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52 Weeks of Pix 2016
Week 37 of 52
Theme: Time
This image was made from a collage of five individual watch pictures converted using "Tiny Planet" methodology in Photoshop Elements. Final touch-up was with Picasa, including the frame. Images were shot using two off-camera SB-800 Nikon Speedlights and two Fotodiox light boxes.
BTW, I just saw my ISO setting. I need to get that changed! LOL!
Bernise Ang, Principal and Methodology Lead, Zeroth Labs, Singapore at the World Economic Forum on Latin America 2017 in Buenos Aires, Argentina. Copyright by World Economic Forum / Benedikt von Loebell
Things are a bit busy at this end of the season. Summer has hung on, and hung on. Ramadan has been and gone; Easter is just around the corner. So too is the first frost. Now's the time for getting in the harvest and putting away the tools.
That rush is why all you'll get on this April Fools Day is a few harmless pranks, and this quick snapshot. These are just some of the tools headed into storage.
On the left is my refractomer. It's calibrated to measure the wt% of dissolved sugar. For me, it's the piece of gear that extends the discussion about apple picking time. For any apple, it's the lift test first: has the abscission zone weakened? Then are the seeds changing from white through shades of brown. I don't use the iodine test; instead, I reach for the refractomer.
Next to it is one of my alcohol hydrometers. I could use it to measure the sugar in apple juice too. But that requires a bigger sample and cloudiness in the juice makes the scale difficult to read. Instead of bending light, it measures the specific gravity of the liquid: apple or grape juice, beer wort, whatever. The dissolved sugar makes the Sp.Gr. higher so when it is fermented out to alcohol the Sp.Gr. is lower. That's when I reach for a hydrometer — to determine the end point of fermentation. There's nothing worse than your cider exploding!
Out of curiosity, I also check the pH of my apple juice. Too low and the cider will be sour — so-called pig whistle cider. There's nothing fancy about my method — universal indicator paper is good enough.
This year's ripening season was weirdly early. It means I lost fruit I hadn't bothered to monitor because, on paper, it was too soon. That, and the hail storms messed up the apple yield. Typically there'd be so many apples and three distinct periods of ripening that I'd rack the two earliest batches to rest, then blend them back later before adding priming sugar and maybe a boosting shot of yeast to get the bottle fermentation I mostly use. Yes, I do some dry still varietal cider, or semi-sweet. But they're a lot of bother with multiple handling steps and for semi-sweet either the notion of chemical stabilisation or pasteurisation to prevent a secondary fermentation. Mostly, I can't be bothered. This year, I don't have to worry. There was so little fruit, high pH and high sugar, all at once, that the blending happened with the scratter and press. So instead of racking, decanting, blending and all the rest, this years cider has gone straight from the fermenter to the bottles with — touch wood — enough live yeast remaining to consume the priming sugar and carbonate the cider.
Righto, now back to work. Jack Frost is on his way!
The development of technology has improved the efficiency and speed with which global companies conduct day-to-day business in every industry. Technology has impacted core methodology, key analytics, safety, quality and communications. New technology also creates additional vulnerabilities for exploitation of highly confidential data and critical operations. As the cyber-risk profile evolves, regulators are focused on creating and enforcing data security requirements throughout the company, including at executive levels. Panelists explored the role of the general counsel as a strategist in helping the business assess the value and significance of technology with risk mitigation in mind. Panelists addressed best practices for being prepared for a cyberattack, and the role of the legal department in a cross-disciplinary response team. In addition, panelists focused on increased risks for officers and directors and duties associated with reporting to the executive team and the board.
Moderator: Stefanie Fogel
Panelists: Denise Jackson, Caroline Krass, Rena Mears and Rena Hozore Reiss
DLA Piper | Women's Conference 2018 | Ritz Carlton | Spoon Photo and Design
S Methode
Pause und Präsentation
5S (methodology)
en.wikipedia.org/wiki/5S_(methodology)
• 5S Kaizen
Es ist eine Idee aus dem japanischen Toyota-Produktionssystem.
Just in time Prozess Steuerung
5S was developed in Japan and was identified as one of the techniques that enabled Just in Time manufacturing.
.. verbessert durch Philip Effinger an Hand von Mercedes Benz just in time Produktions-Steuerung
(Promotions-Arbeit)
Philip Effinger, Visualization of business process models, Dissertation thesis, 208 pages, Eberhard Karls Universitä Tübingen, 2013
Arbeitsbereich Paralleles Rechnen
Wilhelm-Schickard-Institut für Informatik
Fakultät für Informations- und Kognitionswissenschaften
Eberhard-Karls-Universität Tübingen
Zum letzten sprachlichen Feinschliff haben noch Johannes Spielmann
und Kristina Abels beigetragen.
Wurde bei der Toyota PKW Prozesssteuerung entwickelt.
Das Automobilwerk in Tichy (Polen) - Fiat und andere Marken werden dort gebaut - orientiert sich daran, weshalb der Panda I und II so erfolgreich waren.
Panda II wird wieder in Italien gebaut im skandalbekannten Alfa-Sud Werk.
Deshalb hat der Ford Fiesta (2016) den Fiat Panda erstmals in Europa überflügelt, bezogen auf die Verkaufszahlen.
• S – Sortieren
•• S – Systematisieren
••• S – Saubermachen
•••• S – Standardisieren
••••• S – Selbstdisziplin
-
Als sechstes S wird zumeist noch • SHUKAN • genannt. Als Shukan wird der Zustand betitelt bei dem die ständige Beachtung und Optimierung der 5 S Methode zur Gewohnheit wird.
-
5. Shitsuke = Selbstdisziplin - Sustain
Die vorgestellten Methoden werden tagtäglich konsequent eingehalten.
Das nächste Level der 5S Methode wird erreicht, indem ein weiterer Durchlauf der 5S angestoßen wird, bei dem ein noch höheres Niveau des zu erreichenden Zustandes erreicht werden wird.
- ständige Verbesserung (Kaizen).
ps
Logikfehler:
(... führt zum absurdum!)
Ohne Selbstdisziplin wird schnell wieder das altbekannte und vertraute Chaos in der Arbeitsumgebung herrschen.
Für dauerhafte Erfolge ist daher Selbstdisziplin unabdingbar.
Präsentieren Sie Ihre Ergebnisse und Fortschritte vielleicht in einer Fotodokumentation.
Für Chaos Begabte braucht es keine Regeln!
Aber ein eidetisches Gedächtnis („Fotografisches Gedächtnis“) ist von Vorteil!
- auch "Ikonisches Gedächtnis" genannt - und ein Langzeit-Gedächtnis.
„Die Fähigkeit ein genaues, detailliertes, visuelles Bild einer komplexen Szenerie oder ein Muster zu behalten (umgangssprachlich manchmal als ‚fotografisches Gedächtnis‘ bezeichnet), oder die nur bei einer Minderheit existierende Fähigkeit ein Bild (gedanklich) zu ‚sehen‘, das eine exakte Kopie der ursprünglichen sensorischen Information darstellt.“
Das ikonische Gedächtnis hat eine weitaus größere Kapazität als das Kurzzeitgedächtnis
Ganz gemäß Arthur Brisbane (1911):
"Use a picture. It's worth a thousand words."
Zweck der 5S Methode
Was soll vermieden werden?
Verschwendung von kostbarer Zeit durch:
• Warten
• Suchen
• Ablegen
• Nachdenken
• Doppelarbeit
• Stapeln von Teilen
I've never understood why the Illinois EPA and the Feds keep claiming that the officials in Deadwood 'only' used 'as little' as ten or twenty percent contaminated well water to mix with pure city water to provide the final mix of drinking water that the residents of Deadwood drank.
The media never questions those numbers or the government's methodology in coming up with them.
I'm telling you it's bullshit.
It's a snowjob.
'Drink your kool-aid and quit askin' so many questions.'
I was there from the beginning and I've seen it every step of the way.
Krista and I gave them documents that appeared to show that the numbers were often much higher than that.
But the government would 'average' the numbers to get them lower and it just didn't make sense to me.
When I scored these documents from the IEPA a lightbulb went off.
Whenever Deadwood used the contaminated well to provide any more than about thirty percent of the total drinking water for the village they were sucking water from the Cal Sag Canal.
Even at the twenty percent they admitted it looks like that canal water was making its way down people's throats and cooking up their macaroni and cheese.
Take a look at the first document I posted below... maybe you can figure it out.
The chemical everyone talks about in the well... vinyl chloride... that doesn't really have a scary sounding name as chemicals go... vinyl might be scary in the fashion world... and 'chloride' is something you find in table salt...
but vinyl chloride's some terrible stuff when it gets into the human body.
Just google it.
The smorgasboard of chemicals that are sitting in the bottom of that canal... that's some very scary stuff.
'Today, sediments on the river bottom are "among the most contaminated and toxic that have ever been reported." Only sludge worms inhabit the Indiana Harbor and Ship Canal, indicating that severe pollution exists. The Grand Calumet suffers from contamination from polychlorinated biphenyls (PCBs), polynuclear aromatic hydrocarbons (PAHs) and heavy metals, such as mercury, cadmium, chromium and lead. Additional problems include high fecal coliform bacteria levels, biochemical oxygen demand (BOD) and suspended solids, oil and grease. These contaminants originate from both point and nonpoint sources.'
This shit makes the chemical in the Erin Brakovich story, hexavalent chromium, look like baby aspirin!
You don't wanna be drinkin water with that stuff in it.
You don't want your children drinking that water.
You don't even want your dog drinking that water.
I wouldn't even water my houseplants with it.
And the people of Deadwood were doing all of that.
And they were doing it for more than twenty years.
It's the cocktail of chemicals in that canal that's being completely ignored by the government in this case.
How come I can figure it out and I'm just a street photographer?
Why aren't the government scientists even discussing the possibility that the people of Deadwood drank this stuff for more than twenty years?
It's not because Iron Fist has the kinda power to keep that secret.
It's because the Illinois EPA and the Federal Government don't want people to know it.
Because if you knew that you'd know just how inept or corrupt those organizations really are.
You'd know just how much they fucked up.
That's why I don't think that they want you to know.
They were supposed to be looking out for us.
Instead, they let unsuspecting people drink death-water for a long time.
They messed up and people are getting sick because of it.
They just don't want you to know how much they messed up.
But Viewminder knows it.
And Viewminder knows what it means.
The people gotta demand that the government come clean in this case.
The people are going to have to fight for the truth.
They shouldn't... but that's how it's gonna be.
All of the documents below come from the Illinois EPA.
Their own documents appear to show that water from the Cal Sag Canal was finding its way into that well that was being 'secretly' used and that shitwater was coming out of the faucets of the residents of Deadwood.
In order to know the extent of it we need to know how much water that Iron Fist's scheme was pumping out of that well.
And from what I've seen and experienced so far, the only thing the government is doing is obscuring the truth.
It seems pretty easy to me... how much city water did they buy in the years they used the contaminated well... and how much city water are they buying now, after the IEPA destroyed the evidence... I mean the contaminated well?
The difference between those two numbers is pretty much gonna be your answer.
But that must be either too logical or too easy.
Children in Deadwood are dying.
And they're dying from afflictions that are more likely to be from that canal water than the vinyl chloride that found its way into Municipal Well Number One.
The government says that 'incidental contact' with that canal water is dangerous... just being splashed by it is bad for you.
But the people of Deadwood were showering in it, drinking with it and cooking with it.
It wasn't even treated with anything more than random and farsically inadequate doses of chlorine.
There's one thing for certain.
While the government fell asleep at the wheel, the people of Deadwood were drinking a deadly cocktail of chemicals every night before they went to bed.
And they were showering in it every morning when they woke up... letting it cover their skin... breathing in the volatile vapors that 'steamed' out of it.
And the whole thing started when they charged my wife with child endangerment and tried to take my daughter away from us.
While they were poisoning all of the children in Deadwood.
We are never going to see the truth unless we demand it.
The only thing we're gonna see if we do nothing is a couple of low level water department clerks go to prison.
A 'fall guy' and a 'fall girl.'
A couple of 'heads on a platter' to calm down the masses and make it look like the government gave a shit.
Yeah... they lied on the paperwork... but there's people who hold a lot more responsibility for this who are just gonna skate on it.
I waited almost three years to see what the feds were gonna do.
And then they indict a couple of clerks?
For lying to them?
They could give a shit about you and your family being poisoned.
They don't care that thousands of people have been made into 'lab rats' by the political schemes of Iron Fist and his gang.
They're offended because they got lied to.
I didn't wanna hafta be the guy driving this thing.
But you know what?
Those people deserve the truth.
We all deserve the truth.
And we're not gonna get anything close to the truth unless we fight for it.
If we do nothing, we're never gonna know anything.
From the series 'There's Something in the Water' here on Flickr... www.flickr.com/photos/light_seeker/sets/72157627041317913...
Paradigm: A worldview underlying the theories and methodology of a particular scientific subject.
That, my friends, is a crossword puzzle. If paradigms are analogous to species, the one that includes pencils and crossword puzzles is on the brink of extinction ..
Whether it be the elderly, children, homeless, the workers or the men and women that carry out the mating ritual on the city sidewalks. .. My social photography intends only to inform, and to share with others what I observe and find to be interesting. I apologize if I inadvertently offend anyone ~Rhpsr
Liquidity costs: a new numerical methodology and an empirical study. Michel, Reutenauer, Talay, Tanré arxiv.org/abs/1501.07404 #q-fin
a test piece from a new working theory of pleating.
polygons are defined by the same methodology used to make Voronoi tessellations; borders are then used as a reference crease along with the central point of the polygon to create the appropriate "fold flat" crease pattern. in this case, you can see the original 1/2 pleat creasings, which were further divided into 1/4 width pleats.
This was a test using random polygons; other methods of more usefulness (applications for use with regular polygonal shapes) are in development.
much fruit on this tree, I think. I hope I am able to refine my ideas enough to make them usable.
if you find this idea interesting at all, please drop me a line at origomi [ at ] mac.com. I'd be happy to talk to you about it.
Math...it's an artificial construct. It's a framework of methodologies humans have developed in an effort to understand the world around us. What we should all be asking ourselves is, "why DOES math work at all? Why IS there order in nature that we describe it so well with mathematical methods? Why is the Universe ineligible at all?" Big questions that deserve more than a passing mention...especially at 12:35 AM
Hiking with dogs over the years in hot weather, I've noticed they each have their own style of cooling off in the water. Gracie would wade in to the depth that allowed efficient heat exchange between the cool water and the blood flowing through her long legs. Kaley just needed to get her belly wet and she was good to go. Skylar will wade in to the maximum water depth and stand for a long time, swimming if she can.
But Abby has the most unique method of all, plowing her face through the water and then shaking it off. If the water isn't deep enough to get her face in fully, she will use her front legs to splash water. It seems like she just wants to cool her muzzle. I love this goofy girl and I'm just glad it makes her happy.
Moschopolis is the first wine series of the homonym Moscopolis Winery. The brand is based on the premium wine quality matured in barrels, scientific approach of the owners' aged experience and thorough methodology of each production step -from the born of the grape- to the bottling.
Instead of introducing a representational metaphor in the label, we created a wine-self-reference one, a label that carries only wines' internal and essential information. This was achieved by collecting, structuring and organising the most important elements. By introducing a clear typographic system on the label, extroversion has been achieved, which arrives from the decision to include all information available directly to the viewer. The label introduces the wine and the winery, as if the owner is present by himself - without being.
Secondly, methodology was accomplished visually through this system, in a way that verifies the brands' own practice. Thirdly, education, as a way of communicating all the essential elements of this product to the also non familiar to barrel wines audience. Last but not least, considering the marketplace abroad, there is a clear reference to the origin (product of Greece) by including international words routed in greek language, such as Genesis, Aura, Methodology etc.
Part of this orthological approach was to name each label with a number, so as to keep a consistency that is related and actually verified with the nature of the brand’s practices.
All of the above was carefully crafted and printed in two colours with a hot bronze foil working as a stamp of the aged barrel.
—
Check the whole project here
Printed by Labelpress
Shooted by M. Tsouloufa & J.Sachpazis
[Hypoponera Santschi 1938: 154+†1 (IT: 4+†0) spp]
[Ponerini: 45 gg, 1,294 spp; Ponerinæ: 2 tbb, 60 gg, 1,426 spp]
Conspecific parapatric ☿, sx side.
Para/lestobiotic of L. lasioides. Cfr. notes¹ over the above image.
