988)
International Conference on Roman Archaeology and Latin Epigraphy: University of
Rome and the French School of Rome (May, 1988)
Roman Portraits in Context: Emory University (January, 1989)
Small Bronze Sculpture from the Ancient World: J. Paul Getty Museum (March, 1989)
Alexandria and Alexandrianism: J. Paul Getty Museum (April, 1993)
International Symposium: “Rome Reborn” Visual Reality Program at UCLA (December,
1996)
History of Restoration of Ancient Stone Sculptures, J. Paul Getty Museum (October, 2001)
Re-Restoring Ancient Stone Sculpture, J. Paul Getty Museum (March, 2003)
Marble Conference on Thasos, Liman, Thasos (Sept. 2003)
OTHER PROFESSIONAL ACTIVITIES
Editorial Assistant (1968-1969) and Associate Editor (1969-1970), AGON: Journal of
Classical Studies
Editorial Board, American Journal of Philology (January, 1982-January, 1987)
Delegate from Baltimore Society AIA to National Convention (1984-1986)
Vice-President, Baltimore Society of the AIA (1985-1987)
Co-Director, Exhibition on Roman Portraiture, Fisher Gallery (1989)
Co-Founder (with Dr. Diana Buitron) of the Classical Archaeological Society of the Mid-
Atlantic States (1978-87)
Founder and President of the Classical Archaeological Society of Southern California
(1987-present)
Member of the Ancient Art Council of the Los Angeles County Museum of Art (1987-
present)
Oversaw the publication and helped edit the newsletter “ARTFACTS” of the
School of Fine Arts (1993-1996) during my tenure as Dean of the School of Fine Arts
USC Representative to Advisory Council of the American Academy in Rome
(1993-present)
Comitato di Collaborazione Culturale to the Consul General of Italy at Los Angeles
(1995-1998)
Advisory Committee for the Virtual Reality Project for Ancient Rome (“Rome Reborn”)
(1996-1998)
Delegate from Los Angeles Society AIA to National Convention (Chicago, Dec., 1997)
Reviewer for the Getty Grant Program (1999)
Reviewer for the MacArthur Foundation Grant (2000, 2003)
Planning Committee for a Four-Year International Conference on “Roman Imperial
Ideology” at the Villa Vergiliana at Cuma (Naples), organized by J. Rufus Fears (2000-
2003)
Consultant for the Forum of Augustus Project: Sovrintendenza Archeologica Comunale,
Direzione al Foro di Augusto (2004-present)
Editor of the newsletter “Musings” for the Department of Art History, USC (2005)
Planning Committee for the Internation Bronze Congress in Athens, Greece (2006-2007)
Chaired two sessions -- “Roman Sculpture” and “Augustan Art” -- at the Annual Meeting
of the Archaeological Institute of America (San Diego 2007)
UNIVERSITY COMMITTEES AND OTHER SERVICE
Faculty Senate (1988-1991)
Advisory Committee to the Dean of the School of Fine Arts (1990-1991, 1992-1993)
Chairman, Personnel Committee of the School of Fine Arts (1988-1990)
Library Liaison Officer for Art and Architecture Library (1987-present)
Search Committee for Reference Librarian of the Art and Architecture Library
(1989-1990 and 2000)
University Library Committee (1989-1990, 1998-2001)
Recruitment Committee for the School of Fine Arts (1989-1995)
Space Allocation Committee, School of Fine Arts (1989-1990)
University Research Committee (1990-1991)
Promotion Committee, School of Fine Arts (1990-1995)
University Ad Hoc Committee on Revenue Center Management (1990-1995)
Committee for University Development, School of Fine Arts (1993-1995)
Development Task Force, the School of Fine Arts (1993-1995)
Consultative Committee to the Provost (Spring 1993-1995)
University Galleries Advisory Committee (1993-1995)
University Committee on Transnational and Multicultural Affairs (1993-1995)
Provost’s Council at USC (formerly Council of Deans) (1993-1995)
USC Representative to the Advisory Council of the American Academy in Rome
(1993-present)
Founder and Member of the Board of Councilors for the School of Fine Arts (1994-1995)
Consortium Council of Deans for Development at USC (1995)
Tenure and Promotion Committee, Department of Art History (1995-to present)
Recruitment Committee for Department of Art History in the College of
Letters, Arts, and Sciences (1996-2005)
Program Proposer for the Establishment of an Interdepartmental and Interdisciplinary
Ancient Mediterranean Studies Program (1997-1999)
Chinese Search Committee, Department of Art History (1998-1999)
Japanese Search Committee, Department of Art History (1998-1999)
Professor-In-Charge, USC-Getty Lecture Series, Seminar, and Faculty Dinner (honoring
Salvatore Settis) (1998-1999)
Curriculum Committee (Co-Chair) (1998-1999)
Chair, Committee for Selection of Departmental Chair (1999-2000)
Chair, Merit Review Committee (1999-2000)
Committee for the Establishment of an Undergraduate Major in Archaeology
(2002-present)
Greek Art Search Committee, Department of Art History and Classics (2001-2004)
Faculty Search Committee, Department of Art History: Senior Hiring Initiative (2003-
present)
Junior Faculty Review Committee, Department of Art History (2003)
USC’s Arts and Humanities Committee (2003-2004)
Chair of Oversight Committee for the Interdisciplinary Archaeology Major (Spring 2006)
MEMBERSHIPS IN NATIONAL AND INTERNATIONAL PROFESSIONAL ORGANIZATIONS
NATIONAL:
Archaeological Institute of America
College Art Association
American Philological Association
Association of Ancient Historians
Vergilian Society
INTERNATIONAL:
Deutsches Archäologisches Institut
Associazione Internazionale di Archeologia Classica
Association for the Study of Marble and Other Stones in Antiquity (AMOSIA)
Society for the Promotion of Roman Studies
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
portraitsofcaligula.com/
Both are non-profit sites and for educational use only.