Like other species in the H. punctuatissima group, H. eduardi produces ☿-♀ or ♃ (ergatoid) intercastes as well as alate ♀ and its dimorphic ♂♂ consist of an alate and an ergatoid form. ♃♀♀ have distinctly larger eyes than ☿☿ (ca 20–30 ommatidia) and ♃♂♂ have small eyes (7–8 ommatidia), reduced mandibles and 13-segmented antennæ. The polymorphism of both ♀♀ and ♂♂, and the reproductive biology of H. eduardi have been documented by Le Masne (1956). He referred to ☿-♀ intercastes as major ☿☿, following Forel (1894) and also noted the presence of a less numerous caste intermediate between ☿☿ and intercastes that he termed "media ☿☿". All Hypoponera are thought to be predators of small arthropods but published details about their diet are sparse. A lack of information about other aspects of their biology is also typical for most species.
NOTES
1. 49b: Mandible triangular to elongate-triangular, masticatory margin sometimes edentate, usually with several to many teeth.
57b: Maxillary palp with 0-1 segments.
57b: Subpetiolar process in profile rounded to acutely angulate posteroventrally but never with a pair of teeth; an anterior fenestra or thin-spot usually absent but present in some spp.
55b: Petiole (A2) in profile an erect scale or node. Prora present on 1st gastral sternite below helcium. Postsclerites of 2nd gastral segment (A4 posterior to gastral constriction) not cylindrical, in profile as high as long or nearly so, at most only slightly longer than 1st segment.
52b: Gaster (A3-A7) in lateral & dorsal view with a distinct impression between presclerites & postsclerites of 2nd gastral segment (A4) that appears as a girdling constriction of gaster.
REFERENCES
S. Cantone 2018: Winged ants - queen.
S. Mammola & al. 2017: Invertebrata epi/hypogean survey.
M.K.L. Wong & B. Guénard 2017: Subterranean ants.
C.A. Schmidt & S.O. Shattuck 2014: Ponerinæ classification.
C.A. Schmidt 2013: Ponerinæ phylogeny.
R. Pacheco & H.L. Vasconcelos 2012: SPT.
F.A. Schmidt & R.R.C. Solar 2010: Hypogæic pitfall traps.
C.A. Schmidt 2009: Ponerinæ taxonomic revision, pp. 106-111.
Launched at the London Motor Show in 1958 and constructed using the sophisticated ‘Superleggera’ methodology devised by Touring of Milan, the Aston Martin DB4 is considered one of Aston Martin’s greatest achievements.
This highly specified Series 5 example, one of only 50 constructed, is believed one of just 5 built with the ‘open headlight’ configuration. Delivered new to Aston Martin agents, J Blake & Sons in Liverpool, 1034/R was primarily used by its then company chairman, former Monte Carlo Rally entrant and BRDC member Jack Reece, before being sold on and finding its way to the United States. It resided in the warm climes of California until its repatriation to the UK in 1988. The car was sold in 1993 via Paradise Garage of London to a committed DB4 owner who entrusted its maintenance to Aston Service Dorset and R.S. Williams Ltd, with the latter buying the car from him in late 2003.
Substantially restored between 2004-5, works carried out included chassis and body restoration, a full mechanical rebuild including the engine to 4.7 litres specification, gearbox and overdrive rebuilds as well as suitable upgrades to cooling, suspension and brake systems. R.S. Williams also commissioned a complete bare metal respray, re-chroming of brightwork and an interior re-trim with new hides and carpets, prior to a new owner taking delivery in 2005.
The substantial leather-bound history file included with the car gives details of the restoration works carried out, including an engine dyno sheet, showing true power 318 bhp and 330 ft/lbs of torque. It also contains a substantial number of maintenance and parts invoices, DVLA correspondence, all MoT certificates from 1988 onward and a copy of the original build records. Included also are charming and informative letters from previous owner's in the 1990s.
London Concours 2018
Honourable Artillery Company
London
England - United Kingdom
June 2018
Mine was not an idle comment. There really was a spider on my door; this one. I couldn't get a decent shot this morning because, well, "The Mistress" was misbehaving, the spider got bored, and scuttled of to sit up near the cornice. Later, as I was waiting for the peloton to climb Mont Ventoux, my little eight legged friend came down to join the party. This time, there was more patience…
It was Richard Harvey UK who started calling her "The Mistress". For all her beauty and ability, she did not want to play with a small, hairy spider. At about an inch across, this one is a baby. I don't know where it came from. I know one daddy long legs tried to hitch a ride home in the van with the beds. I dealt with that one. Why was I picking up the beds ? I told you that when I ask to get something delivered or serviced, there's silence, then a click, followed by a dial tone. Try as we might, the bed man and me, nobody would take on the job. Money wasn't enough.
Her problem was simple: she wasn't focussing on that "thing". Like the trip to get the beds, this was going to need someone to take charge. While we waited for the race, I assembled the kit: tripod, focussing rail, tripod mount ring "B", red LED light so I didn't alarm my visitor, a Speedlite and off-camera cable, and a cable shutter release. It was a long wait for the action after all. Spider was patient too…
Righto, here's the drill: "The Mistress" is amendable to a little manual action, LiveView let's the user make fine adjustments, and the focussing rail means the tweaking can happen without risk of shifting off the subject when everything is in a straight line. Done. Now it's just a matter of firing off a few shots until the spider gets annoyed enough to leave.
You are clever enough to work out where the flash was from the shadows. I know you are clever because you are here! Set to aperture priority, there's control over DoF that, quite frankly, "The Mistress" would disregard.
So there you have it: the shadowy spider which in the morning was on my door, but this evening, was on the wall.
Because you are clever AND curious, no the wall isn't painted in exactly that colour. But while I was juggling all the other things, with low LED lighting in the room and supplementary flash from the 580EX II, I had enough to worry about without bringing white balance into an already complex enough equation.
Test shot comparing the Leica M240 + Leica 50mm Summilux-M with a Sony NEX-5N + Leica 50mm Summilux-R. Disclaimer: highly unscientific methodology.
This is one of my test scenes for checking focusing accuracy. This is a wall clock about 11" in diameter (28 cm). I shoot this scene from a distance of about 7 feet (~2.2m). From this distance, I like to see how the smallest print on the dial at the bottom ("SWISS MADE") is rendered.
Since this text is too small to see through a camera viewfinder, I focus on the text that says GMT-MASTER II.
Once again, I got the best focus rather easily and quickly with the Sony NEX-5N, using its EVF and focus peaking. With the M240, after more effort, I got it almost right, but the Sony surpassed it.
To get an idea of the difficulty of this little job of focusing, please see the bottom image below, which was also shot at f/1.4 with the Nikon 50mm AF-S Nikkor 50mm f/1.4G lens and the Nikon D800E. This was later at night, so I used the on-camera flash. I took three shots, and they all came out exactly the same.
Although not as good as the Leica 50mm Summilux, the Nikon 50/1.4G lens is a decent lens and better than the image shows. So part of the difficulty here was the difficulty of spot-focusing on the lettering on the dial using the AF.
That is why people still use manual focusing!
The M240 also got the blue tones wrong. Both the NEX and the Nikon got it right.
My visual notes for The #Lean #Startup #Methodology by @ericries www.theleanstartup.com #entrepreneurship
By Eduardo Merille. Rhett Williamson is a doctoral candidate in forensic chemistry at FIU. He specializes in the development of new and improved methods for the analysis of inks, which helps trace fraudulent security documents and currency. Williamson’s research has led to the development of an ink library, a first-of-its kind database that can be used by forensic labs throughout the world for security intelligence and anti-counterfeiting measures. The goal of his work is to allow for the implementation of this methodology along with the database in forensic laboratories throughout the country and world. Williamson’s research has been presented at numerous national and international conferences and meetings.
English: Emperor Tiberius's triumph. Silver skyphos with repoussé decoration, late 1st century BC–early 1st century AD. From the villa della Pisanella at Boscoreale, 1895.
Français : Triomphe de l'empereur Tibère. Skyphos en argent repoussé, fin du Ier siècle av. J.-C.-début du Ier siècle ap. J.-C. Provenance : villa della Pisanella à Boscoreale, 1895.
Dimensions H. 9.2 cm (3 ½ in.), W. 21 cm (8 ¼ in.)
Credit line Dation in payment, 1990
Accession number Bj 2367
Location Department of Greek, Etruscan and Roman antiquities, Sully, first floor, room 33, case 8
Source/Photographer Marie-Lan Nguyen (User:Jastrow), 2009
Preferred Citation: Kuttner, Ann L. Dynasty and Empire in the Age of Augustus: The Case of the Boscoreale Cups. Berkeley: University of California Press, c1995 1995. ark.cdlib.org/ark:/13030/ft309nb1mw/
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Conclusion: The Boscoreale Cups and Roman Art
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Conclusion:
The Boscoreale Cups and Roman Art
I should like to do two things here. One is to sum up the major art-historical findings of this study, as the last chapter commented on its historical findings. The other is to speak directly about my own methodology as a Roman art historian; this might seem to be more appropriate in an introduction to a study of this kind, but I feel that only the reader who has absorbed at least some of this work will be critically equipped to judge the efficacy and clarity of my approach. Its first principle is simply to ask of any period, What works of art existed, and what did they look like? So much has been lost, and lost permanently beyond all hope of retrieval; thus all fragments, hints, and indications become, like the BR cups, extremely valuable. Although it is difficult to keep always in mind an imaginative construct to supplement the poor reality of the tangible remains, the rewards of such effort are considerable. For instance, Eck stresses how the arrangement of inscriptions, often all we have left of ancient dedications, can indicate the basic structure of the lost statuary above; his point seems simple, but he was the first to consider in this light inscriptions known for over fifty years and to reconstruct from its base an actual monument of the kind long postulated as prototype for the famous Puteoli base of Tiberius (figs. 47, 62)[1]
The reader will have noted throughout a concern with the relationship of spectator to object, in terms of the intent of the original designer(s) and patron(s) who engendered Roman images, with regard to the audiences whom they wished to comprehend these images' didactic content and to appreciate their esthetic structures. In visual, as in verbal, communication, true comprehension depends on a shared language of forms and symbols; an iconographer must, like a historian, strive to the best of her necessarily limited powers to reconstruct the relevant prior experience and assump-
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tions of the persons whose perceptions she investigates. This truism is very seldom made explicit. I stand here behind T. Hölscher's unparalleled 1984 essay on the question of the Publikum for the state monuments we seek to interpret today, though I am more optimistic that one can know something of audiences besides those of the elite "senatorial" level. This optimism—though austere and limited—is founded on the principle of the lowest common denominator, the value of badly made and/or mass-produced, relatively cheap artifacts. I believe that the basic symbolic language available to classes other than the elite can be discerned in the often drastically simplified elements of "high" ideology and iconography that make it onto the crude glass pastes that crowd the back pages of gem catalogues, onto matrix-stamped military armament decoration, onto Arretine ware pottery molds, and so forth. Obviously, I also believe that numismatic designs were very often intended to disseminate legible imagery for political purposes, that the state coinage did indeed function as a vehicle for political propaganda directed toward the uneducated, as well as educated, classes; I also think these messages were usually obvious and simple.
I have been speaking of audiences and messages in the plural. A natural consequence of the multiple stratifications of society in the Roman Empire was a differentiation of culture and a variation in cultural sophistication among different classes, peoples, and regions in the Empire. It is also plain that the most capable Roman patrons were (like Greeks before them) interested in creating monuments and images that spoke to more than one segment of society and that had more than one symbolic message. To describe this quality in a work of art, multi- or polyvalency is a common image usefully borrowed from the vocabulary of atomic structure. I find useful the notion of resonance, transferred from the realm of musical effects to the world of artifacts. As the striking of a piano key produces a sound with multiple tones, so the impact of the Gemma Augustea (fig. 16) or Arch of Constantine on thoughtful vision sets off not a unitary impression but a series of related multiple impressions; the proximity and/or prior existence of related monuments known to the spectator weaves a kind of web of associations comparable to the resonant effects produced by the proximity of other strings to the piano key actually struck.
The danger in reconstructing the original resonances of an extant monument is that one will read into the work messages not intended for the original Roman audience. One can so easily become oversubtle, assert too much rather than too little. There are two brakes on exegetical speed-
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ing; first, to be explicit and knowledgeable about the historical audience postulated for an artifact; second, always to look for parallels to show that the reading one proposes was at least possible in a given context. Truisms again, but not always appreciated or observed. Only multiple occurrences of a given symbol or form justify the assertion of a pattern of action, whether formal (style) or symbolic (iconography). One needs also a plausible hypothesis to account for such patterns: one must try to document the means by which an artist or his audience could have seen the images by which they are held to have been influenced, and this takes one back to the question of a given audience and the imagery accessible to it. To cite a classic instance, it is often asserted that the architectural form of the Ara Pacis deliberately echoes that of the Athenian Altar of Pity. If true, the quote can have been expected to be legible only to the elite, who would have traveled to Athens, not to the Roman plebs; on the other hand all segments of the urban population can be expected to have recognized the parallel with the Januum, one of the oldest, most prestigious, and most central of all sanctuaries in the capital.
I have acknowledged my debt to the investigative approach formulated by Hölscher. I have gained much from the implicit and explicit definitions developed by many others of what evidence is relevant to interpreting Roman political art. It should be clear by now that often I find myself in the company of the contemporary German art historians Zanker, Simon, Fittschen, et al., asking similar questions of similar material; asked to assign myself to a "school," I should name also the Italians, F. Coarelli and M. Torelli. My real debt to Coarelli's efforts to understand artistic production in terms of patronage and the politically charged architectural geography of Rome is obscured here by the fact that this work explores mainly imperial, rather than Republican, art. Even where I disagree with Torelli's conclusions, I have tried to keep in mind the imperative heading his essays on Roman historical relief: Roman narrative and commemorative art can be illuminated by Roman texts, but they must be texts with a cognate function. Finally, in all projects I have ever undertaken with regard to Roman art, I am in debt to Otto Brendel's Prolegomena to the Study of Roman Art (New Haven, 1979): his definitions of the essential questions asked (and not asked) of Roman art and his vision of multiple lines of development separated by medium and genre have irrevocably marked my own perceptions of Roman images.
The consequences of holding to these tenets are evident in my readings of the Boscoreale Cups and of many other monuments besides. The Boscoreale Cups, and the monument from which they were copied, have been
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demonstrated primarily on political grounds to be works of Augustus' reign, specifically of the period between Tiberius' triumph in 8/7 B.C. and his exile in 6 B.C. Now firmly dated, these panels are important to the stylistic history of Roman relief; they illuminate the early occurrence not only of stock figures common in the later canon but of experiments with complex figure groupings and the depiction of "space" that are not usually associated with Augustan art. No aspect of compositional structure in these panels is discordant with the date reached on iconographic grounds; the three-beat structure of the allegory BR I:1, for instance, is typical of classicizing Augustan work in many media. Indeed, if it were absolutely necessary, the pieces could be plausibly dated between the Ara Pacis (13-9 B.C.) and the Gemma Augustea (A.D. 10–14) purely by stylistic analysis. I have discussed at many points the formal congruence of the cups with the Ara Pacis; the Gemma Augustea's upper register has compositional structures very similar to the BR audience scenes and displays a different, but no less complex, exploration of the alignment of figures in space (fig. 16). The "dating" value of the Ara Pacis is as a public sculptural monument exemplifying the best work of the court ateliers; the Gemma Augustea indicates a familiarity on its artist's part with monuments on a similar scale, for radical stylistic (as opposed to iconographic) experimentation is not to be expected of any gem cutter's workshop.
This book has tried to explain, as completely as possible, the imagery of the Boscoreale Cups. The listing of parallels as a mode of scholarship is mere antiquarianism if it is seen as an end and not as a means; inevitably, some of my "lists" have remained at this level, but these investigations have always tried to ask the primary questions What does image X signify, why is it used, and what is it doing on the Boscoreale Cups? In the search for a compelling argument I have tried to cast my net as wide as possible, to bring forward all relevant available evidence from textual and visual sources; my lapses will, I hope, be corrected by others in the same benevolent spirit of argument in which I have critiqued the interpretations of the scholars whose work fed mine.