Prof. John Pollini working with STUDENTS AT OSTIA
John Pollini in my opinion is the number 1 authority on Julio Claudian Portrait study. I have had much correspondence with Prof. Pollini and he is passionate about Roman Art. Here is his curriculum Vitae:
Education
B.A. Classics, University of Washington, 1/1968
M.A. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1973
Ph.D. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1978
Academic Appointment, Affiliation, and Employment History
Professor, Department of Art History (Adjunct Professor for Department of Classics and Department of History), University of Southern California, 1991-
Dean of the School of Fine Arts, University of Southern California, 1993-1996
Chairman of the Department of Art History, University of Southern California, 1990-1993
Associate Professor, Department of Art History and Department of Classics (adjunct appointment), University of Southern California, 1987-1991
Assistant Professor, Department of Classics, Johns Hopkins University, 1980-1987
Curator, Johns Hopkins University Archaeological Museum, 1980-1987
Visiting Assistant Professor, Department of Classics, Johns Hopkins University, 1979-1980
Mellon Postdoctoral Fellow, Department of Classics, Case Western Reserve University, 1978-1979
Description of Research
Summary Statement of Research Interests
Professor Pollini's research is concerned with methodologies of classical art and archaeology, ancient history, classical philology, epigraphy and numismatics. His other scholarly research interests include ancient religion, mythology, narratology, rhetoric and propaganda. Over the years Professor Pollini has excavated at the Greco-Roman site of Aphrodisias, Turkey, and the Etruscan site of Ghiaccio Forte, Italy, and participated in the underwater survey of the port of Tarquinia (Gravisca), Italy. Trained in the methodologies of classical art & archaeology, ancient history, classical philology, epigraphy, and numismatics, Professor Pollini is committed to interdisciplinary teaching and research. Professor Pollini has lectured widely both in the United States and abroad. He has published numerous articles and authored several books.
Research Specialties
Classical Art and Archaeology
Honors and Awards
Elected Life Member, German Archaeological Association, 2000-
American Council of Learned Societies Fellowship, awarded for second time, 2006-2007
Guggenheim Fellowship, deferred until 2007-2008, 2006-2007
Whitehead Professor at the American School of Classical Studies at Athens (Honorific Appointment), 9/1/2006-6/1/2007
Departmental Nominee for University Associates Award for Excellence in Teaching 2002, 2002-2005
Mellon Foundation Award for Excellence in Mentoring, 2004-2005
Departmental Nominee for University Associates Award for Excellence in Teaching 1998, 1998-2001
National Endowment for the Humanities Fellowship, awarded for second time, 1995-1996
American Council of Learned Societies Fellowship, 1987-1988
National Endowment for the Humanities Fellowship, 1983-1984
Mellon Postdoctoral Fellowship, 1978-1979
Fulbright Award, Fellowship to Italy, 1975-1976
CURRICULUM VITAE
JOHN POLLINI
Department of Art History
Von Kleinsmid Center 351 University of Southern California
Los Angeles, CA 90089-0047
Professor of Classical Art and Archaeology, Department of Art History
Joint Professor, Department of History
Adjunct Professor, Department of Classics
President, Classical Archaeological Association of Southern California (CAASC)
DEGREES
Ph. D. Ancient History and Mediterranean Archaeology, University of California at
Berkeley (1978) (interdisciplinary program involving the Departments of Art History,
Classics, and History; major field: Etruscan and Roman Art and Archaeology; minor
fields: Greek Art and Archaeology and Roman History; Ph.D. equivalency exams in
ancient Greek and Latin) [Diss.: Studies in Augustan “Historical” Reliefs]
M.A. Ancient History and Mediterranean Archaeology, University of California at
Berkeley (l973) [MA Thesis: Two Marble Portrait Statues of Pugilists from Carian
Aphrodisias: Iconography and Third Century A.D. Sculptural Traditions in the Roman
East]
B.A. magna cum laude, Classics, University of Washington (1968)
POSTDOCTORAL ACADEMIC APPOINTMENTS
Dean of the School of Fine Arts, University of Southern California, with administrative,
budgetary, and fund-raising responsibilities (1993-1996)
Chairman of the Department of Art History, University of Southern California
(1990-1993)
Full Professor, University of Southern California, Department of Art History
(1991-present), with joint appointment in the Department of History and adjunct
appointment in the Department of Classics
Associate Professor, University of Southern California, Department of Art History, with
adjunct appointment in the Department of Classics (1987-1991)
Assistant Professor, Johns Hopkins University, Department of Classics (1980-1987) and
Curator of the Johns Hopkins University Archaeological Museum (1980-1987)
Visiting Assistant Professor, Johns Hopkins University, Department of Classics
(1979-1980)
Mellon Postdoctoral Fellow, Case Western Reserve University, Department of Classics
(1978-1979)
INTERNATIONAL AND NATIONAL FELLOWSHIPS, GRANTS,
AWARDS, HONORS
William E. Metcalf Lectureship (2008)
John Simon Guggenheim Memorial Foundation Fellowship (2006-2007, deferred to
2007-2008)
Whitehead Professor of Archaeology, American School of Classical Studies at
Athens (2006-2007)
American Council of Learned Societies Fellowship (2006-2007)
Kress Foundation Travel Grant (Summer 2006)
Mellon Foundation Award for Excellence in Mentoring (2005)
Taggart Foundation Grant: Campus Martius Virtual Reality Project (2005)
Distinguished Lecturer, Biblical Archaeological Society and Center for Classical
Archaeology, University of Oklahoma, Norman (2005): Series of three lectures on
Roman and Christian Religion, Art, and Ideology
Kress Foundation Travel Grant (2003)
Senior Humboldt Research Prize (nominated) to Berlin, Germany, for 2000-2001
Elected Member (for life) of the German Archaeological Institute (Berlin) (2000)
National Endowment for the Humanities Fellowship for Independent Study and
Research (1995-1996)
Kress Foundation Travel Grant (Summer 1988)
American Council of Learned Societies Fellowship (1987-1988)
Kress Foundation Travel Grant (1987)
National Endowment for the Humanities Fellowship for Independent Study and
Research (1983-1984)
Mellon Postdoctoral Fellowship, Case Western Reserve University (1978-1979)
Mabelle McLeod Lewis Memorial Fund Fellowship to Italy (1975-1976)
Fulbright Fellowship, Università di Roma, Rome, Italy (1975-1976)
UNIVERSITY FELLOWSHIPS, GRANTS, AWARDS, HONORS
Departmental Nominee for University Associates Award for Excellence in Teaching
(2002-2005)
College Faculty Research Development Award (consecutive years: 2000-2007)
University of Southern California Grant for Innovative Undergraduate Teaching
(with Lynn Swartz Dodd and Nicholas Cipolla) for a virtual reality project “Imaging
Antiquity: Creating Context through Virtual Reconstructions, Digital Resources, and
Traditional Media” (2003-2004)
Grant for the “College Initiative for the Study of Political Violence” (2002)
University of Southern California Grant for Innovative Undergraduate Teaching
(with Bruce Zuckermann and Lynn Swartz Dodd) to develop a new interdisciplinary and
interdepartmental course entitled “Accessing Antiquity: Actual Objects in Virtual Space”
(2000-2001)
University of Southern California Senior Nominee for National Endowment for the
Humanities Summer Stipend for Faculty Research (1998-1999)
Departmental Nominee for University Associates Award for Excellence in Teaching
(1998-2001)
College Awards and Grants for Research Excellence (consecutive years: 1997-2000)
Hewlett Foundation Award and Grant for General Education Course Development
(1997-1998)
Faculty Research and Innovation Fund Grant, University of Southern California (1988)
University of California Traveling Fellowship (1976-1977)
Dean’s Fellowship, U.C. Berkeley (1973-1975)
Phi Beta Kappa (1968), University of Washington
ADDITIONAL EDUCATIONAL PREPARATION
Field trips sponsored by the American Academy in Rome, German Archaeological
Institute, and Comune di Roma (1975-1978)
Research in Rome, Italy for dissertation (1975-1978), as well as further study of Greek
and Roman art and architecture in Italy and elsewhere in Europe during this period
Supervised study of Greek and Roman sculpture at the J. Paul Getty Museum, with
J. Frel (1973-1975)
Course in Greek art and archaeology at the Universität München, Munich, Germany
with E. Homann-Wedeking (1971)
Study of the German language at the Goethe Institute, Grafing (Munich), Germany (1971)
Course work in Roman, Etruscan, and Italic art and architecture, Università di Roma,
with G. Becatti, M. Pallottino, F. Castagnoli, and M. Squarciapino (1970-1971)
ARCHAEOLOGICAL FIELD WORK
Underwater survey of port of Tarquinia (Gravisca), Italy (1977): Consultant
Excavation of Etruscan site of Ghiaccio Forte, Italy (1973)
Excavation of Greco-Roman site of Aphrodisias, Turkey (1970-1972)
Excavation of Spanish/Indian Mission, Guavave, Arizona (1965-1966)
LANGUAGES
Ancient: Latin and Greek
Modern: German, Italian, French, modern Greek, some Turkish
BOOKS
PUBLISHED:
I) The Portraiture of Gaius and Lucius Caesar (Fordham University Press, New York
1987) (with a book subvention from the National Endowment for the Humanities).
II) Roman Portraiture: Images of Character and Virtue, with graduate student
participation (Fisher Gallery, Los Angeles 1990).
III) Gallo-Roman Bronzes and the Process of Romanization:The Cobannus Hoard
(Monumenta Graeca et Romana IX) (Brill, Leiden 2002).
IV) The de Nion Head: A Masterpiece of Archaic Greek Sculpture (Philipp von
Zabern, Mainz 2003).
V) Terra Marique: Studies in Art History and Marine Archaeology in Honor of Anna
Marguerite McCann on the Receipt of the Gold Medal of the Archaeological Institute
of America (editor, designer, and contributor of introduction, publication list, and
one of 19 essays) (Oxbow Publications, Oxford 2005).
SUBMITTED:
VI) From Republic to Empire: Rhetoric, Religion, and Power in the Visual Culture of
Ancient Rome (University of Oklahoma Press), comprising eight chapters:
CHAPTER I: The Leader and the Divine: Diverse Modes of Representation in Roman Numismatics
CHAPTER II: The Cult Image of Julius Caesar: Conflicts in Religious Theology and Ideology in
Augustus’ Representational Program
CHAPTER III: From Warrior to Statesman in Augustan Art and Ideology: Augustus and the Image of
Alexander
CHAPTER IV: The Ideology of “Peace through Victory” and the Ara Pacis: Visual Rhetoric and the
Creation of a Dynastic Narrative [revised and updated essay originally published in
German]
CHAPTER V: The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of
Anamorphosis, Anakyklosis and Numen Mixtum [revised and updated publication].
CHAPTER VI: Divine Providence in Early Imperial Ideology: The Smaller Cancelleria Relief and
the Ara Providentiae Augustae
CHAPTER VII: The “Insanity” of Caligula or the “Insanity” of the Jews? Differences in Perception
and Religious Beliefs
CHAPTER VIII: “Star Power” in Imperial Rome: Astral Theology, Castorian Imagery, and the Dual
Heirs in the Transmission of the Leadership of the State
IN PROGRESS:
VII) Christian Destruction and Desecration of Images of Classical Antiquity: A Study
in Religious Intolerance in the Ancient World
VIII) Dynastic Narratives in Augustan Art and Thought: The Rhetoric and Poetry of
Visual Imagery [with DVD Virtual Reality Program of the Monuments]
IX) The Image of Augustus: Art, Ideology, and the Rhetoric of Leadership
X) Social, Sexual, and Religious Intercourse: Sacrificial Ministrants and Sex-Slaves
in Roman Art -- 3rd Century B.C. - 4th Century A.D.
ARTICLES
PUBLISHED:
1) “A Flavian Relief Portrait in the J. Paul Getty Museum,” in Getty Museum Journal
5 (1977) 63-66.
2) “Gnaeus Domitius Ahenobarbus and the Ravenna Relief,” in Römische Mitteilungen
88 (1981) 117-40.
3) “A Pre-Principate Portrait of Gaius (Caligula)?” in Journal of the Walters Art
Gallery 40 (1982) 1-12.
4) “Damnatio Memoriae in Stone: Two Portraits of Nero Recut to Vespasian in
American Museums,” in American Journal of Archaeology 88 (1984) 547-55.
5) “The Meaning and Date of the Reverse Type of Gaius Caesar on Horseback,” in
American Numismatic Society Museum Notes 30 (1985) 113-17.
6) “Response to E. Judge’s ‘On Judging the Merits of Augustus,’” in Center for
Hermeneutical Studies: Colloquy 49 (1985) 44-46.
7) “Ahenobarbi, Appuleii and Some Others on the Ara Pacis,” in American Journal of
Archaeology 90 (1986) 453-60.
8) “The Findspot of the Statue of Augustus from Prima Porta,” in Bullettino della
Commissione Archeologica Comunale di Roma 92 (1987/88) 103-108.
9) “Two Acrolithic or Pseudo-Acrolithic Sculptures of the Mature Classical Period in
the Archaeological Museum of the Johns Hopkins University,” in Classical Marble:
Geochemistry,Technology, Trade (NATO ASI Series E vol. 153), edd. N. Herz and
M. Waelkens (Dordrecht 1988) 207-17.
10) “Man or God: Divine Assimilation and Imitation in the Late Republic and Early
Principate,” in Between Republic and Empire: Interpretations of Augustus and His
Principate, edd. K.A. Raaflaub and M. Toher (Berkeley 1990) 333-63.
11) “The Marble Type of the Augustus from Prima Porta: An Isotopic Analysis,” in
Journal of Roman Archaeology 5 (1992) 203-208.