The effort to explain generated many tangents and thematic excursuses. The process of explanation works both ways: images adduced to explain the BR cups are themselves illuminated by the process of explanatory ordering. Thus the cups prove to be valuable points of comparison for understanding many other works, under two main headings: the modes of policy and propaganda that much Roman art was intended to serve, and the complex patterns of form, temporality, and causation with which Roman narrative and commemorative arts concerned themselves as pri-
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mary objects of artistic endeavor. The purview of the book ranges from the earliest to the latest products of the Roman city-state, from terracotta pediments erected by nameless Republican nobiles to the monuments of the generals contesting and defending the late Empire; it takes in the Anaglypha Traiani and the Hadrianeum, the Ludovisi sarcophagus and the arches of Galerius and Constantine, the Beneventum Arch of Trajan, the Throne of Claudius and the Puteoli base, cuirass statues famous (Primaporta, Cherchel) and obscure (Castello d'Aglie, Amphipolis), famous and not-so-famous cameos, Arretine ware, military decoration, the imperial fora and the Aphrodisias Sebasteion, the cenotaph of Gaius at Limyra and of Drusus at Mainz . . .
The central contribution of this book to Roman art history is, I hope, a better understanding of Augustan artistic production, reached in the process of embedding the BR cup panels firmly in the high road of the Augustan monumental tradition. This enlarged understanding has two aspects. First, these investigations have radically enlarged and deepened our knowledge and comprehension of many individual works of art and coin images. The monument most significantly illuminated in this way is that marble microcosmos the Ara Pacis Augustae, especially in regard to its celebration of the worldwide Roman imperium and the imperial nature of Augustus' pax; for it is now clear beyond a shadow of a doubt that children of foreign rulers march in the processions of the Ara Pacis, and I have tried to stress the importance of others' findings that the peoples of empire were personified on the inner altar. Hardly another aspect of the Ara Pacis, whether of iconography, temporal or conceptual structure, landscape or relief style, cannot benefit from comparative analysis of the BR cups.[2]
Second, these investigations have significantly expanded our knowledge of specific Augustan artistic genres and themes. One can now be much more specific about that acknowledged phenomenon, the paradigmatic influence of Augustan monuments and imagery on later imperial artistic production. No longer will it be possible to contemplate Hadrianic ethnic personification groups in ignorance of the many Augustan examples, their Republican roots, and their Julio-Claudian "offspring"; the seated togate statue will not be a mysterious, ill-considered figure type; no longer will the great Flavian and second-century achievements in historical relief seem to have arisen from a near vacuum. At the same time, the book has tried to show how the Augustan production was itself grounded in Republican political and creative culture, even as Augustus' artists draw on all the resources of their Classical and Hellenistic heritage to put an Augustan stamp on this latest phase of Republican culture.
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This widened perspective strengthens the appreciation of certain themes as peculiarly Augustan. For instance, the observable Augustan interest in images of children, especially very little children, is exemplified by BR I; this theme seems to be consciously evoked only and to a limited extent in Trajanic art, although the institution (alimenta ) with which it is there associated was important politically both under Trajan's predecessor Domitian and his successor Hadrian. Under both headings, individual monuments and genres, our understanding of the self-images that Augustus sought to promulgate has been enhanced. The parameters often ascribed to the terms of his self-glorification have been permanently broadened: the public Augustus must now include the Jupiter-consul of BR I:1, who joins the naked, heroized Augustus of (lost) commemorative statuary whom Zanker, Coarelli, and others have stubbornly brought to our attention in recent years.
Comprehensive stylistic comparison with the extant canon of Republican and Julio-Claudian art has not been my aim. Now that the BR cups are more firmly dated, such comparison becomes possible; one can hope to see them enter broader discussions of Roman relief style. In closing I would like to comment on an artistic aspect of BR I:1 not previously discussed that may illustrate the inherent possibilities of such comparative analysis for enlarging our appreciation of Augustan art in general.
On BR I:1 in the allegory of Augustus' world rule Venus is about to "make" the Curia Actium Victory group (cf. fig. 20). Mars too is about to "make" a sculpture group, of a type well documented in the Augustan and Julio-Claudian periods (see pp. 41f); a class of honorific monuments in Rome showed a Roman magistrate standing or seated in the midst of a group of personifications of peoples or communities whom he had benefited. In the implied narrative here, once Mars brings up his group and they range themselves before the emperor, such a grouping will come to pass. The viewer's full appreciation of the narrative is conditional upon his knowledge of such public monuments. It was by now commonplace in Greco-Roman art to show the performance of simple acts of construction such as the decking of a trophy or the inscribing of an honorific shield by a goddess. It seems, however, to be a mark of Augustan political art that narrative at all levels, physical and symbolic, should so often be structured by such visual puns.
This characteristic indicates a high level of sophistication on the part of the artist and the audience expected to appreciate and relish such an aspect; it also assumes a high degree of familiarity with prominent individual examples of official monuments. This kind of narrative-visual structure
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can be observed on the Augustan Arcus Novus panel (fig. 12), where Amor floats through the air toward Venus' shoulder, intending to land there, as on the Ravenna relief (fig. 8), where his legs still kick in the air. It is also evident on the Belvedere altar's main panel (fig. 11); between the two laurel trees of Augustus' Palatine abode Victory floats to earth to place Augustus' clipeus virtutis on its pillar, as it appeared in the Curia.[3] And it structures the literal narrative of the bottom half of the Gemma Augustea (fig. 16), as well as the symbolic narrative of the entire cameo. In the lower exergue a trophy group is being put together—soldiers haul up the central wooden post, a captive barbarian couple are already positioned at its foot on the left, as another pair of soldiers haul over a man and woman meant to flank the post on the right, to build a Roman trophy group of classic type known from countless representations in art and probably enacted in actual triumphal parades. The soldiers at left heave the main tree toward Augustus as Tiberius overhead moves down toward him in the upper panel along a converging path; the strong sense of two dynamic lines of motion converging simultaneously on Augustus, in the two fields/worlds on the cameo, is conceptually very like the BR panel, where the two surges of motion occur within a single panel. (The lower exergue as an isolated unit has a structure parallel to the cup panel: motion from the sides toward the center.) This parallelism already sets up a symbolic narrative that is given more definite shape in the implied "future" when the trophy will be exactly between Augustus (note the position of its foot) and Tiberius, who will be immediately before him—emperor and heir aligned on a "real" historical axis of victory.
Presented with such compositions, the viewer gets double for his money: he gets the composition as it exists, a glimpse of figures in action aligned in a meaningful pattern, and he is also given an evocation of an alignment that is about to evolve out of the one that he sees. This implicit second alignment not only extends the symbolic message he can read but also anchors the artistic construct he sees to other artistic constructs he already knows; because the mind is tugged toward the familiar composition just over the temporal horizon, these tableaux are given a real temporal dynamism.
Self-conscious artistic reference to other works of art is a well-known hallmark of Hellenistic and Roman literary art. In the visual arts it operates at a basic level in all iconographic correspondence, as in the individual figures and pairings of the BR allegory. It has not, however, been noted before as operating at the narrative level and in a temporal dimension, as here in these Augustan pieces.[4] The Boscoreale Cups testify that even if
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written discourse on art was mainly limited (as in Pliny) to "Old Masters," at least some Romans some of the time noticed and enjoyed the contemporary products of Augustus' sculptors. And the kind of visual game just outlined is further proof that we are not different from the Romans of 7 B.C. in giving serious attention to and finding pleasure in the world of Augustan art.
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Conclusion: The Boscoreale Cups and Roman Art
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Preferred Citation: Kuttner, Ann L. Dynasty and Empire in the Age of Augustus: The Case of the Boscoreale Cups. Berkeley: University of California Press, c1995 1995. ark.cdlib.org/ark:/13030/ft309nb1mw/
That's right! I have not included an apostrophe. Stick around. You'll get it.
I've answered the call to join a walk in the park on Mother's Day. I wouldn't have been unhappy with Mothers' Day. There is no cogent argument for us to not honour all mothers.
One of my companions, sharp-eyed and yet to be burdened by years, spotted this little thing… The tip is obscured so you can't see that it looks like a chrome-plated, industrial strength, military grade hypodermic. At a pinch, I'd say a dart, and using the giveaway comment on the label, one aimed at a kangaroo.
Before today we have discussed both the Eastern Grey Kangaroo population problem, and how a fenced enclosure works to amplify the issue.
Those of a sensitive disposition, and others inclined towards mischief have taken certain steps to frustrate the rational management of these sensitive grassy woodlands. Consequently the practical, cost effective and efficient lethal culling of Eastern Grey Kangaroos to return the population to a sustainable level has driven land managers down alternate pathways.
Just relocate them, they said, without describing how, or to where. Anyone tried herding cats? To herd a kangaroo, catch it and relocate it is traumatic and terrifying. I've seen the movie — like "Keystone Cops versus Skippy". Righto, we could have thought that through a little better — FAIL!
What about birth control? Kangaroo reproductive biology has evolved to be like a conveyor belt with four generations in various stages, all in play or on the way. They are built for boom and bust. Take away the predators, like here, and what you are left with, even without further recruitment to the population is a long lived unsustainable grazing pressure.
This thing is, in fact, a dart used in research on the effectiveness of an immunocontraceptive vaccine. I should have a chat to them about experimental design! All preceding research of which I am aware notes that the technology of vaccine delivery and vaccine effectiveness is inefficient; it doesn't hit 100 per cent of its targets, doesn't work in all instances and doesn't work forever. On top of that, it only reduces future population growth. The problem requiring a solution is existing overpopulation! A more effective methodology requires the land manager to perform a population reduction, then work to delay population growth. That hasn't happened here. The latest cull in this reserve was some time in the past — they are always done in Winter for reasons of prevention of cruelty to abandoned joeys when adult females are removed from the population. But this dart is dated in April meaning at best, it precedes the next cull. Potentially, the research subject could be removed when a planned cull takes place in this Winter…
Here's some numbers from the public record. One hundred and twenty females were removed here over the previous three years and forty eight were given the sometimes effective immunocontraceptive vaccine. Yes, thanks for asking, both red-necked and swamp wallabies have also had their populations reduced.
On we go, enjoying our walk, although now it seems to have been relabeled as Anti-mothers Day if you are an Eastern Grey Kangaroo with a bruised and wounded rump.
Egon Weiss, The Design of Lettering, 1932. Weiss was a columnist for Pencil Points, an architecture magazine and the publisher of this book, which was widely available, and perhaps a standard reference, as the lettering models seem to be the source for a lot of the letters found on mid-20th-century buildings and monuments in the US. These constructed/geometric patterns are fundamentally different from the calligraphic methodology of sign painters and other lettering artists. (When a compass is the basis for a serif shape, there’s a good chance an architect or engineer is involved.) Weiss’s book also introduces a formulaic method for spacing which explains some of the figures and marks associated with these diagrams.
For some thoughts on the Panasonic S1R and my ad hoc "test methodology", please click the top image below.
The Zeiss 35mm f/1.4 Distagon ZM is one of the top 3-4 lenses for the M-mount, although it doesn't get the notoriety that a less capable lens like a Noctilux 50mm f/0.95 gets.
I got the silver edition of this lens years ago, but it is really mediocre on my Sony A7x cameras. I must have "decided" to sell this lens at least a half dozen times, and in fact, I had it listed on eBay some 3-4 times. Every time, I did not get the price I was seeking, and I did not have the heart to dump it for a low ball price.
After many YEARS, finally, today when I took some test shots with the Panasonic, it was like a light turning on. The image quality is really stunning, and I don't think anyone who shoots with this lens on a Leica M camera like an M10 or M 240 or even an SL really has any idea how amazing this lens is. I suspect the word will get around quickly once people start shooting with this lens on a Panasonic S1R or a future Sigma full-frame Foveon camera.
The shot above is the absolute lower left corner of the frame, at 100% magnification, shot at f/1.4. There is nothing more in the frame to the left or below what you see above. This is also SOOC JPEG, with no post processing.
The in-camera JPEG processing is quite mediocre – it is easy to see posterization effects. But having used other Panasonic Lumix cameras in the past, I have no doubt that the raw files will be far superior.
Net-net, I am very pleased with both the lens and how it works with the Panasonic S1R.
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Senior Airman Ashley Espin, Specialist Casimir Remond, and Specialist Molina, all members of Joint Task Force Empire Shield conduct a patrol of Grand Central Station on Sept. 20, 2016 following the recent bombings in Manhattan and New Jersey.
Joint Task Force Empire Shield’s primary goal is to detect, deter, and prevent potential terrorist operations in the New York City Metropolitan Area. Security operations are implemented daily through pre-planned programs using a random and strategic methodology. Joint Task Force Empire Shield is designed to respond to a wide range of incidents. By developing a highly trained force in incident response and command, the Task Force prepares for domestic emergencies caused by humans or natural phenomena using lessons learned and best practices. (U.S. Air National Guard / Staff Sergeant Christopher S Muncy / released) www.dvidshub.net
Walking day: from Shepherds Bush to Ravenscourt Park ro Acton to Gunnersbury Park to Kew and then home from Richmond station.
I found an interesting web article (undated) giving some background to this mural: "The pan-London MyMural project launches in Acton this week with a beautiful painting by artist Leonard Lesic.
The London Mayors Office is supporting the project, its methodology and aspirations. Adam Cooper from the Culture and Creative Industries Unit, Greater London Authority stated: “MyMural is a great initiative that is bringing a fantastic new piece of art to Acton. The mural at Berrymede School will hopefully inspire a next generation of young artist."
MyMural inspires, enables and normalizes the possibilities for new artworks among everyday settings. Thanks to support from Cockayne – Grants for the Arts (London Community Foundation), GLA Mayors Office and a Charity Auction donation from Stik, we are very pleased to announce that MyMural is launching in Acton. This pilot contributes to an important sea change in the way artists work with residents in the city.
Marcus Willcocks and Prof. Lorraine Gamman, partners from University of the Arts London explained: “MyMural is a new scheme that pairs street artists with communities who want to integrate more art, creativity and colour into their neighourhoods. Leonard Lesic’s work creatively responds to topics discussed as important among the community at Berrymede Infant School. As well as providing the ‘canvas’, the school community helped curate the opportunity and agree the artist, in collaboration with Rachel Pepper and team at Artification, Mark Clack at Wood Street Walls, and the DAC/MyMural team at Central Saint Martins. We are so grateful to support from the GLA, the London Community Foundation and artist, Stik, for their confidence in MyMural. Through collective effort the project working to bring artists and neighbourhood communities together more easily, to curate our streets less as ‘developed’ places and more as living, breathing,
creative places.”
MyMural brings together internationally experienced collaborators from arts facilitation, practice-led academic research and engagements, together with regional and local authorities and a world-renowned street art practitioner to bring new opportunities for high-quality artworks to happen in new contexts in London.
The Mayor of London has highlighted culture as one of his key priorities. He is committed to ensuring that London retains its status as the world’s leading capital city for culture and creativity and ensuring more Londoners access arts and culture. A key feature of London’s Cultural Infrastructure Plan is to give outstanding artists opportunities to make exciting new work, encourage Londoners to get more involved in creative activities, as well as cultivate London’s creative value by opening access to the use of spaces as open galleries.
MyMural began by meeting and speaking with residents about the kind of imagery and art they would like to see in their neighbourhood. The resulting Artist Opportunity was based on these aspirations. It was shared and artists responded to the brief. We received numerous artist submissions which residents viewed and voted for. The MyMural team invited the shortlisted artists to develop their site specific design. Artist Leonard Lesic was selected.
Leonard painted a beautiful piece on the wall of a nearby, now demolished, block in 2013. We are very pleased that he returns to South Acton to create this new public art for Acton in 2019.
"ARTification has been bringing art to the streets since 2005. A bridge between artists and residents, we have created 20+ pieces of street art in the public realm including the tallest in the UK by Stik and Thierry Noir. We are very pleased that MyMural is creating the latest piece to take art to the streets." Dr Rachel Pepper (ARTification Director)
Feedback from Berrymede Infants School about the painting:
“This MyMural community project is a great way of bringing art and pleasure to everyone in the Acton area” Mrs Ohene (Head teacher)
"Having a wall that is colourful which will attract the children's eye at playtime and give them many opportunities to have discussions about the things on the painting is an excellent way to engage children.” Fahmida (Parent Governor)
“The mural captures the idea that working hard at school will give you the freedom to go anywhere you want.” Mrs Shawe (Parent support adviser).
Leonard Lesic, the Artist commented:
"I am very excited to be painting in Acton again after six years. The first time on Charles Hocking House was a great time, and I have a lot of nice memories. The idea of painting at Berrymede school is wonderful, and the mural will have positive message looking into future.''
Leonard responded imaginatively to the brief, and we are very pleased to see a new and inspirational mural in Acton.
--------
MyMural is an initiative between Stik, Central Saint Martins, Artification, Wood Street Walls and the Greater London Authority. It is a new pilot scheme working with artists and residents, to enable fantastic artworks on shared residential and community buildings across London.
ARTification is an Acton-based charity that celebrates art, culture, community."