12) “The Tazza Farnese: Principe Augusto ‘Redeunt Saturnia Regna’!” in American
Journal of Archaeology 96 (1992) 249-55, 283-300.
13) “The Cartoceto Bronzes: Portraits of a Roman Aristocratic Family of the Late First
Century B.C.,” in American Journal of Archaeology 97 (1993) 423-46.
14) “The Gemma Augustea: Ideology, Rhetorical Imagery, and the Construction of a
Dynastic Narrative,” in Narrative and Event in Ancient Art, ed. P. Holliday
(Cambridge 1993) 258-98.
15) “The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of
Anamorphosis, Anakyklosis and Numen Mixtum,” in Von der Bauforschung zur
Denkmalpflege, Festschrift für Alois Machatschek (Vienna 1993) 181-217.
16) “The ‘Trojan Column’ at USC: Reality or Myth?” in Trojan Family (May, 1994)
30-31.
17) “The Augustus from Prima Porta and the Transformation of the Polykleitan Heroic
Ideal,” in Polykleitos, the Doryphoros, and Tradition, ed. W. Moon (Madison 1995)
262-82.
18) “The ‘Dart Aphrodite’: A New Replica of the ‘Arles Aphrodite Type,’ the Cult Image
of Venus Victrix in Pompey’s Theater at Rome, and Venusian Ideology and Politics
in the Late Republic - Early Principate,” in Latomus 55 (1997) 757-85.
19) “Parian Lychnites and the Prima Porta Statue: New Scientific Tests and the Symbolic
Value of the Marble” (with N. Herz, K. Polikreti, and Y. Maniatis), in Journal of
Roman Archaeology 11 (1998) 275-84.
20) “The Warren Cup: Homoerotic Love and Symposial Rhetoric in Silver,” in The Art
Bulletin 81 (1999) 21-52.
21) “Ein mit Inschriften versehener Legionärshelm von der pannonisch-dakischen Grenze
des römischen Reiches: Besitzverhältnisse an Waffen in der römischen Armee,” in
M. Junkelmann, Römische Helme VIII Sammlung Axel Guttmann, ed. H. Born
(Mainz 2000) 169-88.
22) “The Marble Type of the Statue of Augustus from Prima Porta: Facts and Fallacies,
Lithic Power and Ideology, and Color Symbolism in Roman Art,” in Paria Lithos:
Parian Quarries, Marble and Workshops of Sculpture (Proceedings of the First
International Conference on the Archaeology of Paros and the Cyclades, Paros, 2-5
October 1997), edd. D.U. Schilardi and D. Katsonopoulou (Athens 2000) 237-52.
23) “The Riace Bronzes: New Observations,” in Acten des 14. Internationalen
Kongresses für Antike Bronzen, Kölner Jahrbuch 33 (2000) 37-56.
24) “Two Bronze Portrait Busts of Slave-Boys from a Shrine of Cobannus in Roman
Gaul,” in Studia Varia II: Occasional Papers on Antiquities of The J. Paul Getty
Museum 10 (2001) 115-52.
25) “A New Portrait of Octavian/Augustus Caesar,” in Roman Sculpture in the
Art Museum, Princeton University (Princeton 2001) 6-11.
26) “Two Gallo-Roman Bronze Portraits of Sacrificial Ministrants in the J. Paul Getty
Museum,” in From the Parts to the Whole 2: Acta of the 13th International Bronze
Congress, Cambridge, Massachusetts, May 28 - June 1, 1996, edd. C.C.
Mattusch, A. Brauer, and S.E. Knudsen (Portsmouth, Rhode Island 2002) 89-91.
27) “‘Frieden-durch-Sieg’ Ideologie und die Ara Pacis Augustae: Bildrhetorik und
die Schöpfung einer dynastischen Erzählweise,” in Krieg und Sieg: Narrative
Wanddarstellungen von Altägypten bis ins Mittelalter (Internationales
Kolloquium 23. - 30. Juli 1997 im Schloss Heindorf, Langenlois; Österreichischen
Akademie der Wissenschaften XXIV), edd. M. Bietak und M. Schwarz (Vienna
2002) 137-59.
28) “A New Portrait of Octavia and the Iconography of Octavia Minor and Julia Maior,”
Römische Mitteilungen 109 (2002) 11-42.
29) “Slave-Boys for Sexual and Religious Service: Images of Pleasure and Devotion,” in
Flavian Rome: Culture, Image, Text, edd. A.J. Boyle and W.J. Dominik (Leiden
2003) 149-66.
30) “The Caelian Hill Sacrificial Minister: A Marble Head of an Imperial Slave-Boy from
the Antiquarium Comunale on the Caelian Hill in Rome,” in Römische Mitteilungen
111 (2004) 1-28.
31) “A New Head of Augustus from Herculaneum: A Marble Survivor of a Pyroclastic
Surge,” in Römische Mitteilungen 111 (2004) 283-98.
32) “The Armstrong and Nuffler Heads and the Portraiture of Julius Caesar, Livia, and
Antonia Minor in Terra Marique: Studies in Honor of Anna Marguerite McCann
on the Receipt of the Gold Medal of the Archaeological Institute of America, ed.
J. Pollini (Oxbow Publications, Oxford 2005) 89-122.
33) “A New Marble Portrait of Tiberius: Portrait Typology and Ideology,” in Antike Kunst
48 (2005) 57-72.
34) “A North African Portrait of Caracalla from the Mellerio Collection and the
Iconography of Caracalla and Geta,” in Revue Archéologique (2005) 55-77.
35) “A Bronze Gorgon Handle Ornament of the Ripe Archaic Greek Period,” in Annuario
della Scuola Archeologica Italiana di Atene e delle Missioni Italiani in Oriente 83
(2005) 235-47.
36) “Ritualizing Death in Republican Rome: Memory, Religion, Class Struggle, and the
Wax Ancestral Mask Tradition’s Origin and Influence on Veristic Portraiture” in
Performing Death: Social Analyses of Funerary Ritual in the Ancient Near East
and Mediterranean (Oriental Institute Seminars 3, University of
Chicago), ed. N. Laneri (Chicago 2007) 237-85.
37) “A New Bronze Portrait Bust of Augustus,” in Latomus 66 (2007) 270-73.
FORTHCOMING:
38) “Gods and Emperors in the East: Images of Power and the Power of Intolerance,”
in the proceedings of an international conference on “‘Sculptural Environment’ of the
Roman Near East: Reflections on Culture, Ideology, and Power” (University of
Michigan), in Interdisciplinary Studies in Ancient Culture and Religion,
edd. E.A. Friedland, S.C. Herbert, and Y.Z. Eliav (Peeters Publ.: Leuven).