Source: www.artification.org.uk/blog/aspirational-mural-acton
:: Looking for the Burning Man 2012 Hexayurt Density Map? :: check here!! ::
GeoEye‘s annual high resolution picture of Burning Man from the sky, taken on Thursday, September 1st, 2011.
Image: © GeoEye - GeoEye Satellite Image
Pls credit @thejaymo for the eyeball time ;)
A VERY conservative count reveals 494 hexayurts
Methodology
I used the 30pt star stamp tool and marked each structure on the map in a new layer on the image.
I went round the camp in concentric circles. which allowed me to keep an eye out on inner / tracked circles that i had competed incase i missed any on the previous passes.
If i was to do this again i don't think i would use this me method, as it was easy to get lost, especially coming out of some areas of the camp that takes up two 'blocks' .
Instead i think would split the camp up in to the 16 quadrants of the camp and work from the centre outwards in each one.
Observations:
There appears to be 2 main types of reflective material used. It would be interesting to find out which/what materials they are, as i assume they are both readily available from hardware stores around the states. perhaps the same material in name, but from differing chain stores?
One is VERY shiny, which results in a purple / white crescent reflective imprint in the areal image.
Due to the direction of the sun/shadow, you can make out the shape of these structures more clearly in the lower right hand part of the camp. Yurts toward the top left of the image can be identified by its reflective properties only, as some appear to be almost spherical in shape. But as the reflective fingerprint was very similar to those positively ID'd as hexagonal in the bottom right these were included in the count.
The other a slightly less reflective material which gives a white / grey refection and you can confirm completely the 6 sided structure / even make out the roof construction in many cases.
Some structures that are clearly hexayurts that are made out of ply wood or other wooden material have been included in the count: There maybe quite a few more of these. But i did not include any structures slightly larger than the average - I was worried that they maybe tents or some other type of structure
- There are also what appear to be tents made of a shiny reflective material. At first i thought these were yurts, but on closer inspection and much deliberation they give off a different reflection / shadow - a much more rhombus / quadrilateral shape. - there are quite a few of these clustered around the middle top left hand area of the camp.
- I notice that although generally being solitary structures, you do get clusters of say 5 or more hexayurts together. i imagine this as a community, or group of people that have all traveled in together?
Other Thoughts
I have never really looked this closely at an aerial photo before. there are many enjoyable quirks that i discovered when spending the last few hours or so looking down at humanity collected together.
One word messages written in the sand. 'NOW' is one memorable example -presumably written with the intention of an observer like myself to read.
Some camps but not as many as i would have expected seem to have drawn or scuffed the sand to mark borders, or territorial boundaries.
Informal tracks, walkways, and roundabouts that run though and across the camps that break with and stand out from the geometry/layout of the camp, but can only be seen on close observation of the camp.
i want to go to burning man
You feel me ...? Maybe I should clean the mirror ;-)
"For now we see through a glass, darkly; but then face to face"
week 6 of 52 in 2012 Theme: Morning
These were developed with the same methodology as Caffenol Test VI, and are from the second half of the same roll of film. However! I mixed a fresh batch of Caffenol for the purpose and though everything else was the same - ratios, temp, time - the new brew acted much more vigorously.
As such, these films had to be bleached with Tetenal C-41 Bleach-Fix for 60 seconds after salt fixing, to reduce density down to workable images. This has contributed to the extra grain, contrast and the other artefacts sneaking in on the images.
All things considered, they look pretty bloody good.
Prof. John Pollini working STUDENTS AT OSTIA ANTICA
John Pollini in my opinion is the number 1 authority on Julio Claudian Portrait study. I have had much correspondence with Prof. Pollini and he is passionate about Roman Art. Here is his curriculum Vitae:
Education
B.A. Classics, University of Washington, 1/1968
M.A. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1973
Ph.D. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1978
Academic Appointment, Affiliation, and Employment History
Professor, Department of Art History (Adjunct Professor for Department of Classics and Department of History), University of Southern California, 1991-
Dean of the School of Fine Arts, University of Southern California, 1993-1996
Chairman of the Department of Art History, University of Southern California, 1990-1993
Associate Professor, Department of Art History and Department of Classics (adjunct appointment), University of Southern California, 1987-1991
Assistant Professor, Department of Classics, Johns Hopkins University, 1980-1987
Curator, Johns Hopkins University Archaeological Museum, 1980-1987
Visiting Assistant Professor, Department of Classics, Johns Hopkins University, 1979-1980
Mellon Postdoctoral Fellow, Department of Classics, Case Western Reserve University, 1978-1979
Description of Research
Summary Statement of Research Interests
Professor Pollini's research is concerned with methodologies of classical art and archaeology, ancient history, classical philology, epigraphy and numismatics. His other scholarly research interests include ancient religion, mythology, narratology, rhetoric and propaganda. Over the years Professor Pollini has excavated at the Greco-Roman site of Aphrodisias, Turkey, and the Etruscan site of Ghiaccio Forte, Italy, and participated in the underwater survey of the port of Tarquinia (Gravisca), Italy. Trained in the methodologies of classical art & archaeology, ancient history, classical philology, epigraphy, and numismatics, Professor Pollini is committed to interdisciplinary teaching and research. Professor Pollini has lectured widely both in the United States and abroad. He has published numerous articles and authored several books.
Research Specialties
Classical Art and Archaeology
Honors and Awards
Elected Life Member, German Archaeological Association, 2000-
American Council of Learned Societies Fellowship, awarded for second time, 2006-2007
Guggenheim Fellowship, deferred until 2007-2008, 2006-2007
Whitehead Professor at the American School of Classical Studies at Athens (Honorific Appointment), 9/1/2006-6/1/2007
Departmental Nominee for University Associates Award for Excellence in Teaching 2002, 2002-2005
Mellon Foundation Award for Excellence in Mentoring, 2004-2005
Departmental Nominee for University Associates Award for Excellence in Teaching 1998, 1998-2001
National Endowment for the Humanities Fellowship, awarded for second time, 1995-1996
American Council of Learned Societies Fellowship, 1987-1988
National Endowment for the Humanities Fellowship, 1983-1984
Mellon Postdoctoral Fellowship, 1978-1979
Fulbright Award, Fellowship to Italy, 1975-1976
CURRICULUM VITAE
JOHN POLLINI
Department of Art History
Von Kleinsmid Center 351 University of Southern California
Los Angeles, CA 90089-0047
Professor of Classical Art and Archaeology, Department of Art History
Joint Professor, Department of History
Adjunct Professor, Department of Classics
President, Classical Archaeological Association of Southern California (CAASC)
DEGREES
Ph. D. Ancient History and Mediterranean Archaeology, University of California at
Berkeley (1978) (interdisciplinary program involving the Departments of Art History,
Classics, and History; major field: Etruscan and Roman Art and Archaeology; minor
fields: Greek Art and Archaeology and Roman History; Ph.D. equivalency exams in
ancient Greek and Latin) [Diss.: Studies in Augustan “Historical” Reliefs]
M.A. Ancient History and Mediterranean Archaeology, University of California at
Berkeley (l973) [MA Thesis: Two Marble Portrait Statues of Pugilists from Carian
Aphrodisias: Iconography and Third Century A.D. Sculptural Traditions in the Roman
East]
B.A. magna cum laude, Classics, University of Washington (1968)
POSTDOCTORAL ACADEMIC APPOINTMENTS
Dean of the School of Fine Arts, University of Southern California, with administrative,
budgetary, and fund-raising responsibilities (1993-1996)
Chairman of the Department of Art History, University of Southern California
(1990-1993)
Full Professor, University of Southern California, Department of Art History
(1991-present), with joint appointment in the Department of History and adjunct
appointment in the Department of Classics
Associate Professor, University of Southern California, Department of Art History, with
adjunct appointment in the Department of Classics (1987-1991)
Assistant Professor, Johns Hopkins University, Department of Classics (1980-1987) and
Curator of the Johns Hopkins University Archaeological Museum (1980-1987)
Visiting Assistant Professor, Johns Hopkins University, Department of Classics
(1979-1980)
Mellon Postdoctoral Fellow, Case Western Reserve University, Department of Classics
(1978-1979)
INTERNATIONAL AND NATIONAL FELLOWSHIPS, GRANTS,
AWARDS, HONORS
William E. Metcalf Lectureship (2008)
John Simon Guggenheim Memorial Foundation Fellowship (2006-2007, deferred to
2007-2008)
Whitehead Professor of Archaeology, American School of Classical Studies at
Athens (2006-2007)
American Council of Learned Societies Fellowship (2006-2007)
Kress Foundation Travel Grant (Summer 2006)
Mellon Foundation Award for Excellence in Mentoring (2005)
Taggart Foundation Grant: Campus Martius Virtual Reality Project (2005)
Distinguished Lecturer, Biblical Archaeological Society and Center for Classical
Archaeology, University of Oklahoma, Norman (2005): Series of three lectures on
Roman and Christian Religion, Art, and Ideology
Kress Foundation Travel Grant (2003)
Senior Humboldt Research Prize (nominated) to Berlin, Germany, for 2000-2001
Elected Member (for life) of the German Archaeological Institute (Berlin) (2000)
National Endowment for the Humanities Fellowship for Independent Study and
Research (1995-1996)
Kress Foundation Travel Grant (Summer 1988)
American Council of Learned Societies Fellowship (1987-1988)
Kress Foundation Travel Grant (1987)
National Endowment for the Humanities Fellowship for Independent Study and
Research (1983-1984)
Mellon Postdoctoral Fellowship, Case Western Reserve University (1978-1979)
Mabelle McLeod Lewis Memorial Fund Fellowship to Italy (1975-1976)
Fulbright Fellowship, Università di Roma, Rome, Italy (1975-1976)
UNIVERSITY FELLOWSHIPS, GRANTS, AWARDS, HONORS
Departmental Nominee for University Associates Award for Excellence in Teaching
(2002-2005)
College Faculty Research Development Award (consecutive years: 2000-2007)
University of Southern California Grant for Innovative Undergraduate Teaching
(with Lynn Swartz Dodd and Nicholas Cipolla) for a virtual reality project “Imaging
Antiquity: Creating Context through Virtual Reconstructions, Digital Resources, and
Traditional Media” (2003-2004)
Grant for the “College Initiative for the Study of Political Violence” (2002)
University of Southern California Grant for Innovative Undergraduate Teaching
(with Bruce Zuckermann and Lynn Swartz Dodd) to develop a new interdisciplinary and
interdepartmental course entitled “Accessing Antiquity: Actual Objects in Virtual Space”
(2000-2001)
University of Southern California Senior Nominee for National Endowment for the
Humanities Summer Stipend for Faculty Research (1998-1999)
Departmental Nominee for University Associates Award for Excellence in Teaching
(1998-2001)
College Awards and Grants for Research Excellence (consecutive years: 1997-2000)
Hewlett Foundation Award and Grant for General Education Course Development
(1997-1998)
Faculty Research and Innovation Fund Grant, University of Southern California (1988)
University of California Traveling Fellowship (1976-1977)
Dean’s Fellowship, U.C. Berkeley (1973-1975)
Phi Beta Kappa (1968), University of Washington
ADDITIONAL EDUCATIONAL PREPARATION
Field trips sponsored by the American Academy in Rome, German Archaeological
Institute, and Comune di Roma (1975-1978)
Research in Rome, Italy for dissertation (1975-1978), as well as further study of Greek
and Roman art and architecture in Italy and elsewhere in Europe during this period
Supervised study of Greek and Roman sculpture at the J. Paul Getty Museum, with
J. Frel (1973-1975)
Course in Greek art and archaeology at the Universität München, Munich, Germany
with E. Homann-Wedeking (1971)
Study of the German language at the Goethe Institute, Grafing (Munich), Germany (1971)
Course work in Roman, Etruscan, and Italic art and architecture, Università di Roma,
with G. Becatti, M. Pallottino, F. Castagnoli, and M. Squarciapino (1970-1971)
ARCHAEOLOGICAL FIELD WORK
Underwater survey of port of Tarquinia (Gravisca), Italy (1977): Consultant
Excavation of Etruscan site of Ghiaccio Forte, Italy (1973)
Excavation of Greco-Roman site of Aphrodisias, Turkey (1970-1972)
Excavation of Spanish/Indian Mission, Guavave, Arizona (1965-1966)
LANGUAGES
Ancient: Latin and Greek
Modern: German, Italian, French, modern Greek, some Turkish
BOOKS
PUBLISHED:
I) The Portraiture of Gaius and Lucius Caesar (Fordham University Press, New York
1987) (with a book subvention from the National Endowment for the Humanities).
II) Roman Portraiture: Images of Character and Virtue, with graduate student
participation (Fisher Gallery, Los Angeles 1990).
III) Gallo-Roman Bronzes and the Process of Romanization:The Cobannus Hoard
(Monumenta Graeca et Romana IX) (Brill, Leiden 2002).
IV) The de Nion Head: A Masterpiece of Archaic Greek Sculpture (Philipp von
Zabern, Mainz 2003).
V) Terra Marique: Studies in Art History and Marine Archaeology in Honor of Anna
Marguerite McCann on the Receipt of the Gold Medal of the Archaeological Institute
of America (editor, designer, and contributor of introduction, publication list, and
one of 19 essays) (Oxbow Publications, Oxford 2005).
SUBMITTED:
VI) From Republic to Empire: Rhetoric, Religion, and Power in the Visual Culture of
Ancient Rome (University of Oklahoma Press), comprising eight chapters:
CHAPTER I: The Leader and the Divine: Diverse Modes of Representation in Roman Numismatics
CHAPTER II: The Cult Image of Julius Caesar: Conflicts in Religious Theology and Ideology in
Augustus’ Representational Program
CHAPTER III: From Warrior to Statesman in Augustan Art and Ideology: Augustus and the Image of
Alexander
CHAPTER IV: The Ideology of “Peace through Victory” and the Ara Pacis: Visual Rhetoric and the
Creation of a Dynastic Narrative [revised and updated essay originally published in
German]
CHAPTER V: The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of
Anamorphosis, Anakyklosis and Numen Mixtum [revised and updated publication].
CHAPTER VI: Divine Providence in Early Imperial Ideology: The Smaller Cancelleria Relief and
the Ara Providentiae Augustae
CHAPTER VII: The “Insanity” of Caligula or the “Insanity” of the Jews? Differences in Perception
and Religious Beliefs
CHAPTER VIII: “Star Power” in Imperial Rome: Astral Theology, Castorian Imagery, and the Dual
Heirs in the Transmission of the Leadership of the State
IN PROGRESS:
VII) Christian Destruction and Desecration of Images of Classical Antiquity: A Study
in Religious Intolerance in the Ancient World
VIII) Dynastic Narratives in Augustan Art and Thought: The Rhetoric and Poetry of
Visual Imagery [with DVD Virtual Reality Program of the Monuments]
IX) The Image of Augustus: Art, Ideology, and the Rhetoric of Leadership
X) Social, Sexual, and Religious Intercourse: Sacrificial Ministrants and Sex-Slaves
in Roman Art -- 3rd Century B.C. - 4th Century A.D.
ARTICLES
PUBLISHED:
1) “A Flavian Relief Portrait in the J. Paul Getty Museum,” in Getty Museum Journal
5 (1977) 63-66.
2) “Gnaeus Domitius Ahenobarbus and the Ravenna Relief,” in Römische Mitteilungen
88 (1981) 117-40.
3) “A Pre-Principate Portrait of Gaius (Caligula)?” in Journal of the Walters Art
Gallery 40 (1982) 1-12.
4) “Damnatio Memoriae in Stone: Two Portraits of Nero Recut to Vespasian in
American Museums,” in American Journal of Archaeology 88 (1984) 547-55.
5) “The Meaning and Date of the Reverse Type of Gaius Caesar on Horseback,” in
American Numismatic Society Museum Notes 30 (1985) 113-17.
6) “Response to E. Judge’s ‘On Judging the Merits of Augustus,’” in Center for
Hermeneutical Studies: Colloquy 49 (1985) 44-46.
7) “Ahenobarbi, Appuleii and Some Others on the Ara Pacis,” in American Journal of
Archaeology 90 (1986) 453-60.
8) “The Findspot of the Statue of Augustus from Prima Porta,” in Bullettino della
Commissione Archeologica Comunale di Roma 92 (1987/88) 103-108.
9) “Two Acrolithic or Pseudo-Acrolithic Sculptures of the Mature Classical Period in
the Archaeological Museum of the Johns Hopkins University,” in Classical Marble:
Geochemistry,Technology, Trade (NATO ASI Series E vol. 153), edd. N. Herz and
M. Waelkens (Dordrecht 1988) 207-17.
10) “Man or God: Divine Assimilation and Imitation in the Late Republic and Early
Principate,” in Between Republic and Empire: Interpretations of Augustus and His
Principate, edd. K.A. Raaflaub and M. Toher (Berkeley 1990) 333-63.
11) “The Marble Type of the Augustus from Prima Porta: An Isotopic Analysis,” in
Journal of Roman Archaeology 5 (1992) 203-208.
12) “The Tazza Farnese: Principe Augusto ‘Redeunt Saturnia Regna’!” in American
Journal of Archaeology 96 (1992) 249-55, 283-300.
13) “The Cartoceto Bronzes: Portraits of a Roman Aristocratic Family of the Late First
Century B.C.,” in American Journal of Archaeology 97 (1993) 423-46.
14) “The Gemma Augustea: Ideology, Rhetorical Imagery, and the Construction of a
Dynastic Narrative,” in Narrative and Event in Ancient Art, ed. P. Holliday
(Cambridge 1993) 258-98.
15) “The Acanthus of the Ara Pacis as an Apolline and Dionysiac Symbol of
Anamorphosis, Anakyklosis and Numen Mixtum,” in Von der Bauforschung zur
Denkmalpflege, Festschrift für Alois Machatschek (Vienna 1993) 181-217.
16) “The ‘Trojan Column’ at USC: Reality or Myth?” in Trojan Family (May, 1994)
30-31.
17) “The Augustus from Prima Porta and the Transformation of the Polykleitan Heroic
Ideal,” in Polykleitos, the Doryphoros, and Tradition, ed. W. Moon (Madison 1995)
262-82.
18) “The ‘Dart Aphrodite’: A New Replica of the ‘Arles Aphrodite Type,’ the Cult Image
of Venus Victrix in Pompey’s Theater at Rome, and Venusian Ideology and Politics
in the Late Republic - Early Principate,” in Latomus 55 (1997) 757-85.
19) “Parian Lychnites and the Prima Porta Statue: New Scientific Tests and the Symbolic
Value of the Marble” (with N. Herz, K. Polikreti, and Y. Maniatis), in Journal of
Roman Archaeology 11 (1998) 275-84.
20) “The Warren Cup: Homoerotic Love and Symposial Rhetoric in Silver,” in The Art
Bulletin 81 (1999) 21-52.
21) “Ein mit Inschriften versehener Legionärshelm von der pannonisch-dakischen Grenze
des römischen Reiches: Besitzverhältnisse an Waffen in der römischen Armee,” in
M. Junkelmann, Römische Helme VIII Sammlung Axel Guttmann, ed. H. Born
(Mainz 2000) 169-88.
22) “The Marble Type of the Statue of Augustus from Prima Porta: Facts and Fallacies,
Lithic Power and Ideology, and Color Symbolism in Roman Art,” in Paria Lithos:
Parian Quarries, Marble and Workshops of Sculpture (Proceedings of the First
International Conference on the Archaeology of Paros and the Cyclades, Paros, 2-5
October 1997), edd. D.U. Schilardi and D. Katsonopoulou (Athens 2000) 237-52.
23) “The Riace Bronzes: New Observations,” in Acten des 14. Internationalen
Kongresses für Antike Bronzen, Kölner Jahrbuch 33 (2000) 37-56.
24) “Two Bronze Portrait Busts of Slave-Boys from a Shrine of Cobannus in Roman
Gaul,” in Studia Varia II: Occasional Papers on Antiquities of The J. Paul Getty
Museum 10 (2001) 115-52.
25) “A New Portrait of Octavian/Augustus Caesar,” in Roman Sculpture in the
Art Museum, Princeton University (Princeton 2001) 6-11.
26) “Two Gallo-Roman Bronze Portraits of Sacrificial Ministrants in the J. Paul Getty
Museum,” in From the Parts to the Whole 2: Acta of the 13th International Bronze
Congress, Cambridge, Massachusetts, May 28 - June 1, 1996, edd. C.C.
Mattusch, A. Brauer, and S.E. Knudsen (Portsmouth, Rhode Island 2002) 89-91.
27) “‘Frieden-durch-Sieg’ Ideologie und die Ara Pacis Augustae: Bildrhetorik und
die Schöpfung einer dynastischen Erzählweise,” in Krieg und Sieg: Narrative
Wanddarstellungen von Altägypten bis ins Mittelalter (Internationales
Kolloquium 23. - 30. Juli 1997 im Schloss Heindorf, Langenlois; Österreichischen
Akademie der Wissenschaften XXIV), edd. M. Bietak und M. Schwarz (Vienna
2002) 137-59.
28) “A New Portrait of Octavia and the Iconography of Octavia Minor and Julia Maior,”
Römische Mitteilungen 109 (2002) 11-42.
29) “Slave-Boys for Sexual and Religious Service: Images of Pleasure and Devotion,” in
Flavian Rome: Culture, Image, Text, edd. A.J. Boyle and W.J. Dominik (Leiden
2003) 149-66.
30) “The Caelian Hill Sacrificial Minister: A Marble Head of an Imperial Slave-Boy from
the Antiquarium Comunale on the Caelian Hill in Rome,” in Römische Mitteilungen
111 (2004) 1-28.
31) “A New Head of Augustus from Herculaneum: A Marble Survivor of a Pyroclastic
Surge,” in Römische Mitteilungen 111 (2004) 283-98.
32) “The Armstrong and Nuffler Heads and the Portraiture of Julius Caesar, Livia, and
Antonia Minor in Terra Marique: Studies in Honor of Anna Marguerite McCann
on the Receipt of the Gold Medal of the Archaeological Institute of America, ed.
J. Pollini (Oxbow Publications, Oxford 2005) 89-122.
33) “A New Marble Portrait of Tiberius: Portrait Typology and Ideology,” in Antike Kunst
48 (2005) 57-72.
34) “A North African Portrait of Caracalla from the Mellerio Collection and the
Iconography of Caracalla and Geta,” in Revue Archéologique (2005) 55-77.
35) “A Bronze Gorgon Handle Ornament of the Ripe Archaic Greek Period,” in Annuario
della Scuola Archeologica Italiana di Atene e delle Missioni Italiani in Oriente 83
(2005) 235-47.
36) “Ritualizing Death in Republican Rome: Memory, Religion, Class Struggle, and the
Wax Ancestral Mask Tradition’s Origin and Influence on Veristic Portraiture” in
Performing Death: Social Analyses of Funerary Ritual in the Ancient Near East
and Mediterranean (Oriental Institute Seminars 3, University of
Chicago), ed. N. Laneri (Chicago 2007) 237-85.
37) “A New Bronze Portrait Bust of Augustus,” in Latomus 66 (2007) 270-73.
FORTHCOMING:
38) “Gods and Emperors in the East: Images of Power and the Power of Intolerance,”
in the proceedings of an international conference on “‘Sculptural Environment’ of the
Roman Near East: Reflections on Culture, Ideology, and Power” (University of
Michigan), in Interdisciplinary Studies in Ancient Culture and Religion,
edd. E.A. Friedland, S.C. Herbert, and Y.Z. Eliav (Peeters Publ.: Leuven).
39) “A New Portrait Bust of Tiberius in the Collection of Michael Bianco,” in Bulletin
Antieke Beschaving 83 (2008) 133-38.
40) “The Desecration and Mutilation of the Parthenon Frieze by Christians and Others,” in
Athenische Mitteilungen 122 (2007).
41) “Problematics of Making Ambiguity Explicit in Virtual Reconstructions:
A Case Study of the Mausoleum of Augustus,” for the proceedings of an international
conference, “Computer Technology and the Arts: Theory and Practice,” sponsored by
the British Academy and the University of London.
42) “A Winged Goat Table Leg Support from the House of Numerius Popidius Priscus at
Pompeii,” in Pompei, Regio VII, Insula 2, pars occidentalis. Indagini, Studi,
Materiali (la Soprintendenza Archeologica di Pompei), ed. L. Pedroni.
43) “Augustus: Portraits of Augustus,” in Oxford Encyclopedia of Ancient Greece and
Rome (2008).
44) “A New Bronze Lar and the Role of the Lares in the Domestic and Civic Religion of the Romans,” in Latomus (2008).
IN PROGRESS:
45) “The ‘Colville Athena’ Head and Its Typology.”
46) “Idealplastik and Idealtheorie: Paradeigmatic Systems, Homosexual Desire, and the
Rhetoric of Identity in Polykleitos’ Doryphoros and Diadoumenos.”
REVIEW ARTICLES
PUBLISHED:
D. Boschung, Die Bildnisse des Augustus (Das römische Herrscherbild I.2) (Berlin 1993),
in Art Bulletin 81 (1999) 723-35.
E. Varner, Mutilation and Transformation: Damnatio Memoriae and Roman Imperial
Portraiture (Monumenta Graeca et Romana 10) (Leiden 2004), in Art Bulletin 88
(2006) 591-98.
BOOK REVIEWS
PUBLISHED:
M. Torelli, Typology and Structure of Roman Historical Reliefs, in American Journal of
Archaeology 87 (1983) 572-73.
J. Ganzert, Das Kenotaph für Gaius Caesar in Limyra, in American Journal of
Archaeology 90 (1986) 134-36.
R. Brilliant, Visual Narratives. Storytelling in Etruscan and Roman Art in American
Journal of Philology 107 (1986) 523-27.
PUBLISHED IN CHOICE:
E. Bartman, Portraits of Livia: Imaging the Imperial Woman in Augustan Rome, in
vol. 37 (1999) 126.
B.S. Ridgway, Prayers in Stone: Greek Architectural Sculpture (Ca. 600 - 100 B.C.),
in vol. 37 (2000) 1095.
W.E. Mierse, Temples and Towns in Roman Iberia: The Social and Architectural
Dynamics of Sanctuary Designs from the Third Century B.C. to the Third Century A.D.
in vol. 37 (2000) 1458.
V. Karageorgis, Ancient Art from Cyprus: The Cesnola Collection in The Metropolitan
Museum of Art (New York 2000)in vol. 38 (2000) 1953.
Z. Hawass, Valley of the Golden Mummies (New York 2000) in vol. 38 (2001)
4036.
M.W. Jones, Principles of Roman Architecture (New Haven 2000) in vol. 38 (2001)
5409.
F. Salmon, Building on Ruins: The Rediscovery of Rome and English Architecture
(Ashgate 2000) in vol. 39 (2001) 106.
J. Boardman, The History of Greek Vases: Potters, Painters and Pictures (New York
2001) in vol. 39 (2002) 3755.
Roman Sculpture in the Art Museum, Princeton University, ed. J. M. Padgett (Princeton
2001) in vol. 39 (2002) 6218.
G. Hedreen, Capturing Troy: The Narrative Function of Landscape in Archaic and Early
Classical Greek Art (Ann Arbor, 2001) in vol. 40 (2002) 73.
A. J. Clark, M. Elston, and M.L. Hart, Understanding Greek Vases: A Guide to Terms,
Styles, and Techniques (Los Angeles 2002) in vol. 40 (2003) 3185.
S. Woodford, Images of Myths in Classical Antiquity (Cambridge 2003) in vol. 41
(2003) 89.
J. Aruz with R. Wallenfels (edd.), Art of the First Cities: The Third Millennium B.C. from
the Mediterranean to the Indus (The Metropolitan Museum of Art, New York) (New
Haven 2003) in vol. 41 (2004) 2584.
G. Curtis, Disarmed: The Story of the Venus de Milo (New York 2003) in vol. 41 (2004)
5083.
Games for the Gods: The Greek Athlete and the Olympic Spirit, edd. J.J. Herrmann and C.
Kondoleon (Boston Museum of Fine Arts) in vol. 42 (2004) 646.
E.W. Leach, The Social Life of Painting in Ancient Rome and on the Bay of Naples
(Cambridge 2004) in vol. 42 (2004) 1215-16.
D. Mazzoleni, Domus: Wall Painting in the Roman House (Los Angeles 2004) in vol. 42
(2005) 1809.
S. Fine, Art and Judaism in the Greco-Roman World: Toward a New Jewish Archaeology
(Cambridge 2005) in vol. 43 (2006) 1586-87.
C.H. Hallett, The Roman Nude: Heroic Portrait Statuary 200 B.C. -- A.D. 300 (Oxford
2005) in vol. 44 (2006).
Constantine the Great: York’s Roman Emperor, edd. E. Hartley, J. Hawkes, M. Henig, and
F. Mee (York 2006) in vol. 44 (2006).
M.D. Stansbury-O’Donnell, Vase Painting, Gender, and Social Identity in Archaic Athens
(Cambridge 2006) in vol. 44 (2006).