39) “A New Portrait Bust of Tiberius in the Collection of Michael Bianco,” in Bulletin
Antieke Beschaving 83 (2008) 133-38.
40) “The Desecration and Mutilation of the Parthenon Frieze by Christians and Others,” in
Athenische Mitteilungen 122 (2007).
41) “Problematics of Making Ambiguity Explicit in Virtual Reconstructions:
A Case Study of the Mausoleum of Augustus,” for the proceedings of an international
conference, “Computer Technology and the Arts: Theory and Practice,” sponsored by
the British Academy and the University of London.
42) “A Winged Goat Table Leg Support from the House of Numerius Popidius Priscus at
Pompeii,” in Pompei, Regio VII, Insula 2, pars occidentalis. Indagini, Studi,
Materiali (la Soprintendenza Archeologica di Pompei), ed. L. Pedroni.
43) “Augustus: Portraits of Augustus,” in Oxford Encyclopedia of Ancient Greece and
Rome (2008).
44) “A New Bronze Lar and the Role of the Lares in the Domestic and Civic Religion of the Romans,” in Latomus (2008).
IN PROGRESS:
45) “The ‘Colville Athena’ Head and Its Typology.”
46) “Idealplastik and Idealtheorie: Paradeigmatic Systems, Homosexual Desire, and the
Rhetoric of Identity in Polykleitos’ Doryphoros and Diadoumenos.”
REVIEW ARTICLES
PUBLISHED:
D. Boschung, Die Bildnisse des Augustus (Das römische Herrscherbild I.2) (Berlin 1993),
in Art Bulletin 81 (1999) 723-35.
E. Varner, Mutilation and Transformation: Damnatio Memoriae and Roman Imperial
Portraiture (Monumenta Graeca et Romana 10) (Leiden 2004), in Art Bulletin 88
(2006) 591-98.
BOOK REVIEWS
PUBLISHED:
M. Torelli, Typology and Structure of Roman Historical Reliefs, in American Journal of
Archaeology 87 (1983) 572-73.
J. Ganzert, Das Kenotaph für Gaius Caesar in Limyra, in American Journal of
Archaeology 90 (1986) 134-36.
R. Brilliant, Visual Narratives. Storytelling in Etruscan and Roman Art in American
Journal of Philology 107 (1986) 523-27.
PUBLISHED IN CHOICE:
E. Bartman, Portraits of Livia: Imaging the Imperial Woman in Augustan Rome, in
vol. 37 (1999) 126.
B.S. Ridgway, Prayers in Stone: Greek Architectural Sculpture (Ca. 600 - 100 B.C.),
in vol. 37 (2000) 1095.
W.E. Mierse, Temples and Towns in Roman Iberia: The Social and Architectural
Dynamics of Sanctuary Designs from the Third Century B.C. to the Third Century A.D.
in vol. 37 (2000) 1458.
V. Karageorgis, Ancient Art from Cyprus: The Cesnola Collection in The Metropolitan
Museum of Art (New York 2000)in vol. 38 (2000) 1953.
Z. Hawass, Valley of the Golden Mummies (New York 2000) in vol. 38 (2001)
4036.
M.W. Jones, Principles of Roman Architecture (New Haven 2000) in vol. 38 (2001)
5409.
F. Salmon, Building on Ruins: The Rediscovery of Rome and English Architecture
(Ashgate 2000) in vol. 39 (2001) 106.
J. Boardman, The History of Greek Vases: Potters, Painters and Pictures (New York
2001) in vol. 39 (2002) 3755.
Roman Sculpture in the Art Museum, Princeton University, ed. J. M. Padgett (Princeton
2001) in vol. 39 (2002) 6218.
G. Hedreen, Capturing Troy: The Narrative Function of Landscape in Archaic and Early
Classical Greek Art (Ann Arbor, 2001) in vol. 40 (2002) 73.
A. J. Clark, M. Elston, and M.L. Hart, Understanding Greek Vases: A Guide to Terms,
Styles, and Techniques (Los Angeles 2002) in vol. 40 (2003) 3185.
S. Woodford, Images of Myths in Classical Antiquity (Cambridge 2003) in vol. 41
(2003) 89.
J. Aruz with R. Wallenfels (edd.), Art of the First Cities: The Third Millennium B.C. from
the Mediterranean to the Indus (The Metropolitan Museum of Art, New York) (New
Haven 2003) in vol. 41 (2004) 2584.
G. Curtis, Disarmed: The Story of the Venus de Milo (New York 2003) in vol. 41 (2004)
5083.
Games for the Gods: The Greek Athlete and the Olympic Spirit, edd. J.J. Herrmann and C.
Kondoleon (Boston Museum of Fine Arts) in vol. 42 (2004) 646.
E.W. Leach, The Social Life of Painting in Ancient Rome and on the Bay of Naples
(Cambridge 2004) in vol. 42 (2004) 1215-16.
D. Mazzoleni, Domus: Wall Painting in the Roman House (Los Angeles 2004) in vol. 42
(2005) 1809.
S. Fine, Art and Judaism in the Greco-Roman World: Toward a New Jewish Archaeology
(Cambridge 2005) in vol. 43 (2006) 1586-87.
C.H. Hallett, The Roman Nude: Heroic Portrait Statuary 200 B.C. -- A.D. 300 (Oxford
2005) in vol. 44 (2006).
Constantine the Great: York’s Roman Emperor, edd. E. Hartley, J. Hawkes, M. Henig, and
F. Mee (York 2006) in vol. 44 (2006).
M.D. Stansbury-O’Donnell, Vase Painting, Gender, and Social Identity in Archaic Athens
(Cambridge 2006) in vol. 44 (2006).