PRINCIPAL INSTRUCTIONAL MATERIALS (Hard Copy and Online):
Greek Art and Archaeology: Course Manual (113 pages, 23 plates) and online version of
this Course Manual with digitized images
Roman Art and Archaeology: Course Manual (158 pages, 58 plates) and online version
of this Course Manual with digitized images
Digging into the Past: Material Culture and the Civilizations of the Ancient
Mediterranean: Course Manual (43 pages)
Proseminar Guide to General and Specific Works on Greek and Roman Art and
Archaeology and Related Disciplines (50 pages) and online version
Website for AHIS 425, “Introduction to Interdisciplinary Research and Methodology
in Classical Art and Archaeology and Related Disciplines” with links to other important
websites in the fields of Art, Archaeology, Classics, and Ancient History
Website for AHIS 201g: “Digging into the Past: Material Culture and the
Civilizations of the Ancient Mediterranean” (with digitized images)
PAPERS GIVEN AT INTERNATIONAL AND NATIONAL
CONFERENCES AND SYMPOSIA
On Judging the Merits of Augustus: Center for Hermeneutical Studies: Colloquy,
Berkeley (April, 1985)
Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,
National Gallery of Art (October, 1986)
Augustus: Monuments, Arts, and Religion: Brown University (March, 1987)
Aspects of Ancient Religion: University of California at Berkeley (April, 1987)
Marble and Ancient Greece and Rome: International conference sponsored by
NATO at Il Ciocco (Tuscany), Italy (May, 1988)
Polykleitos, the Doryphoros and Its Influence: University of Wisconsin, Madison
(October, 1989)
UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (December, 1992)
XIIIth International Bronze Congress: Harvard University (May 28 - June 1, 1996)
UCLA-USC Seminar in Roman Studies: Roman Representations: Subjectivity, Power
and Space: USC, Los Angeles (March, 1997)
International Symposium at Cuma (Naples): Flavian Poets, Artists, Architects and
Engineers in the Campi Flegrei (July, 1997)
International Symposium at the University of Vienna: Interdisziplinäres Kolloquium
Historische Architekturreliefs vom Alten Ägypten bis zum Mittelalter (July, 1997)
First International Conference on the Archaeology of Paros and the Cyclades: Paros,
Greece (October, 1997)
Getty Research Institute Colloquium: Work in Progress (November, 1997)
Annual Meetings of the Art Historians of Southern California at California State
University, Northridge, California (November, 1998)
XIV. Internationaler Kongress für Antike Bronzen: Werkstattkreise, Figuren und Geräte
(Sponsored by Das Römisch-Germanisches Museum der Stadt Köln und das
Archäologisches Institut der Universität zu Köln [September 1999]): Besides giving paper,
chaired the session “Bronzestatuen und -statuetten: Fundkomplexen, Fundgruppen,
Einzelstücke, und Typen”
First International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and chaired
session on “Ideology, Historiography, and the Imperial Family” (May, 2000)
International Symposium at Emory University, Atlanta: Tyranny and Transformation
(October, 2000)
Annual Meeting of the Art Historians of Southern California at the Getty Center,
Los Angeles, California (November, 2000)
Getty Research Institute Colloquium: Work in Progress (December, 2000)
Second International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “The Image of
the Princeps and the Ruler Cult” (May, 2001)
UCLA-USC Seminar in Roman Studies: UCLA, Los Angeles (April, 2002)
Third International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- chaired session on “Roman History
and Ideology” (May, 2002)
Symposium on the Age of Augustus at UCLA -- (Feb., 2003)
Fourth International Symposium on Roman Imperial Ideology: Politics, Art, and
Numismatics at the Villa Vergiliana, Cuma (Naples) -- keynote speaker and
chaired session (May, 2003)
International Archaeological Congress, Harvard University (Aug. 2003): Besides giving a
paper, chaired session on “Ancient Society”
VIIth International ASMOSIA Conference, Thasos, Greece (Sept. 2003)
International Conference in the Arts and the Humanities, Honolulu, Hawaii (Jan. 2004)
Symposium on Roman Sculpture, Minneapolis Museum of Art (organized by Richard
Brilliant) (April, 2004)
International Symposium on Interaction of Indigenous and Foreign Cults in Italy at Cuma
(Naples) (May, 2004): Besides giving a paper, chaired session
International Conference at University of Michigan: “‘Sculptural Environment’ of the
Roman Near East: Reflections on Culture, Ideology, and Power (November 2004)
International Conference at Stanford University: “Seeing the Past” (February 2005)
International Conference at the University of London: “Computer Technology and the Arts:
Theory and Practice” (November 2005)
International Conference at the University of Chicago: “Performing Death: Social Analyses
of Funerary Ritual in the Mediterranean” (February 2006)
VIIIth International ASMOSIA Conference, Aix-en-Provence, France (June 2006)
Symposium “Art of Warfare”: Michael C. Carlos Museum, Emory University (January
2007)
PAPERS PRESENTED AT ANNUAL CONVENTIONS OF THE
ARCHAEOLOGICAL INSTITUTE OF ARCHAEOLOGY AND THE
COLLEGE ART ASSOCIATION
Boston (AIA, December, 1979)
New Orleans (AIA, December, 1980)
San Francisco (AIA, December, 1981)
Philadelphia (AIA, December, 1982)
Cincinnati (AIA, December, 1983)
Toronto (AIA, December, 1984)
Washington, D.C. (AIA, December, 1985) -- invited paper, “The Promulgation of the
Image of the Leader in Roman Art,” in a special AIA plenary session on Politics and
Art
San Antonio (AIA, December, 1986) -- invited paper, “Time, Narrativity, and Dynastic
Constructs in Augustan Art and Thought,” at a joint AIA-APA session on topics
illustrating connections between Roman art and philology
Houston (CAA, February, 1988) -- invited paper, “The Gemma Augustea and the
Construction of a Dynastic Narrative,” for a CAA session on Narrative and Event in
Greek and Roman Art
Atlanta (AIA, December, 1994) -- discussant for a joint AIA-APA session on “Rethinking
Nero’s Legacy: New Perspectives on Neronian Art, Literature, and History”
New York (AIA, December, 1996) -- special poster session: “The Marble Type of the
Statue of Augustus from Prima Porta: New Scientific Tests” (prepared in collaboration
with Norman Herz, Director of Programs, Center for Archaeological Sciences, University
of Georgia)
Chicago (AIA, December, 1997)
Washington, D.C. (AIA, December, 1998) -- invited paper, “A Portrait of a Sex-Slave
‘Stud’ (?) in the Metropolitan Museum of Art in New York,” for a special colloquium in
honor of Anna Marguerite McCann on the receipt of the “Gold Medal” of the
Archaeological Institute of America
San Francisco (AIA, January, 2004) -- joint paper with N.Cipolla and L. Swartz Dodd
OTHER ACADEMIC AND PUBLIC LECTURES/TALKS
American Academy, Rome, Italy (March, 1976)
Cleveland Society AIA, Cleveland, Ohio (April, 1979)
Johns Hopkins University, Baltimore, Md. (September, 1980)
Institute of Fine Arts, New York, N.Y. (October, 1980)
Metropolitan Museum of Art, New York, N.Y. (January, 1983)
New York Society AIA, New York, N.Y. (January, 1983)
Baltimore Society AIA, Baltimore, Md. (February, 1983)
University of Toronto, Toronto, Canada (March, 1987)
University of Southern California, Los Angeles, Ca. (March, 1987)
Columbia University, New York, N.Y. (April, 1987)
Classical Archaeological Society of Southern California, UCLA, Ca. (November 1989)
Tulane University, New Orleans, La. (February, 1990)
Classical Archaeological Society of Southern California, USC, Ca. (February 1990)
Los Angeles Society AIA, Los Angeles, Ca. (March, 1990)
Fisher Gallery and School of Fine Arts, University of Southern California, Los Angeles,
Ca. (March, 1990)
Institute of Fine Arts, New York, N.Y. (April, 1990)
American Academy, Rome, Italy (May, 1990)
University of Vienna and Kunsthistorisches Museum, Vienna, Austria (June, 1990)
San Diego Society AIA, San Diego, Ca. (September, 1990)
Classical Archaeological Society of Southern California, Getty Museum, Malibu, Ca.
(November, 1990).
University of Pennsylvania, Philadelphia, Pa. (December, 1990)
Classical Archaeological Society of Southern California, Gamble House, Pasadena, Ca.
(March 1991)
Henry T. Rowell Lecturer: Baltimore Society AIA, Baltimore, Md. (November, 1991)
Villanova University, Villanova, Pa. (November, 1991)
Royal-Athena Galleries, Los Angeles, Ca. (October, 1992)
Center for Advanced Study in the Visual Arts (CASVA), National Gallery of Art,
Washington D.C. (November, 1992)
University of North Carolina, Chapel Hill, N.C. (November, 1992)
Duke University, Durham, N.C. (November, 1992)
University of California, Los Angeles: UCLA/USC Seminar in Roman Studies, Los
Angeles, Ca. (December, 1992)
University of Southern California, Los Angeles, Ca. (January, 1993)
J. Paul Getty Museum and Center for the History of Art and the Humanities, Malibu,
Ca. (February, 1993)
Classical Archaeological Society of Southern California, UCLA, Ca. (March 1993)
California State University, Long Beach, Ca. (March, 1993)
Stanford University, Palo Alto, Ca. (April, 1993)
University of California, Berkeley, Ca. (April, 1993)
California State University, Northridge, Ca. (April, 1993)
University of Arizona, Tucson, Az. (April, 1993)
American Academy, Rome, Italy (June, 1994)
Getty Center for the History of Art and the Humanities (Director’s Series) (Dec., 1994)
University of California, Irvine (May, 1997)
American Academy, Rome, Italy (July, 1997)
American School of Classical Studies, Athens (October, 1997)
Los Angeles County Museum of Art, Los Angeles (March, 1998)
British School at Rome (June, 1998)
University of California, Berkeley (November, 1998)
Classical Archaeological Society of Southern California, University of California,
Santa Barbara (March, 1999)
Work in Progress: Getty Research Institute, Brentwood, California (December, 2000)
Classical Archaeological Society of Southern California, Getty Research Institute,
Brentwood, Ca. (April, 2001)
American Academy, Rome, Italy (May, 2001)
Loyola Marymount, Los Angeles (March, 2002)
Southern California Institute of Architecture (February, 2003)
Columbia University, New York (April, 2003)
University of Amsterdam, the Netherlands (May, 2003)
University of Nijmegen, the Netherlands (May, 2003)
American School of Classical Studies, Athens (September, 2003)
University of Oklahoma, Norman (March, 2005)
Cambridge University, Cambridge, England (November, 2005)
American School of Classical Studies at Athens, Greece (March, 2007)
University of Athens, Greece (May, 2007)
Los Angeles Society of the AIA, Los Angeles (December, 2007)
College of William and Mary (January, 2008)
Duke University, Durham (February, 2008)
Dickinson College, Carlisle, PA (March, 2008)
University of Nebraska, Lincoln (April, 2008)
AMERICAN SCHOOL OF CLASSICAL STUDIES AT ATHENS as Whitehead Professor of Archaeology (2006-2007)
Participated in all Fall trips of the School to various parts of Greece, giving
presentations on each of the trips.
Participated in the School’s Spring trip to Central Anatolia, giving several presentations.
Offered a seminar in the Winter Quarter: “Christian Destruction and Desecration of
Images and Shrines of Classical Antiquity.”
MISCELLANEOUS TALKS AND PRESENTATIONS
Lectures and talks on site regarding the architecture and topography of Rome, Ostia,
and Hadrian’s Villa for members of the Technische Universität für Architektur und
Denkmalpflege, Vienna, Austria; the Summer School of the American Academy in
Rome; St. Olaf College’s Junior Year Abroad Program; and M.A. students of
architecture in a joint summer program of the University of Southern California and the
University of Illinois; and the Intercollegiate Center for Classical Studies in Rome.
Talks on various aspects of Classical art and archaeology at meetings of the
Archaeological Society of the Mid-Atlantic States (1980-1987)
Gallery talks on the ancient collections of the Archaeological Museum of the Johns
Hopkins University (in capacity as curator) and of the Walters Art Gallery (1979-1987)
Gallery talks on the ancient collections of the J. Paul Getty Museum and the Los Angeles
County Museum of Art (1987-present)
Talk for USC graduate students in the Dept. of Classics at the Ara Pacis and Mausoleum of
Augustus in Rome (May 26, 2006), organized by Prof. Claudia Moatti, Dept. of Classics
SPECIAL TALKS AND LECTURES AT USC
Seminar for Professor Claudia Moatti, Department of Classics: “Problems in Ancient Art”
(March, 2005)
Seminar for Dr. Daniela Bleichmar, Department of Art History: Rediscovering the
Classical Past: The Relationship of Art History, Archaeology, and Visual Culture (March,
2005)
University of Southern California’s 125th Celebration: For Symposium on “Trojan
Legends” presented paper: “USC's Trojan Column: An Ancient and Modern Myth”
(October, 2005)
MEDIA INTERVIEWS AND CONSULTATION
New York Times, International Herald Tribune, Los Angeles Times, The New Yorker, The
History Channel, Arts and Entertainment Channel, KPCC Radio Los Angeles, NBC, Fox
Featured piece on my innovative work on the marble type of the statue of Augustus from
Prima Porta: A. Elders, “Tracing the Stones of Classical Brilliance,” in Hermes -- Greece
Today 35 (1999) 20-24.
ORGANIZER AND LEADER OF TOURS OF MUSEUMS AND SITES
Turkey (for Board of Councilors and donors of the School of Fine Arts, USC, 1995; for
university students and the general public, 1998)
Greece (Attica and the Peloponnese) (for university students and the general public, 1999)
Central Italy (for university students and the general public, 2000, 2002, 2003)
PARTICIPATION IN OTHER COLLOQUIA AND SYMPOSIA
Roman Sculpture and Architecture: German Archaeological Institute, Rome
(January, 1978)
Roman Architecture: Center for Advanced Study in the Visual Arts, National Gallery
of Art (January, 1981)
The Age of Augustus. The Rise of Imperial Ideology: Brown University (April, 1982)
Pictorial Narratives in Antiquity and the Middle Ages: The Johns Hopkins University and
the Center for Advanced Study in the Visual Arts, National Gallery of Art (March, 1984)
Villa Gardens of the Roman Empire: Dumbarton Oaks (May, 1984)
Retaining the Original -- Multiple Originals, Copies, and Reproductions: Center for
Advanced Study in the Visual Arts, National Gallery of Art (March, 1985)
Investigating Hellenistic Sculpture: Center for Advanced Study in the Visual Arts,
National Gallery of Art (October, 1986)
Marble -- Art Historical and Sculptural Perspectives on Ancient Sculpture: J. Paul Getty
Museum (April, 1988)
International Conference on Roman Archaeology and Latin Epigraphy: University of
Rome and the French School of Rome (May, 1988)
Roman Portraits in Context: Emory University (January, 1989)
Small Bronze Sculpture from the Ancient World: J. Paul Getty Museum (March, 1989)
Alexandria and Alexandrianism: J. Paul Getty Museum (April, 1993)
International Symposium: “Rome Reborn” Visual Reality Program at UCLA (December,
1996)
History of Restoration of Ancient Stone Sculptures, J. Paul Getty Museum (October, 2001)
Re-Restoring Ancient Stone Sculpture, J. Paul Getty Museum (March, 2003)
Marble Conference on Thasos, Liman, Thasos (Sept. 2003)
OTHER PROFESSIONAL ACTIVITIES
Editorial Assistant (1968-1969) and Associate Editor (1969-1970), AGON: Journal of
Classical Studies
Editorial Board, American Journal of Philology (January, 1982-January, 1987)
Delegate from Baltimore Society AIA to National Convention (1984-1986)
Vice-President, Baltimore Society of the AIA (1985-1987)
Co-Director, Exhibition on Roman Portraiture, Fisher Gallery (1989)
Co-Founder (with Dr. Diana Buitron) of the Classical Archaeological Society of the Mid-
Atlantic States (1978-87)
Founder and President of the Classical Archaeological Society of Southern California
(1987-present)
Member of the Ancient Art Council of the Los Angeles County Museum of Art (1987-
present)
Oversaw the publication and helped edit the newsletter “ARTFACTS” of the
School of Fine Arts (1993-1996) during my tenure as Dean of the School of Fine Arts
USC Representative to Advisory Council of the American Academy in Rome
(1993-present)
Comitato di Collaborazione Culturale to the Consul General of Italy at Los Angeles
(1995-1998)
Advisory Committee for the Virtual Reality Project for Ancient Rome (“Rome Reborn”)
(1996-1998)
Delegate from Los Angeles Society AIA to National Convention (Chicago, Dec., 1997)
Reviewer for the Getty Grant Program (1999)
Reviewer for the MacArthur Foundation Grant (2000, 2003)
Planning Committee for a Four-Year International Conference on “Roman Imperial
Ideology” at the Villa Vergiliana at Cuma (Naples), organized by J. Rufus Fears (2000-
2003)
Consultant for the Forum of Augustus Project: Sovrintendenza Archeologica Comunale,
Direzione al Foro di Augusto (2004-present)
Editor of the newsletter “Musings” for the Department of Art History, USC (2005)
Planning Committee for the Internation Bronze Congress in Athens, Greece (2006-2007)
Chaired two sessions -- “Roman Sculpture” and “Augustan Art” -- at the Annual Meeting
of the Archaeological Institute of America (San Diego 2007)
UNIVERSITY COMMITTEES AND OTHER SERVICE
Faculty Senate (1988-1991)
Advisory Committee to the Dean of the School of Fine Arts (1990-1991, 1992-1993)
Chairman, Personnel Committee of the School of Fine Arts (1988-1990)
Library Liaison Officer for Art and Architecture Library (1987-present)
Search Committee for Reference Librarian of the Art and Architecture Library
(1989-1990 and 2000)
University Library Committee (1989-1990, 1998-2001)
Recruitment Committee for the School of Fine Arts (1989-1995)
Space Allocation Committee, School of Fine Arts (1989-1990)
University Research Committee (1990-1991)
Promotion Committee, School of Fine Arts (1990-1995)
University Ad Hoc Committee on Revenue Center Management (1990-1995)
Committee for University Development, School of Fine Arts (1993-1995)
Development Task Force, the School of Fine Arts (1993-1995)
Consultative Committee to the Provost (Spring 1993-1995)
University Galleries Advisory Committee (1993-1995)
University Committee on Transnational and Multicultural Affairs (1993-1995)
Provost’s Council at USC (formerly Council of Deans) (1993-1995)
USC Representative to the Advisory Council of the American Academy in Rome
(1993-present)
Founder and Member of the Board of Councilors for the School of Fine Arts (1994-1995)
Consortium Council of Deans for Development at USC (1995)
Tenure and Promotion Committee, Department of Art History (1995-to present)
Recruitment Committee for Department of Art History in the College of
Letters, Arts, and Sciences (1996-2005)
Program Proposer for the Establishment of an Interdepartmental and Interdisciplinary
Ancient Mediterranean Studies Program (1997-1999)
Chinese Search Committee, Department of Art History (1998-1999)
Japanese Search Committee, Department of Art History (1998-1999)
Professor-In-Charge, USC-Getty Lecture Series, Seminar, and Faculty Dinner (honoring
Salvatore Settis) (1998-1999)
Curriculum Committee (Co-Chair) (1998-1999)
Chair, Committee for Selection of Departmental Chair (1999-2000)
Chair, Merit Review Committee (1999-2000)
Committee for the Establishment of an Undergraduate Major in Archaeology
(2002-present)
Greek Art Search Committee, Department of Art History and Classics (2001-2004)
Faculty Search Committee, Department of Art History: Senior Hiring Initiative (2003-
present)
Junior Faculty Review Committee, Department of Art History (2003)
USC’s Arts and Humanities Committee (2003-2004)
Chair of Oversight Committee for the Interdisciplinary Archaeology Major (Spring 2006)
MEMBERSHIPS IN NATIONAL AND INTERNATIONAL PROFESSIONAL ORGANIZATIONS
NATIONAL:
Archaeological Institute of America
College Art Association
American Philological Association
Association of Ancient Historians
Vergilian Society
INTERNATIONAL:
Deutsches Archäologisches Institut
Associazione Internazionale di Archeologia Classica
Association for the Study of Marble and Other Stones in Antiquity (AMOSIA)
Society for the Promotion of Roman Studies
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
portraitsofcaligula.com/
Both are non-profit sites and for educational use only.
I was eager to get back into the swing of things after a two week holiday from the city. My break from the street allowed me to reflect on my methodology for this project. I decided to hang out at specific spots for longer periods of time, partially to allow me to observe the goings on and to look for interactions, but also to be better prepared for the folks walking by. Today was my first attempt with this new strategy. Finding a position on a bright street corner, I settled in to watch. A well-dressed woman walked by, but I failed to act quickly enough before she was gone. I barely had time to regret my inaction, however, when I noticed a well dressed man pause nearby.
This is Nick. I complimented him on his great sense of style, then asked if he would mind if I made a portrait of him. Nick and I had an interesting conversation during our brief meeting and photoshoot, discussing fashion and my project. I find that I often get quizzed about the nature of and reasons for the project and when they learn about my intent, people are usually quite supportive of the idea, and Nick was no different. We had a few moments to chat before he had to go and meet his buddy. I’m obviously not the only one to notice Nick’s good style: the friend he was meeting is getting married soon and wants Nick’s help picking out some “nice” clothes.
{EDIT I removed the cinema tone to this image}
*** Constructive Critiques Welcome***
_______________ _ _ _ _
Find out more about the project and see
pictures taken by other photographers
at the 100 Strangers Flickr Group page.
_______________ _ _ _ _
CIFOR scientists Manuel Guariguata (right) and team in a Brazil nut concession, Madre de Dios, Peru.
The scientists are working on a study examining the impact of selective logging on Brazil nut production - for the full story see: Harvesting brazil nuts in Peru www.blog.cifor.org/16623/harvesting-both-timber-and-brazi...
Photo by Marco Simola/CIFOR
For more information on CIFOR's research on Brazil nuts in Peru, please contact Manuel Guariguata (mailto:m.guariguata@cgiar.org)
If you use one of our photos, please credit it accordingly and let us know. You can reach us through our Flickr account or at: cifor-mediainfo@cgiar.org and m.edliadi@cgiar.org
1 декабря 2021, Совещание Научно-методического совета по культурному наследию Министерства культуры РФ / 1 December 2021, Meeting of the Scientific and Methodological Council for Cultural Heritage of the Ministry of Culture of the Russian Federation
People always know how lush the west lake looks like in summer and seldom know the winter scene. A traditional Chinese boat looming on the lake under the fog weather. Withered lotus …Photographed @ The West Lake, Hangzhou China by Xifang Zhang, a postgrad from the department of Methodology.
SYMBOLIC MEANINGS OF CLASSICAL CHINESE GARDEN DESIGN ELEMENTS Prof. Suining Ding, Indiana University-Purdue University, Fort Wayne Suining Ding is an Associate Professor at Indiana University-Purdue University, FortWayne. Her research
interests include Digital 3D modeling, cross-cultural comparison of architecture, design methodology and design process, cognitive perceptions of interior space, and relationships of human behavior and environment. American Society for Engineering Education, 2012
Culture Reflections Embodied in Modern Architecture: An Analysis Symbolic Meanings of Classical Chinese Garden Design Elements and Principles When people walk into a space or built environment, people should feel the design intention made manifest through visual cues. Amos Rapoport stated that the built environment holds meaning as part of a cultural system of symbols, and influences our actions and our determinations of social order . It also has been a consensus that designers must understand the effect of the physical manifestation of design on people in the body of knowledge of the interior design profession . Therefore, understanding the symbolic meanings conveyed by design elements become crucial for designers. This paper presents a case study of analysis of classical Chinese garden design elements including water, plants, architecture, rocks and tracery windows (borrowed views) in modern architecture designed by I.M. Pei. This case study has been used in teaching cross-cultural comparison of architecture course. The purpose of this case study is to reveal symbolic meanings that interpreted by classical Chinese garden design elements in modern architecture. Findings illustrate distinct design strategies of utilizing Chinese garden design philosophy and principles in modern architecture that embodies culture reflections. Findings also help students to further understand that the built environment conveys meaning as part of cultural system, which is one of the learning objectives of cross-cultural comparison of architecture course. Culture and Design: Cross-cultural Comparison of architecture is a course designed to expose students to culture varieties that reflected on architecture. In this course, the meaning and symbolism of the art of Chinese architecture and Chinese garden is examined, focusing on the cultural, philosophical, and religious influences. Both architecture and garden in eastern country
and western country are introduced and compared with given rubrics. One of the segments in this course is to introduce the concept of cultural reflections in modern built environment. The artistic characteristics of classical Chinese garden design include the harmonious relationship between the parts and the whole. This humanistic philosophy and approach of classical Chinese garden design can be an inspiration to modern architecture practice and a resource for the creation of a new architecture. In this course, the Chinese garden design principles are identified and the building adaptations to the modern world are explored.
This course has been taught during the past five years. With the continuing course
improvement, a new case study has been added to the course content in order to better introduce the concept of cultural reflections in modern architecture. Particularly, the case study not only reveals the meaning of Chinese garden design elements in modern architecture, but also it provides distinct design guidelines for future architectural design. This paper describes this new case study that has been added to the Culture and Design course. Review of Literature. There are five design elements in classical Chinese garden design. They are water, plants, architecture, rocks and tracery windows (borrowed views). An overview of images of design elements of classical Chinese garden can be found in Figure . All Chinese gardens contain architecture. In addition, gardens are enclosed by pavilions, verandahs, halls and walls. The spaces in the garden are formed by architecture. The main difference between Western and Eastern gardens and their basic elements lies in the use of architecture and not in vegetation . Another element in a Chinese garden is stone. A stone may serve as a central theme of a courtyard, where it is placed on a pedestal, in a pond, or cemented together to form caves or peaks. One kind of stone is made from lake rock, quarried from a small island in Taihu Lake near Suzhou. Water serves as another natural element in Chinese garden design in addition to landscaping. In the private garden, a large body of water is not possible but a pond is a must. A bridge usually is built across narrow channels, or causeways are used as stepping stones to connect several smaller ponds in order to enhance the depth of the garden . Reflections made from a pool can enlarge the dimension of a garden visually. Scenery and track is another characteristic of classical Chinese garden. Gardens are different in shape and size. The large garden is naturally divided into more courtyards, and each courtyard has its particular theme in order to create a particular feeling of place. Because of the courtyards are interconnected, they create a series of spaces that have special meanings. As one enters the small entry leading to a garden and walks into a particular space, although it is usually small in scale and wrapped around with winding verandahs, the feeling gained is always the same as repose, harmony, serenity and elegance. Pei employs a lot of traditional Chinese symbolism in his Suzhou Art Museum. The SuZhou Art Museum floor plan is shown in Figure 2 in Appendix. He built it on a symmetrical north-south axis, which is one of the design principles of Chinese architecture. It allows the building to take advantage of the sun’s warmth and reflections . The structure is built to surprise the visitor when walking down the winding interior corridors offering tracery windows with a view of the central courtyards and gardens. Traditional garden; elements are prominent. There is the main garden, with eight small gardens. Every angle has a garden view. From the outside, the buildings reflect the traditional Suzhou private garden style; it is in harmony with its surrounding atmosphere. The five garden design elements are used in the design of the garden, such as local Taihu stones and rocks, water, bamboo, and a walking bridge that zigzags across the pond. Stone is the skeletal structure and is used in SuZhou Art Museum as sculpture. Water is qi energy and is balanced with the rigidity of stone. The bamboo represents uprightness, and the flowers add colors and present the four seasons. In the main garden, there is special Chinese stonework “ink-wash painting” Pei uses the white wall as paper; stone as paint, creating a unique visual effect with granite replicate a miniature mountain of abstract sculpture. Purpose and Method The purpose of this case study is to analyze and interpret the classical Chinese garden design elements including stone, water, architecture, plants, literature and arts as well as borrowed view(tracery window), as a form of symbolic culture reflection in modern architecture. This analysis is based on the methods of historical inquiry and literature review. Findings illustrate distinct approaches in reflecting culture heritage in modern built environment through symbolic forms. This study proposes four major design strategies to interpret the symbolic meaning of culture heritage: nature, poetic and painterly concept, scenery and track, as well as mystery and wonder. Nature elements in design refer to landscaping, water, courtyard and stone. All these design elements are integral part of classical Chinese garden that create poetic and painterly feelings, creating a place of natural beauty with a serene and elegant atmosphere. . Through the use of this concept, a unique garden architecture was created. Poetry, prose, painting and music in China are interrelated and were used to express inner feeling through symbolism. Garden design, nevertheless, was different from poetry or prose. The media are not brush or paper, but rather a process, where there is never a final stroke of the pen or a last word, and which is in a continual state of change. It is the placement of the elements which make a garden, such as water, rocks, trees and flowers, architecture and space as well as the utilization of the effects of natural phenomena including the change of seasons, light, color, shadow and sound to achieve aesthetic feelings and evoke associations between objects and the observer . Architecture in a garden serves to “frame” or emphasize a good view. All these elements in the garden are connected by covered verandahs, which create mystery and wonder in the garden. The verandahs on both sides of the wall become what is called double verandah and the wall between them can be pierced with tracery windows to unite the two spaces visually . Sometimes a verandah is built over water on stilts, looking very much like a covered bridge. More mystery and wonder would be presented to observers when verandahs are in zigzag form, following the shape and slope of the site. Sometimes it will bend on the way up a hill, reach an edge of a pool, pass through flowerbeds and cross valleys, twisting and seemingly there is no end. Although the verandah was built for circulation, it is not intended to reach its destination in a hurry. One could stop and wonder, read at the table and watch scenery and turn to wonder another mystery and pose again. The main purpose was to stroll leisurely and wonder around for more attractions. Sometimes it appears that the walker reaches the end of a path, but with a sudden turn there is another path or another open space. There is always something unexpected to see which surprise the visitor. In Pei’ SuZhou Art Museum, the geometry thinking in the design made visitors feel to be in a world of pure lines and triangles, squares, and symmetry. Pei, the modernist seamlessly blends the modern and the culture in his SuZhou Art Museum. The geometry and spatial quality of his work satisfy the modern architecture by revealing culture meaning in modern built environment. Pei expressed his philosophy of using Chinese garden design elements in modern architectural design in Harvard Asia Pacific Review: “Chinese gardens are very unusual in the sense that you can create a microcosm of the world in such tiny space. And that has always been in my mind, so that I am never discouraged when I don’t have as much room to work with. I can always say, look at the SuZhou gardens and what wonders you can create with them. It is a sense of scale…” . It is obvious that Chinese garden design principles have inspired Pei’s modern architectural design. Chinese garden design elements have been the major components in his work in modern built environment.
The four design strategies set forth in this case study assist in understanding the symbolic
meaning of Chinese Garden design elements in modern built environment - SuZhou Art Museum designed by I.M.Pei. These four design strategies aid the students to understand the symbolic meaning interpret in the modern architecture through symbolic forms. The first strategy is to use natural elements, such as rocks, bamboo, water and landscaping. Bamboo presents uprightness. The flowers add color and present the four seasons. The second strategy is to present poetic and painterly concept in design. Poetry and painting express inner feeling through symbolism that is a process to achieve aesthetic feelings and evoke associations between objects and the observer. When poetic and painterly concept is integrated in a designed space, the aesthetic feelings and appreciations are achieved for observers. In SuZhou Art Museum, Pei used stone to form a scene as ink-wash painting according to painting in Song Dynasty. The third strategy is to create scenery and track. Architecture, pavilions, verandahs, halls and walls, tracery windows are design elements that can be used to create scenery and track in a space. In SuZhou Art Museum, Pei made west wing longer (seems more interesting), and had a water fall at the end of the hall way, so the sounds of water can be very attractive to visitors. So it leads people turn left and see west wing first . There are also many tracery windows along the hallways.The fourth strategy is to create mystery and wonder in a space. These can be achieved by using verandahs in zigzag form, following the shape or slop of the site and tracery windows on verandah walls. In SuZhou Art museum, zigzag walking bridge was designed across the pond. The analysis of these design strategies in Table -1 also assist and inform an examination of how future modern design could utilize classical Chinese garden design principles and philosophy. This approach may help designers to create a contemporary space with cultural reflections. In Harvard Asia Pacific Review, Pei indicated: “I remember the twists and turns of Chinese garden that you never see the end as you do at Versailles. In a Chinese garden, you make turn, and then you pause, you see something, and you turn again, and you see something different. This concept lingers with me, and I continue to draw from it.” It is a very comprehensive conclusion that drawing ideas and inspirations from Chinese garden design will be an enduring process in order to create modern architecture that embodies culture reflections. Design Elements in Classical Chinese Garden Symbolic Meaning
Interpreted in SuZhou Art Museum natural landscaping, water, courtyard, Taihu stones and rocks, walking bridge one main garden and eight small gardens - Taihu stones and rocks, water, bamboo presents uprightness, the flowers to add color and to present the four seasons poetic and painterly concept poetry and painting to express inner feeling through symbolism, a process to achieve aesthetic feelings and evoke associations between
objects and the observer Chinese stonework "ink-wash painting". Pei used stone to form a scene according to painting in Song Dynasty scenery and track buildings, pavilions, verandahs, hall and walls, tracery windows made west wing longer (seems more interesting), and had a water fall at the end of the hall way, so the sounds of water can be very attractive to visitors. So it leads people turn left and see west wing first. Many tracery windows mystery and wonder verandahs in zigzag form, following the shape or slop of the site, tracery windows on verandah walls zigzag walking bridge across the pond
References
Liu, L. (1989). Chinese Architecture. Academy Editions, London
Martin, C. & Guerin, D. (2005). The Interior Design Profession’s Body of Knowledge. Interior Design Educators Council. Retrieved September 20, 2011, from www.careersininteriordesign.com/idbok.pdf Pei. I.M. (Summer, 1997) Finding Roots. Harvard Asia Pacific Review. Retrieved on March 12, 2012 from www.hcs.harvard.edu/~hapr/summer97_culture/roots.html
[4] Rapoport, Amos, (1990). The Meaning of the Built Environment: A Nonverbal Communication Approach. University of Arizona Press. Appendix Chinese Garden Design Elements Verandahs with tracery windows and Zigzag bridges over the pond lead to more mystery and wonder Water, Plants, Stones and Rocks Tracery Windows (Borrowed Views)
Figure 1: Classical Chinese Garden Design Elements SuZhou Art Museum – Designed by I.M.Pei Figure 2: SuZhou Art Museum Floor PlanSuZhou Art Museum – Designed by I.M.Pei,The west wing was designed longer (seems more interesting), and had a water fall at the end of the hall way, so the sounds of water can be very attractive to visitors. So it leads people turn left and see west wing first. There are many tracery windows in the hallway. A symmetrical north-south axis is designed to locate the building, which is one of the design principles of Chinese architecture. It allows the building to take advantage of the sun warmth and reflection. The colors of the building are gray, black and white, which are typical colors in classical private garden in SuZhou. Special Chinese stonework “ink-wash painting” - Pei uses the white wall as paper; stone as paint, creating a unique visual effect with granite replicate a miniature mountain of abstract sculpture.
A BRIEF HISTORY AND ANALYSIS OF PAKISTAN’S TB CONTROL MECHANISMS
By
Dr Ghulam Nabi Kazi
As the world braces itself for the fallout of a serious pandemic of COVID-19, we must nevertheless not lose sight of another serious killer –Tuberculosis - that devours 4,500 people daily from around the world, nor the suffering TB patients who are at a much greater risk of contracting COVID-19.
Pakistan was initially slow in responding to the World Health Organization declaration of Tuberculosis as a global emergency in 1993. The Government of Sindh was the first to draw up a concrete 3-year plan from 2000-2003 based on the TB-Directly Observed Treatment Short Course (DOTS) methodology. The Federal Government and other provinces followed suit in 2001 and on World TB Day on March 24, 2001 the Ministry of Health led by Minister H. E. Dr Abdul Malik Kasi and Secretary H. E. Mr. Ejaz Rahim declared TB as a national emergency and issued the Islamabad Declaration, in the context of Pakistan.