PRINCIPAL INSTRUCTIONAL MATERIALS (Hard Copy and Online):
Greek Art and Archaeology: Course Manual (113 pages, 23 plates) and online version of
this Course Manual with digitized images
Roman Art and Archaeology: Course Manual (158 pages, 58 plates) and online version
of this Course Manual with digitized images
Digging into the Past: Material Culture and the Civilizations of the Ancient
Mediterranean: Course Manual (43 pages)
Proseminar Guide to General and Specific Works on Greek and Roman Art and
Archaeology and Related Disciplines (50 pages) and online version
Website for AHIS 425, “Introduction to Interdisciplinary Research and Methodology
in Classical Art and Archaeology and Related Disciplines” with links to other important
websites in the fields of Art, Archaeology, Classics, and Ancient History
Website for AHIS 201g: “Digging into the Past: Material Culture and the
Civilizations of the Ancient Mediterranean” (with digitized images)
PAPERS GIVEN AT INTERNATIONAL AND NATIONAL
CONFERENCES AND SYMPOSIA
On Judging the Merits of Augustus: Center for Hermeneutical Studies: Colloquy,
Berkeley (April, 1985)
Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,
National Gallery of Art (October, 1986)
Augustus: Monuments, Arts, and Religion: Brown University (March, 1987)
Aspects of Ancient Religion: University of California at Berkeley (April, 1987)
Marble and Ancient Greece and Rome: International conference sponsored by
NATO at Il Ciocco (Tuscany), Italy (May, 1988)
Polykleitos, the Doryphoros and Its Influence: University of Wisconsin, Madison
(October, 1989)
UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (December, 1992)
XIIIth International Bronze Congress: Harvard University (May 28 - June 1, 1996)
UCLA-USC Seminar in Roman Studies: Roman Representations: Subjectivity, Power
and Space: USC, Los Angeles (March, 1997)
International Symposium at Cuma (Naples): Flavian Poets, Artists, Architects and
Engineers in the Campi Flegrei (July, 1997)
International Symposium at the University of Vienna: Interdisziplinäres Kolloquium
Historische Architekturreliefs vom Alten Ägypten bis zum Mittelalter (July, 1997)
First International Conference on the Archaeology of Paros and the Cyclades: Paros,
Greece (October, 1997)
Getty Research Institute Colloquium: Work in Progress (November, 1997)
Annual Meetings of the Art Historians of Southern California at California State
University, Northridge, California (November, 1998)
XIV. Internationaler Kongress für Antike Bronzen: Werkstattkreise, Figuren und Geräte
(Sponsored by Das Römisch-Germanisches Museum der Stadt Köln und das
Archäologisches Institut der Universität zu Köln [September 1999]): Besides giving paper,
chaired the session “Bronzestatuen und -statuetten: Fundkomplexen, Fundgruppen,
Einzelstücke, und Typen”
First International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and chaired
session on “Ideology, Historiography, and the Imperial Family” (May, 2000)
International Symposium at Emory University, Atlanta: Tyranny and Transformation
(October, 2000)
Annual Meeting of the Art Historians of Southern California at the Getty Center,
Los Angeles, California (November, 2000)
Getty Research Institute Colloquium: Work in Progress (December, 2000)
Second International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “The Image of
the Princeps and the Ruler Cult” (May, 2001)
UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (April, 2002)
Third International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “Roman History
and Ideology” (May, 2002)
Symposium on the Age of Augustus at UCLA -- (Feb., 2003)
Fourth International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and
chaired session (May, 2003)
International Archaeological Congress, Harvard University (Aug. 2003): Besides giving a
paper, chaired session on “Ancient Society”
VIIth International ASMOSIA Conference, Thasos, Greece (Sept. 2003)
International Conference in the Arts and the Humanities, Honolulu, Hawaii (Jan. 2004)
Symposium on Roman Sculpture, Minneapolis Museum of Art (organized by Richard
Brilliant) (April, 2004)
International Symposium on Interaction of Indigenous and Foreign Cults in Italy at Cuma
(Naples) (May, 2004): Besides giving a paper, chaired session
International Conference at University of Michigan: “‘Sculptural Environment’ of the
Roman Near East: Reflections on Culture, Ideology, and Power (November 2004)
International Conference at Stanford University: “Seeing the Past” (February 2005)
International Conference at the University of London: “Computer Technology and the Arts:
Theory and Practice” (November 2005)
International Conference at the University of Chicago: “Performing Death: Social Analyses
of Funerary Ritual in the Mediterranean” (February 2006)
VIIIth International ASMOSIA Conference, Aix-en-Provence, France (June 2006)
Symposium “Art of Warfare”: Michael C. Carlos Museum, Emory University (January
2007)
PAPERS PRESENTED AT ANNUAL CONVENTIONS OF THE
ARCHAEOLOGICAL INSTITUTE OF ARCHAEOLOGY AND THE
COLLEGE ART ASSOCIATION
Boston (AIA, December, 1979)
New Orleans (AIA, December, 1980)
San Francisco (AIA, December, 1981)
Philadelphia (AIA, December, 1982)
Cincinnati (AIA, December, 1983)
Toronto (AIA, December, 1984)
Washington, D.C. (AIA, December, 1985) -- invited paper, “The Promulgation of the
Image of the Leader in Roman Art,” in a special AIA plenary session on Politics and
Art
San Antonio (AIA, December, 1986) -- invited paper, “Time, Narrativity, and Dynastic
Constructs in Augustan Art and Thought,” at a joint AIA-APA session on topics
illustrating connections between Roman art and philology
Houston (CAA, February, 1988) -- invited paper, “The Gemma Augustea and the
Construction of a Dynastic Narrative,” for a CAA session on Narrative and Event in
Greek and Roman Art
Atlanta (AIA, December, 1994) -- discussant for a joint AIA-APA session on “Rethinking
Nero’s Legacy: New Perspectives on Neronian Art, Literature, and History”
New York (AIA, December, 1996) -- special poster session: “The Marble Type of the
Statue of Augustus from Prima Porta: New Scientific Tests” (prepared in collaboration
with Norman Herz, Director of Programs, Center for Archaeological Sciences, University
of Georgia)
Chicago (AIA, December, 1997)
Washington, D.C. (AIA, December, 1998) -- invited paper, “A Portrait of a Sex-Slave
‘Stud’ (?) in the Metropolitan Museum of Art in New York,” for a special colloquium in
honor of Anna Marguerite McCann on the receipt of the “Gold Medal” of the
Archaeological Institute of America
San Francisco (AIA, January, 2004) -- joint paper with N.Cipolla and L. Swartz Dodd
OTHER ACADEMIC AND PUBLIC LECTURES/TALKS
American Academy, Rome, Italy (March, 1976)
Cleveland Society AIA, Cleveland, Ohio (April, 1979)
Johns Hopkins University, Baltimore, Md. (September, 1980)
Institute of Fine Arts, New York, N.Y. (October, 1980)
Metropolitan Museum of Art, New York, N.Y. (January, 1983)
New York Society AIA, New York, N.Y. (January, 1983)
Baltimore Society AIA, Baltimore, Md. (February, 1983)
University of Toronto, Toronto, Canada (March, 1987)
University of Southern California, Los Angeles, Ca. (March, 1987)
Columbia University, New York, N.Y. (April, 1987)
Classical Archaeological Society of Southern California, UCLA, Ca. (November 1989)
Tulane University, New Orleans, La. (February, 1990)
Classical Archaeological Society of Southern California, USC, Ca. (February 1990)
Los Angeles Society AIA, Los Angeles, Ca. (March, 1990)
Fisher Gallery and School of Fine Arts, University of Southern California, Los Angeles,
Ca. (March, 1990)
Institute of Fine Arts, New York, N.Y. (April, 1990)
American Academy, Rome, Italy (May, 1990)
University of Vienna and Kunsthistorisches Museum, Vienna, Austria (June, 1990)
San Diego Society AIA, San Diego, Ca. (September, 1990)
Classical Archaeological Society of Southern California, Getty Museum, Malibu, Ca.