The Islamabad Declaration was initially met with a great response from governmental agencies and the health development partners including robust technical support from the Word Health Organization, social mobilization from the Stop TB Partnership and financing support from the United States Agency for International Development (USAID), British Department for International Development (DFID), Family Health International (FHI), German Leprosy and Relief Association (GLRA), German Development Bank (KfW), German Technical Cooperation (GTZ), Japan Anti-Tuberculosis Association/Research Institute for Tuberculosis (JATA/RIT), Japanese International Cooperation Agency (JICA), Royal Netherlands Association for the Prevention of Tuberculosis (KNCV Tuberculosis Foundation) and the International Union Against Tuberculosis and Lung Disease (The Union). These agencies also took part in WHO-led reviews and their joint recommendations guided the follow-up action at the relevant operational level. The core elements of the National and Provincial Tuberculosis Control Programs were financed by the government. Subsequently, the major donors routed all their grants for Tuberculosis through the Global Fund to Fight AIDS, Tuberculosis and Malaria (GFATM).
By 2005, the diagnostic and treatment facilities were established in all eligible public sector health facilities and were offered free of cost along with a significant amount of social mobilization. In April 2004, the WHO Inter-Country meeting of National Tuberculosis Control Program Managers was held in Lahore, indicating that Pakistan had come a long way. That was the finest hour of TB Control in Pakistan. Things had fallen into place, the facilities were strengthened, enhanced and expanded through public-private mix along with a remarkable show of commitment, dedication and a camaraderie of all stakeholders working towards a common cause just like family members.
Thereafter the program developed with greater facilities including the rampant use of GeneXpert – a molecular test for TB reducing the reliance on sputum smear microscopy by a great deal. Mobile Cad4TB Vans equipped with software that can automatically analyze chest radiographs for signs of tuberculosis. The latest technology provided by the Stop TB Partnership is in the Fuji-Xair technology, a hand held device armed with artificial intelligence, will be used for active case finding in coal miners and their associated communities in several parts of Pakistan.
The National Tuberculosis Program of Pakistan being nearly 19-20 years old is quite mature now and remains one of the country’s best performing programs. It would, however, be wrong to assume that everything is hunky-dory.
Let us try and analyze the results:
1.First and foremost, out of the estimated 560,000 cases in Pakistan around 200,000 cases are missed annually and are not being notified in the national or provincial programs. What is happening to these ‘missing’ patients is purely a matter of conjecture. It is possible those cases may be visiting private practitioners and hopefully getting cured but there is also the possibility that they are not getting any treatment at all or approaching quacks, faith healers or erroneously prescribing doctors making them TB carriers for life and spreading the disease to their contacts.
2.The last National TB prevalence survey – a colossal undertaking – left us with an incidence of 265 per 100,000 population. While there is a clamour from the provinces for a fresh prevalence survey, it appears to be an exercise in futility, while incurring a lot of expenditure as no change may have occurred in the intervening period since the last survey.
3.The overwhelming fact is that with a case notification rate of 65-70%, Pakistan has failed to make a dent in the incidence or prevalence and with the same level of effort, no significant change is likely. Thus while we may consider this effort as ‘controlling’ TB, any talk of elimination is a far cry at the moment and will require increasing the pace of effort manifold if the international commitments are to be honored.
4.By paying for only 3% of the estimated costs of the National Strategic Plan and with 31% of the costs being borne by international donors (read the Global Fund), Pakistan has not only 66% of its NSP go unfunded but has also allowed the program to be controlled from abroad. The current situation is highly untenable because if Pakistan doesn’t assume control and authority over its TB control mechanism and delays funding some of its important elements, it can never to hope to achieve the targets either of the health system as a whole or its programmatic targets.
5.Our case detection data clearly depicts that while the program funding was largely indigenous, the case notification was improving at a great pace, however, as soon as the bulk of the funding came from the Global Fund, the growth has plateaued off and come to a halt or even reduced somewhat keeping in view the population growth rate despite massive investment. Although in the first case it can be argued that the program was expanding to all districts of the country and therefore the case detection was simultaneously growing as well, that argument doesn’t hold for the period from 2010 onwards when the whole of the country had TB diagnostic and treatment coverage including some opportunities for public-private mix.
6.The good news is that Universal Health Coverage (UHC) index of essential coverage including TB care has grown from 50% in 2000 to over 75% in 2017, lowering the proportion of the population that is yet uncovered, while social protection is also growing. However, the TB treatment coverage was estimated at 64% in 2018.
At the operational level, the program is not a major priority within the district health system. The district being the hub of all programmatic activity, it has to have a multi-sectoral accountability framework headed by the Deputy Commissioner to bring about the necessary coordination among the social sectors and economic line departments. However, the role of the communities in creating awareness and urging people with cough and other TB related symptoms to seek help is sub-optimal if not totally lacking at present. This warrants the need to enhance community participation at all levels for the smooth functioning of the program.
The World Health Organization has remained a trusted partner of the National and Provincial TB Control Programs ever since the year 2000 and they usually provide the much needed technical support from all tiers of the organization, namely headquarters, the Regional Office for the Eastern Mediterranean and the Country Office for Pakistan that is functional since 1960. The current Special Assistant to the Prime Minister for Health Dr Zafar Mirza has remained a senior WHO staff member and has reiterated his commitment on several occasions to rid Pakistan of Tuberculosis as soon as practicable.
Here there is a need to make a mention of The Stop TB Partnership is a unique international body headed by its dynamic Executive Director Dr Lucica Ditiu has been aiming for a TB-free world. Founded in 2001, the Partnership has harnessed over 1700 partners in transforming the fight against TB in over 100 countries. A cornerstone of the Partnership's mission is to ensure that every TB patient has access to effective diagnosis, treatment and cure. This necessarily entails reducing the inequitable social and economic toll of TB, by placing the emphasis on the marginalized, deprived and hard-to-reach populations in all countries of the world. In addition to Pakistan, the Partnership has been working in high burden TB countries such as Angola, Bangladesh, Brazil, China, Democratic Peoples’ Republic of Korea, Democratic Republic of Congo, Ethiopia, India, Indonesia, Kenya, Mozambique, Myanmar, Nigeria, Philippines, Russian Federation, South Africa, Thailand, Tanzania, Viet Nam, Cambodia, Central African Republic, Congo, Lesotho, Liberia, Namibia, Papua New Guinea, Sierra Leone, Zambia and Zimbabwe. Through its TB-REACH initiative several projects have been launched all over Pakistan with a view to provide TB care services to marginalized populations at their doorsteps through active case finding. The Dopasi Foundation is furthering the objectives of the Stop TB Partnership in Pakistan by creating enormous awareness in the general public, using celebrities as Stop TB Ambassadors, emphasizing on the need for providing TB Care as a basic human right and carrying out a prevalence survey of TB in coalminers and their associated communities all over the country and specifically in the targeted districts in each province by screening close to 400,000 persons.
To summarize, the way forward for TB Control and Elimination in Pakistan will comprise of activities to transform the political declarations into concrete End-TB Initiatives with costed work plans, the Federal and Provincial Governments will need to significantly increase their allocations to health and specifically for eliminating the funding gap in the TB response. A federal authority for TB, AIDS and Malaria will help in robustly pursuing the federal roles of laying down the policy guidelines, providing technical strength, carry out surveillance, and liaise with international donors and health partners. Such an authority will bring about better inter provincial harmony both at policy and implementation level and carry out intra-sectoral and multi-sectoral collaboration. Demand creation for TB services needs to be brought about by a structured community engagement. We also need to enhance the capacity of Provincial TB Control Programs so that they can spearhead the TB response across Pakistan. These steps are likely to increase the government ownership and reduce dependence on external financing.
As TB-Management Units (TB-MUs) may not be able to cater to the needs of peripheral or hard-to-reach populations, it is prudent to involve first level care facilities such as BHUs, Dispensaries and MNCH centers, and the Lady Health Workers (LHWs) linked to them, in the provision of TB services. This will also provide the pathway to universal health coverage. These facilities can help in identifying presumptive TB cases, arrange sample collection and transportation to TBMUs, carry out contact investigation, provide treatment to patients with active TB and preventive treatment to eligible persons identified with latent TB infection (LTBI). They can also help in tracing and retrieving TB patients who interrupt treatment.
At the district level, Deputy Commissioners should convene the district steering committee as ‘first amongst equals’, comprising of all economic and social sector line departments, civil society organizations, elected representatives, TB survivors, TB activists and media personalities. The District Health Officer may act as member/secretary of these steering committees and act as the secretariat by developing working papers. The Task Force should meet at least on a quarterly basis to review the program performance and the incremental benefit accruing from multi-sectoral collaboration.
Other priority tasks already on the government’s agenda include the formation of a Parliamentary Caucus on TB Control with a multi-mix of MNAs/Senators from all parties, genders and religions, headed by Dr Nausheen Hamid the parliamentary secretary for Health. The caucus will draft legislation on TB elimination issues such as mandatory notification of TB cases (already done in Sindh province) and restrict off-the-counter sale of TB medicines among other things.
The Government is also most anxious to avoid catastrophic health costs, particularly in TB patients to avoid their falling down the poverty line. Therefore, health insurance is being expanded to a greater proportion of persons in the low-income groups. Let’s hope all these measures prove enough to rid the country of this ancient disease, whose cause has been known since over a century, medication available since over 70 years and free services available throughout the country since almost two decades. We just need to cast the net more broadly to detect all the cases and provide user-friendly services to eliminate it once and for all times. It’s the least we can do for our children to provide them a safer and cleaner environment than we had. We simply cannot allow this deadly disease to devastate over 4,000 people and their families daily across the world and rob our coming generations of a TB-Free World. We are presently at the crossroads; what we do over the next ten years will determine how things shape by 2030. If missed, this chance will never come again and will have ghastly implications in terms of human and financial losses. IT’S TIME!
Copyright: Dr Ghulam Nabi Kazi
Launched at the London Motor Show in 1958 and constructed using the sophisticated ‘Superleggera’ methodology devised by Touring of Milan, the Aston Martin DB4 is considered one of Aston Martin’s greatest achievements.
This highly specified Series 5 example, one of only 50 constructed, is believed one of just 5 built with the ‘open headlight’ configuration. Delivered new to Aston Martin agents, J Blake & Sons in Liverpool, 1034/R was primarily used by its then company chairman, former Monte Carlo Rally entrant and BRDC member Jack Reece, before being sold on and finding its way to the United States. It resided in the warm climes of California until its repatriation to the UK in 1988. The car was sold in 1993 via Paradise Garage of London to a committed DB4 owner who entrusted its maintenance to Aston Service Dorset and R.S. Williams Ltd, with the latter buying the car from him in late 2003.
Substantially restored between 2004-5, works carried out included chassis and body restoration, a full mechanical rebuild including the engine to 4.7 litres specification, gearbox and overdrive rebuilds as well as suitable upgrades to cooling, suspension and brake systems. R.S. Williams also commissioned a complete bare metal respray, re-chroming of brightwork and an interior re-trim with new hides and carpets, prior to a new owner taking delivery in 2005.
The substantial leather-bound history file included with the car gives details of the restoration works carried out, including an engine dyno sheet, showing true power 318 bhp and 330 ft/lbs of torque. It also contains a substantial number of maintenance and parts invoices, DVLA correspondence, all MoT certificates from 1988 onward and a copy of the original build records. Included also are charming and informative letters from previous owner's in the 1990s.
London Concours 2018
Honourable Artillery Company
London
England - United Kingdom
June 2018
"Muslim Creed" [Vol. 3 No. 2, February 1995] a free of charge Islamic Magazine meant for the dissemination of the Islamic creed, knowledge and Methodology of Ahlus-Sunnah wal-Jama`ah in the light of the Qur'an and the Authentic Sunnah as understood and practiced by the Salaf. It is published by "The Dear of Islamic Heritage".
My Dear Sister,
Know that you are man's sister and half of humanity. You are a mother, wife, daughter, sister, aunt, grand daughter or grand mother. The Prophet said, what translated means, Women are, indeed, men's partners. [Abu Dawood]. You are a member of the great nation of Islam, the best nation ever produced for mankind. No other nation on earth has more great men, leaders and conquerors than this nation. It is the nation of guidance and the straight religion, and it leads humanity to righteousness and truth. It transforms people from worshippers of slaves to worshippers of the Lord of slaves, from life's pressures to the pleasures of the Life after, and from the injustice of other religions to the justice of Islam.
Your ancestors, great women of Islam, were one of the main reasons for this great nation to take this great place among all nations. Allah, Who granted Islam to this nation, made a high place for Muslim women, and decreed that they share in the responsibilities of enjoining truth, forbidding evil and raising the flag of Islam. He said, what translated means, The believers, men and women, are loyalists of one another, they enjoin righteousness and forbid evil, they offer their prayers perfectly and give the Zakat, and obey Allah and His Messenger. Allah will leave His Mercy on them. Surely Allah is All-Mighty, All-Wise. [9:71]
Allah has given Muslim women what they can bare of orders and duties. He is the God Who knows His creation, Should He not know what He created? And He is the Most Kind, All-Aware (of everything). [67:14].
My dear sister, you are called upon today to truly become an active member of the Muslim nation, strive to establish victory for Allah's Word, implement the Quran and help build the generation of Iman.
What Do Your Enemies Want From You?
There are those who want to distract you from doing your duty. They want to distract you from meeting your noble obligation, that is, to defend the religion of Allah and raise His Word high. Those enemies use many methods:
First: They distract you from what Allah created you to perform of worship, belief and Da'wah (propagating Islam). They use this worldly life as their bate: Jewelry stores, fashions that originate in non-Muslim countries, new models all the time, desires raised, hunger that can never be satisfied, pleasures and competition for them and endless ways for joy. Allah did not create us for this. Indulging in these matters is usually accompanied by wasting time and money and igniting enmity and competition between the rich and the poor.
Second: They ignite enmity between you and man. To those sinners, you are a daughter that is put down, a humiliated mother, an abused wife and an oppressed sister! Men are always unjust, hypocrites, dictators, freedom- preventers and suppressers, according to them. There is a fabricated war that those evil ones are starting for no reason other than to direct you to rebel against your father, be arrogant with your brother and disobedient to your husband. They do not call for justice, mercy and unity. They call for hatred, arrogance and destruction.
Third: They do not stop at their call for rebellion against parents, brothers and husbands, rather, they plot against Islam. They call upon you to rebel against the obligations of Islam and the decrees of the All-Knowing King. Islam, to them, is unjust and Islamic laws are imperfect and restrictive. They call upon you, day and night, to rebel and insist on the disobedience of this religion. They try to rid you of your religion. They try to rid you of comfort and safety under generous parenthood, happy marriage and good brotherly relations.
Those devils portray piety and honor as chains on freedom. To them, Hijab does not cover the head, but also covers the mind; prayer, fasting and Zakat are a waste of time and effort; and obedience to husbands is slavery and a retum to the stone age. They distorted all facts and changed all truths, all to serve their evil goals.
Dear Sister,
The goals that your enemies and the enemies of your religion are seeking to achieve are well known. They want you to be available for them to fulfill their evil desires whenever they wish. They want you to be a mistress that has no honor. They want you to be found everywhere, on roads and in places of sin, without honor, religion or manners. They seek for you only what they want you to do. The Western world has gone through this all. Women of the West are the part of society that is facing injustice and dishonor. They strive to please men who keep changing partners and seek pleasures but with no responsibility and no consideration of the evil consequences of their sinful actions.
O Muslim sister, read and know about those women who discarded shyness and honor and followed their desires, what was the result of their deeds? Was their end honorable and desirable, or was it a shameful and hated end?
Advice For My Sister In Islam
Be proud of your religion and the religion of your ancestors. Be a good example for your sons and daughters and sincere in your belonging to this mighty nation. Know that honor is an honor to all wise people, and that adultery is dishonorable to all nations, even if some called it freedom. Know that adultery is also done with the eyes by seeing, with the ears by listening, and with the mouth by kissing, as was mentioned in a Hadith related by Imam Muslim. Your happiness is in being an obedient and believing daughter, a loyal and generous wife and a pious and merciful mother. Know that prayer is the cornerstone of Islam. Fasting one day, for the sake of Allah, takes your face seventy years away from Hellfire, as the Hadith, related by Al-Bukhari and Muslim, states. Charity is a major cause for gaining forgiveness and for repentance to be accepted. Those women who are showing parts of their bodies to men, will not enter Paradise or smell its fragrance and are cursed, as in the Hadith related by Imam Muslim. Hijab is an honor and protection for you. Hijab must be modest in color and not exotic, wide and thick and not revealing, different from the dress of non-Muslim women and men.
My Dear Sister,
These are words from the heart. These are words of good and sincere advice. Beware of the loyalists of Satan who want to lead you astray. Be a slave of Allah, righteous and decendent of righteous women and know your role in building this great nation. Perform your duty and do not be a cause for destruction. Be a maker of righteous generation that will lead mankind, again, to what is right and proper, to the great religion of Islam.