(November, 1990).
University of Pennsylvania, Philadelphia, Pa. (December, 1990)
Classical Archaeological Society of Southern California, Gamble House, Pasadena, Ca.
(March 1991)
Henry T. Rowell Lecturer: Baltimore Society AIA, Baltimore, Md. (November, 1991)
Villanova University, Villanova, Pa. (November, 1991)
Royal-Athena Galleries, Los Angeles, Ca. (October, 1992)
Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art,
Washington D.C. (November, 1992)
University of North Carolina, Chapel Hill, N.C. (November, 1992)
Duke University, Durham, N.C. (November, 1992)
University of California, Los Angeles: UCLA/USC Seminar in Roman Studies, Los
Angeles, Ca. (December, 1992)
University of Southern California, Los Angeles, Ca. (January, 1993)
J. Paul Getty Museum and Center for the History of Art and the Humanities, Malibu,
Ca. (February, 1993)
Classical Archaeological Society of Southern California, UCLA, Ca. (March 1993)
California State University, Long Beach, Ca. (March, 1993)
Stanford University, Palo Alto, Ca. (April, 1993)
University of California, Berkeley, Ca. (April, 1993)
California State University, Northridge, Ca. (April, 1993)
University of Arizona, Tucson, Az. (April, 1993)
American Academy, Rome, Italy (June, 1994)
Getty Center for the History of Art and the Humanities (Director’s Series) (Dec., 1994)
University of California, Irvine (May, 1997)
American Academy, Rome, Italy (July, 1997)
American School of Classical Studies, Athens (October, 1997)
Los Angeles County Museum of Art, Los Angeles (March, 1998)
British School at Rome (June, 1998)
University of California, Berkeley (November, 1998)
Classical Archaeological Society of Southern California, University of California,
Santa Barbara (March, 1999)
Work in Progress: Getty Research Institute, Brentwood, California (December, 2000)
Classical Archaeological Society of Southern California, Getty Research Institute,
Brentwood, Ca. (April, 2001)
American Academy, Rome, Italy (May, 2001)
Loyola Marymount, Los Angeles (March, 2002)
Southern California Institute of Architecture (February, 2003)
Columbia University, New York (April, 2003)
University of Amsterdam, the Netherlands (May, 2003)
University of Nijmegen, the Netherlands (May, 2003)
American School of Classical Studies, Athens (September, 2003)
University of Oklahoma, Norman (March, 2005)
Cambridge University, Cambridge, England (November, 2005)
American School of Classical Studies at Athens, Greece (March, 2007)
University of Athens, Greece (May, 2007)
Los Angeles Society of the AIA, Los Angeles (December, 2007)
College of William and Mary (January, 2008)
Duke University, Durham (February, 2008)
Dickinson College, Carlisle, PA (March, 2008)
University of Nebraska, Lincoln (April, 2008)
AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS as Whitehead Professor of Archaeology (2006-2007)
Participated in all Fall trips of the School to various parts of Greece, giving
presentations on each of the trips.
Participated in the School’s Spring trip to Central Anatolia, giving several presentations.
Offered a seminar in the Winter Quarter: “Christian Destruction and Desecration of
Images and Shrines of Classical Antiquity.”
MISCELLANEOUS TALKS AND PRESENTATIONS
Lectures and talks on site regarding the architecture and topography of Rome, Ostia,
and Hadrian’s Villa for members of the Technische Universität für Architektur und
Denkmalpflege, Vienna, Austria; the Summer School of the American Academy in
Rome; St. Olaf College’s Junior Year Abroad Program; and M.A. students of
architecture in a joint summer program of the University of Southern California and the
University of Illinois; and the Intercollegiate Center for Classical Studies in Rome.
Talks on various aspects of Classical art and archaeology at meetings of the
Archaeological Society of the Mid-Atlantic States (1980-1987)
Gallery talks on the ancient collections of the Archaeological Museum of the Johns
Hopkins University (in capacity as curator) and of the Walters Art Gallery (1979-1987)
Gallery talks on the ancient collections of the J. Paul Getty Museum and the Los Angeles
County Museum of Art (1987-present)
Talk for USC graduate students in the Dept. of Classics at the Ara Pacis and Mausoleum of
Augustus in Rome (May 26, 2006), organized by Prof. Claudia Moatti, Dept. of Classics
SPECIAL TALKS AND LECTURES AT USC
Seminar for Professor Claudia Moatti, Department of Classics: “Problems in Ancient Art”
(March, 2005)
Seminar for Dr. Daniela Bleichmar, Department of Art History: Rediscovering the
Classical Past: The Relationship of Art History, Archaeology, and Visual Culture (March,
2005)
University of Southern California’s 125th Celebration: For Symposium on “Trojan
Legends” presented paper: “USC's Trojan Column: An Ancient and Modern Myth”
(October, 2005)
MEDIA INTERVIEWS AND CONSULTATION
New York Times, International Herald Tribune, Los Angeles Times, The New Yorker, The
History Channel, Arts and Entertainment Channel, KPCC Radio Los Angeles, NBC, Fox
Featured piece on my innovative work on the marble type of the statue of Augustus from
Prima Porta: A. Elders, “Tracing the Stones of Classical Brilliance,” in Hermes -- Greece
Today 35 (1999) 20-24.
ORGANIZER AND LEADER OF TOURS OF MUSEUMS AND SITES
Turkey (for Board of Councilors and donors of the School of Fine Arts, USC, 1995; for
university students and the general public, 1998)
Greece (Attica and the Peloponnese) (for university students and the general public, 1999)
Central Italy (for university students and the general public, 2000, 2002, 2003)
PARTICIPATION IN OTHER COLLOQUIA AND SYMPOSIA
Roman Sculpture and Architecture: German Archaeological Institute, Rome
(January, 1978)
Roman Architecture: Center for Advanced Study in the Visual Arts, National Gallery
of Art (January, 1981)
The Age of Augustus. The Rise of Imperial Ideology: Brown University (April, 1982)
Pictorial Narratives in Antiquity and the Middle Ages: The Johns Hopkins University and
the Center for Advanced Study in the Visual Arts, National Gallery of Art (March, 1984)
Villa Gardens of the Roman Empire: Dumbarton Oaks (May, 1984)
Retaining the Original -- Multiple Originals, Copies, and Reproductions: Center for
Advanced Study in the Visual Arts, National Gallery of Art (March, 1985)
Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,
National Gallery of Art (October, 1986)
Marble -- Art Historical and Sculptural Perspectives on Ancient Sculpture: J. Paul Getty
Museum (April, 1988)
International Conference on Roman Archaeology and Latin Epigraphy: University of
Rome and the French School of Rome (May, 1988)
Roman Portraits in Context: Emory University (January, 1989)
Small Bronze Sculpture from the Ancient World: J. Paul Getty Museum (March, 1989)
Alexandria and Alexandrianism: J. Paul Getty Museum (April, 1993)
International Symposium: “Rome Reborn” Visual Reality Program at UCLA (December,
1996)
History of Restoration of Ancient Stone Sculptures, J. Paul Getty Museum (October, 2001)
Re-Restoring Ancient Stone Sculpture, J. Paul Getty Museum (March, 2003)
Marble Conference on Thasos, Liman, Thasos (Sept. 2003)
OTHER PROFESSIONAL ACTIVITIES
Editorial Assistant (1968-1969) and Associate Editor (1969-1970), AGON: Journal of
Classical Studies
Editorial Board, American Journal of Philology (January, 1982-January, 1987)
Delegate from Baltimore Society AIA to National Convention (1984-1986)
Vice-President, Baltimore Society of the AIA (1985-1987)
Co-Director, Exhibition on Roman Portraiture, Fisher Gallery (1989)
Co-Founder (with Dr. Diana Buitron) of the Classical Archaeological Society of the Mid-
Atlantic States (1978-87)
Founder and President of the Classical Archaeological Society of Southern California
(1987-present)
Member of the Ancient Art Council of the Los Angeles County Museum of Art (1987-
present)
Oversaw the publication and helped edit the newsletter “ARTFACTS” of the
School of Fine Arts (1993-1996) during my tenure as Dean of the School of Fine Arts
USC Representative to Advisory Council of the American Academy in Rome
(1993-present)
Comitato di Collaborazione Culturale to the Consul General of Italy at Los Angeles
(1995-1998)
Advisory Committee for the Virtual Reality Project for Ancient Rome (“Rome Reborn”)
(1996-1998)
Delegate from Los Angeles Society AIA to National Convention (Chicago, Dec., 1997)
Reviewer for the Getty Grant Program (1999)
Reviewer for the MacArthur Foundation Grant (2000, 2003)
Planning Committee for a Four-Year International Conference on “Roman Imperial
Ideology” at the Villa Vergiliana at Cuma (Naples), organized by J. Rufus Fears (2000-
2003)
Consultant for the Forum of Augustus Project: Sovrintendenza Archeologica Comunale,
Direzione al Foro di Augusto (2004-present)
Editor of the newsletter “Musings” for the Department of Art History, USC (2005)
Planning Committee for the Internation Bronze Congress in Athens, Greece (2006-2007)
Chaired two sessions -- “Roman Sculpture” and “Augustan Art” -- at the Annual Meeting
of the Archaeological Institute of America (San Diego 2007)
UNIVERSITY COMMITTEES AND OTHER SERVICE
Faculty Senate (1988-1991)
Advisory Committee to the Dean of the School of Fine Arts (1990-1991, 1992-1993)
Chairman, Personnel Committee of the School of Fine Arts (1988-1990)
Library Liaison Officer for Art and Architecture Library (1987-present)
Search Committee for Reference Librarian of the Art and Architecture Library
(1989-1990 and 2000)
University Library Committee (1989-1990, 1998-2001)
Recruitment Committee for the School of Fine Arts (1989-1995)
Space Allocation Committee, School of Fine Arts (1989-1990)
University Research Committee (1990-1991)
Promotion Committee, School of Fine Arts (1990-1995)
University Ad Hoc Committee on Revenue Center Management (1990-1995)
Committee for University Development, School of Fine Arts (1993-1995)
Development Task Force, the School of Fine Arts (1993-1995)
Consultative Committee to the Provost (Spring 1993-1995)
University Galleries Advisory Committee (1993-1995)
University Committee on Transnational and Multicultural Affairs (1993-1995)
Provost’s Council at USC (formerly Council of Deans) (1993-1995)
USC Representative to the Advisory Council of the American Academy in Rome
(1993-present)
Founder and Member of the Board of Councilors for the School of Fine Arts (1994-1995)
Consortium Council of Deans for Development at USC (1995)
Tenure and Promotion Committee, Department of Art History (1995-to present)
Recruitment Committee for Department of Art History in the College of
Letters, Arts, and Sciences (1996-2005)
Program Proposer for the Establishment of an Interdepartmental and Interdisciplinary
Ancient Mediterranean Studies Program (1997-1999)
Chinese Search Committee, Department of Art History (1998-1999)
Japanese Search Committee, Department of Art History (1998-1999)
Professor-In-Charge, USC-Getty Lecture Series, Seminar, and Faculty Dinner (honoring
Salvatore Settis) (1998-1999)
Curriculum Committee (Co-Chair) (1998-1999)
Chair, Committee for Selection of Departmental Chair (1999-2000)
Chair, Merit Review Committee (1999-2000)
Committee for the Establishment of an Undergraduate Major in Archaeology
(2002-present)
Greek Art Search Committee, Department of Art History and Classics (2001-2004)
Faculty Search Committee, Department of Art History: Senior Hiring Initiative (2003-
present)
Junior Faculty Review Committee, Department of Art History (2003)
USC’s Arts and Humanities Committee (2003-2004)
Chair of Oversight Committee for the Interdisciplinary Archaeology Major (Spring 2006)
MEMBERSHIPS IN NATIONAL AND INTERNATIONAL PROFESSIONAL ORGANIZATIONS
NATIONAL:
Archaeological Institute of America
College Art Association
American Philological Association
Association of Ancient Historians
Vergilian Society
INTERNATIONAL:
Deutsches Archäologisches Institut
Associazione Internazionale di Archeologia Classica
Association for the Study of Marble and Other Stones in Antiquity (AMOSIA)
Society for the Promotion of Roman Studies
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
portraitsofcaligula.com/
Both are non-profit sites and for educational use only.
Forbes published its own rankings of the US schools most likely to make you rich. According to the magazine the list goes beyond just ranking schools where graduates make the most money, and instead involves a detailed methodology in order to rank the institutions; with Williams College, Massachusetts hitting the top spot.
View full graphic at Meet the Boss TV
Graphic by T Farrant | Twitter @fallenblossom